When thinking of tennis, the first words that come to mind are not sexual tension or romance. Yet, “Challengers” embraces a dramatic retelling of tennis through the lens of an R-rated “will they-won’t they” that lasts more than eighteen years. 

The sexual nature is no surprise, as the trailer and marketing campaigns focused largely on that aspect of the film. It is the depth of sexuality in these relationships and how the film anchors itself on unending sexual scenarios that prove unexpected.

“Challengers” follows the lives of Tashi (Zendaya), Art (Mike Faist) and Patrick (Josh O’Connor) from high school all the way until their final championship tournament years later. As a high school tennis prodigy, Tashi drew the attention of talented tennis players and best friends Art and Patrick. After an eventfully sensual night together, Art and Patrick vie for Tashi’s number, which she plans to award to the winner of their championship match. 

Already the three are connected, but after Patrick wins, he and Tashi begin a relationship with Art watching enviously from the sidelines. With a few calculated moves and Tashi’s unfortunate career-ending injury, Art subs in for Patrick and becomes Tashi’s lifelong partner. Pat and Art continue their separate tennis journeys until they meet again at a tennis championship and unearth buried secrets. 

Directed by Luca Guadagnino and led by Zendaya playing Tashi Davenport, Mike Faist playing Art Donaldson and Josh O’Connor playing Patrick Zweig, the film succeeds in beautiful characterization and enticing, interwoven dynamics. The acting is magnificent. The chemistry between Faist and O”Connor as best friends makes the movie. Their ability to transform their relationship from practically brothers to enemies with sarcasm, backhanded compliments and silent gazes is enticing. Unsurprisingly, Zendaya nailed the loveless, femme fatale that is Tashi Davenport and acted as a never-ending draw throughout the film.

Where the film loses some excitement is in its cinematography. The chosen shots seem distracting, with POV shots of Art and Patrick during their match mixed with POV shots of the tennis ball flying between rackets to a slow pan shifting focus on Tashi as she cries about her injury. The combination of these shots with the overall visuals of the film seem jarring and slightly out of place.

“Challengers” is smart. By bouncing around between timelines of the past and present, its nonlinear approach to the story succeeds extremely well. The entire movie takes place within the championship game of a tournament. With each set, the audience learns about a new chapter of Tashi, Art and Patrick’s lives.

Zendaya, Faist, O’Connor and Guadagnino, along with the rest of the film’s major contributors, joined together in a global press conference to talk about the film. 

While discussing the draw to join the “Challengers” cast and portray Tashi Davenport, Zendaya said, “We had a mock-table read at my agent’s house, and I just fell in love with the script. It was brilliant, and it also made me very nervous as something to tackle because of how complicated these characters are.” 

“But also, I couldn’t define what movie it was. It was funny, it was so funny, but I wouldn’t say it’s a comedy. There was drama, but I wouldn’t say it was just a drama. And it had tennis, but it wasn’t just a sports movie. That feeling that it was everything at once in a beautiful way was terrifying but equally exhilarating and exciting,” said Zendaya 

Director Guadagnino also spoke on why he decided to join the film, saying, “The script was fantastic. The characters were amazing. The structure was so cinematic that I just immediately instinctively felt that the company of Amy, the company of Zendaya and the company of Justin — the artistic endeavor that we could all gather together in this would have been fantastic.”

Faist recalled when he received the project, saying, “It’s really hard for my team to get me to read anything…and my agent called me and said ‘Mike you have to read this script’ so I said alright, that sounds serious. So, I read it, and-you know those moments when you’re like f*** I hate when other people are right.” 

“The thing that stood out to me that was the draw to want to do this was, besides the script and the team, was…this idea of a person, this craftsman, who’s fallen out of love with his craft and he’s so desperately trying to get back to that place of purity that place of — Josh uses the word flow — where you’re just in a form of transcendence when you’re just in your work and just in your craft and you actually love the process of doing it,” Faist said.  

O’Connor also told why he accepted the role. “What made me say yes was Luca and Zendaya, and — Mike wasn’t on board yet, but if he had that would have contributed…What I liked about Patrick initially…I thought this was beyond my reach and I felt this was a character who was so confident, so front-footed, so comfortable in himself even though he has, as we all do, fears and insecurities, but he completely lives life to the full and is very accepting of his flaws.” 

“And all those things seemed like a reach and Luca very brilliantly accepted that and made me feel comfortable around that. And there was a process, once we started preparing, where we had to pull those things out; it didn’t fit comfortably for me to not hide,” O’Connor said.

Throughout the film, Tashi makes questionable decisions that prove devastating to others but empowering for her. When asked about her character’s villainy, Zendaya said, “The response is the refreshing nature that it’s a female character that doesn’t have to be likable and doesn’t care about you liking her and doesn’t ask for forgiveness. And I think that that is probably refreshing to some people, and I understand that, and that was refreshing to me when I read her and that is why I wanted to play her.”

While explaining how her understanding of Tashi shifts with each viewing, Zendaya continued by saying, “I feel like it’s our natural instinct to judge people in general. And so it’s easy to judge these characters, and I understand that because we all do, and I think the beauty of this film is that your mind will change, because I know mine has.”

“Challengers” is a new style of story. By alluring audiences with a blend of actual matches and sports content with sexual tension and dramatic arguments, the film makes for a wild ride. Its exceptional cast and great screenwriting elevate the film into a success.

The post “Challengers” serves more than tennis appeared first on Technique.

After three years, Jesse McCartney returns to the music scene with his EP “All’s Well,” consisting of five songs, including a feature with Yung Gravy. Released on April 5, “All’s Well” welcomes fans into a new stage of McCartney’s life, one focused on family and inspired by old school pop.

This album ages McCartney’s notable pop music by infusing more mature themes within its lyrics. As with every album, McCartney aims to speak to a wide audience, tailoring songs to different experiences. “All’s Well” caters to all ages and touches on topics such as depression and anxiety all the way to struggling to make a family. 

In sitting down for a roundtable with the Technique, McCartney began by describing the album as “a collection of songs I’ve been working on over the last year.” His admiration for old school ‘70s pop became the inspiration for the EP release, introducing new character to his original sound.  

Just as McCartney is in a new stage of his life, so is his music. 

“Lyrically, as I get older, I realize that the best songs are the songs that people can relate to but also things that sound authentic and sound like you know what you’re talking about,” McCartney said.

The COVID-19 pandemic marked a dark period in his life, as it did for many people. This project became an outlet to share those feelings and an opportunity to connect deeper with his audience. “The Well,” the fourth track on his EP, has roots in depression and anxiety. 

“‘The Well’ is where I was literally in a dream and was falling. It’s a common anxiety-ridden dream. And so I woke up in a cold sweat and wrote down these lyrics,” McCartney said. 

On the opposite end of the emotional spectrum, McCartney joined with Yung Gravy for his song “Make A Baby,” a humorous song that pokes fun at his and his wife’s attempts to have a child. Yung Gravy and McCartney may seem like an unlikely duo, yet the two grew close when they both played a college show in Minnesota. 

McCartney explained, “My Venn diagram hardly ever crosses over Yung Gravy’s, especially in writing music, but if there was ever a song, this was it.” 

His ability to balance a more serious, darker song in the same release as the comedic bop “Make A Baby” exhibits the range and cohesion he has across what he creates. Musically, this project fits with his past works, but lyrically, his experiences and maturity elevated them into a new chapter. 

McCartney realized, “As you get older you know more things, you become aware of your surroundings even more, and you have a better understanding of relationships and how they work, so the evolution of your writing comes naturally.” 

This evolution aids the EP’s universality. Each song is ageless. While “The Well” reaches into anxiety coated with cynicism, “Faux Fur” is a retelling of a classic story of material greed versus  true love. “Make A Baby” resonates with people because of its silliness. 

“It’s one of the good things about getting older,” McCartney said. “You can have a wider range of things to talk about that people will relate to. You’ve got more paint on the palette.”

McCartney has made a name for himself across the industry as an influential artist. He took a moment to reflect on who he sees as the voice of music right now. He spoke on his love for MAX, who released “Lights Down Low” in 2016, by acknowledging the power and independence he has through marketing himself on TikTok and Instagram. 

“His energy is incredible,” McCartney said. “He’s a great example of somebody who doesn’t need a huge machine to be successful.”

Another musical standout to him was Benson Boone. McCartney noted, “His voice is insane to me, and I’ve been listening to his songs for years now. I think he’s one of the strongest vocalists out there right now.”

McCartney has always been a strong force in the music industry, and “All’s Well” only supports his claim to fame. This project is a reflection of the maturity and experiences he achieved across his life. Whether in the darkness or light, there is a song to speak to everyone and a story to unify its listeners.

The post Jesse McCartney takes on the next chapter with “All’s Well” appeared first on Technique.

Imagine taking a week to create an entirely new system of government with all the same capabilities and power struggles present today. 

Apple TV’s “Girls State,” directed by Jesse Moss and Amanda McBaine, follows the experience of a few select girls as they attend Missouri’s all-girls program to form their own system of government and campaign to run for its positions. 

Coming off the production of “Boys State,” the 2020 predecessor exploring the all-boys program in Texas, this 2024 documentary explores the intersection of democracy and feminism through the perspective of high school women. The American Legion is a selective educational program that hosts an interactive experience for politically-nuanced students wanting to excel in politics. The film highlights the experiences of a few select girls and how their journey from arrival to departure ensues. In capturing the program the same way the attendees interact with it, “Girls State” bridges the gap between observational remarks and first-hand insights that bolster its messaging and illuminate areas of issue within a program promoting female empowerment.

Most years see the boys’ and girls’ programs in separate states. However, “Girls State” features a rare occurrence of both programs being hosted on the same site, which introduces comparison and issues of sexism within the program itself into the film. 

Directors Moss and McBaine gave insight on the nuances of “Girls State” and its filming in an interview with the Technique. 

The question of ethical documentary work is an industry favorite, as many films simply insert themselves into the experiences of others. “Girls State” realizes this and actively works to counteract it. Both Moss and McBaine ensured the filming was not too invasive by simply “building trust,” Moss said.

“We’re asking a lot from them … the girls we selected, we love because they’re ambitious, they’re smart, but they’re also really open to the camera, and that’s not everybody,” Moss said.

Since this program caters to high-school children, the girls were minors, so parental communication and overall understanding of the documentary process were key to its success and respectfulness. 

Another major decision was the film crew. Moss noted, “We built a largely female crew. That was really important for us to be mindful of the gaze and intimate space and public space they were moving through.” The focus was not solely on content but the relationship with the cast and respecting the moments that did not need to be filmed or shared. Rather than releasing the documentary after its completion, “Girls State” was shared with the girls and their families to solicit input and address any concerns they held.

Just as much as “Girls State” experiences the girls’ program, it also lives through the inequities. While the goal of the film was not to compare the girls versus boys program, it started to come about naturally.

“I kind of got a sense for there being a little bit of difference between the programs, but we didn’t spend a lot of time thinking [about] that. I also knew going in that female representation in the adult state, in the real world, is not the same as male representation, so it was going to be a question mark in my mind going into the program,” McBaine said. 

Even with this question on their minds, the decision to host the boys state program parallel to the girls’ wasn’t a known factor. 

“That’s a good moment to be there as a filmmaker. That’s exciting because it’s an unknown for the program too,” McBaine said.

The differences between both programs jumped out almost immediately. While the men in Boys State began political debates and conversations the moments they arrived, the Girls State attendees were given cupcake decorating and lounge hours, leaving the politically-charged moments for a couple days in. 

Moss admitted, “I naively assumed the programs would be identical. In hindsight, I shouldn’t have assumed that. Of course there were inequities. They are both eight years old, but we didn’t know they had different resources and fundamentally different structures and approaches to the week.”

One key difference is where the boys and girls see their futures.

“All the girls wanted to be on the Supreme Court. That was a very competitive space,” McBaine said. “And the answer is kind of clear to me that in the real world, the Supreme Court is a represented space for women, and governorships/presidency are not as much.”

The majority of cases heard within the girls program and one of the most common platforms within campaigns fell on the issue of abortion as the leaked draft overturning Roe v. Wade was made public at the beginning of the week. With both programs at the same campus, the girls also shed light on the inequalities between them. This conversation dominates the second half of the film, as an investigative piece written by one of the attendees reveals large disparities in funding and workers as well as experiences with active politicians.

“Girls State” excels as a next-level documentary walking its audience through the political landscape of the next generation. The film delves into social and program issues that reinforce the inequalities faced by women across platforms and experiences. Its use of firsthand, high school perspectives builds a sense of hopefulness towards the political future and introduces a refreshing awareness of girls across the country.

The post “Girls State” amplifies female voices in politics appeared first on Technique.

The X-Men are back in Disney+’s animated series “X-Men ‘97.” Following the mutant team’s journey fighting threats against humanity, this series is a continuation of its 1990s predecessor “X-Men: the Animated Series.” As of this week, there are five episodes released, each of which lasting only 30 minutes, making for a quick watch. 

In a world where genetic mutations allow some people to develop powers, these “mutants” either fully realize their powers to become heroes or villains, or they are subject to government experiments far from the rest of society. 

The team includes all the beloved characters from its first series along with the franchise films. Leading the show is Scott Summers, also known as Cyclops, who shoots beams from his eyes and his partner Jean Grey, known as Phoenix, whose telekinetic powers match those of Professor X. Charles Xavier, or Professor X, is the founder of the X-Men and a telekinetic mutant and transforms into a conversation topic rather than a series regular after the audience learns he was killed. 

Wolverine, Storm, Beast, Rogue, Gambit, Morph and Jubilee also act as series regulars, teaming up to take down the villains. The notorious Magneto, Erik Lehnsherr, who can control anything metal, joins the second episode and attempts to convince the world he is not evil.

The series begins with “To Me, My X-Men.” In the wake of Professor X’s murder, the team begins to restructure itself with Cyclops taking charge. 

“Mutant Liberation Begins” is the second episode, which again throws the X-Men a curveball when their longtime foe and Professor X’s old friend Magneto inherits Xavier’s School for Gifted Youngsters. Despite doubting his sudden transition to “hero,” the team soon realizes Magneto’s actions are far from unjustified as one of their own is caught in the crossfire of the public’s hatred of mutants. 

The third episode, “Fire Made Flesh,” hones in on Jean Grey’s role within the X-Men for a more character-focused episode. A clone run-in challenges the team’s perspective and weaves confusion into Phoenix’s life. 

“Motendo; Lifedeath – Part 1” is the fourth episode released. It begins as a spotlight on X-Men member Jubilee, who celebrates her birthday trapped in a video game simulation reliving her most notable memories through boss battles. Midway through, the storyline shifts to pick up after the events of the second episode. One member of the team struggles to regain their powers.

Each episode follows a well-known pattern — short and sweet plots with an action-packed fight in the last couple of minutes. Marvel Studios Animation captured the ‘90s visual aesthetic extremely well. In keeping with “X-Men: The Animated Series,” the animation style incorporated bold primary colors as its main palette. The character design almost directly reflects the previous series, aside from the new series having a greater bandwidth for incorporating diversity through believable features.  

Aside from its successful animation artistry, the enticing pull of “X-Men ‘97” comes from its villains. Each episode features a new adversary. The first villain audiences meet is humanity. Including racism itself as the initial series villain makes a strong introduction to the world building and social connections within the show. Professor X’s murder came at the hands of an angry, racist human, not an all-powerful mutant, which reveals the fragmented view society has on the X-Men. As the episodes continue, more radicals and mutant-haters appear as the most detrimental adversaries, causing the greatest harm because of the X-Men’s hesitation to engage against humans.

Beyond the mutant-human conflict, the traditional mutant villains also add to the show’s success. The Sentinels, a human creation to combat the mutants, reappear in many scenes and battle as a formidable adversary, always controlled by an elitist human. Mr. Sinister also joins the series through an elaborate plan that extends beyond what the audience knows. The complexity woven throughout the storyline and character arcs, not just in the few main leads but in every member of the X-Men, crafts an intrigue that goes beyond “cool superheroes fighting bad guys,” though that still exists. 

Even with the show’s broader complexity, it is the individual conflicts that raise the show’s standards. Characters struggle with identity and responsibility as well as familial and interpersonal relationships stunted by their powers. After an incident in episode two, the audience glimpses the opposite issue of a mutant coming to terms with losing their powers and how much of themselves is defined by their abilities. 

“X-Men ‘97” revitalizes the franchise with a nostalgic episodic series focused on elevating the X-Men team. From vibrant colors and beautiful animation to depth of character and complex storylines, this series is an exciting watch and easy binge.

The post ‘X-Men ‘97’ revitalizes the series appeared first on Technique.

The story of “Shrek” is well-known. Since its creation, the characters and storyline, plus Smash Mouth’s songs, made for a timeless success. An ostracized ogre undergoes a harrowing adventure to save a princess while finding love and friendship on the way. This fan-favorite story was adapted into a musical in 2008, leading to a multitude of Tony Award nominations and Drama Desk Awards. This year, the beloved musical returns with a fresh face and new cast but the same enjoyable experience.

It is difficult to breathe new life into a beloved story while maintaining its charm. Jeanine Tesori and David Lindsay-Abaire reframed the focus of “Shrek The Musical” to emphasize self-love and promote authenticity within yourself. This “familiar yet refreshingly new” take includes a smaller cast and crew that bring with them a more intimate performance.

Of course, what would Shrek be without its dragon? The talented Tori Kocher brings the fire to this character as one of the cast members bringing the musical to life. In between performances, Kocher sat down for an interview to discuss the revitalization of “Shrek the Musical” and her journey leading up to this role. 

Beginning her career in theater at a young age, Kocher attended Belmont University for a BFA in musical theater and began performing full-time soon after. Her draw to audition for Shrek is similar to why fans watch it: a love for the story. Kocher explained that “I have a connection with the original movie. I watched it a lot, and it was one of my favorites.” 

This love is not the only motivation, however. Kocher was part of the musical playing Fiona as a kid and loved being in it. 

“It’s also a show very about acceptance and celebrating differences, and that’s something I really see myself being an important part of. It’s not just a fun show, it has a great message behind it,” she said about the musical.

Even with big shoes to fill, 2024’s “Shrek the Musical” reinvigorates your love for Shrek through a deeper meaning and, as Kocher says, “This time around, it’s stripped down and you see a lot of yourself in the characters. Everyone is very human in a way.” 

With only 15 or 16 cast members, the production emphasizes the beautiful lyricism within the story.  

She said, “Throughout the rehearsal process I would cry because I would feel like I was seeing this scene for the first time. I feel like I’m hearing these lyrics for the first time even though I’ve heard it a million times.”

Every scene is purposeful. Tesori and Lindsay-Abaire worked hand-in-hand with the cast in giving direction to ensure there was no guesswork. 

Kocher said, “To hear directly from them what each thing meant and the importance of each thing is an experience most actors would dream of having. It was such a gift because the integrity of the story came through as well as possible.”

The beauty of this production lies in the cast reflecting the story. 

The phrase “What makes us special makes us strong” is a favorite of the director. “Shrek” celebrates each person’s differences as a strength, and Kocher spoke on how the cast lives out this value. 

“This is a very diverse cast in every sense of the way. It is definitely the most diverse group of people I’ve ever worked with in background, race, body size and neurodivergency. It shows because anyone can see themselves not just represented but celebrated,” she said. “As a plus-sized woman, I am often put in roles that are all about that. I’ve played some great roles that I love, but the whole story arc is that I’m plus sized. But with this, I’m playing a badass dragon.” 

The inclusivity does not end there. Kocher explained how her experience as an autistic woman is supported among the rest of the production. 

“I feel so supported by the people backstage. I am an actor with autism as well, which is something that during tech week and trying things for the first time was very hard for me with all the different textures of the outfit and very quick transitions. I did have a meltdown the first time it happened, but everyone was so supportive and found a wayfor it to work for me.”

The beauty of Dragon comes from her personality. Kocher spoke about how her personality completely contradicts Dragon’s and how that opposition builds a fun creative space for her to work in. 

“She’s my alter ego. I am nothing like her,” she said. “I’m always wearing pink and pastels … I’m very soft, but as soon as I put that wig on I start acting different.” 

Here lies the fun of theater. The ability to completely change personas. Kocher said, “I really get to be the true diva … it really is a run role with the dramatics.”

The production could never run without the work of the tech, costume, makeup and all behind-the-scenes workers. While audiences do not see the preparation that goes into a performance, a cast this small takes on more than just one role. 

The production begins with all its members wearing their “puppeteer blacks,” which is an outfit entirely of black that allows the cast to transition into other roles throughout the acts. 

The story begins with baby Shrek and continues on the traditional storyline fans are accustomed to. Aside from Fiona, Shrek and Donkey, every other cast member takes on other roles. 

Kocher plays the captain of the guard in charge of the fairytale processing in the swamp in the beginning. 

Her costume consists of a vest and helmet on top of her puppeteer blacks. Later, she plays a Dulocian until her final transformation into Dragon, consisting of a 20-foot-long tail puppeteered by someone else, a wig, a dress, makeup and, of course, glitter.

To any aspiring theater students, Kocher advises not to focus on fitting in. 

“To compare is to despair,” she said. In a world of auditions, there is no point in trying to fit in just to act like everyone else. 

“I spent a lot of time early in my career trying to be what I thought people wanted me to be,” she said.Instead, she believes in leaning into what makes you different and staying strong through any rejection or discouraging auditions.

Simply put, “Shrek the Musical” is a “colorful, unique, funny, celebratory, wholesome” adventure. 

“Shrek the Musical” makes its way to Atlanta’s Fox Theatre for three performances between April 6 and 7 as part of its 2024 North American tour. Find tickets at foxtheatre.org/shrek. 

The post Shrek comes to the Fox Theatre appeared first on Technique.

Living for yourself is one of the hardest choices a person can make. With all the expectations from family and oneself partnered with the stress of being the best in every class, there are few moments of excitement.

Everything at Tech appears as a competition, so naturally students see each other as adversaries. The toxicity that flows in this environment is what drives mental health to the floor. Students face constant stress to compare themselves in every way. I was never going to be the smartest person in the room, but that was not my goal.

Instead of powering through with a STEM degree that would undoubtedly land me a high-paying position with society’s respect, I chose passion over status and enrolled in Tech’s LMC program. Very few things are certain, but the importance of dedication within this field is one. LMC is one of the only self-led programs within Tech. They offer a wide range of courses, but in my freshman and sophomore years, little direction on where the degree could lead. While there has been a strong push towards securing LMC speakers and events, the program is a largely independent one. In this struggle and exploration, however, comes a breadth of possibilities that few other majors can compare to. 

A common misconception of our program, which carries over into almost every introduction on campus, is the belief that students in the LMC program are less smart or capable than the rest of the students at Tech. Seeing as each student got accepted just the same, it is always baffling when the competitive nature reveals itself in a conversation through condescending tones and outright disrespect. 

Having been accepted to Tech as a CS major and then switching into LMC, I can easily say I would rather do what I love almost every second of the day than suffer through a program I have no passion or enjoyment in. I am a storyteller. Having the chance to build stories in scriptwriting, creative writing, film and 3D animation are why I stay with this major. The jobs LMC allows and the flexibility of positions and fields the degree applies to is greater than most know. It just takes believing in yourself and being bold to find the amazing possibilities.

All of my greatest memories result from taking a chance and just enjoying life. Whether running around campus in Godzilla and Kong suits with my friend to interning with the most random companies, happiness truly does come from saying “yes” to the little moments. Late-night Cookout runs, last-minute Sweet Hut trips and even a relaxing night in watching your favorite show are all small choices that provide the biggest smiles. Take away the fear of judgment and the fear of missing out. It is impossible for everyone to be your fan. Only you know yourself, so why not build experiences rather than miss out because of fear?

Nothing will ever be perfect, and even if something is, it rarely stays that way. You are constantly changing and that is what is beautiful. But beauty comes in the good and the bad. Every achievement will seem thrown off with every misstep, but it is in those mistakes and those failures that you learn who you are. Even in the moments filled with pain and betrayal caused by someone other than yourself, there is a way through.

Let go. Some of the greatest missteps you will face, in school or work or in relationships, stem from believing your worth comes from perfection. Perfection is an unattainable expectation that ensures disappointment. People will hurt you and break your trust. Your relationship may reveal that you deserve better than someone who cannot give the bare minimum. A breakup may show you how toxic your partner really was or how terribly they treated you behind closed doors. A presentation fumble may highlight a skill for you to practice. A project blunder may direct you towards your dream career. Some of the most beautiful revelations about yourself come from how you pivot in the face of struggle, whether mental or otherwise. These moments create opportunities for you to achieve something even greater.

I rediscovered my enjoyment in media and journalism this semester. While the semester began in the most painful of ways, that moment allowed me the freedom to dream without a burden of settling. 

That struggle gave me the opportunity to become more deeply dedicated to journalism, and allowed me to interview and meet celebrities I never could have dreamed of. My involvement with the Technique came spur-of-the-moment, but it remains my happiest decision. 

Find what makes you happy. Nourish it. Take that outlet and turn it into something bigger. It will never be too late to change your path or your passion.

The post Live for yourself: Facing the imperfections of life appeared first on Technique.

The latest film controversy comes courtesy of “The American Society of Magical Negroes.” Initially premiering at the Sundance Film Festival and releasing in theaters on March 15, this movie tackles Black discomfort through intentionally polarizing situations that incite contemplation and reflection.

Kobi Libii’s directorial debut features lead actor Justice Smith (“Jurassic World: Fallen Kingdom”), David Alan Grier (“The First”) and An-Li Bogan (“After Yang”). The story focuses on Aren, a struggling Black artist failing to turn heads with his yarn sculpture at an exhibition. Aren is a kind, soft-hearted Black man whose passion for art does not fit the traditional masculine Black male stereotype. As the only person of color within the exhibit, a constant wave of white collectors fawn over the other traditional pieces while staring cluelessly at Aren’s work. 

When walking around the gallery, he awkwardly avoids getting in the collectors’ way by apologizing with a smile through every step, struggling to connect with them. After his new acquaintance, Roger, saves him from an altercation, Aren is introduced to The American Society of Magical Negroes, whose sole purpose is to alleviate the discomfort of white people. The rest of the film follows Aren’s journey within the society and how it conflicts with his own. Libii drew on a protagonist rarely seen before, a gentle, straight Black man, as a reclamation project to bring a new style of characters to the foreground.

The contention appears in its line between satire and seriousness. At its core, the storyline delves into the cost white privilege imposes. The typical stereotypes are visualized but the way in which they play out differ. The majority of the film consists of Black people limiting themselves to carry white people to their dreams. Black characters must dehumanize themselves and lean into prejudices, fearing outrage from white discomfort. The society admits white people are the most dangerous creatures on the planet because of their unpredictability and ignorance to other experiences. 

Aside from the magic, the Black experiences within the society, while glorified and dramatized, are all too real. Libii and Smith traveled to Atlanta on Tuesday, March 5, to take part in an interview about the film and their vision. 

“I connected with the script. I saw myself in it,” Smith said, as he explained how his personal experiences influenced his character. “I grew up in a very white community, Orange County, Calif., and I internalized a lot of the messaging that I received from my white peers. I compromised myself; I made myself small in order to survive socially, and it was a very dark time for me. It was only after I got out of that community that I experienced a real liberation and real empowerment, and I defined my Blackness for myself, and I connected with the community and I healed.” 

Smith’s character, Aren, similarly struggles with feeling like an outcast in his life and tries his hardest not to take up too much space. 

“I just got that vicious cycle mentally of ‘I feel so uncomfortable in this environment, in this space, so I’m going to appease in order to feel less uncomfortable.’ But then that then gives them permission to further disrespect me, which then makes me more uncomfortable,” Smith said. The movie’s narrative is meant to reflect the pain that results from staying within this cycle and repeatedly compromising oneself for the sake of everyone else. It is discomforting yet familiar to see these experiences unfold in such a demeaning way. 

Libii’s creative decisions also drove the cinematography to reflect this break from the cycle of self-compromise, saying “making sure a story reflects your vision is about being honest at every step of the way. And being a director is a million choices.” To connect Aren to the film’s atmosphere, he explained, “From a look perspective, I wanted the look of the film to reflect the main character. And so it is a very soft, gently lit film, very modern lighting, very colorful, very artful … and I liked this idea that there’s this character that sort of bursting with these gentle, beautiful colors but they can’t really be expressed because of how colonized he is.”

The lighting and vibrance change within the film as Aren’s identity becomes less muddled and more authentic. Libii described it as “a subtle journey in the same way the main character is taking up more space and himself becoming more vibrant.”

The film itself is clear about what it is like living with a constant defense mechanism in being Black. 

“One of the things I’m writing about in this film is about this very particular defense mechanism that I was taught quite explicitly as a young Black man on how to survive America and that was to make white people comfortable,” Libii said. 

He continued with the first thing he was taught as a child. 

“A classic example of that is how you talk to white cops, this is what you gotta do to stay alive, this is not about your pride, don’t worry about it, just do it,” he said. “And I believe I slightly over-learned that lesson, and it interfered with my ability to take up space and be confident.”

Libii relates in a similar way to Smith’s character Aren and the purpose behind the magical society. 

“That message, especially for Black people and I would say especially for Black men, is incredibly embarrassing and incredibly shameful for me to raise my hand and say ‘I was colonized in the following ways,’” he said. “My job is to be incredibly honest about an experience I haven’t really heard anybody talk about,” Libii explains. “It feels important to just be incredibly, almost painfully, honest about it and try equally hard to be incredibly entertaining.”

A key characteristic to Aren is his artistry and lack of understanding of himself. The evolution of his yarn sculptures move parallel to his own character development. Smith explained these transformations throughout the course of the film. 

“Aren is a soft individual, and that’s not welcomed by society for Black men to be seen as ‘soft.’ His art is all about his pursuit of piece and softness and comfort and that’s exactly what he was pursuing in his life the entire time, and he was obviously using the wrong tactics to get there, but by the end of the film, when he finds his strength, he realizes it’s the strength to be soft in the face of a world that doesn’t allow that, that won’t allow that or that wants to take advantage of that,” he said. 

Libii added that “there’s also a bit of taking up space there too, in terms of he’s unable to defend his work, which is a stand-in for his point of view and a stand-in for himself. He’s unable to say ‘I made this and I believe in this. This is who I am’ at the beginning of the film, and he’s able to do that in the end of the film.”

“It’s interesting because he basically learns how to create boundaries and protect this symbol of gentleness,” he said. “I see a dichotomy of strength versus soft, like he’s learned how to stand up and assert his need to be gentle. Fighting to be at peace, that’s the dichotomy.”

Both Smith and Libii know the controversy behind “The American Society of Magical Negroes,” especially in the response from the second trailer that revealed the society’s mission. Rather than a fictional society with epic spellcasting battles or a masterful “chosen one” adventure, this film decides to add magical emphasis to everyday personal battles that not every audience member agrees with.

“I know there are Black people who see this and say, ‘Hey, that’s me. It’s really comforting to hear someone else say that,’” Libii said. “I also think there’s going to be Black people who see this and say ‘Oh s—, is that me?’ in a way that is incredibly uncomfortable to reckon with consciously, or for some Black audiences, unconsciously the reckoning and a real discomfort.”

Libii continued on the variety of responses the film may receive from the Black community. 

“There’s also going to be Black audiences who say ‘Nope, never done it.’ God bless those people because we’re a wonderfully diverse community, you know. But to me, my job isn’t to calibrate how each one of those discrete audiences will feel, it’s how to speak my truth and try to do it with integrity and … trust that ultimately there’s going to be healing and positivity for that.”

The discomfort shown in “The American Society of Magical Negroes” is one few movies dare to discuss. Many people of color can relate to times they have had to adopt a “white persona” or change their personality so as to not stand out in a crowd. What Libii does differently is reveal, through brutal honesty, the ways Black people and people of color compromise themselves. In the film, it is a revelation to Aren that he has a right to exist without having to prove himself to society or white people. From company discrimination to friends ignorant of their own implicit bias to personal identity friction due to social expectations, “The American Society of Magical Negroes” makes the shameful moments and uneasiness of self-compromise more digestible.  

“The American Society of Magical Negroes” is a conflicting watch. It is difficult to successfully navigate satire through such charged issues, and not every scene flows in an easily comprehensible way. Regardless of the jarring moments, the message stands as the highlight of the film. Beyond the magical society is an epiphany of identity and reflection on past experiences that challenges your interactions with yourself and others.

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This month, the High Museum of Art unveiled their newest exhibition, “Truth Told Slant,” a combination of five photographers’ projects that shift the traditional understanding of documentary photography. Through the works of Jill Frank, Rose Marie Cromwell, Zora J Murff, Kristine Potter and Tommy Kha, viewers walk through the awkward moments of life while experiencing the social and political perspectives the artists chose to explore. 

“Truth Told Slant” refers to Emily Dickinson’s poem, “Tell all the truth but tell it slant.” Moving through the exhibit takes you on a journey that connects strangers in one cohesive experience. The variety in photography and  stories builds an enjoyable reflection. The exhibition also explores the moral responsibility held by photographers. A common issue amongst documentaries and photography lies in how artists can responsibly create photos of real events and people. Despite photography’s many pitfalls, “Truth Told Slant” exemplifies a way to visually tell stories without exploiting the subjects of the projects. 

Frank’s portraits are first, capturing the essence of identity through irregular moments. In looking into the archetypes of youth, her photographs evoke a sense of authenticity. Featured works include young children at cotillion, talent show contestants and homecoming photos during the pandemic. All three events reflect times of celebration. However, Frank’s artistry reveals itself in her choice of timing. Her cotillion pictures show the children keeping themselves busy in idle moments before their class. The talent show, which Frank organized herself, offered an opportunity to record abnormal skills with intentional posing. This project used a slow camera, meaning each subject stood motionless for minutes, contributing to their uneasiness. One of the common emotions her work communicates is seriousness in the mundane. Her third project featured in the exhibition is side portraits of Georgia State University students for their homecoming dance. Frank’s approach to this set was especially personal, as this was the first time she had ever photographed at the school where she teaches. While her students prepared for the school-hired photographer to take their official homecoming photos, Frank stood to the side to capture the quietness and irregularity of COVID-19. Each woman was photographed alone, as COVID-19 prevented any group photos. By framing from the side and recoloring the portraits to black and white, Frank chose for the subdued weirdness of the pandemic to be baked into the reaction. 

Moving from Frank’s works, the exhibition flows into the works of Cromwell. Instead of people, her projects focus on Miami as a whole. Cromwell plays with unusual materials, such as printing some photographs on plywood to embody the increased mixture of global cultures and social struggles within the city. Featured works include laborers or lesser-known environments. 

For example, she photographs bold red text warning of the destruction of sin coming to Florida printed on a steel door. Disorientation is the core of her project, attempting to re-establish a new perspective towards Miami — one of distress and residential experiences instead of a sleek and flashy vacation. These messages tie into the composition of each photograph. Stark contrasts are made between the man-made elements of the subject, like colors that isolate its reaction from those of the rest of the background. This abstraction elicits a dreamlike state to embody the fast-moving shift in globalization
and climate change.

Murff’s works focus on a different aspect of life: the identity of being a Black American family. His documentary includes an autobiography in his project, “American Mother, American Father,” depicting perceptions of family and race. These two works are the largest of his photographs, standing as the epitome of his section of the exhibit. Both embody the stereotypes of a Black family while contrasting the nuclear white family. 

The few focuses on whiteness include oversaturation that makes distinguishing every detail impossible, reflecting its inherent invisibility. Whiteness becomes a foil to Murff’s work, as his images of Black culture are contextually ambiguous. 

Moments within his exhibition also purposely call to mind offensive stereotypes to underscore the exhibition’s themes. One photograph is a close-up of two Black hands exchanging money, with one holding a cigarette. Its subject is gas money, yet others may assume it is drug money based on first glance and implicit bias. These photographs explore how identity collides with society and reshapes popular culture’s definition of Blackness and whiteness.

Potter’s area of the exhibition dives into the history of popular music as it relates to crude, repressed areas of American identity. The introduction to her projects includes a video playing open mic night murder ballads. These songs celebrated violence against women and hate against racial minorities. 

In opposition to the violence, Potter stages her photography to depict the resurrection of these women. By reanimating the victims, her work challenges the darkness of the American past and gives strength to the underrepresented. Her work features portraits of women wringing out their hair or standing dripping in water to imply their rebirth. Other photographs include bodies of water, as referenced in the ballads, as a remembrance of the brutality and fear within the country. 

The last photographer is Tommy Kha. His work centers on how identity is constructed through all aspects of life, especially in family roots. As a queer artist with Vietnamese and Chinese parents, he is othered, as many of his identities clash with each other. In using humor, lineage and heritage, Kha builds the feeling of dislocation. One part of his exhibit features signs from local businesses and posters.

Through these photographs, he illustrates the loss of meaning or alteration in power certain words have given their situation, which reflects the evolving cultural essence in society as well as with identity. 

Rand Suffolk, the director of the High Museum of Art noted, “While they eschew conventional approaches to photographing the world as it is, these artists nonetheless draw our attention to real-world, contemporary issues of great importance.” Art is meant to express and act as a window into another’s perspective. All five photographers not only demonstrate a radical approach to documentary photography but also present life in a nontraditional way, highlighting moments of awkwardness or elements often overlooked in everyday life. It is a truly eye-opening exhibit and a peek into how documentary photography can transform the mundane into topics of conversation.

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“Ricky Stanicky,” a laugh-out-loud comedy starring accomplished comedians John Cena and Zac Efron, comes to Amazon Prime Video on March 7. After a close group of friends accidentally set fire to a house during a prank, young Dean (Zac Efron, “High School Musical”) adopts a fourth imaginary friend named Ricky Stanicky as the fall guy. Since then, he and his friends have used Ricky Stanicky as a free pass to do whatever they wanted. Their latest ruse interferes more than expected when JT’s (Andrew Santino, “Dave”) wife goes into labor early, causing him to miss his son’s birth. She and the rest of their family and friends start to suspect Ricky Stanicky is imaginary when they realize they have never met him, prompting Dean to call on their unhinged acquaintance from the trip, questionable actor “Rock Hard” Rod (John Cena, “WWE Smackdown!”) to pretend to be Stanicky. Although he masterfully becomes Stanicky, his newfound life is taken too far, and Dean and his friends begin to regret meeting him. 

As the film unfolds, “Ricky Stanicky” reveals itself to be more than a comedy. It speaks on second chances, honesty with oneself and others and the impact of close relationships. John Cena and Zac Efron teamed up to talk about their experiences shooting “Ricky Stanicky” and what the film meant to them.

The interview began by asking them, “What are your guys’ thoughts about second chances and if they have impacted you since this film is about giving people another chance?”

Cena said, “Here’s my perspective on second chances. No one is perfect, so every beating heart I believe appreciates what a second chance is. If you show me a person that lives a perfect life, I’ll show you a lie. So, I think that is an important message and an important takeaway…My perspective on second chances is that I just try not to be aloof to when they arise. I try to notice when they exist and work everyday to try to manufacture a second chance.”

“I’m stealing that answer for the rest of my life…I have nothing else to add,” Efron said.

Journalists followed this reflection by calling for a deeper analysis of how the film’s themes relate to Cena and Efron’s lives. One asked, “As this movie was comedic gold, it also had a lot of themes of identity and legacy. So, did playing these roles change your own perspectives on friendship, honesty and even facing your own consequences for your actions?”

Efron replied, “I think the friendship and loyalty aspects are one of the first things that really drew me to the script in general. These guys are really telling a rather big lie, and it’s hard to pull that off and still like the characters and root for them, and I think that’s what Peter Farrelly does so well in this movie. He tows the line. These guys are doing it out of loyalty and love for one another to protect each other, and I think that’s what I value most in friendships. Hopefully, everyone else does too.”

Cena said, “You talked about friendship; you talked about honesty, and you talked even more importantly about accountability. Those hit right down the wheelhouse of my value system. I believe we are the sum of the five people we spend the most time with. I finally got to a place where I’m comfortable expressing love in my life and accepting love from others, and I have been very much fulfilled since that point arrived. I believe if you operate with honesty, it establishes you to communicate. A lot of relationships that fail and a lot of negotiations that fail are simply because of lack of communication which can be said of lack of honesty. And then accountability is huge. When something goes wrong in our lives, it’s real easy to do this (pointing to others) because that means we don’t have to fix anything. But if we do this (pointing to yourself), that means we can work on self and become a better person. So when you talk about friendship and honesty and accountability, I’m listening to your radio station.”

The next question focused on Cena and his relation to his character, Rod. “I’m sure your career has had a lot of ups and downs. Did Ricky’s or Rod’s story really resonate with you?”

Cena said, “The story of the  transformation from Rod to Ricky is one that is very close to my heart as my life is just a serendipitous bunch of happy accidents. I wasn’t supposed to be a wrestler. I’m certainly not supposed to be here. I didn’t train my whole life for these things. The opportunity has fallen into my lap and I’ve just tried to be present and understanding that it’s here…I still have a lot to learn. I still seek out wisdom everyday. I know I’m not perfect. I still know there’s room for improvement, and it takes 20 years of dedication and passion and obsession to craft and time and effort and mistakes to get going. The takeaway I’d love you to have is if you’re loving what you do just mix it with a whole lot of perseverance and you never know what can happen.”

The questions shifted towards addressing the comedy within the film, with reporters asking, “Which was the hardest scene for you guys to film in terms of not breaking character?”

Cena said, “Thanks for throwing the humor curveball right down the plate; I appreciate it. For me, it was the airport scene because I mainly just had to piss myself and then cover up for it by saying ‘It’s not what you think. It’s just piss.’” 

“It was hard for us too because he improvised it,” Efron added

“That line for some reason I just couldn’t get around because I’m waiting for the payoff, the ‘it’s not what you think’ and the payoff of ‘it’s just piss’ was very funny and very hard to keep a straight face through that line,” Cena said

“For me it was all John’s impressions. That was the first day of filming when he does that line of impressions. We were off camera just losing it. Then there is also a scene where I have to fight a duck in a lake in a chemical pond. It was pretty ridiculous. It was hard to fight that duck. It was a fake duck,” Efron said.

Efron’s partnership makes for an enjoyable watch. There are never any villains or distracting trails within the storyline. The entire film revolves around their budding friendship and the hilarious character arcs that Cena makes realistic. The writing of “Ricky Stanicky” is transformative, making activities such as a goose blocking a golf ball or a baby’s bris into momentous occasions full of radical humor. This is also thanks to the massively talented cast and costume designers. “Ricky Stanicky” is an entertaining watch that is sure to keep you on your toes.

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Based on James Clavell’s bestselling novel, FX’s “Shōgun” tells a story of power, greed, war and treachery through a season of twists and turns. The Jidaigeki series opens amidst a political division. After the late emperor’s death left an heir too young to take the throne, a Council of Regents takes power to lead Japan. As desires shift and greed grows, the council begins to separate, placing Lord Yoshii Toranaga (Hiroyuki Sanada, “Ring”) at odds with the rest of the rulers. Unbeknownst to them, a European ship piloted by John Blackthorne (Cosmo Jarvis, “Lady Macbeth”) crashes off the coast of an Eastern village. Blackthorne, first perceived as a useless savage, quickly becomes vital to the survival of Toranaga and the future of Japan’s rule. To bridge the gap between cultures is Toda Mariko (Anna Sawai, “F9”), a Christian noblewoman acting as translator. A budding yet forbidden attraction sparks between Mariko and Blackthorne, which is sure to bring challenges in the upcoming episodes.

Set in feudal Japan, “Shōgun” unfolds like a game of Go with ever-changing alliances and players. The key parties are Toranaga, who hopes to protect the young heir, the remaining Council of Regents, the Portuguese Jesuits and the European Protestants. These individuals are not isolated, as Portuguese influence permeates the structure of the Council of Regents and manipulates their partnership. Just as the Council begins to capture Toranaga and prepare for his execution, an opening reveals itself in the arrival of Blackthorne. Toranaga decides to align himself with Blackthorne to create a wedge using the European Protestants against the Portuguese.

Shōgun illustrates the complexities of cold war through exceptional acting. The three main characters, Toranaga, Mariko and Blackthorne are vastly different, yet all stand out for their performances. Without a word, Toranaga’s presence is enough to captivate audiences. He introduces himself in a time of personal turmoil and holds this emotional armor throughout the series. His father-like attitude towards Mariko and the young heir reveals a sliver of compassion hidden inside. Sanada is not simply an experienced actor, as exemplified by this role, but also one of the series’ producers.

The difference between Toranaga and Bleckthorne’s characters offers an interesting partnership to look forward to and an entertaining exploration of the division in both cultures. Blackthorne appears as the “lost soul” with a mostly pure heart when it comes to the innocent. Jarvis’ ability to win over viewers with the brazen yet loyal character shows real talent. There is an immediate connection between him and Mariko, and his on-screen intrigue helps build a realistic relationship rather than an overtly romantic or hasty one. 

The most striking character, though, is Mariko. Sawai is a perfect choice to bring an alluring aura to every scene through reserved movements and a hidden past burning inside her. Sawai explained her draw to “Shōgun” was “because Mariko is the most graceful, yet immensely powerful figure that I have ever come across, and I just fell in love.” Mariko embodies poise and is a vessel to explore the lesser storyline of being a woman in feudal Japan. Within these episodes, Mariko tells Toranaga, “A man may go to war for many reasons. Conquest, pride, power … but a woman is simply at war.” Many viewers, especially women, will easily connect with Mariko in the strength and resilience she effortlessly holds from her experiences within society.

The first two episodes spell success for the series. One of its shining attributes is its authenticity. From costume design to set building, each element came together in a harmonious depiction of Japan in the 1600s. Producer Eriko Miyagawa talked through the process of writing the show’s dialogue as a continuous polish ensuring historical and character truthfulness. “It’s written, and then it goes through to Frederik Cryns, who is our head researcher. Oftentimes, it goes to Hiro [Sanada], maybe myself, and then it goes to a team of translators in Tokyo. After that, it goes to a playwright, Kyoko Moriwaki, who specializes in period-style Japanese, and she polishes all the dialogue so that it would feel like the right time period. Then we do our own polish, and Anna would have her own notes, many actors did.”

Their focus was on more than just nailing the dialogue. Every element, from food and mannerisms to costume design, had to maintain the period’s essence. Producer and series actor Sanada explained the extent of practice and research that went into its creation. “We could hire the specialist for Jidaigeki, a samurai drama, including Master of the Gesture. It’s one of the hardest parts, especially for the young actors. Wearing kimono, how to walk, how to sit, how to open the shoji screen,” Sanada explained. His co-star Sawai added, “How to hold a chopstick.” 

Sanada continued, “Everything has to be the correct way. In the traditional way. For every part we had a Japanese crew.” Sawai joined in commending the show’s commitment to authenticity. “I’ve been on multiple sets where they have Japanese people, but we had people from Japan who were the best in [their fields] flying over to Vancouver. That’s where we saw authenticity. It wasn’t just on screen, but it was behind the scenes.”

Instead of Blackthorne leading the viewers through the narrative, as in the 1980 miniseries, Mariko and Toranaga are equal protagonists. A meeting of cultures appears throughout these episodes. Viewers get a peek into key aspects of Japanese and European lives through the interactions of the characters of “Shōgun.” There is no predominantly Americanized cast or a European flare to force Japanese culture to the “exotic” edge. This adaptation is truly an international experience. Spoken in Japanese, “Shōgun” includes built-in English captions outside of the streaming platform’s captions as a direct link to a global audience. 

“Shōgun” maintains the historical drama of its source while elevating its characters, storyline and motifs to the expectations of 2024. The two-episode premiere arrives on Hulu and FX on Feb. 27 and is sure to be an epic beginning to the rest of a highly-anticipated season.

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