So You Think You Can Dance - A love letter (and 5 ways to ensure a Season 11)

In the glut of programming under the ever increasing banner "Reality TV"each summer offers a small shining light of joy that comes to us in the form of So You Think You Can Dance. Tonight marks the end of Season 10. It has been a mixed bag of talent and performance this season. Not a surprising result for a show entering double digit seasons. Personally I am pulling for Aaron Turner tonight. He's been the story and heart of the show this season. After not making the top 20 he wound up serving as a last minute replacement after another dancer was injured. He entered the competition with the deck a little stacked against him. He was an alternate, a tapper and the third tapper at that. He also had limited prep time in the run up to the competition starting. That is what makes his season glorious. As the first tapper to make the final four Aaron has a legitimate chance to win tonight. If he does it will be on the foundation of his charismatic ease on the stage and chameleon like ability to take on new styles of dance. Aaron was never in the bottom group so we've only seen him dance in his own style twice, in the season opener and last week's finale. A constant cadence this season was how we all forgot he was a tapper. Not Aaron. Aaron knows who he is as a dancer and a performer. It is that maturity and confidence that makes him special. It is what I believe will propel him from 21st to champion tonight. Aaron possesses that elusive 'it' quality. He distinguished himself early in the competition and hasn't looked back. Battling injury the last few weeks may have compromised his technique but it only steadied his resolve, commitment to craft and dedication to finish what he started. Yes, @Dance10Aaron is a great ambassador for tap and dance. More importantly he is the embodiment of what can happen when opportunity meets talent and is driven with humility.


In spite of how much I enjoyed watching the dancers develop and grow I found the bulk of the season to be uneven both in performance and choreography. For every moment like this with Twitch and Fik-Shun...

there were a dozen or so that just didn't connect. I believe there was a distinct fatigue in the choreography this season that didn't serve the dancers as well and the judging panel offered little relief with inconsistent messages and overt favoritism when it wasn't being dragged down by FOX cross promotions (Erin Andrews I am looking directly at you). That said, the season was not without its moments of brilliance. For a really nice highlight summary of this year's best dances I suggest you head over to Nerdy Girl Notes and read her Top 10 dances from season 10. I may not agree with the order or even some of the choices she's made, but her analysis of each displays the beauty and joy this show delivers each and every season.

That leads me to my humble recommendations for keeping my favorite summer show on the air.

UPDATE: I am happy to report Season 11 will be a reality in 2014!

For all my irritation at Nigel Lythgoe from the judges seat he has shown a deft hand at keeping the show fresh and interesting, introducing all-stars being the pinnacle of those choices. So it is with respect and a strong desire to see the show excel that I offer these ideas for refreshing the format once again.
  
1) Three words: All Star Season 
No this is not an original idea, many reality shows have done it with varying degrees of success. However, the stable of potential is particularly high for this show. After 10 seasons there are 200 dancers from the top 20 alone. There are only a handful who have gained notoriety like Twitch. Which leaves a great pool of talent to bring into the mix for a new season. We all have favorites who we thought went home too soon and having a collection of 20 dancers who understand how the show works could make for some spectacular routines and a really emotionally charged season. And can you imagine the tour?

2) More All Star Choreographers
The absolute best decision that Nigel made this season was designating a week where the all-stars choreographed their routines. The success of Travis Wall makes me question why we haven't seen more of it. Mark, Alison, Twitch and several others had varying degrees accomplishments during that week, but to a one it was interesting. What's undeniable is the fact that it was the most exciting week of the season. It had an energy and freshness that has been sorely lacking throughout season 10. I love NappyTabs, Mia, Stacey and the stable of terrific choreographers So You Think You Can Dance has introduced me to over the years. I also know their styles so well it has become repetitive and sadly boring. The best energy I have seen this season from our regular choreographers were the wonderful ensemble numbers (see #4 for my additional thoughts on this.), especially those where two of them collaborated.

By enlisting past contestants as choreographers you have built in curiosity and investment from the viewers. These are people we know, routed for and enjoyed. It is a natural progression for the show to make and the popularity of Travis Wall supports the theory in spades.

3) Change the audition process and increase airtime for Vegas week
One of the things that sets So You Think You Can Dance apart from other competition shows is how it handles the audition process. They have always limited the number of people they put on display for shock and humor value. The bulk of auditions are actual dancers with varying degrees of skill and styles. However, after 10 seasons they have grown a little long in the teeth. I have three variations on how to address this issue. 1) Eliminate all but one two hour audition episode that highlights what we need to see and the best of the best from the road. If possible, by doing so bring back a 30 minute elimination episode. 2) Again, limit auditions to a two hour highlight episode and put more emphasis on Vegas week, especially focusing on partnering and providing viewers with more opportunities to see full performances at that time. 3) Limit auditions and add in rehearsal process. We see 'cute' video segments prior to performance, but I have always wondered about the what happens in the gap between Vegas week and first show. I think this is an opportunity where the show can tap into viewers interest in the choreographers whose work we've watched for years and gain insight to their process.

4) Increase the number of ensemble pieces
From the beginning one of the best aspects of So You Think You Can Dance was the explosive ensemble routines. It offered storytelling, diverse skill, broad choreography and a chance to see which dancers stood out and which fell to the background. Wade Robeson's Ramalama Bang Bang  ranks to this day as one of the greatest moments on the show. Expanding the scope under which the choreographers can work will raise the level of intrigue and I suspect inspire those long associated with the show to do new things. The ensembles can be varied in size and scope but should be a competitive part of the show from week one.

5) Make solos a regular part of the show and eliminate the 'dance for your life'. 
Dance for your life has always been a weak link to the show. It's an afterthought really and this season proved it once and for all when Nigel started sending dancers on the brink of elimination back without dancing a solo. I believe the solo is a unique opportunity that has been sacrificed and could easily be resurrected. You can have them choreographed instead of leaving it up to the exhausted and overtaxed dancers needing to create their own. It would allow the viewers to see a dancer at their potential best and in their own style. If they had an off week or a dance that wasn't particularly strong it could truly serve as a 'dance to stay in the competition' without it feeling forced or fake. I remain convinced that Jeanine Mason won her season on the strength and guts of her solo in the finale. Every dancer on the show has the potential to have that kind of moment. It's a strength they should lean into while abandoning the staged suspense around 'dancing for your life'. Given it's unlikely the show will get back a results show this is a way to highlight individual performance without making it an afterthought.

Any of these could enhance and help bring a fresh perspective on a show in need of a boost. With the loss of true variety shows and the propensity to show people behaving badly on TV So You Think You Can Dance remains a breath of fresh air in the doldrums of the summer heat. A show capable of transmitting joy, talent and inspiration deserves to carry on each summer. What would you do to make it better? Perhaps Uncle Nigel is listening.

4 Mondays out: 4 Reasons why I think the Castle fandom needs to take a deep breath and enjoy the ride.

Castle fans have been all a flutter since the May proposal of one Richard Edgar Castle to one Katherine Houghton Beckett. First there was awe, then brutal dissection of scenes and dialogue which led to night sweats of hiatus withdrawal offering up everything from conspiracy theories to impending doom for our much beloved 'Caskett'. July arrived with a slew of spoilers, guest star announcements and as a result, we have a fan base gone mad with anticipation. As we arrive at four precious weeks out from the Sept 23rd season premiere fans were given a morsel of what the opening moments of season 6 are going to offer.

Instead of over thinking the tease, I thought I would take a moment to reflect on why in the sound and fury I remain calm, excited and unconcerned about the two hanging questions and their implications for this upcoming season.

1) The Dance
Andrew Marlowe and co. have thoughtfully built Castle around this central relationship, not their love affair, but their relationship. The moment that made this clear was the final five minutes of Sucker Punch in season 2. Beckett discovering and then having to kill the man who murdered her mother is the moment for me when this series made a specific turn towards the potential depth of intimacy this duo possessed. Yes, we've been given five years of double meanings, sexual tension, missed opportunities, sideways knowing glances and ultimately coupling. More importantly however is the fabric woven together around these two characters that allowed the viewers to discover their mutual respect, admiration and affection for one another. Love isn't about the things you adore, it's about the willingness to accept the things you don't. What makes me most excited about season 6 is that the close of season 5 left these two characters in completely uncharted territory and primed to explore what it is to truly love and accept someone for who they actually are.

2) The Ying Yang
This show has always been about the sum of its parts. The strength of the supporting cast be it Molly Quinn and Susan Sullivan giving Rick Castle depth and perspective or Semus Dever and John Huertas as Beckett's extended family and a home at the 12th. Much deserved credit and screen time has evolved for these characters and gives Castle the feel and depth of an ensemble piece. Time (and the writers) have served this show well resulting in wonderful character nuances. But the real accomplishment can be found in the fact that the nuance extends beyond the leads and regular cast.

For me the balance (ying yang if you will) that the writers have crafted so well are the people we hardly see but are integral to how we understand our leads. Think about it - Jim Beckett, Meredith, Josh, Gina, etc. are clearly defined characters in the show's pantheon and as a viewer they are vital to both Castle and Beckett's back stories. However when you look at the credits, Meredith has only been seen in two episodes over the life of the series, yet her influence permeates our outlook on Castle particularly as it relates to his commitment to Beckett. No character better defines the shows use of back story than Jim Beckett, played with such quiet strength by Scott Paulin. Unseen until midway through season 2 and only five times over the course of the series you would be hard pressed to find a fan who doesn't feel as closely connected to him as they do to Martha. His diner scenes with Kate are pivotal in forcing her to stay honest with herself. His conversation with Rick in Knockout gave viewers a window into Beckett's vulnerability and offered the audience it's clearest moment of Kate's feelings for Rick. It is a testament to the writing, casting and actors who in such small amounts offer so much dimension to the central story and theme of the show over the last five years. Adding new recurring characters and expanding the Castle universe for me doesn't take away from the core group we've followed the last five years. It offers an opportunity to observe them through a new and different lens which is ripe with possibility.

3) The Secret Ingredient

The crew. You often hear mention of the crew by many of the actors on the show and many of them can be found on Twitter. I recently sat down and watched the commentary episodes from past seasons. The well deserved reverence that the cast and creators have for the the dozens of people who literally create the world these characters inhabit is boundless. They are the secret ingredient that makes Castle a Monday night treat. I actually marvel at the intricacies that exist on Castle's sets that offer continuity, character definition and plot advancement. The combination of set design, lighting, music and costumes are a character within the show. 

One of the most salient examples the DVDs revealed was the attention, detail and effort placed into the murder boards. The continuity that these details provide serve the actors, the characters they play and lend authenticity to the show and deepens the investment we make as a viewer. Then of course there are episodes like The Blue Butterfly and Final Frontier that are just a feast for the eye in costume and set design. Only listening to the commentary do you really gain insight to the camaraderie this crew has and the joy that emanates from all their hard work. Whether its the big set pieces or small recurring themes, like Castle's remote controlled helicopters, the care and attention given to the world these artists so carefully create is something I can only imagine will be more intriguing as the potential expansion of the Castle universe grows in season 6.


4) Always
The TV shows I love most capture me because of the care and feeding given through the vision and steady hand of its creators. When a show captures my imagination, I don't care about the destination and figuring out how it might all end. Instead I am invested in how the characters get there and what they discover along the way. What made the protracted road of Castle and Beckett's courtship work was that the characters were never merely marking time until they got together. We watched Castle struggle to be a better man, not just for Beckett, but to Alexis and Martha. We held out hope that Beckett would figure out how to get out of her own way and learn to be vulnerable and defined by something beyond her mother's murder. I invested in these flawed characters because they are in fact evolving. It's what makes them interesting and their journey in season 6 more than an answer at the top of the episode. I don't blindly love all of Castle's 105 episodes, but I do admire the way the show has built a universe of people who I have grown invested in a little more each passing year. I trust that no one is more invested in this show than Andrew Marlowe, his cast and his crew to continue to take us on a journey that entertains us as it has faithfully the last five years.

That said, is it September 23rd yet?

REVIEW: Broadchurch - BBC America accomplishes everything AMC's The Killing didn't.

 
Broadchurch is the latest series to arrive from BBC America. The story centers around the death of a young boy, Danny Latimer and subsequent police investigation in a small ocean side town called Broadchurch. The series opens quickly laying out very little back story as it introduces us to the Latimer family, relevant townspeople and a new chief investigator (Alec Hardy) - an outsider who has taken the job over a resident officer (Ellie Miller) the woman passed over for the position.

Tonight marks the third episode in its eight episode run. In that brief two hours Broadchurch has already exceeded everything I had hoped The Killing would be and wasn't. Like Orphan Black before it, Broadchurch seizes hold of its narrative and through sharp, deliberate dialogue establishes several secrets and mysteries surrounding the murder. The creators use everything at their disposal to build suspense and mood for the show. Stellar examples include a deft use of stop motion action, muted color palettes and long camera angles that make the town of Broadchurch a character within the show.

David Tenant (of Dr. Who fame) leads the wonderful cast of actors who rapidly embody this story with effective acting and a realistic emotional gut punch. Tenant balances the role of outsider with an aloof, mercurial sarcasm that serves as a great counterpoint to Olivia Coleman's (The Iron Lady and Hot Fuzz) portrayal of Ellie Miller. I don't know Coleman's work well but find her character bold with a strong defensiveness of small town living that is mix of anger and pride. The casting is key, because the actors all look and feel as though they were born, raised and now raise their children in this sleepy seaside village where everyone is familiar and at times related.

What draws you into this show immediately isn't the mystery of how this young boy died but the utter horror his family, in particular his parents, go through when they realize he is missing and ultimately that he has been murdered. Jodi Whittaker and Andrew Buchan take on Danny's parents. Their smart acting choices and honest dialogue will make any parent cry with empathy for that moment of your worst nightmare being fully realized. As strong as Whittaker's discovery is that her son may be dead, Buchan's heartbreaking monologue over his son's body is simply devastating. I was struck by the end of the first episode how quickly I invested in a set of characters I barely knew anything about, it is a great credit to this cast for making you care. Broadchurch drew me in and captivated me in less than an hour, a feat The Killing couldn't manage in 13 full episodes.

Broadchurch follows in Orphan Black's footsteps crafting a show with great storytelling, quality acting and well plotted pacing. Broadchurch is a methodical thriller, teasing out key points of information just as you begin to form an opinion. With only eight episodes for the season I have great confidence that this mystery will unfold with a minimum of red herrings and circular plots to fill time. Unlike the much talked about Under the Dome, each episode has offered interesting answers that open up a host of new questions. Where Under the Dome seems to be marking time for a second season dangling minor points of interest in between random killings Broadchurch is building suspense through character reveals, compounding secrets and conversations that feed the viewer clues to Danny Latimer's murder. It is a feast for the eye and ear that is not to be missed.

Broadchurch is the best thing on television this summer and for minimal investment you will be treated to a mystery that promises to be solved at the end of the eighth episode. Really, is there a better way to spend a Wednesday evening than in the town of Broadchurch?

Elmore Leonard defined what it means to change the game.

 

Elmore Leonard is the reason I like George Clooney as an actor.

Elmore Leonard is the reason Timothy Olyphant is giving one of the best performances on television right now.

Elmore Leonard is the reason I love complex characters.

Elmore Leonard is the standard by which I assess great dialogue in both movies and television.

I came to Elmore Leonard later than many. Sure, as a movie buff I had seen more than a handful of his films, Out of Sight being a standout. However, it wasn't  until 2001 when I read his NY Times essay about the Ten Rules on Writing that I began to pick up his novels.   

I have been a fan of thrillers and crime stories since I was in Junior High. The books I love are because I become riveted by the plot and can't wait to see where a story is taking me or I connect to a character's perspective and outlook on the situations and circumstances surrounding them. Those are the aspects of novels that keep me up until 4AM reading. Like Leonard, I don't ever "want hooptedoodle to get mixed up with the story". Pound for pound you'd be hard pressed to find it in any of his stories. In its place you will discover funny, astute and intriguing dialogue. Dialogue that serves to propel the story and define the character who speaks it. It's the gift and originality that made Elmore Leonard a standout. the show Justified, created from one of the stories in Fire in the Hole offers us U.S. Marshall Raylan Givens who embodies the ability Leonard had for developing people that lived on the grey line that exists between the law and criminals. Four seasons in the series has told stories that range in interest and plausibility, but all are surrounded by terrific, unpredictable characters whose motivation for action is always evolving.

The legacy of Elmore Leonard for me will always be his dialogue. Many terrific examples exist, but for me this defines his greatness.

Much will be written in the upcoming days about the 'Dickens of Detroit'. I seriously doubt any of it will capture the wit, complexity and sheer joy that you will find by picking up one of Leonard's books. Plus, you'll never have to read a prologue if you do.

Laughter of Women: It begins with Lucille Ball

Eileen Brennan's recent passing got me thinking about the legacy of funny women we see in entertainment. Comedy, often in the form of a TV sitcom has provided fertile ground for women to thrive on television. Over the ages we've watched women break barriers and offer social commentary all while generating a tremendous amount of laughter. I initially started to create a top ten list of my favorites but quickly generated a list of 15 names and I was barely in the 1980s. So instead I've decided to highlight women individually and thematically. The vast diverse talent of comedic women warrants it and besides it allows me to wax nostalgic on some of the terrific TV shows I grew up loving and now share with my own daughter, thanks to cable syndication and streaming. These periodic posts will simply reflect women who I find luminescent, smart and funny.I am sure those of you reading have an instant list in your own head. Here's to seeing how much our lists coincide.

Any conversation about comedy, women and television must begin with Lucille Ball. Period. Fittingly, today would have been the great Lucy's 102nd birthday. I Love Lucy was a groundbreaking show for a myriad of reasons. It was the first television show to shoot in 35 mm film and pioneered the use of a three camera shoot in front of a live audience. In fact, CBS initially balked on the show because they didn't believe audiences would accept Lucille Ball and Desi Arnaz as a couple on television because due to the fact that he was Cuban. However, the most impressive act around this historic show was Lucille Ball's business sense, when she along with Arnaz conceded a portion of their salaries to own the rights to the show.

Still, what made I Love Lucy an iconic part of television history was the singular physical comedic brilliance embodied by Lucille Ball. It is well documented that Ms. Ball did not think she was funny. In fact she actively sought out mentors and coaches to perfect her physical comedy. Given the clip below, I would dare anyone to look at any given scene from this show and not laugh. Her perfectionist desire certainly paid off in spades.

I began watching reruns of I Love Lucy weekday afternoons after school. The humor, hijinks and misunderstandings are a fundamental mix that we still see in TV sitcoms today. Think about the great married sitcom couples - Cliff and Claire Huxtable, Ray and Debra Barone, and most recently Claire and Phil Dunphy. All owe a debt to the foundation I Love Lucy created over 60 years ago. The situations that Lucy, Ricky, Fred and Ethel found themselves in remain universal and as a result timeless. I know this with absolute certainty because just the other day I came downstairs to find my 8 year old watching a marathon of episodes on the Hallmark Channel by her own her choice. In an age of kids obsessed with bad Nickelodeon and Disney 'tween comedies' that's saying something.

More often than not tributes point to the classic moments of Vitametavegamin and the candy making episode. For my money "Hollywood At Last" remains the pinnacle showcase of Lucille Ball's genius. I begin laughing with anticipation the moment they sit down at The Brown Derby and I am in tears by the time she butters her hand. The back and forth between her and a straight faced, silent William Holden is spectacular. Ultimately what makes I Love Lucy's comedic genius work is that there is never a false note or trace of cynicism in the joke. No matter how ludicrous the situation, how exaggerated the moment Lucille Ball conveys a sincerity that makes the audience adore her the way that Ricky does. There is a pure joy the emanates from the final scene in each episode, especially the ones when Ricky is singing to her.

In an age of crass and often derogatory humor I Love Lucy is a great reminder that comedy can be rooted in joy and that the human condition, irony and shared experience will always generate a knowing smile, no matter the generation of the audience that is watching.

We all have our favorite Lucy moments, let me know yours in the comments. In the mean time join me in remembering Lucy Ricardo's birthday on what would have been Lucille Ball's 102nd.

Happy Birthday Lucy!

Geeks, Nerds, Fanboys and girls - It's the new black.

At one point this weekend I thought about writing a recap of Comic Con and NERD HQ from a "lazy boy" point of view, given that I have now spent countless hours watching YouTube video of panels from that weekend. Seriously, how did we ever live without YouTube? But when this video "Nothing to Prove" by the Doubleclicks surfaced last week it prompted me to reconsider writing about my love affair with geekdom as a life long fangirl.

Let's begin.

My name is Dalissa and I am a fangirl. My nerdom knows no bounds and possesses many layers from life long (Star Wars) to new obsessions (Orphan Black), movies to musical theater to sports I am a BIG OLD GEEK FAN. I was a band geek in high school and a theater nerd in college. I am unapologetic for this and proudly stand among the masses who has done her share of crazy, Whodini tactics to make my fan dreams come true. At 40, I can safely say I have spent an abundance of time adoring from afar whether it was waiting at the stage door of countless Broadway shows, lining up for book/memorabilia signings, camping out for free tickets or buying tickets to galas I couldn't afford.

Fandom for me is about adoration. It is about loving something with the purity of a child because it makes you feel giddy or it allows you to escape from the grind of the real world. It is about admiring a talent you don't possess and relishing in the beauty of it. It allows you to extend childhood fantasy and play as an adult in a way that invokes joy.

I have stories that could fill a book and the scapbooks to back them up. Along the way something unexpected happened. I met interesting, wonderful people who shared my encyclopedic knowledge of pop culture, some of whom became comrades in nerdom. Growing up (before the internet) I saw it manifest in a variety of ways. Being a young girl one of my first real encounters of fandom came to life through the enduring constant that was the 'boy band'. My holy trinity consisted of Menudo, New Edition and Duran Duran. People like to mock the boy band on its face, but the power of a handful of cute boys, some choreography and a catchy tune is a force to be reckoned with. I know this because six months ago I bonded with co-worker over our shared love of New Edition and I have $10 bucks that says if you are a female reading this you just had a memory bliss of your own.

Sports remains my strongest connection to fandom. There is nothing like being in a ballpark, arena or stadium with 30,000 strangers all dressed in team colors, with common love, bias and understanding as you pass through the turnstiles. Being a sports fan is often like gaining a family heirloom, your teams are passed on to you from older generations and it is a part of the connective tissue within your family. It comes with superstitions, rituals and traditions. For me, these make up some of my most precious memories with the men in my family. It is a tradition we are now passing to our children and as an adult I marvel at the broad diversity that comes together in moment around sports to this day. It can rally strangers on a train and be a source of community bonding. Sports may invoke irrational emotions, but rarely are those emotions not based in a passion and joy for the sport one loves.

To this day it is still about the adoration and purity of being a fan, an audience member and the ability to be moved by the wonder of it all. The rise of social media has pushed Nerd culture to the spotlight and dare I say, made it cool. It really is the new black. With innovations in gaming exploding over the last decade, online social networks and the immediacy of Twitter connecting fan bases the true diversity of being a nerd has risen to prominence. It has also put fans into tangent hemispheres with those we admire like never before.

For me however, the love of fandom is more intimate than that. Fandom has given me a world of possibility and friendships that remain a source of real happiness in my life. Some of my first friendships were born out of playing Star Wars on the playground with left over Christmas wrapping paper tubes serving as light sabers. Thirty years later I am still finding kindred spirits through blogs, online social networks and shared commonalities on the playground with other parents. The connections may not always be 'three dimensional' but they are no less real or inspiring (@nerdygirlnotes I am looking at you)

That is what I hope to pass on to my daughter. The beauty, power and joy that comes through individually carving out a path for yourself that is built on passion, admiration and appreciation. Life is hardly monolithic and what I have discovered as a fan girl is that passion for something singular can manifest itself into a discovery of an entire world of information you may not have originally sought out. That sense of wonder is something that drives me today to instill in my child a continued sense of exploration that feeds her insatiable curiosity.

I haven't made it to Comic Con (this year's Orphan Black panel put me dangerously close), Sundance or the Toronto Film Festival yet, but I've got time and it will happen. In my geek heart I have promised myself a trip to Con when the LOST anniversary panel rolls around. It is also safe to assume a much desired laser tag set will be landing on our doorstep this holiday season, because in the realm of all that is possible, I want my daughter to always know there is joy to be found, especially among the geeks, nerds and fan boys and girls.

MOVIE REVIEW: Fruitvale Station, why this portrait of a young black man MUST be seen.

 

There are seminal films that explore the human condition and specifically the realities of urban America. Do the Right Thing and Boyz in the Hood immediately come to mind. I believe we can now add Fruitvale Station to the mix of movies that create an image that flies in the face of media stereotypes and more importantly offers an honest look beyond the headlines. Fruitvale Station is an intimate look at the life of Oscar Grant in the 24 hour run up to his untimely and horrifying murder.

The Story
In 2009, Oscar Grant was fatally shot in the back by a transit officer at Fruitvale Station of the BART system shortly after midnight on News Years Eve. He was on his way home from celebrating in San Francisco with friends. In an altercation captured on cell phone video the case garnered national outrage and attention due to the senseless horror of his death. He left behind a 4-year old daughter, a family and a life unfulfilled. He was was 22 years old.

As a movie
Fruitvale Station is a difficult, heartbreaking, outrage inducing, honest portrait of a young man who was so much more than the sum of his parts. First time filmmaker Ryan Coogler offers a quiet peek into a moment in the life of Oscar Grant during the 24 hours that precede his death. The moving script was written from first hand accounts and countless family interviews ultimately providing the audience a riveting look at this flawed, loving, angry young man who is trying to find his path in life.

This is simply one of the most painful movies I have watched. Knowing the outcome going in does not buffer that pain. On the contrary it heightens the inevitable outcome of this life being snuffed out at the precise moment you see its potential. Coogler doesn't seek to build Grant up as merely a victim of profiling nor does he sanctify him. Instead he directs us through an unvarnished look at a day in the life of a young black man. One who is a father, a son, an individual struggling with balancing bravado, ego and stereotypes that would all seek to define him.

To understand the sadness and outrage, viewers need to be able to glimpse through the prism of what that community of people sees. In Oscar Grant we get a young man struggling to pivot from the mistakes he made in his desperation to carve out a life not only for his daughter, but for himself. He wants to be better, he's just unsure of how. Over the course of the film we learn that Grant (marvelously played by Michael B. Jordan) loves his girlfriend, but has cheated on her, is trying to go straight after serving time in prison for dealing drugs, but was fired from his supermarket job for repeatedly showing up late. It is a typical two steps forward, one step back dance most people endure in their 20s. In Fruitvale Station we get a full idea of the man, not just the circumstances that placed him in an altercation that ended his life and the tragedy that he is never afforded the time or space to overcome those mistakes.

This movie does not work without the extraordinary performance of Michael B. Jordan as Oscar Grant. Jordan quietly (and often in tight frame) captures the nuance around how quickly emotions rise into physical response and are repressed as his temper cools. His scenes with Octavia Spencer, playing Grant's mother are truthful, the image of a tired woman who loves her son but is at the breaking point surrounding his choices. The interplay with his young daughter give important insight that Oscar wasn't the only victim that night. Through her we see how much Oscar Grant had to live for and the innocence he desperately tried to preserve in her. 

The re-enactment of the murder is excruciating to watch and it should be. However I appreciate Cooger's restraint in how he shot the series of scenes forcing us to see without graphically sensationalizing the moment. The closing moments of the film will leave you emotionally distraught and in my case haunted. It is a terrific piece of film making and needs to be seen.


As a conversation
I almost didn't see Fruitvale Station. I thought long and hard about subjecting myself to the raw emotions I knew it would invoke based solely on the story. Then I realized if we don't look in the mirror at the hard societal truths we can't make progress as a society. I don't get a pass on that mirror simply because I have a predisposition to be empathetic.

In response to the coincidence of the film opening in the wake of the George Zimmerman verdict, Ryan Coogler said of the public depiction for both Trayvon Martin and Oscar Grant "They're either a martyr and a saint, or everything they ever did was wrong. The truth is more complicated." In Fruitvale Station he succeeds at showing us that complexity.

If you want to have an honest conversation about race and bias turn off the likes of MSNBC, Fox and CNN along with their combined punditry and arm chair sociology. Instead go see Fruitvale Station with a group of colleagues or friends. Take a look at the honest portraits of the struggles, flawed decency and humanity of what young men of color actually look like. Then reconcile it with the images you see and hear through media everyday. If we don't filter what is fiction vs. what is real what dystopia will we be passing along for our children? Worse than that, we will continue to condemn an entire class of young people to a stereotype that leaves them not caught between a rock and a hard place, but in the cross-hairs of a gun and dead on the cement floor.