Paalam, Ate Guy (A love letter and a final ovation)

There are some stars that do not simply shine — they blaze through consciousness, they alter the way we see the world forever.

She was great, magical, defiant, wounded, eternal.

She was SUPER.

Today, I grieve not just the loss of an artist. I grieve the passing of a spirit that pioneered the representation of the Filipino - unheard, unseen, dismissed - in an industry that triumphs through disbelif and profits from illussions.

She spoke volumes through her silence, and taught me that there is art even in listening.

In her quiet restraint, I felt the depths of unspoken emotions. And with her every hushed word and every lingering gaze — Oh! — how she pulled me in!

She touched my heart in ways I still cannot fully articulate. Her films were not just stories. They were mirrors. They made me confront my own truths, my grief, my hope, my contradictions. They cracked open my sheltered view of the world and insisted I look deeper—beyond the gloss, beyond the spectacle—to the soul of things.

Because when we see Nora Aunor on screen, we see ourselves!

Her art reshaped the way I see everything else. Suddenly, other performances felt loud—too theatrical, too forced. Because once you’ve witnessed truth on screen—the kind Aunor delivered—how could you ever go back?

She showed us what it means to act without acting. To speak volumes without shouting. To be beautiful without asking for permission.

She didn’t just raise the bar; she transformed the bar.

We became not only better audiences, but better human beings—sharper, critical, yet more compassionate witnesses to the that of the human condition.

Hers was a life both glorious and bruised. A journey riddled with applause and silence, honor and controversy, ovations and breadowns. But isn’t that the mark of a life well-lived? A full circle through greatness and loss. A life lived fully, messily, truthfully—no matter the cost?

Tonight, as she takes her final bow, a supernova …scorches the sky — as it tells us that departures can dazzle too.

To my fellow Noranians: may our love for Ate Guy never fade. Sana, tuloy-tuloy pa rin tayo. Let our passion for her art ignite new hearts, inspire the next generations, and keep her spirit alive in every frame, every song, every story.

May our bond of family and friendship remain unbroken—sana ay tayo-tayo pa rin. Sama-sama sa pagdadalamhat, sa ligaya, sa walang sawang pakikipaglaban para sa sining ng nagiisang Nora Aunor.

My prayer tonight is this:

That we, as a people, do not forget.

That we keep her voice in our ears, her gaze in our minds, and her art in our veins.

Because to forget Nora Aunor would be to forget ourselves.

And we cannot afford that. Not now. Not ever.

Rest now, Ate Guy.

You were, and will always be, the voice of a nation learning to listen to itself.

TILL THE STARS COME DOWN is intimate and universal

You've been there - you know how it works. You remember.

Sylvia and Marek’s big day kicks off like any other—frazzled bridesmaids juggling hair appointments, wardrobe touch-ups, and mischievous pre-ceremony toasts—yet under the glittering surface simmers an undercurrent of unresolved pasts and unexpected confrontations.

From the moment Sylvia, a hopeful bride with an infectious optimism, gathers with her sisters, Hazel and Maggie, the air is thick with anticipation and the bittersweet tang of family reunions. With their absent mother and a father, Tony, carrying his own heavy legacy of loss and longing, every exchanged glance hints at stories that stretch far beyond the wedding day.

Beth Steel’s script unspools with a daring intensity, channeling the spirit of classical tragedy in a single, relentless day of celebration and chaos. As the festivities unfold on a minimalist stage—a vast green expanse of astroturf conceived by Samal Blak and punctuated by Paule Constable’s inventive lighting (which transforms even a humble glitter ball into a beacon of spectacle)—the play lays bare old grievances from a gritty, ex-mining community still scarred by the past. Political wrongs and personal betrayals surface with such precision that each seemingly innocent remark reveals depths of hidden enmity.

The ensemble cast dazzles with an unselfconscious brilliance. Lorraine Ashbourne’s portrayal of the fiercely commanding Aunty Carol injects infectious energy into every scene, while Lucy Black’s tempestuous Hazel and Lisa McGrillis’ quietly resilient Maggie capture the turbulent emotional spectrum of familial bonds. Marc Wootton’s Marek, coursing through the complexities of identity and prejudice, brings an introspective intensity that leaves you questioning what it truly means to forgive and forget.

At its core, the play uses the celebratory yet symbolically fraught wedding as the arena where family secrets and unspoken grudges come into fierce relief. The familial unit is portrayed not as an isolated haven but as a stage influenced by years of socio-economic and political turbulence. The fragmented relationships among Sylvia, Hazel, Maggie, and other relatives reveal how family bonds can simultaneously nurture and constrain individuals. The unresolved conflicts and the weight of shared history—especially in communities scarred by industrial decline—demonstrate that family dynamics are often a mirror of broader societal scars (Davis, Lee, & Brown, 2020).

It is also interesting to see how these social constructs and biographic legacies influence personal decisions. The remnants of political turmoil and economic uncertainty—exemplified by references to past governmental policies and the legacy of ex-mining communities—illustrate that personal identities and choices are rarely made in isolation. Tony and Aunty Carol embody the residual impacts of external forces; their actions and attitudes are as much a product of their personal histories as they are of a society steeped in collective memory and economic disparity (Garcia & Thompson, 2022).

In one final, shattering scene—a raw, unguarded exchange among the sisters—the audience is left reeling as the weight of the day’s revelations spills over into an almost unbearable surge of emotion. Here, Steel transforms the wedding from a mere celebration into a crucible of transformation, where each character’s struggle for redemption and reconciliation feels both intimate and universal.

This isn’t just a play; it’s your formal invitation to dive headfirst into a world where love, loss, and retribution intertwine with unexpected humor and fierce vulnerability. If you’re ready for an experience that will leave you laughing, crying, and rethinking the ties that bind us, this one is for you.

REVIEW: DADDIO (2024) is a conversation you wouldn't want to miss

You’d hop in, settle into the backseat, and soon, the driver would start chatting. As the miles passed, you’d exchange stories—small moments of life, shared between strangers. By the time you arrived, the interaction felt real, almost personal. Paying the fare was an afterthought. You’d leave a generous tip, step out with a smile, and carry a new story with you.

Those simple rides reminded us of something special—the beauty of human connection.

Such is the concept of Christy Hall’s DADDIO (2024)—a film that impresses, despite centering on just two characters. Dakota Johnson and Sean Penn command the screen, their faces captured in extreme close-ups. Sometimes, it’s just their eyes; other times, a fleeting smile reveals unspoken thoughts.

Hall’s dialogue draws you in, urging you to listen closely. But it’s Johnson and Penn’s expressions that truly captivate, each glance and subtle shift hinting at untold stories, rich histories, and distinct worlds waiting to be explored.

DADDIO unfolds entirely within the cramped space of a yellow cab, traveling from JFK Airport to Manhattan. On a typical night, the ride might take 50 minutes—longer with traffic. But tonight, a car accident brings an unexpected delay.

In today’s world, this journey might pass in silence, with a passenger lost in their phone. But in DADDIO, there’s conversation. The driver, Clark (Penn), and his passenger, known only as Girlie (Johnson), find themselves with time to kill—and words to share.

Their initial exchanges are the usual cab banter—discussing flat fees and the pros and cons of cash versus credit cards. Yet, this small talk builds a connection. Small talk isn’t trivial; it can be a delightful way to bridge the gap between two strangers, turning an ordinary ride into something meaningful.

Where this conversation leads is truly unexpected, and it’s best to go in knowing little. Inside the cab, anything feels possible—like stepping into an alternate world where secrets surface and nothing stays fixed.

Here, connections form across divides—generation, gender, and perspective. Judgment is suspended, if only for a moment, even as tensions simmer beneath the surface.

For reasons unknown, Clark and Girlie stay engaged in conversation until she reaches her destination. Despite a man texting her nonstop, asking when she’ll arrive, she resists the urge to escape into her phone.

Still, there are moments when she’s pulled into the digital void—a silent tug away from Clark’s analog world and the weight of a relationship that doesn’t sit right. And it shows.

Johnson and Penn's chemistry is captivating and mysterious. Their connection, while mostly still and stealing glances through the rearview mirror, feels electric.

Clark is talkative, full of opinions and curiosity, proudly declaring, “I’m just a guy who pays attention.” Penn’s performance is surprisingly warm—a quality not often associated with him—yet he delivers it with striking authenticity.

But Clark isn’t just a lovable figure. There’s a raw edge to him, a willingness to voice outdated views. When he grins and tells Girlie, “You can handle yourself,” the weight of his words speaks volumes about her strength.

Johnson's Girlie enters like a character from a film noir—a beautiful, sad figure seeking an escape. As their conversation takes a provocative turn, it begins subtly, but Clark is quick to catch it. Both are resilient, yet their toughness reveals itself in different ways.

Christy Hall steers the film with remarkable skill in managing the challenges of filming within the milieu’s tight confines. While this approach has precedent—think LOCKE—Hall makes it her own.

Phedon Papamichael’s cinematography is strikingly atmospheric, turning Manhattan’s lights into dreamy abstractions outside the windows. Inside, shadows and flickering lights dance across the cab, capturing Johnson’s face in the rearview mirror—hauntingly reminiscent of Cybill Shepherd in TAXI DRIVER.

Despite unfolding within the tight space of a car, Hall's narrative feels captivatingly vivid and dynamic. As the miles roll on, DADDIO soon becomes a reflection of the complexities of human connection and the unexpected stories that surface when we genuinely engage.

It’s a reminder that sometimes, the most meaningful journeys happen in the most unlikely places—even in the back of a cab.

REVIEW: AND SO IT BEGINS (2024) is Nostalgic Yet Unbalanced

Ramona S. Diaz’s latest documentary, AND SO IT BEGINS (2024), follows Former Vice President Leni Robredo's campaign during the 2022 Philippine presidential election. It seems to be a fitting addition to a potential Diaz Boxset with her earlier work, A THOUSAND CUTS (2022). The film attempts to provide an overview of the country's political landscape in the wake of Former President Rodrigo Duterte. At the same time, it captures the passionate support for Robredo and the rise of the Pink Revolution—a movement symbolizing hope, decency, and a collective push for change.

From the outset, Diaz sets the tone by showing a telecast of former President Duterte disparaging Robredo. Cut to a public speech where Duterte, in his typical fashion, makes a crude joke about Robredo's skirt, which gets shorter every time he sees her. This illustrates the stark contrast between Duterte's narcissistic vulgarity and Robredo’s dignified decency. As a storytelling technique, this is quite a great start. Such polarity establishes the core tension for the rest of the narrative, presenting not only the unpredictable nature of Duterte but also his followers' alarming tolerance of his behavior. Yet, while Diaz' opening scenes capture the divide between those who admired Duterte's strongman persona and those who rallied behind Robredo’s values, this seems to have diminished as the documentary unfolds.

AND SO IT BEGINS' most compelling aspect is its portrayal of the Pink Revolution. Diaz manages to capture a glimpse of the magic of this grassroots movement as it rapidly gains momentum. In it, we see artists, influencers, LGBTQIA+ members, and ordinary citizens under the Pink Flag engaging in door-to-door campaigns, flash mobs, feeding programs, and social media training for volunteer work.

Day after day, the spectacle of swelling crowds, with their power and appeal, takes center stage in Diaz’s narrative, consequently setting aside a deeper discourse on Robredo. While Diaz successfully documents the movement’s outward manifestations, her commentary falls short of delving into the environmental factors and contemporary Filipino psychology that fueled its growth, missing the opportunity to explore how word-of-mouth, personal reflection, and the collective yearning for change blended to create such a significant phenomenon.

The introduction of Maria Ressa, CEO and Founder of Rappler, adds another layer to the documentary. Diaz revisits Ressa’s struggles under Duterte’s regime, including the legal threats and cases filed against her and her team of young journalists. These moments echo the themes of A THOUSAND CUTS as they rekindle those familiar feelings of undeniable disgust and continuing frustration over the state of justice during the time of Duterte. However, while Ressa’s story is powerful and relevant, its inclusion presents an uneven focus compared to the exploration of Robredo and her opponents—who arguably deserve a deeper examination given the film’s subject matter.

Consequently, the film falls short in its political commentary. By focusing predominantly on Robredo’s campaign with an additional layer of Maria Ressa's story, Diaz misses the opportunity to present a balanced critique of the election. It overlooks her opponents' strategies, communication tactics, and psychological maneuvers, particularly Ferdinand "Bongbong" Marcos Jr., whose campaign was critical to the election's outcome. This unbalanced narrative limits the documentary’s ability to engage viewers in a broader discussion about the complexities of Philippine politics.

As a result, it soon becomes more of a nostalgic revisiting for those who participated in or supported the Pink Revolution than an analysis of the 2022 election. While it offers a poignant viewing experience, especially for those who hoped to see a return to decency, compassion, and freedom in the country, its impact is limited. The film preaches to the choir by connecting only with those already aligned with Robredo's cause but failing to reach and challenge a wider audience.

Don't get me wrong, dear readers. I did enjoy AND SO IT BEGINS, and I am glad to have seen it before it closes. I even regretted not having brought a tissue. But enjoying such an offering is only half the experience. A documentary like this, which deals with such political and social themes, deserves a critical viewing, at least. It should challenge us to think a bit deeper, ask more questions, and strive for a broader understanding of the complexities it presents.

To say that AND SO IT BEGINS is significant is arguable. However, to say that it offers a refreshing review of how we once hoped—and prompts us to revisit our current hopes—is quite acceptable. It feels like Diaz' love letter to us who have, once in our lifetime, carried the Pink Flag with yet another widow on the political stage, hoping for change, decency and good governance. That, in itself, is a good thing.

Yet, its lack of intensity and depth falls short of pushing us to continue the conversation, let alone encouraging others to revisit their perspectives. Diaz’s portrayal of Robredo’s campaign and the Pink Revolution is both inspiring and heartbreaking. However, the film’s shallow focus and unbalanced perspectives prevent it from achieving the broader and deeper engagements that such a subject matter demands.

A ROYAL PHENOMENON: SIX THE MUSICAL ARRIVES IN MANILA THIS OCTOBER

Manila, Philippines – The Queens are ready to reign supreme in Manila as Kenny Wax, Wendy & Andy Barnes and George Stiles, in association with GMG Productions, proudly presents the hit musical directly from the West End, SIX the Musical. The production is set to dazzle Filipino audiences with its revolutionary take on history and music, with a strictly limited season in Manila, running from October 1 to October 20, 2024 at the Theatre at Solaire.

SIX tells the extraordinary story of the six wives of King Henry VIII, who step out of the shadow of their infamous husband and reclaim their own narratives. Written by Toby Marlow and Lucy Moss, the modern-pop inspired musical brings these historical figures to life, portraying them as fierce and influential pop stars in their own right. Audiences are taken on a journey through the lives of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard, and Catherine Parr, each telling their own story and reclaiming their own narrative.

Since its debut at the Edinburgh Festival in 2017, SIX has received widespread critical acclaim, leaving audience enthralled by its infectious energy, catchy tunes, and empowering message. UK’s The Daily Telegraph called it “A theatrical phenomenon”, while US’ Vogue writes the show as “A rioutous explosion of wit that speaks strongly and vibrantly to today.”

SIX has also received well-deserved recognition in the industry, winning 35 major international awards, including two prestigious Tony Awards and a Grammy nomination. Today, the global hit has been seen by over 3.5 million people worldwide every year since its premiere, and has toured internationally in the United States, Canada, Australia, and South Korea.

Carlos Candal, GMG Productions’ CEO, expressed his excitement, "Bringing SIX The Musical to Manila is a momentous occasion. The energy and impact of this production are unparalleled, and we believe Manila audiences are in for a royal treat. This is not just a show but an experience that celebrates the strength and resilience of women in a way that is both entertaining and empowering."

The Manila season is presented at The Theatre at Solaire by GMG Productions, with tickets on sale on April 19 only through TicketWorld. Theatre fans can enjoy exclusive first access to the show with UnionBank of the Philippines as the show’s official sponsor and pre-sale partner or through the GMG Six the Musical waitlist at www.gmg-productions.com. The Waitlist will run from March 10 to April 12, with the Pre-sale Period running from April 15-17.

Be part of HER-story when SIX the Musical arrives at The Theatre at Solaire in October 2024. For updates and exclusive announcements, visit www.gmg-productions.com or follow GMG Productions @gmg.productions.

REVIEW: PAST LIVES (2023) is a love story you will love to remember

PAST LIVES (2023) is a film that weaves together a tapestry of themes - love, ambition, race, relationships, distance, technology, silent struggles, and migration, among others. But, what's remarkable is its ability to blend these diverse elements into a symphony, creating a melody that resonates. To say the least, it is a perfect film

Seung Min Yim as young Hae Sung and eung Ah Moon as young Nora in PAST LIVES (2023)

"Some crossings cost you your whole life," reflects the essence of human journeys, as portrayed in this deeply personal film. It tells the story of Nora, an immigrant who left her childhood, identity, and Hae Sung - her childhood love behind when her family migrated to Canada when she was twelve. Now, 20 years after and living in New York City, she finds herself torn between her past as Na Young and her present as Nora, with her childhood friend Hae Sung.

Director Celine Song's structure thrives on linear storytelling with moments of reflection. It invites the audience to question the dynamics between its characters, setting the stage for an exploration of their relationships. As we journey from Seoul to New York City, we witness the evolution of Nora's life and her virtual connection with Hae Sung, grounded in emails and Skype calls. However, the pull of their relationship threatens to disrupt Nora's pursuit of her dreams in New York.

Nora's eventual meeting with Arthur, her future husband, introduces the concept of In-Yun. It emphasizes the profound connections people share across lifetimes. The film dives into their evolving relationship, revealing layers of connection and understanding. As they navigate their life together, Arthur grapples with the parts of Nora he can't access, ultimately learning to appreciate the love they share and accepting what they cannot.

Greta Lee as Nora and Teo Yoo as Hae Sung in PAST LIVES (2023)

The film reaches a poignant climax when Hae Sung visits New York. Their reunion after twenty-four years is filled with unspoken emotions, and Nora becomes his guide to the city. Through their gaze, we see New York anew, and their eyes often find solace in each other. Yet, Nora is committed to her life with Arthur, and she must convince both men that her choices are deliberate. While she misses Seoul, it's not her home, and her past, embodied by Na Young, remains elusive.

During these moments, you start to get answers to questions that have been lingering early on in the film. Yet, Song restrains her characters from revealing too much. It's intriguing how Hae Sung, a tourist from Seoul, sees Nora as his personal embodiment of New York. Around them, the city appears as it is, unremarkable, lacking color and vibrancy. But whenever Hae Sung marvels at Nora, like a tourist who has finally seen the place has been dreaming to see, he knows that he has truly "arrived."

Song's debut as a filmmaker is a masterclass in storytelling. As a playwright turned filmmaker, her narrative centers on Nora and Hae Sung. She creates an ambiance where the world around them blurs dreamily when they are together. There's an unmistakable bond between them, even though it never had the opportunity to solidify. Each yearning gaze, late-night video call, unsent email, or excited smile traces the path of their relationship. Instead of unnecessary melodrama, the characters' subtle dialogue engages through authentic conversations that uncover each other's vulnerabilities.

Greta Lee as Nora, John Magaro as Arthur and Teo Yoo as Hae Sung in PAST LIVES (2023)

With a gentle touch, cinematographer Shabier Kirchner visualizes the themes of PAST LIVES. From intimate close-ups of Nora's face to Hae Sung's emotionally charged reactions that speak volumes without the need for words, Kirchner was able to create visual dialogues we rarely see in cinema nowadays. During their long-awaited reunion, the two effortlessly transition from basking in the magic hour's glow on Brooklyn's waterfront to sunny ferry rides and street-lit walks in the East Village.

It's a playful juxtaposition to the film's earlier setting in Seoul, where young Hae Sung and Na Young navigated hilly routes home and played among modern sculptures in a park. Regardless of the location, Kirchner's camera conveys their undeniable connection, emphasizing that nothing else in the world matters as much as this moment.

The movie integrates Nora and Hae Sung's shared background, making it a vital part of the narrative, akin to a secondary connection beyond their individual interests. This shared background represents the life that Nora left behind when she moved away—a piece of herself sacrificed for the promise of something new. Their shared language becomes a source of connection that her American husband can't fully share, allowing Nora and Hae Sung to maintain a private dialogue even in his presence.

Greta Lee and Teo Yoo, as Nora and Hae Sung, deliver impeccable performances through a sense of comfort and elegance. The characters' eagerness to engage in conversation with each other feels entirely authentic, and their meandering conversations come with a certain degree of authenticity.

Lee and Yoo succeed in conveying a deep sense of history between their characters through their gazes alone, all without the need for words. Their subtle expressions reveal the restrained emotions lurking beneath a polite smile, and a single heavy sigh is all it takes to unleash tears for a love that was never meant to be - a life that remained elusive, and a childhood that fades further into the past with each passing year.

Because, having a shared history doesn't necessarily mean sharing the same emotions, as highlighted by the recurring motif of In-Yun - the encounters in past lives that can influence present connections. While Nora dismisses this concept with a laugh during her initial encounter with Arthur at a writers' retreat, Hae Sung takes it seriously as he contemplates his long-anticipated visit to New York. Ultimately, they find themselves on divergent paths, yet deep down, they remain the same individuals who first locked eyes as children.

PAST LIVES is a film for anyone who fell in love and lost. A gem we rarely see on the silver screen nowadays. It is a love story that resonates with our own love stories in one way or another, making it quite hard to forget. It says that we can cherish the memories of our past lives, all the while recognizing those that we lost: childhood treasures left behind, paths left untraveled, and relationships that were never destined for us.

Go see it, friends.

NEWS: Ballet Manila partners with Ateneo de Manila's ARETÉ

Quezon City, Philippines - Ballet Manila and ARETÉ, Ateneo De Manila University's hub of creativity and innovation, have partnered to promote the appreciation and accessibility of classical ballet in northern and eastern Manila.

The partnership, recently announced at Hyundai Hall within ADMU's ARETÉ, enables both institutions to collaborate on a series of shows scheduled for this venue. This initiative aims to provide an additional venue for Filipinos, particularly for audiences and potential talents residing in Quezon City and nearby regions, to enjoy Ballet Manila's performances and their regular shows at Aliw Theater.

ARETÉ is a generative space housing theaters, art galleries, studios, laboratories, maker spaces, teaching and meeting rooms, and various open areas. This multipurpose environment fosters collaboration and knowledge sharing among diverse groups representing various fields and disciplines.

Lisa Macuja Elizalde, Ballet Manila's artistic director and chief executive officer, expressed that the collaboration with Ateneo's ARETÉ is timely. Following the conclusion of its 25th performance season, the company is eager to build on its momentum by co-producing additional shows aimed at reaching a wider audience. Ballet Manila remains committed to making ballet accessible to the public and fostering a greater appreciation for this art form.

(from left to right) Dr. Estelle M. Larido, Martin Lawrence, Lisa Macuja-Elizalde, Dr. Ricardo Abad

Dr. Ricardo Abad, ARETÉ's artistic director, anticipates collaborating with Ballet Manila will foster greater interest in the performing arts among Filipinos. He has long explored partnerships like this for ARETÉ and was delighted to discover that Macuja-Elizalde shares a similar vision for Ballet Manila. Dr. Abad believes this partnership will strengthen their creative and social objectives as they engage with a broader spectrum of audiences and communities.

To kick-off the partnership will be the re-staging of Martin Lawrance’s modern and Filipinized iteration of “Romeo & Juliet,”; which was part of Ballet Manila’s recently concluded 25th performance season, “Of Hope & Homecoming”. Show dates are on September 16, 2023, at 3:00 p.m. and 8:00 p.m. and September 17, 2023, at 5:00 p.m. at the Hyundai Hall, ARETÉ in Ateneo de Manila University. Tickets to the shows are available through Ticketworld at www.ticketworld.com.ph.

Areté and Ballet Manila have hinted at their plans for 2024, which encompass a collaboration with the Lisa Macuja School of Ballet and diverse, immersive learning opportunities in dance, among other initiatives.

Know more about Ballet Manila, visit https://balletmanila.com.ph/ and ARETE https://arete.ateneo.edu/

WATCH BEHIND THE CURTAINS: Exploring tick tick BOOM!'s Set Design with Mio Infante (Episode #1)

In our first BEHIND THE CURTAINS episode, Award-winning Filipino scenographer Mio Infante walks us through his design and creative concepts for 9 Work's Theatrical's 2023 production of Jonathan Larson's tick...tick...BOOM!

The “Behind the Curtains” docuseries is a collaborative effort between BroadwayWorld Philippines and Culture Nurtures. With producer-approved access, we capture behind-the-scenes, pre-show, and live performance moments.

We aim to spotlight the creative process and dedication to the arts, all while respecting privacy and sensitivities. Ensuring artist safety and production integrity is paramount. This docuseries celebrates art while honoring those involved.

Special thanks to Jonjon Martin of 9 Works Theatricals, Oliver Oliveros of Broadway World, Jude Cartalaba of The Modern Scribe and the wonderful people of 9 Works Theatrical. We wouldn't have done it without you.

On behalf of Culture Nurtures and BroadwayWorld, are happy to share with you our first episode of BEHIND THE CURTAINS.

Watch here.

RED, WHITE & ROYAL BLUE (2023) is a fairy tale you just can't resist

Director Matthew López marks his debut with RED WHITE & ROYAL BLUE (2023). Its narrative merges the familiar elements of a classic cinematic romance with the unique complexities of two highly visible young men striving to safeguard their relationship from public scrutiny. Based on Casey McQuiston's novel, the film delves into the story of a British prince and the son of the President of the United States. Both aim to keep their romantic connection concealed to ensure their personal privacy and the avoidance of any family-related controversies.

Setting the groundwork, the movie takes us through the expected cinematic journey, where initial discord transforms into reluctant understanding, followed by flirtatious exchanges and the eventual realization of love.

Did I hear you say Wattpad? I can't blame you.

At the heart of the story is Alex Clarmont-Diaz (Taylor Zakhar Perez), son of President Ellen Clarmont (Uma Thurman) and Congressman Oscar Diaz (Clifton Collins Jr.). He's all about politics, but they've got him on glorified coffee duty, like escorting Nora, the granddaughter of the US Vice President (Rachel Hilson, a real charmer), to the wedding of the King of England's grandson, who's next in line to the throne. Alex isn't too jazzed about being a glorified photo prop and wouldn't care less about meeting Prince Henry (Nicholas Galitzine) if he tried.

Eventually, an incident at the wedding reception leads to a diplomatic necessity for both young men to project a close friendship on the global stage. While this setup is a trademark of romantic comedies, the plot goes beyond the conventional. López steers the narrative between slapstick humor and poignant moments, underscored by a diverse and culturally representative cast that incorporates their respective backstories. The film dives into themes of identity and familial acceptance as it highlights the importance of authenticity in a world often dictated by perceptions.

With a background in musical theater, López brings a sense of rhythm and pacing. Notably, scenes like the New Year's Eve party showcase a keen sense of timing. A scene involving the main characters confined in a closet blends discomfort, realization, and respect, revealing López's ability to present nuances sequences.

The cast is notably diverse, portraying characters with an effortless sense of authenticity that aligns with the narrative' setting's themes. Supporting characters show a strong self-assuredness, evident in their unapologetic embrace of their identities, including accents and cultural backgrounds.

An interaction between Alex and a Hispanic journalist highlights the dynamics of their exchange. The journalist's attempt to establish rapport by conversing in Spanish creates a nuanced moment of connection, despite Alex's apparent unease. Collins' Oscar, a supportive father, offers a poignant moment that underscores his endorsement of his son's relationship with Henry. During this exchange, Oscar briefly alludes to the challenges he and Ellen faced due to their differing cultural backgrounds, suggesting a theme of societal skepticism.

RED WHITE & ROYAL BLUE triumphs in portraying characters who navigate their relationships and identities with candor while avoiding the need to conform to societal expectations. This candid approach adds depth to its characters and enhances its storytelling. The film handles intimate moments with sensitivity, portraying the protagonists' sexual relationships with care. Alex's bisexuality and Henry's homosexuality are explored with an emphasis on their personal growth and self-discovery.

Don't get me wrong. At the end of the day, this one is still a fairy tale. And fairy tales adore their neat little bows. Sure, there's the odd twist that's smoother than a stick of butter. But the sizzling chemistry between Perez and Galitzine is like a firework show you just can't look away from. To enjoy this one is to allow yourself to plunge headfirst into this fantasy vortex.

After all, isn't that what a happily ever after is all about?

MEG 2: THE TRENCH (2023) is a movie where big sharks simply make a cameo

MEG 2: THE TRENCH (2023) really knows how to showcase its biggest stars - that is by keeping them off-screen. After all, who wants to see massive sharks in a shark movie, right? Who cares if they're the title's selling point; let's give them bit parts and make them the understudies to a story that's apparently more interested in anything but the actual Megs in the room.

It's like buying a ticket to a concert to see the headlining band, only to have them perform a 30-second tune during the intermission. But who needs epic shark spectacles when you can witness CGI so stiff it makes you wonder if the sharks are auditioning for a claymation remake?

Of course, when your antagonist is a prehistoric mega-shark that could swallow a school bus whole, why bother giving it anything more than a cameo? It's not like it has to break a sweat to be the terrifying centerpiece of the show. It just nonchalantly yawns and humans start offering themselves as a light appetizer. You'd think such an all-powerful creature would have a packed destruction schedule, but no, it's more like a bored guest at a dinner party, occasionally joining the conversation with a bite or two.

Ah, and let's not forget the non-shark action extravaganza that fills the screenplay like a buffet line at an all-you-can-eat diner. We're treated to illegal mining escapades for precious metals, a leisurely underwater stroll that conveniently ignores the pesky physics of water, and a child actor whose facial expressions are so exaggerated that they could star in a vintage Disney Channel show. Then there's a traitor subplot, a flurry of one-liners that make you cringe harder than a sunburn, and an oceanic exo-suit adventure that's supposed to be exciting but mostly feels like an out-of-shape turtle race.

Enter Jason Statham, the D-list action hero who's here to save the day. Sure, he can do stunts with the grace of a charging bull and survive underwater without so much as a snorkel, but his charisma has gone on vacation – possibly to Fun Island, the fictional resort in the movie's second half where humans voluntarily become shark snacks. And Statham's acting here is to peak Statham what a rubber shark toy is to the real deal – a hollow imitation.

But who needs Statham to be compelling when we've got a gigantic shark on the prowl? Because, as MEG 2 gleefully proves, it's far more thrilling to watch Statham play with a Jet-ski and recite cringe-worthy lines than to see him desperately try to outshine a CGI beast that's genuinely jaws-dropping... just not in the way they intended.

Oh! And let's not forget the movie's anthropocentric nature. Because obviously, if a megalodon were to escape from the depths of the ocean, it would naturally prioritize munching on humans – because who can resist a little human-flavored snack, yes? It's like expecting a marathon runner to find joy in racing against snails; the effort-to-reward ratio just isn't worth it. But in true human fashion, we assume everything new and colossal must be captivated by us, even if it's for a fleeting moment before turning us into an underwater buffet.

The plot, if you can even call it that, twists and turns like a lost fish trying to find its way home. It's almost as if the convoluted mess is there to keep us distracted from the real stars of the show – the colossal sharks. Director Ben Wheatley takes the reins this time, injecting style into the film like a desperate attempt to breathe life into an otherwise dead fish. The film's hybrid horror-action genre draws inspiration from the likes of ALIEN (1979) and THE ABYSS (1989), but it's more like a parody gone awry, with scenes set in the metallic bowels of the Oceanic Institute that feel like an unintentional joke.

Wheatley tries to make walking on the ocean floor feel otherworldly, but it's as believable as claiming water is as dense as air – just ask that oblivious alien tourist visiting Earth for the first time. And yes, let's not miss the subtle nods to the JAWS sequels because who doesn't love a reminder of the franchise's lowest points? It's like tipping your hat to cinematic blunders while casually throwing shade on the very essence of the genre.

MEG 2: THE TRENCH clearly excels in one aspect: leaving viewers wondering how a film centered around massive, menacing sharks can feel as lifeless as a floundering fish out of water. It's an art form that crams so much disappointment and missed potential into a single movie. At least this one is proof that not all big fish stories have happy endings – some just leave you with a sinking feeling of wasted time and an even deeper appreciation for the classics.