New Year, New Reviews: "Bombshell" & "Little Women"

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Bombshell (2019) starring Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, & Kate McKinnon

There are some fine performances here, esp. from Theron (in role of lawyer- turned-journo Megyn Kelly) and Lithgow (Roger Ailes); they are also transformed through prosthetics, wigs, makeup, etc. Kidman (Gretchen Carlson) was the most easy to empathize w/ (IMO); I wished she was had a bigger role. I have to admit that Kidman is having a great resurgence these past few yrs; I didn’t appreciate her skills (when I was younger). Robbie (I’m slowly warming up to her acting) plays a fictional character who is eager to get onscreen work. McKinnon (from SNL fame) becomes friends w/ her; they have some nice chemistry. As a whole, I was NOT blown away by this film (which may remind you of the works of Adam McKay, director of Vice). There are MANY cameos in to enjoy- I won’t give it away; after all, there are VERY serious themes to explore! If you follow the news/politics, then you should check it out ASAP! Otherwise, wait for it to come to streaming.

Little Women (2019) starring Saoirse Ronan, Emma Watson, Timothee Chalamet, Florence Pugh, Laura Dern, & Meryl Streep

The new adaptation (directed by Greta Gerwig) is VERY good- I went to free screening w/ several friends the week before it was released (on Christmas Day). I’ve seen the major film adaptations- ‘30s, late ‘40s, and ‘90s (my family loved that one). There are a few odd choices w/ the casting, as you will see. This film has unique takes- it plays w/ time (starting from the middle of the book and going back, then forward); has more nuanced characterization of smaller characters; and Chalamet (who I really enjoyed) has a fresh take on Laurie (the boy who wants to belong to the March family in some way). Chalamet, who some feel is getting TOO many meaty roles, gives Laurie a light/humorous bent (one critic compared his movements to Chaplin). I loved Christian Bale’s take on Laurie- it will always be my fave. I thought Ronan made a great Jo; I thought the writing, then trying to publish, scenes were great additions. Pugh (who is a fresh face to me) does a great job as Amy, who is usually the sister people love to hate. Amy’s scene re: the practical side of marriage stands out in my mind. The scenery, clothing (some of which was styled by the actors), and music are great- as expected. I consider this a MUST-SEE for fans of the book or the previous movies!

Re-watching Problematic Movies: Gone with the Wind (1939)

In the late ’90s, one of my history classes (in university) examined this iconic film. Our 30ish professor (like many of us) grew up watching GWTW; she considered it very problematic, yet also admired Scarlett O’Hara as an empowered woman. I recall her getting a bit emotional about the story; I’m sure there are millions of others who admired parts of this movie (and novel). Upon closer examination, we find mixed messages, not only w/ regard to history and slavery, but re: war, social codes, love, and marriage.

I’ll think about that tomorrow. -Scarlett’s motto

No doubt this movie (made for less than $4M) was a technical feat! Students of film have been studying it for decades; on recent viewing, I was esp. struck by how well light and shadow were used (production design). There are 50+ speaking roles and 2,400 extras. Out of the 1,400 actresses interviewed for the part of Scarlett, 400 were asked to do readings. Here are some of the actresses considered for the role (who screen tested): Tallulah Bankhead, Susan Hayward, Paulette Goddard, Lana Turner, Jean Arthur, and Joan Bennett. GWTW also used special effects, most notably the burning of Atlanta. Scarlett is described as having green eyes; Leigh’s eye color was corrected (post-production) from blue to green. As she could not dance, Leigh has a body double in the charity auction ball scene. One thing which amazed my mom, but it’s true- Leigh tightened her corset to 18″ (as Scarlett comments)!

Did you know GWTW went through several directors? David O. Selznick (producer) fired George Cukor as director b/c (as a gay man), Selznick though he would be unable to properly direct love scenes between Rhett and Scarlett. Cukor (who had a reputation of getting strong performances from women) continued to privately coach both Leigh and de Havilland on weekends. The scene where Mammy reprimands Scarlett for not eating is one of the few remaining in the final film shot by Cukor. Leigh wasn’t happy w/ macho director Victor Fleming’s style; when she asked for constructive advice, he said to “take the script and stick it up her royal British ass.” Of course, classic movie fans know that Leigh was involved w/ Laurence Olivier during this time; she must’ve gotten a lot of advice from him!

The Emancipation Proclamation (1863) and the 13th Amendment to the Constitution (1865), which both set slaves free, have minimal effects on the plot of GWTW. The house servants at Tara (Mammy, Pork, Prissy and Uncle Peter) continue to serve the same masters and their families. We are to assume that they don’t want to leave or have nowhere to go. Scarlett thinks to herself (in the novel): “There were qualities of loyalty and tirelessness and love in them that no strain could break, no money could buy.” If this isn’t romanticizing “the Old South” (antebellum) days, then I don’t know what is!

What gentlemen says and what they thinks is two different things, and I ain’t noticed Mr. Ashley asking for to marry you. -Mammy (telling it like it is) to Scarlett

When I watched it as a kid, I was surprised to see that Mammy was more concerned w/ propriety than Scarlett; I also saw that she was crucial to this story and has some memorable lines. After Scarlett and Rhett marry, he admits to his new wife that he wants Mammy’s good opinion. As an adult, I realized that- of course- Mammy had to know all the rules which governed the behavior of young ladies! Her life was inextricably tied w/ that of her owners, the O’Haras, and primarily Scarlett. Miss Ellen, Scarlett’s mother, seems to have been the ideal woman in Mammy’s eyes; Scarlett doesn’t quite measure up.

The fact that Hattie McDaniel would be unable to attend the premiere in (segregated) Atlanta outraged her friend Clark Gable; he threatened to boycott the premiere unless she could attend. McDaniel (in her mid-40s) became the first African-American to be nominated for, and win, an Academy Award. She was criticized by some African-Americans; she commented that she’d “rather make seven hundred dollars a week playing a maid than seven dollars being one.” Before she hit the big screen, McDaniel had a career as a singer, traveling across the South (as many black performers did in the early 1900s). Butterfly McQueen (who played Prissy) said that her stereotypical role totally put her off acting. Who could blame her!? Prissy is characterized as lazy and deceitful. In one scene, Scarlett slaps her hard on the face- ouch! McQueen went on to pursue graduate education in Political Science.

On my recent re-watch, I noticed that the field foreman from Tara, Big Sam (Everett Brown), was given two memorable scenes. Big Sam is walking through Atlanta (w/ his fellow male slaves) on the way to digging ditches for the Confederate Army. He is spotted by (a very excited) Scarlett; they catch up on news from Tara. Later on (after the Civil War), Big Sam is the one who rescues Scarlett after she is attacked by a white man while driving her buggy through the “shanty town.” He recognizes her voice, runs to the road, and beats up the would-be robber- what a heroic moment!

I’m saying very plainly that the Yankees are better equipped than we. They’ve got factories, shipyards, coalmines… and a fleet to bottle up our harbors and starve us to death. All we’ve got is cotton, and slaves and… arrogance. -Rhett comments to gentleman gathered together for the ball at Twelve Oaks

One of the main reasons to watch GWTW is Gable (then in his late 30s); he is full of charm, danger, mischief, and (after Bonnie is born)- a bit of vulnerability. As my dad commented years ago: “Why is Scarlett obsessed w/ Ashley when Rhett is around!?” Though he’s not gung-ho about the war (neither is Ashley), Rhett does eventually succeed as a “blockade runner.” Rhett is not about “the cause” (slavery), he’s in it for profit and excitement. After the burning of Atlanta, he joins “the lost cause.” Once their marriage grows sour, the troubled (and potentially violent) side of Rhett emerges. Modern audiences may cringe at the infamous (and quite disturbing) scene where he carries Scarlett up a long stairway, saying he “won’t be shut out” (of her bedroom) one night.

Author Margaret Mitchell’s first choice to play Rhett Butler was Basil Rathbone. The only four actors David O. Selznick seriously considered for the role were Gable, Gary Cooper, Errol Flynn and Ronald Colman. The chief impediment to Gable’s casting was his MGM contract; this was the era of contract players. He was not drawn to the material, didn’t see himself in a period film, and doubted that he could live up to the public’s anticipation. He was persuaded by a $50,000 bonus, which would enable him to divorce his second wife and marry actress Carole Lombard. Gable disliked his most famous film, which he called “a woman’s picture.” Leigh said she hated kissing Gable b/c of his bad breath. He was rumored to have false teeth (a result of too much smoking). Gable would sometimes eat garlic before his kissing scenes w/ Leigh- ugh!

Open your eyes and look at me. No, I don’t think I will kiss you. Although you need kissing badly. That’s what’s wrong with you. You should be kissed and often and by someone who knows how. -Rhett says to Scarlett (after he returns from Paris)

Selznick always wanted Leslie Howard to play Ashley Wilkes, but Howard felt that he was too old (the character was supposed to be about 21 at the start of the film). My dad agrees w/ that! Howard wore extra makeup and a hairpiece to make him appear younger. Selznick was only able to persuade him to take the part by offering him a producer credit on Intermezzo (1939). Vincent Price, Dennis Morgan, Douglass Montgomery, and Melvyn Douglas were among the actors who tested for the part of Ashley. Many viewers on Twitter (during my re-watch) were annoyed w/ the fact that Howard kept his English accent. Also, some women noted that he was a jerk for “giving Scarlett hope” and “leading her on” in several scenes. I realized that scene where Ashley and Scarlett talk re: maybe running away from Tara (and their responsibilities) was done very well- acting and the look of it.

While Scarlett is colorful/rebellious/independent, Ashley’s cousin/wife, Melanie Hamilton (Olivia de Havilland), is the epitome of a demure/calm/traditional lady. Her hairdo is simple (no curls), she dresses plainly (not seeking attention from men), and is 100% devoted to just one man- Ashley. Others (incl. elders of her society) look to her to determine what is “proper.” Melanie is selfless and giving (tending to wounded soldiers w/o complaint); Scarlett is selfish (wanting to run away from nursing, marrying her sister’s beau- Frank Kennedy- for his money, etc.)

In one memorable scene, when a Union soldier comes to rob Tara, Melanie (weak after giving birth) grabs a sword and clambers down the stairs in an effort to help Scarlett. There is a moral strength to Melanie; Scarlett (who is physically much tougher) eventually realizes that. These two women (who perhaps would be “frenemies” today) are like two sides of a coin; they have to rely on each other. In McDaniel’s pivotal scene (after the sudden death of Bonnie), Mammy cries and gently pleads: “If you can’t help us, who can? Mr. Rhett always set great store by your opinion. Please, Miss Melly.” Gable was reluctant to cry (in his following scene), but de Havilland convinced him that it would be the right thing to do for his character.

Rewatch: “The Strange Love of Martha Ivers” (1946) starring Barbara Stanwyck, Van Heflin, Lizbeth Scott, & Kirk Douglas

The prologue suggests a Gothic movie, with the spooky figure of Mrs. Ivers dominating the eerie household that Martha wants to flee; then, the film changes to a noir with a fine plot. In fact, Lewis Milestone, the director, has mixed styles in the picture, but the end result makes a satisfying film to watch.

Barbara Stanwyck is at her peak–sure, confident, and unfailing. Van Heflin’s natural talent makes everything he does seem effortless. Kirk Douglas offers a most impressive film debut in what, in retrospect, is an uncharacteristic role. Lizabeth Scott (who seems to me a fascinating cross between Lauren Bacall and Rosemary Clooney) is constantly engaging.

The black & white cinematography is magnificent, and the fatal character of Barbara Stanwyck is one of the most dangerous and manipulative villains I have ever seen in a film-noir.

-Excerpts from reviews on IMDB

I discovered this classic film a bit late (my earlier review was from 2011). I’ve seen it maybe three times over the years; somehow, it feels fresh each time! The film (which is a blend of melodrama and noir) was written by Richard Rossen, who went on to work on “The Hustler.” The director is Lewis Milestone, an immigrant from Moldova (then part of Russia), who worked on many fine films, incl. The Front Page, Of Mice and Men, and Mutiny on the Bounty (w/ Brando). According to film historians, a few days of this film (which started shooting during a strike in Hollywood) were directed by Byron Haskin.

Barbara Stanwyck was 39 y.o. in this movie; her two co-leads were 36 y.o. Van Heflin (who had just served in WWII), and 30 y.o. Kirk Douglas (in his film debut). According to film historians, Stanwyck did not like to be upstaged; when she saw the coin trick Heflin had learned (Milestone’s suggestion), she informed him he should make sure he did not do it during any of her important lines. Heflin only used the trick once in a scene with her. And what a debut for Douglas! Even though the actor (recommended to producer Hal Wallis by his close friend Lauren Bacall) is playing a weak-willed alcoholic spurned by his wife, his role is meaty and the star potential in clear onscreen. You see the maturity and commitment to character (honed in the theater) and the ironic expressions which he came to be known for in his prime years.

Martha Smith (Stanwyck), Sam Masterson (Heflin), and Walter O’Neil (Douglas) grew up together in the small city (Iverstown) w/ a burgeoning steel industry. As teens in 1928, Martha and Sam (a rebellious boy from “the wrong side of the tracks”) are the best of friends who plan to run away to join the circus. Walter, an obedient/fearful boy and son to Martha’s tutor, knew about the plan. Martha was an orphan determined to escape her controlling aunt (played by famed villain Judith Anderson). Martha, the child of a wealthy mother and a humble mill worker father, hated her aunt, who disapproved of her heritage and behavior (strong-willed). After Martha is caught and brought back to the family mansion, her aunt reveals that she has changed the girl’s last name to “Ivers” (reflecting her maternal heritage). Of course, young Sam escapes and goes on adventures of his own. After her aunt is dead, Walter’s father (an ambitious/calculating schoolteacher), takes over caring for her and securing the future of his son.

As adults in their 30s in 1946, the trio is reunited. Sam notices the sign of his old town, gets distracted, and runs into a pole (minor fender bender). FYI: The young sailor who is in the passenger seat is director Blake Edwards. This requires Sam to stop at the local garage for repairs and look for a hotel to stay. He runs across an old cop on his beat who used to chase him as a kid. When he goes back to his childhood home, Sam meets Toni (Lizbeth Scott), a pretty young blonde w/ a husky voice (reminding us of Bacall). She misses her bus to her hometown, but isn’t too upset about it. Sam has lived the life of a gambler (after leaving the circus), getting in trouble w/ the law, and spending a lot of time in hotel rooms.

After Toni gets in trouble, Sam goes to see Walter (who is running for DA) at his office. While they talk, Martha comes in; at first, she doesn’t realize who this man is. After a few moments, she runs into Sam’s arms. Sam hugs her twice, surprised at how beautiful she has become. Walter is (obviously) jealous, imagining that they may still have feelings for each other. Later, in these scene w/ Sam and Martha at her office, we learn that she has the real power in Iverstown (not her husband). She has grown the steel mill in size and workforce. The Ivers mansion has been redecorated to suit her style.

The melodrama element of this film is heightened by the music and costumes (designed by the famed Edith Head). Martha doesn’t dress like a typical businesswoman. She wears a lot of outfits, incl. a fur stole, cape, and several gowns that would suit a Manhattan cocktail party (not a steel town). In the final scene of the movie, Stanwyck wears a gorgeous flowing gown with a beaded waistline which is high in the front and lower in back. Film historians said Head designed this to draw attention from the actress’ long waist and somewhat low hips.

The film noir genre is known for it’s theme of the past (incl. old flames, friends, enemies) coming back to haunt you, and this film is no exception. Though Heflin is the hero who the audience can relate to, it’s the (explosive) scenes between Stanwyck and Douglas that reveal just how dysfunctional marriage can become! I really enjoyed how the romance between Sam and Toni, who both have somewhat shady pasts and alcoholic fathers, enfolded in a natural way. Their fresh and hopeful relationship is in direct contrast to that of the O’Neils. In the very last scene, we see Sam and Toni driving happily westward. He advises: “Don’t look back, baby. Don’t ever look back.”

The Woman in the Window (1944) & Scarlet Street (1945) starring Edward G. Robinson, Joan Bennett, & Dan Duryea

These two films by Fritz Lang star the multi-faceted Edward G. Robinson, Joan Bennett (perhaps best known as Elizabeth Taylor’s mother in Father of the Bride and Father’s Little Dividend), and character actor Dan Duryea. Lang was a half-Jewish refugee from Austria who fled the Nazis in the mid-1930s. Growing up w/ German cinema, Lang was “concerned w/ symbolism and good and evil existing w/in one character” (as Barbara Bordwell McGrew, former film instructor at Burlington College explained). Double Indemnity (where Edward G. Robinson played a fine supporting role), Laura, Murder, My Sweet, and The Phantom Lady were all successful noir films released in 1944. “This led the way for more dark, mature stories to be told in Hollywood,” Eddie Muller (host of Noir Alley on TCM) commented.

The Woman in the Window (1944)

Mild-mannered Gotham College professor Richard Wanley (Robinson) and his two close friends (a district attorney and a medical doctor) become obsessed with the portrait of a woman in the window beside their men’s club. After dinner and drinks at the club, his friends head off to a burlesque show. Wanley decides to read for a while and seems to doze off. Late that night, he meets the woman, Alice Reed (Bennett), while admiring her portrait, and ends up in her apartment. While they chat and drink champagne, a man bursts in and misinterprets the situation. This intruder lunges at the professor and a fight ensues where the other man is killed. In order to protect his reputation, Wanley agrees to dump the body and help cover up the killing.

The Woman in the Window is considered to be one of the most significant movies in the film noir genre. It’s a film has many key noir ingredients: man meets woman and finds his life turned upside down, shady characters, a killing, shadows and darkness, and an atmosphere heavy w/ suspense. At its core, the film is about the dangers of stepping out of one’s normal life. The cast is very strong; Robinson, Bennett and Duryea re-team with Lang the following year. As on reviewer on IMDB noted: “The Woman in the Window seems to say that evil only lives when people look hard enough for it – practically a ‘film noir’ rebuttal.” The ending (which some liked, yet modern audiences may think a bit cheesy) had to be that way b/c of the Production Codes of that time.

Scarlet Street (1945)

Chris Cross (Robinson) is a bank cashier who is given a gold watch by his boss for 25 years of honest service. Chris is kind of an Everyman who is respected by his peers, yet has a boring life w/ his loud/shrewish wife in Brooklyn. Chris has a love of beauty and painting (which he does on Sundays). One rainy late night, he sees a young, beautiful woman being beaten by a man on the street in Greenwich Village. He stops the villain and saves this (supposed) damsel in distress. In no time, he falls desperately in love w/ this woman- a struggling actress named Katherine March (Bennett). Kitty (her nickname) gets to know more about his inner life and starts making demands (w/ tears, saying how she is so poor). As Chris talks re: his love of art on their dates, Kitty assumes that he is wealthy.

According to Ben Mankiewicz on TCM, when first released, local censor boards in New York, Milwaukee and Atlanta banned this film entirely, for being “licentious, profane, obscure, and contrary to the good order of the community.” Though this may seem tame to (modern) audiences, there are themes of dominance and submission in this film. Chris’ wife, Adele, bosses him around at every turn. On the other hand, Kitty, allows herself to be abused (emotionally and physically) by her fiance- Johnny Prince (Duryea). Her friend/roommate, Millie, keeps telling Kitty that he is no good, but she doesn’t listen. In her mind, this is “love” and Millie “doesn’t understand.”

Scarlet Street is compelling and unpredictable; Lang truly knows how to keep the audience hooked, even in quiet moments. “The film is full of irony throughout (ironically made by a non-American),” as one reviewer wrote on IMDB. The audience is never able to guess what’s around the corner. The movie is packed with stand out moments, but the ending is terrific. The atmosphere that Lang creates draws you in, as do the fine actors (esp. Robinson as the anti-hero).

Fairview (Woolly Mammoth Theatre): SEPT 9-OCT 6

Beverly insists the celebration for Grandma’s birthday be perfect. But her husband is useless, her sister is into the wine, and her daughter’s secrets are threatening to derail the day. Meanwhile, a group of spectators has put them all under surveillance. Soon the voyeurs launch an invasion on the festivities, forcing the family to battle for their very identities-Synopsis from Woolly web site

I didn’t know much re: this play (written by Pulitzer winner Jackie Sibblies Drury) when I went to see it (w/ my gal pal) on a recent Pay What You Can Night (PWYC) night. Two DC-based actors I’d seen several times before (Shannon Dorsey and Cody Nickell) were in the cast. Dorsey has been in recent Woolly productions; she’s a talented young lady under 30. Nickell is an experienced actor in his 40s; I’ve seen him perform before at The Folger (focused on Shakespeare).

Fairview is divided into 3 sections and runs w/o an intermission. In the first section, we see a domestic drama (w/ moments of humor) set in the home of an educated, upper-class black American family. The mom, Beverly (Nikki Crawford), is cooking dinner and worrying about making her mother’s 70th birthday special. The dad, Dayton (Samuel Ray Gates), is trying to help, yet also has time for joking around and being playful w/ his wife. He is relaxed and easygoing; they are still very much in love. The auntie, Beverly’s younger sister- Jasmine (Dorsey)- comes over w/ a bottle of wine and starts telling her sis to calm down. She starts to drink, complain, and stuff her mouth w/ cheese (which she was avoiding on a recent diet). The 17 y.o. daughter, Keisha (Chinna Palmer- a recent graduate of Howard), comes home after school and starts chatting w/ her aunt. Keisha is looking forward to college (she’s a good student, plays sports, and has several other extracurricular activities); she confides in Jasmine that she wants to take a year off. A call comes in from the uncle, a lawyer, whose flight will be late. This causes more anxiety for Beverly- a perfectionist- who still has veggies to cook and a cake to bake. They talk, laugh, and even dance around the house some. Suddenly, Beverly falls to the floor!

In the second part of the play, everything we just saw is acted over again, but w/o any dialogue (from the black family). Instead, we heard the (disembodied) voices of others observing this family. At first, I thought these were the voices of those who created this family drama story- producers, director, writers, etc. The most dominant voice is that of an arrogant white man, Jimbo (Nickell), who asks the others: “If you could be any race, which race would you choose? Why?” The first female voice is of Suze (Kimberly Gilbert), a white woman who is (from her commentary and tone) someone who considers herself to be “liberal” and “woke.” Another voice joins in, Mack (Christopher Dinolfo), declaring loudly and proudly that he wants to be Latino (or “Latinx”); he is a young gay man. The last voice is of Bets (Laura C. Harris) who is an immigrant from Russia w/ a strong accent; she has her own views (and points out that “everything in America is about race”). She would like to be a Slav (which is a different ethnicity, not race); this answer confuses the others. Jimbo wants to be black, as does Suze; she tells a story of how she was raised by a black nanny (who she loved). Yes, this play takes on The Help (written by Katherine Stockett), along w/ many other tales from pop culture (incl. The Cosby Show, Tyler Perry movies, various stereotypes- positive and negative- of black Americans).

In the third segment, the play really amps us, as the (white) voices we just heard insert themselves into the story of the black family! Jimbo takes on the role of the uncle, dressed like he belongs in a hip hop music video, and speaking as if straight from “the streets” (African American vernacular). This made the audience laugh and also cringe, recognizing the (blatant/persistent) ways black men are portrayed in media even today. Keisha goes upstairs to get her granny for dinner- Suze emerges wearing a classy white gown and turban-style headdress decorated with gold. She walks slowly down and joins the family at the table. Suze is appalled by the way Jimbo is talking, of course. Suddenly, there is a knock at the door; Mack (dressed in neon colors, wearing blonde fake braids) dances into the story. He is meant to be Keisha’s classmate- a girl– who is on the track team and her best friend. It was hinted before that Keisha may have feelings for this girl. Mack is so flamboyant that the audience cringed (yet had to laugh). This is an unique story! The black family and the observers sit down to eat, but tensions arise, and tempers get hot. Mack declares that Keisha is pregnant, pulling out a home pregnancy test. Keisha is shocked, as her friend was bringing over some homework. Beverly is stunned and disappointed. Suze tries to stay calm, saying she will accept what happens, and be supportive of her family.

Keisha knows something is wrong, but what exactly!? Bets pops out from behind a large family portrait, declaring herself to be the grandmother! She is dressed in a tight gold gown w/ matching turban; underneath, she is wearing an (obvious) fake butt. By this point, a few of the audience is still confused; others are howling w/ laughter (recognizing the ridiculous ways these white characters are trying to be part of the story which doesn’t belong to them). Suze and Bets get in a fight, as Suze objects to this version of the grandmother. Jimbo and Mack get into it also; they run about yelling and breaking apart the set (the family home). There is noise and mayhem for some moments. Keisha, as well as the audience, is trying to figure out what happened and how the story will end! Finally, Keisha confronts Suze- the white feminist/woke ally- and declares that she’s tired of being living under scrutiny (“the white gaze”).

Why are these white voices/characters turning this nice family story into a stereotype? This was one of my thoughts at the start of the third section. Then I realized that maybe the family was already a (positive) stereotype at the start of the play? Near the end, Keisha realizes that these white people have taken over her family, her story, and her future (as she imagined it)! Why can’t she (and other people of color) just tell their own stories, and white people (majority culture, esp. here in the US) give them some space? Why do we POC have to live our lives as if being watched (and judged) by whites? When is it our time to control the narrative? The play ends in an (unexpected) way; I haven’t seen anything like that before!