Category Archives: Hulu

You Can’t Kill The Meme

A documentary by Hayley Garrigus, You Can’t Kill The Meme explores the bizarre and controversial Pepe The Frog meme that became infamous during the 2016 election. Based loosely on the ancient Egyptian god Kek, the cartoon frog Pepe spread online, especially on 4Chan and many “alt-right” message boards.

If you search for Pepe The Frog, you’ll see that, somewhat absurdly for an innocuous-looking cartoon animal, it’s widely considered a “hate symbol.” With so much political controversy, mixed with mysticism and fairly obscure online subcultures, it’s hard to approach this topic with any kind of objectivity. Hayley Garrigus, however, manages to maintain a detached focus on the many unusual belief systems and eccentric characters she interviews. She herself stays in the background, barely appearing in front of the camera at all.

Garrigus isn’t so much concerned with Pepe The Frog itself, but the underlying ideas and movements that latched on or appropriated the symbol. She was inspired by the book Memetic Magic: Manipulation of the Root Social Matrix and the Fabric of Reality, by R. Kirk Packwood, a now out of print book. Packwood is interviewed and expresses an ambivalent attitude about the movement he unintentionally inspired.

Memes (including the word “meme”) Have a Life of Their Own

The terms meme magic and memetics go back to the original definition of meme rather than the more limited modern idea of memes as simply images shared on social media. Richard Dawkins coined the term as the cultural equivalent of a virus that spreads quickly through society. Of course, Dawkins is a rather dogmatic atheist and would most likely cringe at some of the ways the term has been used. But this is, somewhat ironically, the very way memes work: they evolve or mutate in unpredictable ways. Pepe The Frog is the perfect example.

If you want to follow the bizarre evolution of Pepe, you may be more interested in another doc called Feels Good Man, about Pepe’s actual creator, cartoonist Matt Furie who disowned his creation after it was appropriated by underground movements.

The ADL has labeled Pepe a hate symbol. Yet, the ADL website says, “In the fall of 2016, the ADL teamed with Pepe creator Matt Furie to form a #SavePepe campaign to reclaim the symbol from those who use it with hateful intentions.” So they are somewhat ambiguously calling it a hate symbol and trying to redeem it. The whole history of Pepe, including its creation and abandonment by Matt Furie, R. Kirk Packwood’s own distancing of his book on memetic magic all show how slippery memes can be and how they take on a life of their own.

Fortunately, Hayley Garrigus doesn’t get bogged down in the controversy of Pepe and the simplistic right vs. left conflict and gets into more esoteric territory. She interviews a self-described lightworker in Las Vegas named Carole Michaella as well as other eccentric magicians, including Billy Brujo, whose getup includes white face paint and a cross on his forehead. All of this seems practically designed to scare away “normies” to dismiss all this as woo-woo or the ravings of political extremists desperate for a way to feel empowered.

When memetic magicians (if that’s the correct term) claim they were responsible, not only for Trump winning the 2016 election but even for causing Hillary Clinton to collapse in the street, skepticism is understandable. However, Garrigus seems open to the ideas that are presented, however farfetched, or at least lets the characters express themselves without judgment (at least that she expresses). She seems more interested in the underlying possibilities of memes than in the particular idiosyncratic way certain characters have interpreted these memes. After all, versions of magic (or magick) have been around a lot longer than American politics.

I think some viewers and reviewers were frustrated by the film’s apparent lack of a clear message. If this topic was handled by, say, a network TV show such as 20/20, the focus might have been on exposing the characters as lunatics or dangerous extremists. On the other hand, I never had the sense that Garrigus blindly believes anything anyone says. Her detached style lets you judge for yourself and, if you’re so inclined, to do further research.

You Can’t Kill The Meme will probably be most appreciated by people who already have some knowledge of alternative belief systems, if not memetic magic itself. It at least helps to have an open mind. Our world is far richer and more complex than is portrayed by conventional institutions and this documentary sheds some light on one loosely defined subculture that is exploring certain aspects of human potential.

You Can’t Kill The Meme is not a movie for everyone, and it received more than its share of negative reviews. Most of these are from “normies,” people with either no background or interest in the occult and fringe movements who are often outright hostile to anything outside the mainstream. In this case, there’s additional pressure to distance oneself from a movement that’s been so closely associated with Trump and the “alt-right” (whatever that really means). However, Garrigus isn’t endorsing any political or cultural movements here but simply exploring a fascinating phenomenon. Memes are always with us and can have a profound, and often hidden, impact on society, whether we like them or not or whether we’re aware of them or not.

You Can’t Kill The Meme is currently streaming on Hulu.

Nightmare Alley on Hulu

Nightmare Alley (2021), directed by Guillermo del Toro, is a remake of a 1947 film based on a novel by William Lindsay Gresham. It’s a long (2.5 hours), an ambitious period piece that evokes the atmosphere of old noir style movies.

Nightmare Alley stars Bradley Cooper as Stanton Carlisle, a drifter running from a crime who starts working for a traveling carnival. Nightmare Alley is full of strong character actors, which is fitting for a movie that’s largely set in a traveling carnival. There’s the unsavory owner Clem (William Dafoe), a fortuneteller named Zeena (Toni Collette) and her brilliant but alcoholic husband Pete (David Strathairn), Bruno the strongman (Ron Perlman), and Molly (Rooney Mara), a girl who survives apparent electrocution night after night. The carnival also has a geek who eats live chickens, so the movie isn’t for the squeamish.

The early scenes of the carnival, which are left out of the 1947 film, simply serve as Stanton’s origin story. He takes up with Molly, convincing her that they are both capable of grander things, and they take their act to the big city (or Buffalo, anyway, which seems like a big city compared to the small towns Stanton and Molly are accustomed to). We next see them conning higher end marks in nightclubs.

Nightmare Alley is not only set in the 1930 and early 40s (the onset of America’s entry into World War 2 is a background story heard on news broadcasts) but the film’s style and sensibility recall movies of this era. Of course, as a remake, this isn’t really unexpected. However, del Toro could have chosen to reimagine Gresham’s tale through a more modern lens. Instead, he amplifies many old tropes, most notably the powerful figure of a beautiful but deadly femme fatale, perfectly cast with Cate Blanchett.

Nightmare Alley is an unapologetically old-fashioned film. The neat way the story cycles back on itself is reminiscent of not only movies from the black and white era but also shows like the original Twilight Zone, where characters get what’s coming to them. This, of course, can be traced back much further, such as to the Greek tragedies. However, sometime in the late 20th century, movies began to evolve (not necessarily implying improvement) in a more postmodern direction, and things didn’t have to make sense, destiny was uncertain, and you never know what might happen. Modern audiences may, therefore, find Nightmare Alley a bit hackneyed, which is fine as long as you understand that del Toro has not actually “post modernized” a tale from the old days of Hollywood, simply made it bigger, longer, and flashier.

A Glitch In The Matrix: Documentary streaming on Hulu

Are we living in a computer simulation? Are alternate realities bleeding into our own, causing multiple interpretations of the same events, also known as the Mandela Effect? How can we even know what is real? If these sorts of questions fascinate you, A Glitch In The Matrix, a documentary currently streaming on Hulu might be for you.

Directed by Rodney Ascher, who also directed Room 237, which explored strange symbols and synchronicities associated with The Shining. While the unifying topic of Room 237 keeps it relatively reigned in, A Glitch In The Matrix is an unfocused romp through various loosely related topics concerning science fiction, philosophy, and technology.

Philip K. Dick provides the closest thing to an anchor for the film. Specifically, we see portions of a lecture he gave in Paris in 1977, where he refers to reality glitches and basically describes the popular idea of the Mandela Effect without naming it (obviously, as Nelson Mandela, in any timeline, was still alive back then). Beyond anything else, the doc establishes Dick as one of the founding influencers on modern simulation theory as well as The Mandela Effect.

As the title suggests, The Matrix is also a major theme. The Matrix films actually introduced an ancient concept into popular consciousness —the notion that the world we perceive isn’t the real reality, but some type of projection. Of course, it’s only in the digital age that we came up with the idea of a computer simulation.

Some of the documentary’s more interesting speculations remind us that philosophers from Plato to Descartes have examined these themes. Plato’s Allegory of the Cave, in particular, is an obvious influence on the Matrix.

The 17th century philosopher Descartes, posed the idea of a demon who fools everyone into believing in a false reality. This connects to his famous adage, “I think, therefore I am.” While self-identity is fairly persuasive most of the time (I don’t think Descartes was familiar with psychedelics), it doesn’t necessarily prove that the world around us is real.

The film doesn’t mention Gnosticism, an early Christian heresy, which was strongly influenced by Plato and various schools of ancient mysticism. Gnostics believe the world we see was created by the Demiurge, a kind of false god (who may also be the God of the Old Testament) and usurper. The goal of gnosis or knowledge is to find our way back to the true creator.

Buddhism and other Eastern religions also helped to set the stage for simulation theory. Of particular relevance is the concept of Maya, which can be translated as illusion or deceit. If we don’t perceive reality as it is, it’s not so farfetched to believe we’re inside a simulation.

When not focusing on Philip K. Dick and ancient philosophy, A Glitch In The Matrix features a group of seemingly random interviewees. These are all guys dressed in bizarre sci-fi outfits. I’m not sure if these costumes are from cosplay events, comic books, or computer games, but the effect doesn’t exactly add to the film’s credibility. To me, it has the effect of pigeon-holing the topic into the realm of sheer geekiness. To be sure, these are geeky, intellectual topics, but they didn’t have to go overboard to drive home this point.

I’m not sure if the interviewees wanted to remain anonymous or if they just thought it was cool or entertaining to have these get-ups. They sounded intelligent enough, but didn’t seem to have any special credentials apart from having some interesting anecdotes regarding synchronicities. I found some of these stories a bit underwhelming, at least as far as providing any real insights into simulation theory. Arguably, they could have better spent the time by delving more deeply into the history and philosophy of these ideas.

Aside from Philip K. Dick and the costumed characters, the film quotes various other opinions on simulation theory, including Elon Musk to Neil deGrasse Tyson, who both believe it’s likely we are indeed in a simulation. A couple of the talking heads bring up the statistical probability of this being true. Personally, I don’t find statistics convincing with this type of metaphysical argument. It’s either true or it isn’t.

A Glitch In The Matrix also reveals the potential dark side to simulation theory. In the 19th century, Dostoyevsky explored the idea of nihilism in novels such as Crime and Punishment and The Brothers Karamazov. A famous line from the latter novel, spoken by the atheist Ivan, states, “If God does not exist, everything is permitted.” Of course, Dostoyevsky meant this in the worst possible way, meaning that people have no reason to follow any type of moral code. In the 21st century, simulation theory can be seen as posing a similar moral dilemma. A Glitch In The Matrix explores this in depth.

One character who gets lots of air time is Joshua Cooke, who came to be known as “The Matrix killer.” He also used The Matrix Defense in court, a variation on the insanity plea. We hear Cooke himself describing in detail how, after repeatedly watching the films (along with listening to various hardcore music soundtracks), he murdered his parents with a shotgun. This eerie and unnerving sequence reveals a dark side of simulation theory, the possibility that, if our lives aren’t even real, we don’t have to worry about the consequences of our actions.

On a similar note, they cover a case of someone who randomly decided to steal a plane because he’d done so in computer games. Before fatally crashing, he is heard over the airwaves saying that it’s just like a video game.

A Glitch In The Matrix is not the most coherent presentation of ideas such as the Simulation Hypothesis and the Mandela Effect. On the other hand, these topics are intrinsically confusing, paradoxical, and multidimensional, so a logical linear approach may not be ideal or even possible.

It’s not likely there will ever be a definitive study of this infinitely complex and unprovable theory (which is equally impossible to disprove). A Glitch In The Matrix, despite its unevenness and the distracting costumes, does contribute something of value to the discussion and certainly provokes further thought.

Nomadland: Film and Book

Nomadland, directed by Chloé Zhao and starring Frances Mcdormand, is a fictionalized rendering of a book by Jessica Bruder. The book is a nonfiction study of the emerging subculture of nomadic people who, mainly due to economic necessity, adopted the nomadic lifestyle of living in vans.

The movie focuses mainly on a woman named Fern (McDormand) who sets off in her van after her husband dies and the town in Nevada where they lived literally shuts down after losing a factory. The movie, while fictionalized, follows a documentary format. Indeed, it stars many actual nomads who are discussed in the book such as Bob Wells, who acts as a mentor for people new to the van lifestyle.

Since around the financial collapse of 2008, many people in late middle age and even older, became van-dwelling nomads. Some subsist on social security or savings but many work at a variety of temporary jobs all over the country. Amazon warehouses are a major employer of these folks, which is portrayed in the film and, much more comprehensively, in the book.

The movie was recently awarded a Golden Globes Award for Best Drama. While the acting (such as it is, as many characters are simply playing themselves) and cinematography are flawless. The lonely beauty of the American Southwest plays a major part in setting the mood. However, compared to the book, Nomadland tends to water down some important aspects of this lifestyle.

A Self-Reliant Loner

Frances McDormand expertly portrays low-key, earthy characters such as Fern. Her character here is still recovering from the heartbreak of losing her husband and home. The movie mainly depicts the challenges of life on the road and the creative ways nomads cope with everyday issues such as staying warm, going to the bathroom, and cooking.

The closest thing to a plot is that a fellow nomad is obviously interested in Fern and pursues her while she keeps him at a distance. There’s also a scene in which Fern visits her family and tensions from the past arise. These scenes all depict the conflict between the “normal” domestic way of life and the nomadic one. It suggests that living on the road for a long time makes one feel imprisoned by conventional life.

Led by Bob Wells, we see how the nomads form temporary yet close-knit communities. Many, like Fern, are fiercely independent loners who, nonetheless, take pleasure in one another’s company and who help each other out as much as possible.

Nomadland Downplays the Harsh Realities of Gig Work

In Jessica Bruder’s book, the modern nomadic lifestyle is explored as a kind of sociological study, with an emphasis on how economic hardship is forcing people to find new ways to survive. This is certainly obvious in the film as well. When Bob Wells makes his pitch to novice nomads, he preaches an ultra-individualistic philosophy of self-reliance and realizing that society isn’t going to take care of you.

The movie, though insightful about the motivations and personalities of its subjects, avoids looking too closely at what its subjects have to do to survive economically. This is most apparent when we see the nomads working in an Amazon warehouse. My first thought was, “Amazon actually let them film this?” The book, after all, pointed out how hard and exploitative these temporary gigs are, especially on older adults. Bruder describes, for example, how injuries on the floor are common.

In the film, however, we only see brief snippets of people working. And, significantly, the only words actually spoken about Amazon are positive, when Fern tells someone that the pay is good. The film, similarly shows a variety of mostly brief scenes of nomads working in different environments, such as a campground. In this manner, the film underplays one of the most significant facts about this lifestyle —it compels people to work very hard for relatively low wages and no benefits. In this manner, the living in van lifestyle of these contemporary nomads who rely on temp jobs can be seen as one branch of the emerging gig economy.

Vulture discusses this at length in an article, What Nomadland Gets Wrong About Gig Labor. Of course, it’s doubtful Amazon would have permitted filming in their facilities if it was portrayed in a less positive light. Or, perhaps, Zhao preferred not to focus on these issues, which would have made the film more political. As it is, the film is more about the expansive landscapes of the American West and the resourcefulness and community-mindedness of the nomads.

An Emerging Nation of Nomads?

Bruder’s book came out several years ago, and explains how many of the new breed of nomads were victims of the 2008 economic crisis. Today, many of the conditions of that decade have only worsened, made even more severe by businesses closed and jobs lost due to COVID. Even before the pandemic, issues such as homelessness and economic inequality have been steadily worsening. Thus, it’s likely that the lifestyle depicted in Nomadland will become more and more common.

Nomadland is currently streaming on Hulu. I recommend it, but you should definitely read the book to get a fuller picture.

My review of Nomadland on Goodreads

I also did a short podcast on Nomadland (the book).

Lodge 49: Understated Alchemy

Listen to my Lodge 49 Review podcast.

In a world where most TV shows (as well as movies) are cliche-ridden and predictable, Lodge 49 offers something truly original.

Lodge 49 refers to a Masonic-type organization with a fledgling headquarters in Long Beach, CA. While, on the surface, the lodge has the stodgy atmosphere of an Elk’s Club, with mostly older members who spend hours at the lodge’s bar and play lots of golf, there’s a mysterious background involving shadowy occult forces that a few members dabble in.

The story begins as Sean “Dud” Dudley (Wyatt Russell), a likable 30ish slacker, who’s unemployed and near-homeless, wanders into the lodge and discovers a sense of purpose as he meets the various eccentric members, starting with Ernie (Brent Jennings), a long-time member in his 50s who’s a bit disillusioned with the lodge and his life in general.

In at least one review, Dud has been compared to The Dude in The Big Lebowski (even his nickname is similar). This is fair but Lodge 49 is not even remotely derivative of that film or anything else. It has some elements in common with a range of shows that explore occult or supernatural themes. Unlike these mostly fast-paced and action-packed shows, however, Lodge 49 is understated to a fault. Don’t expect explosions, special effects, swords and sorcery, or people transforming into werewolves. There’s definitely magic afoot, but it remains in the background and doesn’t really start to assert itself until Season 2.

Much of the mystery is suggested in the theme music and the mystical artwork scattered on the lodge’s walls. Students of such lore will recognize tarot cards and various occult symbolism. The lodge’s resident mystic is Blaise (David Pasquesi) who’s even a healer/herbalist in his day job. However, his fascination with old alchemical texts and potions is tolerated rather than embraced by fellow members.

A great deal of the story focuses on Dud’s twin sister Liz (Sonya Cassidy), who has nothing to do with the lodge (at least until well into Season 2). She’s a misfit like her brother, but a very different type. While Dud can’t hold onto a job, she works diligently as a waitress at a Hooter’s-like bar called Shamrocks and tirelessly aims to pay off their deceased father’s debt.

There are numerous backstories involving Liz, including flashbacks involving their dad, and the careers and relationships of the other characters. In fact, part of Lodge 49’s charm is its slow pace and willingness to spend time with each character. A show like this could easily have been populated with a bunch of lovable but ultimately stock and sitcommish characters. Yet every member of the cast is fleshed out to reveal his or her foibles, dreams, and heartbreaks.

When you deal with a topic such as alchemy, there’s also the temptation to turn it into a supernatural/sci-fi genre piece (or, perhaps, a by-the-numbers paranormal mystery along the lines of The DaVinci Code and its many imitators). There’s nothing wrong with that approach but there are enough shows like that already. Lodge 49 charts its own course, finding an odd but captivating balance between drama, comedy, mystery, and just enough magic and mystery to keep us wondering. Even the characters go back and forth between belief and skepticism as during a series of episodes involving some alleged mysterious scrolls that reveal hidden secrets.

Whereas most shows dealing with paranormal elements get completely immersed in heroic quests and battles between good and evil, with Lodge 49, we never forget that we’re watching real people who are struggling with bills, difficult relationships, and everyday angst. Sometimes the pace is a bit slow but overall this adds to the authenticity and gives the more fantastical elements more credibility.

I won’t try to recount any more plot points as they are very complicated and almost secondary to the characters, setting and atmosphere. It’s the kind of show that’s clearly not for everyone. I’d suggest that if the first episode doesn’t pull you in, you probably won’t like it any better further in. While things speed up a bit in Season 2, it’s a very meandering and non-linear journey. At the same time, Lodge 49 doesn’t go to an extreme in the absurdist/existentialist/mumblecore directon (which has its own charms, to be fair). The characters are quirky but they do evolve and there is some forward movement, albeit in an unpredictable and circuitous manner.

The program, which first aired on AMC and is now available on Hulu, has run for 2 seasons with Season 3 apparently up in the air. It was canceled but there are rumors that another season is possible, which I hope happens. TV history, alas, suggests otherwise as the most innovative programs seldom survive more than a season or two (with exceptions, to be sure).

In summary, if you’re drawn to anything offbeat, give it a try!

For some insights into the motivations behind Lodge 49, here’s an interview with Jim Gavin, the creator.

the art of self-defense on hulu

Fans of martial arts dramas will probably want to catch The Art of Self-Defense, now showing on Hulu. This quirky indie film stars Jessie Eisenberg as Casey, a meek accountant who learns Karate after getting mugged.

Jesse Eisenberg has one of the most varied resumes in Hollywood. He alternately stars in mainstream films such as The Social Network, high-profile indie films such as The Squid and the Whale and seriously offbeat indie efforts such as Free Samples and, more recently, The Art of Self-Defense.

The rather generically-named The Art of Self-Defense, written and directed by Riley Stearns, is sort of like a twisted version of The Karate Kid, with perhaps some Fight Club thrown in. It’s a bizarre and uneven mix of comedy, violence, and just plain darkness.

The premise of a wimpy protagonist learning martial arts is hardly new. Casey (Eisenberg) is, of course, not a kid or teen but a guy in his mid-thirties who, nonetheless, finds himself bullied wherever he goes. This culminates in a vicious assault that winds him in the hospital. After shopping for a gun, Casey wanders into a local dojo and is drawn into the warped world of Sensei (Alessandro Nivola), an intense instructor who makes The Karate Kid’s Sensei Kreese (who’s still menacing Daniel LaRusso and California’s dojos in the recent YouTube series Cobra Kai, btw) seem like a pacifist by comparison.

I won’t recount the entire plot of The Art of Self-Defense as this would inevitably contain spoilers. Suffice it to say that Casey undergoes a transformation from a meek and frightened victim to a belligerent (and rather unhinged) tough guy who takes no $hit. Sensei (who only has that title, no name) is a strange character who mixes typical martial arts traditionalism with large doses of sadism, misogyny, and, eventually, outright insanity.

There’s no real message to The Art of Self-Defense and it’s a hard film to categorize. To me, it has a pessimistic and nihilistic soul. It could be called a satire of martial arts except that few martial artists embody quite the oddball mixture of traits practiced by Sensei. One of the sub-themes involves sexism as the dojo’s female instructor Anna (Imogen Poots) is treated unfairly and never promoted to black belt. This theme, however, doesn’t quite mesh with the obvious fact that Sensei and his entire dojo are basically nuts. In effect, Anna is being discriminated against by a death cult. Why doesn’t she just quit and find a more normal place to train?

The Art of Self-Defense is an interesting, mostly engaging but ultimately unsatisfying dark comedy/drama that plays with several serious issues without offering much depth or consistency on any of them. It’s about vengeance, the violence underlying modern society, the nature of martial arts and male-dominated clubs in general, and the dangers of blindly following authority. By the end, many things have changed but no one has necessarily learned anything.

The Amazing Johnathan Documentary

John Edward Szeles, better known as The Amazing Johnathan, is a high-profile renegade magician who’s appeared in numerous venues as well as in movies and various celebrity shows. In 2014, Johnathan was diagnosed with a heart condition called cardiomyopathy and given a year to live. Several years later, however, he was still around. Director Ben Berman decided that an infamous magician on borrowed time would be a good subject for a documentary.

Of course, The Amazing Johnathan Documentary turns out to be a lot less straightforward than the above introduction suggests. It seems that it’s not enough to make an ordinary documentary these days. It helps if there’s an air of mystery and a heavy dose of “meta,” where the documentarian and his work is at least as important as the alleged subject. Exit Through the Gift Shop comes to mind, and The Amazing Johnathan Documentary, while not quite as fascinating as that one, has some similarities.

There are a few twists in the doc that it’s probably better not to reveal. One, however, must be mentioned. As the filming got underway, several other documentary makers began to surface. One, allegedly, was the production company behind hits such as Man on a Wire. Then another, and yet another, documentary maker appeared, turning Berman’s own doc into a kind of hall of mirrors.

At this point, Berman, as well as the viewers have no idea what’s really going on. Is Johnathan playing him (and us) or is he himself being used by multiple filmmakers cashing in on his impending death. Speaking of which, is he even sick at all?

One backstory is that Szeles is a heavy drug user, which possibly explains his heart condition. In fact, if he really uses meth every day, it truly is a miracle that he’s still alive. At one point, Berman offers to take meth with Szeles as an act of “Gonzo journalism.” He goes as far as to consult with a lawyer on the possible legal ramifications. This episode is an example of how the doc drags in spots. In 2019, it isn’t really shocking or necessary for authenticity to watch people take drugs. Yet this is treated as a major ethical and aesthetic issue.

There are other places where the action slows or feels repetitive. While it’s interesting to contemplate who’s telling the truth and what’s really going on, most doc viewers have already seen this kind of thing before. Just as Berman doesn’t know how far he can trust Szeles, so the viewer is in the same position in regards to him. Do we even know, for example, that there really are multiple documentary makers? The main focus is on the notorious second group. Berman doesn’t let us see or hear anything they do, either for his own purposes or because they don’t want to be filmed.

There’s one scene, in a Vancouver theater, where the second doc is allegedly playing, but we don’t get to see any of it, only a sparse crowd that includes an actor Berman pays to crash and ask a question. If we want to get in the spirit of suspicion and paranoia, there’s little evidence that this doc actually exists. Of course, I haven’t taken the trouble to research it and perhaps others have verified it. The point is that the whole film puts one in this state of mind where everything can be doubted.

Whatever other docs may or may not have been made, The Amazing Johnathan Documentary has obviously broken through. It was showcased at Sundance, has been shown in art theaters and is now on Hulu. I’d recommend this film to anyone who’s fascinated in The Amazing Johnathan and/or who can’t get enough of murky doc/mocs where it’s never quite clear what is and isn’t real. It’s not my favorite example of this genre but it did hold my interest.

Wet Behind the Ears

Wet Behind the Ears (2013)
Director: Sloan Copeland

Wet Behind the Ears is a film I found on Hulu without having any prior knowledge of it. I always watch unknown indie movies with fairly low expectations (the same for most Hollywood movies, truth be told). This one, however, was a welcome surprise. It wasn’t only good for a low budget indie film, it contains some of the best acting and writing that I’ve seen in a while.

The movie starts off in fairly familiar territory, with recent college graduate Samantha (Margaret Keane Williams, who also co-wrote the script along with director Copeland) having trouble finding a job. After being turned down rather condescendingly by a friend of her father’s for a job in the advertising industry, she ends up working behind the counter in an ice cream shop and moving back in with her parents.

We follow Samantha’s low key but funny adventures as she searches for a better job. She runs into an old friend from college and he tells her about a promising job lead. Instead, she is lured into a meeting with a network marketing rep. Anyone who has any familiarity with this type of business will find this scene hilarious, as the man recites his pitch about getting rich via an endlessly expanding pyramid of distributors.

Samantha’s friend Vicky (Jessica Piervicenti) also plays a key role. The two friends were going to be roommates until Samantha’s lack of employment made this arrangement impossible. Vicky is then forced to find a new roommate. After turning down a couple of obviously (and hilariously) unsuitable prospects, she ends up sharing the apartment with an apparent nymphomaniac who brings over a new man every night and keeps Vicky awake.

A typical Hollywood rom-com might have put in a montage scene of awful roommates, but Wet Behind the Ears handles this in a much funnier way without using the montage cliche. Furthermore, the wacky roommates and would-be roommates are weird yet believable. One of the interviewees snobbishly critiques Vicky’s taste in art and demands a reduction in rent.

Samantha, desperate to escape her day job (where she is even harassed by a gang of obnoxious kids she went to high school with), she is tempted when her friend Dean (Doug Roland) tells her about his lucrative video piracy business. She lures Vicky into helping with a scheme that could net all three of them with a nice chunk of cash.

The genius of Wet Behind the Ears isn’t in the plot, but in the humor of the scenes, witty dialogue and nuances of the characters. The movie manages to perfectly capture a variety of very funny and well conceived character types. Arrogant New York City (the film takes place in Manhattan and Long Island) hipsters, such as Vicky’s boss are mercilessly skewed here.

I hope this film, which apparently enjoyed some success at film festivals, attracts a wider audience. It’s so much wittier than the average Hollywood film dealing with similar subjects.
Hulu, unfortunately, tends to bury little known films amidst hundreds of mediocre titles (including Lifetime and other basic cable offerings). Unless you go out of your way to unearth obscure indie films (as I do), you are likely to miss them. I’ve found a few gems this way, with Wet Behind the Ears being one of the best of them.

The film does have a Facebook page, where you can find out the latest news about it.