Slow Drip: Understanding the Snyder Cut

By Raymond Morris

Brew Method: French Press (so a 5-6 minute read).

For close to 3 years now, the internet has been engulfed in a battle of cosmic proportions. The little guy battling for justice against corporate greed. Every race, nation, creed have united under one common banner: #ReleaseTheSnyderCut. 

Opposing forces stood against them, in the name of common sense and status quo, enraged at the silly nature of these demands. Could a simple hashtag convince a film studio to release a movie that didn't really exist? 

Or did it? 

Well, in 2021, we will all witness the Snyder Cut Zack Snyder's Justice League on HBO Max. But a few burning questions remain: what exactly should we expect from this? Has anything like this happened before? And the biggest question: should anyone outside of hardcore DC movie fans even care? 

The short answer? Something unique, weirdly yes, and sure! Let's dive in. 

Question 1: What exactly should we expect from this? 

Per the Hollywood Reporter and Variety, Zack and Deborah Snyder received a call from their agent indicating that CEO of WB Toby Emmerich was acknowledging the weight behind the 2 year movement to #ReleaseTheSnyderCut. 

To understand the importance of this call, we need to understand the debacle that was the Justice League release. The short version is: after the poor critical and divided fan reception to Batman v. Superman, Snyder's vision for DC's answer to the MCU and Avengers was being doubted by WB executives, and they wanted changes made to the upcoming Justice League. This would be ok if they weren't already well underway into production. The script? Locked in and set up by Batman v. Superman. The direction? Debated by Snyder and WB executives. To say that the production was rough would be a massive understatement. 

Once filming was wrapped and post production was underway, it still was not clear who's vision would pull through: Snyder's or the executives. Due to a family tragedy, Snyder voluntarily left post production duties and handed them over to Joss Whedon. Whedon promptly took the notes of exectives and reshot the majority of the film (reports indicate it was anywhere from 50-80% of the film), resulting in a film that felt cobbled together with the grandiose mythic quality brought by Snyder and Whedon's trademark comedy and whit, along with unfinished effects, cheap looking sets, and that mustache thing. 

The film bombed (although the critical reception was not bad, weirdly enough), but diehard fans were not satisfied. They were convinced that somewhere existed a version of the film that was closer to Snyder's original vision. Impossible, right? He couldn't have had this film finished, only to have it remade by someone else. Even if it did exist, it would NEVER see the light of day, right? 

That's what made this phone call in November 2019 so intriguing. The same studio that once demanded the film be changed asked if he would like to finish what he had started. The deal reportedly includes $20-30 million to finish effects, ADR (with original cast), and score the film. There's indication that the finished product could be a 4 hour film, broken up into individual "chapters." 

The end result will be no excuses: Snyder is being given the chance of a lifetime to finish his vision and present it in a way that, while not FULLY being the vision he had, can give a more than satisfactory product. Will it be a great film? Maybe not, but it will present what he had in mind from the beginning, and that's all anyone that understands the artistic process can ask for. 

Even for someone who thought this Snyder Cut could happen but in an unfinished manner, this blew my mind. But should it have? If anything, Warner Bros. would be the studio that would give a second chance to an unfinished vision. 

Question 2: Has anything like this happened before?

In short: yes.

In a little big longer but still short: yes, and with the SAME STUDIO too. 

Let's fly really quickly around the world and reverse time to 1978. 

Drama behind the scenes of the production of the movie that made you believe a man could fly made the director want to permanently ground a producer. Richard Donner and Warner Bros. had agreed upon an ambitious task: Donner would film Superman: the Movie and Superman II back to back in order to make the best use of time with the stars they had (Gene Hackman, Marlon Brando, Marlon Brando's Cue Cards). But in May 1977 (3 months into filming), Donner found himself 2 weeks behind schedule and over budget, which concerned with the higher ups, namely Pierre Spengler. The tensions between Donner and Spengler became so high that they ceased talking directly to one another, and WB had to hire an additional producer to essentially be a middle man. 

Fast forward to July 1977: WB unilaterally decided to scrap filming Superman II until they had completed Superman: the Movie, a decision that undoubtedly frustrated Donner who had already completed 75% of the filming for the sequel. They finished the first movie, and in 1978 it became the world-wide phenomenon we know it to be today. With the world loving Donner's Superman, the inevitable question became: when can we see more?!?

Donner was prepared to get back to work, but upon hearing that his own personal Lex Luthor Pierre Spengler would once again produce, Donner stated "if he's on it--I'm not!" Donner also stated that he wanted to make the film "on my own terms" and without any input from Spengler. WB's response? They hired Richard Lester, the additional producer  hired to be the middle man between Donner and Spengler on Superman: the Movie, to direct Superman II, and notified Donner via telegram that his "services were no longer needed."

The resulting movie was a strange mix of Donner's "grandiose mythic" style from Superman: the Movie and Lester's penchant for comedy (sound familiar?), a fact that was not lost on critics. The comedic tone continued for the sequels, and the overall series never truly recovered. 

The rumors permeated for years about what Donner's version of the film would actually have been like, resulting in a bootlegged "Superman II: Restored International Cut" in 2004 and eventual lawsuit from WB. 

It was clear: the fanbase wanted to see Donner's version. Finally, in 2012, the combination of fan pressure and the blu-ray release of Superman: the Movie and Superman Returns combo pack, WB called Richard Donner about piecing together "The Donner Cut." As one producer at WB said, it only happened because "the fans pounded Warner Brothers [with] emails and home video and the head of the studio." Together with Donner and the Warner archive, they used test footage, deleted scenes, and the 75% that Donner originally filmed to help him "complete" his vision for the now 30+ year old film.

Question 3: Should anyone outside of hardcore DC movie fans even care?

This and variations of this question are the typical response I see to the news of the Snyder Cut online. People claiming "why do I care that another version of a bad movie is coming out?" or "I hated all the other movies so who cares?" And that's a fair sentiment. 

Another reaction has been that this sets a dangerous precedent. If fans don't like something, they can bully and complain and troll online for long enough to finally get their own way. I understand where that's coming from: a vocal minority of this #ReleaseTheSnyderCut movement have been obnoxious and straight up toxic, and this looks like a reward for them. 

But on the other hand, this is a creator getting a second chance. Warner Bros., a proven reactionary studio (they've done it twice with Superman-related properties), took the creative reigns away from a filmmaker in the middle of him doing his job. Now he's getting another shot to get what he originally intended into the world. Again, will this fix the film comparative to the theatrical version? I highly doubt it would make anyone who disliked Man of Steel, Batman v. Superman, or Justice League become a fan of those films. But it will help show what his intent was so we as filmgoers can have an informed debate as to whether it was a good direction. 

So should you care? Sure! It's a win for a creator wanted to see his vision fulfilled. It's also ok not to care about this. I'm a fan of Man of Steel and Batman v. Superman (Ultimate Edition). I cannot physically bring myself to pick up a copy of Justice League and have not seen it since it came out in theaters, so that tells you where I'm coming from when I say: I'm super excited to see this version. I have no idea if it will be better and there's a great chance it won't be, but I'm ready to see what the filmmaker originally intended. And in the end, seeing someone get the opportunity to finish what they started (and not having to wait 30 years to do it) is something we ALL should be able to get behind. 

What do you think? Are you excited about the Snyder Cut or could you not care less? 


NOTES: 
Here's where you can read up on the stuff we used to read up on the Donner Cut of Superman II (the majority of quotes have a linked webpage embedded):

-https://www.amc.com/talk/2010/04/superman-ii-richard-donner-cut

-https://filmschoolrejects.com/24-things-we-learned-from-the-superman-ii-the-richard-donner-cut-commentary-4a97c1783dcc/
-https://www.supermanhomepage.com/movies/movies.php?topic=sup2-RIC-review
-https://www.youtube.com/watch?v=EtYkdt4LjiY&index=4&list=PLvJw6yjjzAGsUjPyNDtLxueR3PcouvcWl
-https://archive.org/details/starlog_magazine-020/page/n39/mode/2up

The Roasts: Ryan Reynolds

By Raymond Morris

Ever seen an actor, actress, or even director and think to yourself "man, when will they ever do something besides their normal schtick???" Odds are your favorite people have done a wide range of films but are only known for a select few. We're here to help guide you through the wide range of many of today's A-list creators in the only way we know how: roasts. Here's a simple guide ranging from light roasts (comedies), medium roasts (action adventure, "dramedies", etc.), and dark roasts (brooding, twisted, horror, intense drama) so you can see just how much range your favorite people have.  

Up first is Deadpool himself, Ryan Reynolds. Has he done anything outside of Van Wilder and Deadpool? You might actually be surprised. 

Light Roast

Detective Pikachu (available on HBO Now)

This is an utterly delightful adventure that is surprisingly equal measures heartwarming and hilarious, much funnier than it has any right to be. I won’t dwell on this since it’s essentially Deadpool-lite, but that’s why this works. Feel good movie good for all ages, whether you grew up on Pokemon or not (and I did not. I know, surprising isn’t it?).

Detective Pikachu hints at its cousin Deadpool like a light roast that hints at the same notes of a darker blend (chocolate), but overall is a refreshingly light time (a lot like this Ethiopian light roast). 

And be honest: did you think we really wouldn't find a way to put a movie that has a scene like THIS into a list at some point? It might be a rule: we MUST include caffeinated Pikachu as much as possible.

Medium RoastThe following Medium roast films for Ryan Reynolds accomplish what a solid breakfast blend like this Stauf's Breakfast Blend does: they warm your heart, provide enough flavor to make the morning manageable but enough boldness to help strike a deeper cord to motivate you to get going. These movies have enough comedy to make you smile, but if you pay attention you’ll see the deeper moving moments that push you to take on life in a more positive direction once the credits roll.

Definitely, Maybe (available to rent on Amazon)

Let’s throw it to our resident Ryan Reynolds expert, Austin James for this one. During quarantine, he’s made great use of his time by working through Ryan’s filmography, so he knows his stuff:

Look, I get it: on the surface this is going to sound like a normal pre-Deadpool Ryan Reynolds outing (romantic comedy territory, so just another Just Friends, The Proposal, or less crass Van Wilder). But what sounds like a typical movie ends up providing an opportunity for Reynolds to infuse some heart and sentimentality that could be seen as uncommon for him, and is a compliment to his acting.

He stars as a recently divorced dad retelling the story to his daughter of how he met her mother (no Barney or Robin though, so don’t worry). Even though Ryan’ voice doesn’t turn into Bob Saget’s voice when he is retelling the story, it’s still both enjoyable and touching. He perfectly portrays the earnest go getter that has everything figured out in life—at age 22—but soon learns that life has a funny way of slapping you around, a lesson he teaches his daughter throughout the story.

Mississippi Grind (available on Netflix)

This is my favorite film on the list. Why? This is a wonderfully full flavored medium roast of a film: enough comedy and fun characters to give you the flavor you need, and the undercurrent of darkness from deeply flawed and broken characters to help teach you about yourself and help you be a better person.

In what’s a recurring theme, Reynolds’s introduction in this hints at yet another brazen, hilarious, street wise role for him. But, once he and Ben Mendelssohn hit the road it becomes clear that this is not just another role. The carefree exterior shields a vulnerable hurt side that causes him to try and help Ben through his issues through a trip down the Mississippi.

On the surface, this is a really entertaining buddy roadtrip movie with Ryan playing a streetwise caring man who is going to help this gambling addict fix his life. But the further we go the clearer it becomes that Reynolds's character is far from perfect, and maybe his own gambling addiction pertains to something deeper than a game? I won't go further for fear of spoiling, but trust me: this movie is one that's beautiful, entertaining, and strikes deep chords with anyone willing to give it a shot.

Standout performances, a wonderful soundtrack, and the kind of character growth that helps provide the warmth and good feels a great medium roast can provide: Mississippi Grind is a can’t miss performance from Ryan Reynolds.

Dark Roast
There are three choices for dark roast Ryan Reynolds movies, the category least associated with the actor. These are dramatic performances, ones that come in films that are not known for humor but rather drama, suspense (even horror?). While the films vary in quality, the consistent thread connecting them is Ryan’s fantastic performances in each.

The Captive (available on Netflix)

Remember Taken? Liam Neeson kills it as a dad who stops at nothing to get his child back, and packs a potent punch time and again and never leaves you bored, not even for a second. 

Remember Prisoners? Similar to Taken in that it has Huge Jackedman Hugh Jackman stopping at nothing to save his kidnapped child, it’s an expertly crafted slow burn that features high tension throughout (there’s a hammer scene I’m thinking of specifically) throughout.

The Captive…tries to be that. This A24 film (yep, they’re EVERYWHERE) doesn’t have much action, but instead of tension there’s a lot of waiting for tension: moments where you’re pretty sure it’s meant to be tense, but you just aren’t feeling it.

Ryan Reynolds is good in this, especially since this is one of the rare times he takes a role where he isn’t funny at any point (not a bad thing!). Even in Buried he has moments to flex the comedy chops he’s best known for, but not here. He’s a dad that will stop at nothing to find his child. You can see that this is going to be a great performance from Ryan from the beginning scene in the police station.

Much like this movie, the best coffee descriptor is Caribou’s Obsidian: a darker than dark roast that isn’t necessarily bad, but its best quality is to remind you of other dark roasts that do it better. The Captive is a movie that’s worth checking out for him and the concept (instead of following directly after the abduction, this picks up 8 years after she goes missing and is presumed dead), but just do yourself a favor and watch Prisoners or Taken instead.

Buried (available to rent on Amazon, VUDU, Redbox, Apple, and YouTube)

Lets start with a coffee connector: this film is a great dark espresso (might I suggest One Line Coffee's Method Espresso?). Short (just at 90 minutes), potent, simple. Here’s our resident Ryan Reynolds Expert Austin James to describe why:

You have to really, and I mean really enjoy Ryan Reynolds to watch this movie. Why? He’s literally the only person in the movie. Ryan brings what I think is an Oscar type performance almost by necessity: the entire weight of the film rests on his shoulders, and he nails it.

The movie is about a truck driver who wakes up buried in a coffin after a terrorist ambush, leaving him with only a lighter, a cell phone, and the will to live. This movie definitely showcases Reynolds’ full abilities as an actor, from his biting sarcasm to dramatic abilities, he commands the screen.

This came out the same year as 127 Hours which got James Franco a (well deserved) Oscar nomination for what could only be described as an eerily similar type of survival role. Ryan Reynolds is every bit as good if not better than Franco in this, and should have definitely garnered him more praise by the general public.

The Voices (available on VUDU for free with ads)

Our final film is one part Looney Tunes, one part Joker origin, and one part horror movie.

The beginning looks like a normal “innocent manchild” character from Ryan (think Chris Brander or a tame Van Wilder), but as the film progresses, it becomes abundantly clear that something is off. Maybe it’s when the car starts talking or the dog replies? Maybe it’s when the head in the refrigerator starts talking? Why not both?

But for a slasher horror comedy, this is a surprising show of range. One scene in particular Ryan flips from endearing to horrifying because, for the first time, we see him yelling at the voices in his head but from an outsider perspective. This moment solidifies both his acting prowess and the horror of the film.

This is much like a sumatra from Magic Beans (Harimau Tiger). The low acidity and chocolate body makes you think it’s a sweet drink, but the dark roast ensures that the boldness is indeed there: if you don’t taste it yet, just wait.
It’s a dark and twisted movie with flashes of humor that keep it from being a straightforward horror movie (there’s a scene where he watches nature documentaries with his pets in particular). Believe me when I say that this is the unsung performance of Ryan’s you need to see.

The ending is super dark, but then the end credits? Just the levity you need lift your spirits.

Which of these will you check out this weekend? Have a suggestion on who we should cover next?

Pour Over Review: Extraction

By Raymond Morris

**The following review is SPOILER FREE**

Extraction was released on Netflix on April 24. The film is produced by the Russo Brothers, written by Joe Russo, directed by Sam Hargrave, and stars Chris Hemsworth. It is rated R. 

A few years ago I heard a podcaster refer to a sub-genre of films he called "competency action," a sub-genre that can be used for any main genre whenever the story is about people who are great at their jobs being great at their jobs while going up against people who are also great at THEIR jobs. For instance, West Wing is "competency drama," Predator is "competency action-horror," and so forth. While it's great to follow someone we can personally relate to as average Joe's, it's awesome to sit back and watch characters who are great at what they do be great at what they do for 2 hours. 

Extraction is a terrific "competency action" movie that does exactly what it needs to: no more, no less.  

The film follows Chris Hemsworth as Tyler Rake, a "fearless black market mercenary" as he is hired by one drug dealer to retrieve his son from another drug dealer. What follows is an incredibly lean, bare bones, sometimes brutal action film on his quest to fulfill the mission. 

Story wise, we get enough information through visual clues and a few quiet scenes throughout to flesh out who Tyler Rake is and why he takes this particular mission to heart, but the exposition throughout is scarce, to the film's benefit. They use the idiom of "show, don't tell" to a full extent throughout the film. One of my favorite action scenes that I won't spoil here (even though it's not REALLY a spoiler...ok you can watch it here. Believe me, it's really good) is used to infuse the film with some humor, some action, but in general helps reiterate the "Save the Cat" moment from earlier in the film and why we are ok with rooting for the mercenary throughout. That's excellent action movie storytelling. No need to look at the camera and tell me what limits you have in your killing when you can show me. 

Speaking of action...

The film's director has been the stunt director for: Captain America: Winter Soldier  and  Civil War, Avengers: Infinity War and End Game, and Atomic Blonde (you know, the film directed by one of the stunt wizards behind John Wick), so the action is definitely top form and does not disappoint. You want head shots? We got them. You want a 10 minute one shot? You got it. You want an epic finale on a bridge with explosions and tension? Your wish is our command.

Coffee connection: Death Wish Coffee.

Have you ever woken up in the morning and thought "I just need a coffee that's bold enough to wake me up, taste good enough, and has enough caffeine to get me through"? That's Death Wish coffee. My sister sent me a bag a month ago and whenever I needed an extra jolt, a solid boost, I'd get a cup of this. It's solid, bold, and you definitely do not regret having it. 

That's definitely what Extraction does for the action movie fan. It's new, presents enough story to justify the fun action, and the characters are all experts at what they do and they show it off. One friend called it "Call of Duty: the movie", and I'd agree that that's what this is, but in all the right ways. 

Check it out this weekend with some Death Wish coffee! 

Read why Land Before Time is the movie we need right now during coronavirus. 

Read how we paired non-MCU movies with coffee.

The Slow Drip: Land Before Time and Why We Need It Now

By Raymond Morris

AUTHOR'S NOTE: Every so often we'll post "The Slow Drip", which is not just a movie review or list of suggestions and coffee pairings, but rather a look into the nuances and subtler flavors of a movie that stand out once you sit with it a bit longer, just like a slow drip cold brew presents a customer only by brewing at a rate of 1 cup per hour. At the top of each entry we'll tell you how long the read is by suggesting a brew method of similar length. 

Brew Method: French Press (so about 5 minutes).

The world feels like a mess right now, doesn't it?

I get it: nobody wants a movie blog to be talking about the craziness in the world right now. We want an escape from it. 

Recently I have found myself falling back on those “comfort foods” of my cinematic experience: those feel good films you watched as a kid when nothing mattered except dinosaur nuggs and mac and cheese. For me, one of those is Don Bluth’s 1988 classic The Land Before Time.

Side bar: hello talent?? Executive produced by Frank Marshall, Kathleen Kennedy, George Lucas, and Steven Spielberg. Score by James Horner?? Anyway, back to the good stuff. 

The lovable dinosaur adventure that I remember being all about Sharp Tooths and earth shakes and tree stars suddenly hit a little differently. It reminded me that not only can film and tv be a great escape or comfort food for the soul, but that it can also help us process the world around us. 

The Land Before Time is a film that is strangely relevant for us right now, in that it helps teach us about grief, hope in uncertainty, and doing what needs to be done. 

It's OK Not to Be OK 

I saw a post on Twitter the other day saying that “if you don’t create that thing you’ve always wanted to during quarantine, it’s not that you didn’t have time—it’s that you’re lazy.” 

While I understand the underlying sentiment to energize someone to be creative, it’s important to note that it’s ok not to be ok. Different people process stress and grief differently. 

Look at the main characters in this movie: Little Foot and Cera. 

A great earth shake separates everyone from their herds and the task is clear: they need to make it to the Great Valley. But for Little Foot, his mother has just tragically passed after a fight with Sharp Tooth, and while he’s trying to start his journey, he stumbles and falls next to ole Rooter.

Little Foot first blames his mom for what happened, then himself. He can’t move along, he just wants to sit. “It’s not fair” he cries. Rooter explains that “it’s nobody’s fault” and this pain will “go in time…only in time.” So Little Foot should take this to heart and move along, right? Get to work getting to the Great Valley! 

No. The next scene he's on the ground and is unaffected by this cute display. I mean, look at this: 

Adorable, right?? Well, for Little Foot, his grief made him “forget about the Great Valley and that somehow he must reach it.” Sometimes things hit hard. They knock us down. We need to sit and recover. And that’s ok. 

It’s ok not to be ok. 

Then Little Foot begins the journey and soon meets Cera, who is starting her same journey from a different place. She too was there for the Sharp Tooth attack that claimed Mrs. Little Foot’s Mom. However, she saw her parents across a great expanse after the earth shake. She knew they were ok, and she’s ok, but she needs to get back to them in the Great Valley. She’s certain that her parents are fine, she just wants to make it through this as fast as she can.

Is she scared? Absolutely. We see that when she is alone, or face to face with the Sharp Tooth later, but she also is afraid to let anyone see it. She keeps a tough “lone wolf” exterior, even lashing out at Little Foot when he suggests they work together, something that effects Little Foot so much that he does the exact same to Ducky when he first meets her.

Cera feels like she has to do this alone since that will mean she can be through this quickly. Her belief is that she’s better alone. That things are “normal” despite being abnormal.

But it’s ok not to be ok. 

Later in the journey, Little Foot and friends start to see this pattern of “act tough, act lone wolf,” but that she really does trust them and wants to be part of their pack. This bristling is her way of coping, and they understand. They’re still here for her.

While we are all experiencing the same general issue of social distancing and coronavirus, everyone has a different starting point. Some are in the thick of it. Some are essential workers going in to work on the front lines. Many are working from home. And many more have lost their jobs or are furloughed. Same destination (make it through this pandemic), different starting points, meaning that we all process it differently. 

If you are ok, reach out to those you love. Be patient with them. Be patient with yourself. It’s ok not to be ok.

What's Your Cloud?

How long will it be? According to Mrs. Little Foot’s Mom, “a long way…but we’ll get there.” 

Not very helpful, especially once she’s gone and all Little Foot has to guide his group is this and a set of nondescript instructions.

What does everyone know about the Great Valley? Well, Ducky assumes her parents *might* be there. Cera thinks her parents are *probably* there. And Little Foot? His mom has never been there, so he’s fairly certain that it’s real and that’s where everyone is headed. 

But Little Foot held strong to the hope his mother had for the Great Valley. Her hope, her optimism, it was contagious. As the narrator points out, once Mrs. Little Foot’s Mom was gone and he was now the leader, “[the group’s] only hope was to reach the great valley, and Little Foot alone knew the way. He had never seen it, but surely they were close.” 

Towards the end, the group scales the top of a large mountain range, sure that the other side will hold the Great Valley, except it doesn’t. Cera says what most of us would say at that point: “I’m taking the easy way for once.” Is it the right way? Who knows, but it’s easier. Maintaining a positive spirit about adverse conditions for the indefinite future is impossible. We need something easier, right?

Shortly after this even Little Foot reaches another rock face and starts to lose hope. He cries out “Mother, I tried doing what you told me, but it’s too hard.” A long arduous journey can dampen even the most hopeful of us. So what does he do? Give up? Go the way that feels easier? No. He looks up and sees a cloud, a cloud that reminds him of his mother, the source of his hope, his optimism. He’s reminded of why they need to do what needs to be done. And just on the other side of this rock face? 

It’s the Great Valley. 

When will we open businesses and get back to normal? No clue. We’ll get there soon…hopefully. We may not know for certain how close the end of all this is, and that can make us antsy, lose hope, and revert to ways that feel “easier.”

Sometimes we need to be reminded why we’re pushing through. To flatten the curve. To limit the spread. Sometimes we just need a smile, to hear a friendly voice that will assure us that everything is in fact going to be ok.

For me, it’s watching movies that make me smile (sometimes spanning the “Spielberg’s scary dinosaur” spectrum from Jurassic Park to The Land Before Time) with a great pour-over and calling my parents every Sunday on FaceTime that help me get through it all.

__________________________________________

Sometimes we need to cry, and that's ok. Sometimes we need a cloud to remind us why we're doing what we're doing or that everything is going to be ok.

How far is it until we reach our own Great Valley on the other side of this? I do not know, but surely we are close (especially since it seems like many states are starting to slowly reopen in the middle of May). It’s ok to not be ok, but hold tight to those things that remind you of the good in this world. Reach out to your friends, watch some good movies, and we will make it through to our Great Valley.  

The Land Before Time is currently streaming on HBO Now. 

For suggestions on what to watch to make you smile, check out our first blog post on what to binge here, and the latest post on non-MCU superhero movies here.