Author: Wanggo Gallaga

MOVIE REVIEW: ‘The Sheep Detectives’ Successfully Juggles Multiple Genres as Comedy, Whodunnit, and Social Commentary at the Same Time

When I first saw the trailer for The Sheep Detectives, I must admit I wasn’t impressed. It looked like a typical family-friendly story of anthropomorphic animals doing human things, in this case, solving a murder. It felt a little far-fetched to me and because the trailer seemed a little over-the-top, the jokes felt expected.

I was pleasantly surprised when I finally saw the film, though. Directed by Kyle Balda and written by Craig Mazin (adapting Leonie Swann’s novel ‘Three Bags Full’), the movie is funny, heartfelt, and engaging. There is an earnestness and sincerity to it that perfectly matches the demeanor of its wooly protagonists.

(L to R) Regina Hall as the voice of Cloud Aroop Shergill as the voice of Daisy, Patrick Stewart as the voice of Sir Ritchfield, Ishi Agrawal as the voice of Pickles, Jasper Ambrose as the voice of Oliver, Rhys Darby as the voice of Wool-Eyes, Bella Ramsey as the voice of Zora, Chris O’Dowd as the voice of Mopple, Laraine Newman as the voice of the Fainting Sheep, Julia Louis-Dreyfus as the voice of Lily, Brett Goldstein as the voice of Reggie and Ronnie and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios | Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

The characters, as sheep, serve as a clever metaphor for the larger societal metaphor the filmmakers intend to discuss, however they never do so in an overt way, allowing the film to maintain its light and whimsical tone.

(L to R) Tommy Birchall as the voice of The Winter Lamb and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

In ‘The Sheep Detectives,’ we follow a herd of sheep cared for by George Hardy (Hugh Jackman), a bit of a loner who is grouchy and dismissive toward the townspeople that live near his farm but pours all his affection into his flock. He cares for them deeply, naming each one and reading them mystery novels at night. In this world, the sheep understand him, enjoy the detective stories, and love him just as equally. After a rainy night, George is found dead under circumstances that point to murder. In such a small town, the only policeman, Tim Derry (Nicholas Braun), is a bumbling fool who misses every significant clue. Now, the sheep, led by George’s favourite, Lily (voiced by Julia Louis-Dreyfuss), must solve the case on their own.

(L to R) Nicholas Braun stars as Officer Tim Derry, Molly Gordon as Rebecca Hampstead, Kobna Holbrook-Smith as Reverend Hillcoate, Hong Chau as Beth Pennock, Conleth Hill as Ham Gilyard and Tosin Cole as Caleb Merrow in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Alex Bailey © 2026 Amazon Content Services LLC. All Rights Reserved.

Balda’s direction is fast-paced and easy to follow, allowing him to juggle the film’s various modes. On one hand, it is a coming-of-age story, as the sheep learn to become more active characters in their own lives and venture beyond the comforts of their farm. It is also a mystery film, hitting all the narrative beats of the genre and effectively playing out the whodunnit form. Then, quite subtly, the film also doubles as a social commentary, with the sheep becoming a clever metaphor for today’s modern society.

(L to R) Chris O’Dowd as the voice of Mopple and Julia-Louis Dreyfus as the voice of Lily in THE SHEEP DETECTIVES, from Amazon MGM Studios.
Photo credit: Courtesy of Amazon MGM Studios
© 2026 Amazon Content Services LLC. All Rights Reserved.

In the movie, the sheep possess the power to forget. The moment they encounter something distasteful, uncomfortable, or problematic, they can simply choose to forget it. Their reality and worldview are determined by what they allow themselves to remember. While this is an important story point for The Sheep Detectives, it is also a poignant metaphor for our current society’s inability to remember our history, hence we always find ourselves repeating the same mistakes as before.

Patrick Stewart as the voice of Sir Ritchfield in THE SHEEP DETECTIVES, from Amazon MGM Studios.
Photo credit: Courtesy of Amazon MGM Studios
© 2026 Amazon Content Services LLC. All Rights Reserved.

The sheep are carefree and passive, and why shouldn’t they be? They are well-fed, cared for, groomed, and entertained, with all their needs met. What reason do they have to do anything radical or drastic? It is only when George dies that all this comfort is threatened. Before they can choose to forget to avoid the pain, the only sheep unable to do so, Mopple (Chris O’Dowd), reminds them that to truly love George, they must remember him. It’s an early part of the film that has powerful reverberations throughout the rest of the narrative.

Laraine Newman as the voice of the Fainting Sheep and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

There’s a lot that is happening under its 109-minute runtime. Each character is well-developed and fully realised, while the film effortlessly juggles its various genres and themes. It is funny and charming, yet still packs a punch the moment you see the metaphor for what it is.

My Rating: 4.5 Stars

A rare film that manages to be both hilariously whimsical and deeply profound. Will you choose to remember? Don’t miss The Sheep Detectives at your favorite theater, check out the latest movie showtimes here.

May 9, 2026
MOVIE REVIEW: Stylish but Hollow: A Review of ‘The Devil Wears Prada 2’

I wasn’t sure if I ever wanted a sequel to The Devil Wears Prada. To me, the original was already so perfect, one of those evergreen films you can return to over-and-over again. Anne Hathaway’s Andy Sachs served as the perfect foil, played it so well that matched Meryl Streep’s iconic Miranda Priestly, who really could have won an Oscar for that performance.

(L-R): Miranda Priestly (Meryl Streep) and Andie Sachs (Anne Hathaway) in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2025 20th Century Studios. All Rights Reserved.

It was just as enjoyable to watch the banter and barbs flung with precision at perfect timing by Emily Blunt’s Emily and Stanley Tucci’s Nigel. It’s a film I could come back to and the story in itself was so complete that I had no real desire to see more from them because everything that I needed was there.

(L-R): Anne Hathaway as Andy Sachs and Meryl Streep as Miranda Priestly in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo courtesy of 20th Century Studios. © 2026 20th Century Studios. All Rights Reserved.

So coming into Devil Wears Prada 2 came with a lot of resistance. The trailer didn’t tell me anything other than they were going to be delivering the same level of humor while amping up the glitz and glamour. The story finds Andy Sachs returns to Runway after losing her job due to the layoffs of media workers (and other industries) due to the current capitalist wave.

(L-R) Anne Hathaway as Andy Sachs, Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Twenty years have passed, and Miranda doesn’t even remember her. Miranda herself is struggling to keep the brand afloat amidst the changes and challenges in the field of traditional publishing since the Internet and social media has changed everything.

Andy’s return to Runway isn’t Miranda’s choice and she now has to prove her worth all over again. While the story runs almost beat-for-beat with the 2006 original, the dynamic has shifted quite a bit with Andy more confident and knowledgeable about the world.

Meryl Streep as Miranda Priestly in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

The performances are still enjoyable with Meryl Streep given significantly more to do as the film has her on equal screen time and agency as a character than she was in the first film. This is as much her movie as it is Andy’s. They’ve humanized her, the eponymous “Devil” of the film’s title, now left scrambling to keep her budget and her brand alive, and hoping for a promotion for “Head of Global Content” in the publishing company, a position she has spent many years forging.

(L-R): Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo courtesy of 20th Century Studios. © 2026 20th Century Studios. All Rights Reserved.

However, this added storyline and humanizing of her destroys all of the character’s mystery – which some people enjoyed, though I felt lessens her impact on the film – and without that signature coldness, the film feels like it lost some of its signature bite. By grounding Miranda, I felt more inclined to look at the things that the film wants to say.

(L-R) Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

And while it does mention the changes in the publishing industry – in terms of its business models and being run by billionaires who only care about making a profit and don’t care really about creating something valuable and meaningful outside of economics – it never really gets to go deep and hard into these issues. Maybe it’s not what the film is trying to do but the whole narrative is set on trying to save Runway with a Jeff Bezos-type billionaire character, Benji Barnes (played by Justin Theroux) playing a crucial role in its future, but I felt the film took for granted in showing us what was worth saving in the first place.

(L-R) Stanley Tucci as Nigel Kipling and Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

The film still regales us with gorgeous outfits and great styling. It features multiple cameos by real superstars and legends of the fashion world. But in this day and age of a possible global recession and a reevaluation of the true cost of luxury, I end up questioning what the point of all of it is.

Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

In the original film, that amazing monologue about “cerulean” was an important narrative beat to show Miranda’s knowledge in the world of fashion and a turning point in Andy’s discovery of what it is she was truly entering but it was also necessary because it made us realise how high fashion is connected to everything – especially back in 2006. As Andy began dressing the part, looking great, she started to attract good things coming to her. The Devil Wears Prada does not have that same moment – to show us how important and necessary high fashion is to the world today – and thus feels like the film sort of stumbles in what it is trying to do.

Emily Blunt as Emily Charlton in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Yes, we want the characters to succeed because Anne Hathaway, Meryl Streep, and Stanley Tucci are amazing and their performances truly grab at you. Emily Blunt is also great, but her character now runs adjacent to Runway. But there are so many plot points and narrative twists keeping the story moving, yet it never really stops and gives us a moment to rationalize what high fashion means in 2026. It’s all gorgeous to look at, but who can afford a three thousand dollar handbag in today’s economy? The film never showed me why that matters.

(Center – Right) Meryl Streep as Miranda Priestly and Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Director David Frankel does a good job at keeping the pace, keeping the plot moving without ever feeling boring, and allowing his actors to shine. We got gorgeous cinematic moments and a lot of good humor reminiscent of the original but I don’t see the same heart that was there that got me to fall in love with the first movie.

My Rating: 3.5 Stars

Miranda doesn’t like to be kept waiting. Witness the long-awaited return of Meryl Streep and the original cast in the cinematic event of the season. Check The Devil Wears Prada 2 showtimes here.

May 4, 2026
Disney+ Exclusive: The Cast and Director of New Original Series ‘Gold Land’ Promise Thrills and a New Side to Park Bo-young

Unlike other virtual press conferences I’ve attended, the media launch for the new Disney+ crime drama series Gold Land carried a notably more somber tone than usual. It was more serious, this time, mirroring the show’s dark theme of desire and greed. While the cast member Lee Kwang-soo brought flashes of his signature comic timing to the proceedings, he felt more like a “troublemaker” than a comedian this time, a fitting energy as he takes another turn as a villain in this series.

Written by Hwang Jo-yoon and directed by Kim Sung-hoon, the story of Gold Land follows Hee-ju (Park Bo-young), an airport security screening agent whose life is upended when her boyfriend Lee Do-kyung (Lee Hyun-wook), gets her entangled in a smuggling operation involving a dangerous gang. While on transit, Do-kyung attempts to steal the shipment but is caught by the ruthless Park Ho-cheol (Lee Kwang-soo).

Disney+ Gold Land

When Hee-ju discovers the hidden shipment, she realizes the stakes are astronomical: 100 ten-kilogram bars of gold worth a staggering 150 billion won. To survive, Hee-ju must team up with a gangster gone rogue, Woogy (Kim Sung-cheol) and reconnect with her estranged mother, Yeo Sun-ok (Moon Jeong-hee), who she has a serious love-hate relationship, while a corrupt detective in on her tail played by Kim Hee-won.

The first four episodes are explosive, suspenseful, and thrilling. Most notably, Park Bo-young showing a different side of herself never before seen on screen; this marks her first foray into gritty genre drama.

Disney+ Gold Land

Throughout the press conference, the cast remained calm and cool, staying anchored in their characters’ serious personalities, save for Lee Kwang-soo, who couldn’t resist hamming it up for the photographers. Kim Sung-cheol, meanwhile, seemed the most prepared with many different poses. His interactions with Park Bo-young brought a smile to her face and showed off their brilliant chemistry that plays really well to the screen.

Director Kim Sung-hoon, when asked about the show, says it’s about “greed and desire” and that audiences will see Hee-ju’s morality truly tested as we watch her go from being afraid of the gold to being consumed by it. “She wants the gold for herself,” he says, which is interesting, considering that’s not in play in the first four episodes of the ten-episode thriller.

Disney+ Gold Land

On doing the show, Park Bo-young shared that she has always wanted to do a crime show. When she was talking to Kim Sung-hoon, he told her that she would be perfect for the role because her appearance and her public persona would make people believe she would do the right thing and return the gold but that’s not what’s going to happen. The unexpectedness of it is what makes it so compelling on screen. Kim Sung-hoon continues by saying, “Park Bo-young is a very courageous actor. Showing greed is not something you do externally. It’s an interior emotion but she gives such a nuanced performance that you can see her change.” He praised her for her ability to show her character’s evolution throughout the series.

She was praised for not using any make-up to help deglamorize her and to portray Hee-ju as a woman who is exhausted with life and with no hope. She even had to lose weight for the role.

Disney+ Gold Land

Echoing this, Kim Sung-cheol also shared about not needing any make up to play the gangster, Woogy. “It took me five minutes to get ready,” he says. “I would just put sunscreen on and then go straight to set.” Oozing with charm during the press conference, Kim Sung-cheol described his character as someone “without any charisma. He is unafraid of his own desires and he is blunt and frank and shallow.” But he adds that he has a quality to the character that makes him interesting to watch in a show like this.

In the show, the two actors form an unlikely partnership. They don’t trust each other and Hee-ju is really afraid of him but they have history together and as the show progresses, she starts to rely on him and it would make an interesting dynamic to see. The two admit to having a brother-sister bond on set, with Park Bo-young saying, “If I had a little brother, I wish he would be like Kim Sung Cheol.”

Disney+ Gold Land

The director is quick to point out that in this show, “no one is really good or bad.” It seems that the gold bars tempt each character forcing them away from their moral center and the series explores this aspect of humanity.

This is a pervasive theme that is discussed throughout the press conference, and it is Lee Kwang-su who brings in the levity; saying his character has no backstory at play in the show itself so he was given free reign to provide input to his character.

Disney+ Gold Land

In a hilarious exchange that became a running joke of the media launch, Lee Kwang-soo shared that he personally bought his own accessories to adorn Park Ho-cheol, to imply a dark past, and teases the director that he has yet to be reimbursed for the expenses. He even joked saying putting gold plates on his teeth was his idea and that director Kim Sung-hoon liked it so much he told everyone it was his.

Disney+ Gold Land

Jokes aside, Kim Sung-hoon is most grateful to Kim Hee Won, whose character plays a vital role in the ending. He claimed that if it wasn’t for Kim Hee-won, his show wouldn’t work because – while all the characters are important – Kim Hee-won’s detective, Jin-man, whose life collapses as he gives in to his own greed and which gives the show the proper weight near the show’s finale.

The first four episodes of ‘Gold Land’ are now streaming on Disney+, with new episodes dropping each week.

May 1, 2026
THEATER REVIEW: Marrying the Grounded With the Theatrical, PETA Plus’ ‘Endo’ Is Presented to Us as a Dark, Modern, Urban Fairy Tale

I never got to see the 2007 film ‘Endo’ by Jade Castro so I was coming in without preconceived expectations. I know that playwright Liza Magtoto made big changes in the premise when adapting and modernizing the material, focusing more on today’s gig economy rather than just on contractual workers.

Endo. The Stage Adaptation centers on Leo (played by Royce Cabrera or Esteban Mara), a rider juggling multiple odd jobs to provide for his father and younger brother. His girlfriend Candy (played by Iana Bernardez or Kate Alejandrino) quits her job to be a content creator, an ambition that ultimately leads her to a decision to break up with Leo.

PETA Plus’ Endo: The Stage Adaptation | Photo by Shella Toledo

Coincidentally, Leo keeps connecting with Tanya (played by Jasmine Curtis-Smith or Rissey Reyes-Robinson), a nursing graduate who does a multitude of jobs including online live-selling. Leo and Tanya catch feelings but their tenuous economic situation leaves very little room for planning a proper future. Tanya is more secured with an actual college degree and a plan, which runs counter to Leo’s own mindset of “just getting by” survivalist mindset.

PETA Plus’ Endo: The Stage Adaptation | Photo by Shella Toledo

While the play deals with grounded, such real-world themes, playwright Magtoto and director Melvin Lee choose to present this version of End as a hyper-realistic modern theatrical fantasy. Leo, Tanya, and Candy feel more like archetypes than fully fleshed out characters; the narrative never really sinks too deep into them. Instead, they feel like representations and by doing so, the play creates allowances for improbable coincidences, heightened drama, and a plot that is teetering into the edge of melodrama: because of course, Leo’s father is a diabetic and this will play out later or how every other character they meet are hustlers of every shape and form.

PETA Plus’ Endo: The Stage Adaptation | Photo by Shella Toledo

Director Melvin Lee also imbues the whole play with a bit of a ballet as transitions. An ensemble that acts as “proteans” constantly shifting to play various characters that they meet or becoming physical embodiments of the social and economic forces that keep Leo away from Tanya. In one dramatic scene, Leo tries to reach out for Tanya in a crowded street and the ensemble, as the crowd, suddenly picks up Leo and carries him away.

PETA Plus’ Endo: The Stage Adaptation | Photo by Shella Toledo

The set design is equally metaphorical: the whole center stage lifts up, buoyed by a spring that keeps it from ever feeling stable. It is definitely a metaphor on how unstable the lives of these characters are. Love scenes are portrayed as a choreographed duet between Leo and Tanya.

PETA Plus’ Endo: The Stage Adaptation | Photo by Shella Toledo

The overall effect of these theatrical techniques is that it takes this very grounded story and turns it into something like a dark, urban, modern fairytale. Leo, Tanya, and Candy are just characters in a story that is meant to show us how the system is failing these characters. This stylistic choice softens the inherent bleakness of the material – which it gets – making it more palatable and accessible to a larger audience rather than if it were a straight-up play in the realist mode.

PETA Plus’ Endo: The Stage Adaptation | Photo by Shella Toledo

As a “pretentious” lover of theater, I don’t mind the heavy-handed serious stuff, but I understand why they took this approach. It allows for a younger audience – maybe kids as young as Senior High School students – to be able to come and watch this show. As realistic as it gets, it still has moments of humor, of romance, and of hope.

PETA Plus’ Endo: The Stage Adaptation | Photo by Shella Toledo

The show I attended featured Royce Cabrera as Leo, Jasmine Curtis-Smith as Tanya, and Iana Bernardez as Candy. These are incredibly fine actors, and it took me awhile to realise that they were working on archetypes, playing out the most identifiable features of their characters rather than working on nuanced levels. They each synced with the tone and aesthetics of the play, which helped bring out the intention of the play.

PETA Plus’ Endo: The Stage Adaptation | Photo by Shella Toledo

Cabrera is a powerful presence on stage; capable of that tunnel vision of the typical Filipino male while also bringing out Leo’s vulnerability in the key moments. Curtis-Smith’s Tanya can appear looking very naive and Curtis-Smith is not afraid to put that on full display but there’s a strength that’s there inside which she is able to release at the play’s climax. Bernardez is all narcissistic, chaotic energy turning Candy into a storm that ruins Leo’s peace.

It is an interesting approach to the material, and one which I understand. It talks about the inability of people who are lacking in any real job security to dream and hope. By turning it into a theatrical modern urban fairytale, PETA Plus successfully draws a crowd, keeping them entertained while subtly forcing them to ponder the systemic failures that leave so many of our countrymen behind.

My Rating: 4 Stars

Come for the star power of Cabrera, Curtis-Smith, and Bernardez; stay for the powerful story that refuses to be ignored. Book your tickets for Endo. The Adaptation. The show runs until May 10! Get your tickets via: ticket2me.net/Endo

April 30, 2026
MOVIE REVIEW: Poetic and Strange, ‘Mother Mary’ Showcases the Inner Pop Diva of Anne Hathaway

There is a profound embrace of poeticism in David Lowery’s Mother Mary. Amidst the fashionable, glamorous world of a pop star and her former costume designer and creative partner, lies a story of a friendship’s dissolution, one so devastating it leaves wounds capable of summoning specters of unsettled emotions. The film feels almost theatrical, from the dialogue spoken by Sam Anselm (portrayed by the disarming Michaela Coel) to the transitions Lowery uses to bridge the past and present. And as metaphors that take shape within the narrative, they thrust the film into an entirely different genre. It is fascinating as it is visually stunning.

Anne Hathaway stars as the titular pop icon, Mother Mary, who is about to make a comeback after a traumatic onstage accident. Exhausted, frustrated, shaken to her core by waves of emotion, she flies to England to visit the home of Sam Anselm (Michaela Coel), a fashion designer, to ask for a dress for her comeback performance. But Mother Mary and Sam have a tortured past. Sam was once Mary’s costume designer and from rifling through their history, she was more than that: a creative partner, a foundational presence who was there from the beginning, and a friend.

Mother Mary Images courtesy of Creazion Studios

Sam is cold and detached, yet she keeps Mother Mary talking, betraying her need for something from her. She takes on the job; to design and craft a dress in less than four days. And in the process, the two women hash out that moment when their friendship ended, when Mother Mary chose to replace her original circle with a new creative team behind her. It is at that point, an hour into the film, where the film shifts radically as Sam reveals that the pain of that parting led her to a supernatural encounter: a ghost.

Mother Mary Images courtesy of Creazion Studios

For the first hour, the film moves at a slow pace. Lowery focuses his lens on the very nuanced and layered conversations between Mary and Sam.

Mother Mary Images courtesy of Creazion Studios

Mary is visibly broken and desperate for connection, while Sam is keeping her cool, clearly reveling in the power of being needed. Sam’s dialogue are poetic, descriptive, and eloquent. Michaela’s English delivery and sharp English accent cast a hypnotic spell.

Mother Mary Images courtesy of Creazion Studios

In contrast, Anne Hathaway’s Mary is a broken person, her words are unfiltered, messy, and unrehearsed. This first half of the film functions almost like a stage play – a two-hander where the only action is the two characters navigating the past.

Mother Mary Images courtesy of Creazion Studios

Lowery keeps it theatrical, transitioning from present to the past with a movement of the camera to reveal the past right at the edge of the screen, coming into focus, and the character in the moment of remembrance enters into the frame to act out in the flashback. No cuts.

Mother Mary Images courtesy of Creazion Studios

Just one continuing movement allowing time and space to collapse into each scene. Though a decade has passed since their parting, the film suggests that the past is just a camera pan away. It is a visceral reminder that these events are still very real, very present, and very close to both two women.

Mother Mary Images courtesy of Creazion Studios

Occasionally, the film allows Mary to break into full performance, emphasizing that her stage persona is every bit a part of this story. The sharp contrast between the gothic, dark design of Sam’s workshop, and the searing bright lights of Mary’s world and massive crowds – jumping into some killer songs by Jack Antonoff and Charli XCX (with Anne Hathaway herself sharing songwriting credits) – keeps the energy running while expanding the film’s themes into that of art and creation.

Mother Mary Images courtesy of Creazion Studios

The image of the pop artist is just as instrumental as the music and the performance. Sam was taken away from something she helped craft, and Mary, standing at this critical juncture in her career, realizes she must return to the source to truly move forward.

Mother Mary Images courtesy of Creazion Studios

When the ghost story emerges halfway through the film, Mother Mary fully embraces its Gothic mode. The narrative shifts to the horror genre, yet it remains firmly rooted in the one thing that both women are searching for: closure. The ghost is both literal and metaphorical, and the film adopts an air of whimsy that feels entirely earned, the emotions simmering throughout the film seemed destined for this.

Mother Mary Images courtesy of Creazion Studios

Hathaway and Coel are incredible, creating two characters so distinct and lived-in that their relationship becomes the fulcrum of all of Lowery’s storytelling techniques. The theatricality, the extreme close ups, the music, and the seamless transitions – they are all there in service to Sam and Mary’s journey towards liberation. Both actors are so profoundly committed to the film’s whole vision that the narrative never feels silly or over-the-top.

Mother Mary Images courtesy of Creazion Studios

Mother Mary is a strange, little film but if you can ride its out-of-the-box presentation, it is a rare cinematic treat. At the very least, one can simply enjoy Anne Hathaway living her pop-star dreams, proving there is formidable diva within her that has finally found the perfect stage on which to shine.

My Rating: 4 Stars

April 29, 2026
THEATER REVIEW: Class, Women, and the Politics of Floy Quintos Take Center Stage in Encore Theater’s Twin Bill Show, ‘Miranda & Yolanda’

There is a profound sense of genius in pairing Floy Quintos’ one-act plays, Evening at the Opera and Ang Kalungkutan ng mga Reyna, as a twin bill at this point in time. Played one after the other, director Dexter M. Santos reflects upon the insight that Quintos has on our political landscape: how class, social status, image and branding are all integral in our political landscape and, at the center of this, are women either struggling with power or at its periphery, supporting it, allowing it to shine.

The play opens with Evening at the Opera, where Miranda Beloto (Ana Abad Santos) is preparing to go out to watch an opera at the capitol. She engages in a dialogue with the spirit of her late mother (Frances Makil-Ignacio). Through their conversation, we can tell Miranda and her mother are “old rich” they are class, unapologetic elitists who come from a political dynasty and look down on Bingo’s humble origins and masa appeal of Miranda’s husband, Governor Bingo Beloto (Joshua Cabiladas).

Photo by Irvin Arenas | Encore Theater

Photo by Irvin Arenas | Encore Theater

When Bingo finally takes the stage, Cabiladas and Santos have created a composite of popular politicos who hail from “humble origins” and amplify their tough guy machismo imagery. The moment Cabiladas enters and speaks his first line in a very brusque, heavily accented Filipino, the audience erupts in laughter. They get the satirical representation.

Photo by Irvin Arenas | Encore Theater

But Miranda is not entertaining any of his games – or his excuses for being late. What begins as a petty domestic argument quickly escalates into a battle for control and an exercise of power.

Photo by Irvin Arenas | Encore Theater

Both Miranda and Bingo are far from being victims of the corrupt system into which they were born into, they are its most active participants. And it’s so fitting that the one to watch the proceedings is one who has already passed and is witnessing posthumously the effect of that corruption on her child.

Photo by Irvin Arenas | Encore Theater

Evening at the Opera is funny and scary in equal measure. While the trio on stage creates a great spectacle of emotion, it is Ana Abad Santos who truly anchors the piece together, servings as the focal point of the other two characters. She’s spinning a figurative web, luring in her prey who is physically stronger and more prone to violence. Abad Santos dances through shifts in language, physical proximity, silence, and sudden raised voices to prove that she has more than just skin in the game. In this political charade of a marriage, she isn’t just Bingo’s equal; she is Bingo’s match in terms of political cleverness and sheer force of will.

Photo by Irvin Arenas | Encore Theater

Photo by Irvin Arenas | Encore Theater

Following the intermission, the hilarious Ang Kalungkutan ng mga Reyna shifts the focus to Yolanda and Marcel. Marcel de Alba (Topper Fabregas) is a hairdresser who has been called to the presidential palace for a private meeting with President Yolanda Cadiz (Shamaine Centenera-Buencamino), who has just declared Martial Law just hours prior. Yolanda has a radical dream: transforming the Philippine political system into a constitutional monarchy with herself as its Queen. To achieve this, she needs Marcel, a man of refined taste who has styled on the hair of princes and princesses from across the globe, to remake her into the image of the perfect Filipina royal.

Photo by Irvin Arenas | Encore Theater

The dialogue between Yolanda and Marcel explores and tackles the landscape of the Filipino people’s obsession with hierarchy, royalty, and celebrity. It alludes to our history of subjugation and our need for symbolic leadership. Throughout this exploration of Filipino social structure and political branding, And Kalungkutan ng mga Reyna, in the hands of Dexter M. Santos is unabashedly gay and utterly mines it for all its comedic gold. Buencamino and Fabregas share incredible chemistry, working out the dynamics of a powerful woman at the cusp of change, filled with power, who finds a kindred spirit with an artist who understands and can execute her vision; who is also afraid of being executed as he stands.

Photo by Irvin Arenas | Encore Theater

Together, these two plays are unafraid to tear down and speak plainly about what we need to address when we talk about politics in the Philippines. It illustrates – from the vantage point of those in power, the twin bill illustrates how class, wealth, and sophistication is used to establish authority and position hierarchies within our social system. These figures are not just players; they are complicit and they use our illiteracy against the majority who can be easily swayed by such displays. It would be so painful and cruel if it were not so true and so funny in its execution. Miranda & Yolanda is a brilliant piece of work that showcases incredible Filipino theatrical talent at its best while highlighting the singular genius of Floy Quintos, a voice we lost far too soon.

My Rating: 4 Stars

Miranda & Yolanda is a sharp-witted, devastatingly accurate mirror held up to Philippine society. It is a masterclass in satire that honors the legacy of Floy Quintos while proving that his words remain as urgent as ever. Catch this limited run by Encore Theater, it is a rare opportunity to see power stripped bare and dressed up all at once. Get tickets here.

April 29, 2026
THEATER REVIEW: The Urgency of Tanghalang Ateneo’s ‘Emilia’ is Electric; an Incendiary Breakthrough for Director Sarah Facuri

Tanghalang Ateneo’s Emilia would have been a perfect fit for Women’s Month. The play is a translation of Morgan Lloyd Malcolm’s work of the same title, telling the story of the poet Emilia Bassano Lanier, who is suspected to be William Shakespeare’s “Dark Lady” in his sonnets. In 17th-century England, women were expected to serve their husband or the men in their lives, but Emilia was a writer and a poet who wanted her voice to be heard. Consequently, the patriarchy erased her story from history.

Translated by the TA Dramatist Collective’s Gab Mactal, Keith Bernas, and Meeka Sayaboc—with dramaturgy by Regina Manalo, Petes Castillo, Joyce Ann San Buenaventura, Thandie Alino, and PM Oliveros—the text is a vital adaptation. By utilizing deep Tagalog for the English aristocracy and modern Filipino slang for the common folk, the translation brilliantly bridges the social class divide and connects it to the Filipino lived experience. Through the impeccable direction of Sarah Facuri, the play manages to retain Emilia Bassano Lanier’s historical narrative while grounding it in real-world, modern Filipino class struggle. The effect is electric.

EMILIA | PHOTO CREDIT: MAY CELESTE

The story follows Emilia as she narrates her own life and the erasure of her legacy from the history books. As a young woman of the courts, she refuses to play the game in search of a husband, preferring instead to write poetry much to the displeasure of those around her. She eventually finds a suitor in Lord Henry Carey, who takes her in as his mistress. Through his support, she is able to be free of the shackles of society’s low measure of a woman and allows her to engage in her literary proclivities.

EMILIA | PHOTO CREDIT: MAY CELESTE

It is during this time that she captures the eye of William Shakespeare, her intellectual and literary arts match. They fall in love, but Shakespeare begins to use her in his works and writing about her. She also becomes a subversive, writing for women to empower them but is eventually betrayed. Stripped of her patron and her status, she finds refuge among a community of common folk women. She dedicated herself to teaching and empowering them until the weight of the patriarchy once again intervenes to silence her.

EMILIA | PHOTO CREDIT: MAY CELESTE

Facuri, who also designed the movement and the set, keeps the pace running quickly, there is never a dull moment in the play’s two-and-a-half-hour runtime (which includes a fifteen-minute intermission). Her blocking is superb, utilizing the full power of the ensemble to amplify every scene when needed and then empties it out for a dramatic duet to find its intimacy.

EMILIA | PHOTO CREDIT: MAY CELESTE

Like a conductor leading a symphony, Facuri orchestrates her performers to shift from drama to comedy effortlessly. This tonal shifts never break the play’s rhythm, instead, they surprise the audience without ever feeling jarring. In one standout scene, the play transitions into a musical number and it happens at just the right time that it doesn’t feel like it doesn’t belong, particularly as the song’s arrangement has a touch of the modern edge in its arrangement.

EMILIA | PHOTO CREDIT: MAY CELESTE

And what a cast she has assembled. Much like how, in Shakespeare’s time, where all the roles were originally performed by men – even the women parts – this production of Emilia features an all-female cast, including the male characters. Since the play serves as a direct attack on the patriarchy, the actors playing the male parts perform their roles as parodies of various types of toxic masculinity. The effect is both breathtaking and oftentimes funny. The intent feels as if to ridicule, and it reads right with the audience.

EMILIA | PHOTO CREDIT: MAY CELESTE

While the entire ensemble is great, I have to commend the three actresses playing Emilia: Chloe Abella, Francesca Dela Cruz, and Maliana Beran – who play Emilia at the courts, Emilia as a young woman, and Emilia as an older woman, respectively. The trope of the child, the mother, and the crone in full view. As one Emilia plays the scene, the other two watch, sometimes commenting. They are witness to their own rise and fall. Each actress commands the stage and filled it with their presence.

The other standout in this extremely powerhouse cast is Joy Delos Santos, who doubles as Lord Henry Carey and Thomas Howard. As Carey, she is respectful, warm, and nurturing. He’d be the only decent man in the play if he wasn’t cheating on his wife. On the other side of the spectrum, Delos Santos’s Thomas Howard, the man who eventually persecutes Emilia for immorality, is the perfect English fop – effete, cowardly, and full of hot air. Through the Filipino translation, this character takes the form of either the evil Spanish friars in our colonial history or the soft aristocrat, almost feminine, hiding his weakness with his power and his gender.

EMILIA | PHOTO CREDIT: MAY CELESTE

The costumes by Hershee Tantiado are exquisite, a deconstruction of 17th-century style that allows the translation to harken back to that era while remaining “broken” enough to operate on a figurative level, like the modern Filipino sensibilities that seep into the play. The lighting design of Jethro Nibaten allows for the play to shift from the dramatic to the comic seamlessly while highlighting what needs to be seen and amplifying the emotions that are already there.

EMILIA | PHOTO CREDIT: MAY CELESTE

I cannot talk enough about how this production moved me; I haven’t stopped thinking about it since I watched it on its opening night. It is brash, daring, and bold, without sacrificing craft and nuance. Emilia is an incendiary piece of play that is a call to action for all women to reclaim their voices, the one that has been taken away – and continuously so – by the patriarchy. The final chant, with the ensemble speaking as one voice, sent shivers down my spine. Tanghalang Ateneo’s production of Emilia is one of the best shows I have ever seen.

My Rating: 5 Stars

Don’t let this story be erased again. Experience the raw, electric power of Tanghalang Ateneo’s Emilia before it closes. The production runs until April 26 at the Rizal Mini Theater, Ateneo de Manila University. Secure your seats now and witness what is easily one of the most vital shows of the season.

April 17, 2026
Disney+ Exclusive: IU and Byeon Woo Seok Display Impeccable Chemistry at the ‘Perfect Crown’ Press Launch

On April 6, the star-studded cast and the hit director of What’s Wrong with Secretary Kim and Alchemy of Souls gathered to discuss their highly anticipated Disney+ series, Perfect Crown. ClickTheCity was invited to attend the virtual press event, and these are the highlights from the event.

Host Park Gyu-min wasn’t kidding when she called this “the most anticipated show of the year.” IU is a global superstar, with a string of hit shows and chart-topping songs, she’s practically South Korean entertainment royalty. Byeon Woo-seok, is no stranger to success either, just coming off the massive hit Lovely Runner. Their pairing in a rom-com by hit-making director Park Joon-hwa, is the talk of the streaming town.

Perfect Crown

Perfect Crown imagines an alternate reality where 21st-century South Korea is a constitutional monarchy. IU plays Song Hee-ju, the second daughter of a chaebol family who has everything – intelligence, looks, and wealth – yet her status as commoner has become an obstacle for her grand ambitions. Byeon Woo-seok plays Prince Yian, the King’s second son, who possesses nothing but his royal heritage. When the two find in each other a chance to complete what is missing in their lives, things begin to change. But as the trailer suggests: is love also on the table?

The cast arrives on stage dressed in their signature outfits from the official poster, a coordinated look that IU later reveals was actually Byeon Woo-seok’s suggestion. IU looks every bit the princess, with the host aptly noting that she “brings the whole of spring with her.” Perfectly comfortable in front of the camera, she’s playful with the photographers, and easily gives off many poses for their pictures. Byeon Woo-seok is dressed in a Western-style prince attire, think more like Cinderella’s Prince Charming from the cartoon but in blue. While he is also at ease in front of the camera, he seems more reserved.

However, the moment the two leads share the stage for their couple pictures, Byeon Woo-seok seems to relax and get loose. He matches IU’s playfulness, constantly watching her to align with her poses. The chemistry between them is apparent.

Joining IU and Byeon Woo-seok are Noh Sang-hyun, portraying the Prime Minister and a good friend to both leads; Gong Seung-yeon as the Queen Dowager, Yoo Su-bin, who serves as Prince Yian’s aide, and Lee Yeon, playing Hee Ju’s secretary and loyal business partner.

Once the Q&A began, a lot of questions was directed towards the cast and PD Park Joon-hwa regarding the show’s concept. Park Joon-hwa expressed confidence, stating that he “believes this show is different from any show you’ve seen before. It will be fun.” He emphasized the amount of work it took to reimagine South Korea as a constitutional monarchy. “It was playing with the space,” he explained. He remarks on the way he envisioned life inside the palace and was meticulous about what the “costumes, locations, and even the food” would be like.

With the characters, IU says that the keyword for Hee Ju is “frustration.” She described her character as “greedy, adding “she wants things but she is also adorable.” IU insisted that despite her character’s ambitious nature, Hee Ju is a three-dimensional character she had a lot of fun portraying. “I had so much fun playing the role of a chaebol heiress,” she says. “I got to wear a lot of really nice clothes, but she isn’t your typical chaebol heiress.” She further explained that because her character is in the public eye but isn’t well-liked, she often becomes a target of online ridicule. “She’s turned into a meme a lot; so that was fun.”

As for Byeon Woo-seok, he felt that he really resonated with Prince Yian’s situation. “I could see scenes when I read the script,” he shared. “I wanted to flesh this character out.”

Noh Sang-hyun describes the Prime Minister as someone who is “cold. He can control himself well. But he has character development and you will see some really great changes with him.” Noh Sang-hyun appeared to be the more serious type during the event, especially as Yu Su-bin and Lee Yeon encouraged the more playful sides of IU and Byeon Woo-seok during the press conference, he later added that his character “is stiff but the character can get messy; so it was a fun role to do.”

Also taking a more serious approach is Gong Seung-yeon, who plays the Queen Dowager. On her character, she says that the Queen Dowager “feels the royal family is the most important thing and her own needs take second place. Everything she does is for the royal family.” She appears to be the primary antagonist for our two protagonists, based on the trailer, host Park Gyu-min even commended her for keeping much of her character during the press conference. She admits that her biggest challenge for playing the role was that the script had said her character was “the symbol of the royal family” which led her to work closely with the production team to truly looked the part.

Having primarily worked in genre pieces, Lee Yeon noted that taking on this role was essential for her, as she has never done a romantic comedy before. She and IU had bonded previously at an awards ceremony where they both confessed being a fans of each other. IU, who had seen her shows and said she wanted to work with her and now it’s finally happening. IU says “she’s always prepared and took the lead in forming their chemistry.”

Yoo Su-bin went to great lengths for his role, even interviewing former aides from the Blue House (the executive office and official residence of the President of South Korea). The people he interviewed told him that an aide must think like their principal and believe in the things that the person they worked for believe in. They had to be one step ahead. He noted that playing Prince Yian’s aide was made easy by his co-star’s personality. Byeon Woo-seok is a “really good guy that my affection for him grew so much. He made it easy to get into character.”

For the chemistry, PD Park Joon-hwa noted it was already evident during the script reading. IU then shared and reminded everyone that she and Byeon Woo-seok had actually worked together a decade ago in Moon Lovers: Scarlet Heart Ryeo. In that series, Byeon Woo-seok played the boyfriend who breaks up with her at the start of the show that sends her character back in time. “So, we already had a working chemistry,” she explained.

Though they hadn’t spoken much since in the years since, IU noted that their history brought a sense of ease to the set of Perfect Crown. She then quickly jokes saying that since he broke her heart over ten years ago in Moon Lovers, that it seemed like he was making up for it on this show. She then continues to joke saying that “I enjoyed working with him so much here that I think we should work again after another ten years.”Of course, everybody laughs.

Perfect Crown is now streaming on Disney+, with new episodes arriving every week.

April 13, 2026
MOVIE REVIEW: What You Don’t Know About Her: A Review of the Spectacularly Unhinged ‘The Drama’

I have to begin by saying that The Drama is one of the most original movies I’ve come across. It features a spectacular script by writer-director Kristoffer Borgli and amazing performances by its two leads, Zendaya and Robert Pattinson. While it is ostensibly a love story, it is the most unhinged romance movie I’ve ever seen, juggling a variety of genres from black comedy to horror while tackling a controversial subject matter in the most complex of ways. Ultimately, it asks the most fundamental of questions: Can you truly love someone unconditionally?

The film opens with Charlie (Pattinson) seeing Emma (Zendaya) at a cafe and becoming instantly smitten. In an attempt to ask her out, he lies about having read the book she’s reading. And this awkward meet-cute, so well executed, triggers a jump to two years later, where the couple is engaged and writing their wedding speeches. The opening serves as a flashback, and through the drafting of their speeches, we get to see the couple through each other’s eyes. With only weeks left to their wedding, and in the midst of the wedding coordination, Charlie discovers something about Emma’s past that sends him on a tailspin. It is rather shocking – an important detail that was left out – and the ramifications in the days leading up to the wedding creates the film’s title: the drama.

Photo credit: Pioneer Films Philippines | A24

What is incredible about Borgli’s filmmaking – both in writing and direction – is how he introduces us into this world in a very ordinary way. Despite the presence of Zendaya and Robert Pattinson, the film and its aesthetic is lacking in gloss and shine. Cinematographer Arseni Khachaturan is excellent at framing the couple, often going in really close or situating them within a space, as if they are trapped in their own minds. While keeping the colors muted, stopping it from bursting out except for red. Charlie and Emma are presented as an ordinary couple, their love story as cute and very much-like an indie movie with the film jumping from one memory to the next until one night, while tasting the menu for their wedding, they enter a discussion with their married friends, Rachel and Mike (Alana Haim and Mamoudou Athie), and then the revelations come.

Photo credit: Pioneer Films Philippines | A24

At this point, the film shifts gears, transforming into a different movie altogether. The tone changes and the upcoming marriage is standing on a knife’s edge as Borgli’s filmmaking moves from a quirky indie romance into that of psychological horror. It’s actually funny, with Pattinson doing an amazing job portraying a man crumble under the confusion of the discovered secret. Relationships are tested, Zendaya’s Emma is desperately trying to hold her footing on stable ground. While the film’s first half sees Borgli and editor Joshua Raymond Lee whisking us back and forth from present to past, but in the second half, the film now shifts us from reality to the characters’ inner worlds. Charlie and Emma would shift into a trance-like states, imagining the worst.

Photo credit: Pioneer Films Philippines | A24

The pacing of The Drama is exquisite, carefully building momentum toward a climax that goes to a place that is packed with tension and energy. Zendaya and Pattinson are doing nuanced work that requires them to show the audience the insecurities and lies they are hoping goes unnoticed. Here, they are not movie stars but feel like ordinary people dealing with an extraordinary circumstance and it’s an acting tightrope that they manage effectively.

Photo credit: Pioneer Films Philippines | A24

While the premise itself feels larger than life in the way that it is presented, The Drama asks a really relevant question in these politically charged, socially aware times: Where do you draw the line between love and morality? The answer isn’t as simple as one might think, and the film dwells in that complexity. It is awkward and oftentimes painful. I found myself saying “oh no” and “don’t do that” loudly several times during the screening. The enjoyment of the film lies in the messy area of human frailty. It is finding comfort in watching someone unable to easily define the lines. It’s an amazing movie and I do hope that it didn’t come out early enough in the year for it to be left out during award season next year.

My Rating: 4.5 Stars

Get to know Charlie and Emma’s story, catch The Drama on the big screen while you can, this is one performance you’ll want to remember come awards season. Get showtimes here.

April 11, 2026
STREAMING REVIEW: Under the Shadow of the Empire: A Review of the First Four Episodes of the Disney+ Series ‘Star Wars: Maul – Shadow Lord’

I’m not the most die-hard Star Wars fan. While I’m familiar with the universe – having seen all the nine core films plus Solo and Rogue One (the latter being my personal favourite in the whole franchise) and a few of the series, with Andor as my personal bet – but I’m not completely invested in it. I love science fiction, especially in film and television, so when it’s done well, I do enjoy it. But the lore surrounding this universe is not my specialty and it’s not something I closely follow.

So, coming into Star Wars: Maul – Shadow Lord, I was concerned that I might not be able to easily enter into the story that was developed by Dave Filoni and Michnovetz. The story is set a year after the events of The Clone Wars (a series I haven’t seen), and apparently, Maul is back. The first four episodes of the show are set on the planet of Janix, where a determined Maul seeks to take revenge on the people who have betrayed him and rebuild his criminal empire. While he attempts to stay under the radar, he draws the attention of Brander Lawson, a smart and experienced detective. Meanwhile, two Jedi, Daki and Devon, are in hiding. In this point in the Star Wars timeline, the Empire holds absolute control, and the Jedi are outlaws.

A scene still from Lucasfilm’s STAR WARS: MAUL – SHADOW LORD, exclusively on Disney+. Photo courtesy of Lucasfilm Ltd. © 2026 Lucasfilm Ltd. All Rights Reserved.

The animated series boasts of gorgeous background art; Janix is depicted as a dark, foreboding, and futuristic planet. The character art takes a bit getting used to but I’m honestly thankful that it isn’t drawn anime-style and has its own distinct form that sets it apart. Being animated heightens the suspension of disbelief because the narrative moves very quickly, sometimes too easily, for the plot points to hit their mark. With each episode roughly under 30 minutes, Star Wars: Maul – Shadow Lord moves rather quickly, not giving you much time to breathe.

A scene still from Lucasfilm’s STAR WARS: MAUL – SHADOW LORD, exclusively on Disney+. Photo courtesy of Lucasfilm Ltd. © 2026 Lucasfilm Ltd. All Rights Reserved.

The narrative shifts between Maul, Lawson, and Devon, triangulating a moral center in a reality where the Empire has cast a dark shadow has over civilization. While Maul is the center of the show, he represents the side of evil. He wants revenge and he will destroy and kill anything and anyone in his way to stop it. What is interesting about his depiction is his elegance and grace. He is eloquent, articulate, and oftentimes takes an almost spiritual attitude towards his own misdeeds. There’s an air of entitlement, a belief that his actions are justified simply because he is better and far superior to everyone else. Voiced by Sam Witwer, Maul makes for an interesting protagonist to watch, even if he’s the villain. He doesn’t see himself that way and in the four episodes of the show, it makes him fun to watch.

A scene still from Lucasfilm’s STAR WARS: MAUL – SHADOW LORD, exclusively on Disney+. Photo courtesy of Lucasfilm Ltd. © 2026 Lucasfilm Ltd. All Rights Reserved.

Bandder Lawson (voiced by Wagner Moura) represents law and order, yet this is paradoxical because while he wants peace and justice, he is not afraid to bend the rules. He has informants in the underworld and he’ll break protocol to keep the Maul sighting outside of the Empire’s radar because he doesn’t want the Empire in Janix.

A scene still from Lucasfilm’s STAR WARS: MAUL – SHADOW LORD, exclusively on Disney+. Photo courtesy of Lucasfilm Ltd. © 2026 Lucasfilm Ltd. All Rights Reserved.

Because of this, tensions arise with his droid partner, Two Boots (voiced by Richard Ayoade). Lawson is rational and dedicated, but this seems to have created distance between him and his son, Rylee (Charlie Bushnell), who appears sporadically in the show but feels like he’ll be important later.

(L-R): Devon Izara (voiced by Gideon Adlon) and Maul (voiced by Sam Witwer) in Lucasfilm’s STAR WARS: MAUL – SHADOW LORD, exclusively on Disney+. Photo courtesy of Lucasfilm. © 2026 Lucasfilm Ltd. All Rights Reserved.

Devon (voiced by Gideon Adlon) falls somewhere in the middle. As a Jedi-in-training, there is frustration and bitterness in having to live on the streets and in hiding. Her first scene finds her arguing with her mentor, Daki (voiced by Dennis Haysbert), over stealing food from a merchant who “won’t even miss it.”

Devon Izara (voiced by Gideon Adlon) in Lucasfilm’s Star Wars: Maul – Shadow Lord, exclusively on Disney+. Photo courtesy of Lucasfilm Ltd. © 2026 Lucasfilm Ltd. All Rights Reserved.

Devon is constantly scowling, combative, and guarded. When Maul finds her, he sees a potential for an apprentice. In fact, their extended encounter in Episode 3 is the series’ most interesting part, Maul’s proposal to the disgruntled Jedi feels like a metaphor for today’s moral ambiguity. It raises the haunting question: What do justice and righteousness mean in a world where justice and righteousness don’t win?

A scene still from Lucasfilm’s STAR WARS: MAUL – SHADOW LORD, exclusively on Disney+. Photo courtesy of Lucasfilm Ltd. © 2026 Lucasfilm Ltd. All Rights Reserved.

What I also appreciate most about the series is how the Empire, though never physically shown, remains a looming presence for all the characters. Nobody wants them in Janix. It is the threat of authoritarianism, casting a dark shadow both over the planet and this story. So much so that Episode 4 cliffhanger raises the stakes so much more.

Maul (voiced by Sam Witwer), Master Eeko-Dio Daki (voiced by Dennis Haysbert), and Devon Izara (voiced by Gideon Adlon) in Lucasfilm’s STAR WARS: MAUL – SHADOW LORD, exclusively on Disney+. Photo courtesy of Lucasfilm. © 2026 Lucasfilm Ltd. All Rights Reserved.

Star Wars: Maul – Shadow Lord is undeniably fast-paced and action-packed. The short run time per episode means we don’t get to really fully explore these characters, but the show is good at creating tension and a dark atmosphere that keeps building and building. By the end of Episode 4, while Maul remains the central force of the story, it seems Devon has become its fulcrum. There’s a moral argument here that is presented and I’d like to see how this show intends on answering it.

My Rating: 3.5 Stars

The first two episode of Star Wars: Maul – Shadow Lord are available to stream on Disney+, with new episodes dropping every Monday.

April 6, 2026