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      ‘Blacklight’ Review: He’s Off the Books (But You’ve Read This One Before)

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      Liam Neeson plays a top-secret operative in an action movie that teeters between subverting the genre and obeying convention.Liam Neeson is an action star with a particular set of skills: he can drive fast, punch hard and emote with a depth that makes his shenanigans seem inspired by Ingmar Bergman. In “Blacklight,” Mark Williams’s quirky yet middling thriller, Neeson plays an off-the-books operative who takes secret orders directly from the director of the F.B.I. (Aidan Quinn), a power-mad, old-guard bureaucrat irritated that he can’t profess his love for J. Edgar Hoover without triggering “politically correct puppets.”“Blacklight” opens with the assassination of a charismatic, Twitter-hooked politician (Mel Jarnson) seemingly (and uncomfortably) cloned from Representative Alexandria Ocasio-Cortez of New York, then trots out familiar action-movie characters. A plucky reporter (Emmy Raver-Lampman) smells conspiracy. A heroic G-man (Tim Draxl) runs away from cronies who suspect that he’s flipped. The twist in the screenplay (written by Nick May and Williams, the director) is that the story sticks with the point of view of Neeson’s naïve brute, who in an ordinary film would be a no-name heavy offed in the third act. “Am I the good guy?” he asks. Not really, even to his estranged daughter (Claire van der Boom), who is aghast that her father arrives at his wee granddaughter’s birthday party with a gift-wrapped stun gun — a comic gag that gets tripped up by a treacly piano score and Neeson’s adamant gravitas. After that muddled early scene, the film teeters between subverting the genre and obeying convention. At least Williams displays a bit of inventive flair with novel booby traps and a chase scene that features a lurching garbage truck.BlacklightRated PG-13 for bland swearing and bland shooting. Running time: 1 hour 48 minutes. In theaters. More

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      ‘Death on the Nile’ Review: Dead in the Water

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      Kenneth Branagh’s second adaptation of Agatha Christie’s Hercule Poirot stories forgets the simple pleasures of ensemble excess and pure messing about.The trickiest part of a murder mystery isn’t solving the crime. It’s keeping the intrigue and fun alive until then. “Death on the Nile,” Kenneth Branagh’s second adaptation of Agatha Christie’s Hercule Poirot stories, forgets the simple pleasures of ensemble excess and pure messing about.After Poirot’s lavish origin story set in World War I, we’re whisked away to a London music club with some spicy dancing, and then to an Egyptian wedding holiday. There, a love triangle fans the flames for a blowup. The preening heiress Linnet (Gal Gadot) and her beau, Simon Doyle (Armie Hammer) can’t shake Simon’s lurker ex, Jacqueline (Emma Mackey), who follows them onto the fateful Nile riverboat.As in many Christie screen adaptations (this one written by Michael Green), a motley bunch awaits accusation on board. The former comedy duo Jennifer Saunders and Dawn French reunite as Linnet’s socialite godmother and companion. Sophie Okonedo and Letitia Wright play Salome, a blues singer, and her business-savvy daughter (a nice reimagining of Angela Lansbury’s Salome, a tippling erotic novelist in the 1978 version). There’s also a criminally underused Annette Bening as a painter, and Russell Brand as a doleful doctor.But their byplay remains rather airless, except for Okonedo, Mackey and Thomas Bateman as Poirot’s hapless, vaguely Wodehousian pal. Round and round Poirot goes, as does the circling camerawork, before he performs the reliably satisfying triple-axel-twisty feat of exegesis in front of the suspects.More often than not, Branagh’s Poirot simply lacks personality, and the film’s absolutely smoldering epilogue oozes more mood than all the rest put together.Death on the NileRated PG-13 for violence (it’s a murder mystery) and sexual material. Running time: 2 hours 7 minutes. In theaters. More

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      ‘The Unmaking of a College’ Review: School’s Out Forever?

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      This documentary tells the story of a liberal-arts college that faced an existential crisis, and of how students fought back against the way potentially drastic decisions were made.“The Unmaking of a College” presents Hampshire College in Massachusetts as a canary in the coal mine of liberal-arts education. As a young college (its first students entered in 1970), it has a smaller endowment and fewer decades’ worth of alumni donors than its competitors. That leaves it vulnerable to demographic shifts like a declining college-age population, a problem for small colleges nationwide.But “The Unmaking of a College,” directed by a Hampshire alumna, Amy Goldstein, is not simply a story of a college facing an existential crisis, but of how, in the movie’s telling, that crisis was badly handled. On Jan. 15, 2019, Miriam Nelson, then Hampshire’s president, issued a letter with a bombshell in its third paragraph: Hampshire was “carefully considering whether to enroll an incoming class” that fall. Students and faculty members say they were caught off guard. A lack of freshmen could send the college into a death spiral.These issues catalyzed a 75-day student sit-in, which the movie shows as it unfolded. Joshua Berman, who was embroiled in the events and is an interviewee in the movie, filmed some of the footage that is used. We hear from students like Rhys MacArthur, who worked in the admissions office (a fraught place at that moment), and alumni, like the documentarian Ken Burns.The closing titles say Nelson “would not agree to be interviewed.” While others try to explain her perspective, her nonparticipation leaves an unavoidable hole. And the testaments to Hampshire’s distinctive academic culture aren’t especially germane. Hampshire may be experimental and hip, but in its sustainability issues, it’s hardly unique.The Unmaking of a CollegeNot rated. Running time: 1 hour 24 minutes. In theaters. More

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      ‘The Fabulous Filipino Brothers’ Review: For Better or for Worse

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      The Abasta family of California is celebrating a wedding. The Basco family writes, directs and stars in this warm, welcoming comedy.The family at the center of the poignant comedy “The Fabulous Filipino Brothers” is a raucous and big-hearted bunch. The Abasta siblings are prone to bickering, but they’re just as quick to offer support. The chemistry apparent in this portrait of a tight-knit Filipino American family isn’t faked: The Abastas are played by real siblings, the Bascos, who have been working in film and television for decades. One of them, Dante Basco, directs, and he and his brother Darion wrote the story together.The movie revolves around preparations for a Filipino wedding in their hometown, Pittsburg, Calif. The film’s structure is episodic, following the siblings one at a time as they prepare for, attend and recover from the wedding. Derek Basco plays Dayo, the eldest brother, who has taken on responsibility for the food at the reception. Dante Basco is Duke, a successful businessman who is tempted to change his life after an encounter with a former lover. David (Dionysio Basco) is the party boy and, most movingly, there is Darion Basco as Danny, the depressed middle child whose spirits are revived by a date with a woman he meets online Teresa (Liza Lapira). The one sister, Doris (Arianna Basco), acts as the movie’s narrator.The plot is loose, more oriented toward hanging out with its characters than in driving them to revelations or catharsis. But the director ties the eclectic siblings together through the dialogue, which frequently contemplates the family’s Filipino identity, and through the use of color. Every frame is flush with warm, saturated color, and the vibrant quality of the images conveys joyous generosity. The most poignant appeal of this movie is the feeling it creates of being welcomed into a family that radiates all things bright and good.The Fabulous Filipino BrothersNot rated. Running time: 1 hour 39 minutes. Rent or buy on Amazon, Google Play and other streaming platforms and pay TV operators. More

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      Irwin Young, Patron of Independent Filmmakers, Is Dead at 94

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      As the head of a prominent film processing laboratory, he helped directors like Spike Lee, Michael Moore and Frederick Wiseman early in their careers.Irwin Young, who through his Manhattan film processing laboratory gave support to the early careers of directors such as Spike Lee, Frederick Wiseman and Michael Moore, died on Jan. 20 in Manhattan. He was 94.His daughter Linda Young confirmed the death, at a rehabilitation facility.Over nearly a century, DuArt Film Laboratories processed and printed studio features, documentaries, newsreels, boxing films from Madison Square Garden, network news footage and commercials. But Mr. Young, who took over the company when his father died in 1960, was best known as an ally of independent filmmakers, some of whom could not always pay for his company’s services on a timely basis early in their careers.“He was the biggest mensch in the business,” the documentarian Aviva Kempner, who produced “Partisans of Vilna” (1986) and directed “The Life and Times of Hank Greenberg” (1998), said in a phone interview. “He really cared for the subject matter you were making a film about. If you needed a favor, he was there for you.”Mr. Young deferred $60,000 in costs incurred by Mr. Moore for three years as he made “Roger & Me,” his documentary about the social damage caused by General Motors’ layoffs of 30,000 workers in Flint, Mich. Warner Bros. later paid $3 million for the rights.When Mr. Lee was a graduate film student at New York University, his films were processed and printed at DuArt. So was his first feature, “She’s Gotta Have It” (1986).“I didn’t have the money, but Irwin let me develop the film, print the dailies, and he gave me some slack; he’d say, ‘When you get the money, pay me,’” Mr. Lee said in an interview. But Howard Funsch, DuArt’s treasurer, threatened to auction the negative if Mr. Lee didn’t pay. Mr. Lee said he found the money.He added: “I don’t think Irwin knew that Howard was putting the squeeze on me. And it doesn’t detract from how Irwin believed in and supported young filmmakers.”Mr. Young had a practical side as well. He made two investments in the 1970s that helped secure DuArt’s long-term future: He acquired the 12-story building in Midtown Manhattan where the laboratory had long been located, freeing it from the whims of a landlord; and he bought a two-thirds interest in a television station in Puerto Rico, which brought in a strong flow of revenue that helped improve DuArt’s bottom line.He also oversaw DuArt’s expansion into a process that benefited independent filmmakers: blowing up 16-millimeter negatives into 35-millimeter prints, which have a better chance at being commercially viable.And he added to DuArt’s photochemical film processing business by branching into film-to-video transfers and online video editing in 1970, and into digital work, including effects, titles and restorations, in 1994.But last August, Ms. Young, DuArt’s president and chief executive since 2017, announced that its business was being shuttered because it was no longer economically viable to stay independent. Its building was recently put up for sale.Mr. Young served with various organizations that dealt with independent filmmakers, including Film at Lincoln Center, where he was president, and Film Forum, where he was chairman.In 2000, he received the Gordon Sawyer Award from the Academy of Motion Picture Arts and Sciences for his technological contributions to the film industry.Irwin Wallace Young was born on May 30, 1927, in the Bronx. His father had been a film editor before he and other partners acquired a film lab that was going out of business. His mother, Ann (Sperber) Young, was a homemaker.“I used to see film processed, amazing to a child,” Mr. Young told The New York Times in 1996.The family name had been changed from Youdavich by his uncle Joe, the lyricist of songs including “I’m Gonna Sit Right Down and Write Myself a Letter.”After serving in the Navy, Irwin entered Lehigh University. He graduated in 1950 with a bachelor’s degree in engineering and then joined DuArt, where his roles included working in black-and-white film quality control and being part of the team that processed Eastman color negatives for the first time at any film lab. After his father died, Mr. Young became DuArt’s president and chief executive.Mr. Young’s interest in independent film was ignited when his older brother, Robert, was a producer and writer and the cinematographer of “Nothing but a Man” (1964), a feature about a Black couple dealing with racism in Alabama. Irwin Young provided all of the film’s laboratory work.“I was attracted to independent filmmakers because of their spirit,” he told The Los Angeles Times in 2003. “I came from a very political family, so I responded to a lot of their messages. We needed each other.”Mr. Wiseman needed Mr. Young’s patience when his first documentary, “Titicut Follies” (1966) — about the way patients were treated at the State Hospital for the Criminally Insane in Bridgewater, Mass. — was banned by a state court on the grounds that it violated the inmates’ privacy.“I didn’t pay him for six years because all my money went into the lawsuit,” Mr. Wiseman said in an interview. “And he was always friendly and helpful about distribution; he knew everybody.”Mr. Young’s support of filmmakers led him to become an accidental preservationist: He stored their negatives, at no charge, some for decades, largely on the top floor of the DuArt building on West 55th Street. He reasoned that if he held on to the negatives, he might generate more business from making prints.But, he told The Times in 2014: “I have trouble throwing away film. We never threw anything away. It’s because we were film people.”Film cans were stacked, floor to ceiling, often without any idea what was inside or who the director was. In 2013, three years after Mr. Young closed down his traditional film processing business, a project was started to create an index of the thousands of negatives there.Mr. Young began a collaboration with the organization IndieCollect, which sends orphaned film negatives to archives such as the Library of Congress and the Motion Picture Academy; restores them; and finds new audiences for the films.“We went through 5,000 films — about 50,000 cans,” said Sandra Schulberg, the president of IndieCollect. “Irwin was happy to come up as we were doing the inventorying. Each can was like opening a locked treasure.”She said that her group found homes for 3,500 of the negatives.Negatives of films by Mr. Lee, Mr. Wiseman, Gordon Parks, Woody Allen, Jonathan Demme, James Ivory, Ang Lee and Susan Seidelman were found, as were forgotten works like “Cane River,” a 1982 love story dealing with race issues made by Horace Jenkins, an Emmy Award-winning Black director, who died shortly after the film’s premiere in New Orleans.In addition to his daughter Linda, Mr. Young is survived by another daughter, Dr. Nancy Young; his brother; and four granddaughters. His wife, Diane (Nalven) Young, died in 2004.Mr. Moore knew little about filmmaking when he began making “Roger & Me” and was told by another director, Kevin Rafferty, that he should bring his undeveloped film to Mr. Young.“He said ‘Let me develop this for you,’ and he watched the first reels and said, ‘Listen, this is incredible, I’m going to help you, and you can pay me what you can,’” Mr. Moore said, recalling his first conversation with Mr. Young in 1987. “That was almost three years: from early 1987 to 1989, up until the last print was needed to go to the Telluride Film Festival.”He added, “Without his patronage, I’m convinced there wouldn’t have been a ‘Roger & Me.’” More

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      Study Finds Sustained Progress for Female Directors and Filmmakers of Color

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      But women of color are still not getting feature directing jobs in Hollywood, the annual report on top-grossing movies finds.For the first time in a long time, Dr. Stacy L. Smith is feeling optimistic. The director of the University of Southern California’s Annenberg Inclusion Initiative has been studying the gender and race breakdown of Hollywood’s top-grossing directors since 2007, and finally has some good news to report. For the first time since her work began, Smith has seen sustained progress for women and people of color working behind the camera.Over the 15 years of the study, which analyzed 1,542 directors, only 5.4 percent were women. In 2020, that percentage rose to 15 percent and in 2021, it stood at 12.7 percent. Despite that recent drop, and despite the fact that the proportion is nowhere close to reflecting the American population, which is 51 percent female, Smith is encouraged that the numbers have stayed in the double digits for a sustained period of time.“I think that the people that are running these large companies that are largely responsible for about 90 percent of the market share are finally starting to diversify,” Smith said in a phone interview. “And we’re not only seeing this with gender, we’re also seeing big gains with race/ethnicity in the second year of the pandemic. Despite the uncertainty around the box office, there seems to be a concerted effort to correct the biases of the past.”The news comes the day after “The Power of the Dog” director Jane Campion made history, becoming the first woman to be nominated twice in the best director category for the Academy Awards. (She was previously nominated in 1994 for “The Piano.”)When it comes to underrepresented racial and ethnic groups, which includes Black and Latino filmmakers, the percentage of directors reached a 15-year high: 27.3 percent. The group with the least amount of traction directing features are women of color, who still make up only 2 percent of the total.“When Hollywood thinks of a woman director, they’re thinking of a Caucasian woman, and when they think of a person of color directing, they’re thinking about a male,” Smith said, pointing to the fact that female directors of color earn the highest reviews according to Metacritic yet most often are given lower production budgets and fewer marketing dollars from their studio beneficiaries.To address this disparity head on, the Annenberg Inclusion Initiative is starting a $25,000 scholarship program for a woman of color during her senior year at an American film school. In addition to the financial aid, the winning student will be advised by a group of Hollywood executives and talent, including Donna Langley, the chairman of the Universal Filmed Entertainment Group, Kevin Feige, the president of Marvel Studios, and Jennifer Salke, the head of Amazon Studios, among others.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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      2022 Oscars Nominations: Snubs and Surprises for Lady Gaga and Jared Leto

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      “The Power of the Dog” led the Oscar nominations on Tuesday, but plenty of other high-profile contenders fell short. Here, the Projectionist muses on the morning’s most startling surprises and omissions.Kristen Stewart gets the royal treatment.Kristen Stewart’s role as Princess Diana in “Spencer” is the sort of thing Oscar voters usually rush to crown: It’s a juicy, transformative lead in a biopic, performed by a famous actress who has successfully leapt from blockbusters to prestige films. Then came a shocking snub from the Screen Actors Guild, followed by another shutout from BAFTA, and pundits worried whether she’d get nominated at all. Still, Stewart was game, continuing to do press and awards-season round tables, and the 31-year-old actress was rewarded Tuesday morning with her very first Oscar nomination.Lady Gaga and Jared Leto are shut out.“House of Gucci” was stripped to its studs Tuesday, as former winners Lady Gaga and Jared Leto were both snubbed by the academy. Few performances this year were talked about more — both by audiences and by the two actors themselves — and the red carpet will be a little lesser for their absence. (Hey, nobody said the Oscars were particularly ethical … but they are fair.)‘Drive My Car’ overperforms.Coming out of last summer’s Cannes Film Festival, no one had tagged Ryusuke Hamaguchi’s “Drive My Car” as a major Oscar spoiler: Instead, films like Asghar Farhadi’s “A Hero” and Julia Ducournau’s “Titane” had all the buzz. But a funny thing happened on the way to the Dolby Theater: A year-end surge from critics’ groups put Hamaguchi’s contemplative three-hour drama in the thick of the awards conversation, thanks to high-profile best-film wins from the critics in New York and Los Angeles. Off that momentum, “Drive My Car” managed an astounding four Oscar nominations, with citations in picture, director, adapted screenplay and international film.‘Spider-Man: No Way Home’ is snubbed.There was no bigger film last year than “Spider-Man: No Way Home” — in fact, with a domestic gross of more than $748 million so far, there are only three other films that have ever been bigger. As the superhero movie kept raking in cash, the drumbeat grew louder that if the Oscars really wanted to reflect the year in film, they should honor one of the few movies that kept theaters open at all. And the academy did … but only with a nomination in visual effects. A best-picture nomination proved well outside the web-slinger’s reach.The director of ‘Dune’ goes missing.The academy’s directing branch is often dazzled by technical achievement, and a filmmaker who can wield blockbuster scale in the service of a soulful story usually has a leg up over more intimate fare. That’s why it’s startling that this year’s best-director race didn’t make room for Denis Villeneuve, especially since his sci-fi film “Dune” did score 10 nominations in a host of categories. But history was made elsewhere in that category, as Jane Campion became the first woman to earn two directing nominations (for “The Power of the Dog” and 1993’s “The Piano”) and the “West Side Story” filmmaker Steven Spielberg became the first person to be nominated in that category in six different decades.Two couples were nominated.Not only did the real-life partners Kirsten Dunst and Jesse Plemons score their first Oscar nominations this year for “The Power of the Dog,” so did Penélope Cruz (“Parallel Mothers”) and Javier Bardem (“Being the Ricardos”), the rare married couple to have already won before. Even better: It’s a four-category split, as Cruz and Bardem were nominated in the lead races while Dunst and Plemons continued the spread in the supporting categories. Talk about a double date!Kenneth Branagh makes history.Even before “Belfast,” Branagh was an Oscar favorite, collecting five nominations over the course for his career in categories as varied as director, actor, supporting actor, adapted screenplay and live-action short film. But Tuesday morning’s collection of nods for the black-and-white film “Belfast” vaulted Branagh to a surprising Oscar record: He is now the first person to be nominated in seven different categories, having added citations for best picture and original screenplay to his haul. (Hopefully that makes up for a few surprising “Belfast” snubs in editing and cinematography.)‘Flee’ scores the hat trick.Look, it’s hard enough to earn just one Oscar nomination, as so many of the morning’s snubbed artists can attest. That makes what “Flee” just accomplished all the more remarkable: This animated documentary about an Afghan refugee is now the first film ever to receive Oscar nominations for documentary, animated film and international film all in the same year. A win in any of those categories seems unlikely, but at least when the makers of “Flee” claim it’s an honor just to be nominated, you’ll know that they mean it. More

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      Will Smith on ‘King Richard’ and His Secret Career Fear

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      Will Smith was just opening his eyes “bright and early” Tuesday in Wyoming, where he was speaking at a business conference, when his phone began buzzing. This year’s Oscar nominations had just been announced.“It was like, uh oh, wait, let me Google myself and see what happened,” Smith said in a phone interview later that afternoon. “But it was just a beautiful, pleasant surprise.”Smith was nominated for best actor for his role as the father of Venus and Serena Williams in “King Richard.” It’s the third time around for the actor, now 53, who was also up for “Ali” in 2002 and “The Pursuit of Happyness” in 2007.The actor said that for a long time he secretly feared that he would never make anything as good as “The Pursuit of Happyness,” the story of a man trying to hold his family together in the face of homelessness.“I thought I had reached my artistic pinnacle,” he said. “So for the world to respond to this film and in this way energizes me as an artist. I’m just wildly inspired to create and even to to be able to tell stories like this,” a sports drama.“King Richard” chronicles the journey and triumph of an ambitious father who’s determined to turn his daughters into tennis champs. The film also stars Aunjanue Ellis, who received her first Oscar nomination on Tuesday, in the best supporting actress category for her performance as Oracene Price, the Williams family matriarch. All told, the film picked up six nominations, including one for best picture.If Smith wins, this will be the first time he takes home an Oscar after more than 30 years in the business as one of the Hollywood’s top stars.In a phone interview, Smith discussed the nominations for “King Richard,” working with the director, Reinaldo Marcus Green, and the special way he plans to celebrate this recognition. These are edited excerpts from the conversation.Hey, Will! How’s it going?All is in divine order. How are you?I’m great and congratulations!Thank you, thank you. That was a little head-spinning.What was exactly? The nomination?Six! I’ve had films that have had box office success and I’ve been nominated twice before, but this is like a lovefest for the film, the entire cast, the crew. That’s definitely a little bit of a new world.What are your thoughts on the other five nominations that “King Richard” received, especially on Aunjanue Ellis receiving her first?We spent so much time together and became friends, and I just know how hard she’s worked and my heart was yearning for her to be honored. Her work was so subtle in this film. It’s the type of exquisite and extraordinary performance that can be overlooked. So I was ecstatic that she got honored. And then just for Venus and Serena and the entire Williams family. For Richard Williams, he has been wildly misunderstood for so many years. I love that the world is standing up and acknowledging their story, acknowledging their family.This is the third time you’ve been nominated for an Oscar in the best actor category and for playing another real-life figure. How does that feel?This one is really different. It’s one thing to be singularly nominated. And it’s another thing when it’s the entire group, the film. It’s just a different thing. This could have been a much smaller story. But the audience recognizing the universal gifts and power of the ideas in this film, it is beautifully uplifting and inspiring for me.Can you share some thoughts about the other films that were recognized by the academy this morning? Any that you’ve seen and are rooting for, obviously apart from your own?I just heard that Denzel, with this nomination, became the most nominated Black actor in history. So as soon as we hang up, I’m going to post about that. [Denzel Washington on Tuesday earned his 10th Oscar nomination, for “The Tragedy of Macbeth.”]Speaking of Denzel Washington, I also understand that 2002 marked the first time that two Black actors were competing for the best actor award. Washington won that year for “Training Day,” and now it’s 20 years later and you guys are back here again. How does that feel?You know it’s funny, I don’t think I’ve ever talked about this. So those two times I was nominated before, I’ve only ever lost to Black actors. I lost once to Denzel and the next was Forest Whitaker. So it’s funny, Jada [Pinkett Smith, his wife] and I were talking about the inclusion and all that [the issue of the lack of diversity among Oscar nominees over the years] and I was like, “I’ve only ever lost to Black actors!” [Laughs].Have you spoken to the film’s director?Yeah we spoke this morning. He is so calm and sweet. I was like, “Dude, your movie’s nominated for best picture, you got a bunch of your actors nominated. You can laugh a little bit if you want.” He’s just so humble and happy for others. And what I love about him is like he’s never reaching for himself. And even on set, that’s part of the beauty of what he was able to create.You’ve had a big and busy past year, with the premiere of “King Richard,” publishing your memoir, “Will,” last fall, your new Disney+ documentary about the planet and the new adaptation of the “Fresh Prince of Bel-Air” next month. And now with this recognition, how do you plan on celebrating all of this?We celebrate by creating the next thing. We live in celebration of the fact that we get to do this for a living. It’s like every single day is the celebration of the gift to live and work. I don’t think of it in terms of “grind, grind, grind and celebrate.” Like, let’s just be thankful for this opportunity, and gratitude is a major part of my belief in how you can create great things, to constantly live in gratitude. I don’t feel a necessity to set aside celebration time in that way.What excites you the most about the award ceremony?I am excited to honor my cast and crew and Venus and Serena. And I will do it in person or in my living room if Covid demands. But I am excited and ready to hand out flowers to my people. More