Review of FLOWER DRUM SONG (Blu-ray)

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Grade:  B-
Not rated (would be PG)

I am not Asian or Asian American, so I’m not in a position to comment on what has lately been called “outdated cultural stereotypes” or “depictions.” But I can spot a song in this overlooked Rodgers & Hammerstein musical that feels more like it came out of South Pacific than San Francisco’s Chinatown, where this film version of the Broadway play is set. And I can look up who’s singing and see that, surprise, it’s the same woman who played Pacific Islander Bloody Mary in that earlier R&H musical. And that actress was of African and Irish American descent—not Asian American. 

Hollywood has a history of casting white. Marlon Brando as Japanese? That’s what audiences were supposed to believe when he played one of the leads in The Teahouse of the August Moon (1956). From 1957-58, TV’s The New Adventures of Charlie Chan featured Irish American actor J. Carrol Naish as the Chinese American detective. Of the 12 billed actors in The World of Suzy Wong (1960), only five in that “world” were Asian. In 1965, a remake of Genghis Khan replaced the laughably cast John Wayne from an earlier film with Omar Sharif in the title role—but Sharif was Egyptian. Even as late as 1980, British actor Peter Sellers starred as Fu Manchu in The Fiendish Plot of Dr. Fu Manchu (1980). All of which is to say, Hollywood may have experienced a come-to-Jesus revelation when it came to casting whites as Native or African Americans, but they have been much slower to do so with Asian roles.

So it must have come as a pleasant shock to audiences that Flower Drum Song (1961), apart from Juanita “Bloody Mary” Hall, featured all Asian actors in the main roles—especially since that same year Breakfast at Tiffany’s presented Mickey Rooney as a buck-toothed nearsighted Asian caricature worthy of a WWII propaganda film. Also to its credit, Flower Drum Song was based on a novel by Chinese American C.Y. Lee. But while the film gets one thing right—telling an Asian American story from an Asian American perspective and using mostly Asian American actors—it lapses into the kind of flat characterizations that tend to accompany any attempt at humor. Often, unfortunately, that translates into outdated cultural stereotypes. Veteran character actor Benson Fong, who was forced into that straitjacket when he played Charlie Chan’s “Number 1 son,” is called upon for such service. And an outdated and corny routine featuring the children ends up in a See, hear, speak no evil pose.

It would be tempting to say that such things account for why this R&H musical has been less popular and has had fewer productions mounted than any of the talented team’s other musicals. But frankly, aside from “I Enjoy Being a Girl”—an Ann-Margret-style number sung by Nancy Kwan—the songs themselves are forgettable and seem less integral, though the music earned one of the film’s five Academy Award nominations. Two long dream sequence numbers also seem to detract rather than add to any building momentum.

The plot of Flower Drum Song is a tamer variation of the bedroom farce. This was the Hugh Hefner era, and playboy nightclub owner Sammy Fong (Jack Soo) has a thing for women in general and his spotlight attraction, Linda Low (Kwan), in particular—though Helen (Reiko Sato) has a thing for him. Complicating matters, Mei Li (Miyoshi Umeki) and her father (Ching Wah Lee) have stowed away aboard a ship from Hong Kong and arrive in San Francisco to announce that they are there to honor a marriage contract with Sammy that his mother had arranged. In Guys and Dolls parallel fashion, there’s also nice-guy Wang Ta (James Shigeta), who enters the picture when Sammy tries to get the marriage contract shifted to him by having someone approach his parents. Through a series of misunderstandings, Wang Ta finds himself needing to choose between the same two women as Sammy.

Flower Drum Song subtly tackles issues of immigration and assimilation, with one song, “Chop Suey,” devoted to America-as-cliché malapropisms as seen through the eyes of immigrants studying to become U.S. citizens. It’s a fun song, but who can remember the lyrics or the tune to be able to sing it later in the shower or while stuck in rush-hour traffic?

Ultimately, Flower Drum Song feels brave in what it attempts, and this film version is entertaining enough . . . as long as you don’t think about other R&H musicals like The Sound of Music, The King and I, Oklahoma!, or even South Pacific. Fans at Ranker.com placed this one ahead of State Fair, andI’d have to agree. If you consider the overall production, then Frank Capra’s A Hole in the Head and Mike Nichols’ The Birdcage seem like the qualitative equivalents to Flower Drum Song.

Entire family:  Yes (but younger children will be bored)
Run time:  133 min. Color
Aspect ratio:  2.35:1
Featured audio:  DTS 2.0
Studio/Distributor:  Kino Lorber
Bonus features:  B
Amazon link
Not rated (would be PG for some drinking and smoking)

Language:  2/10—I frankly didn’t catch anything, so the 2 is in case things slipped past me

Sex: 1/10—The trailer promises “tempestuous” lovemaking, but there’s really just an innocent kiss and embrace or two, and one character sleeps over after drinking too much to set up a misunderstanding (but nothing happens and nothing is shown)

Violence: 0/10—Nothing at all, unless you consider getting doused with ice violent

Adult situations: 2/10—a variation of the bedroom farce, but all very G-rated apart from some drinking and smoking

Takeaway:  Flower Drum Song may not be as solid as other R&H successes, but it also isn’t bad enough to be as ignored as it is; fans will be glad that Kino Lorber has released this Blu-ray featuring a brand new 2K master

Flashback: Irene Bedard on giving voice to Disney’s Pocahontas

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The daughter of an Inupiat Eskimo mother and a French Canadian/Cree father, Irene Bedard was born in Anchorage, Alaska. Like most children, she grew up watching films and thinking how especially wonderful Disney movies were. Ironically, or perhaps appropriately, her first role as an actress came with Disney’s Squanto: A Warrior’s Tale (1994), and she went on to give voice to Disney’s Pocahontas (1995) and a sequel (1998).

Since then, Bedard has appeared in roughly 70 feature films, shorts, TV movies, and mini-series, including Lakota Woman: Siege at Wounded Knee (1994), Smoke Signals (a 1998 film based on a short story from Sherman Alexie’s The Lone Ranger and Tonto Fistfight in Heaven), Navajo Blues (1998), The New World (2005), Into the West (2005), and The Stand (22020-21). The multi-talented Bedard also sings in a band with husband Denny Wilson. As an activist, Bedard helped to found Guardians of Sacred Lands, which is devoted to educating the public about sacred lands and other Native issues.

In 2005 Disney released a 10th Anniversary Edition of Pocahontas, the story of an adolescent Algonquin Indian girl who saved the life of Capt. John Smith near Jamestown. This interview was conducted by James Plath in May 2005 and originally posted at the now-defunct DVD Town.

I understand congratulations are in order. You landed a part in Steven Spielberg’s big TV series?

I play Margaret Light Shines Wheeler in the story of a Lakota family and an Anglo family over a period of about 70 years, and it’s been a real great part. I just finished two days ago.

Were movies a part of your life when you were growing up, or did you come to them late?

I was really shy growing up, and movies for me were a really wonderful way for me to sort of be a part of the world in a different way than I was quite able to do at the time.

And did any movies leave a lasting impression on you when you were going through that phase?

For me, I always loved the science fiction stuff—you know, the E.T., the Close Encounters of the Third Kind, (laughs) all those really great ones—and for me, also, growing up with all the Disney stuff and Bugs Bunny and those things. They were a part of American history, by this point.

So it must have been a thrill to be a part of something like Pocahontas.

Oh, yeah, definitely, and it’s something that I’m really proud to be a part of.


Flashback: Fess Parker on playing Davy Crockett and Daniel Boone

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Before his first appearance on television, December 15, 1954, Davy Crockett was a folkloric character of the Johnny Appleseed variety—known, but hardly famous. But after “Davy Crockett, Indian Fighter” aired, followed by “Davy Crockett Goes to Congress,” “Davy Crockett at the Alamo,” “Davy Crockett’s Keelboat Race,” and “Davy Crockett and the River Pirates,” there wasn’t an American young or old who hadn’t heard of the Tennessee pioneer and his trademark coonskin cap. The TV episodes, though shot in color (Disney was a visionary), aired in black-and-white because of TV’s limitations, but later were edited into two color feature films that played in theaters:  Davy Crockett: King of the Wild Frontier and Davy Crockett and the River Pirates.

Actor Fess Parker became a household name and Crockett mania turned into a marketing bonanza estimated at $300 million. Just about every youngster in America sported a coonskin cap. Later, the craze would be analyzed in dissertations, because, as Margaret J. King pointed out in her 1976 study at the University of Hawaii, it demonstrated the power of a medium still in its infancy to shape generational behavior and values.

Although sidekick Buddy Ebsen went on to play Jed Clampett on The Beverly Hillbillies and private investigator Barnaby Jones, Parker, under contract for longer and defined by the frontiersman role, continued to work in the Disney “stable” and Western mode. He appeared in such films as Westward Ho! the Wagons (1956),  The Great Locomotive Chase (1956), and Old Yeller (1957). Between 1964-70, Parker donned the buckskins again to play Daniel Boone in the highly successful NBC series.

At the time this interview was conducted (June 28, 1995), Parker was busy putting his coonskin cap on wine labels—the logo for Fess Parker Winery vintages. Tourists who visited his winery in the gently sloping terrain of Santa Barbara County hoped for a glimpse of every baby-boomer’s hero, or better still, a snapshot and an autograph. Graciously, the man who will always be known as the King of the Wild Frontier, obliged.

This interview, conducted by phone on June 28, 1995, was first published online by the now defunct DVD Town in 2004. Asking the questions was James Plath, who had hoped to include the interview in a special Western issue of his award-winning journal of the arts, Clockwatch Review.

What was it that made Davy Crockett as Disney and you portrayed him so popular?

Well, first of all, Walt Disney was an icon.  Disney certainly had people who thought that some of his animations were a little too adult for children, but in general he was considered a beloved figure.  And when he decided to do television, I don’t think it mattered what Walt Disney was going to put on.  He would have drawn an audience. 



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Grade:  B-/C+
Not rated (would be G)

If you’re receptive to older black-and-white movies, this wonderful new Francis the Talking Mule 7 Film Collection from Kino Lorber will strike you as surprisingly entertaining. The three-disc set features all of the Francis movies that were popular in the ‘50s, with an audio commentary for each film. I’ve reviewed thousands of films since 2000, and it says something that I could binge-watch the first five of these light comedies without wanting to skip ahead or quit.

There’s a formula at work here, but it’s still fun seeing it play out:  Francis only talks to Peter Stirling (Donald O’Connor), unless Peter is really in a jam. Then Francis will speak to others, reminding them that if they say anything about it to anyone he’ll remain quiet and they’ll end up in the “psych” ward with Peter, who is such a gosh-darned honest guy that he has to give credit where credit is due. Which is to say, Francis doesn’t just talk. He’s a know-it-all, whether it’s the location of the enemy, the time of a planned raid, which horses will win at the racetrack, or who killed Cock Robin. 


Like the Smithsonian Institution, “America’s attic,” there’s a surprise to be found at almost every turn. Maybe the biggest surprise is O’Connor, who’s most famous for being the third wheel to Gene Kelly and Debbie Reynolds in Singin’ in the Rain. As the likable Peter he plays everybody’s best friend, modeling character traits like honesty (to a fault), earnestness, humor, loyalty, decency, and dependability. He also displays a refreshing naiveté that makes him sometimes innocent or clueless but never stupid. “Did they take x-rays of your head?” “Yes Sir.” “And what did they show?” “Nothing.” O’Connor stars in all but the seventh film, which features Mickey Rooney—Universal’s first choice for the lead. But seeing them both in the role, I think Universal was fortunate that things turned out as they did. As much as the mule, O’Connor is responsible for the series’ success.

People who served in the military, fans of classic television, and children young enough to be tickled by the situations a talking mule can get into (and out of) will be especially delighted by the Francis films.

Four of the seven films have a military backdrop and were filmed with the cooperation of the Army, Navy, and Women’s Army Corps. Veterans and military enthusiasts will appreciate seeing vintage shots of military academies, bases, training, and mishaps. The word “SNAFU” is an acronym for “situation normal all f***ed up,” a description and attitude that has been used by generations of service men and women to describe the military. Veterans will smile at some of the subtle jokes about military protocols and officers, because Francis was based on a book of stories written by David Stern while he was at Officer Candidate School in Hawaii. In these stories, which were published in Esquire, he created a talking mule—a “jackass” that allowed him to use the pejorative to satirize the people in the Army who were running things. “Francis is afraid to talk. He’s worried if the Army finds out they’ll send him to officer’s candidate school.”


Review of DARBY O’GILL AND THE LITTLE PEOPLE (Disney Movie Club Exclusive Blu-ray)

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Grade:  B+
Rated G

Nine years after Disney got into live-action filmmaking with their 1950 adaptation of Treasure Island, the House of Mouse scored a modest success with their 17th live-action entry, Darby O’Gill and the Little People. It wasn’t the box-office hit that The Shaggy Dog was that year, but solid enough now to appear on an IMDB.com list of “25 greatest films of 1959”—a list that The Shaggy Dog failed to make.

When Darby O’Gill was released, the selling point for this family fantasy-adventure was the film’s depiction of leprechauns. Now the big attraction is a very young pre-Bond Sean Connery in his first starring role in a feature film. And he sings. How’s that for a pot of gold?

Connery plays a dashing young Dublin man who finds himself in an awkward position when he is assigned by Lord Fitzpatrick to replace an old man named Darby O’Gill (Albert Sharpe) as the caretaker for his country estate in the tiny town of Rathcullen. O’Gill is a popular man in town, even though everyone laughs at his earnest stories of leprechauns and his claim to have met their king, Brian Connors (Jimmy O’Dea).

A “city” fellow is a natural disruption to local rural life, but Michael McBride finds other challenges. For one thing, there’s Pony Sugrue (Kieron Moore), a boisterous town bully who could be the prototype for Gaston in Disney’s Beauty and the Beast. A big strong man who tends to brag and mock others, Pony thinks he’s the natural choice to replace O’Gill and marry Katie, the old man’s daughter. In fact, he feels entitled. Then there’s Katie (Janet Munro), a charming young woman that Michael quickly falls for, creating a classic romantic triangle. Finally there’s O’Gill himself—a charismatic and likable old man that Michael grows fond of and would prefer not to hurt. Conflicts like these create a narrative structure that manages to entertain the adults who watch with children.


Review of TOP SECRET! (Blu-ray)

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Grade:  B+
Rated PG (but more like PG-13)

In 1987, when I interviewed David Zucker—one of the trio responsible for inflicting non-stop gags on movie audiences in such zany satires as Airplane! and The Naked Gun— Zucker, brother Jerry, and Jim Abrahams were basking in the success of Ruthless People. But they were also thinking a great deal about what made Airplane! a run(a)way success and wondering why Top Secret!and their short-lived Police Squad TV series weren’t as popular with audiences.

Cult favorite
“The problem with Top Secret! was that the story wasn’t strong enough, even though the jokes were probably funnier than Airplane! or Ruthless People, and many of the scenes were far more clever,” Zucker said.  “We were very much in tune with the jokes, but the characters weren’t very well-developed. We just used them to spout these jokes. The other thing is, it really wasn’t a readily identifiable concept.  The idea of a rock ‘n’ roll singer who goes to East Germany to fight what seem to be Nazis is kind of an esoteric concept. It was surrealism, and intended to be surrealistic”—which is why Top Secret!, though not a mainstream hit, has achieved a kind of cult status among comedy fans who relish the trio’s mind-boggling juxtapositions and the way the actors somehow manage to maintain deadpan faces as they deliver those deliciously funny lines. As Zucker explained, “With our style, the writers are the funny characters. When people watch our movies, they’re aware that somebody had to write this stuff.”



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Grade:  C+
Rated PG-13

The Abominable Dr. Phibes (1971) and its sequel, Dr. Phibes Rises Again (1972), are cult films—but that doesn’t automatically mean they’re not suitable for family viewing. In the case of this double feature—available now on Blu-ray from Kino Lorber—there’s far less violence, sex, and jump-scares than in contemporary horror films (see the trailer). But these are definitely cult classics, which is to say that they’re not mainstream popular.

For me, a cult classic is defined by a string of “usuallys”:  Usually it’s a low-budget B-movie, one that courts in-your-face difference and has an air of scandal or controversy about it, often with acting and a script that make you wonder if it’s unintentionally bad or bad for the purpose of being campy. Rarely is a cult film deadly serious, but most of the time there’s a “weird” factor. In part they’re also defined by their audiences, who celebrate “getting” the film when others don’t, and whose embrace can be exuberant, if not obsessive.

When it was first released, Dr. Phibes nudged viewers toward a cult film mindset just by featuring Vincent Price, who had built up a following as the star of campy director Roger Corman’s B-movie adaptations of Edgar Allan Poe horror stories. Price’s silky villainous voice and stage-actor mannerisms in those films had already earned him cult status—something that would continue throughout his career, whether he was featured in The Brady Bunch Hawaii episodes and the beach-party film Dr. Goldfoot and the Bikini Machine, embraced by Tim Burton for two films (Vincent and Edward Scissorhands), enlisted by Michael Jackson (“Thriller” song/video) and Alice Cooper for musical gigs, celebrated in song by Deep Purple and ZZ Top,or parodied on The Simpsons and SNL.


Review of SPIDER-MAN: NO WAY HOME (Blu-ray combo)

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Grade:  A-
Rated PG-13

Well, it’s out: Spider-Man’s identity and the film that almost wasn’t, now available on home video.

Spider-Man: No Way Home (2021) almost didn’t happen because of corporate greed, but ironically ended up making more money than ever for Sony and Marvel-Disney, who couldn’t come to an agreement over future Spider-Man movies. Fan backlash sent them back to the negotiating table, and the resulting sequel to 2019’s Spider-Man: Far from Home became the highest grossing Spider-Man film and sixth-highest grossing film of all time.

No Way Home also got the highest ratings from critics and fans on Rotten Tomatoes, with 93 percent of critics and 98 percent of audience members loving it—better, even, than fan favorite Spider-Man 2 (2004) featuring Doc Oc.

See? Good things happen when you play nice and listen to fans. But it’s next to impossible to keep a secret from them. Word leaked that somehow previous Spider-Men Tobey Maguire and Andrew Garfield would be involved.

Writers Chris McKenna and Erik Sommers had taken inspiration from It’s a Wonderful Life, where a wish provided the basis for the plot and a domino chain of revelations. Far from Home ended with Spider-Man’s identity exposed and reputation destroyed. The writers decided to have him do what any young and still immature adult would do: wish it away. Peter Parker (Tom Holland) asks Dr. Strange (Benedict Cumberbatch) to use his magic to make everyone forget Spider-Man’s identity so things can return to normal. But because he keeps tinkering with the spell by adding people he wants to still remember him—girlfriend MJ (Zendaya), best friend Ned (Jacob Batalon), and Aunt May (Marisa Tomei)—the spell goes awry. The multiverse breals open, and visitors good and bad enter his universe.

McKenna and Sommers wrote the screenplay before Maguire and Garfield even agreed to participate. But their wishful thinking paid off. Fans have debated who’s the best, as they have with Bond actors. Dropping all three into the same film was pure genius—and it’s not just fan-candy or a curtain-call film. There’s actual chemistry among the three, and it’s fun seeing them not only work together as superheroes and compare powers, but also reference their own films.

There’s consistency, too, because Jon Watts—who directed the first two films starring Holland—is also behind the camera for this one. The light touch that’s been a part of his sensibilities is here in triplicate, and that’s good news for families. When the tone is light and there are moments that spark laughter, it tends to balance the fantasy-adventure violence and traumatic moments, sending a message to young viewers that this is first and foremost a fun ride. Enjoy it. Although a beloved character does die and there’s some blood, stabbing, and serious punching, the “reunion” aspect of former villains and heroes entering the current Spider-Man universe takes a little off the edge of the violence.

No Way Home earned an Oscar nomination for its special effects, and apart from a sequence involving power lines in a forested area that looks very much like it was shot using miniatures, I can see why. The complicated Tetris-like shifting of the urban landscape completely suggests a universe that is fracturing, and the portals that lead from one universe to the next are rendered convincingly. The film’s budget was estimated to be a whopping $200 million, but the opening weekend box office alone was $260 million in the U.S. and Canada.

Just one question:  When a superhero fall, lands, or finds their footing again, is it deliberately campy that every single time they assume that low-crouch, one-hand-on-the-ground superhero pose? And how long will it take Disney to realize that they can build a fun theme-park attraction for fans if they have people take turns assuming the pose in front of a green screen so they can see themselves in a finished shot with background added?

Entire family:  No (age 8 and older?)
Run time:  148 min.
Aspect ratio:  2.39:1 widescreen
Featured audio:  DTS-HDMA 5.1
Studio/Distributor:  Columbia Pictures/Pascal Pictures/Marvel Studios
Bonus features:  B
Includes:  Blu-ray, DVD, Digital Code
Amazon link
Rated PG-13 for sequences of action/violence, some language, and brief suggestive comments

Language:  2/10—A few of the characters use the “s” word and there might be a few other lesser profanities, but no f-bombs

Sex:  1/10—Chaste as can be, with a few kisses plus an instance where a man is shown from the torso-up saying “I’m butt-ass naked”

Violence:  6/10—Punching, pummeling, explosions, and superhero-villain battling, but not much blood except for one emotional scene

Adult situations:  2/10—Really, all Marvel Universe films are adult-world films that kids have been a part of since the comic books first appeared, but in this one there are no drugs and the only scene that has anything close to drinking is an end-credit scene set in a bar

Takeaway:  The ending sets up fourth film, but thus far nothing is in pre-production

Review of MARRY ME (2022) (Blu-ray combo)

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Grade:  B+/B
Romantic comedy
Rated PG-13

If you and your family are suckers for feel-good romantic comedies that follow the rom-com formula to the first 10 digits of pi, you might think about adding Marry Me to your home video collection. This far-fetched but cute 2020 movie pairs a low-key junior high math teacher with a pop superstar that’s way out of his league. 

How far out?

Jennifer Lopez plays the sexy performer Kat Valdez, who is known and loved worldwide, while Owen Wilson is meek and nerdy math teacher Charlie Gilbert, the custodial single parent of a junior-high age daughter named Lou (Chloe Coleman). The idea of a romance between a celebrity and an average person no doubt stems from those happily-ever-after fairy tales about commoners marrying a prince . . . or beauty marrying a beast. Here Wilson is the common “beast,” and that’s not just me throwing shade. There are more than a few jokes in the film about the disparity in their looks and appeal.

Instead of a “meet cute” there’s a “marry cute.” Charlie reluctantly agrees to go to a Kat Valdez concert with his best friend/co-worker (Sarah Silverman) and daughter to prove he’s a cool dad. It’s the hottest ticket in town, as the whole world is talking about the hit song that Valdez made with Latinx heartthrob Bastian (Maluma). At this concert, in front of 5000 fans and 20 million people watching on TV, the couple will perform the song live and then get married onstage.

But as Parker hands Charlie her “Marry Me” sign to hold while she takes a few photos, everyone in the room begins gasping and looking at their phones. They’re looking at film of Bastian “canoodling” (we have to bring that word back!) with Valdez’s assistant. Ouch. Valdez not only stops the concert; she talks about breaking patterns and taking a leap of faith. Seeing Charlie in the first few rows with his “Marry Me” sign she declares, “Yes. I’ll marry . . . YOU.”


Review of KING RICHARD (2021) (Blu-ray)

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Grade:  B+
Sports biopic, 2021
Rated PG-13

King Richard is a good movie that our family found entertaining. But we also found ourselves wondering how Oscar-worthy it was. The film has received nominations for Best Picture, Best Actor, Best Supporting Actress, Best Original Screenplay, Best Film Editing, and Best Original Song (“Be Alive,” by Beyoncé and Dixson).

Not your typical sports biopic, this Venus and Serena Williams story uniquely revolves around the father that shaped and micromanaged their careers.  And there’s no arguing with the results. His daughters became two of the greatest tennis players ever to hit the courts. Venus, who turned pro at age 14, was the first African American woman to rank No. 1 in the US Open era and notched seven Grand Slam singles titles over the course of her career. Younger (by one year) sister Serena won 23 Grand Slam singles titles—the most of any player in the Open era and second-most all-time. Together, they teamed to win 14 women’s doubles titles and three Olympic gold medals in women’s doubles.

So the Williams sisters’ story was certainly ripe for the telling.

With Hollywood being Hollywood, though, the screenplay is reductive. The curtain parts just enough to show the period between when Richard recognized the girls were ready for a professional coach and when Venus played her first match as a pro. Though both parents had a hand in coaching the girls, emphasized here is Richard’s coaching and the tension caused by his ironfisted parenting and management. As played by Will Smith, Richard is a character that’s admirable but not always likable. In fact, he can be annoying as hell. The more he pushes, you find yourself siding with the girls; the more he stubbornly ignores the very professionals he sought out, the more you want to shake him—almost as much as the agents, coaches and would-be sponsors who are so intent on getting a piece of the Williams’ action that they act like a bunch of overzealous Jerry Maguires (“Help me help you!”).


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