Monday, March 23, 2015

Slashback: Family Matters in 'American Gothic' (1988)

With poster art that parodies Grant Wood’s famous painting of the same name, this late entry in the 1980’s slasher boom was more likely to be first discovered amongst the cluttered VHS rental shelves of a video store than in a proper cinema despite being given a modest theatrical release in the spring of 1988.

Rod Steiger and Yvonne DeCarlo topline this slice of Canadian schlock as the psychotic scripture-spouting parents of a backwoods Bible-fearing family of three middle-aged adults with childlike minds and decidedly adult homicidal tendencies. Grown daughter Fanny (Janet Wright) wears her hair in pig tails and totes around a mummified baby in a veiled bassinet; pudgy son Teddy (William Hootkins) has a childish temper matched only by his adult libido; and giggling son Woody (Michael J. Pollard) is a taunting tattletale.  
When three irritating yuppie couples charter a plane for a weekend camping getaway, you know it’s only a matter of seconds after the synthesizer-heavy opening credits before their prop plane’s engine sputters out and the requisite emergency landing strands them on a generic forest-shrouded island of dubious derivation. After establishing that the plane won’t start and the radio won’t work, the hapless slasher fodder set out in search of help, instead stumbling upon the Rockwellian farmhouse of Ma and Pa (the actual character names!).

Although the six ill-fated travelers of AMERICAN GOTHIC are chronologically older than their high school and college-age slasher film predecessors, advanced age does little to aid in the development of internal alarms even after they step into the timeworn time warp of Ma and Pa’s parlor and break bread with the family.
What follows is a by-the-numbers slasher, with dashes of incest, necrophilia, and infanticide thrown in to sweeten the carnage casserole. Like all good slashers, AMERICAN GOTHIC is requisitely cliché-ridden and fans will find much comfort in the film’s essentially intact formula, right down to its killer tagline: The family that slays together stays together. The inventive kills here mimic childhood games – murder by swing and jump rope, eye gouging with a toy soldier's bayonet.

Then – after the largely forgettable cast is systematically slaughtered by the murderous trio of siblings – AMERICAN GOTHIC does something interesting with its final girl, veering from the obligatory chase scene and into the decidedly more grindhouse-gothic territory of early 70’s films like TERROR AT RED WOLF INN. Lone survivor Cynthia (Sarah Torgov) – who we know from flashbacks is of questionable sanity herself following the bathtub drowning death of her baby and a stint in a “clinic” of indiscernible origin – seemingly snaps and is adopted as Ma and Pa’s fourth “child”. Now dressed as Fanny’s clone in shiny black Mary Janes, pink-gingham dress, and pigtails, Cynthia seems right at home with her new wackadoodle family – at least until it’s bath time for Fanny’s baby mummy. Flashing back to her own baby’s death, Cynthia re-snaps and struggles with Fanny for the baby, whose mummified head is ripped from its body in the ensuing scuffle. Baby mummy’s beheading earns Fanny a bloody bludgeoning with a galvanized steel tub and each remaining member of the family their own Cynthia-style comeuppance. Like many a final girl before and after her, poor Cynthia is left abandoned – both physically on the island and mentally in her own mind – to stew in her own insanity, cradling and cooing to her (dead and decapitated) baby mummy.
Although Director John Hough was no stranger to genre fare, having directed THE LEGEND OF HELL HOUSE (1973), THE WATCHER IN THE WOODS (1980), and THE INCUBUS (1982), he never manages to balance the dark humor with the requisite chills necessary to ground the slasher mayhem – and the result is an uneven film that never quite gains a firm footing in either comedy or horror. Still, AMERICAN GOTHIC does manage to achieve the camp factor of the earlier MOTEL HELL in spots when it isn’t dipping its toes into the completely absurd.  Steiger and DeCarlo – questionably slumming it here – chew the scenery with particularly gleeful abandon, later incarnations of Farmer Vincent and his sausage-making sister, Ida. Wright, who bears a passing resemblance to MOTEL’s late Nancy Parsons, is chillingly good as Fanny – putting to rest the question of what would have happened if John Waters ever decided to remake WHATEVER HAPPENED TO BAY JANE? with an adult Shirley Temple in the lead.

Interestingly, Hough may have actually been ahead of his time with AMERICAN GOTHIC and its twisted take on religion and family values years before the evangelical political galvanization here in this country. Although remake-weary audiences are loathe to endure yet another slasher film reboot, reimagining, or recalibration, the timeliness of Hough’s – and screenwriters Burt Wetanson’s and Michael Vines’ – source material may be ripe for some restyling.
By 1988, the golden era of the slasher film had begun its inevitable pop culture fade, retiring for its eight-year nap before SCREAM would re-awaken it, refreshed for at least awhile. Even diehard fans of the popular sub-genre knew it was time to give the slasher a rest when the imitators were being imitated, when films like AMERICAN GOTHIC ripped off earlier HALLOWEEN and FRIDAY THE 13TH rip-offs like JUST BEFORE DAWN and HUMONGOUS.

On the surface, AMERICAN GOTHIC is equal parts corny and well-worn, but – at least on repeated viewings over time – the film washes over like a hallucinogenic fever dream.

Wednesday, December 31, 2014

Top 14 Singles of 2014

2014 was another banner year in music. And while women (once again) largely dominated my forthcoming list of favorite albums of the year, several gents sneaked their way into my musical consciousness, landing in my annual list of favorite singles. Without further comment (these catchy tunes can speak for themselves, after all), here's my countdown of the Top 14 singles of 2014:

14. "Blame" / Calvin Harris featuring John Newman

13. "This Is The Love" / Spandau Ballet

12. "The Epilogue" / Crosses (†††)

11. "Got Love" / Tove Lo

10. "Don't Wanna Dance / 

9. "Travesty" / Jimmy Somerville

8. "I Was Gonna Cancel" / Kylie Minogue

7. "Ghost" / Ella Henderson

6. "Uptight Downtown" / La Roux

5. "Cannonball" / Lea Michele

4. "Jealous" / Nick Jonas

3. "Digital Witness" / St. Vincent

2. "Fever" / The Black Keys

1. "Sing" / Ed Sheeran

More year-end favorites to come! 

Thursday, October 23, 2014

Women in Hollywood: Clear Skies and Good Visibility

Ladies, start your engines. I’m calling bullshit on the myth that Hollywood discards women of a certain age – namely, the forty-plus set. Internet obsession over Renée Zellweger’s recent red carpet appearance and the endless dissection of her did-she-or-didn’t-she cosmetic surgery choices have dragged up another well-worn hot topic: The purported invisibility of women over 40 in Hollywood. What was once an upwardly trending reality is now nothing more than a myth used – both conveniently and erroneously – in bigger (and more important) discussions on feminist topics.  

It’s an easy fallback for folks to trot out the same old adage about women over 40 in Hollywood being dead, invisible, or [insert your own adjective here] in our (largely) ageist society. But it’s an assertion with little evidence to back it up these days and an old, misleading headline that needs to be retired.

In fact, the opposite is true. Women of a certain age aren't merely enjoying greater visibility on the screen – they’re dominating the field. What’s even better is that these demographic-defying actors come in all shapes, sizes, colors, and ethnicities. Some come au naturel with their marvelous character-defining lines and wrinkles intact, others nipped and tucked and plumped to varying degrees. But they’re here and ever-present – not some forgotten castoffs relegated to background scenes. These women are proving that they've got the acting chops and audience appeal to carry their own shows, and even those in supporting roles are increasingly being elevated with juicy material that renders them veritable scene stealers, in comedic and dramatic arenas alike.  

In ten minutes of free association, I was able to compile the following list of over seventy-five actresses, age 40 and above,  who are currently either headlining or featured as series regulars on TV shows within the past season or two: Juliana Margulies, Téa Leoni, Jessica Lange, Viola Davis, Kathy Bates, Jane Lynch, Bebe Neuwirth, Christine Baranski, Halle Berry, Linda Gray, Vera Farmiga, Margo Martindale, Octavia Spencer, Laurie Metcalf (headlining two shows), Judith Light, Susan Sullivan, Angela Bassett, CCH Pounder, Frances Conroy, Mariska Hartigay, Madeline Stowe, Julia Ormond, Gillian Anderson, Heather Locklear, Dame Maggie Smith, Famke Jensen, Melissa McCarthy, Swoosie Kurtz, Toni Collette, Tina Fey, Debra Messing, Alison Janney, Madeline Stowe, Wendi McLendon-Covey,  Jackie Weaver, Edie Falco, Holland Taylor, Robin Wright, Laura Linney, Laura Dern, Amy Brenneman, Betty White, Valerie Bertinelli, Fran Drescher, Jane Leeves, Wendie Malick, Connie Britton, Kate Burton, Bellamy Young, Julia Louis-Dreyfus, Katey Sagal, Anna Gunn, Elizabeth McGovern, Linda Hunt, Jessica Walter, Patricia Heaton, Courtney Cox, Laura Leighton, Elisabeth Shue, Frances Fisher, Joan Cusack, Ann Dowd, Sherry Stringfield, Sophia Vergara, Julie Bowen, Susan Lucci, Rebecca Wisocky, Roselyn Sanchez, Mary McDonnell, Jada Pinkett-Smith, Stockard Channing, Marcia Gay Harden, Carrie Preston, Virginia Madsen, Mädchen Amick, Nancy Travis, Kate Walsh, Andrea Parker, Dee Wallace, Conchata Ferrell, Courtney Thorne-Smith , and Mimi Kennedy, with Alfre Woodard, Melissa Leo, and Carla Gugino slated to soon join them. And this was without trying; there are likely more.

Even vets like Shirley MacLaine, Linda Lavin, Jamie Lee Curtis, Tyne Daly, Dame Diana Rigg, Lili Taylor, Megan Mullally, Elizabeth Perkins, Margaret Colin, Veronica Cartwright, Mare Winningham, June Squibb, Carol Kane, Rita Moreno, Shohreh Aghdashloo, Morgan Fairchild, Patricia Kalember, Gail O’Grady, and the late Elizabeth Peña have shown up recently in meaty guest roles on hit TV shows.

Women in the 40+ demographic were also well-represented in the 2014-2015 pilot TV season, with Jamie Lee Curtis, Rosie Perez, Paget Brewster, Sharon Gless, Molly Shannon, Felicity Huffman, Tracy Ullman, Meg Ryan, Margaret Cho, Marcia Cross, Mary-Louise Parker, Patricia Wettig, and Ellen Burstyn (who’s nonetheless been a visible TV presence in adaptations of two V.C. Andrews’ novels for Lifetime) all attached to shows vying for slots on the network’s fall and midseason schedules.

Women are faring well in feature films as well, headlining blockbusters and dominating nominations throughout awards season. Sandra Bullock, Cate Blanchett, Jennifer Aniston, Cameron Diaz, Glenn Close, Dame Judi Dench, Dame Helen Mirren, Emma Thompson, Julia Roberts, Melissa McCarthy (again), Naomi Watts, Nicole Kidman, Tilda Swinton, Sigourney Weaver, Susan Sarandon, Diane Lane, Helena Bonham Carter, Julianne Moore, Marisa Tomei, Bette Midler, Jodie Foster, Sally Field, Diane Keaton, Joan Allen, Sela Ward, and, of course, Meryl Streep – all viable, all working.

Even in a traditionally male-oriented market like horror, women of a certain age are being afforded great reverence and opportunity. Lifetime’s recent adaptation of Stephen King’s novella BIG DRIVER featured a mostly female cast, all over the age of 40: Maria Bello (47), Joan Jett (56), Ann Dowd (58), and Olympia Dukakis (83). TALES OF POE, an anthology film by Bart Mastronardi and Alan Rowe Kelly, features genre vets Adrienne King, Amy Steel, Lesleh Donaldson, Desiree Gould, Debbie Rochon, and Caroline Williams – all actresses well into their 40s and 50s, some of whom have worked only intermittently since their earlier heydays. Or there’s THE SURVIVORS, a project currently in development by William Butler, which is slated to feature a veritable who’s who of final girls and femme fatales, all of whom are 40-plus.

In horror-themed series television, Ryan Murphy seems to be the pied piper of actresses over 40, creating attention-grabbing dream roles and single-handedly making last names like Lange and Bates water cooler-worthy topics of conversation. Arguably, THE WALKING DEAD’s most popular character right now is Carol Peletier, a strong, pragmatic zombie-survivalist who’s kicking ass and taking names – played by 49-year-old Melissa McBride. To note, THE WALKING DEAD is viewed by upwards of 15 million people per week.

But, admittedly, there are roles that women over the age of forty are routinely being locked out of: The ingénue. And that’s because (wait for it) they’re no longer ingénues. There’s a difference between realism and relevance that gets muddied when these misguided laments start. No, Goldie Hawn can’t pull off the ditzy ingénue anymore like she was lucky enough to do well into her early 40s in films like PROTOCOL, WILDCATS, and OVERBOARD. No filler or lifestyle lift can bring those offers back to her. Jamie Lee Curtis can’t likely perform a striptease like she did in TRUE LIES again and expect to achieve the same effect on audiences that she did at the age of 36. No amount of Activia or clean living is going to contradict that fact. But neither of these actors is less than because of those age-related realities, nor is either rendered less relevant because of them. As mentioned earlier, Curtis – at age 55 – was the lead in a CBS pilot this past year, and she remains attached to an ABC Family pilot. She guested on three episodes of FOX’s THE NEW GIRL in 2014, shot a film with George Lopez and Marisa Tomei, and showed up in a cameo role in the VERONICA MARS movie. She’s far from irrelevant.

Bringing it back full circle to the topic that started me down this road of thought, Ms. Zellweger is a seasoned Hollywood player, not a naïve ingénue. She knew exactly what she was doing when she stepped out onto that red carpet and what kind of reaction it would elicit when she did so, smiling and posing for photographers. Unless she's lived under a rock, she knew exactly the kind of scrutiny her appearance would bring and what kind of media trolls it would summon. Now she's getting more media attention and sympathy for the vitriol hurled by the Internet hobgoblins than she's had in years. Sorry, but she (and her publicist) knew exactly what they were doing and have played their hand exceptionally well. When was the last time Renée Zellweger was a top-trending topic anywhere?  PEOPLE, VANITY FAIR, THE HOLLYWOOD REPORTER...almost every major entertainment media outlet is spinning this in a Zellweger-positive direction. You couldn't buy this kind of publicity. In our celebrity-obsessed pop culture, the haters are going to hate least exploit that hate and gain some seriously good PR for a talented actress who stepped out of the limelight a long time ago.

It's called a silver lining.

Mark my words: There’s a new movie or TV role announcement forthcoming that will welcome yet another actress of a certain age back into the fold. Bet on it. 

Tuesday, August 19, 2014

All Aboard the First-Class ‘Snowpiercer’

I’m not one of those film enthusiasts who generally buys into the hype – either good or bad – surrounding movies. Burned too many times by the pre-release buzz propagated by the often hive-minded film critic establishment in the mainstream media, I’m immediately wary of any movie released to universal lauds. Likewise, I generally dismiss collective critical denunciation, preferring to judge a film’s merits (or lack thereof) with my own humble analytical viewing skills. Granted for every widely-panned movie that I end up extolling its virtues (yes, I’m talking Rob Zombie’s HALLOWEEN), there are far more critically-acclaimed films and fan favorites that leave me scratching my head like CABIN IN THE WOODS, AVATAR, and any number of non-genre hype movies (Oh, FOREST GUMP, how I detest thee!).

Naturally, I approached this summer’s buzz-generating SNOWPIERCER with the same abiding skepticism.
SNOWPIERCER marks South Korean director Bong Joon-ho’s English-language debut. The film is based on the French graphic novel Le Transperceneige by Jacques Lob and Jean-Marc Rochette, which was continued as a series with two subsequent volumes penned by Benjamin Legrand in 1999 and 2000, respectively (both Rochette and Legrand have cameos in the film in a clever wink to the story’s literary origins).

When efforts to thwart an environmental catastrophe backfire, cataclysmically spawning a second ice age, the last remnants of humanity are reduced to life aboard a thousand-and-one-car train called the Snowpiercer. The futuristic ice-chewing train is a self-contained ecosystem that hurtles along at precariously high-speeds on a continuous loop of track that circles the globe, with each full rotation marking a calendar year. Designed by an enigmatic billionaire industrialist, the Snowpiercer mirrors the social classism of the lost civilization of the planet it now endlessly circles – with the have’s reveling in in the hedonistic opulence of the front of the train while the hordes of have not’s are reduced to the squalid conditions of the rear railway cars. The message is as clear as it is bleak: Classism will survive the apocalypse.
Even as Tilda Swinton’s buck-toothed Minster Mason – a schoolmarmish mid-train official tasked with maintaining social order aboard the Snowpiercer – admonishes the citizens of steerage class to “Know your place, keep your place”, an uprising is in the works. No longer satisfied with either their
spot or lot aboard the “train of life”, a ragtag (and internationally diverse) group of passengers – including their reluctant leader, his sharp-tongued protégé, a mother desperately searching for her taken child, the train’s drug-addled security expert and his wide-eyed daughter (bribed into service with a steady supply of a hallucinogenic drug called kronole) , and their wizened, appendage-challenged mentor – throw their grateful obedience to the wind and make an audacious charge for the front of the train and its malevolent conductor known only as Wilford. Within the film’s philosophical thematic core, the precariousness of social hierarchy erupts into brutal class warfare with comic-book overtones.

What follows is a mesmerizing master class in production and set design as the revolutionaries forge their way forward one railway car at a time. The drab gray palette and cluttered chaos of the rear sections strikingly convey a sense of bleak train-bound claustrophobia that feels downright airless, while the gradual brightness and increasingly whimsical coloring of each successive train car snowballs in synch with the action-packed push forward by the insurgents. The arresting set pieces and costuming – courtesy of production designer Ondrej Nekvasil, set decorator Beata Brendtnerovà, and costume designer Catherine George – visually cement the idea of the train’s compartmentalization as a metaphor for the socioeconomics of society, with each successive car in this self-sufficient Noah’s Ark taking us from poverty to prosperity. Among the Snowpiercer’s many onboard amenities: a nightclub, hair salon, dental suite, classroom, ecological sanctuary, and an aquarium with (in a twisted little visual one-liner) a sushi bar.
Bong assembles a stellar multinational cast that includes Chris Evans (here a very different type of Captain America), John Hurt, Oscar-winner Octavia Spencer, Ed Harris, Jamie Bell (little Billy Elliot all grown up), Song Kang-ho, Ko Ah-sung, and Alison Pill. Yet it’s the aforementioned Swinton who steals the show and – if there is any justice – this thespian chameleon will be eyeing Oscar gold come awards season.

SNOWPIERCER is one of those rare heavily-hyped movies that actually deserves a one-way ticket to commercial success, despite the best efforts of Svengali-like Harvey Weinstein to inexplicably punish this masterwork by relegating its domestic release to a mere handful of theaters and video on demand channels. Reportedly, Weinstein demanded twenty minutes of cuts to the finished film as well as a new prologue and epilogue; Bong refused. Let’s hope SNOWPIERCER defies the odds stacked against it, realizing its blockbuster potential and leaving Weinstein to choke on one of the film’s gelatinous cockroach-infused protein blocks.
SNOWPIERCER is a potpourri of post-apocalyptic audaciousness, a cinematic experience that blends the high-concept of an arthouse film with the high-octane of a commercial action-thriller. This highly-stylized science fiction masterpiece and intoxicating dystopian nail-biter that alternates between action, high camp, and heavy-handed Orwellian allegories about social stratification. It’s an energetic, wildly-imaginative (literal) train ride through the permafrost of man’s cruelty to one another and the oppressive perversities of economic disparity that prove (at least in Bong’s artistic vision) to be immutable even in the face of extinction.

Tuesday, February 25, 2014

Jamie Lee Curtis and the Tale of Two Pilots

You undoubtedly heard the screams of elation this morning when this consummate Jamie Lee Curtis fan awoke to news of the actress’s casting in a new CBS pilot, at some past or present point titled ONLY HUMAN. This casting news quickly became – at least for me – the ultimate good news/bad news scenario: Curtis had previously been attached to a very tasty horror-drama pilot over at ABC Family called THE FINAL GIRLS. Now her involvement in the latter has been dubiously called into question with news of the former.

Here’s what we know:
In September of last year, the Internet went crazy with the news that ABC Family had bought a high-profile spec script from screenwriter Jeff Dixon for a buzzy horror-drama pilot. Stoking the fires of excitement was news that veteran former scream queen Jamie Lee Curtis and her HALLOWEEN: H2O director, Steve Miner, were attached to the project. THE FINAL GIRLS – its title referring to the moniker given to the surviving heroine of a slasher film as coined by Carol J. Clover in her seminal exploration of the subgenre in MEN, WOMEN, AND CHAIN SAWS: GENDER IN THE MODERN HORROR FILM – is the story of a mysterious older woman (Curtis) who assembles a group of young women who have each survived their own real-life horror of some kind “to channel the stress and scars of their experience for some greater good”.

At the time of the announcement, ABC Family had not actually greenlit the project but merely closed a deal for the script and the involvement of those attached. Nothing else has come out officially on the project, but Dixon has dropped a few vague semi-updates on his blog. He’s alluded that the show is going through what most savvy viewers know as “the Hollywood machine” – the countless rewrites, behind-the scenes hirings and firings, and subsequent delays. Less optimistically read, Dixon hints that THE FINALS GIRLS is not “in a typical pilot situation” (uh-oh) and that the pilot’s original March shoot (with an eye on an apropos Halloween bow) isn’t happening. Factor in a new network President and today’s breaking news of the show’s leading lady booking another high-profile pilot on a major network and hopeful horror hearts have no choice but to sink a bit.
ONLY HUMAN, which is penned by David Marshall Grant (of BROTHERS & SISTERS and SMASH fame), will place la Curtis in the lead role as a “dynamic and distinguished” physician who is also the mother of adult quadruplets – three boys and a girl – who grew up in front of reality TV cameras. According to THE HOLLYWOOD REPORTER, Curtis’s Caroline character “seems hard-hitting and demanding, especially where her son Jonathan, a new hire at the hospital, is concerned. But her toughness really covers a devastating loss that she has never quite recovered from – the death of her husband from a rare genetic disease. And the fact that her children have a 50-50 chance of meeting the same fate has colored her life ever since."

While being clearly in demand with two high-profile pilot bookings that all but guarantee the actress’s imminent return to television with a full-time dramatic role and means a win-win for Curtis fans, it’s now hard not to ponder which would be the better vehicle for her triumphant return to series TV. Let’s examine the seeming pros and cons of each.
THE FINAL GIRLS is (putting no too fine a point on this) every adult horror fan’s dream project. Curtis playing den mother to a bunch of junior scream queens sounds dark, delicious, and campy. Although the pilot’s network affiliation seems to indicate that the horror itself might be watered down for the tween and teen ABC Family demographic, Dixon himself promises this is not the case and even alludes to a sequence involving a nailgun remaining intact even after tweaks and revisions to his script. Admittedly, it’s hard to imagine how nailguns could be considered tame in any sense of the word. In addition, it’s logical that ABC Family is investing so much time and pre-pilot work in the project because it’s (perhaps) got some high hopes that the show will draw in more of the much-coveted 18-49 demographic in an effort to expand the channel’s reach. On the upside, ratings on basic cable networks don’t need to be huge to earn future season pick-ups; on the downside, Curtis may command a pricey paycheck…

…which brings us to the ONLY HUMAN pilot. Without a shadow of a doubt, CBS – positioned in first place among the major networks – has the deeper pockets to afford Curtis. Their network also seems to have a built-in older demographic to which Curtis will have undeniable appeal, having test-driven her already with a five-episode guest stint on their juggernaut NCIS which resulted in a ratings spike. Pilot scribe Grant is a respected and pedigreed screenwriter and producer with proven network success. Plus, the synopsis sounds darned interesting. On the upside, CBS – unlike NBC or even ABC – has a better track record of nurturing shows through their freshman year and sticking with them over a season or two before turning the lights off; on the downside, good (if not stellar depending upon the show’s price tag) rating are still a must on network TV, so the pressure would be on.
All this speculation begs the question: Which series would this unmitigated Jamie Lee Curtis fan prefer to see the actress land and launch? As always, I’m going with the underdog – in this case, Dixon’s THE FINAL GIRLS. In terms of sheer ratings potential and water-cooler appeal, I think FINALS GIRLS has the edge. It’s got a genuine genre pedigree, interesting premise that screams possibility, and built-in buzz-worthiness. While I think both her role and profile will be bigger from the get-go in the CBS pilot, I think audience response to THE FINAL GIRLS and Curtis herself would quickly auto-correct the slim chance that network execs over at ABC Family would relegate her character to some sort of framing device (i.e. Charlie in CHARLIE’S ANGELS) and prefer focus on the youngins.

THE FINAL GIRLS or ONLY HUMAN? Either way, Curtis is poised to make her full-time television comeback. And that’s reason enough for this longtime fan to celebrate.