Marvel Studios is in desperate need of revitalisation. Unlike the superheroes in Avengers Endgame, it has been unable to resurrect itself from Thanos’s snap, releasing a string of lacklustre movies that have underperformed at the box office and producing a dizzying array of TV shows. The once exciting prospect of ‘The Multiverse Saga’ has failed to ignite the excitement of audiences, with so much content being produced that the franchise has become more overstuffed than one of Wade Wilson’s chimichangas.

As a Marvel fan myself, their recent output has left me bitterly disappointed. The Disney+ shows have been a chore to get through (I haven’t even seen What If Season 2) and The Marvels was such a mess that I thought I may be done with superheroes. 

Oh, how wrong I was.

Marvel has worked its own superhero powers, making me geek out with anticipation yet again for Deadpool & Wolverine. Perhaps the reason I was drawn back to see the 34th movie in the MCU (Marvel Cinematic Universe) was because of the brilliant ad campaign, which has promised more foul-mouthed language, bloody action and multiversal madness from everyone’s favourite Merc with a Mouth. Or maybe it was the rumours that the film is the swan song for the 20^th Century Fox Marvel movies (due to the Disney-Fox acquisition which), full to the brim with easter eggs and cameos. If, there is anything that can get me to go and watch another film in a declining franchise, it’s a good old dose of popcorn fuelled nostalgia that transports me back to the days of my youth, away from the dreary rut of adult life. It says a lot about Kevin Feige (the head honcho of Marvel Studios), Ryan Reynolds and the enduring legacy of both Deadpool and Wolverine, that they have managed to make it one of the most anticipated movies of the year, despite Marvel’s arguable decline.

With its arrival in cinemas, it has a lot riding on it with a lot of questions that surrounding it. Can Disney really produce a mature superhero movie? Is it actually any good or just another attempt to cheaply pander to audiences with fan service? Can it bring Marvel back to life?

Well, have no fear. For those of you reluctant to see another superhero movie, I have been gullible enough to hand yet more of money over to Mickey Mouse to help answer those questions and deliver my musings on the latest Marvel outing.

In Deadpool & Wolverine, we reunite with a slightly downtrodden and rejected Wade Wilson (Reynolds), split up from his girlfriend, no longer carrying the Deadpool mantle and working as a car salesman and desperate to do something meaningful with his life to prove that he really matters. Wade is forced to don his red spandex once again, when he is recruited by Mr Paradox (Matthew Macfadyen) of the Time Variance Authority to help fix the ‘Sacred Timeline’ (the timeline where the MCU takes place). Traversing the multiverse, he comes face-to-face with a Wolverine variant (Hugh Jackman), who is awash with guilt and shame. As villainous forces emerge, Deadpool and Wolverine must band together to save Wade’s timeline, and everyone he loves, from ceasing to exist. 

One thing is clear as soon as the opening logo appears on screen, Feige has given Reynolds free reign to run about in Marvel’s playroom along with a huge wad of Disney cash to cause as much glorious havoc and mayhem as possible. Make no mistake, this is a Deadpool movie through and through. In fact, it might be even more gratuitously violent and explicit than the previous two instalments. Just as a Deadpool movie should be, it makes you question your morality for laughing at an excessive level of comedic violence, potty mouthed language and crude humour that constantly veers on the borderline of being too risqué.

As ever, Ryan Reynolds plays the Merc with a Mouth with gleeful abandon, cementing the character as the most iconic role of his career. As well as producing the film, Reynolds co-wrote the script. From the acerbic wit with which he delivers dialogue to every small mannerism he makes whilst wearing his suit, Deadpool is treated with a genuine sense of care and earnest, lifted right out of the comics and seamlessly transitioned into the MCU. Whilst Disney may now own Fox, it’s clear that Reynolds isn’t letting The Mouse taint the legacy of the X-rated character that fans of comic books have come to know and love, proving just how much he cares about Deadpool.

Alongside Reynolds, Hugh Jackman dons the adamantium claws once again to reprise the role of Wolverine. You would be forgiven for thinking that his performance could have been tired and half-arsed, a chance to collect an easy paycheque, given that 2017’s Logan was a poignant and perfect send off to the character. These fears are alleviated as soon as Jackman graces the screen. He makes it clear that he is Wolverine, bringing the somewhat sardonic, steely and burdened qualities of the character combined with a sense of brutality audiences haven’t previously seen. This is Wolverine truly unleashed, dressed in his resplendent comics-accurate costume that fans have been clamouring to see in live-action for years. The film jokes about how long Jackman has been and will be playing this role, but with how fantastic he is here, it seems hard to see how anyone else could ever wield those claws.

Deadpool and Wolverine bounce off each other with an eccentric and infectious vivacity, moving from enemies to friends to lovers. The two leads possess more chemistry than Reynolds had with any of his former rom com co-stars. They have known each other since Reynold’s first debuted as a sanitised Wade Wilson in the infamous X-Men Origin: Wolverine and director Shawn Levy has previously directed both stars, Jackman in Real Steel and Reynolds in The Adam Project and Free Guy. This goes to show just how important actor-director relationships can be, with the three clearly working together seamlessly to create a character dynamic that feels effortlessly natural and real, no easy feat when making a formulaic Marvel movie. 

Levy is a welcome addition to the MCU whose direction has maintained the edge of previous Deadpool movies whilst injecting it with the more zany and colourful aspects of the MCU.

Reynolds and Jackman aren’t the only cast on top form. I never tire of hearing Leslie Uggams’s Blind Al swearing profusely whilst Rob Delaney’s Peter is simultaneously endearing and sexually kinky. The rest of Wade’s friends and family are as eccentrically quirky as ever, although sadly underutilised. A standout for me is Matthew Macfadyen as Mr Paradox, emulating a wickedly camp effervescence a. Whilst Cassandra Nova befalls the same fate as most Marvel villains (not managing to feel like an established presence or long-lasting threat beyond the confines of the movie’s runtime), Emma Corrin plays the character with a wonderfully sadistic streak and is given a disconcerting powerset that manages to make a Marvel villain…well…villainous. It’s a joy to see the actors have fun with their roles, especially considering that recent MCU performances have felt as though they were performed by A-listers who are counting down the number of obligated appearances left on their contract. 

Whilst Deadpool & Wolverine is a refreshing change of pace this is still another paint-by-numbers Marvel movie. It moves from action scene to action scene, strung together with often forced attempts at levity, off kilter humour or brooding moments of unearned sincerity. At least it isn’t done too jarringly here. There is of course a reliance on cameos, often used to bathe the audience in a deceiving golden glow of noughties nostalgia to detract from the weaknesses of the movie. Unlike recent multiverse cameos however, they weren’t just lazy attempts to win over the audience. Each impacted the film in a meaningful way, servicing the story, providing some hilarious and moving moments. 

Sadly, no matter how amazing these cameos were, they were not enough to distract from the fact that Marvel is still careening in an unknown direction. Once the end credits rolled, I realised that the studio has yet created another movie full of fan service rather than telling a story that moves the story of ‘The Multiverse Saga’ forward. I’m still not clear what will happen next or even if these characters will stick around in the future.

With Deadpool & Wolverine though, it’s hard not to forgive its flaws, especially when it acknowledges and embraces them. Its self-referentiality is its greatest strength, with Deadpool breaking the fourth wall multiple times to poke fun at Marvel and its downward streak. It’s also a joy to watch, crafted with a sense of reverence and respect for its source material and fans, beautifully recreating the panels of a comic book onto the big screen. Behind all of the corporate synergy, hyper octane action, side-splitting humour and stellar humour, lies a story with a huge sense of heart with Wolverine and Deadpool finally bought together, creating a beautiful bromance. It’s the best enemies to lovers romcom in years.

Has the film done enough to win over the Marvel and superhero movie detractors? No, of course not, it’s more of the same. But if you are a Marvel fan, who like me has  grown tired of MCU in recent years, you won’t be able to walk away without an immeasurable sense of nerdish glee and a huge grin on your face.

Would I say the MCU has been bought back to life? Well…not exactly. Perhaps a more apt description is that it’s been placed on life support. Only time will tell if it wakes up from its coma. 

What this movie has proven though, is that no matter inconsistent the MCU may be, I will still get sucked into the excitement, hype and see whatever they release…Every. Single. Time. 

In that regard, Marvel truly is a superhero.

Deadpool & Wolverine is now playing in cinemas. 

The post Deadpool & Wolverine Review: ‘the best enemies to lovers romcom in years’ first appeared on The Life of Riley.

Released in 2015, Pixar’s Inside Out centres around the inner workings of 11-year-old Riley Anderson’s mind and the emotions that influence her decisions: Joy, Fear, Sadness, Anger and Disgust. As Riley struggles to deal with her family moving to San Francisco, we follow her emotions as they learn to work together to help her navigate the topsy-turvy path of childhood.

I’m not a big fan of Inside Out but I don’t think that it’s a bad film. On the contrary, I think it’s another shining jewel in Pixar’s crown, a beautifully tender tale, full of emotion. It’s not only ingenious in its premise and imagination of what goes on inside the mind but deftly balances a sense of childish whimsical humour with the often harsh and painful realities of growing up.

Maybe the reason I’ve never connected with it is because I just became a teenager when it was released; I wasn’t young enough to be the target audience its message was trying to speak to but wasn’t yet old enough to reflect upon its psychologically astute reflections on life.

Yet, despite its excellence, it suffers from the pitfalls of many post-2010 Pixar movies, pulling on your heartstrings and tear ducts in a manner that feels more emotionally manipulative than earnest. Inside Out is great movie that tries a little too hard to be a Pixar movie.

I was somewhat sceptical then when Disney announced that they were making Inside Out 2 and was even more hesitant when it was revealed that it would follow Riley, and her emotions, navigating life as a teenager.

How could an all-ages family movie address the murky, messy topic of puberty? Could the movie communicate a mature issue effectively to both a young and old audience? I felt as though they would somehow manage to mess it up in a mind-numbingly cringe inducing manner and none of the marketing or trailers quelled my nerves in the lead up to its release.

Did I still go and watch it?

Of course! I’m a big kid with an unbound affection for Pixar and a sucker for big capitalist, corporate movie franchises. I even re-watched Inside Out in preparation and was surprised to find myself resonating with the movie and being moved by it like never before. As I am closing the door on one chapter of my life, opening the door on the next and scared for what the future could hold, Riley’s struggle in navigating turbulent emotions struck a chord.

So as I sat down in the cinema, ready to witness Inside Out 2, I was actually quite excited, especially as many reviews were calling it one of Pixar’s best films in recent years.

Was it any good?

Yes, it was good. In fact, it was great.

Was it one of Pixar’s best?

Well, not really.

Inside Out 2 follows Riley as she enters her teenage years. As headquarters is demolished, Joy, Fear, Anger, Disgust and Sadness have to make way for new emotions: Anxiety, Embarrassment, Ennui and Envy. When Riley struggles with the plethora of feelings and moods that come with puberty, the emotions have to learn to work together to help her through this new period in her life.

The sequel expands upon its predecessor in clever and inventive ways, telling another beautifully heart wrenching yet poignant tale that offers profound mediations on adolescence, with a particular focus on anxiety. As ever for Pixar, the worldbuilding on display is impeccable, with aspects of the mind and psychology explored intelligently and displayed with a beauteously vibrant animated flair. It is also filled to the brim with witty humour. The various mind related puns featured in the trailer had me rolling my eyes, worried that attempts at levity would be too heavy handed but the jokes landed pretty much every time. My housemate and I couldn’t stop giggling, snorting and belly laughing throughout the entire screening; we left a bit befuddled as to why the rest of the audience weren’t doing the same!

I couldn’t help but have an instant affection for Anxiety; an undoubtedly phenomenal character with an ingenious artistic design, bolstered by a stellar voice performance from Maya Hawke. The film’s message around anxiety serves as a soothing mediation to those who have emerged from the horrors of growing up but to those who will have to navigate the joyous yet horrendous years of being a teenager, it acts as a reassuring hug. It tells the audience that that it is okay to (forgive the pun) feel all inside out.

Despite this being the film’s greatest strength, it is also its greatest weakness. The message of the movie didn’t feel too forced but it still felt like a story that didn’t need to be told. Upon leaving the cinema, I felt as though I had been emotionally manipulated rather than profoundly moved, force fed a message in a perfectly palatable yet not completely comfortable manner. Whilst the first movie was a genuinely interesting reflection on growing up, Inside Out 2 felt as though it veered into lecture or PSHE territory, as though it was a generic pamphlet given to all schoolchildren that details the ABC’s of puberty. In order to put this message across, the beginning suffers from a heavy-handed exposition dump, instantly making it feel like a forced entry in a money-making franchise rather than a natural progression of Riley’s story.

It is also re-tread’s the same plot beats of the first film. Whilst new concepts and ideas are introduced that allow it to feel exciting, the plot still revolves around the emotions being separated from headquarters and having to trail their way through Riley’s mind in order to save her from a mental breakdown, all whilst Joy learns a valuable lesson about how to help Riley. I am also gutted that Bill Hader and Mindy Kaling were not given the pay they deserved to reprise their respective roles of Fear and Disgust; the new voice actors didn’t do a bad job by any means but I still noticed the difference. Riley’s other new emotions also offered an amazing opportunity to explore the wide range of emotions teenagers can experience in a single day, yet they feel entirely wasted, relegated to background pieces, used as Anxiety’s sidekicks.

Despite its flaws however, Inside Out 2 is still a good movie. It made me laugh, cry, smile and cringe in the best way possible. It sadly just didn’t feel necessary.  Like the first film, it is great but just tries too hard to be a Pixar movie. This hasn’t stopped it from becoming the highest grossing animated movie of all time, only six weeks after its release. Disney will now undoubtedly be greenlighting more unnecessary sequels (we’re already getting a Toy Story 5), that I will still fork over money to see.

Pixar has proved to be a truly inventive studio, producing the best animated movies to ever grace the silver screen and this creativity still shines through in Inside Out 2, with a moving story, wonderful world building, impeccable voice performances and even the fusion of different animation styles. With studios creating even more sequels to turn a profit however, I pray that they don’t lose their passion in telling new stories, as it was this very passion, creativity and willingness to do something new that led to the release of Inside Out in the first place.

I just really hope we don’t get Inside Out 3.

Inside Out 2 is now playing in cinemas.

The post Inside Out 2: Anxiety Awakens… (Review) first appeared on The Life of Riley.

It seems hard to believe that 2024 marks 15 years since Glee first graced its way onto television screens, becoming one of the most chaotic shows to perhaps ever be created.

Set in Lima, Ohio, Glee follows the story of the William McKinley High School glee club, (possibly crudely titled), The New Directions and its members as they compete in show choir championships and navigate the tumultuous world of high school whilst dreaming of achieving superstardom.

Initially this may seem like an extremely odd, zany and wacky premise. A musical comedy about a high school glee club made up of outcasts, jocks and cheerleaders, featuring songs ranging from Broadway classics to the latest pop hits whilst also focusing on the wider lives of the teens and adults? Many TV executives may have scoffed at this idea, asking ‘What sort of teenager would be interested in that?’.  In many ways, Glee shouldn’t have worked. Yet it did, proving all the naysayers wrong and becoming a cultural juggernaut.

Riding the coattails of the hugely successful High School Musical, the first season of Glee was able to offer something new and exciting in the TV landscape, perfectly blending the stereotypes of a teen drama with deft satirical humour, all whilst incorporating ludicrously camp musical numbers that somehow manage to be bothcool and cringey at exactly the same time. Perhaps one of the most exciting aspects of the show was the presence and visibility of LGBTQ+ characters on a primetime TV show, helping to smash barriers and perceptions surrounding queerness.

Upon its premiere in 2009 Glee was met with critical acclaim, receiving incredible viewership and exploding in popularity.  It may be hard to process now, especially to those who have never seen the show but it truly was a phenomenon. During its run, the Glee cast charted 207 songs on the Billboard Hot 100, went on a concert across North America and Europe and its most watched episode pulled in just under 27 million viewers in the United States. Perhaps my memory is tainted with nostalgia but there was a time when it seemed as though everyone was talking about the show and listening to its music.

However, along with a decline in quality, the show’s huge popularity eventually faded. It may be a slight understatement to say that the show went off the rails; if Glee was a metaphorical train, it didn’t merely go off the rails but rather hectically dove straight off a bridge. Once the characters that audiences had grown to know and love left high school, the show made the decision to split in two, following the fan favourite characters as they began their lives in the real world whilst also introducing a new set of high school kids, becoming a weird fusion show that never really knew what it wanted to be. Moreover, the music of the show was no longer having the huge impact that it once did, with music selections ranging from desperate attempts to recreate chart hits all the way to obscure Broadway show numbers that didn’t have the razzamatazz of other musical theatre songs that the show became known for revitalising, popularising for a wider audience. Perhaps the most notable decline in quality for Glee was in the storylines it delivered. Whilst starting off as a clever satire of high school politics, it eventually turned into the high school drama it originally made fun of. There were storylines that attempted to broach issues such as teenage pregnancy, underage drinking, eating disorders, suicide and even an episode that tackled the problem of school shootings. Whilst these issues needed to be discussed, due to the show’s 45-minute timeframe, these topics were only quickly highlighted and along with being placed alongside musical numbers and the overall storyline of the series, they were never given the intense focus they deserved. The result was that these heavy-handed issues were quickly brushed under the carpet in a cheap and sometomes degrading manner; each week it felt as though Glee turned into a PSA, trying to solve issues and wrap them all up in the neatly tied bow of entertainment. The show has rightly been criticised for this, as well as some of its downright horrific plot and character choices. The prime example of the horror of Glee comes from the glee club’s teacher Will Schuester, who is the true villain of the show. Over the run of its six seasons Will places blackmails Finn into joining the glee club by planting marijuana in his locker, suspends another member, Marley, for refusing to wear a bikini and sings Britney Spears’ ‘Toxic’, and Robin Thicke’s Blurred Lines WITH students. (Mr Schuester’s crimes against humankind are so extensive that it could genuinely be turned into a full-on thesis).

Some storylines also reached a level of insanity that makes you question if a hallucinogenic chemical has worked its way into the local water system. Some of the most ridiculous moments include Finn believing that Jesus appears to him through a grilled cheese sandwich and a gas leak in the choir room causing Blaine to imagine that everyone in the school has turned into a puppet. Other crazy storylines feature purple pianos, students trying to put on The Rocky Horror Picture Show, anaesthetic dream musical numbers, a birth sequence timed to a performance of ‘Bohemian Rhapsody’, a dinosaur themed prom, a talk show called ‘fondue for two’ and themed episodes that pay tribute to icons such as Madonna, Lady Gaga, Britney Spears, Fleetwood Mac, Katy Perry as well as an episode that revolves around twerking. The people who guest starred on the show is also mind boggling, featuring the likes of Kristin Chenoweth, Idina Menzel, John Hamm, Josh Groban, Gwyneth Paltrow, Patti LuPone, Whoopi Goldberg, Neil Patrick Harris, Jeff Goldblum and Sarah Jessica Parker.

The show truly is the most chaotic, messy, confusing piece of entertainment that has perhaps ever graced TV screens. Whilst I could dive even further into the problematic elements of the show and make fun of its most mind-numbingly insane moments, many deep dive videos and articles do this far better. Also, despite its abundance of flaws I must confess that…I love Glee.

I have no shame in admitting that I am a GLEEK, through and through. Many who know me have rolled their eyes an immeasurable number of times as I have fangirled over the show, imploring anyone to watch its beauteous sense of chaos as I proudly exclaim that I listen to numerous Glee themed podcasts (yes…I really do).

Whilst it may be easy to make fun of this, I cannot stress how instrumental the show was in my upbringing and in my exploration of queerness as it was just beginning to slowly bloom.

My Mum can perhaps be blamed for causing my obsession with the show. As I had loved High School Musical, when she heard about the positive word of mouth around the show, I remember picking up the first season boxset in ASDA and going home to watch the first few episodes. Disaster struck however when my Mum decided I was still too young to witness some of the more mature themes of the show. So, I waited patiently until I turned 12, the age decreed old enough to watch the show by the British Board of Film Classification, sticking on the first season boxset, the bright yellow packaging of which had begun to fade, committing an act of what I considered to be a quasi-rebellion by watching a show that had previously been denied to me by my parents. From as soon as I put on the first episode, I consumed the remaining available seasons with a feverish excitement, bowled over by the elaborate musical numbers and brilliant characters on screen. I downloaded the music, dancing along to the songs on my iPod, much to the behest of my peers at school, and considered it to be one my favourite shows. Sadly, as the Glee’s popularity faded and criticisms began to appear, my love of the show turned into a guilty pleasure, causing it to be pushed into the deepest depths of my memory.

When lockdown hit in 2020 and Glee arrived onto streaming platforms, I decided to numb my mind by revisiting the show, quickly binging all 121 episodes across its six seasons…and I am so glad that I did.

Firstly, I do want to stress that, despite its flaws, the show is an incredible piece of television. It is wacky, bold, stuffed to the brim with talent and tells some truly engaging stories. It deftly blends the tropes of a high school drama with a dark, macabre sense of satire that broaches many of the issues that we continue to face within society. It does all of this whilst producing some truly outstanding musical numbers. Whether it’s Darren Criss’s swoon worthy acapella rendition of ‘Teenage Dream’, or the jaw dropping mashup of Adele’s ‘Someone Like You’ and ‘Rumour Has It’; the music SLAPS. During its run, Glee featured over 700 musical performances. Regardless of what you may think of the show, this remarkable achievement should not go unrecognised.

It was during my rewatch that I began to retrospectively realise how the show was able to have such a profound impact on me. Behind all of its ridiculous storylines, Glee is ultimately a simple story about a group of underdogs who smash the barriers put in their way and eventually come out on top, proving wrong everyone who underestimated them. Throughout its seasons, the audience witness an eclectic group of insanely talented people realising their dreams, sending the message that anything was possible. It bought together the jocks, cheerleaders and outcasts, showing how everyone can get along no matter our differences. For me, the show was the first time I truly felt as though a sense of difference was celebrated on screen; I was able to see queerness embraced, characters of all shapes and sizes and abilities shining onstage. Ultimately the show sent a message of hope, telling audiences that no matter who you were, what you looked like, who you loved or whatever your background, that you were worthy of love and capable of achieving your dreams.

For my 12-year-old self, still confused about their queerness, feeling alone and sometimes ashamed of how different I felt, this show made me feel accepted. It taught me that I didn’t have to apologise for the who I was and sent me the message that I could love and accept myself just the way that I was.

Even though it is immensely cheesy, when I hear the opening notes of ‘Don’t Stop Believin’ (THE GLEE CAST VERSION!), tears begin to flood my eyes and a sense of optimistic hope is always able to pour into my heart. That simple message the song sends always helps me to remember how a show about a silly high school glee club was able to make me feel less alone, to make me proud of who I was.  And for that reason, I’ll never stop believin’.

The post Glee: Why I’ll Never Stop Believin’ (Opinion) first appeared on The Life of Riley.

What followed was a feverish release of childish excitement as they squealed with joy, taking pictures with the 3D poster stand, with one shouting ‘Yo man, I can’t wait to see this movie, I’m so excited!’ 

At the time, I was baffled, unable to comprehend how these young adults could be excited for a ‘kid’s movie’ but now, looking back, I realised that they were most likely the same age as I was when the original Toy Story was released, the first generation to have grown up with the characters. No wonder they were excited for what, at the time, was billed as the culmination of one of the greatest movie trilogies of all time. It was their chance to say goodbye to characters that had been with them through their whole life, providing them with a sense of solace and comfort. 

After seeing the recently released trailer for Despicable Me 4, I realised the Despicable Me movies hold a similar bearing for me. 

Before anyone freaks out, let me be clear, I am by no means suggesting that the Illumination franchise is as good as the Toy Story movies. I acknowledge that they are wildly uneven in quality and lack the sense of sophistication of the Pixar movies. Yet it’s the same nostalgia that those leather jacket guys had for Toy Story that I have for the story about an evil supervillain, with banana loving, yellow ‘minions’, who learns to become and Dad and has his heart is healed by three young orphans. 

I was eight years old when Despicable Me came out, and I instantly fell in love with it. Practically all kids did at the time; a movie with fart jokes, unicorns, cookie robots, and a plot to steal the moon was sure to win over little minds. It also helped that it rode the wave came of the post Avatar 3D craze, filled with moments where objects flew out of the screen, that my sugar-induced pick ‘n’ mix brain couldn’t get enough of. It was also Illumination’s first and still, in my opinion, best movie, and offered a fresh animation style that differed from the animation giants that had ruled the 2000s: Pixar and DreamWorks. 

When I say the world went mad for the movie, it really went mad for the movie. It wasn’t long before minion mania took over, with the little, yellow maniacs being bedecked onto all sorts of merchandise (I hold a particular fondness for the Minion Haribo and banana flavoured ‘tic-tacs’). It has now spawned two sequels (with an aforementioned fourth movie on the way), as well as two Minion spin-off movies, animated shorts, a countless array of merchandise, video and mobile games and numerous theme park attractions (having ridden ‘Despicable Me: Minion Mayhem’ in Orlando, I can say that this is extremely fun and getting to step into Gru’s house almost made me cry). When you set this conglomerate capitalism aside however, it is simply a charming movie, filled with a sense of whimsical fantastical quasi sci-fi ridiculousness. 

For those of you who are unaware Despicable Me tells the story of Gru, who dreams of becoming the greatest villain of all time by stealing the moon. A fresh new villain named ‘Vector’, who so happens to have stolen the Great Pyramid of Giza, threatens Gru’s dreams, however. So Gru decides to adopt three little girls, Margo, Edith and Agnes, who will inadvertently help him in his villainous ways. It may follow the classic ‘villain turned hero’ trope, yet when it is told as beautifully as this, I can’t help but put this to the side and watch the screen with a sense of unabashed, childish glee. From the slightly cringe, yet iconic 2010s soundtrack, cringe humour and gags, fabulous voice acting from Steve Carrell, Jason Segel and Julie Andrews, and animation that bursts with a sense of liveliness and Eurocentric eccentricity, the film tugs at the inner child. Jason Segel as Vector is wonderfully absurd and ludicrous and deserves a spot in the pantheon of the greatest movie villains of all time. Whilst some may bemoan the presence of the Minions who arguably scream ‘BUY ME’, its hard not to be charmed by their buffoonish charm. 

Behind the mad plot of ‘supervillain’ trying to steal the moon lies a simple message that family can be found in the unlikeness of places, a broken heart can be patched up and that anyone is deserving of love. For me, it’s most guttural power lies from how it speaks incalculably to a sense of childhood loneliness. In a series of flashbacks (across a few of the movies), we see Gru experience forms of rejection, from both his peers and his mother. We see that Gru never felt ‘good’ or ‘worthy enough’ and ever-since has felt that he needs to achieve something spectacular in order to prove his rightful place in society. By virtue of not seeming ‘good’, Gru believes that he can achieve something by being despicable. Yet he realises, with the help of Margo, Edith, Agnes and banana loving minions, that he is good enough, just as he is. 

As someone who often felt a sense of loneliness growing up, the simple message the movie sends that everybody is deserving of love, that it can be found in the unlikeliest of places, still warms the jaded and bitter parts of my childhood and teenage self that I still can’t seem to shake off. Quite simply, it is able to thaw my ‘freeze-rayed’ heart. 

In the days of VHS, people often note that their favourite movies became completely wound down from the number of times that it was re-watched. Despicable Me is that movie for me: I have watched it so many times that I have lost count and on my most recent re-watch with my Mum, she started to become a little fed-up with how many times I was reciting lines. 

It doesn’t matter though, as soon as the opening credits begin with those little yellow freaks, I just disappear. And you better believe that I’ll be in the cinema later this year, waiting to re-live my childhood, all be it for a short while.

The post The Eccentric Whimsy of Despicable Me (Opinion) first appeared on The Life of Riley.

One may suggest that this is great, surely? Why should we complain when we have so many entertainment options? Yet this is where the problem lies; with the production of so much content, a lot of it feels hastily and lazily produced. Whilst watching Marvel’s Secret Invasion last year I found myself questioning if I had just become a soulless automaton, mindlessly yet willingly shovelling bland TV into my brain. I realised I had become numb to what I was watching, convincing myself that the dribble put in front of me wasn’t that bad, trying to assuage the guilt in shelling out for all of the services I have subscribed to. This wasn’t the only case of shows that personally gutted me recently. The past season of Sex Education felt heartbreakingly desperate, and the expansion of RuPaul’s Drag Race has happened so exponentially that it has slowly killed my enjoyment of a franchise that I loved. 

Of course, it should be acknowledged that streaming is equally phenomenal, creating incredible shows, ranging from Stranger Things to Squid Game and allowing stories to be told that may have never been commissioned by terrestrial TV, all whilst giving us unparalleled access to a library of content from history. 

So why do I still feel so overwhelmed? Despite new series my favourite shows dropping recently, such as Queer Eye, For All Mankind and Big Boys, I’ve simply lacked the incentive to start watching, casually putting them off and telling myself I’ll start them at a later date. (Somehow, I still find myself confused at the end of each day as to how I end up watching a video of someone turning a $10 traybake into a ‘luxury wedding cake’ or Glee for the billionth time!) 

I think the problem with this lies in the very structure of streaming. 

Unlike live TV, streaming is available on practically any portable device. This has removed the necessity to be sat in front of the TV at a specific time; we can now consume all of this content at our own pace, according to our own schedules. Whilst extremely convenient, ultimately, it may have killed the ephemerality of live TV. 

There was a time when watching TV was a tangible act. Even with the record button on Sky, the live nature of TV necessitated that we sit down, whether by ourselves or as a collective. You could sit down, knowing that people were watching at exactly the same time as you, facilitating discussion the next day with friends or family. Whether it was David Tennant’s supposed ‘regeneration’ in the fourth series of Doctor Who, One Direction on The X Factor or Nadiya winning The Great British Bake Off, there was something magical in knowing that the entire nation was watching. Now, we have to avoid social media if we don’t want to be spoiled or hastily try to catch up on episodes whilst being crammed on public transport. 

I am being slightly melodramatic. Terrestrial TV still gets people talking, from The Traitors, to Strictly Come Dancing or the final series of Succession. Regardless, I cannot help but feel that it’s not the same. Sometimes, it feels as though TV has become a burden to keep up with, the consumption of 

content seen as a requirement to remain within the cultural zeitgeist rather than as something to truly enjoy and unwind with at the end of the day. So, we shouldn’t forget how powerful sitting down to watch TV can be. Be it with friends, family, or the world there is something within it that has an unparalleled beauty. I just hope it hasn’t been lost forever. 

Having said that, will I still be streaming something tonight? Yes, yes, I will.

The post The Age of Streaming: Has the Magic Gone from TV? (Opinion) first appeared on The Life of Riley.

Watched it yet? Surprised? Disturbed by the idea of people eating human meat? Well, you wouldn’t be left out. 

Channel 4 should be commended for keeping this under wraps until its broadcast, hiding its satirical, mockumentary style. I was undoubtedly left unawares, brushing it off as another piece of ‘fluffy entertainment’ in which Greg Wallace dons a hairnet until I stumbled across scathing headlines, exclaiming how viewers were shocked when they tuned into Greg Wallace dining on pieces of ‘human meat’. 

Yet this is the brilliance of this scathing satire: it masterfully disguised itself through the framework of formulaic docuseries such as Inside the Factory. The elements are certainly all there: Greg Wallace making exclamations and grinning from ear to ear whilst staring at pieces of machinery and listening to employees, statistics comparing factories to the size of football pitches, and a lively female presenter, strolling the High Street, gathering opinions from the public. 

Through employing this format, the premise appears frighteningly plausible: members of the public have been left with no other choice than to cut pieces of their tissue off in exchange for paying off their exorbitant bills, caused by the cost-of-living crisis. 

Greg Wallace: The British Miracle Meat also succeeds in producing feelings of extreme discomfort in subtle yet sophisticated ways. As Michel Roux Jr. and Greg Wallace test pieces of ‘human meat’ they talk about the type of individual who ‘donated’ their flesh and how their background impacts the way that it tastes, which speaks to the way people and services are continually undervalued, judge against their societal standing, bodies, and jobs. 

The head honchos behind the human meat corporation ‘Good Harvest’ arguably represent those in power who are ignorant of the pain others are experiencing, signalled by the claim that the operation used to harvest the ‘miracle meat’ is ‘pain subjective’. 

Another biting moment comes with the reveal that ‘Good Harvest’ is researching human leather for the fast fashion industry, highlighting our love for consumerism, no matter the impact it has on others or the planet. When the episode turns to interview members of the public, the enthusiasm exhibited at such a cheap piece of ‘meat’, with little care for how it is produced, or what it actually is, indicates the sheer desperation and measures that people are willing to go to merely survive during periods of exorbitant inflation. 

It is worth emphasizing that all of this is packed into a concise yet breezy 20 minutes. Many will be (and have been) left upset and enraged over the content of the mockumentary, left horrified at the prospect of screaming children undergoing ‘pain subjective’ medical operations to create a ‘premium’ brand of meat. 

However, isn’t this the entire point of satire? To make us feel uneasy or uncomfortable? 

At times like this, where many, including myself, have become blindsided by the devastating impact the cost-of-living crisis has caused, satire can rupture the public consciousness, alerting people to the societal problems through a format many of us turn to for mindless escapism. Satire forces us to confront that which we often ignore, are not aware of or don’t want to address. 

The just under 400 complaints made to Ofcom expose exactly what the mockumentary wanted to: how society is willing to live in blissful ignorance of the bleak realities of others, reluctant to relinquish the seemingly happy façade that satires such as this seek to tear down. 

So, will Greg Wallace: The British Miracle Meat continue to send shockwaves through the UK or elicit a response from those in power? 

No. Probably not. 

Yet…this may not even matter. The fact it compelled me to write this article, to confront my own ignorance demonstrates that it has succeeded in prompting discussion, however small it may be. 

If you still haven’t watched it (even after my imploring at the start of this article), I think it is an essential piece of viewing, a searing piece of television that will only take 20 minutes of your time. 

If for nothing else, watch it for the revelation I had: that Greg Wallace can act.

The post Greg Wallace: The British Miracle Meat – Review first appeared on The Life of Riley.

It seems hard to believe that a show about talking, singing, dancing puppets was such a hit when it premiered in 1976, especially when you consider that the show featured an anthropomorphic frog, mad scientists, singing chickens, a cringey stand-up comedic bear and pigs in space. 

A brief ‘Muppet News Flash’ will perhaps explain their legendary status. 

The current television landscape is awash with shows. We can click through a variety of channels and cycle through a multitude of streaming services, choosing whatever picks our fancy. An entire family can now all watch different TV shows in a single room at the same time, allowing us to seek out the content that specifically appeals to us. 

But in the 1970s…this wasn’t exactly the case. 

With only three television channels in the UK, TV required universal appeal. People sat down together on the sofa to watch what was being broadcast, so successful shows had to cater to absolutely everyone…and that’s exactly what ‘The Muppets’ did. Adopting a variety format, The Muppet Show had something that all ages could find amusement in. Children could relish in the weird and wacky sketches by the likes of ‘Gonzo the Great’ or the Swedish Chef, adults were able to snigger at the proliferation of innuendo and the elderly perhaps felt an affiliation with the OAPs, Stadtler and Waldorf. Each episode even featured a celebrity guest, and who, in their right mind, wouldn’t have enjoyed seeing the likes of Julie Andrews and Elton John cozy up to a bunch of puppets? 

It is this format that has allowed ‘The Muppets’ to have such longevity and remain in the public consciousness in the 40 years since their debut. Whether it’s Kermit the Frog singing about ‘making whoopie’ with Ulrika Jonsson (look it up), performing concerts at the O2 or their frequent posting on social media, their wild and zany antics have seamlessly fit into the changing tides of pop-culture, remaining relevant for both old and new fans. Nothing makes this more evident than the eight feature films and numerous TV series that the franchise has spawned. 

I didn’t grow up watching the original series; my first foray into the ‘Muppetverse’ came when my parents dragged me to the cinema to see 2011’s The Muppets. Some may proclaim ‘How can you be a fan if you didn’t watch the classic series?’. Yet that is what is so great about them, you can watch any of their content and fall in love with the vast array of characters on screen. Personally, this has manifested in a borderline dangerous obsession with Miss Piggy. I simply cannot write this article without paying respect to the true supermodel of our time. 

Miss Piggy is a true feminist icon who embraces body positivity, preaches self-love and karate chops anyone who stands in her way. Her feisty, powerful demeanour has, quite frankly, made her my favourite celebrity of all time. She now adorns my phone case and when she announced her break up with Kermit I don’t think I’ve ever known pain quite like it. 

You may think I am being ridiculous, but to me it’s a testament to the brilliance of ‘The Muppets’. In Elstree Studios, right here in the UK, Jim Henson was able to craft a show that softened hearts around the world, that bought families together through laughter and allowed us to find something profound in the art of puppetry. 

I believe nothing is a more profound example than perhaps their most famous song, ‘The Rainbow Connection’. Kermit the Frog starts the tune atop a log, plucking a banjo before being joined by his friends, where they sing the lines “Someday we’ll find it, the rainbow connection, the lovers, the dreamers and me”. In the bleak world in which we live, it’s hard not to listen to this message, shed a tear and be filled with hope. The fact that this can be done by a Muppet? Well…I think that’s magical, don’t you?

The post The Timeless Appeal of the Muppets (Opinion) first appeared on The Life of Riley.

So, it may come as a surprise when I say that I utterly adore the football-centric Ted Lasso, a show that has changed my perspective of the game entirely. 

Originating as a character in an NBC sports ad in 2013, Ted Lasso debuted as an Apple TV+ show in 2020. It tells the story of the titular character, (played by Jason Sudeikis) an American football coach hired to be the new coach of AFC Richmond in the UK. The catch? He knows nothing about football. We follow Ted, the team and all those involved with the club as they navigate the game itself and the life that they have beyond it. I was hesitant to watch the show but after all of the buzz that it garnered (including seven Emmy wins for its first season!) I reluctantly hit play…

And I am so glad that I did.

Those who have yet to tune in can be forgiven for believing that this is a show all about football, but it is much more than that

Originating as a character in an NBC sports ad in 2013, Ted Lasso debuted as an Apple TV+ show in 2020. It tells the story of the titular character (played by Jason Sudeikis), an American football coach hired to be the new coach of AFC Richmond in the UK. The catch? He knows nothing about football. We follow Ted, the team and all those involved with the club as they navigate the game itself and the life that they have beyond it. I was hesitant to watch the show but after all of the buzz that it garnered (including seven Emmy wins for its first season!) I reluctantly hit play.

And I am so glad that I did.

As Ted Lasso wrapped up its third and supposed final season in May, I have begun to realise how impactful this show has been for me. Those who have yet to tune in can be forgiven for believing that this is a show all about football, but it is far much more than that. As Ted tells the journalist and writer Trent Crimm (James Lance), in response to his book about Richmond FC, “It’s not about me. It never was.”

Ted Lasso is ultimately about people, and the beauty in the everyday. Throughout the show we go on a journey with all of its characters, watching them grow, develop, learn and make mistakes; it is a show in which there is genuine, impactful development between each episode and season.

Ted processes his anxiety and father’s passing, Jamie Tart (Phil Dunster) turns from a self-centred celebrity into a considerate, self-aware human being, Rebecca (Hannah Waddingham) moves from wanting to burn Richmond FC to the ground to loving it wholeheartedly and selling it to the fans. Nate Shelley (Nick Mohammed) goes through an entire villain origin story, realising that actions have consequences before finally beginning to realise his own self-worth. Keely (Juno Temple) tackles the dark side of fame whilst becoming a powerful business and media mogul whilst Roy Kent (Brett Goldstein) slowly tackles his built-up exterior. We also see Richmond team member, Colin Hughes (Billy Harris) grapple with his sexuality, in a refreshing take on what it means to be LGBTQ+ in professional sport, which is vitally needed for so many across the globe.

Ted Lasso deals with an excessive amount of content, which is one of its main criticisms. One could argue that its rather saccharine, positive mindset pushes social issues upon the audience. But isn’t this what we need right now? In a TV landscape full of sex, violence and drama, it is rather refreshing to see a show that deftly balances the difficult moments that many face in life with the affirming message that things can truly get better. It is also satisfying to witness the true demise of a villain, seen here with the owner of West Ham United, Rupert Mannion (Anthony Head).

It is fair to say that the show’s third season suffers from being slightly bloated with long run times to accommodate one too many plot points. None of that really matters, however, as the show manages to offer a send-off to its vast array of characters that reflect the huge global audience that adore football, characters that I have grown to love.

football isn’t just about the game, it’s about the people it brings together

In genuinely caring for these characters whilst watching the show, I began to see how important and incredible football can be. In perhaps my favourite moment of the series, Rebecca delivers a rousing speech to club owners, chastising them for trying to further monetise football and take it away from the hands of those who love the game: the people. Rebecca says she doesn’t want to be “part of something that could possibly destroy this beautiful game”, as a hauntingly beautiful rendition of Spiegel im Spiegel can be heard in the background. I shed tears when watching this. Tears for a game that I usually hate. Through the lives of the characters, that I came to deeply care for, I finally realised that football isn’t just about the game, it’s about the people it brings together, the feelings that it can rouse and the communities, friendships and relationships that it can forge.

Now, I may not be heading to a football match anytime soon, but I will forever be grateful for Ted Lasso for teaching me the beauty of ‘The Beautiful Game’.

The post Ted Lasso: The Beautiful Game – Review first appeared on The Life of Riley.