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'The White Lotus' Season 3, Episode 7 recap: Rick has his showdown

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'The White Lotus' Season 3, Episode 7 recap: Rick has his showdown

“The White Lotus,” Mike White’s black comedy anthology series, is back on HBO for a third season. Times staffers love an escape, but since we can’t take a trip to Thailand to stay at a luxury resort, the next best thing is to immerse ourselves in the new season. Follow along with us for each episode as we discuss theories, observations and our favorite moments leading up to the finale. (Read our recaps: Episode 1, Episode 2, Episode 3, Episode 4, Episode 5, and Episode 6.)

The knockout blows and roundhouse kicks of Muay Thai fighting hit “The White Lotus” this week — with flashes of a fight spliced throughout the episode — but the more intense combat was happening outside of the ring for our gaggle of rattled characters.

The episode picks up with Rick (Walton Goggins) and Frank’s (Sam Rockwell) arrival at the Bangkok home Sritala (Lek Patravadi) shares with her husband Jim (Scott Glenn) — Rick’s target in the plan to avenge his father’s death. And it’s as hilariously unplanned as you’d expect from two dudes who can make a catch-up session between friends feel like a fever dream. Wearing a baseball cap with the Lowe’s logo, Steven (Frank’s alias as the fictional director in this Hollywood movie scheme) is totally winging this meeting. What has he directed? Uh … “What haven’t I directed? Mostly action films. ‘The Enforcer.’ ‘The Executor.’ ‘The Notary’ — that was a trilogy.” What’s the role in this so-called movie that he wants Sritala to portray? “She is a former prostitute, now a madam, and she owns a popular bordello.” Wait, isn’t the role supposed to be based on her? And has he seen any of her past work? Name ‘em!

It’s no wonder Frank quickly ditches the herbal tea and requests whiskey for the improv work he has to do. But was giving up his sobriety worth it? Then, when Chelsea’s 50-year-old child Rick does get Jim alone, he doesn’t make use of the gun he swore he wouldn’t bring. But closure can take many forms. An affected Rick carries out his revenge by simply knocking back a seated Jim to the floor. With that out of the way, Rick and Frank, who is ditching his performative Buddhist mindset for the evening, party. Chelsea’s calls, meanwhile, go unanswered.

Back in the hills of Thailand, Greg/Gary’s (Jon Gries) bash is unfolding. With some encouragement from her curious son, Belinda (Natasha Rothwell) makes the most insane decision ever and willingly places herself inside the home of the man she believes may be responsible for Tanya McQuoid’s death. Greg/Gary asks to speak to her in private, where he insists he isn’t involved in Tanya’s death. Really! To prove how much of a non-murderer he is, he offers Belinda $100,000 — because Tanya would have wanted that — to help fulfill her dream of opening a spa and in exchange, she’d honor “his peace.” Belinda tells him she’ll think about it. (To quote the great Oda Mae Brown: “You in danger, girl.”)

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Belinda (Natasha Rothwell) gets an offer from Greg/Gary for $100,000 to honor “his peace.”

(Fabio Lovino / HBO)

Other party-goers were experiencing their own internal conflicts. Saxon (Patrick Schwarzenegger), flying solo while his siblings are spending the night at the Buddhist center, is there with his parents. After receiving a reality check from Chelsea (Aimee Lou Wood) about his future as a loser back home, Saxon pulls his dad aside to figure out why he’s been acting strange. Saxon asks whether things are OK at work, emphasizing that he has nothing else going for him because he doesn’t have any interests or hobbies — sorry you had to hear it from us, blender — a medicated Tim, knowing his wife would rather be dead than poor, says everything is fine. Meanwhile, Victoria (Parker Posey) tries to rescue a woman dating an LBH (loser back home) at the party, inviting her to North Carolina.

Things aren’t any more relaxing at the resort — no matter how much Fabian’s vocal cords worked to soothe guests. Our favorite trio couldn’t smile through another dinner, and a passive-aggressive showdown, reminiscent of the recent season finale of “The Real Housewives of Salt Lake City,” begins. The conversation is particularly tense between Jaclyn (Michelle Monaghan) and Laurie (Carrie Coon). Laurie storms off, determined to go to the Muay Thai fight Valentin invited them to. While there, she cozies up to one of Valentin’s friends and goes home with him, only to be propositioned for $10,000 post-coitus — to pay off the debts of his sick mom, you see.

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At the same fight, Gaitok (Tayme Thapthimthong) — finally on his date with Mook (Lalisa Manobal), who expresses her disappointment at his indifference to ambition and power over dinner — has a light-bulb moment when he spots Valentin and his friends. He recognizes their features and tattoos as those of the masked men who raided the resort. Is this his shot to muster some courage and impress Mook?

Now it’s time for Greg Braxton, Mary McNamara and Yvonne Villarreal, platinum-status members of “The White Lotus” frequent guest program, to break it all down.

A man in a dark shirt seated at a table with takeout cups near him as he chats with a woman, seen from the back.

Gaitok (Tayme Thapthimthong) finally goes on a date with Mook.

(Fabio Lovino / HBO)

Who do we think is the corpse this week? Will Tim’s realization that the gun is missing be more foreboding than Gaitok possibly leveling up as a security guard?

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McNamara: The corpse is me because I am done trying to pretend that it makes any sense at all that the Ratliffs are all still without their cellphones. I mean Chelsea is on her phone constantly so it’s clearly not a resort rule and there is NO WAY that Tim and Saxon, who clearly knows something is up at work, would not have retrieved theirs. But I am now very worried that the corpse is Rick because there is no way Jim is going to take being shoved over lying down. I mean, did you see all those bodyguards? Still, I‘m sticking with Gaitok, particularly after his recognition of the wily Russians as the robbers and Mook’s goading him toward violence. (Red flag, Gaitok. Big red flag.)

Braxton: I’ve been kind of non-committal for a while on the corpse question, but I will throw out a few theories. I think it’s a pretty safe bet that Jim is going to return with Sritala to the White Lotus and track down Rick. He is not the type to take his wife being humiliated and deceived lying down, pardon the pun. When you pull a gun on a guy like him, you better freaking use it, or there will be payback. Also you don’t hire Scott Glenn for one episode. Although he will want to kill Rick, he also might kill Chelsea, bringing to fruition her “bad things come in threes” prophecy.

Villarreal: This week’s episode also has me thinking Gaitok is surely the corpse. His desire to impress Mook is going to have a tragic outcome — or as our Greg loves to say, “it will all end in tears.” But how? I’m not sure. I know there are a lot of questionable characters this season, but there’s something about Fabian I just can’t shake. And it’s not just that he’s a terrible hotel manager or that I’d rather hear the sounds of Saxon’s blender than be serenaded by him. The man seems destined to do something shady or stupid or both.

Let’s talk about the Rick and Frank show. What did you think about their meeting at the Hollingers’ home and what followed afterward?

McNamara: Again, Rockwell steals the show (I am dying for a cinematic trilogy of “The Enforcer,” “The Executioner” and “The Notary.”) Again, I am struck by the lack of believability — I get that Sritala is supposed to be starstruck by Power of Hollywood etc., but when it becomes clear that Frank didn’t even bother to do a quick Google, her lack of suspicion is very much at odds with all those bodyguards. As is Rick and Frank’s lack of concern after they left — I mean, isn’t Rick a little worried that he has to go back to Sritala’s hotel? Maybe she shoots him. I’m also very sad that Frank lost his sobriety.

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Braxton: So Rick has been obsessed with getting his revenge on the man who murdered his father. It’s the defining core of his grief and pain. The big moment is finally here, but instead of being prepared with a solid plan, he wings it, not even taking time to give Frank some advice or background on Sritala so he can play his filmmaker ruse convincingly. What did they talk about on the boat over? It makes no sense. Sritala and her husband seem smart enough to spot an impostor, but they do nothing. And what was the trigger behind Frank tossing aside his sobriety and Buddhist devotion so fast and diving back into depravity? I call it another case of Emmy bait.

Villarreal: First of all, the Lowe’s baseball cap that adorned Frank’s head had my full attention — that small detail left me wanting an entire backstory on how it came into his possession. But on to important matters: The lack of planning to carry out Rick’s grand plan was so hilariously perfect to me. I don’t know why I expected these dudes to deliver anything less than a terribly executed plan — Rick’s meeting with Sritala to set the home visit in the first place proved he was terrible at lying. Maybe his catch-up session with Frank left him too dazed to remember the need for a very basic Plan 101 conversation? Frank at least tried his best to improvise, but to see his sobriety quickly dissipate at the stress of it all was indeed bittersweet. Their ensuing escapade will surely reach doom levels. Am I as delusional as Chelsea to believe Rick will come to his senses before he gets in too deep?

A man in a blue shirt and khakis sits across a woman seated on a couch with her phone.

Saxon (Patrick Schwarzenegger) has a heart to heart with Chelsea (Aimee Lou Wood). Could he be her next sad-boy soulmate?

(Fabio Lovino / HBO)

Chelsea made another sweet (or sad?) declaration of her love for Rick. But will he be her doom? Also, she and Saxon share some interesting moments in this episode. What’s going on there?

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McNamara: Chelsea clearly likes her men damaged and brooding and Rick has become, quite frankly, a bore. So if tragedy strikes the Ratliff family, Saxon could become her next sad-boy soulmate. Or Tim, for that matter.

Braxton: Chelsea + Saxon = yawn. Chelsea’s constant whining and pining for Rick was getting old a few episodes ago. Now it just seems pathetic and doomed. She needs therapy.

Villarreal: I dunno. The parallels between Rick and Chelsea‘s reactions in last week’s episode — Rick in hearing Frank’s monologue; Chelsea in processing Saxon’s lack of memory over the activities he engaged in with his brother — has me believing they are soulmates. I know her declaration about wanting to heal Rick and her being the hope to his pain is the sort of thing that would cause a friend to tell her to run for the hills, but I hope they make it out alive and live happily ever after. And I hope Saxon reads the books and finds his soul.

Chloe’s wild story about Greg/Gary’s weird fetish — what is Mike White trying to say about sex with all these moments?

McNamara: Well, I didn’t believe Chloe’s story for one minute. I have no idea if or why Greg/Gary wanted them to have sex, but all of Saxon’s jaded alpha-maleness certainly fell away in this episode. Still, with the exception of Belinda (and by extension, her son), I don’t have much of an emotional connection with any of this season’s characters, so I have no idea what White is trying to say about anything. I am, however, very curious to see how he’s going to pull any of these threads together in the finale.

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Braxton: The way she told the fetish story was so creepy. And Chelsea seemed to be approving of it. Once again, I feel there’s a lot of effort to be provocative this season without any real texture or meaning. I hope there’s something by the finale that will make it all make sense. But I’m losing hope.

Villarreal: The storytelling from some of these characters has me flashing back to “Are you Afraid of the Dark?” I love how Chelsea took it all in like it was a moderate level of crazy but not completely bonkers. I feel like Chloe is trying to set up a scenario that would set Greg/Gary off, but I don’t know why.

Three women in dresses seated at a round dinner table.

Jaclyn (Michelle Monaghan), left, Kate (Leslie Bibb) and Laurie (Carrie Coon) have a nice, uncomfortable dinner.

(Fabio Lovino / HBO)

The volcano of tension between the three frenemies finally erupted. But will it actually end their friendship?

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McNamara: Well, I’m quite worried about Laurie at the moment — I’m not trusting that cab she jumped into. And should she survive the journey, I am wondering if Jaclyn will just stick her with the White Lotus bill.

Braxton: It’s really hard to root for a kumbaya moment with these three. And none of them seem to be having a good time.

Villarreal: If ever there was a moment to call a truce among friends, it’s to share the WTF moment of a guy asking for $10,000 after sex — and suggesting she can PayPal or Zelle it for ease, no less! If they all make it out of this trip alive, I don’t think this unpleasant excursion will end anything. It’ll just be another blip they’ll gloss over when recounting their stay and continue on like passive-aggressive besties until the next one. I, however, would like to know what happened with Dave!

And what did you think of Aleksei’s request for $10,000?

McNamara: I need to know if he asked Jaclyn for same and if she gave it to him.

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Villarreal: Yes, I also wondered if this is a scheme with this guy group! How long before Tim considers this approach to rebuilding his fortune?

What did you think of the exchange between Greg/Gary and Belinda? Should she take the deal?

McNamara: Please call the police, Belinda. Like, now.

Braxton: First of all, Belinda should have played it much smarter: “First of all, make it $300,000, throw in that yacht and have your lawyer call my lawyer so we can get all this on paper. And if anything ever happens to me, my son will send all the dirt on you to the New York Times.” Not sure why she’s so concerned about what happened to Tanya, who was a neurotic mess, heartlessly crushing her dreams of owning a business.

Villarreal: I thought it was insane he was only offering her $100,000 in the year 2025. Like, hello? Maybe he went to the same University of Grand Planning that Rick attended. I did enjoy the way Natasha played that scene, clutching the purse and processing with eye blinks as he spoke. Belinda should definitely not take the deal — unless some more zeros are added to it. But, Greg B., if Belinda did accept Greg/Gary’s bid for her silence, and uses that money to open her spa, in a dark way, Tanya did help finance her dreams.

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Lochy tells Piper he wants to join her in moving to Thailand — surprised? And, more importantly, what’s your take on Piper’s reaction to his decision?

McNamara: Piper wants to get away from her family and for Buddhism to be her thing. That was the most believable thing in the whole episode.

Braxton: Piper loves her brother, but she wants a break from her whole family. That is more important than the Buddhism thing.

Villarreal: This whole family needs distance from each other. I do find it a little weird how quickly Piper was set off by his proposal, considering how much she welcomes his company anytime else.

Who gets your Best Facial Expression award this week?

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McNamara: Victoria, when the young woman protests that she actually loves her LBH husband. That incredulous double flinch/blink. Priceless.

Braxton: Gaitok’s “eureka” moment when he recognizes the thugs.

Villarreal: To avoid repeats, I’ll go with Frank’s reaction to watching a young Sritala perform. When he sincerely offers his thoughts on it — “I mean, it’s like MC Hammer, Peter Pan. It’s got a little Pippin.” — is pretty great, but it’s the way he tilts his head back with his sigh of “ahhh” as she says, “It’s the folk music and the rap music,” that’s gold.

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Movie Reviews

Maxime Giroux – ‘In Cold Light’ movie review

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Maxime Giroux – ‘In Cold Light’ movie review

Maxime Giroux – ‘In Cold Light’

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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. 

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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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Meet the Mexican American talent behind ‘KPop Demon Hunters’

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Meet the Mexican American talent behind ‘KPop Demon Hunters’

The House of Pies, a Los Feliz institution, is bustling on a chilly January morning.

It wouldn’t be shocking if some of the patrons here for breakfast were casually chit-chatting about the cultural behemoth that “KPop Demon Hunters” has become. After all, the 2025 animated saga about three music stars fighting otherworldly foes is now the most-watched movie ever on Netflix; “Golden,” its showstopping track, has since become the first Korean pop song to ever win a Grammy.

But for Danya Jimenez, 29, who sits across from me sipping coffee, the reception to the movie she began writing on back in 2020 isn’t entirely surprising, but certainly delayed.

“When we first started working on it, I was like, ‘People are going to be obsessed with this. It’s going to be the best thing ever,’” she recalls. But as several years passed, and she and her writing partner and best friend Hannah McMechan, 30, moved on to other projects. They weren’t sure if “KPop” would ever see the light of day. Production for animation takes time.

It wasn’t until she learned that her Mexican parents were organically aware of the movie that Jimenez considered it could actually live up to the potential she initially had hoped for.

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“Without me saying anything, my parents were like, ‘People are talking about this’ — like my dad’s co-workers or my aunt’s friends — that’s when I started to realize, ‘This might be something big,’” she says.

“But never in my life did I think it would be at this scale.”

“KPop Demon Hunters” is now nominated for two Academy Awards: animated feature and original song. And that’s on top of how ubiquitous the characters — Rumi, Mira and Zoey — already are.

“Everyone sends me photos of knockoff ‘KPop Demon Hunters’ dolls from across the border,” Jimenez says laughing. “My friend got me a shirt from Mexicali with the three girls, but they do not look anything like themselves. She even got my name on it, which was awesome.”

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After graduating from Loyola Marymount University in 2018, Jimenez and McMechan quickly found their footing in the industry, as well as representation. But it was their still unproduced screenplay, “Luna Likes,” about a Mexican American teenage girl obsessed with the late chef and author Anthony Bourdain, that tangentially put them on the “KPop” path.

“Luna Likes” earned the pair a spot at the prestigious Sundance Screenwriters Lab, where Nicole Perlman, who co-wrote “Guardians of the Galaxy,” served as one of their advisors. Perlman, credited as a production consultant on “KPop,” thought they would be a good fit.

Jimenez didn’t see the connection between her R-rated comedy about a moody Mexican American teen and a PG animated feature set in the world of K-pop music, but the duo still pitched. Their idea more closely resembled an indie dramedy than an epic action flick.

“If [our version of ‘KPop’] were live-action, it would’ve been a million-dollar budget. It was the smallest movie ever. Our big finale was a pool party,” Jimenez says. “We had all of the girls and the boys with instruments, which obviously is not a thing in K-pop, and everyone was making out.”

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Even though their original pitch wouldn’t work for the film, Maggie Kang, the co-director and also a co-writer, believed their voices as two young women who were best friends, roommates and creative collaborators could help the movie’s heroines feel more authentic.

“Maggie had already interviewed all of the more established writers, especially older men,” Jimenez says. “She knows the culture. She knew K-pop, she’s an animator. She just needed the girls’ voices to come through, so I think that’s why we got hired.”

Kang confirms this via email: “It’s always great to collaborate with writers who are the actual age of your characters! Hannah and Danya were exactly that,” she says. “They were very helpful in bringing a fresh, young voice to HUNTR/X.”

Neither Jimenez nor McMechan were K-pop fans at the time. As part of their research, they both started watching K-pop videos, but it was McMechan who got “sucked into the K-hole” first. Still, it didn’t take long until the video for BTS’ “Life Goes On” entranced Jimenez.

“K-pop is a river that you fall into, and it just takes you,” Jimenez says. BTS and Got7 are her favorite groups. For McMechan, the ensemble that captivates her most is Stray Kids.

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In writing the trio of demon hunters, the co-writers modeled them after themselves. The characters’ propensity for ugly faces, silliness and a bit of grossness too, stems from the portrayals of girlhood and young womanhood that appeal to them. Jimenez, who says she was an angsty teen, most closely identifies with the rebellious Mira.

“I have a monotone vibe,” says Jimenez. “People always think that I’m a bitch just because I have a resting bitch face,” she says. “But as you can see in the movie, Mira cares so much about having everyone be really close. I feel like that’s how I’m with all my friends.”

Characters with strong personalities that are not simplistically likable feel the truest to Jimenez. In “Luna Likes,” the prickly protagonist is directly inspired by her experiences growing up, as well as the bond she shared with her dad over Bourdain’s “Parts Unknown” show.

“There’s a pressure to show that Mexicans are nice people and we’re hard workers. I was like, ‘Let’s make her kind of bitchy and very flawed,’” Jimenez says about Luna. “She’s a teenager in America and she should be given all the same opportunities — and also the forgiveness for being an ass— and [as] selfish at that age as anybody else.”

Hannah McMechan, left, and Danya Jimenez, co-writers of "KPop Demon Hunters," in Los Angeles

Hannah McMechan, left, and Danya Jimenez, co-writers of “KPop Demon Hunters,” met in college.

(Carlin Stiehl / For The Times)

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Though their upbringings were markedly different, it was their shared comedic sensibilities that connected Jimenez and McMechan when they met in college. The two were close long before deciding to pen stories together. “Having a writing partner is the best. I feel bad for people who don’t have a writing partner, no offense to them,” says Jimenez.

McMechan explains that their writing partnership works because it’s grounded on true friendship. And she believes they would not have gotten this far without each other. While McMechan’s strong suit is looking at the bigger picture, Jimenez finds humor in the details.

“Danya is definitely funnier than me,” says McMechan. “It’s really hard to write comedy in dialogue versus comedy in a situation because if you’re putting the comedy in the dialogue, it can sound so forced and cringey. But she’s really good at making it sound natural but still really funny.”

Though she had been writing stories for herself as a teen, Jimenez didn’t consider it a career path until as a high schooler she watched the romantic comedy “No Strings Attached,” in which Ashton Kutcher plays a production assistant for a TV series.

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“He is having a horrible time. But I was so obsessed with movies and TV, and I was like, ‘That looks incredible. I want to be doing what he’s doing,’” she recalls. “And my dad was like, ‘That’s a job.’”

Danya Jimenez, one of the co-writers of "KPop Demon Hunters," stands near the Sunset Strip in Los Angeles.

Danya Jimenez grew up in Orange County.

(Carlin Stiehl / For The Times)

As an infant, Jimenez spent some time living in Tijuana, where her parents are from, until the family settled back in San Diego, where she was born. And when she was around 5 years old, Jimenez, an only child, and her parents relocated to Orange County. Until then, Jimenez mostly spoke Spanish, which made for a tricky transition when starting school.

“I knew English, but it just wasn’t a habit,” she recalls. “I would raise my hand and accidentally speak Spanish in class. My teachers would be like, ‘We’re worried about her vocabulary.’ That was always an issue, so it’s really funny that I turned out to be a writer.”

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As she points out in her professional bio, it was movies and TV that helped with her English vocabulary, especially the Disney sitcom “Lizzie McGuire.”

Jimenez describes growing up in Orange County with few Latinos around outside of her family as an alienating experience. She admits to feeling great shame for some of her behaviors as a teenager afraid of being treated differently and desperate to fit in.

“I would speak Spanish to my mom like in a corner because I didn’t want everyone else to hear me speak Spanish,” Jimenez confesses. “If my mom pulled up to school to drop me off playing Spanish hits from the ‘80s or banda, I was like, ‘Can you turn it down please?’”

Like a lot of young Latinos, she’s now taking steps to connect with her heritage, and, in a way, atone for those moments where she let what others might think rob her of her pride.

“During the pandemic I cornered my grandma to make all of her recipes again so I could write them down,” she recalls. “Now I have them all written down on a website. Or if my mom corrects me for something that I’m saying in Spanish, I now listen.”

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At the risk of angering her, Jimenez describes her mother as a “cool mom,” and compares her to Amy Poehler’s character in “Mean Girls.” Raised in a household without financial struggles, Jimenez doesn’t often relate to stories about Latinos in the U.S. that make it to film and TV. Her hope is to expand Latino storytelling beyond the tropes.

“That’s very important to me, to just tell Latino stories or Mexican stories in a way that’s just authentic to me and hopefully someone else is like, ‘Yes, that’s me,’” she says. “A lot of people have certain expectations for Latino stories that I’m not willing to compromise on.”

Though they still would like to make “Luna Likes” if given the chance, for now, Jimenez and McMechan will continue their rapid ascent.

They’re “goin’ up, up, up” because it is their “moment.” They recently wrapped the Apple TV show “Brothers” starring Matthew McConaughey and Woody Harrelson that filmed in Texas. They are also writing the feature “Attack of the Fifty Foot Woman” for Tim Burton to direct, with Margot Robbie in talks to star.

“I feel like I’ve just been operating in a state of shock for the past, I don’t know how many months since June,” says Jimenez in her signature deadpan affect. “But if I think about it too much, I’d be a nervous wreck.”

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Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

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Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

 

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

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My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

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