Author: Robert Greenberger

“Wednesday’s child is full of woe.”

When Charles Addams was helping turn his amusing gothic New Yorker cartoons into a television series, the little girl needed a name, and he used a line from an old-time children’s poem. He’d been at the drawing board with these characters since 1938, although Gomez and Morticia’s daughter didn’t arrive until 1944. At different times, she was older or younger than her sibling, Pugsley.

Ever since her arrival, Wednesday has been a fixture, her pale skin, pig-tailed black hair, and solemn expression imprinted on future generations of Goth girls. From Lisa Loring to Christina Ricci, the live-action look has endured as the character has aged from her purported six years old in the original series pilot to 18 in the 2010 Broadway musical adaptation.

Miles Millar and Alfred Gough, no strangers to teenage angst after a decade-plus at Smallville, settled on a 15-16-year-old incarnation for their delightful Netflix series Wednesday. Removing her from home, she is sent to attend school at Nevermore Academy, where she intends on honing her detective skills but makes friends, finds young love, and far more than she bargained for in eight captivating episodes.

Tim Burton’s macabre touch is seen throughout, and he finally gets a chance to work on the property since he was first circling the 1991 film adaptation. The off-kilter characters and set decoration all feature his hallmark touches, making the show visually compelling.

At first, she doesn’t want to make friends, fall in love, or interact with anyone, but as she gets to know her roommate, Enid (Emma Myers), she finds herself drawn into the lives of others. Then, when someone dies, she begins to investigate, bringing her in contact with the Vermont locals who have an uneasy relationship with the school.

This is Ortega’s show, and she is front and center, called up to be brilliant at almost everything, mental or physical. Today, mention the show, and you immediately think of her memorable dance sequence, which apparently exhausted the actors. She shines here, enlivening every scene she is in, and communicates so much through her deadpan expression.

She’s ably surrounded by a fine supporting cast, including Gwendoline Christie as Larissa Weems, the principal, who was once a roommate with Morticia (Catherine Zeta-Jones, when they attended Nevermore; Ricci as Marilyn Thornhill, the botany teacher/dorm mother to Wednesday and Enid; Joy Sunday as Bianca Barclay, a siren; and Percy Hynes White as Xavier Thorpe, an art student. Wednesday is also accompanied by Thing (Victor Dorobantu), the disembodied hand that she has grown up with, maybe the only being she truly cares about.

The series has been renewed for a second season, and a spinoff focusing on Uncle Fester (Fred Armisen) was recently announced. This single-disc Blu-ray is a great way to see the series, with a sharp 1080p digital transfer and fine DTS-HD 5.1 Master Audio track. Sadly, no Special Features were included.

Phenomena: Matilde’s Quest (Phenomena Book 2)

By Brian Michael Bendis and André Lima Araújo

Abrams ComicArts/156 pages/$24.99

It has to be said that writer Brian Michael Bendis rarely, if ever, repeats himself. His Ultimate Spider-Man is unlike his New Avengers, which is nothing like his Legion of Super-Heroes, his self-created Takio, or Murder Inc. He is incredibly prolific and highly original, with a gift for dialogue and character that always makes his stories engaging.

Here, he and André Lima Araújo have created a new science fiction world and populated it with all manner of organic and technological wonder. In 2022, we first met the trio of hotheaded Boldon, the outcast Matilde, and Spike and their exploits on a nearly unrecognizable Earth. An event dubbed the Phenomena, something shrouded in mystery, resulted in a towering wall separating two warring cultures.

In book one, The Golden City of Eyes, the protagonists meet and unite for the common good despite their drastic differences. They have traveled through several villages, and with each adventure, their legend begins to grow. As they arrive at Valentia Verona, once London, they must confront their legacy, and here, Bendis explores just whose story it is. Boldon complains that storytellers are stealing his story, but its enduring nature provides some new lessons.

The first volume was a little off-putting and confusing with the races and worldbuilding. Here, everything is put in its proper context, a neat feat considering all the new characters introduced. From the title, you know it’s Matilde’s story, and she proves to be an endearing figure, especially after she crosses the wall and confronts the enemy with a simple question.

Araújo (A Righteous Thirst for Vengeance) provides impressive black-and-white artwork that switches from the intimate to the magnificent, opening up this new Earth in interesting ways. All the characters are well-delineated, and his line work is intricate and appealing.

This clearly is the second volume in a trilogy, with Boldon’s story yet to be explored. This volume works fine on its own, but is a strong second chapter in this series.

In 2011, I watched Contagion and found it a gripping thriller with an all-star cast–Matt Damon, Laurence Fishburne, Elliott Gould, Jude Law, Marion Cotillard, Kate Winslet, Bryan Cranston, Jennifer Ehle, Sanaa Lathan, and Gwyneth Paltrow–then promptly stopped thinking about it. I was, though, reminded of it in 2021 when the global pandemic became a reality.

And yet, Warner Home Entertainment skipped the obvious 10^th anniversary in favor of finally releasing the 4K Ultra HD edition. It’s a stunning disc and well worth your attention.

From director Steven Soderbergh and writer Scott Z. Burns, we have a now-eerily familiar situation that a weary world is hardly prepared for. As the camera casually pans across the empty spaces and we see only masked faces, it feels more like memory than fiction. We can admire how accurately they projected what a modern pandemic might be like and you would have thought more people would have paid attention back then and made us all better prepared for what is now clearly the inevitable.

PR executive Beth Emhoff (Paltrow), returns from Asia, and brings with her a disease that was already spreading. A flashback at the end shows how it all innocently started with…a bat. Her husband, Damon, is the character we follow through the various lot threads as the world rapidly spirals out of control. Dr. Leonora Orantes, Cotillard’s WHO epidemiologist, comes from Europe to study the disease and her outsider status rubs people the wrong way and also is discordant with the rest of the narrative.

We’re far enough away from our real-world life-changing circumstances to once again watch the film, but with fresh eyes and knowing nods of the head. Overall, it’s a compelling story with many strong performances.

The studio’s 2160p/HDR10 transfer is superb and an improvement over the previous Blu-ray edition. The DTS-HD 5.1 Master Audio mix is fine, although can’t keep up with the visual. Not that most of us would notice.

The release offers just the 4K and a Digital HD code, repackaging the 2012 special features while adding nothing new, which is a missed opportunity.  For the record, these include The Reality of Contagion (11:00), The Contagion Detectives (5:00), and How a Virus Changes the World (2:00).

Fall Through

By Nate Powell

Abrams ComicArts, 192 pages, $24.99

Artist Nate Powell gained international acclaim for his work on the March trilogy of graphic novels recounting the life and career of the much-missed John Lewis. However, he is more than just that; he’s an acclaimed writer/artist, as seen in the just-released Fall Through.

While that would have been interesting enough for a story, he layers on the fact that they have crafted a song that propels them through time and space to alternate realities and it then becomes a search for home. They arrive in 1994 and want to get back to 1978 without a pair of silver slippers in sight.While the marketing calls it “Love and Rockets meets Russian Doll”,  I call it needlessly confusing. Powell vividly presents the power of music, adding in a layer of lightning to accompany their thrashing. It’s a visually interesting story if the narrative doesn’t quite connect.Of the four characters, vocalist Diana is perhaps the best delineated. It’s her powerful song “Fall Through” that sends them everywhere. Interestingly, this isn’t her story, but it’s Jody, the band’s bassist, who emerges as the protagonist. With the encouragement of her father, she leaves home with her bass, and hooks up with the others, forming the group. Unfortunately, she’s not particularly well-defined, and the other members of the band, Napoleon and Steff, come across with barely acknowledged wants and needs. We get glimpses of what’s on her mind through her tour diary, which spaces six weeks for her, and years for everyone else.

I don’t mind a good circular story (I really enjoy Russian Doll), but visually, it’s hard to parse which reality we’re in or what time period. Had Powell stuck with the punk community the band encounters across the country and the power of music. This could have been a significantly stronger narrative.

Space Wars: Quest for the Deepstar very much wants to be one of the plethora of low-budget 1970s knock offs of Star Wars riding the comet tail of that phenomenon. It’s just not bad enough to be lumped in with Bartle Beyond the Stars or the 3-D mess of Spacehunters. Nor is it good enough to be a thoughtful low-budget meditation on the soul. It falls in between and is quickly forgotten the moment you turn off the DVD of the 2022 release, out now from Uncork’d Entertainment.

Late in the 30^th century, mankind has somehow managed to survive the contemporary mess we’ve made of ourselves and has even managed to find a way to preserve the human soul, reducing it to a blue goo. The catch is that it’s expensive, so only the top 1% of the 1% can afford it, although starship captain Kip Corman (Michael Paré), a scavenger eking out a living, won’t let that stop him. He’s recently lost his wife and wants her essence poured into an android. With his daughter Taylor (Sarah French), they search for credits and the legendary Deepstar, where his salvation awaits.

This quest occupies the bulk of the film, as any story adhering to the three-act structure demands, and here there are some interesting obstacles, such as pirate Dykstra (Olivier Gruner). They even encounter an interesting scientist, Jackie (Anahit Setian), who promises them the starship’s location in exchange for their protection.

Based on what we’re shown, the future is shinier but nowhere near as advanced as one would have hoped. The costumes and sets are okay while the CGI effects get the job done.

Paré was on the cusp of stardom in the 80s with features like the underrated Streets of Fire, and here, he’s an older but engaging leading man. The relationship between him and French show some genuine warmth. However, they’re stuck with mediocre dialogue from Joe Knetter and Garo Setian, with the latter directing in an adequate, if unimaginative, manner. The rest of the cast are less talented and without stronger material to work from, fill the screen, and keep things moving.

The film is available as a DVD only and comes with a fine 1080p digital transfer and 5.1 Dolby Digital audio track. Neither are great, nor do they need to be given the content.

There are a reasonable number of Special Features including Commentary from director Garo Setian, screenwriter Joe Knetter, and stars Anahit Setian and Sarah French. Additionally, there are four Deleted Scenes (5:29), the inevitable Bloopers (4:15), and the Trailer (1:34).

Climate change has become the Go To dystopia for stories these days, each with an apocalyptic feel, showing little hope for humanity. Paramount released the film adaptation of Megan Hunter’s novel The End We Start From, the latest such installment, in December. Now available for streaming rental, the film, starring Jodie Comer, explores the aftermath of such a climate incident.

Water rushes from the skies, flooding ensures, and soon towns and cut off and cities can’t cope. England is submerged (the rest of the world’s fate is left up in the air) and the Woman (Comer), finds herself giving birth without any of the usual medical support. When we first see her, she’s in a bathtub as the rains fall outside so there’s no escape. The graphic birth shows the stakes she  and her partner R (Joel Fry) face in not only their survival but of the infant.

Thankfully, they make it out of London and are briefly ensconced in his parent’s home in a village located on higher ground. But supply chains have been wrecked, food and tempers run short, and they find themselves separated.

What follows is a largely episodic film, directed by Mahalia Belo, from Alice Birch’s script, following Woman’s struggle to stay sheltered and keep the infant safe. Along the way, she finds O (Katherine Waterston), with her own two-month-old. They bond and work to survive together against increasingly bleak odds.

There is an almost monotonous pacing to the film, as we see man’s humanity toward fellow man, leavened here and there with genuine acts of kindness. Still, so much of the emotional weight is carried by Comer, who gives a strong performance There is conflict, but nothing she can’t seem to navigate so she’s not challenged and we’re left lulled.

We never get to know Woman, or her relationship with R. Her friendship with O is the warmest part of the narrative, set against gray skies and damp environs. She survives, which isn’t a spoiler, but the world she is left to raise her child in is a cautionary one.

Paramount+ was called, by some, the Star Trek channel when it first launched, but it rapidly was changed to the Taylor Sheridan channel, as his various series fuel their original programming slate. Thankfully, they are different and distinct, each with its own genre.

After conquering the modern and historic Western, he gave us the gritty Mayor of Kingstown and Sly Stallone’s Tulsa King. Then, this fall, came Special Ops: Lioness, an international espionage story that was (finally) female-centric.

The premise for the ten-episode show is based on a real CIA program, “Team Lioness,” from a Marine Corps program, “created to grant the Marine Corps closer access to women involved in potential terrorist plots,” according to Collider. The female Marines could search for potential female threats and form bonds in Iran and Afghanistan that their religious beliefs kept them apart from men.

Sheridan took things one step further, with the Lioness team actually embedding a Marine, Cruz Manuelos (Laysla De Oliveira), close to an Iranian daughter of their target, the moneyman behind Iran’s terrorist activities. Each team had a searcher and a guardian angel, with the latter being the hardened Joe (Zoe Saldaña), and her support troops.

There is a tense relationship between Manuelos, who had a hard life before enlisting, and Joe, who distances herself from her husband (David Anabele) and two daughters. Who watches the watcher? The ubiquitous Nicole Kidman fills that role back at Langley, and she reports to Morgan Freeman, so the cast is stellar.

The story traces Manuelos’ recruitment into the program and hurried training, and then we see her befriend the mark, Aaliyah (Stephanie Nur), about to be married, bringing her elusive father into the public eye (and target scope of Manuelos’ rifle, they hope).

There are some digressions that feel like filler to stretch out the story and tension across the episodes. Still, the domestic and international stories are riveting, and Sheridan’s hallmark of never leaving his characters undamaged effectively continues here. Manuelos’s arc is the most compelling as she is pushed way beyond her comfort zone, forming a social and then romantic entanglement with Aaliyah.

The series may or may not be back for a second go, but Paramount Home Entertainment has released Special Ops: Lioness Season One in a three-disc Blu-ray package. No 4K or digital HD code, but each disc has special features.

The 1080p digital transfer is fine, if unspectacular, good for home viewing. The Dolby TrueHD 5.1 lossless soundtrack is an equal match.

As for the features, on the first disc you get Behind the Story: Sacrificial Soldiers (7:21), The Beating (7:14), and Bruise Like a Fist (4:11). On disc two: The Choice of Failure (6:16), Truth Is the Shrewdest Lie (4:29), and The Lie Is the Truth (7:43); and on disc three: Wish the Fight Away (7:25) and Gone Is the Illusion of Order (7:30). There is also Embedded with Special Ops: Lioness (21:38), a behind-the-scenes exploration, Battle Forged Calm: Tactics & Training (9:02), and Inside the Series (19:00) with LaMonica Garrett, who plays Tucker, leading us through more background.

“I like the stock.”

If only the world of high finance could accept things as simply as that.

As we learned in 2021, the so-called masters of the universe had written off GameStop, the venerable supply of used video games and assorted tech gear. The only one, it seemed, who still believed in them was Keith Gill, who live-blogged as Roaring Kitty. With incredible transparency, he shared his spreadsheets and showed his faith by buying up shares, which encouraged others to follow suit.

The run-up of the stock, fueled by the disruptor app Robinhood, spooked Wall Street and led to at least one capitol group crumbling with hubris.

Finance can make you want to shut down and read a book, such as The Antisocial Network by Ben Mezrich, which inspired the film, but like the superb The Big Short, the 2023 film Dumb Money walks you through this Byzantine world. Director Craig Gillespie shows you how Gill (Paul Dano)’s faith and followers managed to propel a nearly 3000% increase in GameStop’s stock values from $17 to $500 per share.

Out now on disc from Sony Home Entertainment, we see Gill’s story, but also his influence on other “regular” folk who would never dream of buying stock, but thanks to the easy no-fee Robinhood app, they can take a gamble on Gill. Here we follow the everyday lives of financially struggling nurse Jenny (America Ferrera), GameStop retail employee Marcos (Anthony Ramos), and lesbian college couple Riri (Myha’la Herrold ) and Harmony (Talia Ryder), among others.

Not everyone is a fan with Gill’s own brother Kevin (Peter Davison), thinking him a loser. Still, Gill soldiers on, largely because of the unswerving love of his wife Caroline (Shailene Woodley), an underappreciated factor.

The film is compared with the superior Big Short, but it works very well on its own merits. Gill is not a financial genius, but watch his testimony to Congress, and you can see that the arcane ways of Wall Street have prevented the average American from understanding what happens to their companies. It’s a strong message that undercuts the smarm and greed of the high-rollers who just don’t get it. It’s quite satisfying to learn that Melvin Capital Management and its founder Gabe Plotkin (Seth Rogen) lost billions as a result.

The film looks just fine in 1080p high definition, although it had been shot with the most contemporary 4K equipment, so having only a Blu-ray available is a disappointment and shows a lack of faith from Sony. The DTS-HD Master Audio 5.1 surround track is up to the task given how much tech is employed, considering this all occurred during the pandemic lockdown.

The Blu-ray disc comes with a Digital HD code and has a handful of special features. These include the Audio Commentary by screenwriters Rebecca Angelo and Lauren Schuker Blum; Fat Cats Vs. The Roaring Kitty (8:00); Diamond Hand Ensemble (6:00), which is about the casting; and Deleted Scenes (3:00).

At a time when syndicated science fiction was just Star Trek series, it took some guts on Warner Bros’ part to try something darker and more experimental with J. Michael Straczynski’s Babylon 5, designed to tell a sprawling epic that was more political than it was space opera. The show arrived thirty years ago and was successful enough to spawn spin-off five telefilms and a short-lived spinoff, spanning 1993-2007.

The core of it, the 110 episodes from the original five-season series, have been remastered and collected on a nice Blu-ray box set from Warner Home Entertainment. Also included is the original pilot film.

Set in the 23^rd century, the Earth Alliance has found its place among star-faring races, notably the Minbari and the Centauri. Some of these races are fine with humans; others wish them gone. Then there are the Vorlons, and no one knows what they want.

Babylon 5 is a gigantic, 5-mile-long space station built by humans but designed to house the various known major species from the stars. B 1-3 were destroyed during construction, and B4 mysteriously vanished. The sprawling station is where the bulk of the stories are told, with humans dealing with the ambassadors, aides, merchants, and others from the other known races. A Shadow War is brewing along the way and will ensnare most of the main players.

Straczynski wanted the show to have sweep and scale, something SF TV has lacked, and was determined B5 would do for television SF as Hill Street Blues had done for police dramas. With that in mind, he wrote the bulk of the series, each season taking up a year, and was designed as a finite five year arc, an ambitious goal given the vagaries of syndicated fare. He wrote 92 of the episodes and was supported on the rest by Peter David, Neil Gaiman, Kathryn M. Drennan, Lawrence G. DiTillio, D. C. Fontana, and David Gerrold, with Harlan Ellison listed as a creative consultant.

We begin with Season One – Signs and Portents, which takes its time introducing the various species and interrelationships. From there, change is the theme for Season Two – The Coming of Shadows, as Delenn transforms and Michael O’Hare steps back, replaced by Bruce Boxleitner, who seamlessly fit in. As with many series, Season Three – Point of No Return is where the show hits its stride as things are taken up a notch, and the simmering mystery of B4 is revealed. Unfortunately, that couldn’t be sustained during Season Four – No Surrender, No Retreat because JMS was under the impression there would not be a Season Five, and he hurried to tidy things up, reducing the long-promised Shadow War to a mere six episodes. Things felt rushed and uneven, though it was not his fault. This left Season Five – The Wheel of Fire as 22 episodes without an engine to drive it, leaving us with some interesting character bits, some filler, and lots of spinning plates as he valiantly tried to keep things moving forward.

It paid off, celebrated for its mature themes, complex characterizations, and thought-provoking moral dilemmas. Its large cast evolved over the years but was anchored by a stellar assortment of talent, including Bruce Boxleitner, Michael O’Hare, Claudia Christian, Jerry Doyle, Mira Furlan, Andreas Katsulas, Peter Jurasik, Richard Biggs, Andrea Thompson, Stephen Furst, Bill Mumy, Tracy Scoggins, Jason Carter, Robert Rusler, Jeff Conaway, Patricia Tallman, and Mary Kay Adams.

While Boxleitner and O’Hare were your stereotypical square-jawed heroes, the aliens had far more fun, starting with Centauri Ambassador Londo Mollari (Peter Jurasik), whose rivalry with G’Kar (Andreas Katsulas), the Narn ambassador, provided the series with some of its best moments. The other pivotal player was Delenn (Mira Furlan), the Minbari ambassador, who willingly altered herself into half-Minbari/half-human, which had dramatic repercussions among her people.

The show was never a critics’ darling or top-rated show compared with its Star Trek competition as it arrived while TNG, DS9, and even Voyager filled the screens. While those explored strong themes, few did so with the same level of maturity and depth that JMS did with B5, which is why it endures in fan memory. Issues of faith, morality, and sexuality are openly discussed and addressed through the actions and reactions of its characters. Psionics are real in this world and various Psi-Corps officers play key parts in the serial, notably Trek-veteran Walter Koenig as Alfred Bester (named after the Golden Age SF author).

“There are things in the Universe billions of years older than either of our races. They are vast, timeless, and if they are aware of us at all, it is as little more than ants, and we have as much chance of communicating with them as an ant has with us,” G’Kar observes at one point and reminds us of how much tapestry is left to be woven.

Visually, the series was the first to experiment with all-CGI SFX, and in high definition, it may appear rudimentary, but you have to give Warner credit for getting on the cutting edge of, ahem, the future. Sitting with the box set, you have to admire the structure of the series, enjoy the enhanced visuals at 1080p, and enjoy its well-matched audio track.

There are no bonus special features other than the pilot film.

20^th Century Fox wasn’t sure what it had in Star Wars, and apparently, neither did George Lucas. The director was building up his company, Lucasfilm, and unleashed his secret weapon: Charley Lippincott. He whipped people into a previously unknown frenzy by working the fans at science fiction and comics conventions. He saw to it DelRey had the novelization out months before the film, as well as three of the six-issue comics adaptation from Roy Thomas and Howard Chaykin at Marvel. These people were lined up for day one, and the word of the month spread so fast that it endured throughout the summer of 1977.

As we learn in the wonderfully entertaining A Disturbance in the Force, a 90-minute documentary from directors Jeremy Coon and Steve Kozak, despite all his statements saying he had everything planned out, Lucas was still figuring things out. So, 20^th and Lucas were concerned in 1978 that interest might wane despite the sales success of the toys, Splinter in a Mind’s Eye novel, and comics.

As a result, they thought marketing the property through television appearances would be fine. Here, we’re reminded that late 1970s prime time television was littered with poor product. Sure, there were a handful of prestige series (thank you, MTM Productions) but we were given lots and lots of crap (thankfully, I missed most of it by being in college). So, there were dancing stormtroopers on Donny & Marie and Mark Hamill dancing alongside Bob Hope, and so on.

When CBS wanted a special, Lucas agreed, and enthusiasm got the best of everyone. Hence, it grew to a two-hour extravaganza known as the Star Wars Holiday Special, which the creators thought would be an evergreen special but aired just once on November 17, 1978. Without reruns and before the advent of home video, it became the stuff of legend.

It has also proven to be an embarrassment to the film’s stars who were contractually committed (according to Harrison Ford) or were enticed with perks (Carrie Fisher getting to sing). They have spoken of it in interviews and convention appearances with dread, shame, or a laugh.

Coon and Kozak tracked down as many of the original people involved in the making of the show as were still alive and got them to talk about it with forty years perspective. We come to understand that CBS hired people who knew variety specials but not science fiction and Lucasfilm assigned people unfamiliar with television production.

Writers Bruce Vilanch and Lenny Ripps recount the chaos in shaping the show, based on one intense day with Lucas, who then turned his attention to crafting The Empire Strikes Back. His input placed the focus on Chewbacca’s homeworld and family, with the concept of a Life Day celebration. He also wanted Boba Fett introduced through an animated section, which was nicely done by Nelvana, evoking Moebius’ style.

With Lucas’ UCLA buddy David Acomba signed ot direct things proceeded at light speed until they were four days into production, overbudget and in serious trouble, Acomba was removed in favor of Steve Binder who righted the ship as best he could.

The documentary uses copious clips from the special so you can see for yourself the then-state-of-the-art special effects, the creepy Wookie VR-porn (guest starring Diahann Carrol!), the Jefferson Starship rock video, and more.

Pop culture giants including Weird Al Yankovic and Seth Green are on hand to provide perspective alongside Lucasfilm alum Mick Garris and Craig Miller. Most lay the blame for the show’s quality on veteran musical variety veterans Ken Welch and Mitzie Welch, who were out of their depth from science fiction to being left to edit the pieces together (a first for them).

I found it incredibly entertaining and applauded the directors for tackling this subject and doing so with affection. I have a 9^th grader who is a major Star Wars fan and I asked her to watch this and provide her perspective. Among her comments are, “…there’s a constant reminder that they didn’t let George do it AND HE HATED IT SO MUCH that he went to Robot Chicken and voiced himself hating the Holiday Special. I understood why he hated it so much because I hated it. It really sucked, besides the Boba Fett cartoon. Apparently, another reason why it was acceptable was because crazy holiday specials were popular and things that are made without context are automatically funny. Lastly, I belive the most terrifying thing I saw on the Holiday Special was the ugh the… the… TEDDY BEARS!”

The documentary is available for purchase on Blu-ray and for rental on various streaming services and should not be missed.