Ben Brown Jr.

The only thing interesting about the first episode is that the couple made Yakety Yak by the Coasters, one of the first wave of amazing Black Rock and Roll groups, their wedding song. Since it is all make believe, why did Vision have to be white? For crying out loud, there were Black people on television in the 1950's, like Nat King Cole's program in 1956/57, but you would not guess that from this lame homage. If this is to pick up the pace and tempo, lets hope Scarlet Witch flies a kite through Central Park with her face on it, drive a white Mustang hardtop to Minneapolis or the couple sing Those Were The Days in the intro. Waiting until they hit the 1980's when they can dress in gold lame and sequins and interpret the hits of the week like the dancers on Solid Gold. I've given up on the idea of a Soul Train scramble board. Maybe I will be surprised, but not holding my breath. If it is supposed to be set up like a sitcom, AT LEAST it could be funny. Obviously the writers have no real genuine idea about classic television, as the references were about as milquetoast as one could imagine. But then again, it's Disney, and my expectations were already low.

Smart, funny and worth your time. Bellamy Young is a scene stealer in every shot and perfect as the matriarch.

Yes, it is historically only slightly more than half factual or provable. Paulina Kael of the New York Times, a Citizen Kane conspiracy theory nut, is more than not to blame here. Regardless, as a piece of historical fiction, is is brilliantly acted and directed. The cinematography alone would make most in the industry green with envy. Every technical standpoint is exceeded. Dollars to donuts, it will sweep the Oscars in 2021, as it is EXACTLY the kind of film that voters love and that reminds us all of old Hollywood filmmaking. Of course those who don't know about the history, politics or culture of old California (I was born in raised in Los Angeles and worked for years in the City of Hollywood), may not get it. Do your own research, draw your own conclusions, but it is still the film we have all been waiting all year for among a decade of hi-def, comic book franchise dross.

Sidney Pollock wasn't a documentary filmmaker and had no clue really what this was going to be like, which makes this film even more revelatory, with no preconceived expectations. He and his crew shot it as they saw it, even obviously taking in the audience in a way that illustrates they were just completely blown away by everything going on. And what was going on was Aretha Franklin, in her prime, paying tribute to and working with her childhood mentor that wasn't just simply respectful, but one filled with dignity, honesty and class.