Netflix “YOU” Season 2 Review

Wow! That was bonkers good! I don’t know about you, but I binged the entire series in two nights. Simply couldn’t put it down, a fitting bibliophile metaphor as it were. Your favorite book-loving serial killer is back–and he’s moved. Now living in LA, a city he repeatedly detests, Joe (now Will) has his eyes set on a new object of his undying affection, appropriately named Love. He fled Brooklyn to LA to reinvent himself and find a new life–as so many people so when they movie to Los Angeles. But his eyes are not on the silver screen, they are on a hipster organic grocery store and book shoppe. Once he begins his job there, the hijinx are in high gear! After the critical success and highly positive audience reception of Season One, I honestly didn’t expect Season Two to hit the bar that the first one did–I was wrong. After being informed on the Bingeables Podcast during our recording of Don’t Trust the B in Apt 23 that Season Two was even better than Season One, I was intrigued! While it was already on my list of shows to watch, I quickly moved it to the front of the queue. In order to talk about how and why this season works as well, if not better, than the first, it will be necessary for me to go into spoilers. So consider this your spoiler warning. If you plan to see it, and have not, stop here, go binge the show, then come back. Believe me, you’ll want to binge it because it is just that good!

One of the main characteristics of the experience watching YOU that was such a staple in season one was just how much we rooted for our antihero Joe Goldberg, despite him being a sadistic, book thumping, stalker. Perhaps it’s his good looks, oddly loving heart (and I do mean odd), and authenticity. While we may find his behaviors detestable, contemptible, and reprehensible, there is a refreshing since of authenticity that we seldom witness anymore in an age of social media facades and social pretenses. It’s this fascinating dichotomy that we love about Joe/Will. For purposes of this article, I will refer to him as Will, as that is his name for most of this season. Whereas in Season One, Will was lacking an equally intelligent and cunning character of opposition, he has met his match in Candace–yes–that Candace. You can’t outrun murder, or in this case, attempted murder. Candice is back, and she is pissed.

We pickup at the tail end of Season One when Candace surprises Joe at the bookstore. Only this time, she is in control of the situation. But does she turn him into the police? No, that would be too easy. Her goal is to ruin him and make him as scared as she was. She prefers executing a slow, painful defeat. He decides to flee to the one city that he hates more than any other: Los Angeles. Where else do you go to reinvent yourself and hide from the world? Once Will relocates to LA, the hijinks and prolific number of crimes ensue!

All those thrills and chills from season one are back with vengeance in season two. Furthermore, the series continues positing the questions and making observations about masculinity, femininity, friendships, romantic relationships, and social media. One of the biggest differences between this season and the last is that we now have the stalker becoming the stalked. So there is the stalking between Love and Will, but then Will is being stocked by Candice. And even Candice is being stalked during the season. So many layers! Don’t worry, all these layers are not confusing. There is plenty of exposition laying pipeline along the way to understand the various dynamics. While Will goes even darker than in the previous season, you will undoubtedly still root for this antihero. The added complexity of Candace gives way to a more intriguing plot that will have you on the edge of your seat. In addition to the present story, you also get to learn more details about how the relationship between Candace and Joe ended. And you will be blown away! No wonder why Joe was so shocked to see her at the end of Season One.

At first, Will recognizes his psychological problems and refuses to engage in romantic thoughts or behaviors with Love, but soon he falls into his old ways but approached them differently. There is far more rationalization than before, and that makes everything so much more frightening. It doesn’t take long for Will to give up on keeping Love at arm’s length, he’s soon back into his old ways as she is now the object of his affection. More so than in the first season in which Will targeted people that came between him and Beck, this time, he targets those who seek to blow the cover on his darker side that could end his friendship turned relationship with Love. Unlike Beck, Love genuinely returns Will’s affections, which actually complicates things. In addition to his romantic affections, Will also quasi adopts a teenage girl in his apartment complex because he feels that she needs someone to talk to and look after her since her sister (her guardian) is off chasing stories a lot of the time. This friendship adds in another relationship that Will has to protect at all costs. Not only must he not disappoint Love (and her brother, with whom she has a co-dependent relationship) but he must not disappoint his neighbor.

Although I saw the big twist coming shortly before it was revealed, it was still a pleasant surprise! It was the perfect way to end this absolutely bonkers season. While Will thought he was alone in his personal struggles, he now knows that others share his same penchant for stalking and “protecting” loved ones. But therein lies the conflict and a newfound fear for Will, he now knows that he may become someone whom needs You’s special blend of stalking and protecting. He goes from apex predator, if you will, to being knocked down a rung on the food chain.

I appreciate You‘s commentary on modern relationships, masculinity, and femininity. A lot has changed in dating over the last 10-20 years, and You has a way of creatively exploring all the added complexities that social media and the re-defining of traditional gender roles in relationships. You also depicts different kinds of relationships. We have the warped-yet-traditional romantic relationship between Will and Love, the bro-mantic friendship between Forty and Will, the lesbian relationship between Love’s best friends, and the quasi-parent-child relationship between Will and Ellie (his neighbor’s kid sister). Each of the aforementioned relationships contain their own respective set of unique dynamics that Will must navigate in order to keep his dark secret hidden from those whom he legitimately loves. Of course, with a devoted love like his, you may be better off with enemies. Beyond friendship and romantic relationships, You also provides commentary on sexuality and the expression of it. This season plays around with the various ways people express their sexuality and personalities. Characters that you first think are heterosexual are, in fact, homosexual, and those whom you first think are homosexual are, in fact, heterosexual. It’s fascinating to see characters refusing to comply with the de facto rules society has for both groups of people, and express themselves however they like regardless of sexual orientation.

We witness much more of the Dexter side to Will. And, the wildly popular show gets referenced in this season. Like Dexter, Will has a quality about him that we just cannot seem to help but root for. Not in the same way as Dexter, because he primarily only killed those whom were criminals in some form or fashion. Although Will demonstrates some of the same habits, he also regularly kills innocent people that find out his secret, and that’s the different between the two anti-heroes. But not all the killing is due to Will’s penchant for forcibly creating relationships. Love joins in on the action when she realizes that Will is not unlike herself. Interestingly, it is not Will whom has the highest body count, it’s Love. The one kill that Will does have is technically accidental, whereas Love’s are completely intentional crimes of passion. Simply stated, Love and Will are made for one another.

What a fantastic season! And a third season has been greenlit, so we may get to see what Will makes of his new next door neighbor.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Bombshell” Film Review

Explosive! Bombshell is a brilliantly orchestrated and riveting film that takes you behind the scenes at Fox News in the months leading up to the oust of news business mogul Roger Ailes. Follow Megyn Kelly, Gretchen Carlson, and (fictionalized) Kayla as they battle the courts of public opinion and the seemingly impenetrable fortress of Fox News to take down the repulsive Roger Ailes. I went into this film prepared for a snark-filled satire, but what I was presented with was a meticulously written and directed docudrama that struck a fantastic balance between feature news story, so to speak, and motion picture. Although the film takes itself appropriately seriously, there are plenty of moments of levity that intertwine to strike the perfect tone. Where films tackling subjects as high profile and personal as this one occasionally fall victim to creating caricatures of real people and settings. Rather than limit the film to dramatizing the legal battle and cold hard facts, it uses the fictionalized character of Kayla to explore the psycho-social cost of being the victim of sexual harassment. So this film is just as much a human story as it is a recreation of an actual event. And it’s that human component that is explored through Kayla, Megyn, and Gretchen that gives this film incredible depth. There is no pretense in this film; it’s a raw, organic approach to adapting this story from the small screen to the big screen. You even get a few surprise cameos from some some familiar anchors and other personalities. Exemplary writing and direction is coupled with a highly effective stylistic cinematography and outstanding performances by the lead and supporting cast.

Bombshell is the dramatization of the downfall of Fox News mogul Roger Ailes that chronicles a group of women as they decide to take on the mastermind of the “fair and balanced” cable news network and the toxic atmosphere he presided over at Fox News.

There have been a few films in recent years that seek to dramatize and tackle the human cost of lecherous sexual harassment and abuse of power in the work place. But this is the first one to strike the perfect balance of PSA and dramatic plot. I love the irony all throughout the film, the stark contrast between “traditional values,” and “fair and balanced” approaches and the repulsive behavior behind the scenes. Yes, Ailes might look like a pioneer for women in that he was the first to truly give women the big anchor chair, but at a scaring and traumatizing cost. He was a sadistic magician of sorts with his “look at what my right hand is doing, meanwhile my left hard is truly pulling the strings.” Much like the news network that he built (and to his credit, he was a broadcast news business genius), the surface was not a reflection of the disgusting practices to craft this “family friendly” illusion. The truly scary portrait that this film paints is not limited to Fox News, but it is likely a reflection of the business of running a “visual medium” by in large. While much of what Ailes did was direct sexual abuse and harassment, he committed a lot of indirect abuse and harassment that leaves just as traumatizing a mark upon the women he abused. Much like Hustlers posited that the entire world is a strip club where a few are dancing while the majority are paying, this film also explores the dark, seedy underbelly of “sex sells” and sex appeal.

The performances are mindblowing! How Charlize Theron completely transformed into Megyn Kelly is nearly as uncanny as Rene Zellweger’s transformation into Judy Garland in Judy. You will swear that you are watching Kelly on the big screen. Theron not only nails the look of Kelly, but the tone of voice, rhythm of speech, and body language. She is truly captivating, and showcases her phenomenal acting chops. Here’s hoping for an Oscar nom for her! Although Megyn Kelly is the central character, she is supported by Gretchen Carlson brilliantly portrayed by Nicole Kidman and fictionalized Kayla, played by Margot Robbie. In the same vein of Theron’s excellent performance, Kidman also nails Carlson down to a science. When I watched Kidman on the Fox and Friends set, I swore that it was Carlson herself. Kidman brings out the strength of character and vulnerability of Carlson. It is clear that Kidman did her homework as well as her character did. Finishing out our trifecta of women at Fox is Kayla, an entry level staff member on various shows at Fox News. She is our conduit through which we experience the extend of Ailes reprehensible behaviors behind the scenes. She represents a young eager professional that can be found in many offices. She is the “everyman,” for all intents and purposes. This role gave her so much to work with, and she was able to demonstrate the wide breadth of her acting abilities. Such a versatile actor! I also appreciate the writing of her character for giving us a normal, every day, woman of faith. One whom isn’t prudish, judgmental, or pious. Her character was likable, sex positive, and NOT homophobic. However, she also highlights how many conservatives view Fox News. And you can feel her heart break as she falls victim to Ailes, that moment she realizes and experiences that the head of Fox News is a disgusting human being.

Not only do the women shine brilliantly in this film, but John Lithgow’s Roger Ailes is fantastic! It’s hard to praise such a disgusting man, but here we have to separate the actor from the character. Lithgow is one of the most charismatic and witty actors ever, and he convinces us that he IS Ailes. I can only imagine the difficulty in portraying such a villainous person. What stands out the most in the performance, aside from the image, is how much he humanized Ailes. Showed him to self-aware of his body image and how he, much like we, rationalize negative behaviors. But it’s this human side that makes Ailed even more frightening. He successfully turns Ailes from TV business diabolical genius to mob boss. Towards the end of the film, we get an appearance by Malcolm McDowell as Rupert Murdoch himself. Such a delightful surprise to see McDowell on the big screen again. His Rupert is on point! And in his brief time on screen, he commands it strongly.

The choice of cinematography was very interesting. The movie starts out as if we are at Fox News HQ on a tour of the facility and shows. Our guide is Megyn Kelly! She simultaneously walks us through the facility and provides poignant social commentary on the image and relationships of Fox News to the world. The manner that the camera moves throughout the scenes of the film is in a documentary fashion in the scenes that are real-life recreations of the actual events. When we are in a fictionalized part of the movie, then the camera moves in a more traditional manner for scripted motion pictures. This oscillation between objective and subjective makes for a dynamic experience. Instead of a clip show of headlines and what trended in social media during this time, the film goes deeper to reveal the heart of the issue: ultimate power. Tension and suspense are built effectively as the narrative unfolds in a gripping fashion. From the creative to the technical, everything about this film works flawlessly.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“The Dark Crystal: Age of Resistance” Netflix Review

Since I will be at Halloween Horror Nights Orlando all weekend, my review of It: Chapter 2 will be delayed. So while you wait, checkout this review of Netflix’ The Dark Crystal: Age of Resistance that I did with the Netflix ‘n Swill podcast. Dan and Caleb were so much fun to talk with, and if you like Netflix shows or movies in general, then you should give them a follow.

Netflix newest epic fantasy series is a hit! If Netflix was searching for its Game of Thrones, it may have found it in The Dark Crystal: Age of Resistance. While we haven’t been given word if a second season has been greenlit, it would not surprise me if we learn that news in the near future. From the outstanding production design to the spectacular puppets and sweeping score, this is one to watch if you love fantasies. I love it when I can see the hand of the artist in the motion picture, and this show is overflowing with the art of storytelling. To be honest, the first episode is a little convoluted with world building, and was difficult to follow at points, but the episodes thereafter successfully develop the central characters and the lore of the crystal. For longtime fans of the original, you may notice some of the lore doesn’t quite match up, but it’s not completely off either. I imagine some of it is modified in order to write a whole TV series as opposed to a feature film. None of the differences take me out of the story, but it is something for which to look. You’ll find that the writing is gripping and points to the events of the cult classic while delivering a new story in a familiar world. This new series is completely connected to the original, and feels that it is truly doing the original justice in this age that predated the “age of wonder” that the original film takes place in.

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Ryan teaches screenwriting at the University of Tampa and teaches high school TV/Film production. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com!

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“Stranger Things” Season Three TV Review

StrangerThings3_tallNetflix’s Stranger Things Season Three represents a return to form! Much like Apocalypse did for American Horror Story, this season of Stranger Things took what worked in Season One and delivered an outstanding third season that has–what could possibly be–my favorite scene in the entire series. Even more than the previous two seasons, this one takes 80s culture and style to the max, complete with a nostalgic shopping mall and carnival. More so than any of the previous seasons, this one is the most roller coater yet. More monsters, more conflict, more horror. It’s also only eight episodes; and to that point, this season is tight, precise, and never leaves you in a lull. Whether you were a kid or teenager in the 80s or not, this season does what Stranger Things does best–connect you with your childhood. Whereas the series has been more science-fiction than horror in the previous two seasons, season three skews much closer to horror giving audiences some nightmarish imagery that echoes sci-fi horror staples such as Invasion of the Body SnatchersThe Blob, and The Thing.

Instead of playing on the mystery or fear of the unknown, season three is aware that the spider-like mind flayer and demogorgon aren’t as scary as they were in the first two seasons. So it delivers a new character of opposition that is terrifying in both mind and body. This parallels the changes that the central characters are going through during this time of encroaching upon adolescence. The boys have deeper voices and the hormones are raging. In addition to navigating the horrors that are befalling Hawkins, our central characters are forced to navigate relationships, sexuality, growing up, and loss. And this exploration of relationships is not limited to the kids, but the adults of Hawkins find themselves forced to face true feelings as well. It’s the added intellectual dimension of the human condition that makes this such a strong season for me. In fact, the more I think about it, the more that this might just be my favorite season, with Season One being a close second. What makes some of the greatest horror films of all time stick with us is the social commentary and thematic depth. Stranger Things season three dives deep by consistently keeping the focus on the character conflict and not simply the other-worldly entities.

One of the most relatable avenues through which to connect with characters is the avenue of relationship dynamics. And there are a plethora of relationships on display in this season. Early on, we have the incessant making out of El and Mike, the sexually frustrated relationship between Joyce Byers and Hopper, the friendship of Steve and Robin, later on we have the breaking up of El and Mike, followed by the blooming friendship between Max and El. We witness the strained relationship between Will and his childhood guy friends as his friends begin dating and leave him to play D&D alone. Then there is the seemingly made-up girlfriend of Dustin’s that he cannot connect with via his powerful  radio. Add a coming-out story to this mix, and we have many different personal and interpersonal relationship dynamics with which to connect. Relationships provide conflict, and that conflict directly impacts the drama. And we have lots of drama this season. Each of the aforementioned relationships provides the means for the characters to experience his or her own arc and grow positively or negatively. On a lighter note, there is an uplifting message of embracing your inner nerd that is evident in the drama that unfolds between Dustin, Robin, Steve, and Erica at the ice cream shop; and further evidence for this message is in my favorite scene in the entire series, The Neverending Story theme song singalong between Dustin and Suzzie. It doesn’t get much nerdier than that.

Skewing closer to horror than science-fiction, season three’s monster is right out of The Blob. There are also elements of Invasion of the Body Snatchers and The Thing. I absolutely love the idea of this monster because attacks its victims in two different ways (1) the blob will absorb the bodies of the victims and (2) the mindflayer takes control of the minds and bodies of those it deems are worthy vessels. There is a two-fold nature to this monster that makes it more terrifying than the previous iterations, because it attacks the mind and body. Much like William Friedkin’s The Exorcist took the home invasion horror concept to the next level by a demon invading the house and bodily home of an innocent little girl, the mindflayer, in a similar fashion, takes on many of the characteristics of the demon Pazuzu in Friedkin’s horror masterpiece. Characteristics of the alien entity in The Thing are also included in the actions of the mindflayer, specifically how it takes host of a body and can remain undetected. It’s this multidimensional component in the design of the monster that makes it the most terrifying creature we have encountered in Hawkins, IN.

So much fun! Season three of Stranger Things provides us with a fantastic character-driven plot that deviates from the action-driven plot in season two by returning to form. By the Duffer Brothers going back to what made the first season such a hit, this third season keeps the show going strong. Furthermore, the story is a lot tighter in this shortened season. Just goes to show that even when you have fewer episodes, the quality of the show doesn’t have to suffer. In this case, the quality went up from the previous season. Everything in this season works so very well, from the tight screenwriting to the nostalgic production design. After a mediocre second season, I was anticipating much the same for the tertiary season. Thankfully I was pleasantly surprised by how much I enjoyed season three, and feel confident that you will too!

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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Twitter: RLTerry1

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“The Dark Crystal” Throwback Thursday Review

With the highly anticipated The Dark Crystal: Age of Resistance releasing on August 30th, I want to revisit the cult classic that is still equal parts beautiful and terrifying to this day. A couple of years ago, Fathom Events brought The Dark Crystal to the big screen, so I was able to watch this outstanding motion picture on the big screen for the first time ever. Despite the very macabre nature of many parts of the movie, my parents showed this movie to my sister and I at a young age. From the very first time we watched it, my sister and I became fans. As kids–back when kids played outside, in the woods, and in abandoned buildings using their imaginations to role play–we created characters that were ostensibly taken from the world of the movie, and spent hours imagining we were in Thra. As a kid, I was mesmerized by the spectacular production design and puppetry. I can only speculate the degree to which kid-me appreciated the artistic elements of the now iconic motion picture, but I imagine that it completely captured my imagination, otherwise I would not have rewatched it as many times as I did. As an adult, I am shocked that my parents allowed me to watch it at such a young age because there are moments that terrify first-time adult audiences today. Sometime last year, I introduced this movie to my penpal, and he was blown away by how dark this fantasy movie was. Of course, this movie came out at a time that fantasies were dark (case and point, The Neverending Story). On the surface, this may be a common premise of good triumphing over evil despite adversity, but there is so much more that makes this the timeless classic that it is. Jim Henson was an incredible genius who truly knew how to combine form with function to create a fantastical masterpiece.

What stands out more than the plot itself (which is pretty straight forward), is the fantastical practical effects that give the film incredible depth–levels of dimension that CGI-heavy movies with they had but won’t ever achieve. Why? Simply because you cannot replicate the way real light bounces off real objects and into the camera lens. The atmosphere that the setting and characters combine to make is a level of movie magic that only the genius of Jim Henson could have created. Frank Oz stated that children should not be sheltered from darkness because it is just as much a part of their lives as joy and laughter. There are some truly terrifying and sad moments in this movie. And it looks as if this sentiment is going to be channeled into the new series. The story does not shy away from topics such as torture, death, gender roles, independence, and courage. Whereas the plot itself is simple, the characters are highly complex. Moreover, each of the Skeksis represents one of the seven deadly sins, and each Mystic is the good counterpart. The gelflings represent the “human” or emotional component in the narrative, so they serve as the conduit through which we experience the plot. Aughra is our logical character whom provides the diegetic exposition to understand the gravity of the encroaching Great Conjunction. There is a beautiful poetry in how the characters all complement one another and their respective surroundings.

Although all Jim Henson movies feature muppets (Henson’s patented puppets) and other movies have puppetry, The Dark Crystal stands alone as the only film of his that is entirely puppets! Yes, you could argue that the few longshots are human actors, but that is splitting hairs. For all intents and purposes, only puppets appear in this movie. And these puppets were the most advanced to ever hit the screen, and still the most advanced puppets to have ever been witnessed on the silver screen. Fewer than 20yrs after The Dark Crystal, virtually all puppetry would be replaced with CGI to save money and time. Sacrificing experiential art for technical marvel and efficiency. These advanced puppets inspired the ones that have made appearances in Disney and Universal parks over the years. Some of the puppets had to be operated by multiple people, yet when you watch them on screen, you forget that they are a puppet because they truly exist within the fantastical world. I love how the design of each and every kind of puppet is an extension of the world in which they live. So much dimension in each and every creature. There are lines, shadows, textures, and more that CGI could never replicate. These are three-dimensional creatures that exist within a four-dimensional world that exemplify the absolutely peak of a combination of technical design, costuming, and articulated performance that the camera natively captures without need for post-production to create a significant effect after the fact. Very seldom do we get to witness such an attention to detail in the design of a character (we will get to the set soon). These puppet characters do not feel or look artificial, the manner in which the light reflects off them and they interact with the world around them gives them an outstanding ability to make us forget that there is someone pulling the strings. We emotionally connect with these characters in such a way that can so often only be done with human or animal actors.

The production design of the set is an outstanding, dazzling artistic achievement by standards then and now. You’ll be hard pressed to find another set that is created with such a high degree of tangible detail. No amount or quality of CGI can even hold a candle to the wildlife, plant life, and landscape of Thra. I absolutely love how the homes of each of the groups of characters (Skeksis, Mystics, Podlings, Gelflings, and everyone’s favorite Aughra), are designed to be an extension of the inhabitants themselves. Because there is nothing generic about any of the settings, the degree to which the lands feel real is astonishing. One of the reasons for that is because it IS real! Blue/green screen technology was still in its infancy so there was thankfully no real desire to integrate it into the set for most of the movie. However, the final scene of the movie does feature some green screen work that does not hold up today. Without a screen able to fill in the gaps for most of the movie, the artisans and craftsmen had the daunting task of bringing this world of fantasy in the age of wonder to life. And their tireless efforts pay off in spades. Diversity runs strong all through the story both visually and figuratively. No two landscapes or settings look alike, just as no two characters (even the podlings) look identical. Every line, corner, and texture radiates art. More than simply a backdrop for the scenes of the plot, the settings are essentially characters themselves. The way the characters interact with their surroundings holds the audience in an incredible suspension of disbelief as to the believability of the world that is on screen.

Although it was not a blockbuster in the US, as it was up against E.T. that same year, it was the highest grossing box office hit in France and Japan. Not being an initial box office success has not stopped the film from aging well and remaining an impressive work of art even by today’s audiences. Perhaps it is best known for being a cult classic, but that cult following has remained strong through the years. So much so that we have the Netflix prequel series with an all-star cast debuting in August. It’s refreshing to see that a prequel (or sequel) strives to embody the soul of the original in order to inspire a new generation of fans and future visual storytellers. We fell in love with the original because of the puppetry and production design, the unique characters, and fantastical elements that make it an exemplary motion picture.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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Twitter: RLTerry1

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