Mrs. America (2020)

The miniseries from FX on Hulu is quite good on the whole though some episodes in the middle are not as interesting. I think especially powerful is the Shirley Chisholm episode, helmed by an excellent Uzo Aduba. The episode speaks to the power of representation, even symbolic. Chisholm is the first woman and first African-American to make a run for president. And even if she never really stood a chance, seeing her on the stage was incredibly important. The Bella Abzug episode is also very good, helmed by Margo Martindale who tends to play politician-types, always very well; her costumes and accent and gestures are really great. What makes her episode especially powerful is the argument it makes about radical change. Ideas that may sound radical, over time, can and do move into the mainstream. The moment she realizes this while visiting Betty Friedan, known for her own brand of radicalism. Feminism, which once seen as radical, in her own lifetime, moved into the mainstream, and today (at least in the Obama era) are self-evident ideals, that a woman deserves equal pay as a man, for instance.  And then I also thought the Houston episode was very good, which takes place at the 1977 National Women's Conference. The STOP ERA women are at the Convention without their leader, and left on her own, Sarah Paulson's character in her drunkenness starts to see the light. The episode is a trip like something out of The Good Fight.

In a terrific ensemble cast, Cate Blanchett is the crown jewel as the awful Phyllis Schlafly. Even playing such a hypocritical brainwashed witch, Blanchett is typically excellent. I remember learning about Schlafly in school specifically as part of the anti-ERA movement but not as the mother of modern Republicanism. I think the series may give her a little too much credit for birthing Reaganism. Her valuable mailing list becomes the base of the modern Republican party. The irony is Reagan doesn't offer her a place in his administration, supposedly because he is already unpopular enough with female voters. However the line from Schlafly to Trumpism is much darker.

Ocean's 8 (2018)

A pretty clever heist movie, albeit unrealistic but it's still quite a bit of glamorous fun. Sandra Bullock plays the lead but among this star studded cast I think she gets outshone. Actually, though they're all good, none of them really get that opportunity to truly shine. Except Cate Blanchett. She could do anything. She commits herself to playing thief as she does to playing royalty or playing an elf.

The Post (2017)

If there was one thing I learned in college, it was how to study historical films as primary sources (Thanks Professor Mason!). This is a perfect example. While the movie takes place in the Nixon era, it is a product of its own time, the Trump era. What can this movie about the 1970s tell us about 2017?

It can tell us that our society is still uncomfortable with a woman in charge, even if she's Meryl Streep. She has an excellent monologue towards the end in which she tries to explain why. Katharine Graham discusses her own lack of confidence and distrust in herself. Her own development was influenced by society. It was no one's fault, it was simply the unquestioned norm. It's difficult to wrap your mind around this idea but she articulates it brilliantly. The movie is not about Katharine changing society. Though she's a trailblazer, women in business still face abundant discrimination. Her important decision to publish was surely brave, but ultimately it was the Supreme Court that stood up to the President. Alone, she could only do so much. It will take a joint effort to truly create change.

This is not a movie about journalism, it's about press. Comparisons to All the President's Men and Spotlight are inappropriate because this is not about the investigation. It's not about uncovering the contents of the Pentagon Papers. It is about the act of publishing them. The other message? Our newspapers must remain diligent and hold the President's feet to the fire. The Washington Post in particular has taken a bold stance ("Democracy dies in darkness" is poignant). Thank god Katharine Graham and Ben Bradlee have made the Post the national authority it has become today. And when the President tries to ban the press, an integral part of democracy, the newspapers must come to each others' support in solidarity.

This is an important movie for 2017. It's powerfully acted and orchestrated. Even though we know how it ends, there is plenty of drama. And the production design is very 70s. The inside of a newspaper is pretty cool.

Carol (2015)

Carol is a gorgeous love story by Todd Haynes,  a pure romantic drama at its core. Haynes is a master of his craft, creating a beautiful depiction of 1950s New York (the costumes!). Haynes loves the time jump and there is one major time jump in the beginning that is not immediately obvious but very important and well executed. We start in the future and witness the dynamic between Carol and Therese from a third party perspective. Then we go back to see how their relationship evolved interestingly alternating perspectives between Carol and Therese.

The screenplay is very well written. The story moves along very slowly, but that is all the better to bask in its beauty. What moves the film forward is the music. I love the score. The piano plays heavy chords in the recurring theme that are mostly steady save for a single measure that is played in double time. It is subtle, but it builds anticipation just enough. The music adds to the mysterious atmosphere, along with the clever cinematography. Many of the images are indirect, like how Therese sees the world through her camera and how we watch reflections in murky windows. It adds to the aura, as does the divine (yet undoubtedly mysterious) Cate Blanchett.

Cate Blanchett and Rooney Mara are both brilliant. They both show extraordinary vulnerability and immense passion for each other. Their love is forbidden in their time and it tortures them so. They show restraint. They are simply a joy to watch.