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	<title type="text">Noel Murray | Vox</title>
	<subtitle type="text">Our world has too much noise and too little context. Vox helps you understand what matters.</subtitle>

	<updated>2024-05-09T15:17:47+00:00</updated>

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		<entry>
			
			<author>
				<name>Noel Murray</name>
			</author>
			
			<title type="html"><![CDATA[Reality TV offers valuable lessons for children. Really.]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/culture/2018/4/12/17147740/reality-tv-parenting-children-media-literacy-survivor" />
			<id>https://www.vox.com/culture/2018/4/12/17147740/reality-tv-parenting-children-media-literacy-survivor</id>
			<updated>2018-04-11T17:36:37-04:00</updated>
			<published>2018-04-12T09:00:02-04:00</published>
			<category scheme="https://www.vox.com" term="Business &amp; Finance" /><category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Life" /><category scheme="https://www.vox.com" term="Media" /><category scheme="https://www.vox.com" term="Money" /><category scheme="https://www.vox.com" term="Parenting" /><category scheme="https://www.vox.com" term="TV" />
							<summary type="html"><![CDATA[My family doesn&#8217;t just watch Survivor; we scrutinize it. Whenever the CBS hit is in season, my wife Donna, our 16-year-old son Archer, and our 13-year-old daughter Cady Gray all join me after every episode for some post-game analysis. Sometimes we don&#8217;t even wait for the closing credits. During &#8220;tribal council,&#8221; before all the votes [&#8230;]]]></summary>
			
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<img alt="" data-caption="Survivor: Ghost Island’s first tribal council. | CBS" data-portal-copyright="CBS" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/10631631/110483_05091b.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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	Survivor: Ghost Island’s first tribal council. | CBS	</figcaption>
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<p>My family doesn&rsquo;t just watch <em>Survivor;</em> we <em>scrutinize</em> it.</p>

<p>Whenever the CBS hit is in season, my wife Donna, our 16-year-old son Archer, and our 13-year-old daughter Cady Gray all join me after every episode for some post-game analysis. Sometimes we don&rsquo;t even wait for the closing credits.</p>

<p>During &ldquo;tribal council,&rdquo; before all the votes are cast and one of the show&rsquo;s contestants gets sent home, we&rsquo;ll hit the pause button and take a few minutes to speculate. What would be the best strategic move here? And what are the castaways likely to do in the heat of the moment?</p>

<p>We don&rsquo;t just do this with <em>Survivor</em>. We pick apart <em>The Amazing Race</em>, <em>Project Runway</em>, <em>Kids Baking Championship,</em> and every other reality competition we watch. We&rsquo;re gamers by nature. We have board game tournaments during holiday breaks and enjoy watching game shows together. Archer in particular, <a href="https://www.vox.com/2015/4/29/8503449/autism-spectrum-independent">who has an autistic spectrum disorder</a>, finds rules and results reassuring and likes to talk through how and why players win or lose.</p>

<p>Over the years, I&rsquo;ve found that I can pivot off our children&rsquo;s interest in reality TV and open up our conversations to talk about the people we watch on television as people, not just as competitors. Because we watch a fair number of these shows (basically everything but the &ldquo;let&rsquo;s follow around a celebrity&rdquo; and <em>Bachelor</em> subgenres), the topics of our little chats have been pretty broad, encompassing everything from poverty and privilege to what a blast chiller is.</p>

<p>But no matter the show, there&rsquo;s almost always the seed of a productive discussion that allows Donna and me a chance to pass along some of what we know and believe, including&hellip;</p>
<h2 class="wp-block-heading">It’s important to understand cultures and experiences different from your own</h2>
<p><em>The Amazing Race</em> can be overly aggressive in shoehorning geography and history into its globe-hopping challenges. But the shtick works! Whenever the racers encounter the extreme poverty of India and Africa, Donna and I take a moment to talk about economic inequality with Archer and Cady Gray.</p>

<p>And when the trip around the world passed through old Europe and ultramodern Asia, that presents an entirely different but just as welcome opportunity to talk about cultural variance.</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/10631909/3010_T04_Grab_02.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="Contestants compete in Chiang Mai, Thailand, on &lt;em&gt;The Amazing Race.&lt;/em&gt; | CBS" data-portal-copyright="CBS" />
<p>Even the contestants&rsquo; backgrounds &mdash; on <em>Amazing Race</em> and other shows &mdash; allow us to consider how Americans differ, from New Jersey to Kentucky to California. Reality shows like&nbsp;<em>Amazing Race&nbsp;</em>and&nbsp;<em>Survivor&nbsp;</em>like&nbsp;to slap labels on the participants (&ldquo;the Boston Firefighter,&rdquo; &ldquo;the Cheerleader,&rdquo; etc.), but the people themselves often defy easy description.</p>

<p>Cady Gray and I are fans of History Channel&rsquo;s extreme survival series <em>Alone</em>, which strands hearty souls out in the wilderness completely by themselves, without even a camera crew, seeing how long they can last before asking for extraction.</p>

<p>The kind of people who take on <em>Alone</em>&rsquo;s challenges don&rsquo;t have a lot in common with our soft suburbanite selves. They&rsquo;re often ex-military or back-to-the-land-ers. They&rsquo;re folks we don&rsquo;t meet every day. Hearing them monologue to themselves about how to turn a tree into a boat, or how they&rsquo;re coping with PTSD, gives us a chance to see beneath the stereotype of the drippy hippy or the hyper-aggressive soldier.</p>

<p>And since reality TV producers have become fairly committed to casting gay or lesbian competitors in each season, our kids have come to know, and root for, a healthy number of LGBTQ contestants. Some shows are more open than others. Cady Gray has watched a lot of <em>Project Runway </em>with us, where the vast majority of the male designers are gay.</p>

<p>She&rsquo;s become used to seeing same-sex couples during the reality competition genre&rsquo;s common &ldquo;weepy call home&rdquo; scenes. Archer, meanwhile, has a chauvinist tendency to cheer for the all-male teams on <em>The Amazing Race</em>, which means that more than once, his preferred racers have been two men who are married to each other.</p>

<p>One of the great arguments that conservative parents&rsquo; groups have levied against the mainstreaming of queer culture is, &ldquo;How am I supposed to explain any of this to my kids?&rdquo; But reality TV answered this question long ago. If you give children a chance to get to know men and women with different sexual preferences, it&rsquo;s really not that difficult for them to understand.</p>
<h2 class="wp-block-heading">Interpersonal dynamics can be tricky</h2>
<p>Some of the most fruitful discussions we&rsquo;ve had with our kids have sprung from what is, frankly, one of reality TV&rsquo;s worst traits. By and large, producers want the contestants to beef at each other because it makes for more dramatic television.</p>

<p>But on the shows we watch regularly, the jerks are rarely framed as role models. So we get to talk about what they&rsquo;re doing wrong. Why should a woman who&rsquo;s partnered with a controlling, condescending boyfriend on <em>The Amazing Race </em>get as far away from him as possible? How counterproductive is it when a chef on <em>Top Chef</em> or a designer on <em>Project Runway</em> starts sniping at teammates or rivals? Is there a better way for these people to get what they want?</p>

<p>It&rsquo;s telling, too, that our kids &mdash; like most of the world, it seems &mdash; have been touched and impressed by the genuine camaraderie of the cooks on <em>The Great British Baking Show</em>. The same is true of the youngsters competing in the <em>Kids Baking Championship</em> and on <em>Project Runway Junior</em>. Seeing people supporting each other and helping each other inspires them as much it does us.</p>
<h2 class="wp-block-heading">There are different kinds of leadership</h2>
<p>Similar to interpersonal dynamics, there are opportunities aplenty while watching reality TV to talk about leadership: either of the macho, alpha male variety seemingly favored by <em>Survivor</em> host Jeff Probst, or of the humble, poised, versatile kind that does well on a real survival show like <em>Alone</em>.</p>

<p>Brashness may draw more attention on television, but my wife and I can always find moments to point out the effectiveness of &ldquo;soft power,&rdquo; when a player gains an advantage through a timely conversation or a gesture of good faith.</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/10631817/110483_23403b.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="Contestants compete in a challenge on &lt;em&gt;Survivor: Ghost Island.&lt;/em&gt; | CBS" data-portal-copyright="CBS" />
<p>One of the more fascinating shows to watch in the context of &ldquo;leadership&rdquo; is <em>Shark Tank</em>. We don&rsquo;t care so much about the investors and their diverging personalities. It is useful, though, to examine the would-be entrepreneurs as they pitch their products and to talk about what makes their ideas and pitches good or bad.</p>

<p><em>Shark Tank</em> features slick business school grads who know how to sell but don&rsquo;t have a valuable product or service and home inventors who haven&rsquo;t done their homework on how to take their concept to the next level. These strengths and weaknesses are broadly applicable to any child&rsquo;s understanding of how the world works.</p>
<h2 class="wp-block-heading">Gamesmanship matters</h2>
<p>As mentioned, my children&rsquo;s interest in reality competitions stems from their love of game shows, which aren&rsquo;t as plentiful on TV as I&rsquo;d like (or at least, these days, aren&rsquo;t as family-friendly as I&rsquo;d like). A lot of the fun for us in watching <em>Survivor</em> or <em>The Amazing Race</em> is to see it <em>as</em> a game and to admire whenever a player executes an especially crafty maneuver.</p>

<p>Because of that, we get a little irritated whenever contestants on these shows act like elements that are integral the game &mdash; like the &ldquo;U-turns&rdquo; on <em>Amazing Race</em> and the &ldquo;immunity idols&rdquo; on <em>Survivor</em> &mdash; are somehow beneath them.</p>

<p>&ldquo;I don&rsquo;t want to play the game this way; that&rsquo;s not who I am,&rdquo; some competitors say, as they squander a perfectly legal and openly encouraged advantage. Watching these people refuse a boon is a lesson in itself: Play shrewdly, kids, and don&rsquo;t take it personally when your opponents do the same.</p>

<p>That&rsquo;s why one of our favorite competition (whenever it&rsquo;s airing, that is) is Food Network&rsquo;s <em>Cutthroat Kitchen</em>. It&rsquo;s nearly impossible to win that game <a href="https://www.youtube.com/watch?v=B2v-DqnVrA8">without sabotaging the other chefs</a>, which makes planning and strategizing as important as the actual cooking.</p>

<p>That&rsquo;s not to say that we want our children to learn to be cruel. There are good reasons&nbsp;<em>not</em>&nbsp;to take advantage of an opportunity to hamper the competition, ranging from simple compassion to currying favor. But I do think it&rsquo;s important to know the difference between playing a game hard and actually hurting someone, and these types of shows offer an opportunity to make that distinction.&nbsp;</p>
<h2 class="wp-block-heading">There <em>is</em> accounting for taste</h2>
<p>When we watch cooking shows, we can&rsquo;t actually taste the food, some of which looks weird and unpalatable &mdash; especially to a picky teenager. When we watch <em>Project Runway</em>, our understanding of fashion pales next to that of the judges, who are often looking for something different in the clothes than we are. But that&rsquo;s okay! That&rsquo;s what makes these programs educational. Learning what experts think is good about design, cuisine, music, and dance has helped broaden our kids&rsquo; sense of the finer things.</p>

<p>Along the same lines, whenever friends ask me how I can watch shows like <em>American Idol</em> and <em>So You Think You Can Dance</em> &mdash; which they presume to be trash &mdash; my answer is that on any given week, a performance competition can show me something amazing, unlike anything else on television.</p>

<p>What could be better than seeing and hearing a talented amateur entertainer seize his or her moment in the spotlight? Isn&rsquo;t this one of TV&rsquo;s greatest functions, to unite us in our awe at what our fellow humans can do?</p>
<img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/10631807/_R4_2808_hires2.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="Contestants perform a contemporary routine on &lt;em&gt;So You Think You Can Dance?&lt;/em&gt; | Fox" data-portal-copyright="Fox" />
<p>This is what I try to share with my daughter in particular, who&rsquo;s more artistically inclined than my mathematical-minded son. Watching some 18-year-old from Oklahoma sing his heart out at an&nbsp;<em>American Idol</em>&nbsp;audition, we&rsquo;ll analyze his technique and weigh his originality, and I&rsquo;ll explain a little about whatever pop, rock, or R&amp;B traditions he&rsquo;s honoring. But we&rsquo;ll also just marvel at the courage it takes to step into a spotlight, to try to express something.</p>
<h2 class="wp-block-heading">Pop trends can unite us</h2>
<p>It used to be true that &ldquo;these kids today&rdquo; would know far more about the latest music, celebrities, and fashions than their clueless parents. That&rsquo;s not so much the case anymore. Thanks to the fragmentation of the media audience and the rise of nontraditional platforms like YouTube, the younger generation doesn&rsquo;t necessarily share equally in the zeitgeist.</p>

<p>As recently as 10 or 20 years ago, adolescents might&rsquo;ve shared a common awareness of whatever was on MTV, Cartoon Network, Nickelodeon, or the Disney Channel. Today they&rsquo;re just as likely to have highly individuated niche interests, from video game &ldquo;speed run&rdquo; videos to <em>Dungeons &amp; Dragons</em> podcasts.</p>

<p>My daughter, for example, knows artists like Bruno Mars and Beyonc&eacute; primarily because she&rsquo;s heard their music on <em>American Idol</em> and <em>So You Think You Can Dance</em>. Cady Gray hardly ever listens to &ldquo;the radio&rdquo; per se. She gets her music primarily from Pandora and YouTube. So it&rsquo;s reassuring to me to know that at least TV is giving her some common touchpoints with her peers &hellip; if only so she&rsquo;ll know what to feel nostalgic about in 20 years.</p>
<h2 class="wp-block-heading">In this day and age especially, it’s important to be media-literate</h2>
<p>Did I say that reality TV is best at teaching &ldquo;interpersonal relationships&rdquo;? Well, that&rsquo;s true, but only inasmuch that those are the lessons these shows are actually <em>trying</em> to teach. But I can&rsquo;t over-stress the importance of sharing with children a deeper understanding of what television <em>isn&rsquo;t</em> showing.</p>

<p>Isn&rsquo;t it odd, for example, that so many competition series follow the same basic format from episode to episode, even though in theory they&rsquo;re supposed to be documenting an unpredictable real world?</p>

<p>Pointing this out is a good way into talking about editing and how TV creators construct stories. Just because <em>The Amazing Race</em> cuts between two teams running to the finish line doesn&rsquo;t mean they were actually racing to the end at the same time the episode was shot. Just because <em>Survivor</em> includes scenes of castaways discussing a possible blindside vote just before tribal council doesn&rsquo;t mean the outcome of that episode is actually in doubt.</p>

<p>Television misleads us all the time for the purpose of keeping us in suspense. It&rsquo;s a well-meaning lie, but a lie nonetheless.</p>

<p>Thanks to the past few years of American politics, we&rsquo;ve learned that not all of the media&rsquo;s little misdirections are benign. It&rsquo;s good for kids to learn early that the lines between information and entertainment are closely intertwined, and that sometimes in the name of constructing a compelling narrative, television creates misperceptions about what&rsquo;s actually happening in the world.</p>

<p>&#8232;True, this lesson &mdash; like all the others above &mdash; could be taught without ever watching a minute of <em>Project Runway</em> or <em>The Amazing Race</em>. But teaching kids values doesn&rsquo;t always require reading morally upstanding literature or watching G-rated faith-based movies. There&rsquo;s a lot to be learned from studying real people, in all their devilish complications.</p>
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					</entry>
			<entry>
			
			<author>
				<name>Noel Murray</name>
			</author>
			
			<title type="html"><![CDATA[25 Super Bowl commercials that explain Super Bowl commercials]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/2017/2/3/14501032/super-bowl-commercials-ads-explained" />
			<id>https://www.vox.com/2017/2/3/14501032/super-bowl-commercials-ads-explained</id>
			<updated>2018-02-05T11:10:23-05:00</updated>
			<published>2018-02-02T12:52:42-05:00</published>
			<category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Sports" /><category scheme="https://www.vox.com" term="TV" />
							<summary type="html"><![CDATA[The&#160;Super Bowl&#160;dominates the list of the&#160;most-watched programs in American television history, routinely drawing more than 100 million total viewers &#8212; even in the current era, where shows that attract more than 10 million are considered smash hits. The mania for all things related to the NFL&#8217;s annual championship game&#160;spreads beyond game day. Sports news channels [&#8230;]]]></summary>
			
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<img alt="" data-caption="" data-portal-copyright="Volkswagen" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/7927507/kiddarthvolkswagen.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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<p>The&nbsp;<a href="https://www.vox.com/super-bowl">Super Bowl</a>&nbsp;dominates the list of the&nbsp;<a href="http://www.vox.com/2016/2/5/10921574/super-bowl-ratings">most-watched programs in American television history</a>, routinely drawing more than 100 million total viewers &mdash; even in the current era, where shows that attract more than 10 million are considered smash hits.</p>

<p>The mania for all things related to the NFL&#8217;s annual championship game&nbsp;spreads beyond game day. Sports news channels offer round-the-clock coverage of every pregame interview and workout. The NFL&rsquo;s own cable network runs marathons of past Super Bowl highlights. Entertainment media speculates about what the halftime show will entail. And seemingly everyone &mdash; from casual fans to the New York Times &mdash;&nbsp;<a href="http://www.sbnation.com/super-bowl-commercials">talks about the commercials</a>.</p>

<p>The whole notion of &#8220;the Super Bowl commercial&#8221; as something eagerly awaited and much debated really arose in the 1990s, when the rise of the internet allowed for more instantaneous shared reactions to what happens on television. Once advertisers and the media realized that people at Super Bowl parties weren&rsquo;t going to the bathroom or hitting the snack table during timeouts, they started working together to nurture an unexpectedly captive audience. Today, the agencies that produce the ad spots put out press releases and sneak previews of what viewers can expect to see on Sunday, while websites everywhere scramble after the game to post&nbsp;<a href="https://www.vox.com/2017/2/5/14517108/super-bowl-commercials-2017s-winners-and-losers">rankings of the best and worst</a>.</p>

<p>It&rsquo;s all a way of maximizing the value of work that routinely costs millions of dollars to produce. And that&rsquo;s before paying what Quartz&nbsp;<a href="https://qz.com/1192015/super-bowl-lii-how-the-price-of-an-ad-climbed-to-5-milion-in-2018/">estimates</a>&nbsp;to be more than $5 million per 30 seconds airtime.</p>

<p>Observed from a distance, the modern Super Bowl commercial is a bizarre example of a consumerist culture run amok. But on a micro level, the evolution of these ads &mdash; and of the attention we pay to them &mdash; says a lot about how American business and entertainment have changed. Everything from advances in special effects to variations in gender politics and an increasingly polarized America can be traced via what airs on TV between touchdowns.</p>

<p>That&#8217;s why the following list, arranged roughly chronologically, doesn&rsquo;t try to name the&nbsp;<em>best </em>Super Bowl commercials of all time (although some of the ads I&#8217;ve included definitely qualify). Instead, these are the ones that best represent the trends and subcategories that have defined a phenomenon.</p>
<h2 class="wp-block-heading">1. Master Lock, &quot;Rifle&quot; (1974): the first perennial</h2>
<p>Advertising is designed to be noticed, which means that long before Super Bowl Sunday became the preeminent showcase for new commercials, the big game featured plenty of spots that grabbed viewers&rsquo; attention and sparked, &#8220;Hey did you see that?&#8221; chitchat around the office on Monday. The first seriously buzzy ad ran in 1974, when Master Lock took a cue from&nbsp;<a href="https://youtu.be/esHroPbYUwc"><strong>Timex</strong></a>&nbsp;and&nbsp;<a href="https://youtu.be/8C-e96m4730"><strong>American Tourister</strong></a>&nbsp;and filmed a demonstration of how durable its product could be. The spectacular stunt &mdash; firing a rifle at a lock, which remained closed &mdash; went over so well that the company repeated it, with different variations, in the Super Bowls that followed. Each new Master Lock commercial became an annual event in and of itself.</p>
<h2 class="wp-block-heading">2. Coca-Cola, &quot;Hey, kid, catch!&quot; (1980): the game boosts an existing ad’s profile</h2><div class="youtube-embed"><iframe title="Coca-Cola 1979 Commercial &quot;Hey, kid, catch!&quot; short version" src="https://www.youtube.com/embed/PniKOseu8tI?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>As anyone who watched&nbsp;<em>Mad Men</em>&nbsp;knows, the McCann Erickson ad agency&nbsp;<a href="http://www.vox.com/2015/5/12/8589783/mad-men-finale-predictions"><strong>had a longstanding relationship with&nbsp;the Coca-Cola Company</strong></a>, crafting TV commercials that are now as much a part of American pop culture history as Elvis Presley, Marvel Comics, or Coke itself. One of the best of the bunch is this Clio-winning spot, which shows hulking, injured Pittsburgh Steeler &#8220;Mean&#8221; Joe Greene softening after a game when a young boy gives him a bottle of pop.</p>

<p>The touching &#8220;Hey, kid, catch!&#8221; ad actually started airing in October 1979, but the exposure it got from Super Bowl 14 turned it into a touchstone, provoking several parodies and homages. Something similar would happen two decades later, when Budweiser&rsquo;s infectious, funny&nbsp;<a href="https://www.youtube.com/watch?v=JJmqCKtJnxM&amp;feature=youtu.be"><strong>&#8220;Whassup?&#8221;</strong></a>&nbsp;ad launched months before the Super Bowl and then exploded in the culture once it aired during the game.</p>
<h2 class="wp-block-heading">3. Apple, &quot;1984&quot; (1984): advertising as art</h2><div class="youtube-embed"><iframe title="Apple 1984 Super Bowl Commercial Introducing Macintosh Computer (HD)" src="https://www.youtube.com/embed/2zfqw8nhUwA?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Perhaps the most famous Super Bowl commercial of all time, this oblique pitch for the then-new Macintosh personal computer was groundbreaking for multiple reasons. The enormous scale of the production, overseen by&nbsp;<em>Alien&nbsp;</em>and&nbsp;<em>Blade Runner&nbsp;</em>director&nbsp;<a href="http://www.imdb.com/name/nm0000631/"><strong>Ridley Scott</strong></a>, was unprecedented &mdash; as was the fact that the ad doesn&rsquo;t really show the product in question or explain what it does. In the previous decade, the model for a great commercial was Xerox&rsquo;s&nbsp;<a href="https://www.youtube.com/watch?v=_IgH2M02xek&amp;feature=youtu.be"><strong>&#8220;Monks,&#8221;</strong></a>&nbsp;which employed humor and elaborate production design to illustrate the advantages of using a copy machine. Apple and the agency Chiat/Day demonstrated that artistry alone was enough to become a nationwide conversation piece &hellip; even though, ultimately, the &#8220;1984&#8221; campaign didn&rsquo;t sell a lot of Macs.</p>
<h2 class="wp-block-heading">4. Budweiser, &quot;Bud Bowl&quot; (1989): recurring schtick</h2><div class="youtube-embed"><iframe title="Bud Bowl 1 Complete - Budweiser Beer Commercials 1989" src="https://www.youtube.com/embed/47SMBrviAO8?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>In 1989, Budweiser and the agency D&#8217;arcy Masius Benton &amp; Bowles animated cans and bottles to create a cute, amusing fake football game between Bud and Bud Light, which ran in pieces throughout Super Bowl 23. The concept was so delightful and engaging that it demanded a sequel, and throughout the &#8217;90s Anheuser-Busch kept bringing back the Bud Bowl, adding more and more elements until the whole game-within-the-game started to get too gimmicky &mdash; and eventually more irritating than fun. The rise and fall of the Bud Bowl is a cautionary tale that Budweiser itself doesn&rsquo;t seem to have heeded, given that the company would later run another good gag into the ground, turning its clever&nbsp;<a href="https://www.youtube.com/watch?v=Y8TTWtbT088&amp;feature=youtu.be"><strong>&#8220;Frogs&#8221;</strong></a>campaign into an annual Super Bowl nuisance.</p>
<h2 class="wp-block-heading">5. Nike, &quot;Hare Jordan&quot; (1992), and 6. McDonald’s, &quot;Showdown&quot; (1993): the ultimate sportsman/spokesperson</h2><div class="youtube-embed"><iframe title="McDonald&#039;s &quot;The Showdown&quot; 1993" src="https://www.youtube.com/embed/Fgo8pJnKquE?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Major brands have long turned to jocks to be their spokespeople for Super Bowl commercials, given that the TV audience for the game is made up primarily of sports fans. In the early 1990s, Michael Jordan was the athlete that nearly every company wanted to partner with, which meant that during any given Super Bowl Sunday, an NBA player might get just as much airtime as the best of the NFL.</p>

<p>The two best-known ads from Jordan&rsquo;s heyday aired in consecutive years. Director Joe Pytka &mdash; who&rsquo;s helmed more than 80 spots that aired during the Super Bowl &mdash; did such a good job matching the Chicago Bulls superstar with Bugs Bunny in 1992&#8217;s &#8220;Hare Jordan&#8221; that Warner Bros. would later hire him to make the feature film that spun out of that commercial,&nbsp;<em>Space Jam</em>. One year later, Pytka worked with Jordan again for the charming &#8220;Showdown,&#8221; which pitted His Airness against Larry Bird in an increasingly elaborate game of HORSE, with a Big Mac at stake. The McDonald&rsquo;s ad didn&rsquo;t get expanded into a movie, but it&rsquo;s still one of the best-remembered of Jordan&#8217;s Super Bowl commercials, and one that confirms how a champion&rsquo;s charisma can convert easily into salesmanship.</p>
<h2 class="wp-block-heading">7.<em> Independence Day</em> teaser (1996): the modern movie hype machine is born</h2>
<p>These days, Super Bowl ad breaks are littered with short trailers for upcoming blockbusters, but Hollywood largely steered clear of the game until 1996, when 20th Century Fox cut together 30 seconds of its most eye-popping footage from&nbsp;<em>Independence Day&nbsp;</em>&mdash; a movie that hadn&rsquo;t yet been completed, and that wouldn&rsquo;t premiere until a little more than five months later.&nbsp;<em>Independence Day</em>&nbsp;was a largely unknown quantity prior to Super Bowl 30, but after its teaser aired during the game it became a must-see &mdash; and set a precedent for way-early hype that film studios have chased ever since.</p>
<h2 class="wp-block-heading">8. Bud Light, &quot;Shopping&quot; (1998): casual misogyny reigns</h2><div class="youtube-embed"><iframe title="Bud Light Shopping Commercial" src="https://www.youtube.com/embed/M_7xRaNY8wY?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Despite some pundits&#8217; sexist perspective that guys watch the game and gals watch the ads, advertisers haven&rsquo;t always made their commercials female-friendly. Super Bowls have often been marred by varying degrees of shameless misogyny, with women&nbsp;<a href="https://youtu.be/7DZao4kN73M"><strong>having their clothes blown off</strong></a>&nbsp;or&nbsp;<a href="https://youtu.be/fRYzYAfGzjA"><strong>getting doused with beer</strong></a>. More often, ladies are just depicted as a total drag, forcing their fellas to spend time with them doing boring stuff like shopping.</p>
<h2 class="wp-block-heading">9. FedEx, &quot;We Apologize&quot; (1998): introducing &quot;the anti-­ad&quot;</h2><div class="youtube-embed"><iframe title="Old FedEx Superbowl Commercial" src="https://www.youtube.com/embed/K1qwjx6xUtU?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>As Super Bowl commercials have become a bigger and bigger deal, they&rsquo;ve also started to become self-aware, with advertisers poking fun at the overall hubbub and their own clich&eacute;s. One of the most enjoyable of the &#8220;anti-ads&#8221; is this sly FedEx spot from 1998, an early example of the form,<strong>&nbsp;</strong>which pretends to be an apology from the company explaining that it didn&rsquo;t get its commercial to NBC on time because its ad agency used the wrong shipping service. (In these days of digital delivery, the only kind of company that could do a gag like this would be an internet service provider.)</p>

<p>&#8220;We Apologize&#8221; is notable because its static image and lack of music immediately stood out from the flash and noise of the ads around it. But it&rsquo;s also an example of how advertisers have been figuring out ways to get their message across even when viewers are taping a program and fast&shy;-forwarding through the breaks. In 1998, it was a VCR &shy;buster. Today, it&rsquo;d be getting through to folks with DVRs.</p>
<h2 class="wp-block-heading">10. Monster.com, &quot;When I Grow Up&quot; (1999), and 11. E-Trade, &quot;Ghost Town&quot; (2001): the dot-com boom &#8230; and bust</h2><div class="youtube-embed"><iframe title="Monster.com commercial" src="https://www.youtube.com/embed/rJB0CzlzSwY?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div><div class="youtube-embed"><iframe title="E-Trade Chimp On a Horse TV Commercial" src="https://www.youtube.com/embed/ONZFkqzuMjI?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Monster.com wasn&rsquo;t the first web-based service to advertise during the Super Bowl, but its &#8220;When I Grow Up&#8221; ad was so clever &mdash; explaining what the company actually does by having kids sarcastically talk about the crappy jobs they one day hoped to have &mdash; that it became one of the most talked-about commercials of that year, and set the stage for what came to be known as &#8220;the dot-com Bowl.&#8221; In 2000, more than a dozen websites bought time during the game, from Pets.com to LastMinuteTravel.com. And many of them were out of business by 2001, when E-Trade&rsquo;s &#8220;Ghost Town&#8221; openly mocked the carnage.</p>

<p>Websites still spend money on Super Bowl Sunday, and have produced some of the game&rsquo;s most memorable moments of the past decade, thanks to the&nbsp;<a href="https://youtu.be/hashPaU7Dpk"><strong>E-Trade Baby</strong></a>&nbsp;and&nbsp;<a href="https://youtu.be/3FKkYnVSsV8"><strong>GoDaddy&rsquo;s parade of prurience</strong></a>. But the boom in dot-com ads hit the same year that Silicon Valley went bust.</p>
<h2 class="wp-block-heading">12. Levi’s, &quot;Crazy Legs&quot; (2002): directors as stars</h2><div class="youtube-embed"><iframe title="Levis Crazy Legs Commercial" src="https://www.youtube.com/embed/_wxiggZ2JRQ?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Many of the most creative movie directors working today have either moonlighted in advertising or got their start working on commercials.&nbsp;<a href="http://www.imdb.com/name/nm0005069/"><strong>Spike Jonze</strong></a>&nbsp;shot music videos and ads years before he made his feature film debut with the 1999 cult hit&nbsp;<em>Being John Malkovich</em>, and he continued doing so for a few years afterward, bringing his sense of the absurd to spots like this one for Levi&rsquo;s, which shows street dancer Johnny Cervin freaking out his fellow pedestrians with the wild things his lower body can do. The best of Jonze&rsquo;s generation have followed in the footsteps of directors like the aforementioned Ridley Scott, proving that advertising can be art.</p>
<h2 class="wp-block-heading">13. Pepsi, &quot;Hendrix&quot; (2004), and 14. Volkswagen, &quot;The Force&quot; (2011): cross-branding and nostalgia</h2><div class="youtube-embed"><iframe title="Darth Vader kid with car super bowl commercial FULL Version" src="https://www.youtube.com/embed/i-PNHZvKtZo?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>There are two constants during the game, year after year: Pepsi will take jabs at Coke, and companies of all kinds will try to associate themselves with other brands people like, be they&nbsp;<a href="https://youtu.be/NYSqiD1_TCg"><strong>Superman</strong></a>&nbsp;or&nbsp;<a href="https://youtu.be/z1Kk_zB5fRo"><em><strong>The Simpsons</strong></em></a>. Pepsi hit both marks simultaneously with a 2004 commercial that features a young Jimi Hendrix picking Pepsi over Coke, and the electric guitar over the accordion. The use of dead celebs as pitch people is an ethical gray area, but Pepsi&rsquo;s association with one of the coolest rockers in history effectively extended the brand&#8217;s decades-long argument that Coke is for squares.</p>

<p>For a better use of synergy, though, turn to maybe the most adorable ad in Super Bowl history, which sees a little kid in a Darth Vader costume struggling to use the Force on inanimate objects. Released during a time when the actual&nbsp;<em>Star Wars</em>&nbsp;movies had recently completed a disappointing revival, this VW commercial was, in a weird way, a reminder of what made the franchise so beloved in the first place. And when the ad was shared far and wide online in the week before the game, it also established &#8220;virality&#8221; as one of the Super Bowl spots&rsquo; major new goals.</p>

<p>According to <a href="http://www.adweek.com/creativity/7-years-later-vws-the-force-is-still-the-dark-lord-of-super-bowl-ads/">AdAge</a>, the spot &ldquo;remains the most-watched Super Bowl ad of all time. And it&rsquo;s known not just for its clever premise and fun execution&mdash;but it also changed the way Super Bowl ads roll out, having started the tradition of releasing them before the game to get the most visibility possible.&rdquo;</p>
<h2 class="wp-block-heading">15. Budweiser, &quot;Welcome Home&quot; (2005): playing the patriot card</h2><div class="youtube-embed"><iframe title="Budweiser Commercial Welcome Home Troops" src="https://www.youtube.com/embed/9AGay3mZHeE?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>During the Bush administration &mdash; in the era of 9/11 and the Iraq War &mdash; advertisers made direct appeals not just to consumers&rsquo; patriotic fervor but to their respect and admiration for the military. The &#8220;coming home&#8221; theme would become common in commercials, showing returning soldiers surprising their loved ones or being heralded as heroes by their hometowns.</p>

<p>Anheuser-Busch jumped on the trend early with this moving, understated spot, showing an airport full of people applauding a handful of troops as they stroll through the terminal in full regalia. Yes, it&rsquo;s a pitch for beer. But it&rsquo;s low-key enough that it could almost be mistaken for a public service announcement &mdash; or an Army recruitment ad.</p>
<h2 class="wp-block-heading">16. Doritos, &quot;Live the Flavor&quot; (2007): welcome to crowdsourcing</h2><div class="youtube-embed"><iframe title="Live the Flavor" src="https://www.youtube.com/embed/kNxgxF-7SfA?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Capitalizing on the rise of the internet and its attendant opportunity for &#8220;crowdsourcing,&#8221; Doritos launched its &#8220;Crash the Super Bowl&#8221; campaign in 2006, inviting snackers to enter their own ads in a contest whose prize was money, exposure, and a trip to the game. The chip&rsquo;s first big winner was this fairly slick spot, following two accident-prone Doritos-lovers as they wreak havoc while finding each other.</p>

<p>The contest generated a lot of advance interest in exactly what Frito&shy;-Lay would ultimately put on the air, and the commercial itself wound up on year-end &#8220;best ad&#8221; lists, while the PR agency Ketchum Inc.&nbsp;<a href="http://yannigroth.com/2015/04/17/how-doritos-crowdsourced-its-advertising-since-2006-csreport2015/"><strong>won an award</strong></a>&nbsp;from the International Public Relations Association. Last year&rsquo;s &#8220;Crash the Super Bowl&#8221; was ultimately deemed the last of the series, bringing an end to a campaign that smartly exploited the 21st-century push toward total interactivity. But crowdsourcing still lives on, as evidenced by <a href="http://variety.com/2018/tv/news/2018-super-bowl-commercials-kraft-family-1202679911/">Kraft&rsquo;s plan to build its 2018 ad out of self-submitted photos of families</a>.</p>
<h2 class="wp-block-heading">17. Audi, &quot;The Chase&quot; (2009): the ad as blockbuster movie</h2><div class="youtube-embed"><iframe title="Audi Super Bowl The Chase 2009" src="https://www.youtube.com/embed/2ZtRN4GfkCs?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>The products that regularly advertise during the big game tend to separate into highly specific selling modes. Beer ads are funny. Soft drink ads tend to be either poetic or wry. Snack food ads are often weird. And car ads are like one-minute Hollywood blockbusters. This Audi commercial casts British badass&nbsp;<a href="http://www.imdb.com/name/nm0005458/"><strong>Jason Statham</strong></a>&nbsp;as an action hero who drives a car through time, stopping off in the &#8217;70s, &#8217;80s, and &#8217;90s. Kinetic, clever, and colorful, the spot illustrates either how much ad agencies have learned from Hollywood or vice versa.</p>
<h2 class="wp-block-heading">18. <em>Late Show With David Letterman</em>, &quot;Oprah/Jay&quot; (2010): expecting the unexpected</h2><div class="youtube-embed"><iframe title="Late Show With David Letterman Oprah Winfreh and Jay Leno Superbowl XLIV 2010 Commercial" src="https://www.youtube.com/embed/-KSKkmypTZM?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>With all of the pregame hype these days about which companies have booked time during the game and which celebrities they&rsquo;ve hired, we may never again enjoy a moment of genuine surprise akin to what happened in 2010, when a 15-second pitch for CBS&rsquo;s flagship late-night show reunited&nbsp;<a href="http://www.imdb.com/name/nm0001468/"><strong>David Letterman</strong></a>&nbsp;with both&nbsp;<a href="http://www.imdb.com/name/nm0001856/"><strong>Oprah Winfrey&nbsp;</strong></a>(with whom the host&nbsp;<a href="http://www.oprah.com/own-oprahs-next-chapter/Oprah-Settles-Her-Feud-with-David-Letterman-Video"><strong>had a complicated TV relationship</strong></a>) and&nbsp;<a href="http://www.imdb.com/name/nm0005143/"><strong>Jay Leno</strong></a>&nbsp;(a former go-to Letterman guest who&rsquo;d snatched NBC&rsquo;s&nbsp;<em>The Tonight Show</em>&nbsp;out from under him).</p>

<p>Ordinarily, the Super Bowl networks tend to limit their self &shy;promotion to in-&shy;game shots of stars watching from the stands, rather than squandering valuable ad &shy;time for their own programs &mdash; which could produce multiple episodes for the amount of money the network gets to fill that space. So memorable spots for actual TV shows are rare. That&rsquo;s another reason this simple Letterman/Winfrey/Leno gag stands alone.</p>
<h2 class="wp-block-heading">19. Focus on the Family, &quot;Miracle Baby&quot; (2010), and 20. ManCrunch, &quot;Super Bowl Kiss&quot; (2010): stirring controversy</h2><div class="youtube-embed"><iframe title="Focus on the Family Super Bowl Commercial with Tim Tebow" src="https://www.youtube.com/embed/xqReTDJSdhE?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div><div class="youtube-embed"><iframe title="ManCrunch SuperBowl Commercial (banned by CBS)" src="https://www.youtube.com/embed/avp6uOedp38?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>The cost of 30 or 60 seconds of airtime during television&rsquo;s most-watched night of the year is so prohibitive that not many companies can afford it. But money&rsquo;s not the only barrier to entry. The network airing the game can reject ads that are too racy or too potentially controversial. That&rsquo;s why many media analysts<strong>&nbsp;</strong>were surprised in 2010 when CBS let the right-wing Christian organization Focus on the Family buy time for a commercial featuring Pam Tebow, the mother of quarterback Tim Tebow, pointing viewers to a longer version of her pro-life/anti-abortion message.</p>

<p>The decision to run the ad was especially divisive given that for that same game, CBS rejected a fairly tame commercial for the gay dating site ManCrunch, featuring two male football fans energetically smooching each other. Whenever a spot like ManCrunch&rsquo;s is rejected, the attention it draws for being banned raises questions about whether the whole idea was to get free publicity. But either way, the choice to allow in some dicey ads while excluding others&nbsp;<a href="http://www.cbsnews.com/news/tebow-super-bowl-ad-stirs-abortion-uproar/"><strong>sparks valuable debate</strong></a>&nbsp;about&nbsp;<a href="http://bleacherreport.com/articles/328021-tim-tebows-anti-abortion-super-bowl-ad-is-a-travesty"><strong>the divergences between social and corporate values</strong></a>.</p>
<h2 class="wp-block-heading">21. Chrysler, &quot;Imported From Detroit&quot; (2011): the ad as social statement</h2>
<p>One of the longest (at two minutes) and most expensive (at around $9 million) Super Bowl ads ever made, agency Wieden+Kennedy&rsquo;s unconventional Chrysler pitch makes great use of Eminem&rsquo;s hip-hop anthem &#8220;Lose Yourself,&#8221; accompanying images of Detroit at its best and worst. The spot sells a car, but more importantly, it advocates for a city and an American industry that in the decade prior to 2011 had experienced a lot of bad PR.</p>

<p>The Cannes-winning commercial went over so well that Chrysler and W+K tried to repeat the formula the following year with&nbsp;<a href="https://www.youtube.com/watch?v=FIVjCghMo2E&amp;feature=youtu.be"><strong>&#8220;Halftime in America,&#8221;</strong></a>&nbsp;featuring a &#8220;this country&rsquo;s not as bad off as you may think&#8221; speech &mdash; delivered by&nbsp;<a href="http://www.imdb.com/name/nm0000142/"><strong>Clint Eastwood</strong></a>&nbsp;&mdash;that inadvertently&nbsp;<a href="http://www.nytimes.com/2012/02/11/business/how-clint-eastwoods-chrysler-ad-stirred-politics-common-sense.html?_r=1"><strong>stirred political debate</strong></a>&nbsp;over whether it was tacitly endorsing President Obama&rsquo;s reelection. That&rsquo;s how fast public opinion can turn. One year a social message is the toast of the Super Bowl; the next year it&rsquo;s a minor scandal.</p>
<h2 class="wp-block-heading">22. Always, &quot;Like a Girl&quot; (2015), and 23. Nationwide Insurance, &quot;Boy&quot; (2015): getting serious</h2><div class="youtube-embed"><iframe title="Nationwide&#039;s &quot;Boy&quot; commercial" src="https://www.youtube.com/embed/F77RBUBlZ80?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p>Ongoing outcry over pervasive misogyny in Super Bowl commercials has cued advertisers that a lot of women watch the game, and that there&rsquo;s room for pitches with a little more gravity. Always, a manufacturer of women&#8217;s hygiene products,<strong>&nbsp;</strong>scored big in 2015 with a heartwarming spot that redefines what it means to run, throw, and fight &#8220;like a girl&#8221; &mdash; and in the process, the company found a fine balance between public service and brand awareness. The ad was a success, winning praise for introducing a long-overdue topic into a game whose players have gained a reputation for being abusive to women.</p>

<p>It&rsquo;s possible to go too far with the emotional appeals, however. Nationwide&rsquo;s &#8220;I&rsquo;ll never learn to ride a bike &hellip; because I&nbsp;<em>died</em>!&#8221; ad was roundly mocked on social media in 2015, because even though Super Bowl viewers are willing to get a little teary-eyed during timeouts, they&rsquo;re not so keen on outright morbidity.</p>
<h2 class="wp-block-heading">24. T-Mobile, &quot;One-Upped&quot; (2015): ads that advertise &#8230; ads</h2>
<p>Widespread online interest in Super Bowl commercials has led to countless websites running postmortems: grading ads and recording audience response. Perhaps in reaction to that &mdash; or maybe just to extend the phenomenon a little further &mdash; in recent years, the big game has been preceded by teasers and promos and advance releases. Prior to 2015&rsquo;s T-Mobile spot with comedians&nbsp;Sarah Silverman&nbsp;and&nbsp;Chelsea Handler, the cellular company and its agency Publicis Seattle spent a week&nbsp;doing interviews and posting behind-the-scenes footage, all for a 30-second commercial that&mdash; while funny &mdash; was pretty quickly forgotten.</p>
<h2 class="wp-block-heading">25. Budweiser, &quot;Brotherhood&quot; (2013): hooked on classics</h2>
<p>If there&rsquo;s one campaign that encapsulates the whole history and meaning of Super Bowl ads, it&rsquo;s Budweiser&rsquo;s long-running series of commercials featuring the company&rsquo;s horse mascots. The first&nbsp;<a href="https://www.youtube.com/watch?v=773AftoFylo"><strong>Clydesdale Super Bowl ad</strong></a><strong>&nbsp;</strong>aired in 1986, calling back to a promotional gimmick that Anheuser-Busch came up with in the &#8217;30s to celebrate the end of Prohibition.</p>

<p>Over the past three decades, Bud&rsquo;s Clydesdale ads have been at times nostalgic, ironic, comic, and sentimental. In 2002, the horses&nbsp;<a href="https://youtu.be/2-_qRS4Li7A"><strong>honored the victims of 9/11</strong></a>. In 2004 and 2005, the brewer told a jokey mini story about&nbsp;<a href="https://youtu.be/xD6ghskNKa8"><strong>a donkey</strong></a>&nbsp;dreaming of joining the team. And with 2013&rsquo;s &#8220;Brotherhood,&#8221; the brewer and its agency Anomaly (with the help of RSA Films and director Jake Scott, son of Ridley) produced this touching spot that went viral online, thanks in part to some early promotion.</p>

<p>Almost as soon as it aired, social media filled with people begrudgingly admitting that a beer commercial had made them cry, thanks to its use of Fleetwood Mac&rsquo;s wistful &#8220;Landslide&#8221; and its story of a horse trainer being reunited with one of his Clydesdales. So it goes with these ads, year after year. Viewers know they&rsquo;re silly and manipulative. And they buy into them anyway.</p>
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			<entry>
			
			<author>
				<name>Noel Murray</name>
			</author>
			
			<title type="html"><![CDATA[TIFF, the unofficial start of prestige-movie season, explained]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/2016/9/7/12839714/tiff-prestige-movie-season" />
			<id>https://www.vox.com/2016/9/7/12839714/tiff-prestige-movie-season</id>
			<updated>2016-09-07T17:44:16-04:00</updated>
			<published>2016-09-08T10:39:00-04:00</published>
			<category scheme="https://www.vox.com" term="Awards Shows" /><category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Explainers" /><category scheme="https://www.vox.com" term="Movies" /><category scheme="https://www.vox.com" term="Oscars" />
							<summary type="html"><![CDATA[Beginning today, the global movie industry will effectively relocate to Canada for 10 days, as part of an annual ritual that just might anoint the year&#8217;s biggest Oscar contenders. That was certainly the case with last year&#8217;s festival, which bestowed awards on eventual Oscar winners Spotlight and Room, and screened several other films that became [&#8230;]]]></summary>
			
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<img alt="" data-caption="Jacob Tremblay, Brie Larson, and Joan Allen attend the premiere of Room at the 2015 Toronto International Film Festival. | Joe Scarnici/Getty Images" data-portal-copyright="Joe Scarnici/Getty Images" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/7061183/488349326.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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	Jacob Tremblay, Brie Larson, and Joan Allen attend the premiere of Room at the 2015 Toronto International Film Festival. | Joe Scarnici/Getty Images	</figcaption>
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<p>Beginning today, the global movie industry will effectively relocate to Canada for 10 days, as part of an annual ritual that just might anoint the year&#8217;s biggest Oscar contenders. That was certainly the case with last year&rsquo;s festival, which bestowed awards on eventual Oscar winners <em>Spotlight </em>and <em>Room</em>, and screened several other films that became major awards season contenders, like <em>Brooklyn, The Danish Girl, </em>and <em>Trumbo.</em></p>

<p>But don&rsquo;t get the idea that TIFF is all about Oscars. Taking into account both feature films and shorts, nearly 400 movies will screen at this year&rsquo;s festival, and they run the gamut from trashy B-horror to radical avant-garde experiments. The vast majority of what plays in Toronto each September is bound for art-house theaters, cult DVD labels, or a longer trip around the festival circuit &mdash; not to the Golden Globes or the Academy Awards.</p>

<p>At the same time, the Oscars race is a big part of TIFF&#8217;s appeal. Over the past two decades, strong showings in Toronto have helped boost the awards prospects of <a href="http://www.imdb.com/title/tt0169547/?ref_=nv_sr_1"><em>American Beauty</em></a>, <a href="http://www.imdb.com/title/tt1010048/?ref_=nv_sr_1"><em>Slumdog Millionaire</em></a>, <a href="http://www.imdb.com/title/tt1504320/?ref_=nv_sr_1"><em>The King&rsquo;s Speech</em></a>, <a href="http://www.imdb.com/title/tt0375679/?ref_=nv_sr_2"><em>Crash</em></a>, and more. None of these movies were pegged as potential Oscar winners before TIFF. The grassroots enthusiasm of audiences and critics in Toronto changed their fortunes. All four movies listed above went on to win Best Picture.</p>

<p>What does this mean for the average moviegoer? Well, TIFF marks the time of year when summer blockbuster season ends and fall prestige season begins, which means the festival is where many of the movies that are going to be talked about the most in October, November, and December get their first real exposure. Paying attention to what&rsquo;s happening at TIFF is a good way to know what to look forward to for the rest of the year &mdash; and even into next year, since many of the best films in Toronto won&rsquo;t be released until then.</p>

<p>But TIFF is just one part of the year-round film festival circuit, a major part of the international movie business. Understanding that circuit can help you pinpoint some of the best movies in the world, weeks or even months before they arrive in the US.</p>
<h2 class="wp-block-heading">The festival circuit is a handful of major festivals, then a multitude of regional ones</h2><img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/2511172/cannes.0.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="Cannes" title="Cannes" data-has-syndication-rights="1" data-caption="" data-portal-copyright="Neilson Barnard/Getty Images" /><p class="caption">The Cannes Film Festival is one of the world&#8217;s seven major film festivals.</p>
<p>No matter where you live in the world, there&rsquo;s likely some kind of annual film festival held nearby (even if &#8220;nearby&#8221; is a few hundred miles away). These &#8220;regional fests&#8221; often feature local work, or sometimes have a special focus &mdash; like, for instance, the <a href="http://www.annecy.org/home">Annecy International Animated Film Festival</a> in France, or the action/science fiction/horror-centered <a href="http://www.fantasiafestival.com/2015/en">Fantasia International Film Festival</a> in Montreal.</p>

<p>But no matter their unique wrinkles, regional fests devote a large chunk of their programming to films that originally played at one (or more) of a small handful of major international festivals. It&#8217;s these larger festivals that take up the bulk of the movie world&#8217;s attention.</p>

<p>Film buffs differ some on which fests count as &#8220;major,&#8221; but in general, the seven biggies are: <a href="http://www.sundance.org/festivals/sundance-film-festival">Sundance</a>, a showcase for independent film held every January in Park City, Utah; the <a href="https://www.berlinale.de/en/HomePage.html">Berlin International Film Festival</a> in February; the prestigious <a href="http://www.festival-cannes.com/">Cannes </a>festival held in the French city in May; late August&rsquo;s <a href="http://www.labiennale.org/en/cinema/">Venice festival</a>; September&rsquo;s <a href="http://www.telluridefilmfestival.org/">Telluride, Colorado</a>, and Toronto fests; and then the <a href="https://www.filmlinc.org/nyff2015/">New York Film Festival</a> in late September or early October.</p>

<p>Strong cases could be made for including Austin&#8217;s <a href="http://www.sxsw.com/">SXSW</a>; New York&#8217;s <a href="https://tribecafilm.com/festival">Tribeca</a>; <a href="http://www.pardolive.ch/pardo/festival-del-film-locarno/home.html">Locarno, Switzerland&#8217;s festival</a>; or <a href="http://www.biff.kr/structure/eng/">Busan, South Korea&#8217;s</a> &mdash; not to mention venerable big-city fests in <a href="http://miff.com.au/">Melbourne</a>, <a href="http://www.bfi.org.uk/lff">London</a>, <a href="http://www.siff.net/">Seattle</a>, or <a href="http://www.sffs.org/">San Francisco</a>. There are also increasingly popular specialty events like genre-themed <a href="http://fantasticfest.com/">Fantastic Fest</a> in Austin or the documentary-centric <a href="http://truefalse.org/">True/False</a> in Columbia, Missouri.</p>

<p>But the majority of the foreign-language, indie, and weird genre pictures that fill out festival lineups around the world made their initial debuts at Sundance, Berlin, Cannes, Venice, Telluride, Toronto, or New York. They form the center of the festival circuit.</p>
<h2 class="wp-block-heading">Festivals give smaller art films a chance to be seen — and maybe even sold</h2><img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/4047050/465092263.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="Awards Night Ceremony - 2014 Sundance Film Festival" title="Awards Night Ceremony - 2014 Sundance Film Festival" data-has-syndication-rights="1" data-caption="&lt;em&gt;Whiplash&lt;/em&gt; took the 2014 Sundance Film Festival by storm. It would eventually end up at the Oscars. | Michael Loccisano/Getty Images for Sundance Film Festival" data-portal-copyright="Michael Loccisano/Getty Images for Sundance Film Festival" />
<p>The smaller regional festivals &mdash; and even some of the bigger city fests &mdash; can give quirky art films places to be seen, to help build their reputation and their audience.</p>

<p>That&rsquo;s often the only way that residents of some parts of the world get a chance to see excellent but less-buzzed-about independent and foreign films on a big screen, with a sizable audience. With the decline in actual art-house cinemas, a long festival circuit run is often the best that some very good movies can hope for, before they reach their inevitable home on DVD, Blu-ray, streaming, and cable.</p>

<p>A lot of the major festivals are also, essentially, marketplaces. Producers sell their wares to distributors around the world, and to video on-demand platforms like Netflix. A good festival run means increased attention, and increased attention means a higher likelihood of landing a good deal for further commercial distribution.</p>

<p>This time of year, though, most of the headlines coming out of Venice, Telluride, and Toronto have a lot to do with how they&rsquo;re helping set the agenda for the Academy Awards race. It&rsquo;s not that other festivals don&rsquo;t debut Oscar winners. (In 2014, <a href="http://www.imdb.com/title/tt1065073/?ref_=nv_sr_1"><em>Boyhood</em></a> and <a href="http://www.imdb.com/title/tt2582802/?ref_=nv_sr_1"><em>Whiplash</em></a> got their starts at Sundance.) But since the studios tend to stack their awards contenders into November and December, they like to use the fall festivals to generate early buzz.</p>
<h2 class="wp-block-heading">Toronto packs more into its 10 days than most festivals</h2><img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/4047038/455453108.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="TIFF Awards Brunch - 2014 Toronto International Film Festival" title="TIFF Awards Brunch - 2014 Toronto International Film Festival" data-has-syndication-rights="1" data-caption="Actor Zaib Shaikh speaks onstage during the 2014 Toronto International Film Festival awards brunch. While awards are hugely important at some festivals, they&#039;re a bit of an afterthought at TIFF. | Photo by Jemal Countess/Getty Images" data-portal-copyright="Photo by Jemal Countess/Getty Images" />
<p>Often called both &#8220;the people&rsquo;s festival&#8221; and &#8220;the festival of festivals,&#8221; Toronto is notable for how much variety and quality it packs into 10 days. An array of programs &mdash; including a slate of documentaries, a set of films for kids, and the hugely popular <a href="https://www.facebook.com/MidnightMadnessTIFF">&#8220;Midnight Madness&#8221;</a> collection of future cult movies &mdash; is split between world premieres and a generous sampling of the best from the other major festivals.</p>

<p>TIFF attendees could easily fill their schedules with nothing but titles that have already played in Sundance, Berlin, and Cannes, or they could spend the whole week chasing awards bait, trying to see tomorrow&rsquo;s Oscar nominees today. A big reason for the Toronto festival&rsquo;s importance in the cinephile calendar is that even if it were the only fest a film buff attended each year, he or she would walk away from it with a good sense of cinema&rsquo;s best right now.</p>
<h2 class="wp-block-heading">Film festival rivalries mostly boil down to which fests get which premieres</h2><img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/3432274/birdmankeatonnorton.0.jpeg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="Birdman" title="Birdman" data-has-syndication-rights="1" data-caption="" data-portal-copyright="Fox Searchlight" /><p class="caption">TIFF screwed itself out of a showing of <em>Birdman</em> in 2014, due to a rivalry with the Telluride festival.</p>
<p>Because the fall launch can be so important to awards campaigns, the producers, studios, and publicists often strategize about where to premiere a film, and which stars they want to fly in to walk a festival&#8217;s red carpet and meet with the press. But the needs of the showbiz folks don&rsquo;t always correspond with the traditions and preferences of the festivals &mdash; which can create some awkwardness.</p>

<p>New York, for example, demands that its opening-night film be a world premiere, and since that fest starts the latest in the fall, its programmers can effectively keep a movie from being shown by any of its competitors. Telluride, meanwhile, tries to keep its slate secret until right before opening day, which in the past has meant that after Toronto announces its films with great fanfare, it gets &#8220;scooped&#8221; when Telluride shows some of the same titles a few days earlier.</p>

<p>None of this really affects moviegoers, since the four major fall festivals still show a lot of the same films, and people following the action from home don&rsquo;t care much about which fest is responsible for generating the first reviews of a much-anticipated new project.</p>

<p>It is possible, though, that TIFF&rsquo;s attempt to assert more control over the process cost that festival&rsquo;s attendees an early look at some significant fall releases in past years. In 2013, the Toronto administrators were reportedly miffed when critics raved about the Telluride screenings of <a href="http://www.imdb.com/title/tt2024544/?ref_=nv_sr_1"><em>12 Years a Slave</em></a> and <a href="http://www.imdb.com/title/tt1454468/?ref_=nv_sr_2"><em>Gravity</em></a>, which happened just days before TIFF had its chance to show them.</p>

<p>In 2014, the festival reserved its more highly attended opening weekend slots for non-Telluride titles, with the ultimate effect being that some movies &mdash; like future Best Picture Oscar winner <a href="http://www.imdb.com/title/tt2562232/?ref_=nv_sr_1"><em>Birdman</em></a><em> </em>&mdash; played Venice, Telluride, and New York but <em>not</em> Toronto. (In 2015, TIFF more or less abandoned its Telluride-busting policy.)</p>

<p>By the way, all of this jostling for position doesn&rsquo;t mean the four biggest fall festivals always end up showing the year&rsquo;s best. Some studios opt to keep a few Oscar contenders away from the festival circuit entirely, then launch them shortly after Thanksgiving via special critics&rsquo; screenings, before they debut in late December.</p>
<h2 class="wp-block-heading">TIFF is accessible to film fans in a way other festivals aren&#039;t</h2><img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/4047044/151285102.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" alt="The City Of Toronto Prepares For The 2012 Toronto International Film Festival" title="The City Of Toronto Prepares For The 2012 Toronto International Film Festival" data-has-syndication-rights="1" data-caption="" data-portal-copyright="Sonia Recchia/Getty Images" />
<p>Cannes badges are hard to get. Sundance sells tickets to the general public, but cheap lodging in a ski resort in January is difficult to secure.</p>

<p>Toronto, on the other hand, has plenty of available hotel rooms, good public transportation, and lots of affordable food options. Of the major festivals, it&#8217;s by far the easiest for the average film fan to attend. (And because the festival takes place in September, the weather&rsquo;s ideal for walkers.)</p>

<p>More importantly, even at this late date, it&rsquo;s not impossible to get tickets. Some smaller films aren&rsquo;t sold out, and for the bigger-name movies, if fans are willing to line up an hour or so before the screening in a &#8220;rush line,&#8221; there&rsquo;s a good chance they&rsquo;ll be able to fill one of the handful of unused seats (or might see someone walk by with an extra ticket to sell).</p>

<p>Ideally, TIFF-goers will want to buy ticket packages and book travel months in advance, but by no means is the festival only meant for planners &mdash; or even solely for film critics. Hustle on up to Toronto right now. With a little ingenuity and persistence, you could catch many of the fall&#8217;s major releases in a matter of days.</p>

<p><em>Check back over the next 10 days for daily dispatches from this year&rsquo;s TIFF. </em></p>

<p><em>Read more about 2015&rsquo;s TIFF offerings in the </em><a href="http://www.vox.com/2015/9/10/9300049/tiff-toronto-film-festival-preview"><em>original version of this story</em></a><em>.</em></p>
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			<entry>
			
			<author>
				<name>Noel Murray</name>
			</author>
			
			<title type="html"><![CDATA[The 16 movies that explain Sundance 2016]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/2016/2/1/10887062/sundance-2016-best-movies" />
			<id>https://www.vox.com/2016/2/1/10887062/sundance-2016-best-movies</id>
			<updated>2024-05-09T11:17:47-04:00</updated>
			<published>2016-02-01T13:40:04-05:00</published>
			<category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Movies" />
							<summary type="html"><![CDATA[The 2016 Sundance Film Festival opened on January 21 and screened its last movie on Sunday &#8212; one day after holding an awards ceremony where Nate Parker&#8217;s incendiary American slave melodrama The Birth of a Nation won both the Grand Jury Prize and the Audience Award. Last year, the cancer dramedy Me and Earl and [&#8230;]]]></summary>
			
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						<p>The 2016 Sundance Film Festival opened on January 21 and screened its last movie on Sunday &mdash; one day after holding an awards ceremony where Nate Parker&rsquo;s incendiary American slave melodrama <a href="http://www.imdb.com/title/tt4196450/"><em>The Birth of a Nation</em></a><em> </em>won <a href="http://www.nytimes.com/2016/01/31/arts/the-birth-of-a-nation-sweeps-top-awards-at-the-sundance-film-festival.html">both the Grand Jury Prize and the Audience Award</a>. Last year, the cancer dramedy <em>Me and Earl and the Dying Girl</em> pulled off the same sweep and then more or less faded from view, performing weakly at the box office and drawing mixed reviews. But there&rsquo;s a good chance <em>The Birth of a Nation</em> will actually still matter to moviegoers next January, and the January after that.</p>
<p><!-- ######## BEGIN SNIPPET ######## --></p><div data-analytics-category="article" data-analytics-action="link:related" class="chorus-snippet s-related"> <span class="s-related__title">Related</span> <!-- Add links here --><a href="http://www.vox.com/2016/1/31/10871544/birth-of-a-nation-nate-parker-interview" target="_blank" rel="noopener">The Birth of a Nation just smashed records at Sundance. We talked to director Nate Parker.</a><br><!-- End links --> </div><!-- ######## END SNIPPET ######## -->
<p>For those who follow major international film festivals in hopes of predicting the Oscars race, Sundance has always been a tricky event to read. The fest has developed a reputation as the place to discover new talent, showing early work by the likes of Steven Soderbergh and Quentin Tarantino. But even the most popular Sundance movies rarely become blockbusters, and only in the past few years &mdash; thanks to <em>Boyhood</em>, <em>Whiplash</em>, and <em>Brooklyn </em>&mdash; has premiering in Park City, Utah, become a reliably strong first step toward becoming a major Oscar player.</p>

<p><em>The Birth of a Nation</em> could continue that trend. Or perhaps Kenneth Lonergan&rsquo;s well-received family drama <a href="http://www.imdb.com/title/tt4034228/"><em>Manchester by the Sea</em></a> will be this year&rsquo;s most enduring Sundance film, earning awards for <a href="http://www.imdb.com/name/nm0000729/?ref_=tt_cl_t1">Casey Affleck</a>&#8216;s heartbreaking lead performance. But even if neither of the two movies scores big &mdash; at the box office or with the Academy &mdash; they should both remain relevant for a good long time, because of their individual excellence and because of how they shook up the 2016 festival.</p>

<p>There were really three big stories coming out of Park City this year. The first was prompted by the <a href="http://www.vox.com/2016/1/22/10816542/academy-awards-boycott-rules-changes">contentious recent conversations about Hollywood&rsquo;s lack of cultural diversity</a>, which Sundance joined by programming an eclectic batch of films by and about African Americans. In that context, <em>The Birth of a Nation</em> was the vanguard of a mini movement, earning the longest and loudest standing ovation at the festival&rsquo;s largest venue for its writer-director-producer and star Parker, and then sparking the most furious bidding war (which ended with the biggest deal in Sundance history, with Fox Searchlight <a href="http://www.hollywoodreporter.com/news/sundance-why-nate-parker-chose-859652">paying $17.5 million</a> to distribute a film that reportedly cost $10 million to make).</p>

<p>The second big story was the strong returns of several Sundance alumni, like <em>Manchester by the Sea</em>&rsquo;s Lonergan, who launched his career in Utah with the beautiful <em>You Can Count on Me</em> back in 2000. Unlike in most years, not that many unknowns emerged in 2016, aside from Parker (who already had a thriving acting career). Instead, veterans like Lonergan, Whit Stillman (who first came to Sundance in 1990 with <em>Metropolitan</em>), Kelly Reichardt (1994&rsquo;s <em>River of Grass</em>), and John Carney (2007&rsquo;s <em>Once</em>) returned to their spiritual home with outstanding new work, and were treated like conquering heroes.</p>

<p>The biggest story of all, though, concerned the business side of Sundance. While <em>The Birth of a Nation</em> followed a traditional path and sold to the specialty division of a major studio, <em>Manchester by the Sea</em> went to Amazon for a staggering $10 million. By the end of the festival&rsquo;s 11 days, the big buyers ended up being Amazon, Netflix, and a handful of cable networks, all looking to secure the kind of quality content they usually generate in house.</p>

<p>For filmmakers, this new model of selling their big-screen work to television may require some mental adjustment. But for movie buffs who get frustrated by the long wait for Sundance hits to play in their neighborhoods, the changing paradigm could be good news. Chances are most of the good-to-great films listed below will be available for people to watch in their own homes by the end of the year.</p>

<p>Here, then, in alphabetical order, is some of what you have to look forward to:</p>
<h2 class="wp-block-heading"><em>Author: The JT LeRoy Story</em></h2><div data-chorus-asset-id="5986013"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986013/000068.26554.16586_BoyWhoCriedAuthor_still1_JTLeRoy_.jpg"><div class="caption"> <em>Author: The JT LeRoy Story</em>.</div> </div>
<p><strong>Director:</strong> Jeff Feuerzeig (<em>Half Japanese: The Band That Would Be King</em>, <em>The Devil and Daniel Johnston</em>)</p>

<p><strong>Distributor:</strong> Amazon</p>

<p>After making documentaries about two alt-rock cult acts, Feuerzeig turns his attention to a writer who in the early 2000s went from being an underground sensation to palling around with the likes of Billy Corgan and Courtney Love. The bulk of <em>Author</em> consists of a long interview with Laura Albert, the woman who created the character of LeRoy &mdash; a gender-bending ex-prostitute and drug addict &mdash; and then got in over her head when the books she wrote in his voice began to sell.</p>

<p>The press called what Albert did &#8220;a literary hoax,&#8221; but Feuerzeig&rsquo;s film asks whether there&rsquo;s really anything wrong with a fiction writer working under a pseudonym. The result is a fascinating inquiry into identity and celebrity, featuring a wealth of audio tapes and video footage that date all the way back to the moment when a depressed woman in her 30s first begins talking like a teenage boy.</p>
<h2 class="wp-block-heading"><em>The Birth of a Nation</em></h2><div data-chorus-asset-id="5986029"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986029/imrs.php.jpg"><div class="caption"><em>The Birth of a Nation.</em></div> </div>
<p><strong>Director:</strong> Nate Parker</p>

<p><strong>Cast:</strong> Nate Parker (<em>The Great Debaters</em>, <em>Beyond the Lights</em>), Penelope Ann Miller (<em>The Freshman</em>, TNT&rsquo;s <em>Men of a Certain Age</em>), Armie Hammer (<em>The Social Network</em>, <em>The Lone Ranger</em>)</p>

<p><strong>Distributor:</strong> Fox Searchlight</p>

<p>It didn&rsquo;t take long for some skeptics in Park City to start suggesting that writer-director-producer-star Parker&rsquo;s long-gestating passion project &mdash; a biopic of violently rebellious slave Nat Turner &mdash; only became such a favorite at this year&rsquo;s Sundance because white audiences were overreacting for the <a href="http://www.vox.com/2016/1/14/10767662/oscar-nominations-2016-so-white">Oscars&rsquo; diversity controversy</a>. But that&rsquo;s unkind to both Parker and <em>The Birth of a Nation</em>, which really do have the goods.</p>

<p>On one level, <em>Birth of a Nation</em> is an unexpectedly complex film about Christian faith, as Turner learns how the Gospels can be both a comfort and a weapon. But in addition to bluntly depicting the horrors of slavery, Parker tells a rousing story of radical self-determination, with a great sense of the larger tragedy implied by the title. In short: This likely won&rsquo;t be one of those ballyhooed Sundance movies that die at sea level. <em>The Birth of a Nation</em> stands a good chance to be a box office hit &mdash; and the inspiration for a spate of nervous, wrongheaded newspaper editorials.</p>
<h2 class="wp-block-heading"><em>Christine</em></h2><div data-chorus-asset-id="5986035"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986035/000068.26559.16571_Christine_still2_RebeccaHall__byJoeAnderson.jpg"><div class="caption"> <em>Christine</em>.</div> </div>
<p><strong>Director:</strong> Antonio Campos (<em>Afterschool</em>, <em>Simon Killer</em>)</p>

<p><strong>Cast:</strong> Rebecca Hall (<em>Vicky Cristina Barcelona</em>, <em>The Gift</em>), Michael C. Hall (Showtime&rsquo;s <em>Dexter</em>, HBO&rsquo;s <em>Six Feet Under</em>), Tracy Letts (<em>The Big Short</em>, Showtime&rsquo;s <em>Homeland</em>)</p>

<p><strong>Distributor:</strong> None yet</p>

<p>The underrated Hall gives a powerhouse performance here as real-life Sarasota TV reporter Christine Chubbuck, who in 1974 shot and killed herself live on the air. Campos and screenwriter Craig Shilowich track the last few weeks of Chubbuck&rsquo;s life, building in queasy intensity as the moment of truth draws near. Some viewers may find that approach to be in questionable taste, but the filmmakers do a remarkable job of recreating the state of journalism and America in the era of Watergate, Vietnam, and televised hostage crises. And Hall makes sure that her Christine is more than just a weird footnote in local new history, crafting a rich, insightful portrait of one woman&rsquo;s crippling social isolation.</p>
<h2 class="wp-block-heading"><em>Certain Women</em></h2><div data-chorus-asset-id="5986047"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986047/000070.26554.16709_CertainWomen_still1_byNicoleRivelli.JPG"><div class="caption"> <em>Certain Women</em>.</div> </div>
<p><strong>Director:</strong> Kelly Reichardt (<em>Wendy and Lucy</em>, <em>Night Moves</em>)</p>

<p><strong>Cast:</strong> Michelle Williams (<em>Meek&rsquo;s Cutoff</em>, <em>Brokeback Mountain</em>), Laura Dern (HBO&rsquo;s <em>Enlightened</em>, <em>Jurassic Park</em>), Kristen Stewart (<em>Clouds of Sils Maria</em>, the <em>Twilight</em> series)</p>

<p><strong>Distributor:</strong> None yet</p>

<p>Reichardt adapts three short stories by award-winning American author Maile Meloy, all set in the small Montana town of Livingston, each about a headstrong woman who has a hard time getting other people to hear what she&rsquo;s saying. <em>Certain Women </em>tells each story in full, consecutively, starting with Dern as a lawyer with an ornery client, then moving on to Williams as a businesswoman negotiating for a pile of materials she wants for her new house, and ending with Lily Gladstone as a rancher who becomes smitten with an adult education instructor played by Stewart.</p>

<p>Each piece is slow, quiet, and elliptical, with a brief epilogue that Reichardt tacks on at the end of the film. They also have the quality of great literature, where every detail and gesture is imbued with a larger meaning. <em>Certain Women</em> is so muted that some may miss what&rsquo;s special about it, but anyone paying close attention should see how intimately it captures the interior lives of some lonely Northwesterners.</p>
<h2 class="wp-block-heading"><em>Eat That Question: Frank Zappa in His Own Words</em></h2><p><iframe frameborder="0" src="https://www.youtube.com/embed/9J3qwjJOMUI" height="315" width="560"></iframe></p>
<p><strong>Director:</strong> Thorsten Sch&uuml;tte</p>

<p><strong>Distributor:</strong> Sony Pictures Classics</p>

<p>The best kinds of fan-friendly music documentaries keep the talking-head interviews to a minimum to make more room for songs, but Sch&uuml;tte&rsquo;s Frank Zappa doc <em>Eat That Question</em> is unusual in that its subject was as great a conversationalist as he was a musician.</p>

<p>There actually aren&rsquo;t that many full performances in this movie, and anyone who comes in knowing little to nothing about Zappa&rsquo;s life and art won&rsquo;t exactly be able to write a Wikipedia entry after the credits roll. Instead, Sch&uuml;tte assembles old interviews and live performances into something more like an <em>experience</em> of Zappa: his playfulness, his obnoxiousness, and his strong opinions about the insipidness of pop music and the importance of free expression.</p>
<h2 class="wp-block-heading"><em>The Eyes of My Mother</em></h2><div data-chorus-asset-id="5986049"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986049/eyesofmyother.jpg"><div class="caption"> <em>The Eyes of My Mother</em>.</div> </div>
<p><strong>Director:</strong> Nicolas Pesce</p>

<p><strong>Cast:</strong> Kika Magalhaes, Olivia Bond, Will Brill</p>

<p><strong>Distributor:</strong> None yet</p>

<p>The darkest, scariest film at Sundance this year was this arty, gothic bit of Americana, about a farmgirl who witnesses a shocking act of violence that leads to her becoming a deeply warped young woman. First-time filmmaker Pesce made <em>The Eyes of My Mother</em> with the help of Borderline Films, whose co-founders Antonio Campos, Sean Durkin, and Josh Mond are responsible for such edgy indies as <em>Afterschool</em>, <em>Martha Marcy May Marlene</em>, and <em>James White</em>.</p>

<p>Like his mentors, Pesce has made a film with beautifully eerie imagery and unsettling sound design, following a psychologically damaged character (strikingly played by Magalhaes). There&rsquo;s not much point to the picture beyond freaking audiences out, but it&rsquo;s incredibly effective at that, working like a visually splendid black-and-white version of an old 1950s horror comic or 1970s splatter flick.</p>
<h2 class="wp-block-heading"><em>The Fits</em></h2><p><iframe frameborder="0" src="https://www.youtube.com/embed/WNZc3Vr1Oy4" height="315" width="560"></iframe></p>
<p><strong>Director:</strong> Anna Rose Holmer</p>

<p><strong>Cast:</strong> Royalty Hightower, Makyla Burnam, Alexis Neblett</p>

<p><strong>Distributor:</strong> Oscilloscope</p>

<p>It usually only takes a few minutes to figure out what a given Sundance film means to be: a family dramedy, a quirky road picture, a quiet art piece, etc. But <em>The Fits</em> (which premiered at the Venice Film Festival last September) remains refreshingly elusive all through its 72-minute running time.</p>

<p>The movie starts out as the story of a shy preteen gym rat named Toni, who finds herself drawn to the dance teams that rehearse at her Cincinnati community center. But <em>The Fits</em> evolves into something more like heavily metaphorical eco-horror, once the dancers start getting felled by a malady that causes them to convulse, violently, on the ground. It&rsquo;s not that hard to figure out what Holmer&rsquo;s trying to say with this film &mdash; which depicts maturation as an affliction &mdash; but it&rsquo;s impossible to predict from moment to moment how she&rsquo;s going to say it. <em>The Fits</em> is absolutely riveting, and cumulatively powerful.</p>
<h2 class="wp-block-heading"><em>Kate Plays Christine</em></h2><div data-chorus-asset-id="5986041"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986041/000068.19843.16580_KatePlaysChristine_still1_KateLynSheil_bySeanPriceWilliams.jpeg"><div class="caption"> <em>Kate Plays Christine</em>.</div> </div>
<p><strong>Director:</strong> Robert Greene (<em>Actress</em>, <em>Fake It So Real</em>)</p>

<p><strong>Cast:</strong> Kate Lyn Sheil (<em>You&rsquo;re Next</em>, Netflix&rsquo;s <em>House of Cards</em>)</p>

<p><strong>Distributor:</strong> None yet</p>

<p>Because this experimental documentary about depressed TV reporter Christine Chubbuck played at the same festival as Antonio Campos&rsquo;s more conventional dramatization &mdash; and because Greene&rsquo;s film is openly critical of the very idea of restaging Chubbuck&rsquo;s on-air suicide &mdash; it&rsquo;s tempting to use <em>Kate</em> as a cudgel against the other <em>Christine</em>. But besides undervaluing Campos&rsquo;s work, an adversarial approach would shortchange what Greene himself does with this subject matter. He makes the occasion of a film about Chubbuck into a tricky, dense study of how an actress prepares for a role, asking whether stepping into a dead woman&rsquo;s shoes is worth the potential psychological damage.</p>

<p>Along the way, <em>Kate Plays Christine</em> also tells as much of Chubbuck&rsquo;s story as it is widely known. Greene and his star Sheil actually have more than just one morbid bit of broadcasting history on their mind, and they express it beautifully.</p>
<h2 class="wp-block-heading"><em>Little Men</em></h2><div data-chorus-asset-id="5986051"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986051/000070.26554.16704_LittleMen_still1_Michael_Barbieri_Theo_Taplitz_byEricMcNatt.jpg"><div class="caption"> <em>Little Men</em>.</div> </div>
<p><strong>Director:</strong> Ira Sachs (<em>Keep the Lights on</em>, <em>Love Is Strange</em>)</p>

<p><strong>Cast:</strong> Theo Taplitz, Michael Barbieri, Greg Kinnear (<em>Auto Focus</em>, <em>Flash of Genius</em>)</p>

<p><strong>Distributor:</strong> None yet</p>

<p>As a follow-up to his subtle, profound 2014 masterpiece <em>Love Is Strange</em>, Sachs makes a movie that&rsquo;s even wispier but that grows in the mind after it ends. Taplitz plays an artsy, effete junior high schooler whose family moves to Brooklyn, where he befriends an outgoing, athletic peer (played by Barbieri). The story of their unlikely bond runs parallel to what&rsquo;s happening with their parents, who are locked into an increasingly ugly dispute over a potentially valuable piece of real estate.</p>

<p>There&rsquo;s not much plot to <em>Little Men</em>, but the film is engaging and bittersweet, and observant about how class divisions in America are determined by more than just how much money people have. Social power, ethnicity, and personal preferences also play a huge role in separating neighbors.</p>
<h2 class="wp-block-heading"><em>Love &amp; Friendship</em></h2><div data-chorus-asset-id="5986055"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986055/000070.26554.16593_LoveandFriendship_still2_ChloeSevigny_KateBeckinsale__byRossMcDonnell.jpg"><div class="caption"> <em>Love &amp; Friendship</em>.</div> </div>
<p><strong>Director:</strong> Whit Stillman (<em>Metropolitan</em>, <em>Damsels in Distress</em>)</p>

<p><strong>Cast:</strong> Kate Beckinsale (<em>The Last Days of Disco</em>, the <em>Underworld</em> series), Chlo&euml; Sevigny (HBO&rsquo;s <em>Big Love</em>, FX&rsquo;s <em>American Horror Story</em>), Emma Greenwell (Showtime&rsquo;s <em>Shameless</em>, <em>Pride &amp; Prejudice &amp; Zombies</em>)</p>

<p><strong>Distributor:</strong> Amazon for streaming; Roadside Attractions for theatrical</p>

<p>A quarter-century after Stillman made his reputation with the Jane Austen&ndash;inspired <em>Metropolitan</em>, the writer-director makes an actual Austen adaptation, turning the obscure novella <em>Lady Susan</em> into a witty, bubbly tale of romantic gamesmanship in 1790s England. Beckinsale is as wonderful as she&rsquo;s ever been as Susan, a penniless widow who takes advantage of her one social asset &mdash; her late husband&rsquo;s name &mdash; to bully and manipulate friends and in-laws into catering to her every whim.</p>

<p>The story&rsquo;s slight and Stillman&rsquo;s dryly breezy style sometimes cross the line from &#8220;fun&#8221; to &#8220;exhausting.&#8221; But Beckinsale is so funny, and <em>Love &amp; Friendship</em> looks so elegant, that the movie is mostly a treat &mdash; and one that should go over well with Amazon Prime subscribers when it lands there later this year.</p>
<h2 class="wp-block-heading"><em>Manchester by the Sea</em></h2><div data-chorus-asset-id="5986089"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986089/000070.26554.16691_MBTS_still1_KyleChandler_CaseyAffleck__byClaireFolger.jpg"><div class="caption"> <em>Manchester by the Sea</em>.</div> </div>
<p><strong>Director:</strong> Kenneth Lonergan (<em>You Can Count on Me</em>, <em>Margaret</em>)</p>

<p><strong>Cast:</strong> Casey Affleck (<em>The Assassination of Jesse James by the Coward Robert Ford</em>, <em>Gone Baby Gone</em>), Kyle Chandler (NBC&rsquo;s <em>Friday Night Lights</em>, Netflix&rsquo;s <em>Bloodline</em>), Lucas Hedges (NBC&rsquo;s <em>The Slap</em>, <em>The Grand Budapest Hotel</em>)</p>

<p><strong>Distributor:</strong> Amazon</p>

<p>Lonergan&rsquo;s ambitious 2011 film <em>Margaret</em> took so long to complete and went through such a messy behind-the-scenes saga that initially <em>Manchester by the Sea</em> seems like an overcorrection in the other direction: a movie that&rsquo;s stubbornly minor, about ordinary people having mundane experiences. But as Affleck&rsquo;s surly Lee Chandler returns to his waterfront hometown to settle his late brother&rsquo;s estate &mdash; and to take guardianship of his teenage nephew (played by Hedges) &mdash; Lonergan gradually starts filling in the background of who Lee is and why he left Manchester in the first place.</p>

<p>What emerges is a complicated and at times painfully real depiction of grief, regret, and family legacies, capped by a string of scenes designed to leave audiences weeping. <em>Manchester by the Sea</em> creeps up carefully, using humor, vivid dialogue, and masterful acting to keep viewers engaged &mdash; before knocking them flat.</p>
<h2 class="wp-block-heading"><em>Morris From America</em></h2><div data-chorus-asset-id="5986097"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986097/000068.26559.16573_MorrisfromAmerica_still1_MarkeesChristmas__bySeanMcElwee.jpg"><div class="caption"> <em>Morris From America</em>.</div> </div>
<p><strong>Director:</strong> Chad Hartigan (<em>This Is Martin Bonner</em>)</p>

<p><strong>Cast:</strong> Markees Christmas, Lina Keller, Craig Robinson (NBC&rsquo;s <em>The Office</em>, <em>Hot Tub Time Machine</em>)</p>

<p><strong>Distributor:</strong> A24</p>

<p>Robinson won a well-deserved Special Jury Prize for his performance in this low-boil fish-out-of-water dramedy, where he plays a soccer coach working in Heidelberg, Germany. And Hartigan won the Waldo Salt Screenwriting Award for how sensitively he tells the story of the coach&rsquo;s teenage son, Morris, who deals with typical growing pains along with casual racism as he struggles to fit into a community where he doesn&rsquo;t look, act, or talk like anybody else.</p>

<p>Hartigan broke through at Sundance three years ago with the touching slice-of-life pic <em>This Is Martin Bonner</em>, and he hasn&rsquo;t lost his knack for tapping directly into what his characters are feeling. Late in this movie, Robinson delivers a monologue about fatherhood and cultural alienation that ended up being one of the emotional highlights of a Sundance that didn&rsquo;t lack for tearjerking scenes.</p>
<h2 class="wp-block-heading"><em>Sing Street</em></h2><p><iframe frameborder="0" src="https://www.youtube.com/embed/C_YqJ_aimkM" height="315" width="560"></iframe></p>
<p><strong>Director:</strong> John Carney (<em>Once</em>, <em>Begin Again</em>)</p>

<p><strong>Cast:</strong> Ferdia Walsh-Peelo, Jack Reynor (<em>What Richard Did</em>, <em>Macbeth</em>), Aidan Gillen (HBO&rsquo;s <em>Game of Thrones</em>, HBO&rsquo;s <em>The Wire</em>)</p>

<p><strong>Distributor:</strong> The Weinstein Company</p>

<p>Carney&rsquo;s <em>Once</em> is one of Sundance&rsquo;s greatest success stories, going from a completely unknown quantity to a festival favorite (and then an Oscar and Tony winner). His follow-up, <em>Begin Again,</em> didn&rsquo;t fare as well, although it&rsquo;s actually much better than its critical reputation. But the next chapter in Carney&rsquo;s offbeat rock musical trilogy stands to be another smash. Loosely autobiographical, <em>Sing Street</em> tells the story of an early 1980s Dublin teen who reacts to the dissolution of his parents&rsquo; marriage and the collapse of the Irish economy by forming a band with his working-class schoolmates.</p>

<p>In addition to featuring some uncanny period detail, <em>Sing Street</em> has an infectiously upbeat soundtrack, replicating the bounce and hooks of bands like the Cure and Duran Duran. Even when the plot becomes preposterously melodramatic, the songs save the day.</p>
<h2 class="wp-block-heading"><em>Southside With You</em></h2><p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/dvgeoAi9Umw" height="315" width="560"></iframe></p>
<p><strong>Director:</strong> Richard Tanne (producer of <em>Mischief Night</em>)</p>

<p><strong>Cast:</strong> Parker Sawyers (<em>Austenland</em>, <em>Monsters: Dark Continent</em>), Tika Sumpter (<em>Ride Along</em>, The CW&rsquo;s <em>Gossip Girl</em>)</p>

<p><strong>Distributor:</strong> None yet</p>

<p>The idea of turning Barack and Michelle Obama&rsquo;s first date into a <em>Before Sunrise&ndash;</em>style indie romance may seem gimmicky, but Tanne actually makes good use of his premise, letting the real details from two famous people&rsquo;s lives give his characters fine shading &mdash; and something to talk about.</p>

<p>There&rsquo;s too much of an &#8220;origin story&#8221; quality to <em>Southside With You</em>, but Sawyers and Sumpter are very likable as Barack and Michelle, and as they spend the day chatting about art, music, political values, and their very different childhoods, they effectively turn icons into real people. Even committed Obama haters could be charmed &hellip; provided they forget whom they&rsquo;re watching.</p>
<p><!-- ######## BEGIN SNIPPET ######## --></p><div data-analytics-category="article" data-analytics-action="link:related" class="chorus-snippet s-related"> <span class="s-related__title">Related</span> <!-- Add links here --><a href="http://www.vox.com/2016/1/27/10840724/southside-with-you-review-obamas-date" target="_blank" rel="noopener">Southside With You, a movie about the Obamas&#8217; first date, is surprisingly poignant</a><br><!-- End links --> </div><!-- ######## END SNIPPET ######## --><h2 class="wp-block-heading"><em>Tickled</em></h2><div data-chorus-asset-id="5986107"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5986107/000070.26554.16188_Tickled_still1_NA__byNA.jpg"><div class="caption"> <em>Tickled</em>.</div> </div>
<p><strong>Director:</strong> Daniel Farrier, Dylan Reeve</p>

<p><strong>Distributor:</strong> Magnolia Pictures for theatrical distribution; HBO for TV</p>

<p>In the fine tradition of twisty Sundance docs like <em>Catfish</em> and <em>Exit Through the Gift Shop</em>, this bizarre and absorbing film starts with a kooky idea &mdash; New Zealand humorist/journalist Farrier investigating an online video of an &#8220;endurance tickling&#8221; contest &mdash; and then takes multiple sharp turns. As soon as Farrier and Reeve begin working on the story, they are threatened with legal action. Refusing to be bullied, they fly from New Zealand to the United States to try to figure out what&rsquo;s going on, and discover a wide-ranging blackmailing scheme that&rsquo;s been ruining people&#8217;s lives for years.</p>

<p>To say more would spoil <em>Tickled</em>&rsquo;s many surprises, but suffice to say that nothing is ever as it initially appears for the filmmakers, and as they keep pushing, they learn a lot about how the internet has made it easier to be randomly mean.</p>
<h2 class="wp-block-heading"><em>Under the Shadow</em></h2><p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/4fhejr94P14" height="315" width="560"></iframe></p>
<p><strong>Director:</strong> Babak Anvari</p>

<p><strong>Cast:</strong> Narges Rashidi, Avin Manshadi</p>

<p><strong>Distributor:</strong> Netflix (in partnership with Vertical and XYZ)</p>

<p>Between <em>The Babadook</em> two years ago and <em>The Witch </em>last year, Sundance has lately become a prime spot to premiere cutting-edge horror films. Given that <em>The Babadook</em> really became a cultural phenomenon once it landed on streaming, it&rsquo;s not all that surprising that Netflix bought the rights to the similarly spooky <em>Under the Shadow </em>&mdash; even though it&rsquo;s an Iranian film, where everyone speaks Farsi.</p>

<p>Language barrier aside, fright fans should quickly spread the word about this one-of-a-kind ghost story, where a mother and daughter deal with a malevolent supernatural force in their apartment building in a bombed-out section of Tehran. The jump scares are strong, the story builds slowly to a white-knuckle final 20 minutes, and the movie expresses an undisguised rage at how the gender politics in the Muslim world complicate even something as elemental as a woman running from a monster. For all of Sundance&rsquo;s commitment to prestige drama, it&rsquo;s often tiny little genre exercises like <em>Under the Shadow</em> that linger the longest, well after all the talk about awards and deals has disappeared.</p>
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			<entry>
			
			<author>
				<name>Noel Murray</name>
			</author>
			
			<title type="html"><![CDATA[The truth about parenting: older kids are much more rewarding than babies]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/2016/1/25/10793262/parenting-babies-toddlers" />
			<id>https://www.vox.com/2016/1/25/10793262/parenting-babies-toddlers</id>
			<updated>2017-12-14T11:41:47-05:00</updated>
			<published>2016-01-25T08:00:02-05:00</published>
			<category scheme="https://www.vox.com" term="Life" /><category scheme="https://www.vox.com" term="Parenting" />
							<summary type="html"><![CDATA[Not long before my wife and I had our first child, we had dinner with another married couple &#8212; both writers &#8212; who at the time had a toddler of their own. I asked them for some advice. Instead, they gave me a caution. &#8220;Don&#8217;t write about your kid,&#8221; they said. &#8220;Being a parent is [&#8230;]]]></summary>
			
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<div class="chorus-snippet center"> <p>Not long before my wife and I had our first child, we had dinner with another married couple &mdash; both writers &mdash; who at the time had a toddler of their own. I asked them for some advice. Instead, they gave me a caution. &#8220;Don&#8217;t write about your kid,&#8221; they said. &#8220;Being a parent is going to change your life, and it&#8217;s all you&#8217;re going to be able to think about. You&#8217;re going to want to turn those experiences and feelings into words. But there&#8217;s nothing you can say that hasn&#8217;t been said already, and probably better.&#8221;</p> <p>I have two children now &mdash; a son and a daughter, both adolescents &mdash; and over the past decade-plus, I&#8217;ve ignored my friends&#8217; advice on multiple occasions. My son, who&#8217;s <a href="http://www.vox.com/2015/4/29/8503449/autism-spectrum-independent" target="_blank" rel="noopener">on the autism spectrum</a>, has inspired about a half-dozen or so essays (which isn&#8217;t that excessive, given that he&#8217;s now 14); and I&#8217;ve penned the occasional piece about my daughter, who shares a lot of my nerdy enthusiasms. Still, every time I sit down to write about children or parenting, I remember that conversation from 15 years ago.</p> <p>I think about it even more during my daily perusal of the internet, which sometimes seems choked with articles penned by new moms and dads, all feeling overwhelmed and transformed &mdash; just as I once was, and just as our friends warned me I&#8217;d be.</p> <p>Outside of websites specifically devoted to raising kids, the published discourse about child rearing in the mainstream media seems dominated by panicked think pieces, many of the &#8220;Holy crap, what just happened to my life?&#8221; variety.</p> <q>I do wonder if the glut of anxious &#8220;oh no, what now?&#8221; articles gives the wrong idea about what raising kids is like</q><p>Type &#8220;having a baby&#8221; into Google, and auto-complete suggests &#8220;changes everything.&#8221; That search then turns up 14 million hits and page after page of laments about how infants and toddlers mess up work, sleep, TV watching, sex, being a cool person &#8230; you name it.</p> <p>All these heaping piles of verbiage serve a purpose. They&#8217;re therapeutic for the author, undoubtedly. And for anyone dealing with similar situations &mdash; and unaware of the millions of words that have been penned on the topic over the centuries &mdash; stumbling on an article that articulates that vague sense of dissatisfaction can be both reassuring and revelatory.</p> <p>Plus, some of those pieces are good! Gifted writers can transform even the most played-out subject into something worthwhile. My friend Nathan Rabin, for example,<a href="http://mom.me/contributors/nathan-rabin/"> writes movingly and entertainingly about being a stay-at-home dad</a> at the website Mom.me. (In fact, if you&#8217;re an acquaintance of mine and you&#8217;ve ever written one of these kinds of pieces, let&#8217;s just pretend that I&#8217;m not talking about you, if only for the sake of cordiality.)</p> <p>But the preponderance of these articles reminds me a little of what eco-essayist Bill McKibben has written about our excess of professional nature photography. We really don&#8217;t need all that many new pictures of birds and bears each year, because there&#8217;s really not much new to see. And in the process of tramping through the wilderness to get the prettiest shot, photographers could be harming habitats and warping our understanding of the environment.</p> <p>I don&#8217;t think parenting essays are destroying childhood. But I do wonder if the glut of anxious &#8220;oh no, what now?&#8221; articles gives the wrong idea about what raising kids is like.</p> <p>Here, to my mind, is the problem:</p> <h3>Early childhood is just one chapter in a long, long book</h3> <p><strong></strong></p> <p>Every parent&#8217;s experiences are different, with ebbs and flows of joy and despair that hit at different times. But by and large, new mothers and fathers endure three distinct patches of deep, deep regret:</p> <p>1) During the first few months, when the novelty&#8217;s worn off and the baby becomes a noisy, smelly lump of unhappiness.</p> <p>2) Around the age of 2, when the barely articulate toddler still needs help with almost everything, and gets sloppy drunk on the power of ordering adults around.</p> <p>3) Around the age of 3, when the child&#8217;s growing independence has him or her questioning whether mealtime etiquette or sleeping schedules must be respected.</p> <div class="float-right s-sidebar"> <h4>More on parenting</h4> <a target="new" href="http://www.vox.com/2015/2/12/8006733/stay-at-home-mom" rel="noopener"> <img data-chorus-asset-id="5923643" alt="shutterstock_226437031.0.0__3_.0.jpg" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5923643/shutterstock_226437031.0.0__3_.0.jpg"> </a><p><a target="new" href="http://www.vox.com/2015/2/12/8006733/stay-at-home-mom" rel="noopener">9 things I wish I&#8217;d known before I became a stay-at-home mom</a></p> </div> <p>Each of these phases seems to last forever. But they&#8217;re really more like a few months, with the occasional relapse. (The relapses are the worst.) Babies become more likable once they start to smile, at which point getting up in the middle of the night to take care of them becomes more rewarding. Toddlers are maddening because they can be sweet one minute and satanic the next, but if parents hold the line on discipline and structure, eventually nature takes its course. Children mature.</p> <p>Parents, too, grow into the job. What might initially seem unnatural &mdash; like being charged with sustaining the life of a tiny human being &mdash; becomes second nature through repetition. Later, as children become more capable of feeding, dressing, cleaning, and entertaining themselves, their moms and dads get back small chunks of time that they hadn&#8217;t even noticed they&#8217;d been losing to daily child maintenance. Suddenly they can read a long book again, or catch up on their Netflix queue.</p> <p>Then, guess what? If all goes well, those folks get to spend 15 or so more years living in a home alongside reasonably well-behaved sons and daughters, who develop personalities and passions of their own and become active participants in whatever adventures the family has.</p> <p>So to sum up: That&#8217;s roughly three or four years of mind-numbing kiddie shows and young parents feeling like they&#8217;re losing their identities, followed by a lifetime of rich, often highly rewarding relationships, marked by some of the most lasting memories that anyone can make.</p> <p>Which of these stages of parenting really deserves more emphasis?</p> <h3>Obsessing over exhaustion and existential anxiety scares off potential parents</h3> <p><strong></strong></p> <p>I have many friends who don&#8217;t have kids &mdash; some intentionally, some not &mdash; and I&#8217;d never tell any of them that having children is a crucial, essential part of the human experience. Life offers a lot of opportunities. Being a parent is just one of a multitude of possible paths; and it&#8217;s one that comes with costs and limitations that many are just fine doing without.</p> <p>But while it&#8217;s presumptuous (and rude) to say, &#8220;Oh, you&#8217;ll change your mind one day&#8221; to anyone who insists they don&#8217;t want kids, the reason why the childless-by-choice deal with doubters is that people <em>do</em> change their minds, all the time. I&#8217;ve known plenty who were once adamant about never becoming a parent until one day, almost out of the blue, they started to entertain the possibility.</p> <q>If you&#8217;re curious whether you should see a movie, never lean too heavily on the opinion of someone who&#8217;s only seen the first five minutes</q><p>So this bit is directed at those who are warming to the idea of spawning, and not to those who are a hard &#8220;nope.&#8221; Don&#8217;t hesitate just because the early years have such bad PR. All those essays from new moms who worry that they lack maternal instincts? Or from new dads who complain that they haven&#8217;t gone out to a bar with their buddies in months? They&#8217;re undoubtedly coming from a place of sincerity &mdash; and the experiences they relate are genuine &mdash; but the perspective is often limited.</p> <p>It&#8217;s never a bad idea to be prepared for all the downsides of something so life-changing. But if you&#8217;re curious whether you should see a movie, never lean too heavily on the opinion of someone who&#8217;s only seen the first five minutes.</p> <h3>Focusing on the very young shortchanges their older peers</h3> <p>Boys and girls develop quirks and habits fairly early, but it&#8217;s nothing like what happens later on, when they become artsy 8-year-olds, bookish 10-year-olds, athletic 12-year-olds, or what have you. Little kids turn their folks&#8217; brains to mush because they require a lot of dull routine, which &mdash; coupled with how demanding they can be &mdash; can make them, frankly, kind of hard to like sometimes.</p> <p>It&#8217;s this side of children that&#8217;s too often the public face of youth. Either the little ones themselves are making a scene in a restaurant or airport or their parents are writing exasperated blog posts about them. The quieter, calmer, more multifaceted kids don&#8217;t get the same kind of exposure, either out in the world or on the web.</p> <div class="float-left s-sidebar"> <h4>More on parenting</h4> <a target="new" href="http://www.vox.com/2015/4/29/8503449/autism-spectrum-independent" rel="noopener"> <img data-chorus-asset-id="5923729" alt="shutterstock_165733445.0.0.0.jpg" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/5923729/shutterstock_165733445.0.0.0.jpg"> </a><p><a target="new" href="http://www.vox.com/2015/4/29/8503449/autism-spectrum-independent" rel="noopener">10 things I want to teach my autistic son before he goes to college</a></p> </div> <p>The non-print media doesn&#8217;t help in this regard. In sitcoms and TV dramas &mdash; or at least those not aimed at preadolescents &mdash; children are typically presented as obnoxiously precocious, whiny, and self-absorbed. It&#8217;s not hard to trace a line from the popular depiction of annoying toddlers and snotty teens to the pervasive complaints about spoiled, egotistical &#8220;millennials,&#8221; who&#8217;ve been warped by years of technology-aided instant gratification and our convoluted, coddling educational system.</p> <p>And that&#8217;s incredibly unfair. What I see every day &mdash; not just with my son and daughter but with their classmates &mdash; is a rising generation that&#8217;s kind, curious, and creative, making amazing use of resources I never had at their age. Yes, they&#8217;re glued to their phones, but on those screens these kids are talking to each other, taking quizzes, reading the news, or sharing things they&#8217;ve made &#8230; all traits of well-rounded individuals.</p> <p><span>There are upsides aplenty to parenting kids once they get over the toddler hump: teaching them about life and culture, reliving some of the best experiences of youth through their eyes, curating their experiences of holidays, and so on. Plus, as children age they typically get smarter and funnier, and develop actual talents. Soccer games and school concerts are a grind at the elementary level; later, they&#8217;re a genuine pleasure.</span></p> <p>It&#8217;s easy to groan about the awfulness of &#8220;these kids today,&#8221; but getting to know them personally reveals another, more hopeful story. If nothing else, it shows that there are plenty of reasons to feel good about our leaders of tomorrow.</p> <p>Who knows this? Parents do, whether they write it down for posterity or not.</p> <h3>There are so many other tales to tell</h3> <p><strong></strong></p> <p>Here&#8217;s something else that many parents know: Nearly every age between 4 and 14 is &#8220;a great age.&#8221; And there are even extended stretches of babyhood and toddlerhood that are absolutely delightful. (Babies who sleep through the night, nap twice a day, and can sit up and play enthusiastically when they&#8217;re awake? They&#8217;re the absolute best.)</p> <p>I don&#8217;t mean to give the impression that everything goes smoothly after the age of 4 for every parent &mdash; or <em>any</em> parent. Kids can be the source of all kinds of worry: They cost money, they get sick, they wreck the house, they pick fights with their siblings, they get bullied, they have their hearts broken, and they have all kinds of other problems that get piled onto whatever else adults are going through. And sometimes, no matter how much they love each other, the generations just butt heads, day after day.</p> <p>My own children are in their early teenage years, which means there are challenges ahead that I haven&#8217;t faced yet. But while there&#8217;s plenty of writing out there about raising teens &mdash; in self-help books, family magazines, and blogs &mdash; it&#8217;s more of the &#8220;dos and don&#8217;ts&#8221; variety. Once kids are old enough to get report cards, there seems to be a lot less soul searching by their folks.</p> <p>And that&#8217;s all I&#8217;m really seeking: a little variety. There&#8217;s nothing inherently wrong with writers having the umpteenth insight into the dreadful grind of the terrible twos. But every time I come across one of the articles, I want it to be accompanied by the same author tackling the subject of parenting four, six, and 10 years later. I want the follow-ups. Because from personal experience and thousands of other articles, by now I&#8217;m pretty sure I know how those toddler years are going to go.</p> <p><em>Noel Murray is a freelance writer living in Arkansas with his wife and two kids. His articles about film, TV, music, and comics appear regularly in the A.V. Club, Rolling Stone, and the Los Angeles Times.</em></p> <hr> <p><a target="new" href="http://www.vox.com/first-person" rel="noopener">First Person</a> is Vox&#8217;s home for compelling, provocative narrative essays. Do you have a story to share? Read our <a target="new" href="http://www.vox.com/2015/6/12/8767221/vox-first-person-explained" rel="noopener">submission guidelines</a>, and pitch us at <a href="mailto:firstperson@vox.com">firstperson@vox.com</a>.</p> </div><p></p>
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			<author>
				<name>Noel Murray</name>
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			<title type="html"><![CDATA[Matt Damon on Mars, action star Emily Blunt, and 16 other must-see upcoming movies]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/2015/9/23/9378897/fall-movies-preview-martian-tiff" />
			<id>https://www.vox.com/2015/9/23/9378897/fall-movies-preview-martian-tiff</id>
			<updated>2017-12-14T11:40:36-05:00</updated>
			<published>2015-09-23T09:30:02-04:00</published>
			<category scheme="https://www.vox.com" term="Books" /><category scheme="https://www.vox.com" term="Comic Books" /><category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Movies" /><category scheme="https://www.vox.com" term="TV" />
							<summary type="html"><![CDATA[The Toronto International Film Festival wrapped up over this past weekend, with the Grolsch People&#8217;s Choice Awards going to Lenny Abrahamson&#8217;s adaptation of Emma Donoghue&#8217;s novel Room, and &#8212; in the &#8220;Midnight Madness&#8221; category &#8212; Ilya Naishuller&#8217;s hyperactive first-person action picture Hardcore. (The runners-up in the respective categories were Tom McCarthy&#8217;s ripped-from-the-headlines newsroom drama Spotlight [&#8230;]]]></summary>
			
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<img alt="" data-caption="Matt Damon gets stranded on Mars in the thoroughly entertaining The Martian, out in October. | 20th Century Fox" data-portal-copyright="20th Century Fox" data-has-syndication-rights="1" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/9869805/damonmars.0.0.0.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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	Matt Damon gets stranded on Mars in the thoroughly entertaining The Martian, out in October. | 20th Century Fox	</figcaption>
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<div class="chorus-snippet center"> <p>The <a target="_blank" href="http://tiff.net/" rel="noopener">Toronto International Film Festival</a> wrapped up over this past weekend, with the Grolsch People&rsquo;s Choice Awards going to Lenny Abrahamson&rsquo;s adaptation of Emma Donoghue&rsquo;s novel <em><a href="http://a24films.com/films/room/">Room</a></em>, and &mdash; in the &#8220;Midnight Madness&#8221; category &mdash; Ilya Naishuller&rsquo;s hyperactive first-person action picture <em><a href="https://www.facebook.com/HARDCORE.2015">Hardcore</a></em>. (The runners-up in the respective categories were Tom McCarthy&rsquo;s ripped-from-the-headlines newsroom drama <em><a href="http://spotlightthefilm.com/">Spotlight</a></em> and Jeremy Saulnier&rsquo;s brutal hostage thriller <em><a href="http://variety.com/2015/film/festivals/green-room-review-1201498852/">Green Room</a></em>.)</p> <p>But TIFF has never really been about awards. <a href="http://www.vox.com/2015/9/10/9300049/tiff-toronto-film-festival-preview">Over its 40 years of existence</a>, the fest has built a reputation as the place where cinephiles get to keep up with the latest from the world&rsquo;s best filmmakers, while the showbiz press tracks the movies that stand the best chance of being players in the various year-end awards races.</p> <p><!-- ######## BEGIN SNIPPET ######## --></p> <div data-analytics-category="article" data-analytics-action="link:related" class="chorus-snippet s-related"> <span class="s-related__title">Related</span> <!-- Add links here --><a href="http://www.vox.com/2015/9/10/9300049/tiff-toronto-film-festival-preview" target="_blank" rel="noopener">TIFF and the international film festival circuit, explained</a> </div> <p>The 2015 edition of TIFF was a weird one in both regards. The art films were a little off this year, with few new directors breaking out and no consensus masterpieces from world cinema&rsquo;s old guard. And while the mainstream fare was unusually strong, a lot of potential Oscar candidates took a pass on the festival circuit this fall, which left the press in Toronto to speculate on the prospects of a batch of long shots.</p> <p>Nevertheless, at least once a day during its first week, the fest turned a spotlight on something magnificent. The 18 titles below &mdash; some flawed but interesting, some mostly good with a few outstanding elements, and a few truly great &mdash; are all the kind of movies that critics and film buffs gather in Toronto hoping to see every fall.</p> <aside><q>At least once a day during its first week, the festival turned a spotlight on something magnificent</q></aside><p>About half of these will be out by the end of the year, either in limited Oscar-qualifying runs or in multiplexes around the country. The rest will be playing a few more festivals before they get more widely distributed. But they&rsquo;re all worth knowing about, and seeing whenever they start making their way around the country and the world.</p> <hr> <h3>A TIFF Top 9 (in order of release date)</h3> </div><!-- BEGIN LISTICLE SNIPPET --><div id="1442977986_46" class="m-listicle js-social-item video numbered"> <div class="m-listicle__header"> <span class="m-listicle__number">1</span><div class="m-listicle__social"> <a href="#1442977986_46">&#59401;</a> <a class="js-button-social facebook" href="https://www.facebook.com/sharer/sharer.php?" data-analytics-social="facebook">&#59394;</a> <a class="js-button-social twitter" href="https://twitter.com/intent/tweet?" data-analytics-social="twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Sicario</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/7XLQ1bkSLDo" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director: </strong><a href="http://www.imdb.com/name/nm0898288/?ref_=nv_sr_1">Denis Villeneuve</a> (<em>Prisoners</em>, <em>Incendies</em>)</p> <p><strong>Cast: </strong><a href="http://www.imdb.com/name/nm1289434/?ref_=nv_sr_1">Emily Blunt</a> (<em>Edge of Tomorrow</em>, <em>Into the Woods</em>), <a href="http://www.imdb.com/name/nm0001125/?ref_=fn_al_nm_1">Benicio del Toro</a> (T<em>he Usual Suspects</em>, <em>Che</em>), <a href="http://www.imdb.com/name/nm0000982/?ref_=nv_sr_1">Josh Brolin</a> (<em>No Country for Old Men</em>, <em>Inherent Vice</em>)</p> <p><strong>Release: </strong>Out now in limited release from Lionsgate; out everywhere Friday, Oct. 2</p> <p>Who would have guessed that British actress Blunt would become one of contemporary cinema&rsquo;s most badass action heroes? A year after she splattered alien bugs and trained up Tom Cruise in <em>Edge of Tomorrow</em> (and helped fell giants and witches in <em>Into the Woods</em>), Blunt plays an FBI agent who gets asked to join an off-books task force, assigned to crush border-endangering drug lords. Similar to Villeneuve&rsquo;s <em>Prisoners</em>, <a href="http://www.imdb.com/title/tt3397884/?ref_=nv_sr_1"><em>Sicario</em></a> has a pulpy story that takes some preposterous turns, but it also has a nail-biting, nightmarish, you-are-there quality; and the performances are outstanding, from Blunt&rsquo;s avenger with a conscience to Benicio del Toro and Josh Brolin as shadowy warriors who keep pulling the protagonist further and further into the moral gray area that&rsquo;s their natural habitat.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442978104_675"> <div class="m-listicle__header"> <span class="m-listicle__number">2</span><div class="m-listicle__social"> <a href="#1442978104_675">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>The Martian</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/ej3ioOneTy8" height="315" width="560"> </iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm0000631/?ref_=nv_sr_1">Ridley Scott</a> (<em>Alien</em>, <em>Blade Runner</em>)</p> <p><strong>Cast: </strong><a href="http://www.imdb.com/name/nm0000354/?ref_=nv_sr_1">Matt Damon</a> (<em>Good Will Hunting</em>, <em>Interstellar</em>), <a href="http://www.imdb.com/name/nm0001099/?ref_=nv_sr_1">Jeff Daniels</a> (<em>The Squid and the Whale</em>, HBO&rsquo;s <em>The Newsroom</em>), <a href="http://www.imdb.com/name/nm1567113/?ref_=nv_sr_1">Jessica Chastain</a> (<em>Zero Dark Thirty</em>, <em>The Disappearance of Eleanor Rigby</em>)</p> <p><strong>Release:</strong> Opening wide October 2 from 20th Century Fox</p> <p>This adaptation of <a href="http://www.amazon.com/Martian-Andy-Weir/dp/0553418025/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1442958859&amp;sr=1-1&amp;keywords=the+martian">Andy Weir&rsquo;s bestselling novel</a> has maybe too much in common with several recent science fiction hits. It&rsquo;s like <em>Gravity</em> in that it&rsquo;s also about a scientist/astronaut stranded far from Earth; it&rsquo;s like <em>Interstellar</em> in that it has teams of engineers working on a complicated mission in deep space; and it even resembles <em>Guardians of the Galaxy</em> with its soundtrack of 1970s pop hits. But damned if <em><a href="http://www.imdb.com/title/tt3659388/?ref_=nv_sr_1">The Martian</a></em> doesn&rsquo;t work like gangbusters anyway, largely because it gives Matt Damon his most likable role in a while, as a castaway who comes up with ingenious ways to survive on a hostile planet. This movie is rousing, star-studded, and a testament to the value of math and science &mdash; which is always welcome in a culture that increasingly values &#8220;feel&#8221; over actual knowledge and expertise.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div id="1442978186_2" class="m-listicle js-social-item video numbered"> <div class="m-listicle__header"> <span class="m-listicle__number">3</span><div class="m-listicle__social"> <a href="#1442978186_2">&#59401;</a> <a class="js-button-social facebook" href="https://www.facebook.com/sharer/sharer.php?" data-analytics-social="facebook">&#59394;</a> <a class="js-button-social twitter" href="https://twitter.com/intent/tweet?" data-analytics-social="twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Room</em></h3> <div class="m-listicle__video"><iframe loading="lazy" width="560" height="315" src="https://www.youtube.com/embed/E_Ci-pAL4eE" frameborder="0"></iframe></div> <div class="m-listicle__content"> <p><strong>Director: </strong><a href="http://www.imdb.com/name/nm1049433/?ref_=nv_sr_2">Lenny Abrahamson</a> (<em>Frank</em>, <em>What Richard Did</em>)</p> <p><strong>Cast: </strong><a href="http://www.imdb.com/name/nm0488953/?ref_=nv_sr_1">Brie Larson</a> (<em>The Spectacular Now</em>, <em>Short Term 12</em>), <a href="http://www.imdb.com/name/nm0108703/?ref_=nv_sr_1">Sean Bridgers</a> (Sundance&rsquo;s <em>Rectify</em>, HBO&rsquo;s <em>Deadwood</em>), <a href="http://www.imdb.com/name/nm5016878/?ref_=nv_sr_1">Jacob Tremblay</a></p> <p><strong>Release:</strong> Opening October 16 from A24</p> <p>Guaranteed to wreck parents all through awards season, Abrahamson&rsquo;s adaptation of <a href="http://www.amazon.com/Room-Novel-Emma-Donoghue/dp/0316098329/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1442958979&amp;sr=1-1&amp;keywords=room+emma+donoghue">Emma Donoghue&rsquo;s award-winning novel</a> stars Larson as a young mother who&rsquo;s been held captive in a garden shed with her 5-year-old son Jack for as long as he&rsquo;s been alive. Told from Jack&rsquo;s point-of-view, <em><a href="http://www.imdb.com/title/tt3170832/?ref_=nv_sr_2">Room</a></em> starts out as a queasily effective suspense film, as the pair plot their escape from a psychopath. But it later becomes a sensitive drama, about the boy adjusting to a much bigger, noisier, scarier world. Abrahamson hits the emotional beats of this story too hard, but he also conveys the finer shading of Donoghue&rsquo;s core metaphor, which really has to do with how all parents first protect their kids from the harsh realities of life, then struggle to find ways to prepare them.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442978265_530"> <div class="m-listicle__header"> <span class="m-listicle__number">4</span><div class="m-listicle__social"> <a href="#1442978265_530">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Brooklyn</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/15syDwC000k" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director: </strong><a href="http://www.imdb.com/name/nm1259871/?ref_=nv_sr_1">John Crowley</a> (<em>Intermission</em>, <em>Boy A</em>)</p> <p><strong>Cast: </strong><a href="http://www.imdb.com/name/nm1519680/?ref_=nv_sr_1">Saoirse Ronan</a> (<em>Hanna</em>, <em>The Grand Budapest Hotel</em>), <a href="http://www.imdb.com/name/nm1727304/?ref_=nv_sr_1">Domhnall Gleeson</a> (<em>Ex Machina</em>, <em>Calvary</em>), <a href="http://www.imdb.com/name/nm1652433/?ref_=nv_sr_1">Michael Zegen</a> (HBO&rsquo;s <em>Boardwalk Empire</em>, <em>Frances Ha</em>)</p> <p><strong>Release:</strong> Opening in limited release November 6 from Fox Searchlight</p> <p>Crowley and screenwriter Nick Hornby&rsquo;s adaptation of Colm T&oacute;ibin&rsquo;s beloved 2009 historical novel met with a rapturous reception at its Sundance premiere, and is on track to be the kind of stealthy art-house hit that older audiences love &mdash; one that maybe even sneaks into the Oscar race. <em><a href="http://www.imdb.com/title/tt2381111/?ref_=nv_sr_3">Brooklyn</a></em> is also a film that could wilt from overpraise, because it&rsquo;s more gentle than dazzling. Cinematographer Yves B&eacute;langer smartly softens and blends the deep colors in both the small Irish town where a meek shopgirl (played by Ronan) is overshadowed by her more popular peers, and the 1950s New York where she gains confidence and discovers the power of choice. But the big winner here is Hornby&rsquo;s script, which lightens <em>Brooklyn</em>&rsquo;s overall tone with funny dialogue, keeping the audience engaged until the plot really kicks in. This is a very easy movie to watch, with a depth that develops gradually but unmistakably.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442978730_497"> <div class="m-listicle__header"> <span class="m-listicle__number">5</span><div class="m-listicle__social"> <a href="#1442978730_497">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Spotlight</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/yXymzwz0V2g" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director: </strong><a href="http://www.imdb.com/name/nm0565336/?ref_=nv_sr_1">Tom McCarthy</a> (<em>The Station Agent</em>, <em>The Visitor</em>)</p> <p><strong>Cast: </strong><a href="http://www.imdb.com/name/nm0000474/?ref_=nv_sr_1">Michael Keaton</a> (<em>Birdman</em>, <em>Batman</em>), <a href="http://www.imdb.com/name/nm0749263/?ref_=nv_sr_1">Mark Ruffalo</a> (<em>You Can Count on Me</em>, <em>The Avengers</em>), <a href="http://www.imdb.com/name/nm1046097/?ref_=nv_sr_1">Rachel McAdams</a> (<em>The Notebook</em>, <em>Red Eye</em>)</p> <p><strong>Release:</strong> Opening in limited release November 6 from Open Road</p> <p>There were two old-fashioned journalism dramas at TIFF this year: the overheated <a href="http://www.imdb.com/title/tt3859076/?ref_=nv_sr_1"><em>Truth</em></a> (about the <em>60 Minutes</em> sourcing scandal that drove Dan Rather out of CBS), and <a href="http://www.imdb.com/title/tt1895587/?ref_=nv_sr_1"><em>Spotlight</em></a>, a much more assured and nuanced film, about how the Boston Globe&rsquo;s special investigative team carefully pieced together <a href="http://www.bostonglobe.com/arts/movies/spotlight-movie">the Pulitzer-winning story</a> of the Catholic church covering up sexual abuse. Rebounding strongly from his debacle <a href="http://www.vox.com/2015/3/16/8226127/the-cobbler-review-adam-sandler"><em>The Cobbler</em></a>, writer-director McCarthy makes recent history come alive, reminding viewers that it wasn&rsquo;t so long ago when newspaper reporters had the time, money, and resources to provide the vital public service of exposing malfeasance. A cast of talented under-players &mdash; who say more with subtle gestures than big speeches &mdash; makes this the rare &#8220;prestige picture&#8221; that&rsquo;s also a wonderful evening&rsquo;s entertainment.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442978775_312"> <div class="m-listicle__header"> <span class="m-listicle__number">6</span><div class="m-listicle__social"> <a href="#1442978775_312">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>45 Years</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/qXAnjA9tAnQ" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director: </strong><a href="http://www.imdb.com/name/nm0354091/?ref_=nv_sr_1">Andrew Haigh</a> (<em>Weekend</em>, HBO&rsquo;s <em>Looking</em>)</p> <p><strong>Cast: </strong><a href="http://www.imdb.com/name/nm0001648/?ref_=nv_sr_4">Charlotte Rampling</a> (<em>The Night Porter</em>, <em>Swimming Pool</em>), <a href="http://www.imdb.com/name/nm0183822/?ref_=nv_sr_1">Tom Courtenay</a> (<em>Doctor Zhivago</em>, <em>The Dresser</em>)</p> <p><strong>Release:</strong> Opening in limited release December 23 from Sundance Selects</p> <p>Set during the week before a married couple&rsquo;s 45th anniversary party, the quietly heartbreaking <em><a href="http://www.imdb.com/title/tt3544082/?ref_=nv_sr_1">45 Years</a></em> considers how people who live a lifetime together can accumulate decades of regrets and slights. Similar to Haigh&rsquo;s small-scale gay romance <em>Weekend</em> (but a smidgen more ambitious), <em>45 Years</em> reveals a lot about its characters by observing them closely, catching every subtly defensive gesture and turn of phrase. Rampling and Courtenay have two of the meatiest roles of their careers, as a husband and wife who endure one of the biggest crises of their marriage at the worst possible time. Their big climactic dance number, sets to &#8220;Smoke Gets In Your Eyes,&#8221; is one of the most gripping and beautiful movie moments of 2015.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442978839_188"> <div class="m-listicle__header"> <span class="m-listicle__number">7</span><div class="m-listicle__social"> <a href="#1442978839_188">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Anomalisa</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/NYbKJfls6WM" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm0442109/?ref_=tt_ov_dr">Charlie Kaufman</a> (<em>Synechdoche, New York</em>, screenwriter of <em>Being John Malkovich</em>), <a href="http://www.imdb.com/name/nm2122478/?ref_=tt_ov_dr">Duke Johnson</a> (<em>Morel Orel</em>)</p> <p><strong>Cast</strong>: <a href="http://www.imdb.com/name/nm0000667/?ref_=nv_sr_1">David Thewlis</a> (<em>Naked</em>, the Harry Potter movies), <a href="http://www.imdb.com/name/nm0000492/?ref_=nv_sr_1">Jennifer Jason Leigh</a> (<em>The Hudsucker Proxy</em>, <em>Margot at the Wedding</em>), <a href="http://www.imdb.com/name/nm0006888/?ref_=nv_sr_1">Tom Noonan</a> (AMC&rsquo;s <em>Hell on Wheels</em>, Syfy&rsquo;s <em>12 Monkeys</em>)</p> <p><strong>Release:</strong> Opening in limited release December 30 from Paramount</p> <p>Even rendered in stop-motion animation, there&rsquo;s no mistaking a Charlie Kaufman film. The writer of <em>Eternal Sunshine of the Spotless Mind</em> collaborated with Dan Harmon and Dino Stamatopoulus&rsquo;s Starburns Industries &mdash; in particular &#8220;junior partner&#8221; Duke Johnson, best known for animating a popular Christmas episode of Harmon&rsquo;s sitcom <em>Community </em>&mdash; to produce a miniaturized version of one of his usual brain-bending, navel-gazing art pieces. <em><a href="http://www.imdb.com/title/tt2401878/?ref_=nv_sr_1">Anomalisa</a></em> sees the world through the eyes of a depressed self-help guru, who imagines every person he meets with the same face and same voice, until he comes across an &#8220;anomaly&#8221; named Lisa who captures his fancy. At once a character sketch about a cripplingly shortsighted man and a hilariously accurate recreation of what it&rsquo;s like to spend 24 hours in a luxury hotel in downtown Cincinnati, <em>Anomalisa</em> is a one-of-a-kind project &mdash; beautiful to look at and rewarding to argue about afterward.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442978885_974"> <div class="m-listicle__header"> <span class="m-listicle__number">8</span><div class="m-listicle__social"> <a href="#1442978885_974">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Green Room</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/oibkSr_p6sc" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm1099918/?ref_=nv_sr_1">Jeremy Saulnier</a> (<em>Blue Ruin</em>)</p> <p><strong>Cast:</strong> <a href="http://www.imdb.com/name/nm0790057/?ref_=nv_sr_1">Alia Shawkat</a> (Fox&rsquo;s <em>Arrested Devlopment</em>, <em>Wild Canaries</em>), <a href="http://www.imdb.com/name/nm0001772/?ref_=nv_sr_1">Patrick Stewart</a> (the <em>Star Trek: The Next Generation </em>series, the X-Men series), <a href="http://www.imdb.com/name/nm1782299/?ref_=nv_sr_1">Imogen Poots</a> (<em>Jane Eyre</em>, <em>She&rsquo;s Funny That Way</em>)</p> <p><strong>Release: </strong>TBA, distributed by A24</p> <p>Saulnier&rsquo;s <em>Blue Ruin</em> was a hell of a debut film: a low-to-the-ground revenge procedural that showed how hard it is for an ordinary person to follow through on a plan to kill his enemies without screwing it up &#8230; a lot. (It&rsquo;s <a href="http://www.netflix.com/title/70278931">available on Netflix</a>.) <em><a href="http://www.imdb.com/title/tt4062536/?ref_=nv_sr_1">Green Room</a></em> is a fantastic follow-up, almost on par with <em>Blue Ruin</em> in its twisty, violent story of a punk rock band that accidentally runs afoul of a white supremacist militia. Saulnier has a killer cast this time out, including a plucky Shawkat as the band&rsquo;s bassist/manager and an ice-cold Stewart as the pragmatic head racist. But the movie&rsquo;s real strength is its willingness to have its heroes fail over and over, regularly escaping one tight corner only to end up somewhere even smaller and more dangerous.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442978936_248"> <div class="m-listicle__header"> <span class="m-listicle__number">9</span><div class="m-listicle__social"> <a href="#1442978936_248">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>The Treasure</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/d56mX1P6p2U" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm1717949/?ref_=fn_al_nm_5">Corneliu Porumboiu</a> (<em>12:08 East of Bucharest</em>, <em>Police, Adjective</em>)</p> <p><strong>Cast:</strong> <a href="http://www.imdb.com/name/nm1766976/?ref_=tt_ov_st">Toma Cuzin</a>, <a href="http://www.imdb.com/name/nm7182476/?ref_=tt_ov_st">Adrian Purcarescu</a>, <a href="http://www.imdb.com/name/nm7182477/?ref_=tt_ov_st">Corneliu Cozmei</a></p> <p><strong>Release:</strong> TBA</p> <p>A wave of Romanian filmmakers dominated the festival circuit a decade ago with a mini-boom of absorbing, superbly written slice-of-life dramas, rooted in the country&rsquo;s decades of sociopolitical dysfunction. <em><a href="http://www.imdb.com/title/tt4515684/?ref_=nm_flmg_wr_1">The Treasure</a></em> is one of the best of these to pop up in a good long time, telling the story of two financially strapped neighbors who go into debt to rent a metal detector, in hopes of finding a family fortune buried on a sprawling, deteriorating estate before the Communist era. What starts as a slip of a story gets funnier and even semi-suspenseful as it plays out, with every minor personality conflict and false lead carrying a potential catastrophe. From the static shots of men descending into an ever-deepening hole to the ear-splitting sound of the faulty machinery, every element of <em>The Treasure</em> is precisely chosen, adding up to a film that resonates beyond the closing credits.</p> </div> </div><!-- END LISTICLE SNIPPET --><hr class="wp-block-separator" /><div class="chorus-snippet center"> <h3>Three standout performances</h3> <p>Great turns weren&rsquo;t quite enough to save some mediocre movies in Toronto this year, but these three films &mdash; all decent to excellent to start with &mdash; are must-sees in large part because the lead actors are doing some of the best work of their formidable careers.</p> </div><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442979125_984"> <div class="m-listicle__header"> <span class="m-listicle__number">1</span><div class="m-listicle__social"> <a href="#1442979125_984">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>James White</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/pdw828U3KMY" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm1317614/?ref_=nv_sr_1">Josh Mond</a> (producer of <em>Afterschool</em> and <em>Martha Marcy May Marlene</em>)</p> <p><strong>Cast:</strong> <a href="http://www.imdb.com/name/nm3571592/?ref_=nv_sr_1">Christopher Abbott</a> (HBO&rsquo;s <em>Girls</em>, <em>A Most Violent Year</em>), <a href="http://www.imdb.com/name/nm0633223/?ref_=nv_sr_1">Cynthia Nixon</a> (HBO&rsquo;s <em>Sex &amp; the City</em>, Amazon&rsquo;s <em>Alpha House</em>)</p> <p><strong>Release:</strong> Opening in limited release November 13 from The Film Arcade</p> <p>The impressionistic <em><a href="http://www.imdb.com/title/tt4288636/?ref_=nv_sr_1">James White</a></em> is one of those indie films that favors tight close-ups and follow shots of a single character, which is what makes Abbott&rsquo;s extraordinary performance so valuable. As a spoiled, emotionally unstable New Yorker with no job, no ambition, and no ability to handle his responsibilities to his cancer-stricken mother (played by Nixon), Abbott finds a way to portray an appallingly self-centered jerk and <em>still</em> be sympathetic. He gets across both the humor and the hard truth in Mond&rsquo;s study of a person who&rsquo;ll take advantage of any excuse &mdash; even the worst possible family crisis &mdash; to be the total mess that he already is.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442979017_978"> <div class="m-listicle__header"> <span class="m-listicle__number">2</span><div class="m-listicle__social"> <a href="#1442979017_978">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Legend</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/tyUfaDeEScM" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm0001338/?ref_=nv_sr_1">Brian Helgeland</a> (<em>Payback</em>, <em>42)</em></p> <p><strong>Cast:</strong> <a href="http://www.imdb.com/name/nm0362766/?ref_=nv_sr_1">Tom Hardy</a> (<em>Bronson</em>, <em>Mad Max: Fury Road</em>), <a href="http://www.imdb.com/name/nm0115161/?ref_=nv_sr_1">Emily Browning</a> (<em>Sucker Punch</em>, <em>God Help the Girl</em>)</p> <p><strong>Release:</strong> Opening wide November 20 from Universal</p> <p>As a biography of the ruthless 1960s British gangsters/businessmen/twins <a href="https://en.wikipedia.org/wiki/Kray_twins">Ronnie and Reggie Kray</a>, <em><a href="http://www.imdb.com/title/tt3569230/?ref_=nv_sr_1">Legend</a></em> is something of a slog, with a lot of pretty-looking and even exciting scenes that don&rsquo;t cohere into a satisfying or enlightening narrative. But as a showcase for one of the most magnetic actors working today, <em>Legend</em> is essential viewing. Many movie stars have done the dual role trick before, but few have been as effective as Hardy at creating two distinct characters, with only the slightest shifts in costuming and makeup. The handsome, forward-thinking Reggie and the brutish Ronnie are always very much themselves, and never come across onscreen as the product of an actor pulling a stunt. It&rsquo;s a hell of an achievement.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442979077_685"> <div class="m-listicle__header"> <span class="m-listicle__number">3</span><div class="m-listicle__social"> <a href="#1442979077_685">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Born to Be Blue</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/2eonpv21rM8" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm1519253/?ref_=nv_sr_1">Robert Budreau </a></p> <p><strong>Cast:</strong> <a href="http://www.imdb.com/name/nm0000160/?ref_=nv_sr_1">Ethan Hawke</a> (<em>Boyhood</em>, <em>The Purge</em>), <a href="http://www.imdb.com/name/nm0252238/?ref_=nv_sr_1">Carmen Ejogo</a> (<em>Selma</em>, <em>Alex Cross</em>)</p> <p><strong>Release:</strong> TBA</p> <p>Just as <em>Spotlight</em> helps illuminate what&rsquo;s wrong with <em>Truth</em>, so another hyped-up TIFF premiere &mdash; the Tom Hiddleston&ndash;starring Hank Williams biopic <em><a href="http://www.imdb.com/title/tt1490785/?ref_=nv_sr_1">I Saw the Light</a></em><em> </em>&mdash; looks even weaker when stacked up against a similar movie about a troubled musician. Ethan Hawke projects fragility and soulfulness as the heroin-addicted jazz trumpeter <a href="https://en.wikipedia.org/wiki/Chet_Baker">Chet Baker</a> in <em><a href="http://www.imdb.com/title/tt2133196/?ref_=nv_sr_1">Born to Be Blue</a></em>, a movie that succumbs to some biopic clich&eacute;s but mostly succeeds by keeping its goals modest. Set during a stretch of the late 1960s when Baker was trying to make a comeback after a career-derailing mouth injury, the movie explains the choices that faced him: between a potentially happy life out of the spotlight, and a greatness that he could only seem to achieve through self-destructiveness. It&rsquo;s to Hawke&rsquo;s credit that he makes both options seem attractive, leading to a concluding sequence that&rsquo;s surprisingly nerve-racking, given that its outcome should already be known by anyone who knows anything about jazz.</p> </div> </div><!-- END LISTICLE SNIPPET --><hr class="wp-block-separator" /><div class="chorus-snippet center"> <h3>Three good docs</h3> <p>Toronto&rsquo;s documentary program isn&rsquo;t as strong as Sundance&rsquo;s &mdash; or some other major international festivals &mdash; but this is a strong trio of films, which should get a lot of play over the next year, both at other fests and on home video.</p> </div><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item full-width-image numbered" id="1442979397_257"> <div class="m-listicle__header"> <span class="m-listicle__number">1</span><div class="m-listicle__social"> <a href="#1442979397_257">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Hitchcock/Truffaut</em></h3> <div class="m-listicle__image full-width-image"><img data-chorus-asset-id="4088930" alt="hitchtruffaut.0.jpg" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/4088930/hitchtruffaut.0.jpg"></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm2095742/?ref_=fn_al_nm_1">Kent Jones</a> (<em>A Letter to Elia</em>)</p> <p><strong>Release:</strong> Opening in limited release December 4 from Cohen Media Group</p> <p>There&rsquo;s not enough in this film about the circumstances or content of Francois Truffaut&rsquo;s long 1962 interview with Alfred Hitchcock &mdash; or enough about the enduring influence of the book that emerged from it &mdash; but this documentary will appeal to anyone who just wants to hear Martin Scorsese and David Fincher analyze <em>Vertigo</em> and <em>Psycho</em> at length. The complete absence of women from the roster of interviewees is a major mistake (in a lineup that also includes Wes Anderson, Richard Linklater, and the inevitable Peter Bogdanovich), especially given how much <em><a href="http://www.imdb.com/title/tt3748512/?ref_=nm_flmg_wr_1">Hitchcock/Truffaut</a></em> weighs Hitch&rsquo;s sexual fetishes. But the dude-heavy discussion is fascinating regardless, and a reminder to film lovers to scrutinize every choice a director makes.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442979660_15"> <div class="m-listicle__header"> <span class="m-listicle__number">2</span><div class="m-listicle__social"> <a href="#1442979660_15">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Thru You Princess</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/WoHxoz_0ykI" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm2609593/?ref_=fn_al_nm_1">Ido Haar</a> (<em>9 Star Hotel</em>)</p> <p><strong>Release:</strong> TBA</p> <p>Most stories about &#8220;YouTube celebrities&#8221; focus on how many followers they have and how much money they&rsquo;re making, but this at-times-tricky documentary follows a working-class African-American woman who typically gets less than a hundred views for the songs and video diaries she posts. What Princess Shaw doesn&rsquo;t know at the start of this movie is that Israeli-based Free Culture Movement musician Kutiman is planning to use her music in one of his remixes and make her semi-famous. <em><a href="http://www.imdb.com/title/tt4161074/?ref_=nm_knf_t3">Thru You Princess</a></em> raises some unanswered questions about appropriation (and about journalistic ethics, since Haar apparently didn&rsquo;t tell Shaw the real reason he was filming her), but as the doc tracks one woman&rsquo;s stressful daily life and one man&rsquo;s artistic process, it becomes a genuinely moving celebration of the creativity and connectivity that the internet allows.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442979725_504"> <div class="m-listicle__header"> <span class="m-listicle__number">3</span><div class="m-listicle__social"> <a href="#1442979725_504">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Where to Invade Next</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/2RYV04G0tHc" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director: </strong><a href="http://www.imdb.com/name/nm0601619/?ref_=nv_sr_1">Michael Moore</a> (<em>Roger &amp; Me</em>, <em>Fahrenheit 9/11</em>)</p> <p><strong>Release:</strong> TBA</p> <p>Moore has been maintaining a relatively low profile of late, perhaps because he&rsquo;d gotten tired of being Fox News&rsquo;s easily mocked embodiment of progressive politics. But after a long layoff, Moore has come back with his best film in more than a decade. And while it really wasn&rsquo;t that hard for him to outdo the likes of <em>Capitalism: A Love Story</em> and <em>Captain Mike Across America</em>, <em><a href="http://www.imdb.com/title/tt4897822/?ref_=nm_flmg_prd_1">Where to Invade Next</a></em> is still something special. Following up on some of the ideas and themes of his <em>Sicko</em>, Moore tours Europe looking to plunder the continent&rsquo;s best ideas about education, drug policy, labor rights, and gender equality. He stacks the deck with selective facts, and gets overly cute with the presentation &mdash; as usual &mdash; but this documentary is nevertheless an oft-inspiring effort to persuade Americans that wonderful fantasylands do exist, in nations not so different from the US.</p> </div> </div><!-- END LISTICLE SNIPPET --><hr class="wp-block-separator" /><div class="chorus-snippet center"> <h3>Three freaky visions</h3> <p>Every year, in between all the awards-fodder, TIFF introduces films that present unique and daring visions of the world &mdash; some of which come from the experimental/avant-garde side of cinema, and some from the trashier B-movie side. The first two of the films below represent both of those disciplines, while the third falls squarely in between.</p> </div><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442979789_47"> <div class="m-listicle__header"> <span class="m-listicle__number">1</span><div class="m-listicle__social"> <a href="#1442979789_47">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Evolution</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/PkKZ2qx5f6g" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm0352968/?ref_=nv_sr_1">Lucile Hadzihalilovic</a> (<em>Innocence</em>)</p> <p><strong>Cast:</strong> <a href="http://www.imdb.com/name/nm6996153/?ref_=fn_al_nm_1">Max Brebant</a>, <a href="http://www.imdb.com/name/nm3646923/?ref_=fn_al_nm_1">Roxane Duran</a> (<em>The White Ribbon</em>)</p> <p><strong>Release:</strong> TBA, distributed by Alchemy</p> <p>It&rsquo;s been 11 years since Hadzihalilovic made the disturbing, dreamy coming-of-age film <em>Innocence</em>, but her follow-up is well worth the wait. Inexplicable and unforgettable, <em><a href="http://www.imdb.com/title/tt4291590/?ref_=nv_sr_4">Evolution</a></em> is a dark trip to a seaside town where pale women breed little boys for disgusting experiments in human(ish) reproduction. The director was unable to attend the TIFF premiere, but sent a statement that expressed her regret at not being able to do a Q&amp;A and her relief that she didn&rsquo;t have to try to explain herself. <em>Evolution</em> is meant to lull viewers with its lapping waves and low hum, and then to tap straight into the viewer&rsquo;s subconscious with its images of slime, grime, and gender-bending. It&rsquo;s best experienced, not analyzed.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item video numbered" id="1442981312_119"> <div class="m-listicle__header"> <span class="m-listicle__number">2</span><div class="m-listicle__social"> <a href="#1442981312_119">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>Hardcore</em></h3> <div class="m-listicle__video"><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/wv33e0TyL6M" height="315" width="560"></iframe></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm5820154/?ref_=nv_sr_1">Ilya Naishuller</a></p> <p><strong>Cast:</strong> <a href="http://www.imdb.com/name/nm1663205/?ref_=nv_sr_1">Sharlto Copley</a> (<em>District 9</em>, <em>Chappie</em>), <a href="http://www.imdb.com/name/nm2247245/?ref_=nv_sr_1">Haley Bennett</a> (<em>The Equalizer</em>, <em>Kaboom</em>)</p> <p><strong>Release: </strong>TBA, distributed by STX</p> <p>Easily the most divisive film in Toronto this year (and the one that sold for the most, picking up a reported $10 million distribution deal), Naishuller&rsquo;s extreme action picture is shot entirely from the POV of an invulnerable cyborg, who races through the streets, nightclubs, and abandoned warehouses of Moscow in hopes of escaping a telekinetic supervillain. Some fest-goers found <em><a href="http://www.imdb.com/title/tt3072482/?ref_=nv_sr_1">Hardcore</a></em><a href="http://www.imdb.com/title/tt3072482/?ref_=nv_sr_1">&rsquo;s</a> nonstop first-person shaky-cam &mdash; coupled with the gory violence and mean-spirited characters &mdash; to be repellent and unwatchable. Others thought it was a refreshingly gutsy exercise in exploitation, and an impressive feat of cinematic logistics. Either way, <em>Hardcore</em> was clearly a TIFF standout: one of the movies that will be remembered for years when people look back at this edition of the festival.</p> </div> </div><!-- END LISTICLE SNIPPET --><!-- BEGIN LISTICLE SNIPPET --><div class="m-listicle js-social-item full-width-image numbered" id="1442981367_180"> <div class="m-listicle__header"> <span class="m-listicle__number">3</span><div class="m-listicle__social"> <a href="#1442981367_180">&#59401;</a> <a data-analytics-social="facebook" href="https://www.facebook.com/sharer/sharer.php?" class="js-button-social facebook">&#59394;</a> <a data-analytics-social="twitter" href="https://twitter.com/intent/tweet?" class="js-button-social twitter">&#59395;</a> </div> </div> <h3 class="js-social-title"><em>High-Rise</em></h3> <div class="m-listicle__image full-width-image"><img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/4088426/oYXK3K_HIGH-RISE_02_o2_8725306_1441930866.0.jpg" alt="oYXK3K_HIGH-RISE_02_o2_8725306_1441930866.0.jpg" data-chorus-asset-id="4088426"></div> <div class="m-listicle__content"> <p><strong>Director:</strong> <a href="http://www.imdb.com/name/nm1296554/?ref_=nv_sr_1">Ben Wheatley</a> (<em>Kill List</em>, <em>Sightseers</em>)</p> <p><strong>Cast:</strong> <a href="http://www.imdb.com/name/nm1089991/?ref_=nv_sr_1">Tom Hiddleston</a> (<em>The Avengers</em>, <em>Only Lovers Left Alive</em>), <a href="http://www.imdb.com/name/nm0000460/?ref_=nv_sr_1">Jeremy Irons</a> (<em>Dead Ringers</em>, Showtime&rsquo;s <em>The Borgias</em>), <a href="http://www.imdb.com/name/nm0005253/?ref_=nv_sr_1">Elisabeth Moss</a> (AMC&rsquo;s <em>Mad Men</em>, Sundance&rsquo;s <em>Top of the Lake</em>)</p> <p><strong>Release:</strong> TBA</p> <p>J.G. Ballard&rsquo;s <a href="http://www.amazon.com/High-Rise-Novel-J-G-Ballard/dp/0871404028/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1442976378&amp;sr=1-1&amp;keywords=high-rise+ballard">surreal, allegorical 1975 novel</a> becomes a Stanley Kubrick&ndash;like tableau of grotesquerie, in the most major work yet from edgy British indie filmmaker Ben Wheatley. Hiddleston plays a doctor who moves into an ultra-modern building &mdash; designed to bring the upper class and working class together by providing them with everything they might need &mdash; and then finds himself caught in the crossfire when flaws in the complex&rsquo;s technology creates conflict between the floors. Essentially a two-hour montage of mayhem, <em><a href="http://www.imdb.com/title/tt0462335/?ref_=nv_sr_1">High-Rise</a></em> will likely flummox anyone expecting a straightforward story. But fans of bizarre imagery and trenchant social commentary are going to embrace this film and pass it around to the like-minded for years and decades to come. <em>High-Rise</em> is an instant cult classic.</p> </div> </div><!-- END LISTICLE SNIPPET --><hr class="wp-block-separator" /><div class="chorus-snippet center"> <h3>Films we missed but wanted to see</h3> <p>It&rsquo;s impossible for one person to see every well-liked film at a festival &mdash; because so many of them screen at the same time. There were movies in Toronto this year that I regret missing. I would&rsquo;ve liked to have seen Eddie Redmayne as transgender pioneer Lili Elbe in <em><a href="http://www.imdb.com/title/tt0810819/?ref_=nv_sr_1">The Danish Girl</a></em>, and I definitely plan to catch up eventually with the Holocaust thriller <em><a href="http://www.imdb.com/title/tt3808342/?ref_=nv_sr_1">Son of Saul</a></em>, the absurdist romantic comedy <em><a href="http://www.imdb.com/title/tt3464902/?ref_=nv_sr_1">The Lobster</a></em>, and Guy Maddin&rsquo;s densely allusive experimental epic <em><a href="http://www.imdb.com/title/tt3066630/?ref_=nv_sr_2">The Forbidden Room</a></em>.</p> </div><hr class="wp-block-separator" /><p></p>
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			<entry>
			
			<author>
				<name>Noel Murray</name>
			</author>
			
			<title type="html"><![CDATA[TIFF and the international film festival circuit, explained]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/2015/9/10/9300049/tiff-toronto-film-festival-preview" />
			<id>https://www.vox.com/2015/9/10/9300049/tiff-toronto-film-festival-preview</id>
			<updated>2019-03-05T06:14:17-05:00</updated>
			<published>2015-09-10T10:00:02-04:00</published>
			<category scheme="https://www.vox.com" term="Books" /><category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Explainers" /><category scheme="https://www.vox.com" term="Movies" /><category scheme="https://www.vox.com" term="TV" />
							<summary type="html"><![CDATA[Beginning Thursday, September 10, the global movie industry will effectively relocate to Canada for 10 days, as part of an annual ritual that just might anoint the year&#8217;s biggest Oscar contenders. Consider Demolition, a film starring Jake Gyllenhaal as a man recovering from the death of his wife. The movie&#8217;s gala screening opens the 40th [&#8230;]]]></summary>
			
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<p>Beginning Thursday, September 10, the global movie industry will effectively relocate to Canada for 10 days, as part of an annual ritual that just might anoint the year&#8217;s biggest Oscar contenders.</p>

<p>Consider <a href="http://www.imdb.com/title/tt1172049/?ref_=nv_sr_1"><em>Demolition</em></a>, a film starring <a href="http://www.imdb.com/name/nm0350453/?ref_=tt_ov_st">Jake Gyllenhaal</a> as a man recovering from the death of his wife. The movie&#8217;s gala screening opens the 40th edition of the <a href="http://tiff.net/">Toronto International Film Festival</a>.</p>

<p>TIFF has been very good to Gyllenhaal and <em>Demolition </em>director <a href="http://www.imdb.com/name/nm0885249/?ref_=fn_al_nm_1">Jean-Marc Vall&eacute;e</a>. Last year, the festival hosted the world premiere of the grimy crime picture <a href="http://www.imdb.com/title/tt2872718/?ref_=nv_sr_1"><em>Nightcrawler</em></a>, which<em> </em>propelled Gyllenhaal into the conversation for year-end awards. Vall&eacute;e, meanwhile, has landed two consecutive films in the Oscar race &mdash; 2013&rsquo;s Best Picture nominee (and Best Actor winner) <a href="http://www.imdb.com/title/tt0790636/?ref_=nv_sr_1"><em>Dallas Buyers Club</em></a> and 2014&rsquo;s Best Actress nominee <a href="http://www.imdb.com/title/tt2305051/?ref_=nv_sr_2"><em>Wild</em></a><em> </em>&mdash; after rapturous receptions in Toronto.</p>
<p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/eTJ1qS7KOm4" height="315" width="560"></iframe></p>
<p>But don&rsquo;t get the idea that TIFF is all about Oscars. Taking into account both feature films and shorts, nearly 400 movies will screen at 2015&rsquo;s festival, and they run the gamut from trashy B-horror to radical avant-garde experiments. The vast majority of what plays in Toronto each September is bound for art-house theaters, cult DVD labels, or a longer trip around the festival circuit &mdash; not to the Golden Globes or the Academy Awards.</p>
<p><q aria-hidden="true" class="center">Nearly 400 movies will screen at 2015&#8217;s festival</q></p>
<p>At the same time, the Oscar race is a big part of TIFF&#8217;s appeal. Over the past two decades, strong showings in Toronto have helped boost the awards prospects of <a href="http://www.imdb.com/title/tt0169547/?ref_=nv_sr_1"><em>American Beauty</em></a>, <a href="http://www.imdb.com/title/tt1010048/?ref_=nv_sr_1"><em>Slumdog Millionaire</em></a>, <a href="http://www.imdb.com/title/tt1504320/?ref_=nv_sr_1"><em>The King&rsquo;s Speech</em></a>, <a href="http://www.imdb.com/title/tt0375679/?ref_=nv_sr_2"><em>Crash</em></a>, and more. None of these movies were pegged as potential Oscar winners before TIFF. The grassroots enthusiasm of audiences and critics in Toronto changed their fortunes. All four movies listed above went on to win Best Picture.</p>

<p>What does this mean for the average moviegoer? Well, TIFF marks the time of year when summer blockbuster season ends and fall prestige season begins, which means the festival is where many of the movies that are going to be talked about the most in October, November, and December get their first real exposure. Paying attention to what&rsquo;s happening at TIFF is a good way to know what to look forward to for the rest of the year &mdash; and even into next year, since many of the best films in Toronto won&rsquo;t be released until then.</p>

<p>But TIFF is just one part of the year-round film festival circuit, a major part of the international movie business. Understanding that circuit can help you pinpoint some of the best movies in the world weeks or even months before they arrive in the US.</p>
<h2 class="wp-block-heading">The festival circuit is a handful of major festivals, then a multitude of regional ones</h2><div data-chorus-asset-id="2511172"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/2511172/cannes.0.jpg"><div class="caption"><p>The Cannes Film Festival is one of the world&#8217;s seven major film festivals.</p></div> </div>
<p>No matter where you live in the world, there&rsquo;s likely some kind of annual film festival held nearby (even if &#8220;nearby&#8221; is a few hundred miles away). These &#8220;regional fests&#8221; often feature local work, or sometimes have a special focus &mdash; like, for instance, the <a href="http://www.annecy.org/home">Annecy International Animated Film Festival</a> in France, or the action/science fiction/horror-centered <a href="http://www.fantasiafestival.com/2015/en">Fantasia International Film Festival</a> in Montreal.</p>

<p>No matter their unique wrinkles, regional fests devote a large chunk of their programming to films that originally played at one (or more) of a small handful of major international festivals. It&#8217;s these larger festivals that take up the bulk of the movie world&#8217;s attention.</p>

<p>Film buffs differ some on which fests count as &#8220;major,&#8221; but in general, the seven biggies are: <a href="http://www.sundance.org/festivals/sundance-film-festival">Sundance</a>, a showcase for independent film held every January in Park City, Utah; the <a href="https://www.berlinale.de/en/HomePage.html">Berlin International Film Festival</a> in February; the prestigious <a href="http://www.festival-cannes.com/">Cannes </a>festival held in the French city in May; late August&rsquo;s <a href="http://www.labiennale.org/en/cinema/">Venice festival</a>; September&rsquo;s <a href="http://www.telluridefilmfestival.org/">Telluride, Colorado</a>, and Toronto fests; and then the <a href="https://www.filmlinc.org/nyff2015/">New York Film Festival</a> in late September or early October.</p>

<p>Strong cases could be made for including Austin&#8217;s <a href="http://www.sxsw.com/">SXSW</a>; New York&#8217;s <a href="https://tribecafilm.com/festival">Tribeca</a>; <a href="http://www.pardolive.ch/pardo/festival-del-film-locarno/home.html">Locarno, Switzerland&#8217;s festival</a>; or <a href="http://www.biff.kr/structure/eng/">Busan, South Korea&#8217;s</a> &mdash; not to mention venerable big-city fests in <a href="http://miff.com.au/">Melbourne</a>, <a href="http://www.bfi.org.uk/lff">London</a>, <a href="http://www.siff.net/">Seattle</a>, and <a href="http://www.sffs.org/">San Francisco</a>. There are also increasingly popular specialty events like the genre-themed <a href="http://fantasticfest.com/">Fantastic Fest</a> in Austin, or documentary-centric <a href="http://truefalse.org/">True/False</a> in Columbia, Missouri.</p>

<p>But the majority of the foreign-language, indie, and weird genre pictures that fill out festival lineups around the world made their initial debuts at Sundance, Berlin, Cannes, Venice, Telluride, Toronto, or New York. They form the center of the festival circuit.</p>
<h2 class="wp-block-heading">Festivals give smaller art films a chance to be seen — and maybe even sold</h2><div data-chorus-asset-id="4047050"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/4047050/465092263.jpg"><div class="caption"><p><em>Whiplash</em> took the 2014 Sundance Film Festival by storm. It would eventually end up at the Oscars.</p></div> </div>
<p>The smaller regional festivals &mdash; and even some of the bigger city fests &mdash; can give quirky art films a place to be seen, to help build their reputation and their audience.</p>

<p>That&rsquo;s often the only way residents of some parts of the world get a chance to see excellent but less buzzed-about independent and foreign films on a big screen, with a sizable audience. With the decline in actual art-house cinemas, a long festival circuit run is often the best that some very good movies can hope for, before they reach their inevitable home on DVD, Blu-ray, streaming, and cable.</p>
<p><q aria-hidden="true" class="left">A long festival circuit run is often the best that some very good movies can hope for</q></p>
<p>A lot of the major festivals are also, essentially, marketplaces. Producers sell their wares to distributors around the world, and to video on-demand platforms like Netflix. A good festival run means increased attention, and increased attention means a higher likelihood of landing a good deal for further commercial distribution.</p>

<p>This time of year, though, most of the headlines coming out of Venice, Telluride, and Toronto have a lot to do with how they&rsquo;re helping set the agenda for the Academy Awards race. It&rsquo;s not that other festivals don&rsquo;t debut Oscar winners. (In 2014, <a href="http://www.imdb.com/title/tt1065073/?ref_=nv_sr_1"><em>Boyhood</em></a> and <a href="http://www.imdb.com/title/tt2582802/?ref_=nv_sr_1"><em>Whiplash</em></a> got their starts at Sundance.) But since the studios tend to stack their awards contenders into November and December, they like to use the fall festivals to generate early buzz.</p>
<h2 class="wp-block-heading">Toronto packs more into its 10 days than most festivals</h2><div data-chorus-asset-id="4047038"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/4047038/455453108.jpg"><div class="caption"><p>Actor Zaib Shaikh speaks onstage during the 2014 Toronto International Film Festival Awards brunch. While awards are hugely important at some festivals, they&#8217;re a bit of an afterthought at TIFF.</p></div> </div>
<p>Often called both &#8220;the people&rsquo;s festival&#8221; and &#8220;the festival of festivals,&#8221; Toronto is notable for how much variety and quality it packs into 10 days. An array of programs &mdash; including a slate of documentaries, a set of films for kids, and the hugely popular <a href="https://www.facebook.com/MidnightMadnessTIFF">&#8220;Midnight Madness&#8221;</a> collection of future cult movies &mdash; is split between world premieres and a generous sampling of the best from the other major festivals.</p>

<p>TIFF attendees could easily fill their schedules with nothing but titles that have already played at Sundance, Berlin, and Cannes, or they could spend the whole week chasing awards bait, trying to see tomorrow&rsquo;s Oscar nominees today. A big reason for the Toronto festival&rsquo;s importance in the cinephile calendar is that even if it were the only fest a film buff attended each year, she would walk away from it with a good sense of cinema&rsquo;s best right now.</p>
<h2 class="wp-block-heading">Film festival rivalries mostly boil down to which fests get which premieres</h2><div data-chorus-asset-id="3432274"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/3432274/birdmankeatonnorton.0.jpeg"><div class="caption"><p>TIFF screwed itself out of a showing of <em>Birdman</em> in 2014, thanks to a rivalry with the Telluride festival.</p></div> </div>
<p>Because the fall launch can be so important to awards campaigns, the producers, studios, and publicists often strategize about where to premiere a film, and which stars they want to fly in to walk a festival&#8217;s red carpet and meet with the press. But the needs of the showbiz folks don&rsquo;t always correspond with the traditions and preferences of the festivals &mdash; which can create some awkwardness.</p>

<p>New York, for example, demands that its opening-night film be a world premiere, and since that fest starts the latest in the fall, its programmers can effectively keep a movie from being shown by any of its competitors. Telluride, meanwhile, tries to keep its slate secret until right before opening day, which in the past has meant that after Toronto announces its films with great fanfare, it gets &#8220;scooped&#8221; when Telluride shows some of the same titles a few days earlier.</p>

<p>None of this really affects moviegoers, since the four major fall festivals still show a lot of the same films, and people following the action from home don&rsquo;t care much about which fest is responsible for generating the first reviews of a much-anticipated new project.</p>
<p><q aria-hidden="true" class="right">Some studios opt to keep a few Oscar contenders away from the festival circuit entirely</q></p>
<p>It is possible, though, that TIFF&rsquo;s attempt to assert more control over the process cost that festival&rsquo;s attendees an early look at some significant fall releases in past years. In 2013, the Toronto administrators were reportedly miffed when critics raved about the Telluride screenings of <a href="http://www.imdb.com/title/tt2024544/?ref_=nv_sr_1"><em>12 Years a Slave</em></a> and <a href="http://www.imdb.com/title/tt1454468/?ref_=nv_sr_2"><em>Gravity</em></a>, which happened just days before TIFF had its chance to show them.</p>

<p>In 2014, the festival reserved its more highly attended opening weekend slots for non-Telluride titles, with the ultimate effect being that some movies &mdash; like future Best Picture Oscar winner <a href="http://www.imdb.com/title/tt2562232/?ref_=nv_sr_1"><em>Birdman</em></a><em> </em>&mdash; played Venice, Telluride, and New York, but <em>not</em> Toronto. (This year, TIFF has more or less abandoned its Telluride-busting policy.)</p>

<p>By the way, all of this jostling for position doesn&rsquo;t mean the four biggest fall festivals always end up showing the year&rsquo;s best. Some studios opt to keep a few Oscar contenders away from the festival circuit entirely, then launch them shortly after Thanksgiving via special critics&rsquo; screenings, before they debut in late December. Some of 2015&rsquo;s most highly anticipated films &mdash; like Quentin Tarantino&rsquo;s <a href="http://www.imdb.com/title/tt3460252/?ref_=nv_sr_1"><em>The Hateful Eight</em></a>, Oliver Stone&rsquo;s <a href="http://www.imdb.com/title/tt3774114/?ref_=nv_sr_1"><em>Snowden</em></a>, David O. Russell&rsquo;s <a href="http://www.imdb.com/title/tt2446980/?ref_=nv_sr_1"><em>Joy</em></a>, and Alejandro I&ntilde;&aacute;rritu&rsquo;s <a href="http://www.imdb.com/title/tt1663202/?ref_=nv_sr_1"><em>The Revenant</em></a><em> </em>&mdash; won&rsquo;t be seen for months.</p>
<h2 class="wp-block-heading">TIFF is also accessible to film fans in a way other festivals aren&#039;t</h2><div data-chorus-asset-id="4047044"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/4047044/151285102.jpg"><div class="caption"><p>It&#8217;s possible even now to get tickets to TIFF 2015.</p></div> </div>
<p>Cannes badges are hard to get. Sundance sells tickets to the general public, but cheap lodging in a ski resort in January is difficult to secure.</p>

<p>Toronto, on the other hand, has plenty of available hotel rooms, good public transportation, and lots of affordable food options. Of the major festivals, it&#8217;s by far the easiest for the average film fan to attend. (And because the festival takes place in September, the weather&rsquo;s ideal for walkers.)</p>

<p>More importantly, even at this late date, it&rsquo;s not impossible to get tickets. Some smaller films aren&rsquo;t sold out, and for the bigger-name movies, if fans are willing to line up an hour or so before the screening in a &#8220;rush line,&#8221; there&rsquo;s a good chance they&rsquo;ll be able to fill one of the handful of unused seats (or might see someone walk by with an extra ticket to sell).</p>
<p><q aria-hidden="true" class="center">Even at this late date, it&#8217;s not impossible to get tickets</q></p>
<p>Ideally, TIFF-goers will want to buy ticket packages and book travel months in advance, but by no means is the festival only meant for planners &mdash; or even solely for film critics. Hustle on up to Toronto right now. With a little ingenuity and persistence, you could catch many of the fall&#8217;s major releases in a matter of days.</p>
<h2 class="wp-block-heading">Even if you can&#039;t attend, Toronto is a good way to plan your future moviegoing</h2><p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/ej3ioOneTy8" height="315" width="560"></iframe></p>
<p>Many of the movies playing in Toronto will be out in theaters near you sooner than you might think. (All films in bold will play the festival and likely attract considerable press attention. For up-to-date reports, consider industry trade publications like <a href="http://www.variety.com">Variety</a> and <a href="http://www.hollywoodreporter.com">the Hollywood Reporter</a>, or smaller publications like <a href="http://www.indiewire.com">Indiewire</a>.)</p>

<p>The Johnny Depp vehicle <em><strong>Black Mass </strong></em>(about Boston mobster Whitey Bulger) plays TIFF on opening weekend, then opens wide September 19. Several fall art-house releases &mdash; like <em><strong>Sicario</strong></em>, <em><strong>Stonewall</strong></em>, <em><strong>Taxi</strong></em>, <em><strong>Room</strong></em>, <em><strong>The Martian</strong>,</em> and <em><strong>Truth </strong></em>&mdash; are essentially treating Toronto as a mass preview screening, taking advantage of the large assemblage of critics and cinephiles to get the word out.</p>

<p>And this year, <em><strong>Beasts of No Nation </strong></em>&mdash; an African war film from <em>True Detective </em>season one director <a href="http://www.imdb.com/name/nm1560977/?ref_=nv_sr_1">Cary Fukunaga</a> &mdash; will be available on Netflix a month after it&rsquo;s in Toronto, the streaming service&#8217;s <a href="http://variety.com/2015/film/news/netflix-makes-another-bigscreen-splash-with-beasts-of-no-nation-1201444716/">first major scripted film release</a>.</p>
<p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/2xb9Ty-1frw" height="315" width="560"></iframe></p>
<p>But every year at TIFF, there are excellent films that draw a lot of buzz and then don&rsquo;t come out for months, such as the icy sci-fi tale <a href="http://www.imdb.com/title/tt1441395/?ref_=nv_sr_1"><em>Under the Skin</em></a> in 2013, and the dark relationship drama <a href="http://www.imdb.com/title/tt2570858/?ref_=nv_sr_1"><em>The Duke of Burgundy</em></a> in 2014. Both films waited until the next calendar year to come out in the US.</p>

<p>And again, a lot of these movies are either starting or continuing what will become a long stretch of playing one festival after another &mdash; including perhaps an event near you. The best way to treat &#8220;the word out of Toronto&#8221; is both as a way to prioritize your fall/winter moviegoing, and as a checklist for things to see at your favorite regional fest.</p>
<h2 class="wp-block-heading">The really exciting film at any festival is the one we don&#039;t know about yet</h2><div data-chorus-asset-id="4047042"> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/4047042/464431470.jpg"><div class="caption"><p>Julianne Moore&#8217;s unlikely journey to the Oscar for Best Actress began in Toronto.</p></div> </div>
<p>It&rsquo;s highly likely that at least <em>one</em> big Oscar-winner will emerge from TIFF, even if it&rsquo;s not next year&rsquo;s Best Picture winner. And there are plenty of movies awards experts have their eyes on.</p>

<p>Frequently, actors and actresses use Toronto as stepping stone to the Academy Awards stage, as <a href="http://www.imdb.com/name/nm1519666/?ref_=nv_sr_1">Eddie Redmayne</a> did with <a href="http://www.imdb.com/title/tt2980516/?ref_=nm_knf_i1"><em>The Theory of Everything</em></a> last year, and <a href="http://www.imdb.com/name/nm0000190/?ref_=nv_sr_1">Matthew McConaughey</a> and <a href="http://www.imdb.com/name/nm0001467/?ref_=nv_sr_1">Jared Leto</a> with <em>Dallas Buyers Club </em>the year before that. This year, it&rsquo;s probably wise to keep an eye on <a href="http://www.imdb.com/name/nm0362766/?ref_=nv_sr_1">Tom Hardy</a> in a dual role as the killer Kray twins in <em><strong>Legend</strong></em>, <a href="http://www.imdb.com/name/nm1089991/?ref_=nv_sr_1">Tom Hiddleston</a> as country music icon Hank Williams in <em><strong>I Saw The Light</strong></em>, and <a href="http://www.imdb.com/name/nm0186505/?ref_=nv_sr_1">Bryan Cranston</a> as a famed blacklisted screenwriter in <em><strong>Trumbo</strong></em>.</p>
<p><q aria-hidden="true" class="left">Festivals like TIFF matter because they offer the opportunity for real discoveries, even for film buffs</q></p>
<p>But even better are the complete surprises. In 2014, <a href="http://www.imdb.com/name/nm0000194/?ref_=tt_ov_st">Julianne Moore&#8217;s</a> out-of-nowhere performance as an Alzheimer&rsquo;s patient in <a href="http://www.imdb.com/title/tt3316960/?ref_=nv_sr_1"><em>Still Alice</em></a> turned that movie into a TIFF must-see. The previously obscure film was rushed into a late December opening, so that Moore could compete for the Best Actress Oscar &mdash; <a href="http://oscar.go.com/video/2015-awards-ceremony-highlights/_m_VDKA0_jcuivrt3">which she eventually won</a>. And Moore is back in 2015 as a dying lesbian fighting for her partner&#8217;s rights in <em><strong>Freeheld</strong></em>.</p>

<p>But also know that when it comes to film festivals, it&rsquo;s highly likely that the standout film or awards-worthy performance is something that as of right now we know nothing about. More than anything, <em>this</em> is why festivals like TIFF matter: They offer the opportunity for real discoveries &mdash; even for movie buffs who are only following the clamor from afar.</p>
<h2 class="wp-block-heading">Above all else, TIFF features something for everyone — even TV fans</h2><p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/iQXmlf3Sefg" height="315" width="560"></iframe></p>
<p>As always, 2015&#8217;s program is heavy on holdovers from Sundance (such as the stirring horse-racing documentary <em><strong>Dark Horse</strong></em>, the sweet period romance <em><strong>Brooklyn</strong></em>, and the absolutely terrifying horror film <em><strong>The Witch</strong></em>) and Cannes (including the Palme D&rsquo;or&ndash;winning <em><strong>Dheepan</strong></em>, the surreal dark comedy <em><strong>The Lobster</strong></em>, and the Holocaust thriller <em><strong>Son of Saul,</strong></em> although not, curiously, Todd Haynes&rsquo;s acclaimed lesbian love story <em>Carol</em>, which <em>is</em> in Telluride and New York).</p>
<p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/15syDwC000k" height="315" width="560"></iframe></p>
<p>From the pool of films flowing among the various fall fests, the 2015 edition of TIFF features a healthy dollop of star-laden mainstream items that could turn out to be Oscar-bound or could be duds. These include: director David Gordon Green&rsquo;s George Clooney&ndash;produced political satire <em><strong>Our Brand Is Crisis</strong></em>, starring Sandra Bullock and Billy Bob Thornton; <em><strong>Spotlight</strong></em>, a newsroom drama with Michael Keaton, Mark Ruffalo, and Rachel McAdams playing Boston journalists chasing the story of a Catholic church sexual abuse scandal; and Eddie Redmayne as transgender pioneer Lili Elbe in director Tom Hooper&rsquo;s <em><strong>The Danish Girl</strong></em>.</p>
<p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/BLZo_ILZhfk" height="315" width="560"></iframe></p>
<p>For the more art-film-inclined, there&rsquo;s a lot of excitement this year about: <em><strong>45 Years</strong></em>, the latest from filmmaker Andrew Haigh, the man behind the superb British indie <em>Weekend</em> and the HBO series <em>Looking</em>; <em><strong>Anomalisa</strong></em>, a stop-motion-animated feature written and co-directed by <em>Being John Malkovich</em>/<em>Eternal Sunshine of the Spotless Mind</em> screenwriter Charlie Kaufman; and new films by art-house favorites Terence Davies (adapting Lewis Grassic Gibbon&rsquo;s classic Scottish novel <em><strong>Sunset Song</strong></em>), Pablo Larra&iacute;n (following up 2012&rsquo;s magnificent <em>No</em> with <em><strong>The Club</strong></em>, about disgraced priests who share a house on the Chilean coast), and Ben Wheatley (adapting J.G. Ballard&rsquo;s dystopian novel <em><strong>High-Rise</strong></em>).</p>
<p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/qXAnjA9tAnQ" height="315" width="560"></iframe></p>
<p>Expect also to hear a lot in the coming week about several documentaries premiering in Toronto. Michael Moore is back with his latest political essay film, <em><strong>Where to Invade Next</strong></em>. Oscar winner Barbara Kopple spent a year following a cancer-stricken retro R&amp;B hero for <em><strong>Miss Sharon Jones!</strong></em>. Performance artist Laurie Anderson ponders the death of her husband, Lou Reed, in <em><strong>Heart of a Dog</strong></em>. And the beloved cinema studies text <em><strong>Hitchcock/Truffaut </strong></em>has been adapted into a film by critic Kent Jones.</p>
<p><iframe loading="lazy" frameborder="0" src="https://www.youtube.com/embed/5Ly_3i-jyes" height="315" width="560"></iframe></p>
<p>This year also sees the debut of a new TIFF program devoted to television, which will feature episodes of NBC&rsquo;s upcoming <em><strong>Heroes Reborn </strong></em>and the French supernatural mystery series <em><strong>The Returned</strong></em>.</p>

<p>If any of the above appeals, get to Toronto immediately. There&#8217;s still time.</p>

<p><em>Check back later this month for Noel&#8217;s picks of the festival.</em></p>
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			<entry>
			
			<author>
				<name>Noel Murray</name>
			</author>
			
			<title type="html"><![CDATA[10 things I want to teach my autistic son before he goes to college]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/2015/4/29/8503449/autism-spectrum-independent" />
			<id>https://www.vox.com/2015/4/29/8503449/autism-spectrum-independent</id>
			<updated>2017-12-14T11:39:44-05:00</updated>
			<published>2015-08-26T08:00:00-04:00</published>
			<category scheme="https://www.vox.com" term="Culture" /><category scheme="https://www.vox.com" term="Features" /><category scheme="https://www.vox.com" term="Movies" /><category scheme="https://www.vox.com" term="Science" />
							<summary type="html"><![CDATA[Since he was old enough to walk, my son, Archer, has gone in circles. He was diagnosed with an autism spectrum disorder at age 2; his earliest symptoms included a tendency to spin his toys. When he became ambulatory, Archer started spinning his own body &#8212; not in a &#8220;whirl around until dizzy&#8221; way, but [&#8230;]]]></summary>
			
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<div class="chorus-snippet center"> <p>Since he was old enough to walk, my son, Archer, has gone in circles. He was diagnosed with an <a href="http://www.vox.com/2014/10/2/6839869/autism-causes-genetics-environment" target="_blank" rel="noopener">autism spectrum disorder</a> at age 2; his earliest symptoms included a tendency to spin his toys. When he became ambulatory, Archer started spinning his own body &mdash; not in a &#8220;whirl around until dizzy&#8221; way, but in quick jumps and turns, while pacing back and forth and talking to himself in a barely audible singsong.</p> <p>Archer is 13 now, taller than his mother, and he&#8217;s still half-walking and half-running in tight ovals, carrying on hushed conversations with himself. At first glance, most anyone would see Archer as a typical teen. In the back seat of my car on the way to school, he sprawls out, iPad or iPhone in hand, looking like a loosely assembled collection of limbs. Then he hops out, straps on his backpack, and does an awkward half-sprint to the junior high courtyard, in the unselfconsciously uncool way common to so many of the autistic and people with <a href="http://www.ninds.nih.gov/disorders/asperger/detail_asperger.htm" target="_blank" rel="noopener">Asperger&#8217;s</a>.</p> <p>A few weeks ago I picked him up after class, and we went through our regular routine, where he tells me, period by period, what he did that day. One advantage to having a communicative, detail-oriented autistic child is that my wife and I hear a lot more about what happens at school than most parents of teenagers do.</p> <q>At some point I have to tell him he can&#8217;t spin and mumble in public or people will think he&#8217;s crazy</q><p>On this day, he walked me through what happened in choir, biology, algebra, history, literacy (the fancy new word for &#8220;English&#8221;), computer business applications, and then &#8220;career orientation,&#8221; which is where the school district dumps a lot of life advice that when I was growing up would&#8217;ve been handled in assemblies.</p> <p>This hour of career orientation was all about registering for ninth grade and knowing which credits are needed to graduate. The conversation made me feel mildly panicked, because it reminded me that the countdown clock to Archer&#8217;s adulthood keeps ticking closer to zero. And while his school has a rundown of courses he&#8217;ll need to take before he can move on, I have my own alarmingly incomplete checklist of what he needs to know before I&#8217;ll feel comfortable about sending him off to college.</p> <p>Here&#8217;s number one: at some point I have to tell him he can&#8217;t pace and spin and mumble in public or people will think he&#8217;s crazy.</p> <p><img data-chorus-asset-id="3652702" alt="77031_10200414225503779_664207316_n.0.jpg" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/3652702/77031_10200414225503779_664207316_n.0.jpg"></p> <p class="caption">Archer, running. (Noel Murray)</p> <h3>Why I&#8217;m making the checklist</h3> <p>Autistic spectrum disorders present as a collection of tics and social handicaps, which vary from person to person. The severely autistic are often nonverbal, and can spend hours each day rocking back and forth and humming, in their own worlds. But even the &#8220;high-functioning&#8221; &mdash; like my son &mdash; exercise self-stimulating behavior called &#8220;stimming.&#8221; Some flap their hands, or fidget with a favorite object. Others make guttural noises, producing vibrations in their heads that drown out other sounds.</p> <p>For decades, this aspect of autism was framed as a torment, akin to someone with <a href="http://www.vox.com/2015/1/28/7917079/obsessive-compulsive-disorder" target="_blank" rel="noopener">obsessive compulsive disorder</a> being unable to walk past a doorknob without turning it three times &mdash; or as a defense mechanism, keeping other stimuli at bay. One of the best-known autists, scientist Temple Grandin, has described the sensation of stimming differently, calling it something pleasurable, neither a curse nor a shield.</p> <p>Archer has shed a lot of his stims over the years. He used to rapidly flip his fingers around, forming them into the rough shapes of numbers. When he stopped doing that, he started carrying around an erasable slate, onto which he&#8217;d scribble figures quickly and then wipe them out. Then he replaced the slate with a calculator. Now when he paces about and talks to himself, he&#8217;s often doing advanced calculations in his head.</p> <p>But while Archer looks literally lost in thought when he&#8217;s stimming, he can snap back to attention in an instant. That&#8217;s why at the beginning of each school year, when my wife and I are going over Archer&#8217;s Individualized Education Program with his new teachers, I always tell them that when it comes to his quirks, &#8220;Be understanding, not tolerant.&#8221; In other words: know that he may feel the need to get up and walk around in the middle of class, so don&#8217;t get angry with him for that, but do correct his behavior if it&#8217;s disruptive. He can follow directions.</p> <h3>The pre-college checklist</h3> <div class="float-right s-sidebar"> <h4>More on college</h4> <img data-chorus-asset-id="3647624" alt="107296986.0.0.0.jpg" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/3647624/107296986.0.0.0.jpg"><p><a target="new" href="http://www.vox.com/2015/1/7/7500705/college-advice" rel="noopener">10 things not enough kids know before going to college</a></p> <p><a target="new" href="http://www.vox.com/2015/3/25/8283917/college-admissions-advice" rel="noopener">9 things I wish people understood about getting into college</a></p> </div> <p>Lately, as Archer gets ready to move on to his last four years of public school &mdash; when everything really starts to matter, in terms of whatever he decides to do after he graduates &mdash; I find myself wondering if I should take my own advice. I&#8217;ve been plenty understanding toward Archer, giving him his own space at home to be as autistic as he wants to be. But it may be time to be less tolerant, starting with telling him that if he wants to ramble around aimlessly and mumble numbers, he needs to stay in the backyard, where the neighbors won&#8217;t see him and contemplate calling the cops.</p> <p>Here&#8217;s what else I need to talk with Archer about before he graduates from high school.</p> <p><strong>1) The importance of &#8220;good hands&#8221;</strong><br>Archer doesn&#8217;t do this as much as he used to, but he still has a tendency to tug at the crotch of his pants, adjusting himself unsurreptitiously. When he was younger, we&#8217;d correct him by saying, &#8220;Remember to have good hands.&#8221;</p> <p>We&#8217;d also remind him to respect other people&#8217;s personal space, and not to reach out and touch them without their permission. One of my biggest fears is that one day he&#8217;s going to casually grab at some friendly acquaintance&#8217;s face with one hand while he&#8217;s scratching himself with the other, and bang! He&#8217;ll end up in jail for sexual assault.</p> <p><strong>2) How to cook</strong><br>Because I&#8217;m usually in a hurry to get a meal on the table, I haven&#8217;t taken the time to show either of my kids how to prepare even the simplest food. If I told Archer to make his own breakfast or lunch, he wouldn&#8217;t know where to begin. He may have a meal plan in college, but at some point he&#8217;s going to have to feed himself, even if it&#8217;s just grilled cheese and tater tots.</p> <p><strong>3) How to keep his body and his room clean</strong><br>When Archer reached adolescence and started to smell a bit, I had the talk with him about showering more diligently and using deodorant, and since then body odor hasn&#8217;t really been a problem &mdash;although his sensory issues mean that he doesn&#8217;t wash or brush his hair as well as he should.</p> <p>His experiences with orthodontics have improved his toothbrushing skills, which shows me that if properly motivated I could get him to be more liberal with the shampoo in the shower. It&#8217;s going to be harder, though, to find a good reason (beyond bribery) to get him to do dishes or laundry, or to use a dust rag or mop. If I can find a way to explain it to him logically, maybe I can get him to understand why he&#8217;s going to have to tear himself away from his computer or iDevice long enough each day to do some basic housecleaning.</p> <q>One of the misconceptions about raising an autistic child is that it&#8217;s unlike raising any other child</q><p><strong>4) How get himself around without driving</strong><br>I can&#8217;t think about this one too hard without getting sweaty palms. Archer is very selective about what he focuses on at any given moment, which means I could easily see him getting distracted while driving a car and making a catastrophic mistake. Either he&#8217;s going to have to live somewhere with good public transportation, or Google&#8217;s going to have to get its self-driving cars to market sometime within the next five years.</p> <p><strong>5) How to manage money</strong><br>Archer&#8217;s never been like Dustin Hoffman&#8217;s character in <em>Rain Man</em>, unsure about the true value of $100. He loves numbers and is fascinated by games and scorekeeping, so I have no concerns about him handling a bank account or paying bills, especially in this era of direct deposit and direct debiting. I do worry a little bit about how he enjoys playing games with gambling elements, though. Every chance I get, I talk to him about the evils of state lotteries and the terrible odds in casinos, hoping to impress upon him that if he gambles with real money, he&#8217;ll likely lose.</p> <p><strong>6) Why it&#8217;s important to keep up with pop culture</strong><br>My son has no interest in movies, watches very few TV shows, and really only listens to the local classic rock radio station because they have regular weather reports. Human behavior confuses and bores him, and since that&#8217;s the subject of most popular art, he doesn&#8217;t pay close attention to any of it. And while it&#8217;s hardly essential that he be hip to what&#8217;s going on in the mass media, it&#8217;d certainly give him something else he could talk about with kids his own age.</p> <p><strong>7) How to talk about controversial topics like politics and religion</strong><br>We take a lot of long walks together as a family, and whenever we discuss the issues of the day, my wife and I let Archer and our daughter know where we stand &mdash; but we try to give the other side, too, and encourage them to make up their own minds. I never want to tell Archer how to vote or what to believe. I&#8217;m afraid, though, that I haven&#8217;t made it clear these are controversial topics, and that he should be sensitive to other people&#8217;s opinions whenever he brings them up &mdash; especially if he&#8217;s talking with his grandparents.</p> <p><strong>8) Sex and love</strong><br>Thanks mostly to biology class, Archer has a clinical understanding of human sexual reproduction. And thanks to that catch-all career orientation class, he&#8217;s been duly cautioned about premarital sex. (He knows that if he has a baby when he&#8217;s too young, he&#8217;ll have a hard time getting a good night&#8217;s sleep or balancing a budget. Those were his main takeaways when that subject came up at school.) But because he&#8217;s shown no signs of any sexual attraction or romantic interests, it&#8217;s been hard to find a way to engage with him on the larger question of what it means to date, to have sex, to get married, and so on.</p> <p><strong>9) How to make conversation</strong><br>Archer gets better every year at having conversations in which he actually listens to what other people have to say before encouraging them to continue (rather than jumping in and changing the subject). But he still has a habit of latching on to something that interests him and then discussing it in tedious detail. At some point he needs to realize that &#8220;a conversation&#8221; is not just him reciting all the variations in &#8220;Fortune Street&#8221; rules.</p> <p><strong>10) How to make friends</strong><br>Because we&#8217;ve lived in the same smallish town (pop. 40,000) for Archer&#8217;s entire life, he&#8217;s grown up with the same group of kids, who are used to his idiosyncrasies and genuinely seem to like him. But he doesn&#8217;t have &#8220;friends,&#8221; per se &mdash; at least not the kind who invite him over to hang out. He&#8217;s never seemed to care much about this, because he gets along so well with my wife and me, and with his younger sister. But as he gets older, he&#8217;s going to need non-family members that he can talk to and rely on, to enrich his life and to serve as another safety net.</p> <h3>Parenting spectrum kids vs. &#8220;the neurotypical&#8221;</h3> <p>Parents of what people in the autistic community call &#8220;neurotypical&#8221; children might not see anything all that unusual in the list above, since just about everyone with kids starts to feel a mounting sense of helplessness during the teenage years.</p> <p>Early on &mdash; especially during the age of tantrums and expensive child care &mdash; childhood seems to stretch on interminably, and parents may even daydream about becoming empty nesters. But when that day actually draws closer, a kind of panic sets in, similar to what Patricia Arquette&#8217;s character in the <a href="http://www.vox.com/2014/7/10/5886011/boyhood-filmed-with-the-same-actors-over-12-years-is-a-slow-motion" target="_blank" rel="noopener">movie <em>Boyhood</em></a> feels as she cries in her tiny divorc&eacute;e&#8217;s apartment and tells her 18-year-old son, &#8220;I just thought there would be more.&#8221;</p> <div class="float-right"> <img data-chorus-asset-id="3652716" alt="7503330774_40c62e0de0_b.0.jpg" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/3652716/7503330774_40c62e0de0_b.0.jpg"><p class="caption">Archer, looking out a train window. (Noel Murray)</p> </div> <p>One of the great misconceptions about raising a son or daughter on the spectrum is that it&#8217;s fundamentally unlike raising any other child. The heightened public awareness of autism &mdash; and the inclusion of autism spectrum disorder characters on TV and in movies &mdash; means that the broader stereotypes are breaking down some. But many people still picture the autistic as emotionless and uncommunicative, and imagine that for their mothers and fathers it must be like their ordinary offspring have been replaced by aliens.</p> <p>In truth, while there are unique challenges to parenting the autistic &mdash; like after-school therapies instead of dance classes or Little League &mdash; the bonds and the worries aren&#8217;t too far outside any other parents&#8217; experience. We calm them when they&#8217;re upset. We learn to manage their quirks, and their likes and dislikes. We hope their classmates aren&#8217;t mean to them. And we feel guilty that we&#8217;re not doing enough to prepare them for the world.</p> <p>The difference is that the neurotypical adapt a lot easier, especially as adults. They may struggle through freshman year of college, or live in their family&#8217;s basement after graduation until they get on their feet financially, but they can also talk to their peers, and can watch and understand people like themselves on TV and in movies. Through all the little tips and cues they pick up, they figure out how to be grown.</p> <p>Not everybody has that knack. When I was younger, I and nearly everybody I knew had at least one relative who still lived with his or her parents well into middle age. Looking back, a lot of these &#8220;eccentric&#8221; uncles, aunts, and cousins were probably undiagnosed autists and Aspies, whose conditions weren&#8217;t severe enough for them to be institutionalized, even though they couldn&#8217;t have handled living on their own.</p> <p>In 2014, the Centers for Disease Control reported that <a href="http://www.cdc.gov/ncbddd/autism/states/comm_report_autism_2014.pdf" target="_blank" rel="noopener">1 in 68 children had an autistic spectrum disorder</a>, up from 1 in 88 in 2012 &mdash; a 30 percent increase. Already, elementary schools and high schools are dealing with the surge in autism spectrum disorder students, who by law have to be granted certain accommodations. Once they&#8217;re 18 and out of the educational system, what happens? Are we headed toward a boom of 44-year-old uncles who still live with their moms?</p> <q>Archer&#8217;s a smart kid, who&#8217;s come a long way. He can learn to look after himself, if pushed.</q><p>I enjoy my son&#8217;s company, and in a way it&#8217;d be easier on my emotional health if he never left home. If he graduates high school, goes to a local college, and gets a job I can drive him to, then I can make sure he&#8217;s taken care of, at least until my wife and I die.</p> <p>But we&#8217;d be shirking our parental responsibilities, which wouldn&#8217;t be fair to him. Archer&#8217;s a smart kid, who&#8217;s come a long way since he was a nonspeaking 2-year-old, spending hours lining up his Matchbox cars on the kitchen floor so he could carefully spin each one. He can learn to look after himself, if pushed.</p> <p>So this summer, we&#8217;ll have that talk about how and where he should pace. Then he&#8217;ll learn how to make a sandwich. And on down the list we&#8217;ll go, one step after another, until he&#8217;s walking straight out the door.</p> <p><em>Noel Murray is a freelance writer living in Arkansas with his wife and two kids. His articles about film, TV, music, and comics appear regularly in The A.V. Club, Rolling Stone, and The Los Angeles Times.</em></p> <hr> <p><a href="http://www.vox.com/first-person" target="new" rel="noopener">First Person</a> is Vox&#8217;s home for compelling, provocative narrative essays. Do you have a story to share? Read our <a href="http://www.vox.com/2015/6/12/8767221/vox-first-person-explained" target="new" rel="noopener">submission guidelines</a>, and pitch us at <a href="mailto:firstperson@vox.com">firstperson@vox.com</a>.</p> </div><p></p>
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			<author>
				<name>Noel Murray</name>
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			<title type="html"><![CDATA[High school sets up autistic kids to fail in college. Here&#8217;s how to fix the problem.]]></title>
			<link rel="alternate" type="text/html" href="https://www.vox.com/2015/5/14/8594375/high-school-sets-up-autistic-kids-to-fail-in-college-heres-how-to-fix" />
			<id>https://www.vox.com/2015/5/14/8594375/high-school-sets-up-autistic-kids-to-fail-in-college-heres-how-to-fix</id>
			<updated>2018-09-14T15:34:20-04:00</updated>
			<published>2015-05-14T07:30:02-04:00</published>
			<category scheme="https://www.vox.com" term="Features" /><category scheme="https://www.vox.com" term="Life" />
							<summary type="html"><![CDATA[Ever since kindergarten, my son, Archer, has been &#8220;in the system.&#8221; Before he started school, my wife and I notified the district that he&#8217;d been diagnosed with autism. Each year since then &#8212; Archer is wrapping up eighth grade &#8212; we&#8217;ve met with his teachers and school administrators to work out an Individualized Education Program, [&#8230;]]]></summary>
			
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<div class="chorus-snippet center"> <p>Ever since kindergarten, my son, Archer, has been &#8220;in the system.&#8221; Before he started school, my wife and I notified the district that he&#8217;d been diagnosed with autism. Each year since then &mdash; Archer is wrapping up eighth grade &mdash; we&#8217;ve met with his teachers and school administrators to work out an Individualized Education Program, determining how many hours a week he&#8217;d be pulled out of class for one-on-one therapies and how much leeway his teachers should allow him to fidget, pace, or calm himself by humming softly.</p> <p>Like most other parents of kids with autism spectrum disorders, my wife and I can expect to continue having these meetings until Archer graduates from high school. The Individualized Education Program has changed as he&#8217;s matured and his social skills have improved, but until Archer turns 18, his teachers will know about his disorder, and we&#8217;ll have the right to call meetings and make special requests on his behalf. That&#8217;s the way the system works, and it&#8217;s been working very well for autism spectrum kids across the country for years now.</p> <q>&#8220;We make the assumption that high schools are getting students ready for college, and they&#8217;re not&#8221;</q><p>The bad news is that the familiar patterns of care that have proved so effective at moving autistic students through their primary and secondary education may actually end up hindering them if they choose to go to college &mdash; or even into the workforce.</p> <p>&#8220;We make the erroneous assumption that high schools are getting students ready for college, and they&#8217;re not really,&#8221; said Dr. Gerard Hoefling, who works with the<a href="http://drexel.edu/provost/aard/resources-programs/autism-support/"> Autism Support Program</a> at Drexel University. &#8220;That&#8217;s not their primary task. High schools do a wonderful job of getting students ready to graduate from high school.&#8221;</p> <p>Fortunately, there are steps that parents, colleges, and autism spectrum students themselves can take to ease the transition from high school to college. Nearly all of them focus on helping students like Archer to become independent self-advocates &mdash; the same goal most parents have for their neurotypical kids, too.</p> <h3>The problem with high school</h3> <p>The exact number of men and women on the spectrum attending college today is hard to pin down, because there are few incentives at the moment for those students to register with disability services. Circa 2008, autism researchers estimated that anywhere from 1 to 2 percent of the university population had autism, Asperger&#8217;s, or some pervasive developmental disorder. Autism spectrum diagnoses have only risen since then.</p> <div class="float-right s-sidebar"> <h4>More on college</h4> <img src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/3647624/107296986.0.0.0.jpg" alt="107296986.0.0.0.jpg" data-chorus-asset-id="3647624"><p><a href="http://www.vox.com/2015/1/7/7500705/college-advice" target="new" rel="noopener">10 things not enough kids know before going to college</a></p> <p><a href="http://www.vox.com/2015/3/25/8283917/college-admissions-advice" target="new" rel="noopener">9 things I wish people understood about getting into college</a></p> <p><a target="new" href="http://www.vox.com/2015/4/29/8503449/autism-spectrum-independent" rel="noopener">10 things I want to teach my autistic son before he goes to college</a></p> </div> <p>Jane Brown, co-director of the organization<a href="http://www.collegeautismspectrum.com"> College Autism Spectrum</a>, described the big problem with how students on the autism spectrum transition from high school to college: &#8220;Up through high school, parents are advocates and CEO of their child&#8217;s education.&#8221;</p> <p>But not only are universities not inclined to allow parents to stay in that driver&#8217;s seat, they&#8217;re legally bound in some cases to shut parents out. Under the Family Educational Rights and Privacy Act, once students turn 18, they become the stewards of their own records, from grades to whatever special learning tools and accommodations they might request.</p> <p>In high school, the laws are geared toward making sure that all children, regardless of any disability, have a right to <a href="http://www.parentcenterhub.org/repository/idea/">&#8220;a free and appropriate education in the least restrictive environment.&#8221;</a> Colleges are under no such obligation to make sure students learn and thrive. They have to provide certain resources for people on the autistic spectrum, but it&#8217;s not their responsibility to make sure those resources get used.</p> <p><span>How to bridge this disconnect between the structure of high school and the expectations of college? Dr.</span><strong> </strong><span>Susan White, co-director of Virginia Tech&#8217;s</span><a href="https://www.psyc.vt.edu/outreach/autism"> Autism Clinic</a><span>, suggested that while parents of neurotypical kids usually start thinking seriously about college when their children enter their junior year of high school, it would help if parents of children on the spectrum started much sooner, asking the questions, &#8220;What are the life skills they&#8217;re going to need, and how can they start developing more independence?&#8221;</span></p> <p>Over and over, the people I talked to about the challenges facing autistic and Asperger&#8217;s students in college said that &#8220;self-advocacy&#8221; was the biggest issue. Many of these teens have never known what was being requested on their behalf when they were in high school, and so don&#8217;t know what to ask for in college. Worse, due to the nature of the disorder, they lack the social skills to talk to peers or adapt to their situation.</p> <p>&#8220;Students on the spectrum don&#8217;t pick things up just from watching,&#8221; Brown said. &#8220;That nonverbal social learning often is not a strength.&#8221;</p> <p>There are some scattered materials online about how kids on the spectrum get ready for adulthood. Lisa Goring, the executive vice president of programs and services at <a href="https://www.autismspeaks.org/">Autism Speaks</a>, recommends her organization&#8217;s online guides to <a href="https://www.autismspeaks.org/family-services/tool-kits/transition-tool-kit">transitioning from adolescence</a>, <a href="https://www.autismspeaks.org/family-services/tool-kits/postsecondary">postsecondary education</a>, and <a href="https://www.autismspeaks.org/family-services/tool-kits/employment">joining the workforce</a>. In an earlier <em>Vox </em>article, I wrote about <a href="http://www.vox.com/2015/4/29/8503449/autism-spectrum-independent">the 10 things I&#8217;m trying to teach my 13-year-old autist</a>: I mainly want him to be able to stay fed, get where he needs to be, and exhibit enough self-awareness about his quirks so he doesn&#8217;t unnerve the neurotypical.</p> <p>But according to nearly everyone I spoke to about this topic, the number-one thing I should be doing for Archer is something I hadn&#8217;t even considered: making sure he&#8217;s in the room when my wife and I have our annual meetings with his school.</p> <p>If more kids on the spectrum were aware of how much special leeway they were being given in elementary and secondary school, they&#8217;d know themselves what they need to work on. It&#8217;s hard to have a serious, potentially embarrassing personal conversation with <em>any</em> adolescent, but it&#8217;s especially important that parents talk with their autism spectrum children about the nature of their disorder and how they can manage it.</p> <h3>How to improve the transition: start preparing early</h3> <p><strong></strong></p> <p>When I mention Archer to Brown, she good-naturedly nags, &#8220;You&#8217;re starting to get him ready for college <em>now</em>, right?&#8221;</p> <p>Brown has a 23-year-old on the spectrum, and understands the confusion and frustration parents face when they&#8217;re handing college freshmen over to institutions that may see them as just another face in the crowd. She estimates that the average university disability services administrator has a caseload of between 150 and 600 students, and can&#8217;t hover over these kids&#8217; shoulders in the way parents were used to in elementary and high school.</p> <p>That said, she does believe colleges are doing a good job of adjusting to the needs of autistic students. They can&#8217;t substantially alter the requirements of a class that autists and the neurotypical alike are taking, but she thinks they do their best to &#8220;level the playing field.&#8221;</p> <q>The average disability services administrator has a caseload of between 150 and 600 students</q><p>&#8220;You maybe give them extended time on an exam,&#8221; she says, &#8220;Or put them in a reduced-distraction environment. You might give them a note-taker. They have access to tutors and writing centers. And some colleges have specific programs for ASD students.&#8221;</p> <p>As a counterpoint, though, Brown adds, &#8220;I don&#8217;t think there&#8217;s enough work being done on transition.&#8221;</p> <p>Hoefling and his Drexel Autism Support Program colleague David Hallowell agree with that, and have been actively working to bridge that gap by talking to students at local secondary schools and making sure the program is aware of potential candidates when they apply.</p> <p>Hoefling says, &#8220;There&#8217;s clearly a market and a need. And I think that speaks to the fact that a lot of that information&#8217;s not out there.&#8221;</p> <h3>&#8220;If you need a program, go to a place with a program&#8221;</h3> <p><strong></strong></p> <p>Brown says it&#8217;s only natural for unusually bright autistic or Asperger&#8217;s kids to want to go to one of the most academically challenging schools in the country. But once they arrive, they often find that their intelligence alone doesn&#8217;t set them apart, and that even their quirks are harder to discern &mdash; which has the cumulative effect of making them dangerously invisible.</p> <p>She recommends that parents take a closer look at places like the<a href="http://www.rit.edu/studentaffairs/ssp/"> Rochester Institute of Technology</a>, which tries not just to meet the requirements of the Americans with Disabilities Act but to exceed them, by fostering a real community among students on the spectrum. RIT has peer coaching and special small-group seminars focused on the challenges of living independently. As a result, according to Brown, the university has 100 students enrolled in its Spectrum Support Program, and nearly 100 more self-identified ASD students on campus who <em>aren&#8217;t</em> in the program.</p> <p>It&#8217;s very simple, Brown says: &#8220;If you need a program, go to a place with a program.&#8221;</p> <p>At Drexel, Hallowell and Hoefling are overseeing one of the more successful programs, the largest component of which is a one-to-one mentorship, with neurotypical students helping students on the spectrum determine and articulate their own needs.</p> <p><img data-chorus-asset-id="3692840" alt="shutterstock_172330187.0.jpg" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/3692840/shutterstock_172330187.0.jpg"></p> <p class="caption">(<a target="new" href="http://www.shutterstock.com/" rel="noopener">Shutterstock</a>)</p> <p> </p> <p>Hallowell explains, &#8220;These students know what their fears are. They know what their challenges are going to be. It&#8217;s important to treat them as autonomous learners. These are not individuals that need to be &#8216;saved.&#8217; These are not individuals who are sick or broken and in need of being &#8216;fixed.&#8217; These are fully functional, capable, healthy individuals who need some support in navigating what is a very complex social system. Our goal here is not to continue to infantilize them. Our goal is to help support them in reaching whatever goal it is they&#8217;d like to set for themselves.&#8221;</p> <p>In high school, therapists work with spectrum students to meet generalized, quantified objectives like &#8220;recognizes facial expressions&#8221; and &#8220;gives appropriate response when asked a direct question.&#8221; Those same therapists meet regularly with teachers, and can intercede if the child has an outburst in class.</p> <p>Programs like Drexel&#8217;s, on the other hand, make it clear from the outset that they won&#8217;t be mediating between the students and the faculty or administration. Instead, they offer informal social gatherings and client-driven counseling in which the students often come up with the areas where they want to improve, whether it&#8217;s something as simple as time management or something as complex as making friends.</p> <h3>Why colleges should recruit students on the spectrum</h3> <p><strong></strong></p> <p>Hallowell and Hoefling say Drexel&#8217;s Autism Support Program serves students from across the different academic disciplines, but given my own son&#8217;s facility with math and computer programming &mdash; fairly common gifts for autists and Aspies &mdash; I wondered whether any of the top schools for science, technology, engineering, and mathematics (a.k.a. STEM) were actively recruiting within the ASD ranks.</p> <p><span>It&#8217;s one thing to offer to provide an exceptional level of accommodation, like RIT; it&#8217;s something else entirely to see students on the spectrum as an asset to an institution, with unique gifts that may not register in test scores or interviews. If a Stanford or an MIT wants only the best of the best in the STEM fields, are they calling around to high schools looking for kids who may have trouble holding eye contact but can solve complicated equations in their heads?</span></p> <p>When I reached out to the media relations departments of some of those universities, the most common response I received was along the lines of, &#8220;We&#8217;ve never thought about that.&#8221;</p> <q>&#8220;We should be trying not only to accommodate but to recruit and entice these very gifted students&#8221;</q><p>Brown at College Autism Spectrum answers, &#8220;I don&#8217;t know that any schools are looking expressly at the autism population and saying, &lsquo;Gee, these people are better at this.'&#8221; She does note that some tech firms have been thinking along those lines. (<a href="http://www.stemforcetechnology.com">STEM Force Technology</a> and Denmark&#8217;s<a href="http://specialisterne.com"> Specialisterne</a>, to name two.)</p> <p>On the flip side, Dr.<strong> </strong>Susan White, co-director of Virginia Tech&#8217;s<a href="https://www.psyc.vt.edu/outreach/autism"> Autism Clinic</a>, said she&#8217;s been trying to encourage colleges to think of programs for students on the spectrum as recruiting tools. &#8220;I don&#8217;t think most facilities have the manpower, or perhaps the forethought, to do that kind of thing,&#8221; she said. &#8220;But yes, we could and should be trying not only to accommodate but to recruit and entice these very gifted students.&#8221;</p> <p>White added that one reason to create an inclusive, nurturing environment for people with ASD is that it&#8217;s part of the university&#8217;s mission to foster diversity &mdash; including &#8220;neurodiversity.&#8221; Hallowell and Hoefling are on board with that idea.</p> <p>Hallowell said, &#8220;It&#8217;s kind of like tech firms that don&#8217;t offer domestic partnership benefits. You&#8217;re not going to have any employees. These kinds of support programs can be a competitive differentiator.&#8221;</p> <h3>All parents want the same thing for their kids: independence</h3> <p><strong></strong></p> <p>In <a target="_blank" href="http://www.vox.com/2015/4/29/8503449/autism-spectrum-independent" rel="noopener">my essay</a> about what I want my son to learn before college, I wrote that ultimately my anxieties are right in line with those of <em>any</em> parent. The same is true when it comes to the way parents, students, and universities interact. Brown notes that even neurotypical students need help with self-advocacy &mdash; knowing when it&#8217;s appropriate to ask for extra help with a class or an assignment &mdash; and Goring says she learned a lot about detaching when her neurotypical child left for college.</p> <p>Goring said,<strong> </strong>&#8220;We can&#8217;t see the grades if they don&#8217;t want us to, and we really don&#8217;t have any control, even though we&#8217;re paying all that money.&#8221;<strong> </strong>Virginia Tech&#8217;s White sees this, too. &#8220;From the parents&#8217; side, they can feel stuck, like the door&#8217;s closing in their faces.&#8221;</p> <p>Drexel&#8217;s Hoefling agrees that high schools and colleges could do better at helping parents let go. As for what his program&#8217;s mentors are doing to help ASD students, he says, &#8220;A lot of it is just general problems that any late adolescent or early adult might encounter when they&#8217;re making the transition to college. Some of it is academic. One of the first things we do is try to make sure the student is on sound academic footing, because we&#8217;re not going to be able to help them if they&#8217;re not here. After that, a lot of it is helping students acquire adequate interpersonal skills and self-advocacy, which is something that&#8217;s not that unusual for students <em>not </em>on the spectrum, but is more nuanced for students with ASD.&#8221;</p> <p><img data-chorus-asset-id="3692868" alt="shutterstock_79498447.0.jpg" src="https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/3692868/shutterstock_79498447.0.jpg"></p> <p class="caption">(<a target="new" href="http://www.shutterstock.com/" rel="noopener">Shutterstock</a>)</p> <p>He goes on to tell the story of a student who asked his mentor with help on learning &#8220;how to flirt,&#8221; and how they debated internally about whether that was appropriate. Finally they determined, &#8220;That&#8217;s just an elaborate type of interpersonal communication, and it&#8217;s what young adults <em>should</em> be doing, developing the skills to form more intimate relationships. He&#8217;s calling it flirting, but really it&#8217;s just a different type of friendship.&#8221;</p> <p>Because people on the spectrum process and express information and emotions differently than the neurotypical, their struggles can magnify issues that everyone deals with. How do we make friends? How do we manage our time? How do we ask for what we need? How do we lead lives that are both productive and personally satisfying? These are questions that are often internalized but unspoken &mdash; which means they often go unanswered, leaving people feeling stymied and depressed.</p> <p>The success of early intervention programs for autistic kids hasn&#8217;t just had the effect of helping with the &#8220;mainstreaming&#8221; of primary and secondary students with autism. It&#8217;s also forced teachers and administrators to think about how different children learn and mature in different ways. Now, as the rising autism spectrum generation heads into young adulthood, parents and institutions alike have another opportunity to reevaluate the ways they operate, through atypical eyes.</p> </div>
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