
Lights of colors, Spotify playlists and lots of beer cans. This is how the party where Ada, Rita and Marc celebrate one more night of their eternal youth is. They drink, dance and love each other, surrounded by their music and people. It begins to be hot; they have all the summer and all the life ahead of them. They are the future, the generation that joins together inclusion and narcissism, determination and uncertainty. The generation that wants to change the world while it collapses around them.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.
The thing is, people like Wahlberg will only apologize if they have something to lose, which he did. His glamorous life, his reputation, and his career were all at stake.
In this high-flying mission, the pups gear up with jets to stop the Duke of Flappington and save Barkingburg.
Deborah (Jean Smart) and Ava (Hannah Einbinder) are a delight to watch evolve, sometimes devolve, then evolve again.