Movie Trailer Reviews

Anyone who saw Train to Busan in 2016 (or any time after), was very excited to hear about a sequel to that film. The first film not only had zombies that made the fast zombies from Dawn of the Dead seem like amateurs but there was also a tight, emotional story about survival wrapped in the action. Unfortunately the sequel, Peninsula, leans more into being about action and CGI than being a more grounded, emotional story.  There is definitely an entertaining film here. The zombies are just as terrifying as they were in the original. Feral, contortionist, fast zombies are a fear of everyone and Peninsula doesn't disappoint in that aspect. There's a scene on a boat where an infected is discovered and it's creepy and brutal and terrifying. Had Peninsula kept with that setting,  it would probably have rivaled Train to Busan. Unfortunately that was not the decision made. Where Peninsula comes up short is the story. This film takes place four years after the first film and sets up the Korean peninsula as being completely isolated from the rest of the world. Apparently the rest of the world was able to contain the virus/infection while leaving South Korea (particularly Busan) completely abandoned to the infected. A compelling story might have really focused on those left behind to survive for 4 years against the zombie hordes, but instead this film focuses on Jung Seok sneaking back into Busan with his brother-in-law in order to smuggle a truck loaded with cash back out for some seedy individuals. The film tries to reconcile this plot with a lukewarm explanation about how Korean survivors of the outbreak living in Hong Kong are treated as second class citizens and that Jung Seok and his brother are desperate to find a way to get out of their current situation. What follows is then a mash up of several other movies from Tokyo Drift to Mad Max to any number of dystopian zombie movies. There's a young girl who probably should be in the next Fast and Furious movie who drifts around corners and runs over zombies (because apparently Toyotos are built to run over zombies with no actual damage to the car). There's also a cadre of ex-military (I think they're ex-military) soldiers that were left behind who now hunt down survivors and pit them against zombies. It's all just convoluted and honestly doesn't feel like Train to Busan at all. No one can deny that Train to Busan Presents Peninsula is entertaining. It's just a bit disappointing if you were expecting the same quality and impact as Train to Busan. This sequel is sadly easily forgettable.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network  

If you’re looking for a ground breaking alien creature-feature, Sputnik may leave you a bit disappointed. However, if you’re looking for a film that puts a unique spin on the typical “astronaut brings some alien life form home with them” trope, then Sputnik will be right up your alley. One of the problems with a typical alien creature feature is that they all follow pretty much the same themes. Sputnik takes a slightly different path and straddles the line between trying to contain a deadly alien creature and determining the line between man/alien. By doing that, it differentiates itself enough from other films and makes Sputnik a highly effective film.   One of the key elements of a good creature feature film is obviously, the creature. An effective creature can turn a typically mediocre film that could easily be forgotten into a memorable one. Sputnik starts off a bit slow bu that makes The first time the creature appears even more jolting. The more that’s revealed about the creature (what it eats and how it comes out of astronaut Konstantin Veshnyakov are only made more intriguing by the questions that aren’t answered (Is it a parasite or some other symbiotic creature, can it be controlled, etc).   Borrowing from The Thing, Sputnik leans heavily into using the personalities of the human characters to drive the conflict. The "who is really more of a monster?" trope has been done plenty of times before so again, this isn't ground breaking. That said, the film does a great job developing Oksana Akinshina's Tatyana and contrasting her character against the men she's having to deal with.  Overall Sputnik is a Sci-Fi horror film worth checking out. The creature alone is enough to give you nightmares and the performances also help keep the audience engaged. Watch Sputnik now on Amazon Prime. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Kriss, Ro and Brandon are back to discuss the last 3 episodes of Lovecraft Country (Whitey's on the Moon, Holy Ghost, A History of Violence). This show continues to impress and is also a perfect example of what (good) happens when Black people (particularly Black women) are allowed to tell stories involving Black people from our lens. Honestly, the best parts of Lovecraft Country have been the parts that lean on the horror and harassment Black people face more than the traditional fantastical horror elements. This once again proves that the horror Black people face is terrifying. Lovecraft Country is also doing a great job of (sadly) showing how evergreen racism is in this country. You can't watch Leti get taken on a "rough ride" in the back of that police car in Holy Ghost and not think of Freddie Gray. The fact that the cops only showed up after Leti got fed up with the harassment and decided to lash back out reminds us of the way cops only show up when Black people are fed up and in many cases were part of the original harassment. Watching the cops drive past the mob of angry white people and not do anything is right up there with police in riot gear fist bumping white militiamen and vigilantes at Black Lives Matter protests. Even the more subtile things hit hard. Ruby rejecting the notion that she could still apply for the job at the department store because there's no way they'd hire two Black women, much less a Black woman with a larger figure is still something Black people feel. We constantly feel like we're in competition with each other because of how few opportunities we're given. It's not only surreal but infuriating to see how little things have changed.  Out of the last three episodes, Holy Ghost is the strongest. This is due to the focus and story revolving around Leti. Jurnee Smollett is putting in one fantastic performance through the whole series, but particularly with this episode. There was something cathartic about seeing Leti take a baseball bat to those racist white people's cars then later on seeing the three racist white dudes meet their end in the haunted house. Between all that and her literally leaning on the power of the ancestors to cleanse the house of evil, this was a powerful episode.  Listen as we discuss these three episodes. We talk about: * How each of the three main characters (Atticus, Leti and Montrose) have their own demons to face  * The use of color and music to really make Black people pop on the screen * Reckless vs Impulsive aka Atticus vs Leti * Following the story through the eyes of the female characters and more Oh and Ro & Brandon hint at the fact that no one is prepared for episode 5. So strap in. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic. 

The Mortuary Collection, a 2020 Fantasia Festival Official Collection, is an horror anthology collection available in the on-demand library.  Written and directed by Ryan Spindell, this anthology offers four twisted tales of the dead. Between the striking cinematography leveling up the visuals and the meta storytelling it's one not to miss.  Spindell's love letter to the past is a cohesive narrative that sets the stage (hopefully) for more. Montgomery Dark (Clancy Brown) caretaker and mortician at Raven’s End Mortuary, knows the histories of the dead. Their stories fill the countless books on Dark's shelves. When a woman shows to answers his help wanted add she challenges him to share macabre stories so she "knows what she's getting into."  Caitlin Custer as Sam in The Mortuary Collection Ro said it after finishing and stands by, The Mortuary Collection is a brilliant blend of all the best elements from 70s/80s horror comics/movies, & pulp fiction. It's lush, goulish, and delightfully twisted anthology. If you like the Creep Show or Tales From the Crypt then this one's definitely for you. It entertains, disturbs, and is at turns, flat out creepy.  Ro and Kriss dug all four stories and the wraparound narrative that make up the mixtape that is The Mortuary Collection. Listen in as they dig into this Fantasia Film Festival Official Selection.  Follow more of our Film Festival  Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @TheMTRNetwork

Clapboard Jungle: Surviving the Independent Film Business Life as a creative in a world not suited to supporting art in the mainstream is a struggle. It takes more than having a dream. You've got to be ready to hustle. That hustle requires skill, multi-tasking, business savvy, and luck. When it come to being an independent filmmaker, the grind has unique challenges.  In Clapboard Jungle: Surviving the Independent Film Business, screening on-demand during Fantasia Film Festival 2020 filmmaker Justin McConnell shares his struggle to take his film projects to the next stage. The goal? Secure enough funding to bring them to the screen. But, Clapboard is far more than just a snap shot of the hustle. This documentary follows McConnell as he learns to navigate the production side of the film festival circuit all while writing, directing and working gigs to keep the lights on. McConnell, bookends his journey between interviews with others in the film industry in ways that highlight that his struggles aren't new or likely to end for anyone looking to climb that ladder. Stories from Insiders  Clapboard broadens the conversation and shifts the energy from just being a personal diary to a real behinds-the-scenes look at what trying to get in the room (literally) where the deals happen is like. The sheer number of people including George A. Romero, Larry Cohen, Paul Schrader, Justin Benson, Larry Fassenden, Barbara Crampton and Guillermo del Toro sharing advice and giving the honesty is on its own impressive.  Listen as Kriss and Ro discuss exactly how invested they became in McConnell's years-long journey and the highs and lows of grinding indie film style. The utter tenacity of it all is kind of incredible to witness. We felt stressed watching McConnell repeatedly tested.  https://www.youtube.com/watch?v=IlJ9M_H0rGU Follow more of our Film Festival  Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @TheMTRNetwork

A Storybook Ending turns the question, "what would you do if you realized the person you just killed while defending yourself was in fact a cop" into a timely dark farce. In 18 minutes, writer/director Lanre Olabisi creates a dynamic and layered neo-noir plot that's an excellent balance between the real and the ridiculous.  Starring Rotimi Paul (The First Purge), Carra Patterson (Straight Outta Compton), Sawandi Wilson (Isn’t It Romantic) and Toni Ann DeNoble (Manifest) this dark comedy tackles a blend of timely issues in the most unlikely setting and circumstances. A Storybook Ending is a comedy of errors that digs in to marital imbalance, greed, and the fear underlying it all, a fear of the police.  A Storybook Ending screened on August 21st in the HBO Short Film Competition during the 2020 American Black Film Festival. It's one of only five shorts in the prestigious short film competition. Ro sat down with Lanre to discuss his short film, the inspiration behind the story and how the comedy is a perfect gateway into confronting the issues lurking beneath the laughs.  Follow more of our Film Festival  Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @TheMTRNetwork

Nikola Tesla is one of the most influential and yet obscure inventors in modern history. A lot of the technology that we enjoy today can be traced back to his ideas, patents and inventions. Yet most people still don't know much about the man. Unfortunately, Michael Almereyda's Tesla isn't going to do much to expand people's understanding of the man.  Tesla is frustrating 102 minutes. This is a film that suffers from an identity crisis due to Almereyda's uncertainty of the film he was trying to make. Was this film supposed to delve more into who Nikola Tesla was and give a historical background? Was it supposed to focus on his historical achievements and why they were so important? Was it supposed to tie Tesla's inventions and genius with today's technology? Amazingly, the film sticks its toe in each of those things yet does nothing to make them compelling or interesting. Ethan Hawke is not a bad actor but was not the right choice for Tesla. While Tesla might have been a bit awkward, he was still a presence that attracted people to him. Hawke's portrayal is void of any real emotion or charm or charisma. Eve Hewson does what she can but the script does her and her character (Anne Morgan) no justice. Tesla essentially turns Morgan into an inconsequential character whose sole purpose is to be a sometimes narrator for the story and a way to introduce Tesla to more powerful men.  Tesla is a wasted opportunity. At least with Nikola Tesla, his inventions and impact on the world will be remembered. The same cannot be said for this film   Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Words on Bathroom Walls is the latest contemporary romance adapted to film. The novel by the same name by Julia Walton release in 2018. It was wildly popular and viewed as an emotional look into living with an mental illness by some and an unnecessarily biting commentary on the Catholic Church by others. But overall, Words was well received and stuck a chord with many readers. It's not completely surprising to see it made into a feature length film.  Official Synopsis: Diagnosed with a mental illness halfway through his senior year of high school, a witty, introspective teen struggles to keep it a secret while falling in love with a brilliant classmate who inspires him to not be defined by his condition. Words stars Charlie Plummer, Taylor Russell, Andy Garcia, AnnaSophia Robb, Beth Grant, Walton Goggins, Molly Parker, Devin Bostic, Lobo Sebastian.  Since this film adaptation from Roadside Attractions hits theaters (yes, you read that correctly) August 21, 2020. It felt like a good time to sit down and discuss how a story initially told through journal entries translates onto the big screen.  Ro's joined by Shanna (co-host of the Supergirl recaps) for a dive into of how the film handles the book's themes, its casting and what we really think works (plot and visuals) about Words on Bathroom Walls; with a few tangents along the way.   DIRECTOR Thor Freudenthal SCRIPT BY Nick Naveda based on Julia Walton’s novel of the same name       Like what you hear? Subscribe so you don't miss an episode!   Follow Ro on Twitter: @BookBlerd   @TheMTRNetwork  

Black Boys is Humanization in Context   Black Boys focuses on Black young boys and men in America. It' explores how they're dehumanized as a group. It unravels the ways in which society deliberately limited and then blamed for failing to excel.  “As much as we try to hold on to our humanity, you realize you live in a world where your humanity is constantly being challenged and constantly being questioned.” - Tyrone Howard It's a timely and necessary documentary that does more than simply help people see beyond their own experience to that of others living in the same society. Director Sonia Lowman centers real people and real struggles in ways that bring the humanity of Black boys into sharp and inescapable focus. The documentary's savvy in it's approach. Breaking the discussion up into sub-sections. This allows for a focused discussion that feeds into the greater whole in ways that inform and capture the humanity of the people sharing their stories and lives. Black Boys is a reminder that these young boys and men are more than the sum of their physical parts.  Listen as Kriss and Ro discuss this 2020 Bentonville Official Selection and how the documentary poignantly demonstrates the importance of changing the way we think about the humanity of Black boys, talk about inequity, and never forgetting that heroes are the last thing anyone needs.    Director(s): Sonia Lowman Writer(s): Sonia Lowman Producer(s): Sonia Lowman, Chad Williamson, Elliot Kotel Editor(s): Evald Ridore Cinematographer(s): Jeanne Tyson Production Designer(s): N/A Music Composer(s): N/A Cast: Malcolm Jenkins, Carmelo Anthony, Malcolm London, Vic Mensa, Cris Carter, Jemele Hill, Greg Scruggs, Howard Bryant Follow more of our Bentonville Film Festival Foundation 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Subscribe: Follow us on Social Media: MTRNetwork    MTRNetwork    @TheMTRNetwork   Want more podcast greatness? Sign up for a MTR Premium Account!  

Getting a group of friends together is always a great way to set the stage for drama. So, the premise behind writer/director Chris Chalk's debut feature length film Farewell opens the door for its story to turn in almost any direction. It's a solid choice, for the sneaky thriller it ultimately becomes.  Farewell: Social Circles and Secrets  Grace and Chance Charles need to celebrate. Grace accepted a new job that'll take the couple overseas. Her devoted husband's all-in for whatever she needs. Their both writers, but her career's on the rise leaving her overworked and on deadline for her next book. The couple's friends decide to throw them an Anniversary Send-Off. As the group comes together, it's immediately clear, these friendships aren't all sweetness and light. Farewell explores the relationship dynamics between these friends with just the right amount of the unconventional to be refreshingly engaging.   Friends and Being Dragged for Filth  Typically when a film stars a mostly Black cast and centers it's story around a get-together among close friends, the story direction leans towards the comedic. Nut Chalk's directorial debut veers into the awkwardness in ties that not only bind but strangle. Over the course of a night that starts upbeat swiftly gives way to biting sarcasm, low-key shade, and snide remarks. The dragging (and there's just so very much of it) is so on brand for Black folks that authenticity far out-weights the fact the dialogue and scene pacing could've done with another pass. As the night takes a turn into the sinister - and of course you can see it coming - these friends don't band together to make it through. Poor decision-making and all those secrets bubbling just beneath the surface of all the shade and messiness make for more than a few situations that test your ability to believe. That is until you remember no one is who they tell you they'll be in a crisis.  Watching the role reversals, acting out, and revelations all given with such solid performances - especially the notable the chemistry between the leads -  Farewell is a technically impressive feature and a horror-tinged (the sound production does it's job a touch too well at times) good time.  If we're backing husband/wife producing teams in this pandemic, the Chalk's just edged the Franco's out of the top spot for the MTR crew. Of course, that may just have something to do with our desire to never be seen as a bad friend by either.... Listen in as Kriss and Ro dig into why this narrative feature left them with high hopes for whatever Chris Chalk may choose to write next.  Director(s): Chris Chalk Writer(s): Chris Chalk Producer(s): Chris Chalk, K.D. Chalk Editor(s): Lex Kimbrough Cinematographer(s): Lex Kimbrough Production Designer(s): Prisca Choe Music Composer(s): Daniel Clive McCallum Cast: K. D. Chalk (Grace), Chris Chalk (Chance), Cesa Pledger (Mila), Eden Marryshow (Remy), Chantal Nchako (Kit), Ashlei Sharpe Chestnut ( Stacey), and Natalie Woolams-Torres (Laila) Farewell is the The Bentonville Film Festival Winner for Best First Feature, Narrative. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter:

More Than the Sum of Its Parts It's time. Lovecraft Country episode one debuts tonight August 16th on HBO, 9 PM ET. Set your DVR, get that streaming access ready. This is one limited series you don't want to miss.  Based on the Matt Ruff book by the same name, Lovecraft Country brings the saga of Atticus Freeman (Jonathan Majors) and his family and friends as they attempt to unravel a dangerous supernatural mystery buried in the roots of his family lineage.  Showrunner Misha Green centers the Black family, the everyday and mundane nature of striving for more in a world designed to keep you dispossessed. The cast lead by Majors also includes: Courtney B. Vance, Jurnee Smollett-Bell, Michael Kenneth Williams, Aunjanue Ellis, Jada Harris, and Wunmi Mosaku and trust and believe, no one is ready for what's about to go down. And that's a good thing.   Lovecraft Country Episode One: Sundown  Life in this 1950s setting has a pulse and vibrancy not often incorporated in the visual elements where Black life in all its many facets lie at the heart of the storytelling. Expect glorious fashion and vibrant settings as the backdrop to the gritty realities of living and moving under segregation and that's before you ever get to the gore, magical, and other horrific story elements. Family Matters This story opens with Atticus traveling from Florida to Chicago. He's heading home after receiving an alarm-raising letter from his father. This Korean War veteran is a much changed man from the awkward skinny kid who left to go to war. But regardless of all else, Atticus loves his family and intends to find his father and see him safely back in the family fold.  There's no importing "contemporary" sensibilities into the world-building of Lovecraft Country. Instead these writers deliberately reflect life in Jim Crow America. Starting with dispelling the myth that anti-Black sentiment stopped once you crossed into the North. We meet Atticus along his journey just before his bus home breaks down leaving him with no option but to finish the walk into the city with the other Black person seated in the back of the bus.  Jonathan Majors in Lovecraft Country. Photograph by Elizabeth Morris/HBO Right out the gate, Lovecraft Country leaves no doubt its that interrogating trauma on multiple levels. Just as Watchmen forced people to recognize the banality of racism and white supremacy in America. Every bit of dialogue between characters is insightful, the soundtrack purposeful, and the lead-in to the horror riddled with historical Easter eggs and multi-level fantastical storytelling.  Listen as Ro, Kriss and Ava's Daddy (formally known as Phenom) sit down for the first of many conversations to discuss Lovecraft Country's episode, Sundown.  This is Misha Green's Lovecraft Country now.  Lovecraft Country meets at the intersection of life in the 1950s Jim Crow America and cosmic horror. Expect the veil between the horrors of the everyday and the supernatural to thin. It's anthology-style is a perfect framework to continuously set it off. Every moment will raise questions about which horror is ultimately more damaging to the psyche. Prepare because Lovecraft's lens is unapologetically conscious, undeniably Black, and absolutely to here to challenge as it entertains like nothing else coming to the lineup.  Like what you hear? Subscribe so you don't miss an episode!

Hitmen, streaming service Peacock's latest addition, not only hits all the right comedic notes, it keeps the episodes short, the drama high and the relationship between the main characters as ridiculous as it is relatable.  While the humor (dry and pithy) won't be to everyone's taste, this show about best friends Jamie (Mel Giedroyc) and Fran (Sue Perkins) as the most unlikely pair of hitmen makes the most of its talented leading ladies. HITMEN -- "Birthday" Episode 101 -- Pictured: (l-r) Mel Giedroyc as Jamie, Sue Perkins as Fran -- (Photo By: Sky UK Limited)     The plot is a blend of sweet and silly as this comdey duo shows it's possible to build a buddy comedy around to women without ever making them the but of the joke. Misadventure Is The Name of The Game  Jamie and Fran are the prefect odd couple. Each supports the other - even when perhaps that's not the best move - through relationships, clashing personality quirks, and mishaps that seem to plague them at ever turn. The laughs are often unexpected but always earned by the end. It shouldn't be possible to describe a pair of contract killers as adorable..and yet here we are.  The script makes the most of Giedroyc and Perkins (The Great British Baking Show) long relationship and obvious chemistry to build a great launching point for a show about women of a certain age whose lives are clearly a hot mess making their way in the world by applying their unconventional skill-set. It shouldn't work but their oddball antics and clear love for one another keeps it all together.  Finding the comedic sweet spot on a television show is no small feat. Not only does the timing need to be right, the characters often need to be just this side of unbelievable. Listen to Kriss and Ro discuss why Hitmen is not only worth a watch but is a savvy addition to the lineup of Peacock's original shows. Hitmen, the six episode series debuts on Peacock August 6, 2020.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

image courtesy STX Films As a child, I was probably more akin to the young heroine of Frances Hodgson Burnett's A Little Princess; always believing I was a secretly a princess and yelling about the unfairness of a world that no longer believed in magic. But despite our differences, I always held a deep affection for Burnett's anti-heroine, Mary Lennox. I feel like this latest adaptation of The Secret Garden from STX Films, shows why I was right to back this dark horse. Set against the lush green backdrops of India and England, this adaptation of Burnett's classic story delves deep into the love and loss that has always hovered over this tale. Produced by the good people behind the recent Paddington films, The Secret Garden follows Mary (Dixie Egerickx) and Colin (Edan Hayhurst), orphaned cousins connected by their twin mothers. Mary has grown up in India because her father was stationed in the country while it was occupied by British imperial forces. Colin has grown up in Misselthwaite Manor, an English estate set beside a British moor. While they've grown up quite far apart, their childhoods were similar in that they've both been horribly spoiled and thoroughly neglected. When Mary returns to England following the death of both her parents, Misselthwaite is a dark, oppressive space that has been closed off by Colin's father, Lord Craven (Colin Firth), following the death of his wife. Mary, with the help of Dickon (Amir Wilson), overcomes her own brattish sensibilities and brings life back to the secret garden and the manor.  The screenplay by Jack Thorne expands on the story of Mary and Colin's mothers, giving depth to the children's backstory that hasn't been seen onscreen before. As the twin ghosts that center this film, you can see the profound effect that their mother's deaths have had on Mary and Colin's sense of self. The director, Marc Munden, takes this tale of grief and infuses it with life as the garden Mary and Dickon tend takes on epic proportions and scale. The trees move to lift up the young girl as she explores, the leaves bend to greet her and curl away when she's sad. The visual storytelling blends the real and fantastic so the garden becomes a physical manifestation of the growth of these characters.  The film is not without its shortcomings. While I applaud the attempt to touch upon the problematic nature of its protagonist's upbringing with the flashbacks to colonial India and the colorblind casting of Amir Wilson and Isis Davis as Dickon and Mary, the film chooses to use Mary and Colin's grief as the rationale behind their spoiled personas rather than address the problematic nature of race and class inherent in this period of Britain's history. Although it's never been explicitly addressed in any adaptation of Burnett's work, given our current time, her work is ripe for a critique of the social structures of colonial Britain. Despite this, fans of the classic tale, will find new ways to fall in love with this story, while those new to the material will be immersed in a tale that doesn't shy away from the underlying sadness of this story. And that's a good thing. Like Mary, we are discovering new ways to be, new things about the people we love and the people we've lost and most importantly, new ways to tell our stories.  The Secret Garden premieres via PVOD on August 7th in the US and Canada. Watch the full trailer below and check out the audio review with The Doctor as well. 

P-Valley (a.k.a Pussy Valley) premiered July 12th on Starz with a whisper campaign already in progress. What many thought would be -at best- a higher class episodic version of the Player's Club was instead, a vividly nuanced world built on the Mississippi Delta region's nightlife and strip clubs wrapped in a crime-novel-worthy mystery.  P-Valley is far more than just a look beyond the pole and into the dressing room. It's the slow burning - gorgeously lit - journey of women on a hustle to fund (or save) their own lives.  This show has LEVELS. Just as soon as one twists unravels there's a turn to keep it unpredictable.  When Film Noir and Strip Culture Collide... Creator and Showrunner Katori Hall (Tina: The Tina Turner Musical) assembled an all-women team of directors and writers to develop her stage play into a dynamic neon-drenched drama. P-Valley pours the moral ambiguity and cynicism of sex work into a gritty film noir mold. The end result is a intricate plot-driven by the titillating and traumatic (with a side of ambition) all set to a mood-altering blend of the blues and trap music. And with that decision, Delta Noir was born. With every reveal from inside The Pynk, the more riveting each club performer's subplot becomes.    The Pynk  The writer's room gave a subtle hat-tip to noir archetypes, like the girl-next-door, the femme fatale, and the good-bad girl crafting characters that subvert narrative expectations with a hefty dose of existential angst. The savvy story direction and spot-on casting infuses each character with trope-defying authenticity. The women of P-Valley are the living embodiment of "classy, bougie, ratchet, sassy, moody, and nasty" in the best and most savage of ways (Megan would be proud).  These aren't, however, hollow caricatures as is often the case when a story centers Black women. The P-Valley writers built these women with depth. Each capable and fully embracing their agency. Crafty writing shows them leveraging their personal power at work then juxtaposes those moments with the complicated personal lives each struggles with daily. Each theme-driven episode runs the gambit of family issues, domestic violence, colorism, racism, betrayal, and other oft mishandled issues festering within portrayals of the Black community. Hrere, every story arc's told with an eye always towards honesty and handled with a deft touch. P-Valley constantly up-ends presumptions about what "kind" of woman dances for a living (and why).  But, this Delta Noir set to destigmatize more than just stripping. Although it definitely accomplishes that with wit and gritty honesty. So, expect P-Valley to put subtly center body-positivity, addiction, PTSD, toxic mother-daughter dynamics right next to deconstructing masculinity, and embracing one's sexuality. The apologeticness of it all is gratifying. Like In Any Good Noir Drama, Trouble Comes To The Delta...  Life in a small town is never simple. And in Chucalissa, the same people throwing dollars until dawn at The Pynk on Saturday are seated in the pews of churches on Sunday. The hypocrisy is real.  Club owner Uncle Clifford (Nathaniel Nicco Annan) needs revenue streams to ensure The Pynk survives. He's determined to preserve his family land and see his club thrive. So he plays the game. Clifford's (and The Pynk's) place in the community (and importance to the plot) is constantly evolving. Because thankfully, in P-Valley, The Pynk doesn't exist in a vacuum. This former(ish) plantation town is due a massive face-lift. Enter the mysterious Andre Watkins (Parker Sawyers) and his client gobbling up real estate all around town. Watkins believes he's on the cusp of breathing new life (and jobs) into the area. But his interests are certain to clash with Uncle Clifford's.

The Boundary Breaking Go-Go's  Ro and Joi freely admit to liking documentaries. They're a great way to dip a toe in to messiness without the need to invite it into real life. Documentaries also provide an meaningful way to expand the elements of history to properly capture the zeitgeist of a decade.  The latest entry in documenting music history on film is The Go-Go's from director Alison Ellwood (History of the Eagles). Ellwood gathered all the members of the ground-breaking girl group together for open honest discussion about their rise to fame. This group created an entire zeitgeist altogether. It's worth knowing about.  The women were frank about their ambitions, honest about their missteps, and real about the challenges to breaking into the music scene.  Respect the Game But Smashing the Mold  Prepare for a rather comprehensive oral history. Ellwood's directorial style blends live interviews and archival footage to present a seamless look at the journey of a rock band. There's sex, drugs, grit, grime and glamour.  (L-R): Charlotte Caffey, Gina Schock (drums), Belinda Carlisle, Kathy Valentine (bass, behind Belinda Carlisle's head), Jane Wiedlin. 1981. Photo credit: Cassy Cohen/Courtesy of SHOWTIME. The Go-Go's hold the title as the first (and last) all female rock group to play their own instruments, sing original songs (that they wrote) to have a number one album. It doesn't take more than a downbeat to identify a song by The Go-Go's. Their style was distinct and trendsetting. Learning what it took to get them to the top and what toppled them reveals the strange chemistry likely at the heart of every successful group.  Watching this band of badasses grow from punk devotees into stadium-filling rock stars was a wild and engaging ride. The pieces slowly fall into place as they grow into themselves (and out of the punk scene). Their coming of age crashed through the gates of the industry; swiftly dispelling the longstanding belief that 'girl bands don't sell records.'  This clear-eyed look back chronicles a journey that's unparalleled in terms of success and unflinching (for the most part) in terms of confronting the band's weaknesses and egos. The darker side of fame, personal demons, and crushing schedules only touches on the subjects discussed. It's a raw look behind the curtain that informs, entertains and sends you away wondering:  What exactly will it take to get The Go-Go's into the Rock and Roll Hall of Fame?  "The Go-Gos" premieres July 31 at 9 p.m. on Showtime. Listen as Ro and Joi's spoiler-free discussion about this documentary about a group that paved the way for generations of musicians.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork