Author: Rob Tonkin

Dear Santa

STREAMING REVIEW:

Paramount +;
Comedy;
Rated ‘PG-13’ for some language and suggestive material.
Stars Jack Black, Keegan-Michael Key, Robert Timothy Smith, Brianne Howey, Hayes MacArthur, Austin Post, P. J. Byrne, Ben Stiller.

Jack Black as Satan? It’s a match made in comedic heaven (or should we say hell?). Shot in Atlanta, Bobby Farrelly’s new holiday film, Dear Santa (2024), delivers a hilarious and heartwarming story with a devilish twist. With a comedic dream team including Black and Keegan-Michael Key, the film serves up a blend of witty dialogue, clowning humor, and satirical jabs at contemporary culture. Not to be confused with the 2011 TV movie of the same name, this Dear Santa is a fresh and funny take on the Christmas genre.

The film centers on Liam (Robert Timothy Smith), an awkward but endearing 11-year-old who still believes in Santa Claus, much to the amusement of his mother and the chagrin of his father. Liam has just moved to a new town and faces some “learning differences,” which lead to a hilarious mishap: he accidentally addresses his letter for Santa to “Satan” instead.

When Liam’s letter arrives in hell, Satan, surprised by his first-ever fan mail (“Zero! I get zero letters!”), decides to pay the boy a visit. And who should emerge from the fiery depths of Liam’s bedroom closet but Jack Black, delivering a mischievous and surprisingly sympathetic portrayal of Satan? With his removable goat horns and occasional bleats, Nicholson-esque intonations (“Does Pinocchio poop pine cones?”), and impeccable comedic timing, Black channels the spirit of the legendary actor, bringing a delightful blend of menace and charm to the role. The film is peppered with subtle nods to Nicholson’s iconic films. At one point, Black’s Satan mentions One Flew Over the Cuckoo’s Nest to a clueless Liam, and later, they find themselves at the “Red Rum Motor Lodge” in room 666, a playful homage to The Shining. 

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What follows is “three wish genie stuff” that takes Liam on a wild ride. He scores a date with his crush, Emma, at a Post Malone concert (where “Posty” himself makes a cameo complete with dialogue and performance) and even parties with the stadium-level rap star at the after-show, becoming a beer pong champion in the process. To gain sympathy from his parents, Liam fibs that his best friend Gibby (Jaden Carson Baker) has cancer, leading to some awkward but ultimately heartwarming moments as Gibby embraces his newfound “cancer-y” persona.

Throughout the film, Liam remains a refreshingly good kid, even in the face of temptation. He embodies a spirit of kindness and does the right thing, and one of his wishes magically straightens Gibby’s hilariously crooked teeth. The supporting cast also shines, with P.J. Byrne stealing scenes as the eccentric English teacher, Mr. Charles, who declares A Christmas Carol “overrated” before having an unfortunate “accident” in his unfortunately tight bike shorts, which provides unexpected slapstick “comic” relief. Later, he takes a hilarious potshot at To Kill a Mockingbird (“To Kill a Manuscript!”).

The script is infused with witty dialogue and clever pop culture references. Black’s Satan delivers gems like, “Even Satan can’t out-trick Ticketmaster, I’m not a bot!” and “I may be Satan, but I’m also a keen observer of the human condish.” Dear Santa also playfully skewers contemporary American culture with lines like, “Not cool to make fun of dyslexia,” “Kids don’t date anymore” and “Missing trigger warnings, bruh.”

Adding to the fun are cameos from Kyle Gass, Jack Black’s real-life Tenacious D bandmate (as a teacher), and a surprisingly uncredited Ben Stiller as Lucifer, Satan’s boss. The film’s production quality is top-notch, with convincing Christmas decor and impressive special effects. Black’s costuming is worth noting, adding another layer of visual humor to his already captivating performance. And the soundtrack is a delightful mix of holiday classics, from Perry Como’s “It’s Beginning to Look a Lot Like Christmas” to Run DMC’s “Christmas in Hollis.”

While the film delivers consistent laughs and heartwarming moments, the climax involving Liam’s deceased brother feels somewhat abrupt and tonally jarring. It’s a fantastical element that doesn’t quite mesh with the rest of the film’s grounded humor. Hardcore evangelical viewers may also find the film’s playful portrayal of Satan too irreverent.

Dear Santa is a hilarious and heartwarming holiday film that showcases Jack Black at his comedic best. Full of mayhem, merriment, and unexpected charm, it’s a must-watch for fans of Black and anyone looking for a fresh, funny take on the Christmas movie genre. With its blend of humor, heart, and holiday spirit, Dear Santa is sure to become a seasonal favorite for years to come.

Rob Tonkin may be contacted at robtonkin@gmail.com.

 

Emilia Pérez

STREAMING REVIEW:

Netflix;
Drama;
Rated ‘R’ for language, some violent content and sexual material.
Stars Karla Sofía Gascón, Selena Gomez, Zoe Saldaña, Édgar Ramírez, Adriana Paz, Agathe Bokja, Anabel Lopez, Mark Ivanir.

As a fan of gritty crime dramas such as “Griselda” and “Narcos,” I was intrigued by the premise of Emilia Pérez. A drug cartel leader seeking anonymity by transitioning into a woman? Sign me up! But then, after seemingly endless credits, the opening scene unfolded, and I realized this wasn’t a gritty crime drama after all — it was a full-blown musical. Ironically, for someone who’s spent a lifetime immersed in the music industry, movie musicals aren’t usually my cup of tea. But with its unique storyline and captivating cast, Emilia Pérez quickly drew me in, proving that sometimes stepping outside your comfort zone can lead to unexpected rewards.

Emilia Pérez is not your typical movie musical. It’s a dark, daring and surprisingly profound exploration of identity, love and redemption, set against the backdrop of Mexico’s cartel underworld. Director Jacques Audiard masterfully, although overly ambitiously, weaves together a jumble of music, drama and social commentary to create a film that is both entertaining and thought-provoking.

The film’s visual style is striking, with a pervasive darkness that mirrors the characters’ internal struggles and the grim realities of their lives. This darkness is particularly evident in the scenes set in Mexico, where cartel violence casts a long shadow over the lives of ordinary people. The killings, the disappearances, the constant threat of danger — it all creates a sense of unease that permeates the film.

One notable exception to this visual darkness is the brightly lit scene in the Thai gender confirmation clinic. Here, the stark white walls and the almost clinical atmosphere create a sense of both anticipation and unease. The “plasty-musical” sequence, with its whirling gurneys and choreographed movements, is both surreal and disturbing, highlighting the physical and emotional transformations the characters undergo.

Music is the lifeblood of Emilia Pérez. It’s not just a backdrop; it’s the driving force of the narrative, the language of the characters’ souls. Each song is a revelation, a window into their inner lives and struggles. Selena Gomez delivers a particularly powerful performance of “Mi Camino,” where her character, Jessi, a troubled wife caught in the crosshairs of the cartel world, finally finds her voice and her path. The song’s lyrics echo Jessi’s own journey of self-discovery, as she grapples with her identity, her marriage and her suppressed desires. It’s a clever and poignant moment that resonates with Gomez’s own real-life struggles, adding a layer of authenticity and emotional depth to the performance.

The film also explores the complexities of gender identity and the challenges faced by transgender individuals. Karla Sofía Gascón’s portrayal of Emilia, a drug lord who undergoes a gender transition, is both captivating and nuanced. Gascón, who herself transitioned in 2018, brings a profound understanding and authenticity to the role. Her transformation from a grizzled, hardened criminal with facial tattoos and silver-capped teeth to a radiant woman is visually striking, but it also raises important questions about identity, acceptance and the right to self-determination.

However, Emilia Pérez sometimes falters in its portrayal of the transgender experience. While Emilia’s wealth and power grant her access to a seamless transition, complete with a renowned surgeon and a swift legal name change, the film fails to fully explore the struggles faced by ordinary transgender individuals who lack the resources to navigate the often complex process of medical and legal transition. The film also touches upon the importance of identity documents, a crucial aspect of transgender rights often overlooked in mainstream narratives. By showcasing Emilia’s effortless acquisition of new identification, the film implicitly highlights the barriers faced by those without her privilege and connections.  

Furthermore, Emilia Pérez uses Emilia’s circumstances to highlight the unique challenges she faces as a “queen.” Because of her past as a drug “king” pin, Emilia’s transition is shrouded in secrecy, aided by her lawyer, Rita (Zoe Saldaña). This creates a layer of tension and intrigue, but it also deviates from the reality of most transgender individuals who seek open acceptance and integration into society. The film’s portrayal of public discourse is similarly unique. Emilia’s transition is met with lavish celebrations and galas, but these are orchestrated by her own associates to celebrate her “death” and rebirth as a new person and her accomplishments rather than, specifically, her gender transition. This creates a somewhat unrealistic portrayal of the transgender experience, where acceptance is often hard-won and prejudice remains a pervasive obstacle.

Through Emilia’s journey, the film explores the elusive nature of happiness. Despite her wealth and power, Emilia is deeply unhappy in her life as a man. It’s only through her transition that she finds a sense of peace and fulfillment, suggesting that true happiness comes from living authentically and embracing one’s true self.

At its heart, Emilia Pérez is a love story, but not in the conventional sense. It’s a tale of self-discovery, where the most profound love stories are the ones the characters have with themselves. Emilia and Rita, both trapped in inauthentic lives, embark on transformation journeys. For Emilia, this means physically transitioning to align with her true gender identity. For Rita, it’s about shedding the constraints of her rigid, unfulfilling life and embracing her desires.

Their connection is a catalyst for this self-love. As they navigate their complex relationship, they challenge each other to confront their deepest fears and insecurities. Emilia’s vulnerability allows Rita to see beyond the hardened exterior of a cartel boss, and Rita’s acceptance helps Emilia embrace her femininity and find peace within herself.

This journey of self-love is mirrored in Jessi’s story. While her affair with Gustavo might seem like a search for external love, it’s ultimately a catalyst for her to confront her own needs and desires. Through her experiences, she begins to understand the importance of self-worth and the courage to pursue her own happiness.

Emilia Pérez beautifully illustrates that true love begins with self-acceptance. Only by embracing their true selves can the characters find the freedom to love and be loved authentically.

 Emilia Pérez is more than just a film; it’s a cultural statement. By showcasing a transgender character in a leading role, and exploring themes of identity and acceptance with such boldness, it challenges societal norms and pushes the boundaries of mainstream cinema. In a world increasingly polarized by political and social divisions, this film dares to spark conversations about gender, sexuality, and the freedom to define oneself. It’s a film that proudly waves the flag of they/them gender fluidity and celebrates the nonbinary identity, a stance that could be both celebrated and condemned in today’s climate.

 

Amazon, Apple TV+ Partnership a Win-Win for Both Parties

Amazon and Apple. Two titans of the digital age, each with distinct philosophies and approaches to business. Amazon, the sprawling online retailer, thrives on openness, embracing a vast ecosystem of partners and services. Apple, the sleek purveyor of premium devices and the world’s most valuable company — boasting a market cap of $3.572 trillion in late October 2024 compared to Amazon’s $1.984 trillion — cultivates an insular environment, where its products and services reign supreme. This fundamental difference is at the heart of their strategies, and it’s playing out in a fascinating way in the battle for streaming dominance.

Rob Tonkin

Inside Amazon’s sprawling fulfillment center, a symphony of organized chaos unfolds. Thousands of workers, pick, pack, and ship an endless stream of orders. Outside, a fleet of delivery vans weave through traffic to deliver every retail good imaginable, from shaving cream to 98-inch QLED TVs — upwards of 2 million packages a day in the United States alone.

Meanwhile, in the sleek, minimalist confines of an Apple Store, customers browse gleaming iPhones and MacBooks, their fingers gliding across touchscreens. A Genius Bar technician patiently troubleshoots a software issue while a creative professional edits a video on a powerful iMac. This is Apple, a purveyor of premium technology, a master of design and user experience, a company that has cultivated a loyal following with its elegant and intuitive products.

But even giants face challenges. In the cutthroat world of streaming, Amazon’s Prime Video finds itself jockeying for position with Netflix and Disney+. Content is king, and while Amazon pours billions into original programming — including acquiring Metro-Goldwyn-Mayer (MGM) with its vast catalog of films and television shows, and securing the rights to NFL Thursday Night Football — it strives to capture the same cultural zeitgeist as its rivals.

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Apple TV+, meanwhile, has struggled even harder to make a significant dent in the streaming landscape. Despite launching around the same time as Disney+ in 2019, and boasting such acclaimed shows as “Ted Lasso” and “Severance,” Apple TV+ lags significantly behind its rivals in terms of subscriber count. While Netflix has more than 282 million subscribers worldwide and Disney+, 164 million, Apple TV+ has just 40 million subscribers globally. This disparity is even more striking when considering the price point: Apple TV+ is significantly cheaper than both Netflix and Disney+, yet its growth rate continues to lag. Recent reports even suggest that Apple TV+ subscriber growth has slowed considerably, raising questions about the service’s long-term viability and Apple’s overall content strategy.

It’s worth noting that Apple’s foray into content with Apple TV+ represents a departure from its traditional strategy. While Apple Music thrives as a “pipe,” delivering music created by others (with the exception of occasional live performances), Apple TV+ requires the company to compete head-to-head with established content creators. This raises the question of whether Steve Jobs, with his focus on hardware and software, would have approved of this move. Perhaps he envisioned Apple as a ubiquitous provider of devices and platforms, leaving the messy business of content creation to others.

Amazon’s standing on the subscription streaming front is a little fuzzy, because while the company overall has more than 200 million Prime subscribers, it does not break out specific Prime Video-only subscribers, which means a true streaming subscriber count is anyone’s guess.

What is clear, however, is that Amazon has shrewdly carried over its aggregation strategy from retail to streaming. In addition to its original content, Amazon’s Prime Video service offers more than 100 add-on subscription options, including streaming giants Max and Paramount+, as well as such other services as BET+, Starz, ViX and Acorn TV. It’s a smart strategy, and driven, no doubt, by the fact that Amazon is a data powerhouse. Every click, every purchase, every streamed show is meticulously tracked and analyzed. This deep understanding of customer preferences allows Amazon to anticipate needs and offer personalized recommendations, creating a flywheel of engagement and loyalty.

To further fuel its streaming ambitions, Amazon has embraced a strategy that blurs the lines between traditional television and on-demand streaming. Like Netflix, Amazon has introduced advertising to its platform, offering a lower-cost, ad-supported tier to Prime members. This move, while potentially irking some viewers, opens up a lucrative new revenue stream. The company also has innovative ways to promote its advertisers both on and off the platform, from targeted ads within Prime Video to “sniping” — placing ads on delivery boxes that reach consumers directly at their doorstep.

This approach to advertising further differentiates Amazon from Apple, which has steadfastly resisted incorporating ads into its streaming service.

The fact that Apple TV+ recently broke out of its walled garden and is now also available as a Prime Video add-on sub is a win-win for both parties. For Apple, it provides access to Amazon’s massive customer base and a chance to expand the reach of its critically acclaimed shows. For Amazon, it’s a way to bolster its Prime Video offerings even further, adding high-quality content without the massive investment needed to produce it themselves. But who gets what from this deal? While the exact financial details remain confidential, industry analysts speculate that Amazon likely takes a cut of each Apple+ subscription sold through its platform. This could be a significant revenue stream for Amazon, further enhancing the profitability of its Prime membership program. Apple, in turn, benefits from increased subscriber numbers and potentially lower customer acquisition costs.

By offering Apple+ alongside subscriptions to Disney+, Max, and others, Amazon transforms itself into the ultimate entertainment hub. It’s no longer just a competitor in the streaming wars; it’s the arena where the battles take place. Now, if only Amazon could get Netflix to come aboard …

Rob Tonkin is a radio and music industry marketing veteran with a keen interest in film and media. He is a consultant, advisor and speaker and is currently working on his memoir. He may be contacted at robtonkin@gmail.com.

‘Overwhelmed’ by Lack of Discovery Options in Streaming

I am feeling overwhelmed.

Over the last 15 years, something has been evolving within my television set, akin to the growth of mold.

Initially, it was the physical set that transformed, becoming significantly thinner and sleeker — almost as if it was making a resolution each New Year to improve its physique.

Rob Tonkin

It has also become much more intelligent. Thanks to advancements in internet technology, video-on-demand has become readily available. It all started with services like Netflix, and now there are countless options with unusual names such as Tubi, Sling, Fubo, and Hulu, as well as more familiar platforms such as Disney+, Apple TV+, Direct TV Stream, and many others. These channels proudly proclaim their content as the best and promote themselves individually or as part of a group, commonly referred to as a bundle.

Despite these developments, the growth occurring within this inanimate object still astounds me. One positive aspect of the influx of streaming services is that my options have significantly increased without affecting the size of my TV or internet bandwidth. However, this abundance of choices also has downsides. I now find myself spending excessive amounts of time browsing between different streaming platforms to decide what to watch, often taking up an hour or more. Additionally, the cost of subscribing to these services has grown substantially over time, creating a financial burden. As a result, it has become increasingly difficult for me to determine what to watch, presenting a constant dilemma in the age of widespread streaming.

As a consumer of what we now refer to as “content” rather than traditional TV shows or movies, I find myself in need of assistance when it comes to making decisions. Where is the familiar service that used to provide a rating system, offering opinions on quality, performance, and appeal? In the past, I relied on my trusty TV Guide for this purpose. Although the brand still exists, it has transformed into yet another subscription model with a limited reach of only about 2 million members. In contrast, there are nearly 2 billion video streaming service subscriptions worldwide. While Rotten Tomatoes serves around 30 million people per month, its focus is predominantly on movies.

Currently, I receive content from each of my subscriptions, tailored to my preferences through algorithms. However, I find myself constantly switching back and forth between these different channels, which consumes a significant amount of my precious time that I would rather spend being entertained by said content. It’s becoming clear to me that the best way to figure out what to watch is through recommendations from friends and family. However, this isn’t always available or as reliable as I would like it to be.

Could someone please create an app that feeds me my algorithms from each of my subscription channels in an organized way to help me make my decisions? I’m really worried about not being able to keep up with all the information and feeling overwhelmed by the amount of content coming my way.

Rob Tonkin is a radio and music industry marketing veteran with a keen interest in film and media. He is a consultant, advisor and speaker and is currently working on his memoirs.

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