Entertainment

Is Julianne Moore and Natalie Portman’s ‘May December’ Movie Worth Seeing? on September 30, 2023 at 11:30 pm Us Weekly

Published

3 years ago

October 1, 2023

May December, which opened the 61st annual New York Film Festival, earns 3 stars (out of 4) from Us Weekly movie critic Mara Reinstein.

On the extremely soggy opening night of the 61st New York Film Festival, the artistic director took the stage at Lincoln Center and introduced May December with a declaration: This selection was the “funniest film” to ever kick off the famed event.

He wasn’t necessarily wrong — previous opening night selections, after all, include Gone Girl, Captain Phillips and The Irishman. But May December is no mainstream comedy with a fun pop soundtrack and merchandise tie-ins. A riveting character study featuring Julianne Moore and Natalie Portman in showcasing performances, it explores complicated relationships using an off-kilter energy. And while laughs are sprinkled throughout, its sense of humor is nefarious to the core.

Portman plays Elizabeth Berry, a popular Juilliard-trained actress who stars on a TV series called Norah’s Ark and is now researching a role for an independent film. She arrives in Savannah, Georgia, to meet and shadow her subject, Gracie Atherton-Yoo (Moore). Gracie is a mild-mannered baker residing in a nice house with her noticeably younger husband, Joe (Riverdale’s Charles Melton), and their soon-to-be-graduating twins. We care because she’s also a ’90s tabloid fixture once imprisoned for statutory rape after embarking on a sexual relationship with Joe when he was just 13 and working at her pet store.

Francois Duhamel/Courtesy of Netflix

To answer the obvious question, director Todd Haynes (Carol) has said the character is indeed based on notorious teacher Mary Kay Letourneau. She and her student, Vili Fualaau, had kids as well and wed (and separated) before Letourneau’s 2020 death. In May December, Gracie and Joe are seemingly content with their domesticity. Aside from a few insidious examples of mail harassment, they’re functional members of their Southern community. Gracie’s first husband and older son even live close by.

Leave it to Elizabeth’s Hollywood presence to disrupt the status quo. Though Gracie is wary of the whole endeavor, Elizabeth convinces them in her deceptively soft-spoken way that she will let the saga be told appropriately and accurately. Because Elizabeth is so method about the endeavor, we’re led to believe this means she will eschew the tawdrier aspects in favor of portraying the couple’s sensitive love story.

But the actress, whose email inbox consists of messages with subject lines like “Vanity Fair Questions,” can’t help herself. She’s entranced by the couple’s peculiar dynamic, in which the emotionally fraught Gracie is prone to crying fits and the now 36-year-old Joe exudes a childlike innocence. Sure, Elizabeth takes notes on Gracie’s makeup routine and mimics her body language as an obligatory responsibility. She also asks to see the pet store stock room in which the couple first hooked up and simulates her own private romp.

Francois Duhamel/Courtesy of Netflix

For all its tension, May December isn’t here for the melodramatic twists. Elizabeth is not going to have a change of heart and go back to L.A., just like Gracie will not suddenly regret all her life choices and pull the plug on the whole arrangement. (Money must be involved, but it’s never outright stated.)

The film does excel as it swings in many tonal directions without falling. At times, a thriller seems to be mounting — Gracie goes hunting with a shotgun, often looks at Elizabeth with disdain and, hello, the woman did serve time in jail. During other moments, the film is a straightforward message drama about a family trying to persevere in the aftermath of a scandal. There’s compassion to spare, especially for Melton’s Joe. When he smokes pot for the first time, the fallout is oddly heartbreaking. Melton, so vulnerable in his scenes, more than holds his own with the two Oscar winners.

Not surprisingly, the humor is derived from its pitch-black take on Hollywood celebrity. And frankly, the results are so effective that it could have afforded a bit more skewering on that front. Elizabeth is all too aware of her manipulative superpowers: In an amusing set piece, she visits the local high school to do a Q&A and launches into a monologue about filming sex scenes — both to get a rise out of a male student and perhaps to try her hand at seducing this younger guy. She displays hilarious faux sincerity when a fan compliments her show. Though she ultimately admits that she’s outstayed her welcome, she still attends the twins’ graduation ceremony. But Gracie gets the last word.

So who is exploiting whom? To its credit, May December never provides a clear-cut solution. The two women often look at each other in a mirror, seeing themselves reflected in each other’s eyes. It’s up to the audience to figure out what (and who) is for real. Just beware of those sharp edges.

May December opens in select theaters November 17 and will be on Netflix December 1.

May December, which opened the 61st annual New York Film Festival, earns 3 stars (out of 4) from Us Weekly movie critic Mara Reinstein. On the extremely soggy opening night of the 61st New York Film Festival, the artistic director took the stage at Lincoln Center and introduced May December with a declaration: This selection

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Entertainment

DJ Shinski Brings AfriqueFest To Life

Published

1 week ago

June 16, 2026

Bolanle Media Staff

AfriqueFest: Pan-African Musical Experience — World Cup Edition is set to take over Noto Houston on Sunday, June 28, bringing together East, South, and West African sounds in one immersive celebration of music, culture, and connection. Presented by Experience Noir and Bolanle Media, the event is designed as a cinematic night for the culture, blending global energy with Houston nightlife in a way that feels elevated, intentional, and deeply rooted in African creativity.

Spotlight on DJ Shinski

At the heart of this year’s experience is DJ Shinski. Born and raised in Nairobi, Kenya and now based in Houston, DJ Shinski has built an international name off high-energy sets that move effortlessly across Afrobeats, Amapiano, hip‑hop, dancehall, reggae, and electronic sounds.

He has also become Africa’s most‑subscribed DJ on YouTube, crossing the 2‑million‑subscriber mark and turning his mixes into a global destination for music lovers.

DJ Shinski’s style is precise but unpredictable: one moment it’s classic Afrobeats, the next it’s East African anthems, then a run of throwback hip‑hop or R&B that still feels fresh. That ability to read a room and connect multiple worlds in a single set is exactly why AfriqueFest is building so much of the night’s energy around him.

At AfriqueFest, DJ Shinski helps drive the Safari Grooves segment, representing East and Central Africa from 4 PM to 6 PM. Expect a journey that moves from Nairobi to Dar es Salaam, Kampala, Addis, and beyond, all filtered through his signature “vibes on vibes” approach behind the decks.

DJ Tunez and the rest of the night

Supporting that energy, DJ Tunez leads the Gold Coast Beats chapter from 8 PM to 10 PM, bringing his own Nigerian‑American Afrobeats pedigree to the stage. Together with the Diamond Rhythms segment (South) and a curated roster of DJs, the night stretches across the continent in three distinct musical chapters, all connected by a single dance floor.

Hosted by @chris_gone_crazy, @kingdrewwskyy, @roselynomaka, and @samsnewleaf, AfriqueFest is positioned as more than a party—it’s a celebration of sound, style, and Pan‑African identity in Houston, with DJ Shinski anchoring the experience from the moment doors open.

Brought to you by Bolanle Media & Experience Noir

Brought to you by Bolanle Media and Experience Noir, this World Cup edition of AfriqueFest is crafted as a night where global DJs, storytellers, and music lovers collide and create a shared cultural memory. With DJ Shinski front and center—and DJ Tunez helping close the night—guests can expect a show that reflects both the future of African nightlife and the power of the diaspora to create unforgettable live moments.

If you want to experience DJ Shinski live at AfriqueFest, now is the time to lock in your spot. Purchase your tickets now at AfriqueFest.com and get ready for a night of music, movement, and culture at Noto Houston.

Entertainment

STREAMING PREMIERE · JUNE 13, 2026

Published

2 weeks ago

June 13, 2026

Bolanle Media Staff

Laughter Meets Inspiration: Our Ladies Show Lands on The Roku Channel

A bold new sketch comedy series for women premieres June 13 across the U.S., U.K., and Canada — arriving on the back of a festival-winning run that has critics and audiences already paying attention.

It isn’t every day a brand-new comedy arrives already wearing a row of trophies. Our Ladies Show does. The seven-episode inspirational sketch comedy series — created, written by, and starring Christin Jezak — begins streaming on The Roku Channel on Friday, June 13, 2026, available free to viewers in the United States, United Kingdom, and Canada.

Produced in partnership with global media services leader Encompass Digital Media, the series sets out to do something rare in today’s streaming landscape: make women laugh out loud and leave them lifted. In a media moment crowded with noise and cynicism, Our Ladies Show is a deliberate counterweight — comedy with a conscience, built for women of every age and background.

A Show Built Around Real Life — and Real Laughs

Each of the seven episodes opens with a monologue from one of the cast members introducing the theme, then rolls into three or more sketches that hit the subject from every comedic angle. The series tackles the things women actually carry: holding grudges, comparison, beauty, patience, gift giving, the importance of community, and dealing with anxiety.

The comedy comes from a place of warmth rather than mockery — a “laugh at ourselves” spirit that runs through a gallery of unforgettable characters: a nosey neighbor, an overwhelmed mom, relentlessly optimistic flight attendants, beauty pageant winners past their prime, and a crew of unruly campers with a counselor who simply cannot hold it together.

Then the show does something most sketch series don’t. In the final segment of every episode, the cast gathers in a living-room setting and invites the audience in — sharing real inspiration drawn from the theme, the sketches, and their own personal stories. It’s the moment the laughter turns into something that stays with you.

The Women Behind the Show

Our Ladies Show brings together three performers with serious range:

Christin Jezak — creator, writer, and star (Miracle at Manchester, Raising Hope, Jimmy Kimmel Live!)
Hillary Hawkins — (Primal, Nick Jr.’s Play Along, Gullah Gullah Island)
Sarah Hernandez — (Nefarious, Unplanned, House of Payne)

“In a world with so much division and depression, I hope women of all ages and backgrounds will watch this show, laugh, be reminded of how beautiful, unique, and loved they are, and remember how much we need each other.”— Christin Jezak, Creator & Star

Already a Festival Favorite

The series’ recurring long-form sketch, Neighborhood Watch, didn’t arrive quietly. Originally released as a web series and revamped for Our Ladies Show with new footage, sound, and music, it has been sweeping the festival circuit:

🏆 Best Webseries — 2026 New Media Film Festival (Los Angeles)
🏆 Best Web/TV Series — Paris Film Awards
🏆 Best Web Series — Dallas Movie Awards
🏅 Additional wins at the London Movie Awards, Florence Film Awards, and Hollywood Gold Awards
🎬 Official Selection — 2026 Harvard Divinity School Film Fest
⭐ Finalist — Houston Comedy Film Festival
📣 Three nominations — 2025 Content Christian Media Conference, including Best Actress in a TV and Web Series nods for both Christin Jezak and Sarah Hernandez

Where and When to Watch

Our Ladies Show premieres Friday, June 13, 2026, streaming on The Roku Channel — the home of premium and free entertainment — in the U.S., U.K., and Canada. All seven episodes deliver the series’ signature blend of sharp sketch comedy and genuine encouragement.

Watch the trailer now on your platform of choice:

For more information, visit www.ourladiesshow.com and follow @ourladiesshow on Facebook, Instagram, and TikTok.

About Christin Jezak

Christin Jezak has worked for over 15 years in the entertainment industry. She created and stars in Our Ladies Show and the award-winning web series Neighborhood Watch. She produced the EWTN TV program For the Sake of the Gospel and the all-women web series Ladies Keepin’ It Real, played Dr. Sam in Miracle at Manchester (starring Dean Cain, Daniel Roebuck, and Eddie McClintock), and voices Agnes in the podcast Confessions of a Catholic Single. She held a lead role in a short film for NTT Data directed by Academy Award–winning cinematographer Janusz Kamiński, has co-starred on Raising Hope, and appeared in Jimmy Kimmel sketches and a Grubhub Super Bowl commercial.

About The Roku Channel

Roku pioneered streaming on TV and is the #1 TV streaming platform in the U.S., Canada, and Mexico by hours streamed (Hypothesis Group, Dec. 2025). The Roku Channel is the home of premium and free entertainment, alongside Roku’s Howdy and Frndly TV services. Roku is headquartered in San Jose, California.

About Encompass Digital Media

Encompass Digital Media is a global managed services company — technology-driven, software-defined, and people-powered. Trusted by world-leading broadcasters, networks, sports rights-holders, and OTT platforms, it processes over 25,000 hours of content daily, serves 850 channels to 84 countries, distributes over 243,000 live events annually, and reaches 400 million radio listeners weekly worldwide. Learn more at www.encompass.tv.

Media & Interview Requests: To interview creator Christin Jezak or the cast, contact Christin at cjezak@p2ptheatre.com.

Entertainment

What Filmmakers Should Actually Steal From Euphoria

Published

3 weeks ago

June 4, 2026

Bolanle Media Staff

Most of the talk about Euphoria asks one question: was it realistic? That’s the wrong question if you make films. The better one is simpler. How did Sam Levinson get an audience to feel addiction from the inside? And what did it cost him to end the show the way he did?

Strip away the noise and Euphoria is a clinic in three choices: point of view, style, and the ending. Here’s what’s worth taking — and what isn’t.

1. Put the Camera Inside the Character

Most shows about drugs watch from across the room. Euphoria doesn’t. When Rue is high, the camera is high too. Walls breathe. Floors tilt. Time skips. You’re not watching her — you’re stuck inside her head.

That’s the lesson: point of view is a decision you make with the camera and the cut, not a mood you add later in color. Levinson builds it into the lens, the blocking, and the edit.

So before you shoot a scene through a character’s eyes, ask one thing on set: whose eyes is this lens standing in for? Then make every cut respect that.

2. Your Style Has to Mean Something

The glitter. The slow push-ins. The impossible club lighting. Euphoria‘s look got copied everywhere. That’s the trap.

The style worked because it carried weight. The beauty wasn’t decoration — it was the lie addiction tells you, the reason the next high looks worth it. The camera made self-destruction gorgeous on purpose.

The copies missed that. A thousand music videos took the look and left the meaning behind, and you can feel how hollow they are. So here’s the test: if your signature style could be swapped onto any other project and still “work,” it’s not a style. It’s a filter. Every choice should have a reason behind it.

3. The Ending Tells the Audience What It All Meant

When Euphoria ended for good in Season 3, Levinson killed Rue — an accidental, fentanyl-laced overdose. He called it “the honest ending,” saying he wanted to tell a true story about addiction and grief in a time when one mistake can be the last one. Reportedly, that wasn’t the original plan; the death of Angus Cloud, who played Fezco, changed the script.

Forget whether you agree with the choice. Study how it works. An ending is the last instruction you give your audience about how to read everything before it.

By ending on consequence instead of recovery, Levinson reframed seven years of beautiful chaos as a story about cost — not a celebration of it.

It’s also the show’s most debatable move, and that’s worth noticing too. A show that spent years making pain look beautiful had to fight to make that pain land as loss. Did it earn the ending, or enjoy the wreckage too long to stick it? Smart filmmakers will disagree — and that argument is exactly what a good ending is supposed to start.

What Not to Take

The neon grief is the most copied part. It’s also the least useful. Take the surface — the colors, the slow-mo, the trauma-as-texture — and you get the costume without the body.

The real craft is underneath. Commit your camera to a real point of view. Make every stylistic choice earn its place. Treat your ending as the point of the whole thing. Do that, and your work won’t look like Euphoria. It’ll do what Euphoria did.

This piece touches on addiction and substance use. If you or someone you know is struggling, support is available through the SAMHSA National Helpline at 1-800-662-4357.