Entertainment
'Love is Blind' finally gets political. Is supporting Trump a relationship dealbreaker?
Over seven seasons, contestants on “Love Is Blind” have shared difficult, sometimes deal-breaking conversations about issues like race, religion, money, birth control and abortion.
But one subject has been largely absent from conversation in the “pods,” despite being virtually unavoidable in the real world: politics. We never saw any would-be couples asking each other explicitly how they voted. And even though “Love Is Blind” premiered in 2020, at the tail end of President Trump’s divisive term in office, his name was never uttered onscreen.
Then came Season 7, set in Washington, D.C.
The latest installment of the dating experiment, as the show markets itself, follows singles from the Capitol region and arrives in the final stretch of yet another contentious presidential race. It also happens to be the first season in which contestants discuss their personal political beliefs in partisan terms.
“OK, let’s start with this,” Monica Davis, a 36-year-old sales executive, asks Stephen, a 33-year-old electrician, during an early pod date. “Did you vote in the last presidential election? And the election before that?” Stephen Richardson explains that in 2016, he voted for Trump “because I didn’t like Hillary [Clinton].” But he came to “despise” the way Trump handled himself in office, and voted for now President Biden in 2020.
“I will happily admit that my first vote wasn’t the most educated vote,” he tells Monica, who (briefly) becomes his fiancée, until she catches him sending racy text messages to another woman.
It’s not the only mention the former president receives in the pods. Bohdan Olinares, 36, and Marissa George, 32, both military veterans, bond over their shared liberal views. Marissa confesses that she dated a Trump supporter for three years but found that “there’s just a difference in thinking about how our society works.”
”When it comes down to it, are you gonna vote for a guy who tried to overthrow the government?” Bohdan says. “I’m never gonna agree with that.”
“I’m not gonna vote for a rapist, right?” she replies.
Marissa ultimately gets engaged to Ramses Prashad, 34, who works at a justice nonprofit and may be the most performatively woke person who has ever appeared on the show. With hair that Marissa’s brother compared to that of ’80s R&B singer El DeBarge and a wardrobe of leather pants and Coogi sweaters, Ramses also is the first person on “Love Is Blind” to quote James Baldwin or use the phrase “hammer of American imperialism” between sips from a golden goblet. When Marissa tells him that the movie “Barbie” made her realize she couldn’t be with someone who supported the patriarchy, he scoffs, “It took ‘Barbie’ to make you realize that?” He also is openly disdainful of Marissa’s military service, and tells her he’d break up with her if she reenlisted. (Meanwhile, the only thing he should be judging Marissa for is her belief that Adam Sandler is funnier than Will Ferrell, but I digress.)
On one hand, this season’s political bent should not be surprising. Washington, D.C., is one of the most overwhelmingly Democratic places in the country: Biden won 93% of the vote there in 2020. The entire region is full of people who work in government, advocacy, lobbying and the military. And while there are no congressional staffers in the cast this season, there are numerous veterans and at least one “clean energy policy consultant,” Taylor Krause, who recently published a white paper about hydrogen.
Ramses Prashad and Marrisa George eventually get engaged.
(Netflix)
Yet previously, it often felt like the producers of “Love Is Blind” were going out of their way to elide overtly partisan conversations, or the discussions were so vague that they were almost incomprehensible. (In Season 1, Giannina Gibeli and Damian Powers got in what seemed to be an argument about Trump but no one knew for sure.) The singles in “Love Is Blind” seem to exist in a parallel universe, curiously devoid of the intense polarization that consumes the rest of the country and compels many Americans to size up their neighbors, prospective romantic partners, athletes and favorite pop stars based on how they vote.
There have been a few coded dog whistles (e.g., Season 6’s Sarah Ann Bick, who described herself as a “patriot,” meaning “Republican”). But for the most part, viewers have been left to draw conclusions about contestants’ political leanings based on circumstantial evidence such as their social media history or predilection for star-spangled clothing.
All of which makes Season 7, with its frank, uncomfortable discussions about the role of politics in people’s intimate lives, feel like a watershed moment for “Love Is Blind” as it finally bursts its escapist bubble. It also feels like an overdue acknowledgment of our hyperpartisan reality, particularly as we approach an election in which issues like abortion, IVF and childcare will be central to how people cast their vote, especially women, who have been most affected by the fall of Roe vs. Wade and bear the brunt of child rearing. Many pundits expect that this election will feature a bigger-than-ever gender gap between women, mobilized to support Vice President Kamala Harris because of her stance on abortion, and men, drawn to Trump’s blustering machismo.
But as we see with Ramses and Marissa, there is more to being compatible than mutual disdain for Trump or a shared support for liberal ideas. The couple’s initially blissful relationship begins to fray as they return to D.C. and realize their personal values don’t necessarily align, even if their politics kinda-sorta do.
The first signs of trouble appear when Ramses expresses reservations about Marissa’s military service — which he was aware of when they got engaged. “I don’t view politics and those types of things as something that exists in a vacuum,” he says. “These ideas, they affect real people.”
In other words, the personal is political. It’s true, especially when it comes to marriage and family, but for Ramses, it increasingly appears to be an empty, self-serving slogan. In last week’s batch of episodes, he and Marissa shared a tense and infuriating conversation about birth control. (The Infuriating Conversation About Family Planning has become something of a “Love Is Blind” trope.) She says she doesn’t want to go on the pill, but he balks at the idea of using a condom during sex “because it’s not enjoyable” even though he is also adamant about not starting a family for several years. (Here’s where I ask, not for the first time: Has anyone on this show heard of an IUD?) Ramses — or at least the edited version of him we see on the show — is a hypocrite, someone who boasts that he “doesn’t try to follow traditional expectations of what masculinity should look like” and yet gives his fiancée a hard time for making choices about her body that create minor inconveniences for him.
This week, we witness yet another painful fight: After Marissa apparently turns Ramses down for sex because she’s sick, exhausted and has a nasty case of PMS, he gives her a guilt trip over the lack of physical affection. He even implies he’s having second thoughts about getting married because of this single rejection. Usually bubbly and upbeat, Marissa is visibly deflated and worn down by her partner’s demands. She listens to his concerns, then counters that in the future, she may not want or be able to have sex for any number of reasons — like, for instance, if she just gave birth. “This is probably going to come up multiple times in our relationship. Is this going to be an issue for you?” she asks.
“That’s a fair question,” he replies.
It’s also one he isn’t ready to answer, because for all his liberal posturing, he still can’t quite accept his fiancée’s bodily autonomy. The “Love Is Blind” fandom has already started to turn on Ramses, slamming him as a toxic “gaslighter.” We still have a finale and a reunion to go, so Ramses has a chance to redeem himself — or at least provide some context for his cringe-inducing conversations with Marissa. But this season has already made it clear that while love may be blind, relationships are always political.
Movie Reviews
Movie Review: Here comes “THE BRIDE!”, audacious and wild – Rue Morgue

That’s both a promise and a challenge she delivers, since what follows may rub some viewers the wrong way. Yet Gyllenhaal’s full-throttle commitment to her vision is compelling in and of itself, and she has marshalled an absolutely smashing-looking and -sounding production. The story proper begins in 1936 Chicago, which, like everything and everyplace else in the movie, has been luminously shot by cinematographer Lawrence Sher and sumptuously conjured by production designer Karen Murphy. Her involvement is appropriate given that her previous credits include Bradley Cooper’s A STAR IS BORN and Baz Luhrmann’s ELVIS, since among other things, THE BRIDE! is a nostalgic musical. Its Frankenstein (Christian Bale), who has taken the name of his maker, is obsessed with big-screen tuners, and imagines himself in elaborate song-and-dance numbers. (Considering the reception to JOKER: FOLIE À DEUX, one must applaud the daring of Warner Bros. for greenlighting another expensive film in which a tormented protagonist has that kind of fantasy life.)
THE BRIDE! may be revisionist on many levels, but its characterization of its “monster” holds true to past screen incarnations from Karloff’s to Elordi’s: His scarred appearance masks a lonely soul who desires companionship. Frankenstein has arrived in Chicago to seek out Dr. Cornelia Euphronious (Annette Bening), correctly believing she has the scientific know-how to create an appropriate mate for him. Rather than piece one together, Dr. Euphronious resurrects the corpse of Ida (Jessie Buckley), whose consorting with underworld types led to her brutal death. Previously chafing against the man’s world she inhabited in life, she becomes even more defiant and unruly as a revenant, apparently possessed by the spirit of Shelley herself, declaiming in free-associative sentences and quoting rebellious literature.
Buckley, currently an Oscar favorite for her very different literary-inspired role in HAMNET, tears into the role of the Bride (who now goes by the name Penny) with invigorating abandon that bursts off the screen. Unsure of her identity yet overflowing with self-confident bravado, she’s the opposite of the sensitive “Frank,” but they’re united by the world that stands against them. That becomes literal when a violent incident sends them on the lam, road-tripping to New York City and beyond, on a trail inspired by the films of Ronnie Reed (Jake Gyllenhaal), Frank’s favorite song-and-dance-man star.
With THE BRIDE!, Gyllenhaal has made a film that’s at once her very own and a feverish homage to all sorts of cinema past and present. It’s a horror story, a lovers-on-the-run movie, a crime thriller, a musical and more, and historical fealty be damned if it makes for a good scene (as when Penny and Frank sneak into a 3D movie over a decade before such features became popular). In-references are everywhere: It might just be a coincidence that the couple’s travels take them past Fredonia, NY (cf. “Freedonia” in the Marx Brothers’ DUCK SOUP), but it’s certainly no accident that the former Ida is targeted by a crime boss named Lupino, referencing the actress and pioneering filmmaker whose works included noirs and women’s-issues stories. Penny’s exploits lead legions of admiring women to adopt her look and anarchic attitude, echoing the first JOKER (while a headline calls them “Twisted Sisters”), and the use of one Irving Berlin song in a Frankensteinian context immediately recalls a classic comedic take on the property.
Whether the audience should be put in mind of a spoof at a key point in a film with different goals is another matter. At times like these, Gyllenhaal’s pastiche ambitions overtake emotional investment in the story. As strong as the two lead performances are (Bale is quite moving, conveying a great deal of soul from behind his extensive prosthetics), it’s easier to feel for them in individual scenes than during the entire course of the just-over-two-hour running time. The diversions can be entertaining, to be sure, but they also result in an uncertainty of tone. The dissonance continues straight through to the end, where the filmmaker’s choice of closing-credits song once again suggests we’re not supposed to take all this too seriously.
There’s nonetheless much to admire and enjoy about THE BRIDE!, and this kind of risk-taking by a major studio is always to be encouraged (especially considering that we’ll see how long that lasts at Warner Bros. once Paramount takes it over). Beyond the terrific work by the aforementioned actors, there’s fine support from Peter Sarsgaard and Penelope Cruz as detectives on Penny and Frank’s heels, with Sandy Powell’s lavish costumes and Hildur Guðnadóttir’s rich, varied score vital to fashioning this fully imagined world. Kudos also to makeup and prosthetics designer Nadia Stacey and to Chris Gallaher and Scott Stoddard, who did those honors on Frank, for their visceral, evocative work. Uneven as it may be, THE BRIDE! is also as alive! as any film you’ll likely see this year.
Entertainment
These 3 Disney movie songs, animated with sign language, are headed to Disney+
New animated sequences of songs from “Encanto,” “Frozen 2” and “Moana 2” are headed to Disney+.
Disney Animation announced Wednesday that “Songs in Sign Language,” comprised of three musical numbers from recent Disney movies newly reimagined in American Sign Language, will debut April 27 in honor of National Deaf History Month.
Directed by veteran Disney animator Hyrum Osmond, “Songs in Sign Language” will feature fresh animation for “Encanto’s” chart-topper “We Don’t Talk About Bruno,” “Frozen 2’s” poignant ballad “The Next Right Thing” and “Moana 2’s” anthem “Beyond.” Produced by Heather Blodget and Christina Chen, the new versions of these songs were created in collaboration with L.A.-based theater company Deaf West Theatre.
“In the majority of cases, we created entirely new animation,” Osmond said in a press statement. “There were a lot of adjustments that we had to do within the animation to be true to the original intention.”
Deaf West Theatre artistic director DJ Kurs, sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West worked together to craft and choreograph the ASL version of the musical numbers for “Songs in Sign Language.” The creatives focused on being true to the concepts and emotion of the songs rather than direct translations of the lyrics.
Kurs said his team jumped at the chance to collaborate and integrate ASL into “the fabric of Disney storytelling.”
“Disney stories are the universal language of childhood,” Kurs said in a statement. “The chance to bring our language into that world was a historic opportunity to reach a global audience. Working on this project was very emotional. For so long, we have known and loved the artistic medium of Disney Animation. Here, the art form was adapting to us. I hope this unlocks possibilities in the minds and hearts of Deaf children, and that this all leads to more down the road.”
Osmond, who led a team of more than 20 animators on this project, said animation was the perfect medium to showcase sign language, which he described as “one of the most beautiful ways of communication on Earth.” The director, whose father is deaf, also saw this project as an opportunity to connect with the Deaf community.
“Growing up, I never learned sign language, and that barrier prevented me from really connecting with my dad,” Osmond said. “This reimagining of Disney Animation musical numbers helps bring down barriers and allows us to connect in a special way with our audiences in the Deaf community. I’m grateful that the Studio got behind making something so impactful.”
Movie Reviews
Maxime Giroux – ‘In Cold Light’ movie review
(Credits: Far Out / Elevation Pictures)
Maxime Giroux – ‘In Cold Light’
The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.
The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.
Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.
Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.
Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.
As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.
The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.
The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.
The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.
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