It’s been six years since David Bowie left our earthly realm and it is not an exaggeration to say that his music, image and creative output is more mythologized and simply more beloved and treasured than ever before. Brett Morgen’s vividly immersive new documentary-driven opus Moonage Daydream seeks to capture the music genius’ otherworldly essence and bring something new to the cinematic universe in the process. It succeeds and then some. 

This is the film hardcore Bowie fans have been waiting for. And it’s the film David Bowie deserves.

Starman (Courtesy NEON)

A collage of imagery, ideas, music and emotion, Daydream is presented in an intentionally loose, nearly non-linear way, eschewing Behind the Music biography tropes for something experiential, kaleidoscopic and concert-like. Throwing out traditional set-ups like talking heads and rigid chronology yields one of the most insightful portraits we’ve seen about a music artist, maybe ever. Of course, the sole narrator is Bowie himself and that makes all the difference. As your senses are seduced by eclectic edits and alluring imagery (both Bowie-created and pop culture related), your mind is enveloped by the subject’s sensitive and insightful words, which create a decidedly un-hazy cosmic connection spanning two-hour-plus runtime. It’s a long movie but never feels laborious, and it’s consistently enlightening.

Filmmaker Brett Morgan (Photo by Francois Berthier/Contour by Getty Images)

“I don’t go to cinema to learn, I go to experience and to be entertained,” Morgen, who lives in L.A., tells us during a far-reaching Zoom interview after the movie’s initial press screenings.” If my brain gets lit up, that’s great. That’s a bonus. But I’m really there for the sensory experience – this is my first sort of love of cinema.”

The filmmaker initially conceived of something called “the IMAX music experience” which he planned as a slate of 15 films that he would put out once a year (“they would be non-biographical, possibly nonlinear, and heavily curated,” he says). He got financing and started to focus on the Beatles, when Bowie passed. He called Bowie’s estate executor, and business manager, Bill Zysblat, who he had met with several years earlier and told him what he was interested in doing, after which he learned that the music legend had literally saved everything, and had even been purchasing footage and things chronicling his career via auction blindly for over 25 years. Suddenly, his idea had a more single-minded focus: an epic celebration of music’s most inimitable rockstar. 

“He didn’t know what he was going to do with all this stuff. They told me that David didn’t want to do a sort of traditional documentary. So I called them with my pitch, which was like, ‘Hey, I want to do an experience.’ It was simpatico with their interests,” Morgen shares. “What’s really interesting is, when I acquired the rights, they provided me with final cut and total access to everything in the vault, no restrictions or limitations. That was tremendous. And that’s sort of where the journey began.”

The journey ultimately lasted over five years, during which Morgen – who is best known for the artful Kurt Cobain chronicle Montage of Heck and one of the more interesting Rolling Stones docs, Crossfire Hurricane – had more than a few moments of struggle.

Queen Bitch (Courtesy NEON)

“We got inundated with more media than we were prepared to work with,” he remembers. “I had built a screening schedule for four months, but it ended up taking two years to work through and screen through the material, and probably two years prior to that to bring all that material into our office. So our budget was gone. By the time I started editing, we had no more resources. It ended up that I was my own producer on it, and my own editor. I had to work myself out of this and find my way. It was strange because films are generally collaborative and this became a very kind of personal endeavor.”

Shortly into the production, Morgen suffered a severe heart attack (on January 5, 2017). The married father flat-lined at Cedars-Sinai and was in a coma for a week. “It didn’t happen by accident,” he admits. “You know, I was 47. Most people that age generally aren’t having heart attacks, but I had a lot of bad habits – I smoked, I didn’t exercise. More importantly, my entire reality was work. I was a workaholic and stressed out over every little detail of everything. And that’s how I’ve always been wired. My life came to a halt. And when I woke, I was definitely not a changed man – one of the first things out of my mouth to the surgeon was ‘I have to be on set on Monday.’”

Watch That Man (Courtesy NEON)

Eventually though, he realized he needed to settle down. He began to look at Bowie’s media, and says that the Starman’s “philosophical musings and infinite wisdom” struck him on a personal level. “He was the perfect messenger at the perfect time for me to receive these messages in my life,” Morgen says. “I felt through his words, and examples, that he was guiding me and helping me learn how to lead a more balanced life. And that is when I realized that more than a theme park ride, this film would be an opportunity to provide a roadmap for how to lead a successful and fulfilling life during an age of chaos from fragmentation. And if nothing else, that I can leave that behind for my kids in the event that I have an early exit. So that I could speak through David to them and hopefully, they would be able to find the same sort of solace and inspiration and guidance that I’ve received.” 

“Everything’s rubbish and all rubbish is wonderful.” – David Bowie

As Moonage Daydream begins, we are treated to some live footage and thoughtful musings from the man himself about humanity, art, and the “deep and formidable mysteries of life.” These are intercut with vibrant imagery of Bowie’s early guises as Ziggy Stardust, performing songs such as “Wild Eyed Boy from Freecloud,” “All the Young Dudes” and the glam power ballad “Life on Mars?” with alternate footage from the iconic Mick Rock video in which the singer dons a powder blue suit and pigmented blue eyeshadow (a look that was recently immortalized by Mattel as a Barbie doll).

Sound and Vision  (Courtesy NEON)

Bowie’s androgynous, pansexual aura and image make up a large part of the voice over that guides the film early on, while archival footage from various interviews he gave at the start of his career provide eyefulls of his style as well as personable wit and openess. To say he was misunderstood and even mocked for his unconventional creative choices when he started out is an understatement. During a conversation with Dick Cavett, the talk show host relays that a viewer wasn’t sure she wanted to meet him because he looked like he practiced black magic. As he often did, Bowie let the mystery hang there, making an impish remark and maintaining a shameless attitude. 

In terms of the music, Moonage Daydream is not a greatest hits packed jukebox affair. It’s packed with plenty of his most epic tunes, but some are just snippets. Still, you don’t miss much here. The soundscapes that are included serve a purpose in highlighting the star’s thoughts and expression. And his charm shines through every moment. 

“I met Brett in my recording studio about five years ago in New York,” recalls longtime Bowie producer Tony Visconti, who has a credit on the film and stayed in a Bowei orbit playing tribute concerts and working on music for the “Bowie Is” museum exhibition. “I became an important source for the audio content of the film. I was there as an advisor to the surround sound mixing engineer. What was astounding is that the film had no grain, it was solid, stunning visuals with smooth hi-frame video. In the close ups you could see the pores on Bowie’s face. I did see more snippets over the past five years that were cleaned up in the same way. Besides myself there was an audio team also making the audio sound much better than the source. There is technical wizardry in all that and when seen and heard, especially in an IMAX theater, you will get the most Bowie ever – sensory overload.”

Golden Years (Courtesy NEON)

“My work on this film was a constant reminder that I lost a dear friend of 48 years,” Visconti adds, sending us some follow-up thoughts via Facebook DM. “But I feel he’s always there when I continue to work on his music. I know it sounds weird, but I often think, ‘what would David have me do?”

WWDBD? (What Would David Bowie Do?)

Visconti will not be alone after fans see this film. Bowie’s zest for life, search for inner spirituality and quest to expand his art beyond music – he’s shown painting, dancing and acting in various movie roles (The Man Who Fell To Earth, Labyrinth, Merry Christmas Mr. Lawrence and more) and on stage (The Elephant Man) – is more than inspiring, it’s exalting. There’s a reason Bowie fandom is so fierce, and it goes beyond the beauty and boldness of his music or even his image. Whatever persona you connect to and whatever album tops your listening list, one thing remains the same: Bowie was always seeking and changing and experimenting. As one audio clip relays in the film, he was constantly questioning his relationship with the universe and he was testing it with his art.

“The artist is a figment of the imagination,” he says, and clearly he wanted to stretch the boundaries of what any of us might imagine visually and sonically, even when it was within the structure of a pop song. He’s influenced so many, especially other musicians, and though he passed years ago, his music continues to resonate. “Celebrating David Bowie” concerts featuring his former touring players still happen annually throughout the country, and Bowie covers by the biggest artists at arena shows has become almost di rigueur these days, as evidenced by the opening set at the Taylor Hawkins Tribute at Wembley Stadium recently and just last weekend at Duran Duran’s trio of 40th anniversary gigs at the Hollywood Bowl.

Bowie fandom is fervent in a deep love kind of way that goes beyond image or even a favorite song. It’s about expression, creation and living life to the fullest. We belong to many fan groups on social media, but The Church of David Bowie group on Facebook has been one we visit often to connect with likeminded people, people who think about and honor Bowie daily, and apply his open-minded zest for life to their own.

“I didn’t think it was possible to love David Bowie even more,” enthuses Sonia Wike – a Church member and one of the organizers of the annual gathering at his Hollywood Walk of Fame star – after a fan screening of Daydream. “I’m not sure I even took a breath during the whole movie. One of the messages I took away from the film and Bowie’s message is that life is chaos and once we stop fighting it and just move with the chaos, the more content we’ll be.”

Morgen concurs: “The way that David talks about the creative process is, I believe, applicable to anyone, whether they’re day laborers or artists or teachers… whatever your vocation,” the filmmaker explains. “It transcends art. These are ways to live your life. To make each day exciting and adventurous, and to take opportunities and view them as chances for an exchange. Not something laborious, but something that we can all grow from. You and me. Not because we’re trying to reach Nirvana, but simply because we’re trying to make this day as rewarding as it could possibly be.”

Moonage Daydream is in IMAX theaters now. Screening info at moonagedaydream.film.

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On Thanksgiving weekend, The Beatles: Get Back, Peter Jackson’s lovingly-crafted, laborious and layered three-part Beatles saga (which a lot of us are still thinking, talking and writing about) was finally released on Disney+. And as we ate our last slice of pumpkin pie watching the world’s greatest, not rock n’ roll band because for this writer, that’s still the Stones, but the world’s greatest band period, perform their last live show ever on a rooftop in England, everything about the experience felt significant, both on a cultural level and on a human level. Never has a holiday entertainment release been more perfectly planned, each episode debuting consecutively over three nights, and each evoking different impressions and emotions as the viewer committed to the fly-on-the-wall journey. At 8+ hours total, it took dedication to keep buzzing with the Beatles in this immersive, musically enlightening, not always pleasant but real way, but it was well worth it.

Culled from 60 hours of footage from Michael Lindsay-Hogg’s Let It Be documentary (a film and recording John Lennon and Paul McCartney were not really happy with), Jackson’s chronicle seeks to provide more context for the last two albums, the writing process and the band’s breakup. The first part, a sort of surreal re-introduction to the four mythic beings also known as John, Paul, George and Ringo, was exciting to watch and absorb, from the strained dynamics of the band’s members to the skeletal beginnings and evolution of songs we all know and love, to the look and sound of the footage, which Jackson restored beautifully, even splicing some portions of audio and video that didn’t originally go together (for which he added a disclaimer) and adding subtitles to tell the real story.

Though the takeaways after the first part, set at Twickenham Studios, might have been mostly sorrow for George Harrison (for being shut out by McCartney during the writing process; Paul clearly only wanted to work out his music with John), Yoko Ono not surprisingly emerged as the most controversial player in the project. For most, her omnipresence at the sessions was annoying at first. Yoko had a chair right alongside the band (well, John) at all times and the co-dependent relationship was off-putting for most of us, though many (mostly women) found it inspiring, true love caught on film and perhaps the ultimate embodiment of the artist/muse relationship. Either way, it was clearly inconsiderate and did not help or contribute to the task at hand. Or did it?

There’s been a lot said about how this film proves that Ono didn’t break up the band, and some have gone as far as to say she helped John stay longer than he might have. We saw it a bit differently. Yoko was a factor in the breakup of The Beatles, and Get Back does not show otherwise, it only reveals that it wasn’t all on her shoulders. She was one of few different reasons the band imploded, but mostly, she embodied the fissure that had already started to emerge within the fab four. Disillusionment after years of insane fame, dealing with the aftermath of some bad business decisions, the death of their manager Brian Epstein, varying levels of drug use and monumental expectations going into the ’70s were a recipe for strained band relations, to say the least. Maybe John needed Ono there for inspiration or as a buffer, or maybe he didn’t (we’ll never know), but within an already tense working atmosphere, it sent a message to the others that the Beatles brotherhood was no longer enough. The breakup wasn’t her fault – if anything it was John’s – but to say her presence didn’t play into the band’s problems is disingenuous, as is dismissing this opinion as simple misogyny.

Still, we went through the five stages of Yoko while watching: from surprise to annoyance to tolerance to acceptance to ultimately, appreciation for the bohemian vibe and jammy informality she brought to the room, which by the second installment felt more relaxed, fun and ultimately productive. Part two is arguably the hardest to get through for non-fans though; we hear the same songs (“Let It Be,” “I’ve Got A Feeling,” “Two of Us”) played again and again and again, and we see the band near delirious as they try to work everything out, including exactly what they will do once the music is ready. The TV show they planned got scraped, but they still wanted to give Hogg something climactic, and a mini-concert on the roof was ultimately what they came up with.

After essentially watching six hours of rehearsals, part three, which leads up to the final live performance outdoors, is emotional, knowing what we know. For hardcore music-lovers, even the repetitive parts are compelling, but if our social media feed is any indication, not enough for all. Yes, there are still Beatles haters out there and for a lot of us, seeing the naysayer posts upon the docuseries’ release was eye-opening. What kind of soulless curmudgeon misses the beauty and magic of hanging out with the Beatles in creative mode for several hours, especially knowing that it will be their last time doing so together?

Watching the music and its creation is life-affirming stuff, even if you’re just a casual Beatles fan. It’s also wildly entertaining – from the exuberant jams with Billy Preston on keyboards to the fascinating interactions between George Martin, Glyn Johns, and Linda Eastman/McCartney and the band, to sneak peeks of music from the Beatles’ past and future, to fabulous fashions worn by each member throughout all three sessions, to the candid conversations (some recorded without the Beatles knowledge) providing a voyeuristic look behind the music for real (those old VH1 docs could only dream of coming close). Get Back is transportive television, a mind-blowing flashback that might be long, and at times uncomfortable, but is ultimately the best chronicle ever of the creative process. It reminds us that humans may be flawed creatures, but we can create beauty in its truest and purest form. It’s more than a music doc, it’s reality TV at its most transcendent.

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Even if you didn’t watch The Emmy’s this week, you probably heard about the winners and the losers, and not just the fashion. About now you’re probably reconsidering the programs you’ve yet to check out, right? We all do it and there’s no shame in giving acclaimed and awarded stuff a second chance. Here, we survey this year’s winners and feature thoughts from our writers’ past reviews for context. Whether or not these programs were the best this year is subjective, but everything that won is worth your time, if not a shiny gold statue. Many are worth both.

LAST WEEK TONIGHT  (HBO)

Last Week Tonight with John Oliver 

Winner: Outstanding Variety Talk Series

Winner: Outstanding Writing for a Variety Series

“Fucking brilliant.” Oliver’s use of expletives alone makes him more authentic than most TV hosts, but it’s the topical content that consistently kills here. As our TV critic Erin Maxwell wrote of the show last year, “John Oliver is no longer hosting a comedy show. He is saving the world, one sarcastic remark at a time. A sane voice that counters the insane situations we’re all living through, Oliver offers acumen through the lens of laughter in a time where few things are funny. His reactions to the lunacy of the current news cycle mixed with British sensibility is the exact amount of snark we need to carry us through the tough times. But what makes him stand out from his fellow late-night funny folks is that he isn’t merely reporting the absurd, he’s along for the ride. He is just as angry and scared as we are, and it’s a comfort to know we are not alone in our exasperation.”

RUPAUL’S DRAG RACE (VH1)

RuPaul’s Drag Race

Winner: Outstanding Competition Program

The most awarded Black person in Emmy “herstory” is also a drag queen and that’s something to celebrate for more reasons than one! We’ve been a champion of Ru since the very first season of Drag Race and seeing how far he/she has come almost feels like a family pride thing. The queen of TV lives in L.A. most of the time, and some of the show’s most memorable contestants are from there. Most importantly, the ones who aren’t tend to stay here to pursue their Hollywood dreams, arguably making our city the queen capital of the country and maybe the world. Drag Race is one of the most important television shows of all time and we think the world would be a better place if everyone watched it, so please do if somehow you’ve resisted til now. Read some of our Ru-portage over the years by clicking here.

HACKS (HBO Max)

Hacks

Winner: Outstanding Lead Actress in a Comedy Series- Jean Smart

Winner: Outstanding Directing for a Comedy Series

Winner: Outstanding Writing for a Comedy Series

“Jean Smart’s turn as the tenacious  [Debra] Vance is particularly brilliant and worthy of her recent Emmy nomination. Hacks is a terrific comedy about two forces of nature who are fighting on the same side, even if they don’t quite realize it yet. But beyond the battles behind the stage, at its core the show is about friendship and trust, two rare gifts in showbiz,” Erin Maxwell said of the show in her July review.

TED LASSO (AppleTV+)

Ted Lasso

Winner: Outstanding Comedy Series

Winner: Outstanding Lead Actor in a Comedy Series – Jason Sudeikis

Winner: Outstanding Supporting Actor in a Comedy Series- Brett Goldstein

Winner: Outstanding Supporting Actress in a Comedy Series- Hannah Waddingham

Like most who don’t have AppleTV+ we’d been curious about this one for some time now, mostly due to the glowing reviews. What makes it special beyond Sudeikis’ ‘stache? Well we got a code and finally decided to dive in. The show is a refreshing, honest and smart spin on the fish out of water yarn (Lasso, a small-time football coach, is hired to head a professional soccer team in England). The show has appeal for sports fans, romantic comedy lovers and satire biters; cool accents and sharp dialog too. Is it the best comedy series out there right now? Debatable. But it makes you feel good while watching it and that might be more important than laugh quotas right now.

HALSTON (Atsushi Nishijima/Netflix)

Halston

Winner: Outstanding Lead Actor in a Limited or Anthology Series or a Movie- Ewan McGregor

Ewan McGregor revisited the flamboyance and ghastly attitude he displayed as the villain in Birds of Prey, the last Harley Quinn movie, for this un-likeable but nonetheless captivating take on Roy Halston, the American designer who basically defined chic in the ‘70s.  Pretentious, at times nasty and impulsive to the point of seeming adolescent, Halston had the talent to make up for it all. Many who knew him said McGregor got him all wrong, but this Netflix series – executive produced and co-written by Ryan Murphy – is so dazzling and unflinching in its portrayal of a flawed but utterly fabulous figure, that it doesn’t really matter. The performance, however inaccurate, provides a substantive character study even when it’s a cartoon-like portrait. Halston may have sold his soul to JC Penney (and his name is slapped on any number of subpar products to this day), but as this series reminds us, personal brands are more fluid than any one product or label, and time has a way of leveling out a legacy.

THE QUEEN’S GAMBIT (Netflix)

The Queen’s Gambit

Winner: Outstanding Limited or Anthology Series

Winner: Outstanding Directing for a Limited or Anthology Series or Movie- Scott Frank

“The Queen‘s Gambit manages to side-step all of the tropes we have come to expect from stories featuring orphans and child prodigies, the kind usually found in the pages of VC Andrews books, grammar school novels, or kiddie flicks aimed at little girls,” Erin Maxwell wrote when the series debuted. “Every scene is eye-pleasing, a feast of color and pattern, fashion and scenery. There’s not a hair out of place or unpleasant plaid styling to be seen here. Every sitting room, every hotel lobby, every sad single bed in the orphanage makes for thoughtful detail, enhancing the story and the viewer’s experience, giving Netflix one of its most notable checkmates to date.”

MARE OF EASTTOWN (HBO Max)

Mare of Easttown

Winner: Outstanding Lead Actress in a Limited or Anthology Series or a Movie- Kate Winslet

Winner: Outstanding Supporting Actor in a Limited or Anthology Series or Movie- Evan Peters

Winner: Outstanding Supporting Actress in a Limited or Anthology Series or Movie: Julianne Nicholson

Another one of those shows you might have skipped due the drabness of its promos, HBO’s Mare of Easttown is sure to get its share of lookieloo-come-lately’s thanks to its trio of wins this past weekend. So yeah, we finally dove in this week, and so far, so HBO-level good. It follows the murder of a young woman and the police detective (Kate Winslet) trying to solve the case. Set in a small gloomy Pennsylvania town, the show’s melancholy vibes are contrasted with its family drama feels. Created and written by Brad Ingelsby (Our Friend, The Way Back), the seven-episode show melds crime drama and small-town character study. Winslet is as good as she’s ever been (and considering we all know how English she is, that’s a feat in this gritty American woman role and accompanying accent). She brings an immersive realness to every scene. Was she better than Michaela Coel in I May Destroy You, Cynthia Erivo in Genius: Aretha, Elizabeth Olsen in WandaVision or Anya Taylor-Joy in The Queen’s Gambit? It’s just an opinion of course, but the answer is a big no. Watch it, but don’t compare it to those shows (or do much googling, which might spoil the twist ending) as we did; you’ll enjoy it a lot more.

THE CROWN (Netflix)

The Crown

Winner: Outstanding Drama Series

Winner: Outstanding Lead Actress in a Drama Series- Olivia Colman

Winner: Outstanding Lead Actor in a Drama Series- Josh O’Connor

Winner: Outstanding Supporting Actor in a Drama Series- Tobias Menzies

Winner: Outstanding Supporting Actress in a Drama Series- Gillian Anderson

Winner: Outstanding Directing for a Drama Series- Jessica Hobbs

Winner: Outstanding Writing for a Drama Series- Peter Morgan

“Ever since it debuted in 2016, Netflix’s The Crown has set itself as the gold standard of streaming service original content, pushing out award-worthy performances, riveting storylines, and impeccable writing with each season. In its fourth turn, the twisted true tales of the Royal Family delves tiara-head first into the ’80s, where audiences are introduced to an Iron Lady and a People’s Princess, as well as a focus on the diminishing faith in government and the toxicity of a family who was born to serve.” –Erin Maxwell’s LA Weekly review in Nov. 2020

SATURDAY NIGHT LIVE (NBC)

Saturday Night Live

Winner: Outstanding Variety Sketch Series

What we wrote in our Emmy’s cover story last year is still true: “In a world where current events have taken on a skit-like absurdism, SNL not only maintained its rep as the definitive showcase for comedy reflecting and dissecting culture, it rose to the moment, making us laugh, even when the news cycle made us want to do anything but.”

HAMILTON (Disney+)

Hamilton

Winner: Outstanding Variety Special (Pre-Recorded)

As our writer Danielle Broadway wrote when Disney+ debuted the film version of Hamilton, it “illustrates a country that’s made up of immigrants, Black people, people of color and musical forms that dare to color outside the lines. The show’s mostly POC cast perform rap numbers and use slang to add some seasoning and freshness to a very bland and stale soup that, frankly, most people are tired of being fed. The dominant rhetoric tells marginalized communities that we can only be typecasted in certain stories and can never be anything other than slaves or the help, particularly in productions dated around 1776. Miranda dodges this so-called rule by showing that we can play any roles we want and can do them with a multitude of talent that the theater stage seldom gets to see all at once.”

I May Destroy You

Winner: Written by Michaela Coel

One of the most powerful and uniquely artful shows we’ve seen in a long time, Michaela Coel’s vibrant and troubling drama I May Destroy You – which explores the life of a young woman navigating sexual assault, creative challenges, bad romantic choices and most significantly, the nuances of friendship, family and support systems in general, is a total must-binge. You can’t take your eyes off of her or the show, and though she probably should’ve won more this weekend, this writing award was meaningful because it was about daring to tell stories that aren’t easy. We’ll let Coal’s speech (above) say the rest.

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In a world that grew up with the original Disney princess cartoons’ romanticized views of the good, evil and life in general – then later realized just how sexist those films were – finding the right take and tone for modern versions has been challenging to say the least. For Snow White, Sleeping Beauty and especially Cinderella, the central message was: women need to be competitive and spiteful towards each other in their quest for happiness and fulfillment, and only a man – a man of privilege at that – can help us to achieve it.

Which brings us to the latest subtly feminist stab at the fabled tale, written and directed by Kay Cannon (Blockers, Girl Boss) and starring pop singer Camilla Cabello. It’s no surprise it’s getting mixed reviews – journalists basically hate it and audiences really, really love it. It’s a shamelessly on-the-nose crowd-pleaser for modern times, complete with a fabulous queer godmother (no fairies here, girl), mash-ups of pop-hits informing the story, and a message about empowerment and following one’s dreams that might be trite, but is self-aware enough to know it, stand (and dance) by it, and embrace the cheesiness.

Billy Porter plays the godmother and he is indeed fabulous, which is all he needs to be. Idina Menzel plays the evil stepmother and she could not be more perfectly cast, conjuring her old Wicked vibes and belting out a few numbers with the powerhouse vocals that made her famous (and a Disney icon when she “Let It Go” as Elsa in Frozen). Relatively unknown British actor Nicholas Galitzine is fine enough as the prince being pressured to marry by his dad the king (Pierce Bronson, who’s really having fun with this one) and defended by his mom the queen (a gaunt but great Minnie Driver).

In this version there is also a sister princess who is smarter and more qualified to take the throne than her unstable brother but – trope alert – she can’t because women in this kingdom don’t get to have careers. If you saw Eddie Murphy’s gaudy Coming 2 America, you’ll recall this storyline, which yeah, you probably also saw in a hundred of other films about the antiquated rules of royalty.

Yes, it’s cliche, it’s Cinderella for godmother’s sake. But it’s also extremely entertaining: from the gorgeous costuming and sets to the musical numbers, which include a town crier who raps the news of the day to townspeople, and chart-topping hits from the ‘80s-present that work so well into the narrative, you’d think they were actually written for the movie.

Janet Jackson’s “Rhythm Nation” used to portray a bustling town’s square (nice!); Galitzine singing Queen’s “Find Me Somebody to Love” backed by a choir after the ball is announced (great – he’s no Freddie obviously – but still pretty great); Menzel crooning Madonna’s “Material Girl” as she teaches her daughters about what’s important (genius!); and a weird but wonderful mash-up of Salt n’ Pepa’s “Whatta Man” (sung by the prince’s female suitors at the ball; yeah he so crazy, but they still “want to have his baby”) into The White Stripes’ “Seven Nation Army” (women from seven or more nations do make for an army of would-be wives, and anyway, the minuet reference begged for it).

If you’re not a fan of Broadway musicals and more so, “jukebox musicals” that infuse modern tracks into the story-line, you probably weren’t gonna like this Cinderella no matter how fresh the writing or how good the acting. As it is, the writing is just OK, but it does have some clever moments and the acting is as good as it needs to be for a colorful, family-friendly fantasy of this sort. We could’ve done without another silly James Corden movie moment (he’s one of the mice who becomes human to take her to the ball and he’s basically playing himself, again, which was probably unavoidable considering he has a producer credit).

Cabello is a likable and spunky, cinder-covered Ella (her real name). And by the way, we must commend the producers – or Rihanna – for not succumbing to the obvious inclusion of an “Umbrella (ella-ella)” number here. It’s nice to see a Latina in the role, even if her culture isn’t really addressed, save for a salsa-infused closing number, J-Lo’s “Let’s Get Loud.” And if we’re ranking portrayals of the down-trodden damsel forced to dress in rags and act as a maid to her step-monster and less attractive sisters after her father dies, C.C. is somewhere behind the original cartoon, Drew Barrymore and Lily James, but definitely ranking before Brandy and Hillary Duff. Also, glass slippers are a ridiculously uncomfortable idea for footwear, and we’re really glad someone finally said so.

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Even cliches can be compelling when they’re portrayed with heart and reverence, and no movie in recent memory does this as well, and fittingly so, as Respect, the recently-released Aretha Franklin biopic. If you walk out of the theater (the only way you could see it up until today, as it just became available On Demand) and don’t feel exhilarated and basically in awe of the talent portrayed and the talent of the portrayals, you might want to have a doctor check you out.

This one has everything any film-goer or person with a pulse might need to be entertained in terms of acting, singing, costuming, and production. And then there’s the story arc, filled with highs and lows, loss and growth, activism and spirituality, validation and redemption. Her story might be brimming with familiar cinematic tropes, but it was all true, and it produced a legend.

Franklin knew what she was doing picking Jennifer Hudson to play her before she died. As she did in Dreamgirls, Hudson lights up the screen no matter the scene, and while that’s clearly easy when she’s decked out in fabulous frocks crooning her guts out on stage, it’s a bit more challenging during the less glitzy moments, which concede and characterize a lot of what fans already knew about the star, but probably don’t think about too much, especially while listening to “Respect” or “Freedom.”

After losing her beloved mother at age 10, Aretha had her first two sons at 12 and 14 years of age. She allowed herself to be controlled in her youth, first by her domineering preacher father, then by an abusive husband, then by record execs. After trying hard to score hits with soulful covers of white standards, she finally stood up for herself and her musical dreams and ideas, only to battle alcoholism and depression after she’d made it, taking on too much and letting those around her (including her sisters, who were also her backup singers) down in the process.

If you caught the National Geographic bio-series Genius: Aretha, this film begins the same way – with a child getting dragged out of bed by her dad (played to perfection by Forrest Whitaker) to entertain a rollicking house party full of entertainment types including Dinah Washington (a tantalizing and ‘tude-ish take by Mary J. Blidge). Skye Dakota Turner plays Aretha as a kid and her scenes are as powerful (if not exactly pleasant) as the latter ones with Hudson. Though her childhood trauma appears to be glossed over early on, director Liesl Tommy comes back to illuminate some of the darker stuff, which ultimately informs the singer’s actions (and non-actions) later on.

The music is so good in Respect (there are full renditions of a handful of Aretha’s best numbers and we dare you not to sing along in the theater), it almost wouldn’t have mattered how good the acting was. But Hudson mixes just the right amounts of diva and despair in her portrayal, which is less an impersonation and more of channeling of spirit.

The one misstep here was the casting of Marlon Wayans as her husband Ted White. We wanted to see this stretch for him be a success, but the role required a menacing depth that he was never able to achieve. The comic actor’s presence was a real distraction, and whether it’s because he’s done too many popular movie parodies or just doesn’t have the chops is still unclear. Either way, we imagined a handful of other actors who could’ve done the debonair but destructive dude better – from Michael B. Jordan to Wayans’ old In Living Colour comrade Jaime Foxx – and we were glad when Aretha finally gave him the boot for more reasons than one.

Speaking of Foxx, his rendition of Ray Charles in Ray is considered the gold standard in biopics and particularly Black biopics. Last year’s The United States vs. Billie Holiday starring Andra Day should probably be added to this list, and so should Respect, which might not be as arty, but is definitely more enjoyable in general.

Hudson’s approach to the music is key to the film’s success. Melding her own vocal style with Re-Re’s (Aretha’s nickname) she’s consistently authentic when she’s singing and vibing. She comes off vulnerable yet regal, especially in pivotal scenes  with musicians jamming and recording at Muscle Shoals and with her sisters.   In these moments, Respect transcends the typical music icon trajectory for something more intimate, conveying creativity, complexity and (super)-natural talent of the woman who made us all feel so good inside. 

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A comedic force the past couple of decades, Jennifer Coolidge has arguably reached legend status in the last couple of years, fleshing out and stretching her acting aptitude with last year’s Promising Young Woman and this year’s Swan Song (with Udo Kier), not to mention HBO’s hot new drama The White Lotus. The latter should earn her some awards if there is any justice in this world.

The busy character actress has been popping up on TV and in films forever, and stealing every scene she’s in. Her parts in Christopher Guest’s slate of mockumentaries including Best in Show, A Mighty Wind and For Your Consideration remain notable and quotable to this day. And then there’s the two beloved babes that fans stop her on the street for: Paulette, the kind-hearted manicurist and bestie to Reese Witherspoon in the Legally Blonde franchise and the lady who made MILFs a thing, aka “Stifler’s mom” in the American Pie films.

Coolidge’s gift for playing colorful, often unintentionally funny ladies is a given at this point, but we always wondered if she identified with them or if she was anything like them in real life.

Legally Blonde (MGM)

“I remember having that audition for American Pie and I remember it so clearly because I remember thinking the audition was too easy,” Coolidge tells Village Weekly by phone from her home in New Orleans. “They needed someone who was attracted to young men, and I was like well I’m attracted to young men… A lot of my life I felt like Paulette [from Legally Blonde] too. They are different parts of me. I can be very amorous, and like someone who does well in that department, and then I’m the other extreme to where I’m very insecure and I take a lot from people. So I project way too vulnerable sometimes for the modern world. I need to be more like Stifler’s mom probably more often than Paulette, but if you told me beforehand I would get both roles I wouldn’t have believed you. You know sometimes you go and see a director and just pray to god that you’re in sync with the character because it’s so much easier if the feelings match.”

With a deadpan delivery and bodacious style that’s all her own, it’s hard to imagine anyone else in the above-mentioned roles, so much so that even Ariana Grande has been doing impressions of her on late-night TV. Her cadence is the same in real life (for a lot of comic actors it isn’t) and she’s as charming on a phone chat as she is on screen; extremely present in conversation, taking pauses to really think about the questions posed. As with the characters she plays, her answers are honest and a little bit droll. Coolidge is complex and her comical take on other complex characters (and simple ones) is something to behold, especially lately.

In a heart-wrenching White Lotus scene, her character Tanya – a self-professed “alcoholic lunatic” – talks about the “layers” of personality and how many of us fear that letting someone see beneath them to the real “us” (or to “the core of onion,” as she calls it), can be terrifying. It’s a poignant and awkward scene, and in a series about white privilege at a posh Hawaiian resort, Lotus is filled with many of them. Coolidge stands out though, especially during a gloriously cringe-y boat scene in which Tanya attempts to scatter her verbally abusive mother’s ashes at sea. Reportedly the actress got sea-sick during filming and used the discomfort to inform her performance. It really worked.

But there are always contrasting facets to Coolidge’s portrayals and she says her improvisational background with The Groundlings laid the foundation. “In a nutshell, it made the biggest difference for my career than anything else, or any sort of schooling,” she asserts. “I was sort of uptight and it got rid of a lot of that, performing all the time over there. And like 95% of my best friends are from the Groundlings. Everybody in my group got famous too.”

The White Lotus (Mario Perez/HBO)

She runs through the alum list from her time working with the New York and Los Angeles chapters and it is impressive: Kathy Griffin, Lisa Kudrow, Will Farrell, Melissa McCarthy, Chris Kattan, Cheri Oteri, Ana Gasteyer, Will Forte and more. “The list just goes on and on,” she exalts. “All these incredible people were there.”

No surprise many Groundlings alums went on to join the cast of Saturday Night Live and eventually hit the big screen. After Coolidge did a couple of low-budget comedies, her first big movie was alongside Farrell and Kattan in Night at the Roxbury, and other classics with friends followed including Austin Powers: The Spy Who Shagged Me, Pootie Tang and Zoolander. Her first TV gig was as a masseuse who dated Jerry on Seinfeld, and her last big TV role, on Two Broke Girls, was equally memorable.

Even when she’s playing “dumb blondes,” they are never one-dimensional. Much like Catherine O’Hara whom she worked with on Guest’s improvisational classics, the actress can embody a variety of big female personalities, infusing naivete and/or sass when called for, and a satiric energy that’s become her signature.

In Swan Song, for example, she plays it straight, as Dee Dee Dale, a woman who betrays her hairstylist mentor Mr. Pat (Kier) after she takes his biggest client and opens a salon across the street from his. The Todd Stephens indie has plenty of feel-good moments, but it’s not a comedy, and Coolidge is actually kind of the villain.

“The last year and a half was super weird because I started being offered things I wasn’t normally being offered, ever,” she answers. “And I like the new things that are coming up because you know, it’s a nice change. Promising Young Woman was filmed a few months before Swan Song. Then COVID delayed everything, so those two parts came kind of together.”

“Sometimes I’ll get calls and guys deliver scripts to my doorstep,” she continues on the topic of type-casting. “I always felt like I knew what they were gonna be, especially the ones that sounded like jobs I’ve already done or similar parts. But you know Promising Young Woman started all this and then Swan Song and then The White Lotus. It’s a very different bunch of films and it’s almost like each director got together and said let’s do something different for her… like they were all in cahoots, each one offering something new.”

Promising Young Woman (Focus Features)

Coolidge plays a very different kind of mom in Promising, but she meets her match in Swan Song, playing opposite Kier, an equally busy character actor. “Yeah I mean when I first heard about the role I called Todd and was like, ‘Are you sure you want me in this?’ You know I said I might be missing something here, and she’s pretty rough around the edges,” she recalls, adding that the opportunity to work with Kier added to the appeal. “I’ve never met anyone like him. He has such a presence in the movie but you know, it’s kind of a legend playing a legend. The thing I learn as I get older is that there aren’t that many people like that, so it’s a true treat to be on a job with someone so unusual and unique and funny. You know, there are so many possibilities for him now and I think incredible things are gonna happen to him and it’s because of his presence in this film.”

The same could be said for Coolidge at this moment. Her latest roles have been widely praised to the extent that she can surely be picky about what’s next. In addition to her film work, she continues to lend her recognizable voice to animated TV shows such as King of the Hill and Rick and Morty – something that can ingrain an actor like herself into pop culture, and probably already has.

In many ways, Coolidge is like a cartoon character herself, though the way her roles are drawn keeps changing. Whatever she tackles next, count on lots of colors, some laughs and yes, lots of layers.

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Disclaimer: We began compiling this guide to visiting Las Vegas a couple of months ago, as COVID-19 vaccinations were fully underway both in O.C. and L.V., and infection numbers were coming down. The lights have slowly been coming back on again, but at press time, the “back to normal” we had all been hoping for seems a little less likely due to the rise of the Delta variant. As of Friday, July 30, Nevada followed California’s lead, re-imposing its mask mandate for public indoor settings as local hospitals began to fill up again. Right now, if you plan to visit Vegas, your safest bet for a virus-free good time includes getting vaccinated, wearing masks while indoors, social distancing, and washing your hands/sanitizing frequently. 

What happens in Vegas hasn’t always stayed in Vegas. The suggestive slogan, part of one of the most iconic marketing campaigns ever, might feel like a classic pop-culture catchphrase, but in fact, it’s relatively new. Debuting in February 2003, it was conjured by R&R Partners ad agency for the Las Vegas Convention and Visitors Authority, who sought a rebrand for the city that retained its “sinful” rep but also showed it had more to offer beyond blackjack tables and slot machines. It worked. Vegas has become synonymous not only with gambling, but also with dance clubs, strip shows, bars, restaurants, dazzling stage shows (from Cirque du Soleil to Celine Dion – who coincidentally started her first residency in 2003), conventions and thematic Disneyland-like hotels.

Welcoming tourism from all walks of life, Vegas has been attracting a mix of young and old, rich and poor, nightlife lovers and sun worshipers, hedonism-seeking adults and families looking for good clean fun more than ever in the past couple of decades. They’ve added new demographics to the mix in recent years too, with huge music festivals including Electric Daisy Carnival (EDC), Life Is Beautiful, Psycho Las Vegas, Viva Las Vegas and Punk Rock Bowling, to name a few.

Then 2020 happened. In the wake of the pandemic and stay-at-home orders, the Vegas Strip (and its surrounding areas), much like Times Square in New York and to a lesser extent Hollywood Blvd. in L.A., became a dead, desolate ghost town. And while it’s been a struggle coming back for every hotspot, the glitziest place on the globe might have the biggest challenges ahead. Or not. People don’t go to Sin City to be responsible, or careful, or safe. Even as coronavirus remains a very real threat, visitors – and particularly those relatively close – look to Vegas for frequent, quick and easy escapes from the stress and drudgery of daily life. Many of us really need that right now, too. Here, we provide a guide list for the best ways to do just that, from the newest stuff you probably haven’t seen yet to some old-school standbys you may have forgotten about or never even knew existed. We can’t promise what happens there will actually stay there, but the memories will definitely stay with you.

Outside of AREA15 (Lina Lecaro)

Waking Up in Vegas 

Billing itself as “the world’s first purpose-built experiential entertainment district,” Area 15 is conceptually a nod to the mythic Area 51, Nevada’s mysterious, highly classified air force facility suspected to conduct alien and UFO research, but it’s a lot more than that. It’s a mind-bending, immersive wonderland of art, sound, lights and activations that could only really come together in Vegas. Think euphoric rave vibes meets unique art gallery visuals meets futuristic amusement park and that only starts to reflect the eye, ear and mind candy here.

A collaborative creation between real estate development firm Fisher Brothers and creative agency Beneville Studios, it offers several different things to do including various VR experiences, cool themed bars such as Oddwood Bar, Emporium Arcade and Lost Spirits Distillery. There’s also Wink World, a 3D effect driven light show from Chris Wink, one of the three co-founders of Blue Man Group; Museum Fiasco, an audiovisual installation exploring space, time and perception with sound and light; an ax-throwing experience called Dueling Axes; and the delectable dishes of The Beast by Todd English, which elevates the mall food court concept with stations serving different cuisines via the James Beard award-winning chef’s “curated map of flavors.” Rotating installations come through (we saw Van Gogh Experience) here as do big-name DJs and specialty show bookings.

Shop til your mind pops at Omega Mart (courtesy Meow Wolf)

The biggest attraction at Area 15, and the one you should definitely not miss even with its perpetually long line outside, is Meow Wolf’s Omega Mart, a huge narrative-based art installation that’s designed to absorb and astound. The transportive 52,000 square feet experience meshes sci-fi, psychedelia, social commentary, retail, technology and a lot of seemingly strange but clearly intentional visual elements to create one of the most interactive environments in L.V., or the country. The dystopian, multidimensional storyline – which features 60 unique sections including multiple rooms and portals to other worlds – is set around what looks like a supermarket filled with odd goods (many of which you can actually buy) but we won’t even try to explain much beyond that because even after an informative tour, we’re not sure we even understand it all.

(Courtesy Allegiant Stadium)

Likened to Star Wars’ Death Star due to its imposing black exterior, Allegiant Stadium is hard to miss as you drive into the city from Irvine. The black and silver-clad NFL warriors make sense in Vegas and the new stadium is – visually anyway – a perfect fit. Construction of the $1.9 billion 10 level building began in late 2017 and was completed last year. It features a 275 feet media mesh video screen facing Interstate 15, retractable curtain-like side windows facing the Strip and an endzone area with an 85 ft torch (touted as the largest 3D printed object in the world) with a flame honoring the late Raiders owner Al Davis. In addition to the Raiders, the University of Nevada, Las Vegas (UNLV) college football team, fittingly called The Rebels, also play here and their first game was held on Halloween of last year. The seats were mostly empty for both teams when they first took to the field after the decision was made not to have fans attend the 2020-21 season due to COVID. But as of now, games and some mega music acts are scheduled there including Guns N’ Roses (Aug. 27) and The Rolling Stones (Nov. 6).

Casinos and hotels will always be the heart and soul of Vegas and it’s always fun to see new ones pop up when we visit. The most eye-catching currently has to be Resorts World, the majestic two-tower structure that now lights up the skyline in red, facing Las Vegas Blvd. with some monster 100,000 square foot LED displays promoting its upcoming music slate including Katy Perry and Carrie Underwood. It stands on the land that used to be home to The Stardust, and it’s the first brand-new, ground-up, major resort to open on the Strip in over a decade. Utilizing the Hilton brand via a franchise agreement with Malaysian developers Genting Berhad (who added the Hilton name and the company’s high-end Conrad brand labeling to its 57-story towers) it also touts European casino brand Crockfords on its exterior. The 88-acre site has a massive casino surrounded by a slew of restaurants and bars, plus a 5,000-seat theatre and a two-story retail district featuring clubs and entertainment galore, not to mention a 20-million-pixel digital sphere illuminating mesmerizing content 24/7. Yes, this is the Vegas a lot of us grew up with – over the top, extra-sensory and packed with something for everyone, but it doesn’t come cheap. Room rates are some of the highest on the Strip – upwards of $400 a night on weekends. We recommend visiting, if not staying there.

(Courtesy Virgin Hotels)

Though its restaurants have always been looked upon as a homogenized take on rock n’ roll culture, the Hard Rock brand managed to capture something edgier beyond its touristy “cafes” with its hotel in Vegas. Because of this, it always attracted a music-minded crowd and it was a go-to for those of us seeking like-minded in Vegas. We made a tradition out of playing the Sex Pistols and KISS-themed slot machines there every visit and more often than not, we’d check out bands and shows there before venturing to the main strip. But that’s all in the past now that Hard Rock is gone and the space has been replaced with the brand new Virgin Hotel & Casino. Owned by the Hilton corp, this new one is all Richard Branson branding, with its red and white color scheme, clean lines and design. Amidst COVID fears it should do well with its focus on outdoor entertainment and environments; it’s got a 5-acre pool complex with an event lawn and a 4,500-person capacity theater for live music. Its current hottest show, called 27, celebrates the music of the “27 club” – celebrating rockers who died at 27 years old, including Janis Joplin, Jimi Hendrix, Jim Morrison, Kurt Cobain and Amy Winehouse. And before you assume it’s another cheesy lounge tribute, note that it’s produced by a genuine L.A. rocker Erik Himel, former host and producer of “The Sunset Jam” at The Viper Room.

(Courtesy Circa/Vegas Vickie’s)

Recently named Best Casino in Downtown L.V. (aka the Old Strip), by Las Vegas Weekly, Circa opened last year during the pandemic, but has found its footing this year with those who want the feel and amenities of new Vegas with the surroundings of the old. The 1.25 million-square-foot property offers an impressive sportsbook (with a 78-million-pixel high-def screen that can play up to 19 games at once), a huge sunbathing area with six pools, two swim-up bars and a 143-by-40 foot, 14-million-megapixel LED screen amidst an amphitheater setting. Also, the famous kicking cowgirl neon sign seen in countless TV and film backdrops can be found inside, now overlooking a cool bar called Vegas Vickie’s Cocktail Lounge.

Shop Like a Showgirl 

If you’re the type of traveler who brings an extra-large suitcase on vacays so you have room to fill it with purchases, you might just want to bring another piece of luggage to Vegas. There are countless places to drop your dough (hopefully won in one of the casinos). For mall shopping, we love Fashion Show which has all the mall staples (some, like the Forever 21, are massive!) plus a few out-of-the-box must-sees such as Lip Lab by BITE, where you can create, design and name your own custom lipsticks; and Honey Birdette, the sexy lingerie brand known for personalized service. Both are top spots for Vegas’ ubiquitous bachelorette party crews. After shopping, we recommend Galpao Gaucho, an authentic Brazilian steakhouse adjacent to the mall where all-you-can-eat fine meats are cut off a spit right at your table. The 2 million-square-foot shopping and dining complex recently rebranded with a new logo and focus on “creativity, fearlessness and inclusivity,” and this is reflected in its look and inventive use of empty spaces post-COVID – currently artwork by local artist Pretty Done adorns the entirety of a retail space welcoming selfies and walk-thrus.

For a more upscale spending experience, check out The Shops at Crystals, a high-end luxe-o-rama featuring the likes of Christian Louboutin, Jimmy Choo, Versace (or as Nomi Malone calls it “Ver-say’s”… sorry we had to!), Dolce & Gabbana and Prada to name a few. It’s Rodeo Drive in a mall basically, and really not our bag but it deserves mention for the installation by legendary light artist James Turrell called Akhob. Google it.

Beyond the head-spinning spending options in Vegas, we prefer to give our money to smaller independently owned stores in the area. Our faves include Cash 4 Chaos, a well-stocked punk rock paradise that puts Hot Topic’s mall goth merch selection to shame, and Wax Trax, known as “Elton John’s favorite record store” after word got out he purchased over 11,000 pieces of rare vinyl from the shop, which is housed in a converted stucco house on Vegas’ west side. (And yes, John sent assistants to buy for him at first, but he did peruse the place himself during his Caesar’s Palace residency). We also think L.V.’s Antique Mall of America is worth a visit, with 23,000 square feet full of vintage furniture, collectibles and oddities.

(Courtesy Planet13)

Switching gears from clothing, music and chotchkies to cannabis, we must make mention of Las Vegas’ growing marijuana marketplaces. Many have popped up since weed became legal in the state, but we’ll give it to Planet 13 for size, selection and groovy atmosphere. With 15-foot-tall interactive LED lotus flowers on the roof of the building and an 18-foot outdoor water spectacle greeting guests upon entry and an aerial orb show inside, it’s got just the kind of trippy vibe tokers can appreciate. Keep in mind that while it’s legal to buy and possess up to an ounce, it’s only legal to smoke on private property. That means not in your hotel room, car or outside in public. Clearly, if you’re a smoker, it pays to know a local or two who are too.

Light Up The Night

Big Daddy Carlos and Punk Rock Karaoke at Backstage Bar & Billiards (Lina Lecaro)

Carlos “Big Daddy” Adley and wife Ava Berman have made names for themselves in L.A. separately and together, owning and promoting countless nightclubs and restaurants including Vertigo (and later Glam Slam), the Dragonfly and Velvet Margarita. When they moved to Vegas they became leaders in reviving Downtown and specifically the area known as “Fremont East,” with their adjacent venues, Backstage Bar and Billiards and Fremont Country Club. We’ll disclose here that we’ve become friends with the pair covering their endeavors. And boy do they have some major endeavors – a $100 million boutique hotel called Indigo/Central Las Vegas, to be erected on the property behind their clubs, their own streaming network (which will provide music, gambling and original content for a nominal fee) and of course, staying busy with their two clubs which have brought an L.A.-feel and cred to the old strip, booking hot acts that would play venues like The Roxy or the Fonda here. They’ve also become known for some of the most sought into after-parties during festival season. Coming up: Their all-star Punk Rock Bowling pre-party with Cheetah Chrome (The Dead Boys), Rat Scabies (The Damned), Monique Powell (Save Ferris), El Vez and more on Sept. 23.

Interestingly, it was a visit to the Double Down Saloon with their pal Vince Vaughn that inspired Berman and Adley to turn their attention to old Vegas. And speaking of DD, it’s been the divey alternative to Vegas’ conspicuous consumption for decades now. Conjuring the grit and spit of L.A. punk rooms of yore like Al’s Bar and current ones like The Burgundy Room, the Saloon has been touting itself as the “anti-Vegas” since it opened back in 1992 with house specialties including their signature “Ass Juice” (served in a ceramic toilet bowl mug) and their original Bacon Martini. With smaller indie watering holes closing left and right due to coronavirus-related concerns, we’re happy to report that his smokey spot (whose promo tagline is “Shut Up and Drink!”) is still making guests see double nightly.

Frankie’s Tiki Room (Lina Lecaro)

Attracting a similarly colorful crowd, L.V.’s got a pair of charming tiki spots to choose from and if you like a kitschy-cool scene and tasty umbrella drinks you should check out both. Frankie’s Tiki Room – which, like its sister bar Double Down is open 24 hours a day – is the older, though it wasn’t tiki-themed originally. The ‘50s-era bar underwent a makeover in 2008, meshing a modern primitive decor with inviting tropical touches. Built by famed tiki bar designer Bamboo Ben (grandson of the guy who designed Disneyland’s Enchanted Tiki Room and the tiki-themed Aku Aku restaurant at the now-gone Stardust), Frankie’s boasts potent potions and cool souvenir mugs you’ll definitely want to pay extra to take home with you. Newer on the Polynesian paradise scene, The Golden Tiki in Vegas’ Chinatown region offers live entertainment nightly as well as a festive atmosphere and of course, fanciful cocktails. Don’t forget to snap a selfie in front of its centerpiece photo opp – a giant clam shell-shaped bench!

Speaking of photo ops, there are many at our new favorite food place (and is actually quite old): the Benihana at The Westgate, which was built in the ‘70s and looks like a technicolor Japanese garden brimming with lanterns, a faux rain waterfall, and red swathed authentic private dining rooms. Westgate also deserves mention for its retro feel. Both Elvis and Liberace played and stayed there, and Barry Manilow calls it home (taking up residency in the hotel’s gilded Sky Villa Penthouse atop the hotel) when he performs there, which is so often he has his own themed gift shop.

(Courtesy Minus5 Ice Bar)

The view from the Sky Villas – which we recently got to tour – is almost as breathtaking as the giant circular “ride” called The High Roller on the Linq Promenade. If you’ve seen it and wondered what it’s all about, your perspective might be a bit off unless you actually go to the Linq Hotel or near it. The 550-foot tall, 520-foot diameter attraction is considered the world’s tallest Ferris wheel, but it doesn’t feel like a carnival thing when you’re on it. It’s more like an observation experience. Despite what you might have heard, there is no bar inside each pod, but there is one just before you get on and drinks and snacks are allowed as you slowly complete a 30-minute rotation in the sky with up to 40 other people.

Linq is also home to one of three Minus5 Ice Bars (the other two are at The Venetian and Mandalay Bay). This cool concept features drinking spaces made completely of ice, from the walls to the tables and chairs to glasses you drink from. Admission includes a parka and gloves and faux-fur coats for VIPs. Ice sculptures, flashing lights and lively music (wish we’d heard some Vanilla Ice during our last visit) make this one of Vegas’ coolest things to do.

(Courtesy Mob Museum)

We’ve all seen enough Scorcese films to know that Las Vegas is pretty much the city that the mob built. Organized crime outfits created and ran the casinos, and The Mob Museum lays it all out, in engaging and visually compelling detail that both locals and tourists enjoy. Located in a 1930s restored former federal courthouse and U.S. Post Office, it houses artifacts, photos, weapons and other ephemera on three floors, unraveling the growth of Vegas and the evolution of mafia-backed businesses as well as the law enforcement groups who tried to hold them accountable. Highlights include a simulated courtroom screening and a distillery and speakeasy in the basement serving hooch like it was before it was legal.

Leaving Las Vegas

Vegas is about excess and this guide is by no means a complete one; even a seasoned visitor is bound to miss something amazing. We hope to continue to add to our Sin City favorites list in the months and years ahead and with the city working on countless new projects, themed restaurants, bars, clubs and other novel amusements, it shouldn’t be too difficult.

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By now, the fate of Marvel’s superhero known as Black Widow, aka Natasha Romanoff, is probably known to all, even those who are not really avid MCU (Marvel Cinematic Universe) followers. This writer needs to admit right off the bat to being part of the latter camp. I’ve only seen the first of The Avengers, Iron Man and Thor movies and the second Captain America, but I have seen both Ant Mans, both Guardian of the Galaxys, plus Captain Marvel, Dr. Strange and Black Panther. Spiderman is my favorite so I’ve seen all of those. Clearly, there are holes in my recognition and understanding of the universe, or rather multiverse, due to what I haven’t seen, which, if you count all the Disney+ stuff, is a lot.

Irvine Weekly’s resident expert broke down the MCU films and their connection to Disney+’s TV shows in her excellent story about Wandavision earlier this year, but there’s a lot to understand and it takes effort. Fans love it, but some of us just aren’t that invested beyond the action and excitement we all know these movies deliver, especially since the powerhouse visionaries at Disney took over.

So yeah, you don’t have to be a Marvel uber-nerd to enjoy the latest “origin story” based movie starring Scarlett Johansson. In fact, it’s so well done, you kinda don’t even need to know anything about Marvel to be entertained on a face-value level. There’s a lot of fighting and expertly-measured CGI-infused fanfare as you might expect, but there’s also a lot of chemistry between the leads who are really at the top of their game here, making us believe they are real people with real inner struggles and real relationships with each other.

In terms of learning more about Natasha, we get to see her smalltown American childhood and her “family” life in the opening scenes, which quickly takes a turn to showing us how she became an assassin in Russia (before she became an Avenger) along with her younger “sister.” We come to learn the two siblings were separated and became estranged over the years, with sis Yelena (played with irresistible moxie by Midsommar’s Florence Pugh) also getting swept up in spy life only to discover that it was due to mind control. In fact, all of the “widows” in Russia have been forced to kill and do nefarious deeds against their will as Natasha once did, thanks to Dreykov (Ray Winstone), who works out of an HQ called the “Red Room,” and sends out a masked robot-looking killer by the name of Taskmaster to stop the sisters from learning more. Also, he probably wants revenge on Natasha for killing his daughter, which (thanks Google) was apparently mentioned by bad guy Loki in the original Avengers movie.

The connection between the two female leads makes for the heart of the movie and after playing mostly supporting eye candy in the Avengers films, it’s truly nice to see Johansson spread her wings and tell Black Widow’s story in full. She’s still a somewhat dark character (the whole sterilization aspect of her backstory isn’t explored deeper, only referenced) but the movie has a lot of light moments thanks to Pugh, and to the comically slanted Alexei Shostakov aka “The Red Guardian” – a perfectly cast David Harbour. He brings the lovability of his Stranger Things sheriff to this role as the ladies’ “father” and his audaciousness and complexity reminds you that nobody, not even comic book villains, is really all good or all bad. Same goes for Rachel Weisz as the “mom” in this deadly and dysfunctional faux family.

Though the film is mostly set in between Captain America: Civil War and Avengers: Infinity War, (when Romanoff was on the run from the government), by the end and requisite post-credit scene, we are back to the present and – no big surprise – there’s a set-up for something new on Disney+ in the works. It appears that Pugh will probably be seeking revenge against Jeremy Renner’s Clint Barton in Disney+’s Hawkeye due at the end of this year for what transpired in Avengers: Endgame (thanks again, Google).

Directed by Cate Shortland and co-produced by Johansson herself, the film does a great job of fleshing out the title character and explaining things that were in some cases, only utterances in previous movies. And again, no matter how much of the franchise you’ve seen or comprehend, the details enrich the film and backstory on its own.

Is there a feminist subtext that overtly at times and subtly at others, addresses the box Johansson has been put in the past several years by these movies? Totally. And that’s what makes it so good. Black Widow makes a statement in how Natasha is written, what she wears, who she spends time with and mostly within the full narrative concerning young women turned into Stepford-esque fembots who dress alike and do stuff they don’t want to do, all because of a man. Pretty meta if you think about it. You don’t have to get every Marvel easter egg, or read comics or watch Disney+ to see it and get it. This is a movie about rebellion, and it’s a proper sendoff for one of the Avengers’ most complex heroes. If her sacrifices in previous films didn’t make her supreme badassery obvious, this one does once and for all.

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The Golden Globes saw their lowest ratings ever this past Sunday night. And while this might be of concern for TV execs focused on advertising revenue, it’s a fitting reflection of COVID-era entertainment and human engagement. But the novelty of Zoom-everything is wearing thin in terms of work and play. Online “concerts” lack the essential energy of a live audience. Talk shows that went to remote-from-home formats are slowly returning to in-studio, but the distancing restrictions still feel low energy and rather flat. News shows suffer from glitches, awkward pauses, muddled audio and video, and timing issues.

The Globes were no exception. In general, self-congratulatory awards shows sort of have a tougher time right now, and maybe they deserve it. The fantasy and facade they sell and the distraction they provide via hefty doses of fashion and glamour might be desired, but they can feel tone deaf in terms what’s going on in the world.

Which is why it is so refreshing when actors and actresses utilize their platforms on these shows to speak of more important issues. Though some viewers don’t appreciate it, now more than ever, these moments feel not only right, but necessary. Hollywood legend and activist Jane Fonda, who was presented with the prestigious Cecil B. deMille award Sunday, struck exactly the right chord with her speech focusing on inclusion.

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Movie-fueled escapism has helped us all get through the pandemic, but the party aspect that the champagne-drenched Globes is known for just wouldn’t work right now. Still, watching stars decked out in pricey designer gowns while sitting on their couches, no matter how nice the living rooms they’re sitting in happen to be, makes for drab TV. There were exceptions (like Andra Day’s wonderful win below) but for the most part, the excitement was null.

The good news is that without all the fanfare and frills, awards shows like the Globes become about the work. Well, mostly the work. In the Globe’s case, there was also the recent controversy to address. A recent L.A. Times piece sought to call out the Hollywood Foreign Press Association – the voting body that picks the winners – for alleged unethical behavior and lack of Black members. This naturally became a big social media talking point leading up to the show.

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The Black winners list was notable, though: Day for The United States vs. Billie Holiday; Daniel Kaluuya, for Judas and the Black Messiah; John Boyega for the Amazon anthology Small Axe; Pixar’s Soul, which features a predominantly African-American cast; and the late Chadwick Boseman for Ma Rainey’s Black Bottom, for which his tearful widow accepted.

But the HFPA’s “all-white” voting body is problematic. Due to the hosts and some of the winners addressing it, it was more than an elephant in the (Zoom) room, at least. Hosts Tina Fey and Amy Poehler opened the show by directly calling upon the HFPA to address this lack of representation, and as they would, they tried to make it kinda funny, too. No one was laughing, especially when members of the HFPA came out to address the problem in a seemingly performative way.

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Thankfully, there were lighthearted slices of life this year, including Sasha Baron Cohen thanking his “co-star,” Rudy Giuliani (“Donald Trump is contesting the result,” he added), Jason Sudeikis’s tangent-filled acceptance speech (it was a bit right?), all the celebrity pets, kids, and yes, a lot of the fashion. Our favorite: Anya Taylor-Joy’s gorgeous green Dior frock, Tiffany jewels and platinum Old Hollywood ‘do, a combo that puts her on par with iconic Globes looks past, but will have to be remembered for how it looked against the backdrop of off-white chair in a generic room rather than a bustling red carpet.

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And the winners are…… (click linked titles to read LA Weekly critics reviews)

Best Motion Picture, Drama
Nomadland

Best Motion Picture, Musical or Comedy
Borat Subsequent Moviefilm

Best Director, Motion Picture
Chloé Zhao, Nomadland

Best Performance by an Actress in a Motion Picture, Drama
Andra Day, The United States vs. Billie Holiday

Best Performance by an Actress in a Motion Picture, Musical or Comedy
Rosamund Pike, I Care a Lot

Best Performance by an Actress in a Supporting Role in Any Motion Picture
Jodie Foster, The Mauritanian

Best Performance by an Actor in a Motion Picture, Drama
Chadwick Boseman, Ma Rainey’s Black Bottom

Best Performance by an Actor in a Motion Picture, Musical or Comedy
Sacha Baron Cohen, Borat Subsequent Moviefilm

Best Performance by an Actor in a Supporting Role in Any Motion Picture
Daniel Kaluuya, Judas and the Black Messiah

Best Screenplay, Motion Picture
Aaron Sorkin, The Trial of the Chicago 7

Best Original Score, Motion Picture
Trent Reznor, Atticus Ross and Jon Batiste, Soul

Best Original Song, Motion Picture
“Io Sì (Seen),” The Life Ahead

Best Motion Picture, Animated
Soul

Best Motion Picture, Foreign Language
Minari

Best Television Series, Drama
The Crown

Best Television Series, Musical or Comedy
Schitt’s Creek

Best Limited Series, Anthology Series or a Motion Picture Made for Television
The Queen’s Gambit

Best Performance by an Actress in a Television Series, Drama
Emma Corrin, The Crown

Best Performance by an Actress in a Television Series, Musical or Comedy
Catherine O’Hara, Schitt’s Creek

Best Performance by an Actress in a Limited Series, Anthology Series or a Motion Picture Made for Television
Anya Taylor-Joy, The Queen’s Gambit

Best Performance by an Actress in a Television Supporting Role
Gillian Anderson, The Crown

Best Performance by an Actor in a Television Series, Drama
Josh O’Connor, The Crown

Best Performance by an Actor in a Television Series, Musical or Comedy
Jason Sudeikis, Ted Lasso

Best Performance by an Actor in a Limited Series or a Motion Picture Made for Television
Mark Ruffalo, I Know This Much Is True

Best Performance by an Actor in a Television Supporting Role
John Boyega, Small Axe

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This time last year, before COVID-19 turned the entertainment industry on its head, the Sundance Film Festival in Park City, Utah was pretty much snow-blanketed showbiz as usual – attracting hordes of movie stars, directors, executives, investors, publicists, journalists and film buffs for a week of screenings, skiing, snowboarding and non-stop soirees, not to mention step-and-repeat photo ops, gifting suites, branded activations, live concerts, panels and more. The 2020 fest went off without a hitch, taking place just before the full scope of the coronavirus was understood and led to cancellations by pretty much every other festival last year (including the similarly circus-like music meetup South By Southwest in Austin, Texas). Still, it wasn’t without a bit of reproach. Some media reported that the event might have in fact contributed to the pandemic’s spread, and many who attended reported feeling ill afterward. No definitive link was ever proven however, and COVID testing wasn’t even really available a year ago, anyway.

Though concepts like social distancing and flattening the curve became part of our vernacular last year, we all remained hopeful that things wouldn’t get as bad as feared, even as we adjusted to the challenges of the new normal. Big event organizers, however, did not have the luxury to wait and see. Like most large festival events, the Sundance Institute goes right into planning mode for the next year almost immediately after the event wraps up, and as the grim realities of the virus emerged, tough decisions had to be made.

“In early March, it was clear we would need at least several contingency plans,” Kim Yutani, Director of Programming tells L.A. Weekly. “Chief among those was the idea that the core of the Festival would be digital, which raised a slew of questions about access, especially for filmmaker teams looking to premiere at a festival – not be immediately available via streaming. So we had to pull together a structure to preserve the excitement and urgency and collective energy of a festival and then design the platform that would host that ambitious structure.”

This Thursday, the first ever digital version of the Sundance Film Festival will kick off online and while it remains to be seen how various components of this reimagined format will translate, there is, as always, a lot to be excited about in terms of line-up.

A GLITCH IN THE MATRIX by Rodney Ascher (Courtesy Sundance Institute/Rodney Ascher)

Ever since Robert Redford founded the event in 1978 to showcase emerging independent dramatic and documentary filmmakers, it’s been a go-to for big and small cinema premieres and competitions, with media exposure and awards consideration adding to its appeal. To that end, due to the Academy Awards getting pushed back to April 25, some of this year’s Sundance premieres will be eligible to compete for Oscars alongside films that debuted in 2020. There are some great titles from last year that went on to receive acclaim, too, including L.A. Weekly critics’ faves such as Minari, Never, Rarely, Always, Sometimes, The 40 Year Old Version and Promising Young Woman in the dramatic categories and The Social Dilemma, Crip Camp and Time in the documentary field.

“Submission numbers were on par with past years, and so too was submission quality,” Yutani – who lives in Los Angeles – says of the selection process. “We held our programming meetings over Zoom, which was new, but the conversations about curation and building a relevant and cutting edge program were the same.”

So how will this whole thing be structured and how will participants be able to engage so that it feels at least somewhat like the Sundance fans know and love?

“Ticket and pass-holders convene pre-screening in a live digital waiting room, much like a theatre lobby,” Yutani explains. “They’ll be able to see and interact with each other. Then, at the appointed time, the ‘house opens’ and the audience is automatically sent into the screening, which we’re using a player from industry standard Shift72 to play. The film will be preceded by the usual front matter, including a land acknowledgement and sponsor trailer, and one of our programmers will do a video introducing the director.”

Premieres will be followed by live Q&A’s and invites to check out Sundance’s “immersive celebration environment” on their New Frontier platform called Film Party. Here, viewers will be able to interact with each other via chat rooms and avatars.

“Seeing as how my film is all about the implications of being trapped in digital worlds, I shouldn’t be surprised that the film is going to premiere in one,” says filmmaker Rodney Ascher, whose doc A Glitch in the Matrix debuts in the Midnight section at Sundance and asks the question, “What if we are living in a simulation, and the world as we know it is not real?” Diving into this mind-melting idea through scientist’s, philosopher’s and conspiracy theorist’s lenses, the film explores not-so-unique concerns about life and reality that should make some waves this year, especially after the unreal 2020 we all lived through.

Another buzz-worthy debut delving into alternate reality is Prisoners of the Ghostland, acclaimed Japanese filmmaker Sion Sono’s English language debut starring Nicolas Cage, Nick Cassavetes and Bill Moseley. Back in 2018, Cage saw a turn in his career after his similarly psychedelic gore-fest Mandy premiered at Sundance, and this one is likely to cement his standing as the king of weird and wonderful on screen. It follows the mystical journey of his character, called only “Hero,” who tries to save a young woman trapped inside a supernatural underworld. Cage has called it the “wildest” and “most out there” film he’s ever made.

Moseley, who plays “The Governor,” who hires Cage to rescue his daughter from the wicked confines, tells L.A. Weekly that American audiences new to Sono’s work are in for a terror-filled treat with this one. With the crazed and committed performances of these two legends (Moseley is a horror icon, known for his work in Rob Zombie’s films and The Texas Chainsaw Massacre 2) we have to agree.

Like many who have the fortune to get their films into Sundance, the L.A.-based Moseley was excited to experience the fanfare of the festival before COVID made that impossible. “I’m a Sundance virgin,” he says. “And I’m a skier! But it made things a lot simpler. I’m mostly happy for people to see the movie and working with Nick was a lot of fun.”

With over half of the 2021 slate composed of new-to-Sundance directors and first-timers (aka “virgins”) there’s lots to discover. There’s also several familiar names behind the camera this time: Jerrod Carmichael, Robin Wright and Rebecca Hall all have films at the fest this year, and all are already garnering cinefile chatter.

SUMMER OF SOUL by Ahmir “Questlove” Thompson. (Courtesy of Sundance Institute | photo by Mass Distraction Media)

“I look forward to audiences experiencing the emotional ride of Sian Heder’s CODA or learning about the hidden histories in Questlove’s Summer of Soul and Julie Cohen and Betsy West’s My Name is Pauli Murray,” Yutani shares as some of her must-sees. “But every year I encourage audiences to take chances and explore the World Cinema offerings – we have incredible fiction films and documentaries from all parts of the world and we’re always so proud of that programming.”

There’s a diverse array of films that will be of special interest to L.A audiences in particular, as well. Yutani nods to the following: The Sparks Brothers, a sure to be kooky chronicle of the music careers of Ron and Russell Mael; Build Your Own Brigade, focusing on the California wildfires; Rita Moreno: Just A Girl Who Decided to Go For It, documenting the life of Latina legend and L.A.-based star of stage and screen; Zoe Lister-Jones and Daryl Wein’s How It Ends, featuring vignettes of a deserted Los Angeles on the eve of apocalypse; Rebel Hearts, exploring the legend of the trail-blazing Hollywood nuns who defiantly stood up to the patriarchy of the Catholic Church; and Weirdo Night, a film version and pilot of sorts celebrating Dynasty Handbag’s popular live show at Zebulon nightclub in Frogtown.

“It feels amazing to have this scrappy weird film in Sundance and it was a total surprise. They invited us!” shares Weirdo Night’s director Mariah Garnett, whose film seeks to create a live-feeling experience in the pandemic celebrating the spirit of the wacky variety show. “We wanted to make something that looked and sounded beautiful and that was worthy of the artists’ time. Normally performers want to make the rounds and do shows regularly for exposure, and Weirdo Night at Zebulon has a very dedicated and enthusiastic and supportive crowd that makes it worth a performer’s time.”

Adds Jibz Cameron (a.k.a. show star and host Dynasty Handbag, pictured in the film at the top of this story) about the exposure Sundance provides: “For a long time we have been fantasizing about making a filmed series and we think it would be such a good TV show. Like a noncompetitive Star Search for freaks, bringing back the aesthetics of the televised variety show that have kind of fallen by the wayside in recent years (replaced by competition shows). So we hope someone picks it up for that.”

REBEL HEARTS by Pedro Kos. (Courtesy of Sundance Institute/photo by Corita Art Center, Immaculate Heart Community, Los Angeles)

Getting “picked up” by distributors and streaming services is a big part of what makes scoring a Sundance selection stamp so significant. But even when that doesn’t happen, being seen by the industry crowd there can pay off down the road, as execs often remember direction, writing and performances that resonated with them. If these positive takes are solidified by blog and media coverage, all the better. Sundance can truly be the big break for filmmakers and actors alike when the stars align.

Rebel Hearts director Pedro Kos hopes that Sundance’s new online format might, in fact, lead to more of the above. “Acceptance into the U.S. Documentary Competition particularly was a wonderful validation that what we saw as truly special and unique in this story reverberated with others… especially Shawnee Isaac-Smith who began documenting these incredible women over 20 years ago,” Kos says. “And even though we wish we could have been in Park City to celebrate the premiere of the film, we are excited about the greater accessibility of Sundance 2021, where audiences all over the country will be able to watch the amazing films of the festival. We couldn’t have dreamed of a better launchpad for the film.”

Though the digital pivot has obviously created challenges for Sundance, Kos may be right to look on the bright side of this experimental online presentation. Journalists like myself who never had the budget to actually fly to and stay in Utah, will now have the opportunity to experience the event from the comfort of our homes. This is also true for film fans. In L.A., there were some Sundance-presented drive-in screenings planned initially, but they were canceled due to recent COVID spikes here. Other limited in-person satellite screening locations across the country and in Utah were still being determined case-by-case at the time of this writing.

Like Cannes, SXSW and Coachella, the party scene had become a huge component at Sundance, for better or worse. It will obviously play a smaller role this year as will the ubiquitous swag-driven and brand-driven “houses,” events and basically the entirety of the red carpet scene. Still, opportunities for marketing moments as well as promotion driven panels and discussions will be available.

For example, the new short film streaming platform, Argo (which streams high-quality short films to audiences online) will be promoting its content via a panel about the distribution of short films in the Village Festival section of the platform, presenting with partner XRM Media in the “XRM Media Lounge.” This will be complemented by a series of short film playlists on the platform, showcasing the best films to be featured at Sundance over the past couple of years.

“We’ve reimagined the ways we work with our partners and invented new ways to gather in both celebratory and ceremonial ways,” promises Yutani, highlighting Sundance’s “virtual Main Street” space online and the aforementioned Film Party online meet-ups.

Of course, virtual gatherings will never capture the energy, human connection or debauchery of an IRL festival, but when it comes to content, Sundance seems primed to come the closest we’ve seen so far. Movies will always be about escape after all, and Sundance is the place to see them first. The slopes and soirees can wait, but the stories on screen (whatever size it may be) thankfully won’t have to.

Set up an account via the festival’s official website, festival.sundance.org. Different viewing options are available including a $350 Festival Pass to watch everything from Jan. 28 to Feb. 3 or a Day Pass (choose your day) for $75. There is also an Explorer Pass for $25 which includes access to short films, the New Frontier Film Parties, Main Street features and Indie Series programs (included with a festival pass). Individual film screenings are $15 each. Each feature film has a premiere and dedicated three-hour time slot and these slots are limited so buy your tickets now. There will also be some select free online events. More info on the site. 

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