Ariel: Ariel's Tall Mer-Tale
Ariel
NEW EPISODES
ABC Kids
Animation/Cartoons
Friendship
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Ariel, is a young mermaid learning that her power lies in using her voice to speak up, sing out, and make waves. And when she does, she can change her world!
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Taking after Richard Gere in Pretty Woman, Pedro Pascal plays an old-money private equity investor, Harry, who's all too familiar with the rules of the game. He's the perfect suitor for Lucy, whose sole, immutable criterion for a mate — having watched her parents torn apart by financial hardship — is independent wealth. Beyond preventing a future of bickering over bills, Harry's considerable largesse makes her feel valued. Lucy's ex-boyfriend, John (Chris Evans), is a struggling actor on the opposite end of New York's economic strata, still confined to the cramped apartment of his 20s. When they reunite at a wedding for one of Lucy's clients, he's working a side gig as a cater waiter, which barely keeps him afloat. Lucy playfully suggests they may be soulmates — but above all, he's a bad financial decision. In screenings, Song found that the reveal of Harry's $12 million apartment could be relied upon to induce an audible response, no matter the audience. 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You won't see another film this year that so openly discusses the romantic odds for shorter men, which feels serendipitously timed with the recent announcement of Tinder's height filter. When Lucy describes a problem client, Sophie (Zoë Winters), as being a "nice girl" who's ultimately "not competitive", it's easy to relate to her thinking: dating apps are flooded with people whose best qualities are not on their surface. "Social media is contributing rapidly and very negatively towards the commodification of human beings … it just all becomes about expressing a value," the director says. The more we buy into that system, the more we have to lose. "Your whole life is going to be about modifying not just each other, but also yourself." The messy, unsparing drama of Materialists doesn't always cohere with its knowing deployment of rom-com tropes. Passion is kept at a minimum while misery is laid on thick, with precious few jokes peeking through. Lucy's spiritual rot is broadened into staggering obliviousness, particularly in a subplot that indelicately handles the darker implications of her work. While Lucy's chemistry with Harry (or rather, Harry's assets) is deliberately distant, John doesn't quite inspire the kind of longing to work as a counterbalance — or perhaps there's an inherent disconnect between watching a star as bright as Chris Evans playing someone so downtrodden, even if his own acting career has been in the doldrums as of late. (Naturally, Johnson is perfect at playing a character whose own aloofness seems to keep her at a distance from the human race, and relishes in dithering put-downs when the film calls for it.) Materialists may well be a hostile viewing experience for unsuspecting audiences — it's certainly not recommended as a first-date movie. But the piercing clarity of Song's approach holds up once the shock wears off, and lays bare the inadequacies of how we negotiate romance. "I'm always trying to depict a business deal of some kind; sometimes love is on the table, and sometimes it isn't."
