In ‘Far from the Tree,’ normal gets a new meaning.
“Loving our own children is an exercise for the imagination,” writes Andrew Solomon, psychologist and author of Far From the Tree, a book recently adapted into a moving and challenging documentary.
“Though many of us take pride in how different we are from our parents,” Solomon explains, “we are endlessly sad at how different our children are from us.”
Solomon’s wisdom from the book carries into the film—a consideration of how several different families live with and love children who have been deemed different.
The music industry has drawn its lifeblood from the cultural expressions of oppressed people.
Anyone who has trouble grasping the notion that human nature is simultaneously divine and depraved just doesn’t know enough about the history of the popular music industry.
A new film leaves viewers convinced that Baltimore and other cities like it have the ability to heal themselves.
Baltimore wants so badly to be known for its waterfront and its historic neighborhoods, but instead it is famous for murder, gang wars, and police brutality. Blame it on David Simon, the former Baltimore Sun journalist who from 1993 to 2008 brought the city’s woes into our living rooms in Homicide: Life on the Street and The Wire. Then, in this decade, when Baltimore’s reputation was starting to recover, there came the 2015 police killing of Freddie Gray and the brief violent rebellion that followed.
Can women really have it all?
It’s just so pretty.
Amazon’s knockout series The Marvelous Mrs. Maisel swept the Emmys, pocketed two Golden Globe awards, and was just renewed for its third season even before its second debuted in December. Created by Amy Sherman-Palladino, who is executive producer along with her husband, Daniel Palladino, the show features their signature rocket-speed dialogue, snappy repartee, and sassy pop culture references, set against technicolor-hued sets and Edith Head-worthy wardrobes.
Corners of America still need a reminder that attempting to change same-sex attraction is a harmful endeavor.
You know there’s something in the air when two movies on the same topic hit the theaters within a few months of each other. That’s what happened last year with two films about gay teenagers whose evangelical Christian parents send them to “conversion therapy” programs to become heterosexual.
Women are seeking spiritual practices that respect their wisdom, creativity, and leadership.
Christian witches? What’s next? Married bachelors? Square circles?
A combination of disbelief, mockery, and genuine concern for the souls of those who might claim such a label populated a friend’s Facebook thread when he referenced a rise in Christians who also identify as witches.
The new film ‘Sorry to Bother You’ is a sign that change may be coming.
My nomination for the most important movie of 2018 has a plot that doesn’t involve superheroes or space travel, and its production didn’t involve any of the usual Hollywood oligarchs. It’s Sorry to Bother You, an independent feature written and directed by hip-hop artist, activist, and self-identified “communist” Boots Riley. The movie is a sort of magical realist satire built around a union organizing drive at a shady telemarketing company.
In the new film ‘Hereditary,’ characters are doomed to live out drama set in motion by an earlier generation.
I the Lord your God am a jealous God, punishing children for the iniquity of parents, to the third and the fourth generation of those who reject me (Exod. 20:5).
In ‘The Line Becomes a River,’ author Francisco Cantú joins U.S. Border Control to gain a new perspective on immigration.
In this new version of the classic show, children and parents must work to overcome their estrangement, a situation all too familiar to modern parents.
Toss a family onto a deserted tropical island—or, say, an uncharted planet in outer space—and see what happens when all social and cultural conventions and pressures are swept away and parents and children are forced to work together to survive.
That was the story arc of Johann David Wyss’ Swiss Family Robinson novel in 1812, which was made into a film twice—in 1960 and in 1998. Then the Robinsons were reimagined as being shipwrecked not in the East Indies but in outer space on an uncharted planet in the Lost in Space CBS television series in the 1960s.