https://blackgirlnerds.com/cult-classics-camerons-day-off-is-the-real-ferris-bueller-story/
Written By: Wayne Broadway
Reader, I won’t lie to you: You won’t like this review. In a world that seems dominated by people who adore Ferris Bueller (Matthew Broderick) and all of his antics, I stand alone. And don’t get me wrong; I love Ferris Bueller’s Day Off. I just hate its namesake.
To call the character Ferris Bueller the film’s protagonist would be technically correct, considering we spend most of the runtime with him, are treated only to his soliloquies and are positioned to root against anyone in his way. That said, it feels wrong to call Ferris our protagonist spiritually. In my eyes, a story’s protagonist is fighting against something. A protagonist answers the call to adventure, however reluctantly. They return home with a boon of knowledge about themselves and their world gained only through struggle and transformation.
Ferris Bueller just hates being told what to do.
I’ll say it again: Ferris Bueller is a menace to everyone around him and probably a psycho. It’s not just that he cons his way into everything, but it’s the glib way he does it. He takes joy in tricking his trusting parents. He likes knowing that his best friend will eventually cave to peer pressure. He takes pride in fooling everyone around him.
In another world, Ferris Bueller’s Day Off would be a psychological thriller similar to The Good Son, in which those closest to him must come to the horrifying knowledge that the person they love has no pity, remorse, or conscience. In this hypothetical world, Jeanie Bueller (Jennifer Grey) isn’t a shrewish sister who must learn that her brother’s deceit shouldn’t bother her as long as she’s not its main target. This alternate universe’s Ed Rooney (Jeffrey Jones) likely isn’t so unstable because the world hasn’t tried to gaslight him into thinking that Ferris is an amiable kid with no ulterior motives. In this bizarre world, these two characters are our rightful protagonists, and we follow their journey to foil a young Iago in the making.
Sadly, that is not the case here.
Still, we have fun in our world’s version of this movie because Cameron (Alan Ruck) is our deuteragonist and secret hero.
Ferris Bueller’s Day Off is Cameron’s movie framed as his friend’s.
Every scene with Cameron is delightful, especially as the movie — and his hero’s journey — progresses. While I would argue that Ferris is the Devil, he is still Cameron’s call to action. Cameron learns to express his inner demons throughout the film and exorcizes them. He learns that life is worth living when he believes he’s faced with death at the hands of his father (because you-know-who pressured him into taking his father’s prized Ferrari). He comes face to face with himself in what seems like a cocooned state, only to emerge a transfigured creature ready to deal with his problems at home. If the movie were titled Cameron: Story of a Sad Boy with a Sociopathic Friend, I would have preferred that more.
Still, I have a ton of love for this movie.
John Hughes is at his very best here. From the triumphant parade scene to the quiet shot of Cameron at the bottom of the pool, Ferris Bueller’s Day Off is evidence of a director who aims to have his name mentioned with the same reverence paid to Scorsese, Spielberg, or early De Palma. Enough kudos cannot be given for how he perfectly meshes music and visuals in set pieces like the museum scene or the Ferrari scene with the Star Wars music. Sure, the script is pretty low on plot other than Bueller’s “antagonists” trying to catch him being the lying sleazeball that he is, but Hughes’ direction makes the film’s desultory nature seem grand regardless.
It’s just a shame that so many beautifully crafted frames had that jerk as their focal point.
A question I had for the first hour of this film was, “Who is this for?” Is it for people who love to see the bad guy win? For high schoolers who never met an adult that wasn’t evil or clueless? I can’t rightfully say. If it’s for the former, I kindly recommend watching No Country for Old Men, because there, too, chaotic evil gets away scot-free (unless you count Chigurh’s final scene as some kind of petty cosmic justice). If it’s for the latter high schoolers, then, dear teenagers, I welcome you to talk to an adult over 20. I promise we’re human beings, just like you.
Ultimately, I think this is a movie made for the Camerons of the world.
Ferris Bueller’s Day Off celebrates life, even when that celebration can feel hedonistic and egotistic. The main character doesn’t care about Europe or whether they’re fascists or socialists. If the movie is deriding this kind of solipsism, I couldn’t tell. But Cameron, its secondary lead, feels a lot about the world. He feels lost. He feels unable to talk to his father. He feels angry that he feels lost and unable to talk to his father. This person is an actual human being, developing hopes and dreams that he can’t articulate yet due to the awkwardness of growing up in an emotionally distant home.
The next time I’m asked who’s the hero of this movie I’ll say Cameron.
Oh, and on a final note.
For those who read this and say, “Wayne, we know you’re handsome and intelligent, but don’t you think you’re being too hard on this comedy?”
I’d thank you and tell you you’re all beautiful too. Then I’d say you’re wrong about comedy. Typically, the comic structure ends with a lovable loser getting a happy ending or a grimy schemer getting his comeuppance. Ferris Bueller gives us half of that. We feel that Cameron will be okay, however rough the road ahead may be. But the last shot is also a freeze-frame of a manipulator smirking at, maybe, his friend’s growth but more likely his own apparent genius.
Somewhere out there is a movie exec pitch “gritty reboots” of everything from The Muppet Babies to Air Bud. I just pray Hollywood gets it right for once and shows us the true nature of this privileged, spoiled deceiver.
But, until then, I’ll settle for the artistic genius that is this film.
Ferris Bueller’s Day Off is streaming on Showtime and Hulu with a premium subscription.
Written By: Wayne Broadway
Reader, I won’t lie to you: You won’t like this review. In a world that seems dominated by people who adore Ferris Bueller (Matthew Broderick) and all of his antics, I stand alone. And don’t get me wrong; I love Ferris Bueller’s Day Off. I just hate its namesake.
To call the character Ferris Bueller the film’s protagonist would be technically correct, considering we spend most of the runtime with him, are treated only to his soliloquies and are positioned to root against anyone in his way. That said, it feels wrong to call Ferris our protagonist spiritually. In my eyes, a story’s protagonist is fighting against something. A protagonist answers the call to adventure, however reluctantly. They return home with a boon of knowledge about themselves and their world gained only through struggle and transformation.
Ferris Bueller just hates being told what to do.
I’ll say it again: Ferris Bueller is a menace to everyone around him and probably a psycho. It’s not just that he cons his way into everything, but it’s the glib way he does it. He takes joy in tricking his trusting parents. He likes knowing that his best friend will eventually cave to peer pressure. He takes pride in fooling everyone around him.
In another world, Ferris Bueller’s Day Off would be a psychological thriller similar to The Good Son, in which those closest to him must come to the horrifying knowledge that the person they love has no pity, remorse, or conscience. In this hypothetical world, Jeanie Bueller (Jennifer Grey) isn’t a shrewish sister who must learn that her brother’s deceit shouldn’t bother her as long as she’s not its main target. This alternate universe’s Ed Rooney (Jeffrey Jones) likely isn’t so unstable because the world hasn’t tried to gaslight him into thinking that Ferris is an amiable kid with no ulterior motives. In this bizarre world, these two characters are our rightful protagonists, and we follow their journey to foil a young Iago in the making.
Sadly, that is not the case here.
Still, we have fun in our world’s version of this movie because Cameron (Alan Ruck) is our deuteragonist and secret hero.
Ferris Bueller’s Day Off is Cameron’s movie framed as his friend’s.
Every scene with Cameron is delightful, especially as the movie — and his hero’s journey — progresses. While I would argue that Ferris is the Devil, he is still Cameron’s call to action. Cameron learns to express his inner demons throughout the film and exorcizes them. He learns that life is worth living when he believes he’s faced with death at the hands of his father (because you-know-who pressured him into taking his father’s prized Ferrari). He comes face to face with himself in what seems like a cocooned state, only to emerge a transfigured creature ready to deal with his problems at home. If the movie were titled Cameron: Story of a Sad Boy with a Sociopathic Friend, I would have preferred that more.
Still, I have a ton of love for this movie.
John Hughes is at his very best here. From the triumphant parade scene to the quiet shot of Cameron at the bottom of the pool, Ferris Bueller’s Day Off is evidence of a director who aims to have his name mentioned with the same reverence paid to Scorsese, Spielberg, or early De Palma. Enough kudos cannot be given for how he perfectly meshes music and visuals in set pieces like the museum scene or the Ferrari scene with the Star Wars music. Sure, the script is pretty low on plot other than Bueller’s “antagonists” trying to catch him being the lying sleazeball that he is, but Hughes’ direction makes the film’s desultory nature seem grand regardless.
It’s just a shame that so many beautifully crafted frames had that jerk as their focal point.
A question I had for the first hour of this film was, “Who is this for?” Is it for people who love to see the bad guy win? For high schoolers who never met an adult that wasn’t evil or clueless? I can’t rightfully say. If it’s for the former, I kindly recommend watching No Country for Old Men, because there, too, chaotic evil gets away scot-free (unless you count Chigurh’s final scene as some kind of petty cosmic justice). If it’s for the latter high schoolers, then, dear teenagers, I welcome you to talk to an adult over 20. I promise we’re human beings, just like you.
Ultimately, I think this is a movie made for the Camerons of the world.
Ferris Bueller’s Day Off celebrates life, even when that celebration can feel hedonistic and egotistic. The main character doesn’t care about Europe or whether they’re fascists or socialists. If the movie is deriding this kind of solipsism, I couldn’t tell. But Cameron, its secondary lead, feels a lot about the world. He feels lost. He feels unable to talk to his father. He feels angry that he feels lost and unable to talk to his father. This person is an actual human being, developing hopes and dreams that he can’t articulate yet due to the awkwardness of growing up in an emotionally distant home.
The next time I’m asked who’s the hero of this movie I’ll say Cameron.
Oh, and on a final note.
For those who read this and say, “Wayne, we know you’re handsome and intelligent, but don’t you think you’re being too hard on this comedy?”
I’d thank you and tell you you’re all beautiful too. Then I’d say you’re wrong about comedy. Typically, the comic structure ends with a lovable loser getting a happy ending or a grimy schemer getting his comeuppance. Ferris Bueller gives us half of that. We feel that Cameron will be okay, however rough the road ahead may be. But the last shot is also a freeze-frame of a manipulator smirking at, maybe, his friend’s growth but more likely his own apparent genius.
Somewhere out there is a movie exec pitch “gritty reboots” of everything from The Muppet Babies to Air Bud. I just pray Hollywood gets it right for once and shows us the true nature of this privileged, spoiled deceiver.
But, until then, I’ll settle for the artistic genius that is this film.
Ferris Bueller’s Day Off is streaming on Showtime and Hulu with a premium subscription.
Writer: Brandon Thomas / Artists: Serg Acuna, Diego Olortegui, Wade Von Grawbadger, and Adriano Lucas / DC Comics
It’s the final issue of Aquaman: The Becoming, which means that this is the issue that Aquaman… wait for it… becomes.
This book has followed Jackson Hyde, commonly known as Aqualad in some circles, but it’s also partly been about Jackson becoming Aquaman. So from this point forward, that’s who I’m talking about when I say that name. And when I mention the original one I’ll just say Arthur. It is a bit confusing, as they are both currently named Aquaman, but we’ll make do with what we get.
In Aquaman: The Becoming #6, Aquaman has to stop a terrorist attack in Xebel that attempts to assassinate Mera before she gives a speech on getting rid of youthful conscription, a practice that Xebel has partaken in the past.
But things aren’t that easy of course. Especially since this is the final issue of the series. Aquaman isn’t going to be able to save the day without a few obstacles in his way. The first one is that Xebel themselves are the ones trying to take out Mera, in an attempt to use her as a martyr for their cause, since she is technically one of them. Aquaman has to stop them from succeeding while also confronting how far they’ve fallen, willing to do the same things that they swear only Atlanteans do.
What I really liked about Aquaman: The Becoming #6, is that while it sets up Jackson to become Aquaman, it makes him overcome an insurmountable loss on his way to do so. I don’t want to get into too much spoiler territory, but someone close to Aquaman gets in grave danger, propelling him to dig deep within himself to muster up the courage and power that it will take to save the day. In doing so, however, Aquaman’s emotional state is fractured. He may now know that he has what it takes from a physical standpoint to do what needs to get done, but the sweet young man that we’ve all come to know and love is gone, or at the very least, buried.
I love that Thomas left this problem with Aquaman unresolved at the end of the series. When we see him next in Aquamen, he’ll still be dealing with this heavy emotional toll, and his journey in that book will likely in part be related to healing that part of himself.
I don’t know about you, but I can’t wait. With this and the Black Manta series finale, we have been in a renaissance of new and nuanced Aquaman-centric stories. I can’t believe I’ve loved it as much as I have, but here we are. I’ll see you all when Aquamen drops, because you best believe I’ll be reading that series.
10 Underwater Maces out of 10
Enjoying Aquaman: The Becoming? Check out BNP’s other reviews here.
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The post Aquaman: The Becoming #6 Finale Review appeared first on Black Nerd Problems.
Afronerd Radio can now be heard LIVE courtesy of Apple Music/Itunes
And so another Super Bowl ends! Let's talk about that among other topics this week on Afronerd Radio's The Grindhouse! Showtime starts this Sunday at 6 p.m. eastern on the mighty BTalk 100 internet broadcasting network. Join your "friendly neighborhood" AFROnerdist hosts as they analyze the following scheduled topics: well....the aforementioned Super Bowl LVI definitely didn't disappoint with a turnaround win for the LA Rams and higher viewer ratings-we give our impressions; and then, of course, there were the highly-anticipated commercials and half-time performances. Let's talk about it!; The standout commercials or trailers, specifically were a fuller Doctor Strange in the Multiverse of Madness, Jordan Peele's Nope, and Disney+'s upcoming Moon Knight streaming series:
Our newly anointed NYC Mayor, Eric Adams, has some interesting thoughts concerning drill music, its social media influence, and how the music might be tantamount to a threat to public safety;
“We pulled Trump off Twitter … yet we are allowing music displaying of guns, violence.”
— The Recount (@therecount) February 11, 2022
— NYC Mayor Eric Adams (D), after his son sent him drill rap videos, says he will try to get the videos banned from social media. pic.twitter.com/ATGmhpi4Bo
Dburt has been following HBO's The Gilded Age series and has some interesting insights about the period drama unveiling the infrequently discussed chapter of Black History concerning 19th-century NYC Black elite:
And lastly, our thoughts about the Tina Knowles produced documentary, Profiled: The Black Man and Showtime's Everything's Gonna Be All White docuseries.
One thing that Dburt is doing (finally) is investing in cryptocurrency, courtesy of Roundlyx. We would implore our followers to investigate, discern and then explore by using our referral code: afro-87A4BF
Call us LIVE at 508-645-0100. AFTER CLICKING ON THE HIGHLIGHTED LINK, GO DIRECTLY TO AFRONERD RADIO!!!
Also, Afronerd Radio's podcast format can be heard via BTalk 100 Pandora, Spotify and, IHeartRadio....more formats to follow!
We’ve seen her play the brilliant Rachel on the CBS legal drama All Rise and dedicated ex-attorney Ari Montgomery on First Wives Club for BET+. Now, Ryan Michelle Bathé is front and center as Agent Val Turner on NBC’s new thriller drama The Endgame.
The series co-stars Morena Baccarin as Elena Federova, an international arms dealer who has just been captured. Elena is always two steps ahead of everyone. The only person who can go toe-to-toe with her is Bathé’s character FBI Agent Val Turner. Val is smart and plays everything by the book. Viewers will quickly realize that these two have more going on than meets the eye. Seeing two women at the forefront of a show where we usually see men is hopeful and refreshing.
BGN had the opportunity to speak with Bathé via Zoom to discuss her new role, what we can expect from her character, and how she manages the pressures of Hollywood.
The Endgame is action-packed and such an exciting show. You play Agent Val Turner. Can you tell us more about this character and how you prepared to play her?
We have a fantastic woman on our show who is our FBI consultant, and she’s incredible. So, just very specifically, I worked with her, we spoke on the phone, we still speak on the phone, and she’s on set. She went with me when I did my weapons training and was there to help me out. So, those are much more tactical or tactile things that I did. Again, the situation that we find ourselves in is incredibly heightened. So, there’s only so much that she can help with, because it’s an impossible situation that we find ourselves in. It’s not based on anything real that she’s found herself doing in her career. Between her and working with the weapons, those are two things that pop out.
Right now, the writers haven’t necessarily developed Val in any way. Because what is needed right now is Val, the FBI agent, to show up and solve. When people watch the show, it’s moments very much happening in real time. So, we’re not dropping in on Val after a traumatic event or during a traumatic event. We’re dropping in on her at a very heightened time in her life, in a short amount of time in her life. She has a job to do. She has to continue to focus on the job because lives are in danger. It’s a little bit like Jack Bauer, in a sense.
There are two women at the forefront of this show — Agent Val Turner and Elena “The Queen.” Even being on opposite sides, would you agree they both have something to prove, while actually having a lot in common?
It’s interesting that you say that. Justin Lin who directed our pilot said something really interesting to me: “I see this as an example of the American Olympic and athletic system versus the Russian Olympic and athletic system.” Where Russia basically scours the countryside and the cities of their country, if they see a three-year-old do a flip they get picked. Whereas in the United States, we have a much more American idea of things. The movie Rocky is a classic example. He’s down and out, he doesn’t have much, he’s got a little grit. We as Americans feel like it’s our grit and our gravy, and that we do have something to prove. The American way of doing things is that we have to prove ourselves. The Eastern European way of doing things is that they don’t have anything to prove because they’ve been doing it all their lives. But Agent Val does have something to prove.
There are so many pressures in Hollywood, particularly for Black creatives. How do you keep yourself mindful and grounded?
To continue my Rocky metaphor, when I got this job, the recurring phrase was “You’ve worked so hard!” By the hundredth time, I’m like, “What have I been presenting to the world?” Yes, I’ve worked hard and I am proud of my hard work. I’ve been knocked down a lot. I think what helps me stay grounded is almost the reverse. I’ve never been handed anything. I’ve never been given anything. I’ve never looked the way you’re supposed to look in Hollywood. I’ve never been in the right place at the right time in Hollywood. I’ve never impressed the right people when I’ve gotten in front of them — they’ve been completely and totally unimpressed. What keeps me grounded is that there is nothing that’s ever inflated my ego. I’m grateful to God that all of my experiences haven’t made me bitter because it can also go the other way. I feel like I’ve had so many moments that have grounded me in deep wells of compassion for myself and other people.
The Endgame premieres Monday, February 21, 2022, on NBC.