Tag: review

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

    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.

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    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.

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    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.

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    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.

    Star Wars: Maul – Shadow Lord
    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.

    Star Wars: Maul – Shadow Lord
    (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.”

    Star Wars: Maul – Shadow Lord
    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?

    Star Wars: Maul – Shadow Lord
    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.

    Star Wars: Maul – Shadow Lord
    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

    stars 3 5



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

  • Disney+ Streaming Series Review: Made In Korea

    Disney+ Streaming Series Review: Made In Korea

    The first two episodes of the explosive six episode series of Made In Korea has dropped in Disney+ and aside from its star-studded cast – Hyun Bin, Jung Woosung, Woo Do-hwan, Seo Eun-soo, Won Ji-an, Jung Sung-il, and many more – Director Woo Min-ho has delivered a gripping period political action thriller that ends 2025 with a bang and promises a spectacular finish by the finale on January 14.

    The show’s premise follows a “rising KCIA agent (Hyun Bin) who leads a double life as a night-time smuggler.” But his extracurricular activities have put him in the crosshairs of a relentless prosecutor (Jung Woo-sung). The two become bitter rivals who battle to bring the other down against the chaotic backdrop of 1970s South Korea.

    Made In Korea
    Made In Korea

    The show’s first episode plays out like a movie, focused primarily during a real-life event in Japan and South Korea’s history, the show openly fictionalizes the hijacking of Japan Airlines Flight 351 to introduce us to Hyun Bin’s Baek Ki-tae. Ki-tae is smart, cunning, physically capable of taking down a plane of hijackers by his lonesome, while maneuvering through his own double life as an agent for the KCIA and as a smuggler. The episode is thrilling, suspenseful, and action packed and allows us a glimpse of how capable our protagonist is and how dangerous he can be.

    Made In Korea

    The second episode takes on noir sensibilities, introducing us into the world of Jung Woo-sung’s Jang Geon-young. Jung Woo-sung is not afraid to show him as utterly relentless, the press material and press conference defines him as “dogged” in his obsession with his work.

    Made In Korea

    When a string of murders and drug dealings leads him to Baek Ki-tae, we see an epic showdown coming to a head. Jang Geon-young is no team player, for sure, but he’s smart, crafty, and punctuates his obsessiveness with a loud, maniacal laugh that is very off-putting. He may technically be on the side of the law, the one we should be rooting for, yet Jung Woo-sung’s performance and Director Woo Min-ho are not afraid to approach him like a villain.

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    Made In Korea

    Rounding out the cast are Seo Eun-soo as Oh Ye-jin, a detective who wants to be a prosecutor in a period when women weren’t allowed to be prosecutors. While obviously taking on a symbolic feminist role, she playfully portrays Ye-jin, turning into a fangirl when fawning over her boss, Jang Geon-young, but switches gears when in pursuit.

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    Evoto

    Won Ji-an plays Yuji Ikeda, the power behind the Yakuza throne. Though we only get a glimpse of her in episode one and hear a mention in episode two, we know that her role will get bigger as she and Baek Ki-tae will probably have to cross paths as they both seem to want the same things.

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    Woo Do-hwan plays Baek Ki-hyun, Baek Ki-tae’s younger brother, who is in the military. When we first see him, he is rigid, much like that of someone in the military academy, which Baek Ki-hyun is. His relationship with his brother appears strained, and we have no real insight yet as to what he thinks of his brother and his work, how much he knows, and whether this seemingly upstanding soldier will be on his side or against him. Considering the actor, his billing, and the set up for his character, we know that this is going to be another important dynamic in Baek Ki-tae’s story.

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    While the series gears up to be a thrilling, action-packed political drama, its social commentary involved does not go unnoticed. Set in a time period and the way the South Korean government uses the KCIA for its own purposes, outside of its government mandate, pokes questions at the way the government uses institutions to benefit themselves and consolidate power. It frames each character by their own desires and amplifies the age-old adage: “Power corrupts, and absolute power corrupts absolutely.” This series already hits the ground running and with a confirmed second season, this is shaping up to be an event drama for 2026 and, hopefully, another season in 2027.

    My Rating: 5 Stars

    Springsteen Deliver Me from Nowhere



    Buckle up for intrigue, action, and power plays, stream Made In Korea now on Disney+ and witness the thrilling chaos of 1970s South Korea unfold!

  • Disney+ Streaming Review—Revolutions Are Hard: Andor Season 2

    Disney+ Streaming Review—Revolutions Are Hard: Andor Season 2

    I’m not at all a Star Wars fan. I do enjoy a few of the films but none of them really got to me except for ‘Rogue One.’ It’s only ‘Rogue One’ that got me to understand and feel what it was the Rebellion was fighting for. It gave the whole franchise the meat and emotional punch that I felt was missing from that universe. All this talk of the Skywalkers and the Sith Lords and it all felt so compact and fictional. I can understand why some critics have called it a space opera. It wasn’t until ‘Rogue One’ that the authoritarianism of the Empire became palpable. It wasn’t just concepts thrown around. You could see it: the tyranny and the terror. And it wasn’t a special saviour coming to save the day. It was the everyday revolutionary who wanted change.

    It’s why of all the Star Wars series on Disney+, the only ones I followed were ‘The Mandalorian’ (only until season 2) and ‘Andor.’ The first season of Andor was just pitch perfect for me. A true-blue science fiction story with great world building, memorable characters (with great performances by the actors portraying them), and a plot that detailed the challenges of putting together a rebellion while an empire slowly turns fascist. ‘Andor season 1’ gave us a in-depth look into the origins of Cassian Andor, the male protagonist of ‘Rogue One’ and how he became a part of the Rebellion. It was an origin story that showed us why one must stand up to tyranny at all costs.

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    On the second season, Andor (Diego Luna) is now awake and radicalized but he is also burnt out and jaded from all the horrors he has seen and been a party of. He is still doing missions for Luthen Rael (Stellan Skarsgard) while questioning his own part to play.

    The 12-episode season is released 3-episodes per week. With the first 9 having already dropped, and the last 3 to be aired next week; ‘Andor’ has proven itself to be the most grounded of the Star Wars properties. Through the first 9 episodes, we see Andor try to keep his family together – Bix (Adria Arjona), Brasso (Joplin Sibtain), and Wilmon (Muhannad Bhaier) – while navigating his complex relationship with Luthen. Luthen is trying to keep the Rebellion one step ahead of the Empire working with his assistant Kleya (Elizabeth Dulau) and Senator Mon Mothma (Genevieve O’Reilly). On the other side, Dedra Meero (Denise Gough) is given an opportunity to work on a secret project that allows her to use her new lover Syril Karn (Kyle Soller) as an agent in the contested planet of Ghorman.

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    Played out over four years, with each new three episodes happening one year later from the previous, what ‘Andor Season 2’ does is build from the extensive world building that was already laid out in season 1 and then shows us the full ramifications of the price and the cost of a revolution and, on the flipside, what authoritarianism can do to those who blindly follow it, until they are no longer blind and must reconcile in their own participation of tyranny.

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    While a lot of the later episodes of the season start to push for a narrative that Andor is meant or destined to make things happen – a bit Skywalker-ish, for my taste – it’s left ambiguous enough and just implied that it doesn’t take away from Cassian Andor’s everyman quality that makes this show so captivating. Mon Mothma is no Princess Leia. Luthen Rael is not as flashy or charming as Han Solo. And they shouldn’t be. These are the rebel fighters who are doing the dirty work day-to-day trying to keep the spirit of revolution alive so that oppression does not take over from the ruling class. The show brings us to various locations and worlds, the CGI-quality is the best I’ve ever seen from a Star Wars show, but it is also so intricate that you can pick up the commentary that it has on our everyday world. The indulgence and the lavish set up of the capital of Coruscant versus the old world and traditional designs of Ghorman or another world that is just filled with fields and fields of grain. The contrast between the corrupt city versus the outer worlds that are producing things of value who are the bearer of the Empire’s need for control.

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    We know that this show will lead straight into ‘Rogue One’ and we know how that movie ends but we are still left captivated by the turn of events that forces Cassian Andor to do what he does in the later film. The film is powered by what drives people to risk everything, to risk all for the freedom of all. I’m amazed at how this show can make real the desire to want real change for the world and to look at tyrants and authoritarian regimes like the Empire and call it out for its propaganda and greedy, abusive, and exploitative methods for control. 

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    There’s a fan favourite from ‘Rogue One’ who has made an appearance at the end of episode 9, and we’ll get to see more of them in the last three episodes, as well as a fantastic look into the origins of two of the show’s most interesting characters. ‘Rogue One’ and ‘Andor’ are the two shows that makes Star Wars, and all of its films feel big and important because prior to this, the terms “rebels” and “empire” were just abstract words thrown about to determine who is good and bad. But now, in ‘Rogue One’ and ‘Andor’, we can really feel the danger, the urgency, and the hope that this franchise is grounded on. Revolutions are hard. You must risk everything, but it is worth it. ‘Andor’ makes me see this and entertains me at the same time.

    My Rating:

    stars 4 5



    Stream Andor Season 2 on Disney+ now and witness the gritty fight for freedom!

  • Disney+ Streaming Review — With Fresh Energy, ‘Buried Hearts’ Is a New Disney+ KDrama That Will Keep You Guessing

    Disney+ Streaming Review — With Fresh Energy, ‘Buried Hearts’ Is a New Disney+ KDrama That Will Keep You Guessing

    As a corporate crime suspense thriller, ‘Buried Hearts’ takes an interesting approach to its narrative structure. The show opens with a flash-forward, a man’s body is discovered in the sea, dead, with an emphasis on his watch. We go back in time, to see Seo Dong-Joo (Park Hyung-Sik) attending a government hearing where Heo Il-do (Lee Hae-Young) is being grilled over the possibility of corruption in an energy collaboration between Heo Il-do’s company and the government. Seo Dong-Joo then sends a signal to an assemblyman, who incites chaos into the proceeding. Already, we are told that Dae-san, the company of Heo Il-do and Seo Dong-Joo are not to be trifled with. 

    The set up shows us the dirty dealings of a chaebol and how you’d never want to mess with their people. Seo Dong-Joo is one of those people, the right-hand man of Cha Gang-Cheon (Woo Hyeon), the CEO of Daesan and the father-in-law of Heo Il-do. In fact, the first episode is quick to show us that Cha Gang-Cheon is much closer to Seo Dong-Joo than Heo Il-do and Heo Il-do is not happy about it, neither is his wife, Cha Deok-Hee (Kim Jung Nam). But Seo Dong-Joo is loyal and is working hard playing the politics of business to try and get a promotion for himself. Keeping him grounded is his lover, Yeo Eunnam (Hong Hwa-Yeon), who is also working at Daesan.

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    Photo courtesy of Disney+ | Buried Hearts (Park Hyung-sik, Seo Dongju)

    From the get-go, the series feels like it’s primarily a suspense thriller set in the messy world of conglomerates. Seo Dong-Joo’s goal seems to be how he’ll navigate raising in the ranks, especially when he’s not part of the family; as chaebol families have a tendency of keeping the highest positions in the business only to family. Seo Dong-Joo had already given up dating Cha Gang-Cheon’s granddaughter for Yeo Eunnam. 

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    Photo courtesy of Disney+ | Buried Hearts (Hong Hwa Yeon, Yeo Eunnam)

    But the big twist is that this thriller’s fulcrum, the surprise at the end of episode one, is that this is a love story, and Seo Dong-Joo must contend with Eunnam in ways that was predictable but still shocking when it unfolds.

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    Photo courtesy of Disney+ | Buried Hearts (Lee Hae-yeong, Huh Ildo)

    What makes ‘Buried Hearts’ so interesting is the narrative approach to the story. Director Jin Chang-Gyu (‘Military Prosecutor Doberman’) and writer Lee Myung-hee allows the story to begin right in the middle without taking too much time establishing characters and relationships. The show does that while the plot is unraveling before our eyes. It’s a hit-the-ground-running sort of approach that gives ‘Buried Hearts’ a different energy and pace. It’s exciting because there’s so much, we still don’t know but we are already at the heat of it, most especially by the end of episode one, that there’s very little room to breathe.

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    Photo courtesy of Disney+ | Buried Hearts (Huh Joon Ho, Yeom Jangseon)

    While Heo Il-do and his family seem to be an obvious obstacle for Seo Dong-Joo, the big mystery is how Heo Jun-Ho’s Yeom Jang-Sun plays into it. A former prosecutor and what seems like a current-day fixer is trying to create a relationship between himself and the Daesan group. He also has a connection with Seo Dong-Joo (is he Dong-Joo’s mentor?) but the show is setting him up to be the main adversary. This is where the politics and intrigue of the chaebol world will come to play, and I hope it’s as exciting as the first two episodes is making it out to be.

    The show is slick and has a distinct and fresh energy that makes it an intriguing watch. It may be bogged down if it leans too heavily on the romance aspect but if it handles it the same way it handles all the other narrative aspects of the first two episodes, this might be a very enjoyable watch.

    My Rating:

    stars 4 0



    Buried Hearts is now streaming on Disney+.

  • Streaming Review (Disney+) — The Expertly-Made First Four Episodes of ‘Lightshop Keeper’ is Setting Up Some Big Thrills

    Streaming Review (Disney+) — The Expertly-Made First Four Episodes of ‘Lightshop Keeper’ is Setting Up Some Big Thrills

    Disney+’s new K-drama, ‘Lightshop Keeper’ boasts an exciting creative team behind it: the webtoon artist-turned-screenwriter Kang Full, who gave us the Disney+ hit ‘Moving’, and Kim Hee Won, a reliable and excellent actor who is making his directorial debut with this show. ‘Lightshop Keeper’ is a psychological horror that makes full use of its unusual release schedule. The first four episodes drop at once with the last four episodes being released, two episodes every week. It’s a timing that fits the show’s big concept and immersive storytelling. The first four episodes actually plays out like one big pilot and the audience needs to be patient because each episode feels separate from each other until the explosive revelation at the ending of episode four that connects everything together so elegantly.

    Each episode centers around one or two characters (with other characters having a minor appearance) as they navigate through their daily lives as supernatural forces seem to hover around them in a near-empty suburb at the outskirts of Seoul. Connecting each story are the supernatural creatures that are haunting each character and a light shop that is open all through the night that somehow manages to draw everyone in. The light shop keeper, played by Ju Ji-hoon (of ‘Kingdom’ and ‘Hyena’ and ‘Jirisan’), who calls the spirits “strangers.” 

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    Interestingly enough, Park Bo Young (‘Strong Girl Bong-soon’) is also always a constant but she’s perennially in the intensive care unit of a hospital but she too is aware of the strangers. For the other characters, there’s a group of students that revolve around Hyun-joo (Shin Eun-soo) who is constantly running into the strangers and is also a regular visitor of the light shop, buying bulbs for her mother (Lee Jung-eun of ‘Parasite’). There’s a man (Uhm Tae Goo of ‘Concrete Utopia’ and ‘Night in Paradise’) who comes home late at night on the last bus and sees a woman (Kim Seol-hyun of ‘Summer Strike’ and idol group AOA) sitting at the bus stop bench every night he heads home. When he finally gets curious enough to ask her, things start to get really frightening. Kim Min-ha of ‘Pachinko’ plays a screenwriter who takes a lease in a house surrounded by unoccupied homes so that she can write in peace but there’s a door in her home that is locked, and a frightening presence is lurking just around her. At night, her peace is ruined by a student played by Kim Ki-hae, who must walk the dark alleys on his way home and he sings to himself to keep from getting scared. 

    Lightshop Keeper Lee Jungeun Shin Eunsu Yuhui Hyunju
    Lightshop Keeper Shin Eunsu Hyunju

    Each one takes center stage in each of the four episodes, except for Park Bo Young and Ju Ji-Hoon, who are a constant in the show. It features each character’s lives as they are hounded by these strangers. What the strangers want seems different for each particular stranger, but the show and Kim Hee Won’s competent direction makes each episode visually stunning and full of suspense and tension. 

    Lightshop Keeper Kim Kihae Jiung
    Lightshop Keeper Um Taegoo Hyunmin 2

    The show’s slow burn approach, creating the world and developing each character can be quite challenging for some viewers who want things to be explained quickly but the show is confident enough that these frightening scenes and sets up are enough of a treat until it’s ready to unravel for us. Everything makes sense by the end of the fourth episode and while Park Bo Young’s character and her relationship to all these characters become clear, Ju Ji-Hoon’s light shop keeper and his knowledge of the strangers and his own mysterious past is still kept mysterious and in the dark.

    Lightshop Keeper Kim Sunhoa Hyewon

    It’s a pretty dark story to tell just a few weeks before Christmas but it plays off a nice contrast to any of the more holiday-friendly choices that might be sent our way. It’s very well-made horror and with Kang Full’s exploration of the superhero genre in ‘Moving,’ there’s definitely going to be sound profound explorations on mortality and death that’s bound to happen in this show. With the foundations that have been carefully and meticulously laid out in the first four episodes, I’m sure that the last four are going to be as explosive and as enjoyable.

    My Rating:

    stars 4 0



    Light Shop Keeper is now streaming on Disney+! Click here to watch it now.

  • THEATER REVIEW: ‘Tiny Beautiful Things’ and the Power of Vulnerability

    THEATER REVIEW: ‘Tiny Beautiful Things’ and the Power of Vulnerability

    I was fortunate enough to have been invited to the open rehearsal of The Sandbox Collective’s new production ‘Tiny Beautiful Things,’ a play based on the book by Cheryl Strayed and adapted for the stage by Nia Vardalos. Directed by Jenny Jamora, the rehearsal was already a powerful, moving experience that brought me to tears and I’m excited to see the actual run at the PowerMac Spotlight Blackbox Theater in Circuit this coming weekend.

    Theater Review Tiny Beautiful Things by Wanggo Gallaga
    Image Courtesy of The Sandbox Collective/@TheSandboxCo

    The book is composed of a series of advice columns by a woman called Sugar and the play creates a space for the columnist to interact with the people writing the letters and asking for her counsel. As written, these letter writers (performed by three people playing multiple parts) share the same space as Sugar on stage, but not in reality but the furniture and the food and the drinks are all shared by them. Letter after letter, advice after advice, Sugar becomes more emboldened to give of herself – her life story, her darkest deeds and thoughts, the private parts of ourselves we usually keep hidden – and in the process the following letters are equally as exposing creating a whirlwind of emotions. In that space, healing can begin.

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    Set in the round, the audience circle the stage, which means the actors have nowhere to hide and while the three letter writers do have moments when they can exit the stage when someone else is interacting with Sugar, our protagonist never leaves the stage. She is a constant presence in their lives, and in the duration of the play, she becomes a constant in ours.

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    Image Courtesy of The Sandbox Collective/@TheSandboxCo

    Taking the role of Sugar is Iza Calzado, her second foray into theater and she imbues Sugar with a genuine tenderness that can sometimes contrast some of the dark parts of Sugar’s life that she shares with her readers (and the audience). What it creates is a complex character who has seen much, been through hell and back, and is grateful for the opportunity to turn these experiences into nuggets of wisdom that might be able to heal someone else. Calzado makes use of her screen presence and transforms it into a power on stage that keeps the focus on her and permits the sincerity to bridge the gap with her perspective on life, which may not always be like yours, but the insight is something so deep and profound that it touches you.

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    Image Courtesy of The Sandbox Collective/@TheSandboxCo

    The three actors during the rehearsal were played by Rody Vera, Gabby Padilla, and Ketchup Eusebio (with Brian Sy and Regina De Vera as alternates) and they have the great task to shift characters after every letter. When not portraying a letter writer, they stay on the stage, either engaging in the conversation Sugar has with one of the senders or taking space at some part of the stage and just doing ordinary things. This direction keeps the stage alive and vibrant, like life is bursting through regardless if the sender’s story is a funny one or a sad one. The three players can shift to any gender or age, but they don’t assume an overdramatic rendition except for some special moments. When one of Ketchup Eusebio’s characters is a little boy, he fully embodies it and transform but when he has to play the part of a transman, it’s not an affected performance. It’s like there’s a baseline for all the characters that they play that they don’t stray too far away from. It feels connected to the fact that none of these people use their real names. All the letters are anonymous, and even when they ask for Sugar’s real name, she doesn’t give it either.

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    Image Courtesy of The Sandbox Collective/@TheSandboxCo

    It’s the tiny nuances like this that adds an extra layer of depth into the production. It was an open rehearsal – so the set design approximates what will be on stage at the PowerMac Spotlight Blackbox – and no spotlights or lighting effects were used, but already the play felt so full and powerful. The set is a full-on working home with a coffee machine that makes actual coffee, and I can imagine what that smell would do for that scene in the actual theater. It’s this fullness that pulls you in further as you get swept into the world of Sugar and her letter writers.

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    Image Courtesy of The Sandbox Collective/@TheSandboxCo

    And the brilliance of the script, pushed forward by its very capable cast and the clear directions, allows for the play to hit hard at the end and you’ve come to realise that the vulnerability that was slowly growing onstage, from Sugar to the senders of the letters asking for her advice, is the same vulnerability you are experiencing as you are connecting to one of those stories.

    The play underscores how vulnerability is an essential part of healing. As someone who is going through therapy now and trying to get over something, this play touched me in a very profound way. And even if you are not going through something, there’s a story there that is going to remind you of someone – or yourself – and you’re going to nod your head and smile. 

    My Rating:

    stars 5 0



    Tiny Beautiful Things will run from November 16 to December 8, 2024, at the Power Mac Center Spotlight Black Box Theater in Circuit Makati. The intimate venue is the perfect setting for a play that thrives on human connection and emotional vulnerability. Tickets are available through Ticket2Me.

  • Streaming Review (Disney+) — Unglamorous Gangnam: First 2 Episodes of ‘Gangnam B-Side’

    Streaming Review (Disney+) — Unglamorous Gangnam: First 2 Episodes of ‘Gangnam B-Side’

    Wanting to show “the shadow of Gangnam,” director Park Noo-ri takes a gritty and brutal approach to showing the popular party district of South Korea in her new Disney+ series ‘Gangnam B-Side.’ The show is an 8-episode mini-series with 2 episodes released every week for 4 weeks. It’s a crime drama that is centered on a woman, Jae-Hee (Kim Hyeong-Seo), who is on the run from the dark underbelly of Gangnam for what she knows about a series of disappearances in the area. On the case is Kang Dong-woo (Jo Woo Jin), a detective who has no friends in the police force after he exposed corrupt police officers a few years prior but has a personal connection to Jae-Hee, as she happens to be friends with his troubled daughter. Adding more chaos to the mix, Jae-Hee’s pimp, Gil-ho (Ji Chan Wook) is trying to protect her by coming after the man who has ordered for her to be found. Rounding up the players is a new young prosecutor (Ha Younkyoung), who appears to be swayed by the politics of corruption in the justice system and Noh Joon-Seo (Jung Ga-Ram), a drug-addicted idol who is connected with the underworld and is after Jae-Hee.

    In the first two episodes, Park Noo-ri takes her time to establish the harsh world of secret clubs, heavy drug use, and prostitution. She takes time to deglamorize the party scene of South Korea and is adept at giving us the decadence and brutality of this world. As the show is made and exhibited in Disney+, it’s not afraid to get very violent and very risque, with very overt displays of drug use and heavy implications of sex.

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    In fact, the more familiar members of the cast – Ji Chan Wook, Ha Younkyoung, and Jung Ga-Ram – take radical transformations to play outside of their type. Ji Chan Wook is menacing as the outlandish street enforcer, Gil-ho. He smokes, he wears fur coats and makes use of his physicality to do some hard-hitting action scenes as he ruthlessly beats up anybody who gets in his way. The usually bubbly and cheerful Ha Younkyoung is the guarded prosecutor with a stern and no non-sense aura. Jung Ga-Ram, on the other hand, is menacing as an idol who may or may not be sober in most of his character’s scenes. This alone brings a lot of excitement to the show as we are watching some of K-Dramas most reliable performers do something outside their wheelhouse.

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    Gangnam B Side Still 3

    A lot of K-Dramas in this genre shows us the corruption amongst cops, so this is nothing new. From the way the first two episodes are presented, it seems that Detective Kang Dong-Woo is prepared to face off against the whole force to protect Jae-Hee and the first two episodes tease that maybe we’ll be seeing him teaming up with Gil-Ho in later episodes, which will be quite interesting to see. After all, they are both strong and competent yet opposites of each other in the law, though they both are men of integrity.

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    What Jae-Hee knows is yet to be revealed and no one knows she has it on record on her phone except for Noh Joon-Seo. This is a crucial plot point that will keep the show thrilling and suspenseful until next week. The loose cannon here is the prosecutor, Min Seo-Jin. She seems tough and a scene plays out where she’s asked to do as she’s told so she can rise in the ranks fast but she’s not afraid to demand that she insists on being properly compensated. The casting of Ha Younkyoung is perfect here because you expect her to be a good guy, and she might still be, but the fact that you aren’t sure yet by the end of the second episode adds to the thrill.

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    The first two episodes of ‘Gangnam B-Side’ shows off all the strengths of the series. It’s got a great cast, great action scenes, interesting characters, and a thrilling plot. If it maintains this, it’s going to be a fun 4 weeks.

    My Rating:

    stars 4 0



    Gangnam B-Side is now streaming on Disney+! Click here to watch it now.

  • Streaming Review: ‘Outside’ is a Well-Crafted Domestic Drama Disguised as a Zombie Movie

    Streaming Review: ‘Outside’ is a Well-Crafted Domestic Drama Disguised as a Zombie Movie

    From the opening scene of ‘Outside,’ writer/director Carlo Ledesma already lays the groundwork for his approach to the zombie genre. A beat-up van carrying four dirty, exhausted passengers pass through an empty highway flanked by sugarcane fields tells us everything that we need to know: the zombie apocalypse has already started, and this family is on the run. The film begins and they’ve already witnessed and experienced things. What exactly? While some of these events are spoken about much later on in the film, Ledesma expertly weaves in what the audience already knows about zombies to let our imagination do the work. It’s only from the cast’s performances that informs us how intense it all is. Sid Lucero, Beauty Gonzales, Marco Masa, and Aiden Tyler Patdu play the family and as we see them arrive at an old hacienda, we know what they’ve been through must have been hell.

    And from here, this is what makes ‘Outside’ so refreshing. Ledesma knows the audience have expectations and continues to subvert it at every turn. You are expecting a zombie hoard but instead, he hits you with a complex domestic drama turned thriller all set in the backdrop of a zombie movie. Because while there are zombies, they are not the scariest thing in the film. For the pillars of this family – Sid Lucero’s Francis and Beauty Gonzales’ Iris – are not in good terms and their children, Masa’s Joshua and Patdu’s Lucas, are bearing the brunt of it.

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    Set in a broken-down hacienda somewhere in Negros Occidental, Ledesma uses the beautiful architecture of the house amidst the grand expanse of the sugarcane fields surrounding the mansion as a battleground for a broken family. Francis and Iris’ marriage is falling apart, and it unfortunately happens during a zombie outbreak. Tensions are high and moving back into Francis’ ancestral home reignites horrible memories of his traumatic youth with an abusive father.

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    The film unfolds slowly, establishing the deep hurts that have been embedded in each character, for even the children are not spared from the backlash of all of this emotional turmoil. Francis is trying to keep his family together while Iris is just looking for a place to feel safe and as the constant presence of zombies continue to complicate the already-tense situation, every emotion is amplified and pushes the characters to their limit.

    ‘Outside’ goes beyond the zombie genre and manages to intersect and weave in various plots – the domestic drama, psychological horror, and zombie movie – into one narrative. For those expecting a high-paced thriller, you might be disappointed (though there is one exceptional action-packed sequence at the start of the second act that is exquisitely choreographed and executed) as the film is more interested in developing and building up its characters.

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    Sid Lucero and Beauty Gonzales are wonderful at holding this whole film together. The film centers around the two of them and their battle of wills. Lucero handles Francis’ breakdown with all the layers that it requires so that it never feels like a caricature or some easy psychotic episode. He works on every individual dimension of his character’s burden: protecting his family, dealing with his trauma, reconciling with his wife, losing control, redefining the home he never wanted to return to. Gonzales, on the other hand, is a woman struggling against her lack of options. How does she get away from her husband with her kids when he has the key to the van, a gun, and a strong desire to keep everyone together. I was surprised by how this film was able to communicate how trapped some women must feel inside a broken marriage. While the zombies have taken multiple metaphors over the course of half a century or more since their appearance in the medium of cinema, this was the first time I saw the zombies as a metaphor for all the external forces that keep women in a failing marriage.

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    While I feel that the film could use a simpler plot – there are scenes that are there where I feel they only serve to offer new choices for Francis and Iris – what I love about ‘Outside’ is that it never goes out of its way to scare you. It is so confident that the dramatic situation is already tension-filled and frightening that it doesn’t go overboard in the filmmaking to scare you. No inorganic jump scares or overbearing music or crazy camera angles. It’s just clean, beautiful filmmaking that’s focused on character development that’s pushing the story forward. The fact that the film is well-acted, and the elements are fit for horror is just icing on the cake.

    My Rating:

    stars 4 5



    Outside is now streaming on Netflix! Click here to watch it now.

  • THEATER REVIEW: ‘Six’ is Fun-Filled History Lesson on Women Empowerment Disguised as a Pop Concert

    THEATER REVIEW: ‘Six’ is Fun-Filled History Lesson on Women Empowerment Disguised as a Pop Concert

    I’m a musical theater puritan, growing up and raised on Stephen Sondheim, Maury Yeston, Kander & Ebb, and Lerner and Lowe. Later on, I discovered Lynn Ahrens and Stephen Flaherty. So, I’m not the kind of guy who truly enjoys a jukebox musical, much less new musicals that stray so far away from what I am used to. I didn’t like the thought of ‘Hamilton’ until I finally got to see it and it completely changed my mind. So, I find it funny that I was against coming in to watch the musical ‘Six’ because of its usage of pop music as its aesthetic and motif; but I was – once again! – made to eat my own words and when I saw the show and realised how amazing it is.

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    SIX UK Tour 2023 | Pamela Raith Photography

    The 2017 musical by Lucy Moss and Toby Marlow reimagines the six wives of Henry VIII – Catherine of Aragon, Ann Boleyn, Jane Seymour, Ann of Cleves, Katherine Howard, and Catherine Parr – as an all-girl pop group, who are in a concert and decide to hold a competition to decide who would be the group’s main vocalist. The winner will be determined by who suffered the most under Henry VIII.

    The whole show takes on a full pop concert aesthetic. The backdrop is a dynamic LED light board that plays off on the songs. The band, called “Ladies in Waiting” are on stage with the performers and also part of the show in their own nuanced way. The bright, structured costumes are a mix of 70s Eurythmics and Devo inspired outfits with added touches of Victorian-era designs. And the five actresses come out, singing their hearts out and calling out to the audience, in our case “Hello, Manila,” as if they were straight out of a tour (which they are).

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    SIX UK Tour 2023 | Pamela Raith Photography

    The opening song, “Ex-Wives” got me afraid, and proved my point about how pop songs aren’t fit for musical theater. The song is in the narrative mode and tries to establish the characters and the setting in a pop song and it sort of comes off clunky and verbose. Musically, it feels all over the place and it made me feel smug and petty.

    In-between, the actresses are doing an amazing job at bringing these characters to life. The women are feisty, filled to the brim with personality, and are all leads in their own way. To prove they suffered the most, they each get a song – a monologue, if you will – to explain the hardships they endured, and this is when my feelings about the show shifted.

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    Pamela Raith Photography

    Each individual song, after the opening, tells a story about the sort of oppressive world women have to live through each day. There’s sexism, unfair beauty standards, and oppression of all sorts that somehow work so well in each individual story. The songs, when focused on just one person’s story works so well and each wife has their own distinct musical style that was purposefully inspired by an existing pop star (according to some online articles).

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    Pamela Raith Photography

    The touring cast is insanely talented, and they take each song and just knock it out of the ballpark. Billie Kerr plays Catherine of Aragon and I love how she never hid her thick Scottish accent while playing the English queen who hailed from Spain. It creates a layer of artifice that fits so well to the show and adds another layer of humor that just fits perfectly. Yna Tresvalles plays Ann Boleyn, and she is so full of charm and spunk. In my opinion, her character has the funniest lines, and she keeps it going throughout the whole show. Jane Seymour, the only woman who King Henry VIII supposedly loved, is played by Liberty Stottor, who gets to sing the emotional power ballad. Her soaring vocals creates a truly emotional moment that helps break the hilarity of the first two songs. Hannah Victoria kills it as Ann of Cleves, whose song is ready for the Top 40 supremacy. Lizzie Emery channels Britney Spears as she portrays the provocative Katherine Howard, whose song is more an acting piece than a vocal piece and Emery sells the story of sexual exploitation so convincingly that it brings you back into the story (the way Jane Seymour’s song does). Finally, Eloise Lord nails Catherine Parr and has the unenviable position to play the character that turns the show around. Her incredible vocals turn her R&B flavoured song into a showstopper.

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    Pamela Raith Photography

    I had to mention all the six actresses because they were all phenomenal. ‘Six’ is pretty much a monologue play that is sung-through and despite it’s silly pop-concert conceit, manages to really bring to light the sort of challenges women continue to face every day. They use the stories of the six wives but told with modern touches – lingo and jargon, dating apps, and the like – to show that the way the patriarchy has objectified women hasn’t much change in 500 years.

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    Pamela Raith Photography

    Except for the first song, which I’m not a fan of, the rest of the songs fit perfectly as both narrative exploration of character as well as rousing pop songs that will get you clapping to the beat. It’s such a fun show that I was taken completely by surprise and fell immediately in love with the musical. In fact, I don’t want to listen to the album on a streaming site because I want to remember how it sounded with this touring cast in my head. I wish I could see it again and I wish more women get to see it for its message of reclaiming your identity from the patriarchy.

    My Rating:

    stars 4 5



    SIX the Musical is currently running for a strictly limited engagement at The Theatre at Solaire until October 20. For more updates and exclusive peeks behind the royal curtains, keep your eyes on gmg-productions.com and follow @gmg.productions. This October, the queens of “SIX” aren’t just rewriting history—they’re making it.

  • REVIEW: Unrestrained Absurdity: A Review of ‘Kinds of Kindness’

    REVIEW: Unrestrained Absurdity: A Review of ‘Kinds of Kindness’

    The director of captivating absurdist films such as ‘The Lobster’ and ‘The Favourite’ and ‘Poor Things,’ Yorgos Lanthimos goes deeper into the absurdity with his latest film, the triptych ‘Kinds of Kindness,’ which opened to limited release worldwide before finding its way to Disney+. At 164 minutes, the anthology of three loosely related short films (connected mostly by theme) feature actors that the director has worked with in the past – Emma Stone, Willem Dafoe, Margaret Qualley, Joe Alwyn – as well as Jesse Plemons, Hong Chau, and Mamoudou Athie all playing different characters in each of the three segments. 

    In the first segment, “The Death of RMF,” Plemons plays a man whose life is controlled down to its most tiniest details by Willem Defoe’s eccentric wealthy corporate overlord-type. The relationship between Plemons and Defoe is romantic, though Plemons’ character is married to Hong Chau and Defoe is living with a woman (Qualley). When Plemons is unable to carry out a task that he was instructed to do, he is cut off from Defoe and he finds himself lost and directionless until he meets Emma Stone’s character, who seems strangely familiar. 

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    “RMF is Flying” is the second segment where Plemons plays a policeman who is distracted by the loss of his wife (Emma Stone) who is missing out at sea. But when she is found and returns home, Plemons begins to suspect that the woman who looks like his wife is not his wife. As the policeman tries to keep his distance, the wife will do anything to try and convince him that she’s really her. Things take a very bloody turn as the policeman makes unbelievable demands.

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    The final piece, “RMF Eats a Sandwich” centers around Emma Stone’s character who is working for a cult, led by Willem Dafoe and Hong Chau. Stone, along with Plemons, goes around the city searching for a messiah-like figure but secretly, she takes trips to visit her home to leave gifts for her daughter. When she is spotted by her daughter and her husband (Joe Alwyn), one thing leads to another and she finds herself breaking the tenets of the cult just as she is about to come face-to-face with the messiah (Margaret Qualley).

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    All three stories are told with the signature style of Lanthimos, with the cinematography and musical score that is set to distort your experience of the story by highlighting the weirdness of each scene. The dialogue is more reminiscent with Lanthimos’ older work like ‘The Lobster’ and ‘Killing of the Sacred Deer’ as the film reunites him with his co-writer Efthimis Filippou, who has a gift for creating extremely stilted, awkward dialogue as evidenced by the movies aforementioned. In ‘Kinds of Kindness,’ the literal, non-nonsensical word and phrase choices are apparent, but the actors are able to deliver it with more emotion than in ‘The Lobster’ or ‘Killing of a Sacred Deer.’ But with all these cinematic elements working in conjunction, the film is intellectually demanding as one has to really peel off the layers of artifice to get at the meat of the films. 

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    Hong Chau and Jesse Plemons in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.

    It’s the leaning into the formalist aesthetic that Yorgos Lanthimos is really an expert at and it makes his films so enjoyable because they come off as really unexpected and irreverent, which makes them really, really funny. It’s a deadpan humor that forces you to just laugh because otherwise you’d feel bad about yourself because what these movies have in common – the interconnected theme that weaves in and out of the three films – is the dangerous determination of the human spirit. In all three films, the main characters – Plemons in the first two movies, Stone in the final one – all are driven to the point of being blinded to anything else like logic, morals, dignity, rationality. There’s a passionate need that drives these characters forward and they come bulldozing into every moment and creates more havoc and chaos that creates a cynical and jaded look into modern human nature.

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    Willem Dafoe and Margaret Qualley in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.

    Lanthimos creates a satire with ‘Kinds of Kindness,’ and he is making fun of all of us with our unyielding loyalty to the things we hold dear: religion, idols, conspiracy theories. What makes it all work is that he never takes it too seriously but his actors manage to make it all feel so real without every losing the tonality of the film being a satire set in the absurdist mode.

    I’ve been told, ‘Kinds of Kindness’ is Lanthimos’ English work that feels closest to his Greek work and I’m glad for a taste of it (as his earlier Greek films are hard to come by over streaming). I love his other works, though, with Poor Things being one of my favorite cinematic experiences last year. While watching Kinds of Kindness on my iPad via Disney+ may not be ideal, the fact that it is less of a spectacle and more of an intellectual exercise makes it suitable for the medium.

    My Rating:

    stars 4 0




    KINDS OF KINDNESS is now streaming on Disney+. Watch it here and experience the absurd brilliance of Yorgos Lanthimos!