Female Heroine Brings Relevance and Charm to Sherlock Holmes Franchise
(Photo Credit: Netflix)
By Brittany Aufiero
Netflix’s “Enola Holmes,” the newest adaptation of Sir Arthur Conan Doyle’s notorious Adventures of Sherlock Holmes, centers the detective’s lesser-known -- but equally brilliant -- little sister, Enola (Millie Bobby Brown). Released Sept. 23, the film features a star-studded cast and has profound political relevance for a period piece set in Victorian London. Director Harry Bradbeer succeeds in modernizing the appeal of the franchise, presenting a balanced film that empowers even as it maintains the elements of intrigue and mystery that fans have come to expect.
Enola Holmes is barely sixteen when she wakes up to find that her mother, Eudoria (played by Helena Bonham Carter), has vanished without a trace. Since she’s still underage, her brothers Mycroft (Sam Claflin) and Sherlock (Henry Cavill) are called in to organize her care. Mycroft arranges for Enola to complete her education and training at Miss Harrison’s Finishing School, but Enola has other plans. Determined to uncover the truth of her mother’s disappearance, she sets off on her own and must avoid her powerful brothers along the way.
In contrast to past adaptations of Sir Arthur Conan Doyle’s world, the film aligns itself wholly with feminist movements. In this it differs from its predecessors, including BBC’s “Sherlock,” created by Steven Moffat, which gained a reputation over its four-season run for sidelining its female characters and using them primarily as plot devices and for male character growth. “Enola Holmes” side-steps such issues entirely and takes things further by prioritizing its women and framing the actions of its men through a critical lens. Woven throughout the plot are mentions of a reform bill which, if passed, would grant women the right to vote. Overall, the film goes to great lengths to emphasize that girls and women are capable of great things.
The political undertones of “Enola Holmes” are a pleasant surprise that work to the film’s advantage. One of the most entertaining moments is when Sherlock is told to check his privilege by Edith (played by Susue Wokoma), a friend of his mother’s and Enola’s former martial arts instructor. Edith, a black woman, reprimands Sherlock how little he cares about politics, stating that his attitude is “because [he has] no interest in changing a world that suits [him] so well.” For American viewers watching during an election year, the plot is a call to action with a clear message: change will only happen if you show up to the polls and vote in November.
Ultimately, what makes “Enola Holmes” so special in a sea of franchise adaptations is Enola herself. Self-possessed, stunningly clever, and well-trained in physical combat by her unconventional mother, Enola is a heroine who has a lot to prove in a world that still views her as a member of the inferior sex. She has all of the intelligence of her detective brother but far more humanity; as shown when she elects to cease her search for her mother in order to help the young Viscount Tewkesbury (Louis Partridge), a young man of noble blood who is being pursued by a persistent assassin.
Best known as the telekinetic adolescent Eleven in the Netflix original series “Stranger Things,” Brown shines as Enola. Her delivery in comedic moments is spot-on and her performance in tender moments is exquisite, allowing audiences to share in the pain and abandonment she experiences at the loss of her mother. Also worth mentioning is Cavill’s Sherlock at times also shows emotional warmth uncharacteristic of Doyle’s original sleuth. This change seems to propose that now more than ever, empathy is a valuable ability we should all be practicing.
“Enola Holmes” is a charming coming-of-age adventure. Younger viewers will see themselves in the free-spirited, daring Enola, determined to reject the expectations society has placed on her due to her gender. Hard-core fans of Doyle’s Sherlock may find themselves disappointed, since this film’s Sherlock lacks the extreme stoicism of previous depictions. Regardless, the film is well-written and well-acted, and it’s a worthwhile watch for those who enjoy their movies with a side of political commentary.
Millie Bobby Brown as Enola Holmes, flanked by Henry Cavill as Sherlock Holmes (left) and Sam Claflin as Mycroft Holmes (right). Photo courtesy of IMDB.
“I’m Thinking of Ending Things” Raises the Bar for Film Surrealism
(Photo via Netflix)
By Brittany Aufiero
A psychological thriller and skillful enterprise in the art of subdued horror, director Charlie Kaufman’s latest film purports to follow the story of a young woman (Jessie Buckley) who contemplates the longevity of her relationship during an evening of “meet-the-parents” with her boyfriend Jake (Jesse Plemons). Released Aug. 28 in select theaters and available on Netflix as of Sep. 4, the apparently simple premise of “I’m Thinking of Ending Things” is made complicated as viewers realize that the truth is subjective and nothing is truly as it seems in the lives of this young couple.
Although the young woman’s perspective is front-and-center, including voice-over monologues and asides that tell viewers exactly what she’s thinking, her name is never made entirely clear. She is Lucy, then Lucia, then Louisa - a revolving door of L-starting names, never claiming a single one for more than a moment. Her profession, too, changes at key moments in the film, such as when Jake beams while telling his parents over dinner that she is an artist, but later mentions she is studying microbiology, then gerontology.
The strangeness begins with her, but Jake and his family are also an experiment in contradictions. While he is quiet and cheerful when alone with his girlfriend, he’s quick to anger in the presence of his parents, who seem to embarrass him. In one scene he shouts and slams his fists on the dinner table, furious that his mother pronounced the name of a game he was good at in childhood wrong. His parents only deepen the unease. His mother (Toni Collette) ricochets between periods of sullenness and intense euphoria - crying, speaking loudly, and laughing at inappropriate moments. Jake’s father (David Thewlis), on the other hand, looks worn and wears a bandage on his forehead that is never explained.
Jake (Jesse Plemons) and his girlfriend (Jessie Buckley) prepare to sit down to dinner with his parents (Left to Right: Toni Collette and David Thewlis) in his childhood home. (Photo via of Netflix)
“I’m Thinking of Ending Things” is a master director’s dream realized, and at the dinner our unnamed - or overly named - narrator sees firsthand what the rest of her life will look like if she and Jake remain together. Jake’s parents grow old and fragile between one scene and the next. Jake’s father is in full control of his mental faculties in one moment, and then suffering from the late stages of dementia minutes later. She begs Jake to take her home as she watched him spoon-feed his dying mother, who was only minutes ago in good health, sipping wine. Kaufman confronts mortality and the human ego with startling clarity as the narrator realizes that she will eventually exist to Jake merely as a source of validation for his life choices.
Kaufman is no stranger to viewer speculation on the hidden messages and underlying meanings in his projects. He won an Academy Award for Best Original Screenplay as a writer for “Eternal Sunshine of the Spotless Mind” in 2005 and made his directorial debut in 2008 with the film “Synecdoche, New York,” a postmodern comedy-drama which also blurs the lines between reality and fiction.
A gem of surrealism, “I’m Thinking of Ending Things” evokes feelings of existential dread but does so while appealing to our most intrinsic desire to understand what we are watching. Our narrator is relatable and women will empathize with the conflicting feelings she voices on her relationship with Jake. Jake, too, is an enigma up until nearly the very end, when we can finally start to piece together the reality of what is going on. It’s surely a film you’ll need to experience twice, but you’ll savor every minute of it.
NYC Women Break Barriers in Local Business
By Brittany Aufiero
Co-Op City resident and shareholder, Britney Moss, had dreamed of baking professionally for as long as she could remember. Her dream became a reality on March 2, 2018, when she held a grand opening for Cupcake Me!, a pop-up kiosk stand, to sell her sugary treats. Over a year later, on June 6, she celebrated the grand opening of her very own storefront location in Einstein Mall.
Once a hospitality worker, Moss took a leap of faith and began marketing her cupcakes after one of her cakes received overwhelming praise at her daughter’s first birthday party. On her website, she attributes her decision to get back in touch with her love for baking to her southern roots and her great aunt, who lived until the age of 102 and who always pushed her to pursue her passion.
With flavors ranging from standard chocolate and vanilla to orange creamsicle, lemon drop, and Oreo surprise, Moss consistently hits the mark in delivering fresh, delectable cakes and cupcakes. Customers have the option of buying baked goods in-store, or commissioning special orders in advance for pickup or delivery.
Cupcake Me! strawberry-topped cake. Photo Credit: of Britney Moss.
“Britney’s cupcakes are an original masterpiece just for your mouth,” said Lehman alumna Rhue Alice Ivy, 22, who graduated with a degree in English and philosophy. “I’ve commissioned her twice now and honestly, I won’t be going anywhere else for my birthday parties and anniversaries. Her prices are fair and her quality is worth it.”
Ivy first heard of Cupcake Me! while living in Co-Op City and continues to frequent the cupcake shop even though she no longer lives in the neighborhood.
The shop is one of a rising number of small businesses owned by women. New York state law defines a small independently-owned business as one which employs no more than 100 people. Forty-two percent of businesses nationwide are owned by women, more than there have been at any other time in history. However, the 2012 U.S. Census Bureau shows that less than a quarter of these businesses are owned by women of color.
Black-owned small businesses often struggle to compete with larger chain stores, but Moss, a black woman, has seen rare success with Cupcake Me! due to community recognition of and support for her prized recipes. Like Ivy, other long-time fans of Moss’ baked treats have become regulars. The business has five stars on Yelp, with positive reviews. Bronx residents are eager to contribute to the growth of a small business owned by a woman of color. One Yelp reviewer, Dan H. says that in addition to the great cupcakes, one of the reasons he keeps returning to Cupcake Me! Is because he wants to show his support. Many days, Moss finds herself closing shop early because she’s sold everything in stock.
Nathaly Ramos, 22, is a young Dominican American entrepreneur in Uptown Manhattan who has her own dreams of managing a small business. On Sept. 5, she launched Nat NYC, an online shop she uses to sell her personally-designed and packaged fine jewelry.
Like Moss, Ramos attributes the inspiration and drive for her business to the strong women around her. She describes, “At just seven, I would observe my mom as she would sketch out beautiful detailed drawings of apparel alongside with jewelry. The view and the finished product were so intriguing that I was determined to learn how to handcraft.”
Nat NYC faux leather-backed rhinestone Warmth earrings. (Photo Credit: Nathaly Ramos)
On average, Ramos receives two to three orders a day. While her most common orders are the core pieces available on the website, she also takes special orders and works with clients to meet their specific needs. Each and every order comes with a satin pouch and acrylic box that is laser monogrammed by hand, then gift-wrapped.
Building Nat NYC from the ground up has been no small feat. In addition to juggling the demands of a fast-growing business and working a part-time job, Ramos is continuing her studies as a first-generation college student: “I’ve been quite lucky with amazing marketing and business professors who continue to root for me,” she said.
In the future, Ramos hopes to transition from taking orders through her website to owning a chic storefront boutique.
From cupcakes to earrings, women of color throughout the city seem ready and willing to take the business world by storm. Cupcake Me!’s website captures the spirit of New York City’ssmall businesses on its Meet the Baker page, where Moss describes herself in the simplest of terms: “Britney - baker, cake artist, mother, wife, daughter and CEO.” Ramos and Moss are prime examples of how small businesses can continue to expand and gain recognition through community support.
Latin American Art Triennial Shows How Bonds Transgress Borders
An oil painting on canvas by Martin Riwnyj of Argentina, titled “EXODO.” (Photo Credit: Brittany Aufiero)
By Brittany Aufiero
The Lehman Art Gallery premiered “Progressive Transition,” a new art show that raises awareness about geographical and emotional transitions Hispanics and Latin Americans have experienced worldwide, recognizing their contributions to the history, heritage and culture of the U.S.
The exhibition brings together art by 21 artists from eight different Latin American countries, and was organized by the Bronx Hispanic Festival, Inc. as a part of New York’s Latin American Art Triennial, a series of exhibits that will be showcased in 10 galleries across New York City, including BronxArt Space, Queens College Art Center and Boricua College Art Gallery.
Each unique piece is representative of a different Latin American artist, all with their own perspectives on the transitions they and those they care about have faced. Vividly colorful, the pieces appear to come alive as one makes their way deeper through the gallery.
Gracing the entrance is “Roots and Rises,'' an installation by Dominican Republic-born artist Iliana Emilia Garcia. Traditional wood-and-wicker chairs from the Caribbean wrap elegantly around the base of the gallery’s iconic rotunda, suspended from the ceiling and interconnected by thin wire. The display is a vision of history and transcendence that acknowledges ordinary objects as powerful symbols of a shared human experience.
The use of chairs, common tools of physical support, also suggest networks of emotional support between individuals that can be crucial to anyone undergoing a major transition. “Roots and Rises” perfectly captures the sense of how, through the sacrifices of those who came before us, we can rise to even greater heights, just as the chairs rise up to the ceiling.
Garcia has also used chairs in her earlier work, such as in her installation “The Sage and the Dreamer,” featured in the 2018 exhibition “Bordering the Imaginary: Art from the Dominican Republic, Haiti and Their Diasporas,” curated by Abigail Lapin Darshati. Like “Roots and Rises,” it was site-specific and depicted chairs as a treasured cultural heirloom and source of commonality.
In another room, the wall installation “Borders” by Ezekiel Taveras makes a powerful statement about the complex relationship between Dominican Republic and Haiti. Despite sharing the former Hispaniola island, the countries have vastly different beliefs and cultures, which often clash. Taveras’ piece utilizes rope held in place by pegs to signify the contrasting worlds of the two countries, which are divided by a black painted gash.
Even as they remain separate, Taveras connects them through a metal, umbilical cord-like link between the hearts of the Dominican Republic and Haiti. “Borders” is a moving installation that conveys how the strength of heart that underlies the people’s convictions in both countries is ultimately a unifying force.
The gallery’s curatorial assistant, Laura J.A. De Riggi, served as the project’s venue coordinator, working closely with Director Luis Stephenberg and Chief Curator Alexis Mendoza to curate the featured installations in Lehman’s unique art space.
De Riggi emphasized the fact that the artists’ countries of origin are explicitly printed beside their names on the wall plaques describing their pieces. “Immigrants who leave their homes and settle elsewhere experience a great shift in their lives, not unlike the shift freshman students experience when they make the transition from high school to college. It’s important for these students, especially, to see their heritage represented when they walk through the gallery,” she said.
Open to the public until Jan. 25, 2020, “Progressive Transition” is an engaging portrayal of Latin American life and cultural significance. The powerful art it showcases testifies how influential an individual’s origin can be to their future growth.
