OPPENHEIMER-Chris Nolan's Historic Biopic/Father of the Atomic Bomb

Highly acclaimed filmmaker Chris Nolan (b. England 1970) is known for focusing on metaphysical memes that transfuse ideas of time, space and memory.  Nolan has received 5 Acad. and British Acad. Film Awards and 6 Golden Globes, brings innovative narrative styles, overriding original symphonic scoring, stunning arthouse visuals and multiple aesthetic styles to his movies.  Anderson is adept in various genres including sci-fi (INTERSTELLAR), superhero (BATMAN) historic (DUNKIRK), psychological thriller (INSOMNIA) and biopic (OPPENHEIMER).  OPPENHEIMER is a hybrid combination of styles and skills resulting in essential movie going for those who appreciate cinema, music, history and philosophy.  This film at 3 hours is taxing, convoluted, erudite and likely the most important movie going experience this far into the 21st C.  Just released in theaters where it should be watched, is invaluable without sound or only sound and no visuals.  Only, don't wait to make this a top movie choice date. Oppenheimer (played by a steely eyed Cillian Murphy "PeakyBlinders") is a.k.a. "Father of the Atomic Bomb."  However, the significance of having developed this weapon of mass destruction first detonated by the US in WWII demands serious consideration of what its creation, detonation and implications signify, and will forever mean for humankind.  Anderson captures the thrill of discovery, applied theory, brilliant camaraderie and rivalry during the miraculous race from conception to detonation.  The process of Oppenheimer acting as director of the entire Manhattan Project and the expeditious construct of a makeshift town in Los Alamos are amazing to realize.  The film is bookended by Senate hearings on a cabinet position and a closed door tribunal investigation of Dr. Oppenheimer assessing his "Q" security clearance resulted in ignoble termination of his working for the government and denial of Dr. Strauss to a cabinet post.  These "hearings" which occurred in 1954 set the film to flashback until retuning to their conclusions near the ending of the film.  These scenes were filmed in black and white as were scenes of flashbacks in Oppenheimer's mind.  Anderson's chose not to depict dropping of the bomb or its devastating aftermath in Japan was sagacious.  Those working at Los Alamos in 1945, first heard of the fatal bombing on Hiroshima at the same time as the vast majority of American citizens via radio news broadcasts.  The entire ensemble cast is exceptional.  Robert Downey deserves an Oscar nom. for his role as the egocentric, duplicity of Dr. Strauss best ignored in history.  Special mention needs to be made for the fine performances by Alden Ehrenreich, Josh Hartnett and Benny Maddie.  OPPENHEIMER reopens the discussion of nuclear weapons which should've been broached on an int'l level by Pres. Truman following his decisions to rely on their usage.  A Pandora's box of global annihaltion opened during the Manhattan Project, following its first and second bombing of the Japanese in 1945 and demands to be foremost in discussion amongst nations, now.  Be alerted to the final scene between Oppenheimer and Einstein.  Their brief, imagined interlude speaks in a stentorian voice to consequential warnings. OPPENHEIMER is about Dr. J. Robert Oppenheimer, the man with a plan which ripples through history and destroyed any future notion of security from the obscurity of our very existence.      

Wes Anderson's Asteroid City-Stellar Film with an All Star Ensemble Cast

Wes Anderson is an American filmmaker known for films in the oeuvre of "American Eccentric Cinema."  Anderson (b. 1969) tends to use repeating multi-star casts and garners A listers for small cameo parts.  His unique art direction and visual affects are distinct, but identifiable by his steadfast fan base despite the films varying styles.  Anderson's films have been animated, stop action, live action or a combination of styles within the same film.  The memes tend to involve loss, family dysfunction, loss of innocence and the supernatural.  "Asteroid City" is set in a retro-futuristic style of the 1950's in a fictional desert town out west where atomic bomb testing is a regular event and the awards for scientific achievement to high school students are being awarded.  The framing of the movie is narrated by Bryan Cranston in a Rod Serling intonation.  Cranston sets the stage for the screenplay as it's being written by Conrad Earp  (Edward Norton) for a broadcast format morphing into a play within movie.  Jason Schwartzman a consistent muse of Anderson who plays the lead, Augie Steenbeck, a widower with three precocious, preadolescent daughters and a teenage son, Woodrow (Jake Ryan).  Woodrow is a science wiz and the reason the family is traveling to Asteroid City.  Augie has yet to inform his children their mother has died. He intended to do this during the trip which is derailed by their broken down car.  Augie contact his wife's father, Stanley (Tom Hanks) who was waiting for the family's arrival.  Aggie asks his father-in-law to come get them.  Stanley asks Augie if he's informed the kids of their mother's death.  Stanley and Augie are somewhat detached but still sensitive to each other's grief.  The bizarre, bewitching and extra-terrestrial phenomena occurrences flow in rapid succession.  The dialogue, however, is delivered larghetto for comedic largesse.  Woodrow and his fellow scholastic science winners demonstrate their remarkable inventions which now all belong to the US military being run by General Gibson (a glib Jeffrey Wright) at this military installation where the convention is held.  The main feature of the desert terrain is an asteroid crater.  During the students' demonstrations of their ingenious inventions, an alien craft appears above the crater.  A cartoon-like alien timidly lowers himself above the crater then zooms off with the asteroid in tow.  The gobsmacked crowd takes all in stride.  Gen. Gibson informs everyone they are under quarantine by the US govt.  The high school students use the lockdown time to get to know one other. They bond over their shared interests and outsider social status.  Grandpa gets to bond with his granddaughters.  Augie, a prof. photographer, captures the images of stage/screen star, Midge Campbell's and her affections.  The multilayered artistic directions are spellbinding.  Anderson pays homage to famous photographers; William Egglesgon. Alex Webb and Richard Misrach to name a few while creating vibrant, indelible  imageries.  Anderson advances his artistic visions and storytelling to another stellar level in "Asteroid City."  The film is hilarious and poignant and always stunning to look at.  It will leave an impact that reverberates with brilliance and beyond.  "Asteroid City" is a must see!  

Hollywood Elite on Picket Line but not Helping with Bottom Line-Drescher Does a Disservice

"We are the victims here.  We are being victimized by a very greedy entity." claimed Fran Drescher, Pres. of SAG-AFTRA.   The real victims here are thousands of minimum wage employees and small businesses that are supported by the movie/TV industry.  Perhaps part of celebrity envy stems from the six and seven figure salaries they earn per film, show or episode.  Wether these astronomical paychecks are deserved is not at issue.  But consider this, if Streep, Damon and Sudeikis said they'd cap their salaries allowing more financial benefits going to other actors  and crews or stipends directed to SAG workers struggling to "pay rent" as Drescher said, problems would be mitigated resulting in a more equitable payroll.  Drescher lambasts CEO's exorbitant pay days which is germane, not as she intends but because the salaries of level A actors, and most writers are a disproportionally small percentage of all SAG_AFTRA and WGA members  paychecks.  Let's be reasonable in determining actors pay to be commensurate with their work.   There's a lot to be said for those fortunate to sustain a career in a field that is one's passion as compared to many whose job is chosen to foot the bills but doesn't sustain one's passion or art.  Am I sounding lik sour grapes?  I admit, I admire people able to succeed at pursuing their dreams, who hone crafts.  However, let's note what's been offered those out on the picket lines in Hollywood.  The Alliance of Motion Picture and Television Producers (AMPTP), the association that negotiates on behalf of Netflix and Disney said it offered "the highest percentage increases in minimum pay levels in 35 years, substantial increases in healthcare and pensions and a increase of 76% in foreign residuals from big-budget streaming shows." The studios also put forth a proposal blocking AI from using actors' likeness.  AMPTP claims that SAG-AFTRA and WGA walked away from the negotiating table.  The offer appears to be reasonable.  Remember, the entertainment industry and majority of households are still reeling from financial hits during COVID.  It's Drescher's obligation to negotiate in the best interest of her union to help advance the workforce she represents. The movie TV industry generates thousands indirectly who are dependent on Hollywood working for their livelihoods.  Iger commented further, "It will have a very, very damaging affect on the whole business, and unfortunately, there's huge collateral damage in the industry to people who are supportive services, and I could go on and on.  It will affect the economy of different regions, even, because of the sheer size of the business.  It's a shame, it is really a shame."   

"1883" on Prime - Prequel to "1923" the Prequel to "Yellowstone"

The Dutton Family Dynasty series began in modern-day Montana with "Yellowstone," starring Kevin Costner as the patriarch of the clan that lives by their own code of law.  "Yellowstone," in its 5th season is a sensation that has spawned prior generations: "1923" and "1883."  I didn't follow the original.  Rather, I started in the middle with "1923" starring Helen Mirren and Harrison Ford.  Anything with Mirren or Ford is bound to be good.  The prequel, "1923," is exceptional TV.   The episodes are set in MT, Africa or the high seas and each is a cinematic marvel elevating TV.  Mirren and Ford are wonderful in their roles, but they're bested by the actors playing their nephew and his beautiful aristocratic love interest.  The two first cross paths in Africa.  Sparks fly between Spencer Dutton (heartthrob Brandon Sklenar) and Alexandra,  (a captivating Julia Schlaepfer).  The chemistry between these two is combustible.  I rooted for the couple and was captivated with all four interwoven storylines.  For fans of "Yellowstone," I say many went panning for fools gold.  Pass!  Start your viewing in the past with the earliest in the Dutton's western trilogy, "1883." The cast includes real life married couple, western singing stars, Tim McGraw as James Dutton and Faith Hill as his wife, Margaret.  McGraw is perfectly cast as the formidable pioneer and cowboy.  Hill should keep her day job and rid herself of the awful wig she's wearing.  While McGraw and Hill may have been the draw, Sam Elliott as Shea Brennan, the leader of the wagon train of incompetent immigrants with a cattle herd in tow.   Isabel May as Elsa Dutton looks rugged and poised in the saddle.  Elsa narration of events flows throughout.  Her eloquence and emotional responses to hardships, nature's unspoiled beauty and her growing self-reliance are miraculous to behold.  Elsa's coming-of-age coincides with a dawning civilization in its lawless and nascent state.  Life is suffused with suffering, new freedoms and splendor.  The show piques a keen interest in life for the first pioneers to venture out west. The horrors of white settlers' heinous treatments of Native Americans is more explicit in "1923" but still intrinsic in this epoch as well as some symbiotic relationships that were maintained between indigenous Americans and white trailblazers.  In a searing and unforgettable scene, Elsa plays Beethoven's "Moonlight Serenade" on a discarded piano while we watch as people in the wagon trail struggled attempting a river crossing. There's plenty to treasure in "1923."  Sam Elliott gives a profound performance in this historic drama.  Less than a score before the year 1923, The Civil War was raging.  Dutton and Brennan still grapple with the deaths of soldiers under their commands in the Union Army.  Our American history has never been made into an epic this thrilling, entertaining and thought provoking.  "1883" and "1923" are must see, TV!

Indiana Jones and the Dial of Destiny-Fun Joy Ride for Ending Indy Dynasty

"Indiana Jones and the Dial of Destiny" delivers what it portends: a thrilling adventure with the dashing archeologist, Indiana Jones (Harrison Ford, no wearier for the wear) who traipse through history; literally.  The opening chase scene is an exhilarating throwback to the first time we met Harrison Ford out racing the gargantuan bolder in "Raider of the Lost Ark" (1981).  We get a glimpse of a young Ford in the film; a reminder of the handsome leading man he was and of the seasoned actor whose successfully spanned decades and broadened his oeuvre into comedy and drama.  Clever casting early on had River Phoenix as the young Indy and Sean Connery as Indy's dad.   Karen Allen who appeared in the first Indiana Series as Indy's love interest, has a small role as his soon to be ex-spouse.  The two, unbeknown to movie audiences, were married and had a son who died at war.  The stellar cast also includes two brilliant British actors, Toby Jones (Golden Globe, Emmy and Golden Globe winner) and Phoebe Waller-Bridge ("Fleabag").  Jones' brief role is at the start of the film in its flashback scene aboard a train with "too many Nazis."  The harrowing scene lays the groundwork for the friendship between Jones as Basil Shaw, a distinguished anthropologist whose daughter Helena (a terrific Waller-Bridge) becomes Indy's god-daughter.  Not having seen either Basil or Helena for more than a decade, Indy doesn't recognize Helena.  Helena is the lone student in his lecture hall who appears animated.  Helena hails Indy after class and introduces herself.  Indy is delighted to see her and takes her into Hunter University's storage alcoves to show her an antiquity, a legendary dial, her dad was dedicated to researching.   Basil wasn't the only one obsessed with this relic.  Indy and Helena were followed by CIA agents who assassinated those in the building who interfered with their pursuit.  Helena manages not only to elude the CIA attackers but Indy, too.  She makes off with the coveted item.  The leader of the hit men turns out to be the same villain, Nazi scientist Jurgen Voller, played by Mads Mikkelsen, (b. Denmark 1965, "Casino Royale") who Indy and Basil had eluded on the train in 1939.  Voller and Basil surmised that this dial had the power to transport back in time.  Indy tracks down Helena and her young sidekick and the three of them unite to take flight in countless chase scenes in city streets and through time via the dial to Syracuse 212 BC where they witness the Great Siege and meet Indy's hero, Archimedes.  Go with this throw back adventure movie overrun with chase scenes and mayhem for a spirited joyride.  It provides a satisfactory addendum to the Raiders archives that have come before.  I just ask that there be no more.   Neither Spielberg or Lucas were involved in directing or script writing. As Spielberg explained, "{I had} a desire to pass along Indy's whip to a new generation to bring their perspective to the story."  

Film "Are You There God? It's Me, Margaret"-Stars Rachel McAdams/Kathy Bates

The beloved coming of age novel, "Are You There God? It's Me, Margaret?" was groundbreaking for its depiction of young girls discussing menses, contemplating religious convictions, and contending with bust development along with peer pressures and attraction to boys.  Judy Blume's novel from 1970 is about 6th grader, Margaret.  Margaret is at the fulcrum of the movie.  She's the only child of doting parents and a loving grandma.  Margaret's father is Jewish, her mother, Christian.  Margaret has been raised without any religious instruction.  This is a classic, coming-of-age story.  It had never been made into a film until now.  James L. Brooks bought the rights and produced the film.  Kelly Craig ("The Edge of Seventeen") directed and adapted the screenplay.  Brooks also bought and produced "Edge of Seventeen".  The film not only captures the angst and awkwardness of adolescences it does a magnificent job of bringing all the characters to life with tenderness and credibility. The movie starts with the  energetic zeal of girls enjoying the joys of friendships and summer camp activities.  Upon returning home, it's revealed, somewhat inadvertently by her grandmother, Sylvie (the incomparable Kathy Bates who deserves an Oscar nom. for her role) she'll be moving to NJ with her folks.  This is met with dread by Margaret whose happy living where she is in now.  Margaret maintains an ongoing, one-sided dialogues with God; not unlike Tevye in "Fiddler".  Her mom is played by the talented Rachel McAdams who also deserves an Oscar nom. for her performance.  Both mom and dad are loving, kind parents; almost too good to be true.   As Margaret wants to fit in with her new friends, she asks mom to take her bra shopping and also questions why she's never met her maternal grandparents.  Her mom is hesitant in her response.   She informs her daughter she was disowned by her parents for having married someone Jewish.  This startling revelation is hard for Margaret to fathom.  The film intelligently deals with somber issues but remains lighthearted throughout.  There are the first spin the bottle parties, revolving friendships and fun-times with grandma Sylvie in NYC.  The pride Sylvie takes when entering the synagogue with her granddaughter and Sylvie's running explanations to Margaret is a scene to cherish.  Margaret's dawning awareness and empathy of how her classmates perceive and treat each other hits its mark honestly.  Are you getting me?  This film is a "reel"  delight.  I highly recommend it to adolescents and adults alike.  It's me, Melinda.

Elliott Erwitt Retrospective at Musee Mailllol in Paris

Elliot Erwitt (b. French 1928) is a French/American documentary photographer known for his black/white photographs that capture humorous and arresting moments that are ironic, hypnotic, electrifying and sobering.  Erwitt's subjects range from the everyman to some of the most historic icons from royalty, heads of state and celebrities.  Erwitt's unforgettable photographs represent zeitgeists of the 20th and 21st centuries.  He captured Nixon's contentious visit with Khruschev to the Soviet Union in 1959, intimate photos of Mrs. Kennedy at JFK's funeral and the inaugurations of Pres. Obama.  The famous Marilyn Monroe photo holding down her billowing skirt was shot by Erwitt as were the photos of the cast from Clark Gable's last film "The Misfits" also starring Monroe and  scenes of the segregated south showing separate drinking fountains and entrances for black and whites in N. Carolina 1950.  Erwitt's Retrospective amasses solemn historic photos along with photos that are suffused with the hilarity and the  sublime.  Many of his beloved photographs are of dogs alongside their owners.  A very personal and touching photo is a black/white shot of his wife looking bemusedly at their infant lying on a bed infused with soft light from an overhead window.  Children are often his muse in photographs.  The photos of pre-adolescents dancing in partners shows the disparity in enjoyment among the pairs.  The most arresting  shot, is of a young black boy holding a pistol to his head with a beaming smile, daring the viewer to register this disturbing enigma.  There is a short video of Erwitt being interviewed and at work.  He tells the interviewing "This is my favorite photo," referring to the boy holding a gun to his temple while smiling.  Erwitt said there was no difference in taking photos of famous people v. ordinary people, "But, photos of famous people bring in more money."  The last scene in this video is a charming parody of his famous shot of a man wearing a beret riding a bicycle with a young boy in back on the bike, looking at the photographer and carrying a long baguette.  "Expo Prolongation Elliott Erwitt retrospective" is an enjoyable, reflective exhibit that will be recalled with fond memories.  Bien Sur - ci vous dan Paris - vous est' tres chance!

GOOD NIGHT OSCAR-Stars Tony Winner Sean Hayes in a Bio Play on Oscar Levant

Sean Hayes is best known for his Emmy & SAG winning role on TV in the long running comedy "Will and Grace".  His Tony winning performance in this year's "Good Night Oscar" is a dramatic turn demonstrating his diverse acting talent.  Hayes is a Broadway veteran having starred in the musical "Promises Promise" earning a Tony nomination and the drama, "An Act of God."  Hayes portrays pianist /composer/conductor/actor and radio personality, Oscar Levant (b. Amer. 1906-1972).  Levant appeared in movie classics like "An American in Paris" with Gene Kelly.   As a composer for more than 20 movies his compositions were highly regarded by Aaron Copland and Arnold Schoenberg.  However, little is garnered of the man in "Good Night Oscar" other than his admiration for Gershwin and his creative suffocation resulting from their association.  This biopic drama portrays a seriously unhinged individual still able to pull it together for a TV audience, with irreverence and a brilliant performance on the piano of "Rhapsody in Blue."  Hayes is playing the piano himself, with an over scored accompaniment.  This fortunate critic admits to knowing Hayes personally and having had the pleasure of him entertaining us at the the piano.  The play is written by Pulitzer and Tony winning playwright Doug Wright ("I am My Own Wife" (2004).  Wright has also wrote the books to Broadway musicals "Little Mermaid" (2007) and "Grey Gardens" (2006).   The plot is constrained to one evening within the confines of the NBC studio for the "Jack Parr Tonight Show" in 1958.  Levant is a favored talk show guest for his quick wit and skills at the piano.  The night Levant is to appear on the show, the network executives have yet to hear from Levant and showtime is approaching.  With the deadline reaching its final two hours till showtime,  NBC Pres.  Sarnoff is about to sign off on Levant when June, Levant's wife (an excellent Emily Wise) arrives in Parr's office.  Parr (Ben Rapport, B'wy "Fiddler" and "Picnic") has a momentary reprieve hearing June assure him her spouse will be here.   But, Parr is shocked to learn Levant has been in a mental hospital for the past several months and is required to return immediately following his appearance.  Hayes tour-de-force performance is undercut by watching how precarious is Levant's manic state and his obsessive demand for obtaining medication.  The show is a credible examination of neurosis made all the more unpleasant for a convincing version of a person's shaky grasp on sanity.  While Hayes and the entire cast are all outstanding, I didn't find the play entertaining or substantive in regards to understanding mental illness.  Furthermore, there was a missed opportunity to learn more about an interesting individual who was one of the great pianists and fearless commentators from the 20th C.   

PRIMA FACIE Stars Tony Winner Jody Comer as a Magistrate Who Charges Date with Rape

I was fortunate to see Jody Comer's powerhouse performance in this one woman, one act play that sheds light on the complex shades of doubt called into question with rape allegations.  The week before I was in the audience, I was in NYC when the smoke from the apocalyptic fires in Canada enveloped the city.  All outdoor activities for public schools were cancelled, public beaches were closed and the Yankees postponed their game because of the toxicity in the atmosphere.  Masks were being handed out for free. Most people were using masks or clothing to cover their noses and mouths.  People were warned to avoid being outside and remain indoors as much as possible.  I felt my eyes and throat burn within moments being outside.  The discomfort lingered long after going inside.  Also this on day, Jody Comer while on stage in her matinee performance required help getting off stage due to difficulty breathing.  "I can't breathe in this air," she stated after stopping shortly into her performance.  The understudy went on with the show although both "Hamilton and "Camelot" cancelled their performances hours before curtain call for the evening shows.  The air quality has since improved and Jody Comer came back into her Tony winning role of Tessa, a feisty barrister whose fearless in the courtroom the following day.  The play is written by Susie Miller (b. Australia).  Miller received her law degree from the Univ. of New S. Wales while also studying drama at the Nat'l Institute.  The play's heroine Tessa, is a young woman from the lower strata of England's snobbish social hierarchy.  Tessa worked her way up from her working class origins in a household that didn't hold her back or help but has since come to depend on her earnings.  A brilliant student who doesn't intimidate easily freely although she's forever aware of the disparity between herself and that of her elite classmates.  Winning drives Tessa in life and in the courts.  When her handsome, aristocratic former classmate and formidable barrister shows an interest in her, Tessa is excited to engage in a relationship.  However, Tessa must draw on all her inner strength when the relationship takes a sexually abusive turn.  Her testimony and the burden of proof take an emotional toll.  Comers tour-de-force performance is a master class in acting as she fills the stage with characters and a panoply of emotions.  Comer (b. UK 1993) gained popularity for her starring role as the sexy, sociopathic assassin in "Killing Eve".  She's garnered two BARTA TV Awards, a Primetime Emmy, Laurence Olivier, Screen Actors Guild Awards and two Golden Globe Awards.  Don't miss one of our most versatile actresses in this intense and thought provoking play.  PRIMA FACIE is a primal experience that resonates with prescient social issues.  The play is primary dramatic theater at its best.  

KIMBERLY AKIMBO-Tony Winner for Best Musical Will Win Your Hearts

The new musical on Broadway, "Kimberly Akimbo"(KA) won more Tony Awards than any other show this year including the Tony for Best Musical and Best Leading Actress; Victoria Clark in the starring role.  Kimberly, Kim for short, is your typical teenage girl living in NJ except except for the fact sheis a 72 year old woman trapped inside an 17 year old body.  Kim has the rare genetic disease, progeria.  Progeria is a progressive disorder causing children to age rapidly.  The disease leads to premature death, causes crippling arthritis, disfiguring of the face and body and fatal degeneration to the heart.  Our irrepressible and immensely likable main character, Kim, appears on stage as herself, a 63 year old woman without the aid of prosthetics or makeup to portray a person with progeria.  The contrast between herself and the young actors on stage playing high school classmates makes the age disparity apparent without arousing sympathy.  Kim is accepted by likable nerdy outcasts as her school aware of their substellar social standings.  The classmates all terrific performers with amazing voices and dancing skills.  I was dismayed when I  learned the understudies for Seven Boyer (Tony winner for "Hand to God" and Justin Cooley (Tony nominee for KA) would be performing.  However, both understudies were exceptional in their roles while marking their Broadway debuts.). The play is set in 1999 and noted in the program, a time before kids had cell phones.  The play and lyrics are by David Lindsay-Abaire; Tony winner for KA and Pulitzer Prize winner for Drama in 2007 for "Rabbit Hole".   Lindsay-Abaire is a gifted playwright, screenwriter and lyricist, adroit in both comedy and drama.  This comedic play is very entertaining and covers the underlying pain of a young woman dealing with her debilitating, disfiguring disease while surviving in a highly dysfunctional family.  The mom's a chronic hypochondriac, father a flailing entrepreneur and an Aunt (a deliciously devious Bonnie Milligan) a shady grifter who enlists Kim and her friends as cohorts in a lucrative plot involving activities of felonious fraud.  Milligan received this years Tony for Best Actress in a Musical for her role.  The show's music is by composer Jeanine Tesori who received a nomination for her work on KA and received the Tony Award for Best musical for "Fun Home" (2006).  All the fabulous talent that went into making KA combine for a an unforgettable show.  The students are assigned to report on a disease of their choosing in pairs.  Kim agrees to pair with Seth who thinks choosing progeria is a great choice,  The messaging that comes through clearly without being didactic is to see each other for who we truly are and to enjoy each moment we're given.  I would choose this warm hearted show that takes us on a total joy through laughter and pathos in high gear.