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Christie Porter

Christie Porter has worked as a journalist for nearly a decade, writing about everything under the sun, but she really loves writing about nerdy things and the weird stuff. She recently published her first comic book short this year.

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Why You Won’t Find the Best Utah Wines at the Liquor Store

By Eat & Drink

Based on what you don’t see on the shelves of Utah state liquor stores, you might think there is no such thing as a Utah wine industry. That probably syncs up with your vision of Utah: a state run by teetotallers in the legislature who don’t want anyone else to have any fun. But that’s just half the story. The number of wineries and vineyards in Utah has actually grown in the last few years, and Utah wineries are growing, making and selling wines with distinct terroir that can compete on a national stage.  

Doug McCombs is the owner of IG Winery (59 W. Center St., Cedar City, 435-TOP-WINE) and the founder of the Utah Wine Festival. He’s out to dispel the myth that Utah’s wine industry is nonexistent. “You’ll still get a giggle sometimes when you talk about Utah wine,” he says. “But the wines being produced here are really good. At tastings and festivals, they are consistently surprising people at how good the quality is.” 

All About That Grape

Utah wines from IG Winery
Wines from IG Winery (Courtesy IG Winery)

That doesn’t mean Utah vintners don’t have their growing pains. “There are six wineries in southern Utah. Some of them have vineyards…but if you slice that six ways, there’s not a lot of grapes to go around,” says McCombs. New vineyards would help, but, “when you plant vine, it takes at least five years before you get fruit,” McCombs says. 

Utah’s wine industry is growing, but it doesn’t have the existing infrastructure or support from the state that they need to grow at the speed they would like. Just like grapevines, these things take time, and Utah wineries are literally having to do it from the ground up and often in the face of bureaucratic resistance. 

Selling wine in Utah is a little tricky, thanks to legal restrictions and growing pains aren’t limited to the wineries in southern Utah. Chateau La Caille (9565 Wasatch Blvd., Sandy, 801-942-1751) has a vineyard at the base of Little Cottonwood Canyon. “We’re farmers at heart,” says La Caille winemaker Mike Marron, and as proud as he is of their own grapes, you can only get so much of them from three acres of vines. 

Without enough local grapes, winemakers need to look elsewhere to supplement their stock, which raises the question: can you call it a Utah wine if all of the grapes in the bottle aren’t grown here? “As long as it’s produced and bottled here in Utah, it’s a Utah wine,” says McCombs. “We have to make a unique blend for Utah, regardless of where the grapes come from.” IG Winery does manage to sell a wine that is made from 100% Utah grapes—McCombs’ Utah Cabernet Sauvignon retails for $100 per bottle. “It’s highly unusual to be able to get that kind of money for your wine,” says McCombs. “We don’t sell any of it for less than $60 a bottle, and it flies off the shelves.” 

Likewise, La Caille makes wine both from grapes grown in their own vineyard and grapes sourced elsewhere (most of their wines retail $45-$75). Grapes from their vineyard make the Enchanté Estate Seyval Blanc (Utah Wine Festival 2021 Gold Medal Winner) and the Estate Rosé, a blend of the Seyval Blanc and Dornfelder grapes. Marron is likewise fastidious and particular about his wine, regardless of where the grapes are from. Of all of the grapes he samples for his wines, he estimates he only ends up ordering 5% that pass muster to use in his wine. “The best quality we can find, we get,” Marron says simply.

Woman stands outside of IG Winery in Cedar City
Photo courtesy IG Winery

Despite the demand, you likely won’t see La Caille’s wines or IG Winery’s Utah Cabernet Sauvignon in Utah’s liquor stores. La Caille sells most of their wine, about 70%, through the restaurant, even as they’ve expanded to allow for on-site bottle purchases directly from the winery. And just about the only place you can get a bottle of IG Wine is at its winery. Unless, that is, you live out of state. We’ll explain. 

Where’s the Wine?

In addition to the cost and care of producing quality wine, by the time a bottle reaches liquor store shelves, the price markup is considerable—some might say unpalatable. At 88%, the Utah DABC markup is higher than any other state. “Distributors were the only ones making real money, in this case that’s the State,” says McCombs. And some wineries felt they had to produce cheaper wines to make selling in liquor stores an economically viable option. “They had to be able to make money while selling to the state,” says McCombs, “But that reinforced the idea that Utah wines were cheap and low quality. We tried to play that game, but it wasn’t what I wanted to achieve. I believed that Utah could produce excellent wines that didn’t have to apologize to anyone for what they were.” Thus, IG Winery just stopped trying to sell through the state.

So, Really, Where’s the Wine?

Vineyards at Chateau La Caille
Vineyards at La Caille (Photo courtesy La Caille)

Without the retail power of the liquor store, there aren’t a whole lot of options for a small winemaker in Utah to legally sell their wine. Wineries can sell directly to consumers at the winery, or they can sell to the rest of the country. IG Winery has a wine club that ships customers four bottles of wine every quarter. But no company can ship alcohol of any kind directly to Utah residents. So, he’s focused on selling his wine out of state. There have been attempts to allow wine clubs to ship to Utah. In 2020, legislators compromised by allowing wine lovers to ship their club wine to a state store and pick it up, along with that hefty 88% markup. “It was a nice idea in concept, but one that hasn’t rolled out effectively,” says McCombs. “It’s not there yet.” 

Even without the support from the state, local winemakers are forging ahead. “We’re finding other ways around it,” says McCombs. “When we started, we were the only winery in southern Utah. It’s growing. It’s growing slowly.” Chateau La Caille is growing, too. Parts of the building the winery shares with La Caille restaurant is undergoing a remodel as they both expand, moving forward with plans to open up a new tasting room and café seating, in part for more opportunities to sell wine outside of a five-course meal. At the moment, Chateau La Caille offers tastings by appointment only.

In southern Utah, McCombs is helping to put together the Utah Wine Trail, a pass that will get you into six wineries as well as a special gift after you visit all six, which he hopes to have off the ground in March. And the Utah Wine Festival has continued to grow every year, surprising locals and tourists alike with the quality of Utah wine. “It’s easier for us who have been around a while to take up the mantle of promoting Utah wines,” says McCombs. “We’re beginning to create a sort of association—a family of Utah producers—who want to get the word out about the quality of what we’re doing.”  


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2022 Sundance Highlights And Awards

By Uncategorized

The votes are in! After nine days of screenings (all online for the second year in a row)—including 84 feature films and 59 short films—the 2022 Sundance Film Festival announced the recipients of this years’ festival awards. 

With a total of 26 jury-awarded and six audience-awarded prizes, Grand Jury Prizes were awarded to Nanny (U.S. Dramatic), The Exiles (U.S. Documentary), Utama (World Cinema Dramatic), and All That Breathes (World Cinema Documentary). Audience Awards were presented to Navalny (U.S. Documentary), Cha Cha Real Smooth (U.S. Dramatic), Girl Picture (World Cinema Dramatic), The Territory (World Cinema Documentary), Framing Agnes (NEXT), with Navalny winning the Festival Favorite Award.

A still from Navalny, an official selection of the U.S. Documentary section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute.  All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.
A still from Navalny, an official selection of the U.S. Documentary section at the 2022 Sundance Film Festival. (Photo courtesy Sundance Institute)

Acquired Films To Watch For

One of this year’s big award winners was snatched up in a $15 million distribution deal. Cha Cha Real Smooth is a feature film by writer-director (and actor) Cooper Raiff (Shithouse). It’s the story of a New Jersey party starter, Andrew (Raiff), working the bar mitzvah circuit as he’s trying to figure out his life after college. On the party circuit, he meets young mother Domino (Dakota Johnson), and the two grow close—and things get complicated—after he begins sitting for her autistic daughter (Vanessa Burghardt). 

On paper, the story of Cha Cha Real Smooth seems real thin, but there’s just enough plot to carry all of the heart and charm delivered by the dialogue and the cast’s performances. The supporting cast is stacked with the likes of Leslie Mann and Brad Garrett, who play Andrew’s mother and stepfather and bring humor and humanity to the roles. 

Dakota Johnson appears in CHA CHA REAL SMOOTH by Cooper Raiff, an official selection of the U.S. Dramatic Competition at the 2022 Sundance Film Festival. Courtesy of Sundance Institute.  All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.
Dakota Johnson appears in CHA CHA REAL SMOOTH by Cooper Raiff, an official selection of the U.S. Dramatic Competition at the 2022 Sundance Film Festival. (Photo courtesy Sundance Institute)

While the characters are delightfully messy in their stumbling earnestness to succeed at a lot of firsts (first kiss, first real job, first committed relationships), the film is anything but messy. The emotion is tender and full, but there’s no wallowing in the melodrama here. Every emotional beat is keen and sharply delivered, like a quick knife into the heart, not a hammer bludgeoned over the head. Even the characters we’re “not supposed” to like—Garrett as stepdad and Raúl Castillo as Domino’s fiancé—are treated with compassion, their full humanity made visible in just the right moments as our understanding grows with the main character’s. Seeing how Andrew’s relationships with everyone around him, not just Domino, develop is the soul of this film. His moments with his little brother and Domino’s daughter are particularly memorable, and any time Mann is on screen is an absolute treat. 

As much as Cha Cha Real Smooth is about relationships and love, it doesn’t oversimplify naturally complicated situations like single motherhood and dating to get a happy ending. Cha Cha Real Smooth recognizes that there is more to relationships than loving someone and loving someone doesn’t mean losing yourself.  

Apple TV acquired the 2022 Sundance Film Festival U.S. Dramatic Competition Audience Award winner Cha Cha Real Smooth for $15 million.

Dakota Johnson plays the lead role in another film that landed a big distribution deal. Am I OK? Is closer to a mainstream “dramedy”—with some indie flavor— than some of the other films picked up from this year’s fest, and it seems like a good fit for HBO Max and Warner Bros., which acquired it. It’s partly a story about best friends growing up and growing apart and partly a story about coming out in your 30s. The two plotlines diverge as the film goes on, rather than coming together, leaving both resolutions to fall a little flat at the end.

Dakota Johnson and Sonoya Mizuno appear in AM I OK? by Tig Notaro and Stephanie Allynne, an official selection of the Premieres section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by Emily Knecht.  All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.
Dakota Johnson and Sonoya Mizuno appear in “AM I OK?” by Tig Notaro and Stephanie Allynne, an official selection of the Premieres section at the 2022 Sundance Film Festival. (Photo courtesy of Sundance Institute | Photo by Emily Knecht)

Am I OK? is directed by the formidable comedic powerhouse Tig Notaro, along with her wife Stephanie Allynne. The standup comedian is known for her ability to have you in stitches in one second then in tears the next as she frankly divulges the details of her life, including her cancer diagnosis. As such, I kept waiting for the film to either press the humor and deliver more jokes or press the emotion and deliver more depth of feeling. Either way, it felt like it needed more of it. 

Everyone in this film is extremely charming, however, and the chemistry between the two leads is genuinely enjoyable to watch. In a Sundance Q&A, Dakota Johnson quipped that she prepared for the role of Lucy—a thirty-something delving into her sexual identity for the first time—by making out with a lot of girls. Sonoya Mizuno stands out as life-long best friend Jane, a part she related to, saying, “I connected to being a woman in my 30s and not feeling like I have everything figured out. Trying to juggle a career, relationships and wanting to have a family and sexuality. All of the things women have to contend with.”

In the end, Am I OK? is a fun feature about female friendship that would be a worthwhile addition to your streaming queue once it arrives on HBO Max. 

Some of the other acquired 2022 Sundance films to add to your streaming queues and watchlists include:

Award Winners Waiting On Acquisition

A U.S. Dramatic Special Jury Award: Uncompromising Artistic Vision was presented to Bradley Rust Gray for blood

After the death of her husband, a young woman travels to Japan where she finds solace in an old friend. But when comforting turns to affection, she realizes she must give herself permission before she can fall in love again. Juror Payman Maadi said, “Rust gently walks us through an authentic journey of grief that invites us to observe intimate moments of human connection. It is sometimes the small changes that leave a lasting effect on your life. Sometimes to ease your pain and find yourself, you have to leave your comfortable surroundings to find a world that will help you know yourself better.”

Salt Lake magazine review of blood

A World Cinema Dramatic Special Jury Award: Acting was presented to Teresa Sánchez for Dos Estaciones

In the bucolic hills of Mexico’s Jalisco highlands, iron-willed businesswoman Maria Garcia fights the impending collapse of her tequila factory. Juror La Frances Hui said, “This performance is a total standout. This actress delivers the complexity of a factory owner bearing the weight of a family business under threat. Her nuanced performance embodies toughness, loneliness, a yearning for love, and an ignitable rage that brings the character fully alive and infinitely fascinating to follow.”

Salt Lake magazine review of Dos Estaciones 


Read all of Salt Lake magazine’s 2022 Sundance Film Festival reviews.

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Sundance 2022 Review: ‘The Mission’

By Arts & Culture

The Mission, a documentary premiering at the 2022 Sundance Film Festival, represents the first time the Church of Jesus Christ of Latter-day Saints (most commonly referred to as the LDS or Mormon Church) has given a non-LDS film crew access to missionaries throughout the entirety of their mission. The church’s mission program sends tens of thousands of teenagers and young adults around the world to proselytize and convert new members for two years. The Mission follows four of these missionaries sent to Finland. 

While the level of access might be unprecedented, that might not mean much. Most of what we learn about LDS missions and missionaries is not particularly revelatory for anyone familiar with the religion. Those who are not familiar might find the mission experience novel or discomfiting. LDS church members will likely find a number of scenes in the documentary to be edifying and faith-affirming (or nostalgic if they, too, served a mission). That said, the separate messages taken by each of these groups might be better delivered if sought elsewhere. 

Still from 2022 Sundance Film Festival documentary 'The Mission'
Sister McKenna Field in a still from 2022 Sundance Film Festival documentary “The Mission” (Photo courtesy Sundance Institute)

The lens of the documentary most closely aligns with the perspective of those not familiar with the intricacies of the faith and its culture. The impetus of the documentary, as described by director Tania Anderson, began with a “chance encounter” with two missionaries on a cold night in Finland in 2016. Anderson says, “I happened to pass two young men speaking English. I immediately recognized their suits and aimed to press on before they saw me,” which is how many Finns in the documentary reacted to seeing missionaries proselytizing on the street. Instead, Anderson found herself eavesdropping on their conversation about “temptation being everywhere.” She says, “For the first time, I could see beyond the attire that so officiously differentiate them from other teens, and clearly demarcates them as representatives of their church. And in that moment, I caught a glance at two unique 18-year-olds with high hopes, and deep fears, trying to keep out the cold and mundanity of everyday life.”

The Sundance documentary inspired by the encounter keeps that focus—presenting the experiences of teenagers, who believe they are called by god to serve far from home, without commentary. The result is something of a coming-of-age story about the four missionaries at the core of the documentary: Elder Tyler Davis, Sister McKenna Field, Elder Kaii Pauole and Sister Megan Bills. On their own for the first time in their lives, in a foreign country, with a tenuous grasp on the language, a divine mandate, and expectations far from reality, we see all four of them forced to develop and learn more about themselves and become more entrenched in their faith.

As they say goodbye to their families and as they meet their first companions in the field, the missionaries’ inexperience, naivete and unrealistic expectations are on full display, which might inspire sympathetic anxiety in a mature audience. Elder Tyler Davis has never ironed his own dress shirts before. Sister Field takes literally the church leaders’ promise of spiritual blessings for going on mission. She believes those blessings will inspire her family members to return to practicing the LDS faith, which they have disavowed. Sister Bills doesn’t know how she’s going to live for two years without rocking out in the car with her sister to their favorite music (the church requires missionaries avoid entertainment or other activities common to this age-group as long as they are on their missions, so they can focus entirely on the work of serving and of teaching others the LDS gospel.) For his reason for going on a mission, Elder Kaii Pauole cites the church edict that “every able young man should serve a mission,” attributing it to scripture, although he isn’t sure which scripture it’s from. That could be because it’s actually taken from talks by former LDS church presidents. LDS President Thomas S. Monson said, “Every worthy, able young man should prepare to serve a mission. Missionary service is a priesthood duty—an obligation the Lord expects of us who have been given so very much. Young men, I admonish you to prepare for service as a missionary.” (Young women are not required by the faith to go on a mission but can choose to do so regardless.)

Still from 2022 Sundance Film Festival documentary 'The Mission'
Elder Tyler Davis in a still from 2022 Sundance Film Festival documentary “The Mission” (Photo courtesy Sundance Institute)

The documentary succeeds in showing the naïve, vulnerable and, at times, scared teenager behind the tell-tale LDS missionary name tag. These are just kids, after all, and they arrive in Finland out of their depth with only their faith at the end of the day. Perhaps inadvertently, the documentary also exposes an issue with which the church’s new messaging and guidelines are at odds with its deeply rooted culture. 

Elder Davis reveals to one of his companions his mental illness. He explains that his depression and anxiety and “bipolarity” have become more and more of a struggle to manage the longer he stays on his mission. He expresses particular anxiety around “transfer calls,” when a missionary must move to a new area and work with a new companion every few months or so. He says he had sessions with a “mission therapist,” which appears to be the same counseling offered to church members by LDS Family Services (a faith-based counseling arm of the church which discloses notes on the patient to their church leaders). Still, Davis’s health continues to deteriorate until he suffers some kind of seizure. With seven months left to serve, Davis’s mission president sends him home early. 

While the church has tried to soften their messaging around missionaries who don’t complete their mission, Elder Davis’s reaction to the news shows that the messaging from the church’s culture and membership has some catching up to do. “I would rather stay here for another seven months and die serving the people of Finland than go home early and live another 60 years,” he tells his companion. His mission president assures Davis that God wants him to be healthy and whole and does not love him any less, but that message must combat a lifetime of pressure and expectation from church and family to complete a full-time mission. Months later, when we see Elder Davis at the homecoming events of his fellow missionaries, he still appears despondent. “You’re really quiet now,” Pauole tells Davis.

Still from 2022 Sundance Film Festival documentary 'The Mission'
Elder Kaii Pauole in a still from 2022 Sundance Film Festival documentary “The Mission” (Photo courtesy Sundance Institute)

Because the documentarians do not offer commentary on the experiences of the missionaries,  the audience is left to ponder themselves a question posed by a Finnish high school student to Elder Pauole: “Do you feel like your life as a teenager is being limited?”

The Mission premiered the fifth day of the 2022 Sundance Film Festival and, as of publication, has not been acquired for distribution. 


ABOUT THE MISSION DIRECTOR TANIA ANDERSON
Director and Writer Tania Anderson is a British, American and Swiss emerging filmmaker, based in Helsinki, Finland. She has also worked as a writer and journalist with over 10 years of experience of working in the media, most recently as a writer for National Geographic, where she discovered her passion for telling ordinary people’s extraordinary stories. A conversation she accidentally overheard between two young missionaries in dark, wintery Finland sparked the idea for The Mission, which is also her first feature-length documentary film.  


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Sundance 2022 Feature Films Take On Abortion Rights

By Film, Sundance

Jan. 22 was the 49th anniversary of the U.S. Supreme Court’s Roe v. Wade decision on abortion rights, and it could be the last, pending yet another Supreme Court decision. As anti-abortion groups marched in Washington for the annual March For Life, the 2022 Sundance Film Festival had lined up three films that show what it looks like to live in a society without access to legal abortions.

Call Jane

In every way, Joy (Elizabeth Banks) appears to be the perfect 1960s American wife and homemaker. With a pristinely coiffed blond bouffant and floral patterned house dress, she cares for and dotes on her attorney husband Will (Chris Messina) and 15-year-old daughter Charlotte (Grace Edwards). When she gets pregnant, it’s a cause for celebration. Until her first doctor’s visit, that is. With her life threatened by the pregnancy, Joy seeks an abortion. 

Elizabeth Banks and Wunmi Mosaku appear in Call Jane (a film about providers of illegal abortion) by Phyllis Nagy, an official selection of the Premieres section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by Wilson Webb.  All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.
Elizabeth Banks and Wunmi Mosaku appear in Call Jane by Phyllis Nagy, an official selection of the Premieres section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by Wilson Webb.

This is what the film does well, showing the frustration and desperation of a woman meeting obstacle after obstacle to receive life-saving medical care. The hospital’s (all-male) board denies her an abortion because there’s a chance Joy could carry the pregnancy to term (but potentially kill her in the process). She then seeks out a diagnosis of insanity from two psychiatrists, her only other avenue to a legal abortion. She’s denied that as well. And legality wasn’t the only obstacle. After all, this was an era where women couldn’t have their own bank accounts and were often denied contraception and likely couldn’t work if they were pregnant or had children. 

“How do you just keep going?” Joy’s husband asks that night as she goes about her regular beauty regimen before bed. 

“Because that’s what I do,” she says. What else can she do? 

When Joy does decide to go the extralegal route, she comes across a flier advising her to “Call Jane.” Jane, as it turns out, isn’t one woman but several, a collective working to give women access to safe abortions. After her abortion, which she hides by saying she had a miscarriage, Joy begins helping The Janes. As she meets women desperate to terminate their pregnancies—far more than the Janes can possibly accommodate—Call Jane shows Joy’s transformation from demure housewife to a supporter of women’s rights and an abortionist herself. This is partially spurred by tension among the Janes as they try to decide which women they will help. 

A pivotal scene shows the desperation of the Janes to help the likewise desperate women. They wrote the information of each one on a 3×5 index card and pass them around: Mothers who can’t provide for another child, women without access to birth control, rape victims, young girls, cancer patients and on and on.

Elizabeth Banks and Sigourney Weaver appear in Call Jane (a film about providers of illegal abortion) by Phyllis Nagy, an official selection of the Premieres section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by  Wilson Webb.  All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.
Elizabeth Banks and Sigourney Weaver appear in Call Jane by Phyllis Nagy, an official selection of the Premieres section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by Wilson Webb.

While based on true events, Call Jane is a film in want of a climax. The group was eventually raided and arrested in 1972 (about a year before Roe v. Wade, which would render anti-abortion laws in 46 states unconstitutional), but that part of the story doesn’t really make it into the movie. We also miss out on a resolution to Joy’s domestic drama, which becomes more and more the focus of the film as it progresses. Performance highlights include Sigourney Weaver as the righteous and assertive Virginia, the de facto leader of the Janes, Cory Michael Smith as the Janes’ awkward-mannered abortionist, brief appearances by Kate Mara as Joy’s neighbor and friend Lana and Chris Magaro as a police officer whose single scene provides a much-needed (if not too late) rise in the stakes.  

Call Janes premiered day two of the 2022 Sundance Film Festival and is still seeking distribution at last check. 

ABOUT CALL JANE DIRECTOR PHYLLIS NAGY
Phyllis Nagy is a writer and director whose work includes award-winning films (Mrs. Harris), screenplays (Carol), and plays (Disappeared). 


The Janes

The Janes is the second film at the 2022 Sundance Film Festival about the real-life group the Jane Collective. The Janes is a documentary that chronicles the group’s formation out of the near-daily revolutions happening in Chicago 1968 through its dissolution in 1973 with Roe v. Wade. During that time, abortion was a crime in most states (and even circulating information about abortion was a felony in Illinois) and the Janes provided abortions to an estimated 11,000 women. 

Sundance film The Janes. (A documentary film about providers of illegal abortion) All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.
A still from The Janes by Emma Pildes and Tia Lessin, an official selection of the U.S. Documentary Competition at the 2022 Sundance Film Festival. Courtesy of Sundance Institute.

The Janes begins with a little stage-setting, taking us through the political and societal upheaval of 1968 Chicago and liberation and anti-war movements where some of the Janes cut their teeth. We also see the gruesome results of women who, out of necessity or desperation, risk a variety of abortion methods. A medical doctor interviewed in the documentary recalls the septic abortion ward at Cook County Hospital, where they admitted women who had undergone an illegal abortion and something had gone wrong. He recalls treating women and girls with chemical burns, perforated organs, infections, septic shock, and every day, that ward was full. No matter the legality, there are going to be women who seek abortions. And the founding members of the Jane Collective, some of whom had received abortions themselves, saw the need for those abortions to be performed safely. Women were dying and it seemed no one else cared. Through this, The Janes establishes the impossibly high stakes.  

The story of the Jane Collective is told through archival footage and interviews with those involved. Their sharp recollection of the events gives the documentary its weight and emotion, and we get glimpses into their surprising playfulness, drive and deep care. One woman, Jeanne, still had a stack of the 3×5 index cards on which (as shown in Call Jane) they wrote the information of people seeking abortions from the Jane Collective. They would pass those cards around their group, assigning each one to the member who thought she could best handle that particular case. For years, their clandestine network avoided detection by using code names, fronts and safe houses. Unlike in Call Jane, in The Janes, we learn how the collective is ultimately raided by police and the members arrested and charged as told by the people who were there. What saved them from a lifetime in prison was partly a legal strategy of delay, delay, delay and partly the Supreme Court’s decision on Roe v. Wade. 

With abortion no longer illegal—which it had been in most states—the Jane Collective dissolved and the members largely went their separate ways, pursuing other causes. The septic abortion ward at Cook County Hospital was also shuttered a year later, as, like the Jane Collective, it was no longer needed. 

The Janes premiered on the fifth day of the 2022 Sundance Film Festival and has already been picked up for distribution by HBO. 

ABOUT DIRECTOR TIA LESSIN
Tia Lessin was nominated for an Academy Award for her work as a director and producer of the Hurricane Katrina survival story Trouble the Water, winner of the 2008 Sundance Grand Jury Prize and the Gotham Independent Film Award. She directed and produced Citizen Koch, about the rise of the Tea Party in the Midwest, which also premiered at Sundance and was shortlisted for an Oscar in 2014. The Janes is the third feature-length documentary that Tia has directed. 

ABOUT DIRECTOR EMMA PILDES
Emmy-nominated filmmaker Emma Pildes has an extensive background in, and boundless love for, non-fiction storytelling. The Janes is Emma’s directorial debut. 


Happening

The third Sundance film that gives a look at what a society without legal abortion could look like takes place in France, 1963. The official synopsis of Happening reads, “Anne (Anamaria Vartolomei) is a bright young student with a promising future ahead of her. But when she falls pregnant, she sees the opportunity to finish her studies and escape the constraints of her social background disappearing. With her final exams fast approaching and her belly growing, Anne resolves to act, even if she has to confront shame and pain, even if she must risk prison to do so.”

Anamaria Vartolomei appears in Happening by Audrey Diwan, an official selection of the Spotlight section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by IFC Films.
Anamaria Vartolomei appears in Happening by Audrey Diwan, an official selection of the Spotlight section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by IFC Films.

Happening is told from the perspective of Anne in 1.37 aspect ratio, along with several interior monologues with a musical accompaniment, to give the sense that the camera is one with the actress. “The camera was supposed to be Anne, not to look at Anne,” says Happening director Audrey Diwan. 

The film is adapted from the semi-autobiographical novel of the same name by prize-winning author Annie Ernaux, who, after seeing the film adaptation, told Diwan, “You’ve made a truthful film.” She later went on to say in a letter, “Audrey Diwan had the courage to show it [women’s recourse before legal abortions] in all its brutal reality: the knitting needles, the probe introduced into the uterus by an abortionist. Only such disturbing images can make us aware of the horrors that were perpetrated on women’s bodies, and what a step backwards would mean.”

The French-language film has already been acquired for distribution by IFC Films. Happening will open theatrically on May 6, 2022. 

ABOUT DIRECTOR AUDREY DIWAN
Audrey Diwan is a filmmaker, author and screenwriter who has collaborated with Cédric Jimenez, Gilles Lellouche and Valérie Donzelli, among others. She made her feature film directing debut with Losing It, starring Celine Sallette and Pio Marmai. Her second film, Happening, won the Golden Lion in 2021 Venice Film Festival and will be released theatrically in the US by IFC Films in 2022. 


Read all of Salt Lake magazine’s 2022 Sundance reviews.

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Sundance 2022 Review: ‘Brainwashed: Sex-Camera-Power’

By Film, Sundance

As a filmmaker, now I am asking myself, where does the camera go? What am I looking at? Am I showing what it feels like to be looked at? Am I showing how it feels to see while I’m being looked at? What is the heroine’s journey?” asks Joey Soloway (producer and director of Transparent and I Love Dick), one of the interviewees in Brainwashed: Sex-Camera-Power. Soloway sums up the views of the filmmakers, actors, activists and researchers in Brainwashed, calling the objectification of women in cinema “a state of emergency.” 

Poster image of BRAINWASHED: Sex-Camera-Power by Nina Menkes, an official selection of the Premieres section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute.
Poster image of BRAINWASHED: Sex-Camera-Power by Nina Menkes, an official selection of the Premieres section at the 2022 Sundance Film Festival. (Photo courtesy Sundance Institute)

With Brainwashed, director Nina Menkes (Queen of Diamonds, The Bloody Child, Phantom Love) draws a straight line from the language of visual storytelling in film to gender discrimination in the film industry and to a culture of sexual violence and abuse against women. But, much of the work of supporting this argument has already been done, leaving Menkes with the task of presenting it in a new and engaging way and trying to answer the question, “where do we go from here?

The documentary is structured around a lecture given by Menkes and supplemented by professional interviews and a barrage of clips that hammer home how radically different the camera shoots women compared to how it shoots men. Menkes explains that women are frequently displayed as objects for the use, support and pleasure of male subjects. “This systematic law of cinematic language can be seen in almost all the ‘best films,’ the ones young women are told to study, absorb and emulate when they arrive at film school.” 

Brainwashed doesn’t hesitate from pulling examples of gendered shot design from Academy Award-winning films, blockbusters or long-proclaimed cinematic masterpieces. (Even a scene with festival founder Robert Redford in Butch Cassidy and The Sundance Kid gets called out.) At first, the seemingly endless film clips of female actors and female bodies—often shot from the same angles, with the same perspectives, with the same lighting and same slow camera movements and close-ups of disparate body parts—seems novel. Then the barrage starts to feel like compelling visual evidence for Menkes’ argument, then it’s disquieting and then sickening by the time we are seeing violence against women presented through the same kind of objectifying lens and sensual shot design. All-told, Brainwashed contains 175 film clips, ranging from 1896 through the present.

Brainwashed isn’t the first time someone has made an argument about how visual storytelling in film, firstly, is gendered and, secondly, contributes to a culture of misogyny, sexism, discrimination and sexual violence. The evidence for that has been well-tread and is re-tread in Brainwashed. After all, the #MeToo movement is a few years old now and, before that, film theorist Laura Mulvey, who is interviewed in Brainwashed, coined the term “male gaze” back in the 70s with her essay “Visual Pleasure and Narrative Cinema.” This documentary feels unique not for its dissection of films clips, nor the inclusion of psychoanalysts proving both the societal and personal impacts, nor the stories of people in the industry who had careers destroyed for saying “no,” but for trying to show another way to visually tell stories other than the way we have come to consider the (problematic) standard.

BRAINWASHED: Sex-Camera-Power by Nina Menkes, an official selection of the Premieres section at the 2022 Sundance Film Festival. (Photo courtesy Sundance Institute)

When Menkes tries to show “another way” of visual storytelling, she often begins with the phrase, “in my own films.” Indeed, we see scenes from Menkes’ films in which she endeavors to make external the internal experiences of women as truthfully as possible, including their experiences during sex. Thankfully, Menkes doesn’t just use her own work as examples of another way. She asks the question, “what would desire look like on film when it’s not about subject and object?” They use Portrait Of A Lady On Fire (2019), which features a mutual desire between two women, to show how an “object” can discover their own subjectivity, i.e.: power, within a story. They use films like Promising Young Woman (2020) which attempt to subvert the standard narrative and upend power dynamics. They also argue that Oscar wins for Nomadland (2020), told from the perspective of a woman in her 60s (Frances McDormand), and director Chloé Zhao as a hopeful herald of changing times.

The documentary concludes with a series of questions, imploring the audience to examine their own lives and their own world and compare their truth to what they have been taught to believe instead: the world we see on film. “How do I actually experience desire? How do I actually experience my day? Because we’ve been taught what is time, what is sex, what a man is, what a woman is—we’ve been taught all of these things. And if we just accept it, we are trapped in a collective consciousness.”

To other filmmakers Menkes asks, “What happens if you try to listen inward? What happens if you try to tune in, in a very delicate and quiet way, to what you’re actually experiencing? And what would actually be a true expression of that experience translated into a shot?”

Nina Menkes appears in BRAINWASHED: Sex-Camera-Power by Nina Menkes, an official selection of the Premieres section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by Hugo Wong.
Nina Menkes appears in BRAINWASHED: Sex-Camera-Power by Nina Menkes, an official selection of the Premieres section at the 2022 Sundance Film Festival. (Photo courtesy Sundance Institute | Photo by Hugo Wong)

If you’re familiar with the work of the #MeToo movement, the revelations following the accusation and conviction of Harvey Weinstein, or any of the body of work and research that forms the pillars of this documentary (like The Center for the Study of Women in Television and Film or The Women’s Media Center), Brainwashed might not present anything new. The effect of the film clips presented one after the other in an endless string of evidence is upsetting but aids the argument in a way a scholarly article cannot. However, even though the problem was pointed out long before Brainwashed, it still can’t give us a satisfactory answer to what comes next. For just under two hours, Brainwashed offers a thorough examination of sex and power in shot design and the personal and societal ills that stem from it. But, as far as presenting a manual of how filmmaking and the industry should proceed from here, we’re left with a lot of questions. 

Brainwashed: Sex-Camera-Power premiered on day three of the 2022 Sundance Film Festival and is available for ticket-holders to watch online until 8 a.m. (MST) Jan. 25. 


ABOUT PRODUCER/DIRECTOR NINA MENKES

Called “brilliant, one of the most provocative artists in film today,” by The Los Angeles Times, and a “cinematic sorceress” by The New York Times, Menkes’ films synthesize inner dream worlds with brutal, outer realities. Her work has been shown widely in major international film festivals, including Sundance (four feature premieres), the Berlinale, Locarno, Toronto, and MOMA in NYC. She has had numerous international retrospectives and her early work has been selected for restoration by the Academy Film Archive and Scorsese’s Film Foundation. Menkes is a Fulbright and Guggenheim Fellow and on the faculty at California Institute of the Arts. For more information: ninamenkes.com


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Wait For It: ‘Hamilton’ SLC Performances Set To Resume Jan. 18

By Arts & Culture

If you have a ticket to see the touring Broadway performance of Hamilton at the Eccles Theater this week (Jan. 12–16), hang onto it. Broadway Across America said in a statement that they have rescheduled those postponed performances and will honor those tickets. In other words, you’re not going to miss your shot to see Hamilton at home.

Now that we’ve got the obligatory Hamilton pun out of the way, here are the rescheduled dates:

Original Dates → New Dates

  • Wednesday, January 12, 7:30 pm → Wednesday, February 2, 7:30 pm
  • Thursday, January 13, 7:30 pm → Thursday, February 3, 7:30 pm
  • Friday, January 14, 8:00 pm → Friday, February 4, 8:00 pm
  • Saturday, January 15, 2:00 pm → Saturday, February 5, 2:00 pm
  • Saturday, January 15, 8:00 pm → Saturday, February 5, 8:00 pm
  • Sunday, January 16, 1:00 pm → Sunday, February 6, 1:00 pm
  • Sunday, January 16, 7:00 pm → Sunday, February 6, 7:00 pm
  • Tuesday, January 18, 7:30 pm → Tuesday, February 1, 7:30 pm
  • Wednesday, January 19, 7:30 pm → Wednesday, February 9, 7:30 pm
  • Thursday, January 20, 7:30 pm → Thursday, February 10, 7:30 pm
  • Friday, January 21, 8:00 pm → Friday, February 11, 8:00 pm
  • Saturday, January 22, 2:00 pm → Saturday, February 12, 2:00 pm
  • Saturday, January 22, 8:00 pm → Saturday, February 12, 8:00 pm
  • Sunday, January 23, 1:00 pm → Sunday, February 13, 1:00 pm
  • Sunday, January 23, 7:00 pm → Sunday, February 13, 7:00 pm

The original statement on the postponement on the Salt Lake County Arts & Culture site reads in full:

 “We regret to inform you that all performances from Jan. 12–16, 2022 have been postponed due to positive breakthrough COVID cases within the company of Hamilton. We apologize for the disappointment and inconvenience this scheduling change has caused ticket holders. Please hold onto your tickets while we work to reschedule the show. There is no other action needed on your part at this time. Details will be sent to you by email as soon as they’re available. At this time, all future performances of Hamilton next week (Jan. 18-23, 2022) will go on as planned.”

Salt Lake City Hamilton fans are not alone in having COVID ruin their plans. The Hamilton production in Los Angeles had to cancel performances due to COVID cases, set to resume Feb. 9 at the Hollywood Pantages Theatre. 

“And Peggy” Company performs Hamilton at the Eccles Theater with Julius Thomas III as Hamilton (Photo copyright Joan Marcus)

By now, the smash-hit hip-hop musical has already climbed to the peak of its popularity, when people might have killed over tickets to see the original Broadway cast perform. So, we all know the story: Founding father Alexander Hamilton was an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. After a meteoric rise followed by a tragic fall, the titular Hamilton is shot and killed in a duel by frenemy Aaron Burr.

A recording of a performance by the original cast is available for anyone with a Disney+ subscription to watch, anytime, but Hamilton continues to draw crowds to the touring Broadway shows (even amidst the spread of the Omicron COVID variant), packing theaters across the country—a demonstration of its impressive staying power. And that means a lot of people who are headed to the Eccles Theater have already seen or heard the original in some form or fashion and can compare the two shows.

Rick Negron as King George in HAMILTON at the Eccles (photo copyright Joan Marcus)

The Hamilton company performing at the Eccles Theater infuses the show with a fresh and buzzing energy, hitting the dance steps as well as they’re hitting the notes and lyrics. Julius Thomas III (Hamilton) embodies the hungry young upstart with big dreams and a big mouth. Stepping up that night, DeAundre’ Woods,, soulful and earnest, strikes a pitch-perfect contrast as Hamilton’s foil—the more restrained and contemplative Aaron Burr. The two are electric on stage together and serve as the heart of a well-oiled show that moves at an almost dizzying clip.

Other highlights of the performance include Rick Negron’s King George (pictured), who appears to be having the most delightful time with the ridiculousness of the solo spotlight, glittering costume and catchy number “You’ll Be Back.”

Darnell Abraham as George Washington was an audience favorite, practically vibrating the walls of the Eccles with the authority and deep timbre of his low notes.

Also worth a mention: the satisfying harmonies and big belting voices of the Schuyler sisters, played that night by Victoria Ann Scovens (Eliza), Marja Harmon (Angelica) and Milika Cherée (and Peggy).

Everyone on stage, from principles to ensemble, rises to the occasion. Overall, it’s fast-paced, clean and sharp. Sometimes the mics miss the end of the rapid-fire phrases, but there is no fat to trim here, and it’s still a good time.  

If you’re seeing the show at the Eccles Theater, Broadway At The Eccles has COVID guidelines in place, saying the event is being planned at full capacity. Masks are required to be worn by all patrons while in the venue and proof of vaccination or a recent negative COVID test could also be required for future performances. 

Tickets are available at Broadway-at-the-Eccles.com.


The trailer for the National Tour of Hamilton

OVERVIEW: HAMILTON is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography. It has won Tony®, Grammy®, and Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors. For information on HAMILTON, visit www.HamiltonOnBroadway.com.


For more Hamilton, Salt Lake magazine talked to Gov. Spencer Cox about his love of the musical You can also check out our review of the last time the show came to town. For more Art and Entertainment, subscribe to receive the latest print issues of Salt Lake Magazine.  

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Help Your Skin Survive Utah Winters

By Lifestyle

Between the cold temperatures, infrequent moisture and bad air, winter in Utah is not doing our skin any favors. In fact, the season might be actively conspiring to make all of us dry, red and chapped from November-March. It’s not completely hopeless, though. According to the staff at Got Beauty salon and spa, there are some steps we can take to save our skin this winter.

1. Exfoliate

A gentle exfoliant can clear off the dry, dead skin that can cause irritation and breakouts. You can also use an exfoliating lip scrub to help with chapped lips.

2. Time to Moisturize

Put on moisturizer after the shower (which should be warm, not hot, to avoid over-drying your skin), while your skin is slightly damp. You can also reapply throughout the day as needed. If your skin is particularly parched, switch to a moisturizer especially for dry or sensitive skin and consider investing in a humidifier.

3. Speaking of Moisture

Drink lots of water. Just do it. 

4. Protection from the Elements

Bundle up to protect your skin from the cold and, for the parts you can’t cover up, wear sunscreen to avoid sun damage. 

5. Lip Balm But No Licking

Keep a healing and hydrating lip balm in your pocket this winter and apply it before you put anything else on your lips. And do not lick your lips. It only makes them more chapped. 

6. Special Foot Care

Soaking your feet for a few minutes then scrubbing with a pumice sponge can help slough off that flaky skin. Afterwards, you can use peppermint essential oil to help soften and heal any dry, cracked areas. 

7. Take Your Supplements

Got Beauty recommends taking Omega-3 and Vitamin E to help skin retain moisture and collagen and biotin for overall skin health.

Expert Tip: Caring for Sensitive Skin in Winter

Raised in Utah, Tenisha “Isha” Hicks is a celebrity esthetician who owns two beauty wellness businesses, including Isha Esthetics and Wellness (4700 S. 900 East, Ste. 26, SLC), where she works with her highly trained staff. 

“My favorite ‘save face’ product for winter is the Tissue Repair Cream from M’lis (retails $15 per oz). It helps with that cold break down as well as my eczema. I also love the Purete Skin Health Kit from Phytomer (retails $70). It’s the ultimate inversion debunk kit that will keep your skin safe through winter.” —Isha


Subscribe to Salt Lake magazine.

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What to Expect When You’re Expecting the 2022 Utah Legislative Session

By City Watch

The 2022 Utah Legislative Session begins Jan. 18, and, for 45 days, lawmakers will swarm capitol hill and buzz around, debating issues that matter and, inevitably, a few issues that do not. While there isn’t a script to the session, once you’ve seen enough of them, patterns start to emerge. There are big-issue bills that return, in some form or another, year after year, but never seem to see the polish of the Governor’s desk. There are non-issue bills that we hope to never see or hear from again, but they insist on coming back from the dead. There are bills that emerge that have more to do with the national discourse than anything actually going on in the Beehive State. But, in the end, where legislators decide to put the money during the budget approval process shows what their priorities really are.

Maybe This Year Will Be Different

At the top of the “for real, we mean it this year” list is an issue that many Utahns say they care more about than any other: air quality

“Sometimes it takes a few years for good legislation to pass,” says Steve Erickson, a lobbyist and policy guy for a swath of non-profit organizations that deal with housing and homelessness, poverty, the environment and water conservation. “We’d really like to see some major effort in improving air quality in the legislature. That’s just not been happening.”

But 2022 could be the year! Sen. Kirk Cullimore (R-Sandy) already announced legislation that could cut emissions in Utah by 50% by 2030. What they’re calling Prosperity 2030 would create a program to help low-income Utahns afford to buy cleaner vehicles and make it more expensive to register high-polluting cars. The legislation would also make businesses do their part to clean the air by implementing a cap-and-trade system that would set a limit on emissions but let companies buy the ability to pollute more from companies that are polluting less than the state limit. That might be a hard sell to some lawmakers, but it likely won’t be the only piece of air quality legislation on the hill this year. 

Follow the Money

You might have noticed that, like the bad air, Utah’s affordable housing crisis hasn’t solved itself, either. Every year, affordable housing advocates push for the legislature to invest more money in new housing. And in previous years, the legislature has ignored those requests or invested less than what advocates say is actually needed. This year (or maybe next), advocates are hoping to get some of the unused federal COVID funds earmarked for affordable housing projects. 

In fact, there’s a lot of unclaimed money sitting around this session. In addition to unspent federal relief money, Utah has a lot of extra revenue to spend going into the 2022 legislative session, and everyone wants a piece of it. One idea floated out there is an old favorite—tax cuts. But some want to put a twist on the old idea. “From the low-income advocacy side, rather than a flat tax cut that benefits wealthy people more than the middle class, we would like to see an end to the sales tax on food,” says Erickson. 

Another place some of that money could go? Education. Advocates are always asking the legislature to increase the weighted pupil unit (how they calculate public education funding), of which Utah has some of the lowest per-pupil spending of any state in the union. 

Another persistent problem for the state is that pesky drought. We’ve already seen a deluge of water use proposals and presentations leading up to the general session, and expect that to persist as well. There is more than one way to deal with a drought, but Erickson has reservations about how some of the money allocated to water might be used. “There’s $100 million set aside for water purposes that has not been designated,” he says. “There’s a concern that money might go to back the Lake Powell Pipeline, or Bear River Development, rather than water conservation efforts.”  

Back From the Dead

Last year, we saw a wave of anti-transgender legislation that particularly targeted gender dysphoria treatments for minors and trans student athletes. The discussion emerged again in committee hearings prior to the general session, and we could see the corresponding bills rise from their graves. On the other side of the transgender-related discussion, an attempt to make uniform the process to change the gender marker on legal identification could also make a comeback. 

Wait…what?

This legislative session, expect Critical Race Theory (something that isn’t taught in Utah public school curriculum) to lead to discussions about school curriculum transparency legislation. Meanwhile, Utah educators will continue to fight for a living wage for teachers. As election security is a hot topic nationally right now, we’re definitely going to see attempts to change the way we cast our votes, including vote by mail, although that is something that Utah does very well, compared to most states.

Even though legislative sessions start to blend together after a while, there are topics that come up for discussion that could change the quality of and how we live our lives. 

The thing that might set this year apart is ordinary citizens showing up on the hill and letting their voices be heard at public hearings, even if it is only to say, “here we go again.”  

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What To Do on New Year’s Eve in Utah

By Community

New Year’s Eve is almost here and with it the perfect opportunity to show 2021 the door. While the big party with the countdown to midnight is a classic stand-by for a reason, there’s no need to limit ourselves–there are plenty of events around Salt Lake City, providing an ample number of ways to say “good riddance” to another year.

BARS & PARTIES

Last Hurrah 2021
The Gateway
18 N. Rio Grande Street, SLC
Friday, Dec. 31, 9 p.m.-midnight
This free event will be open to the public. The main stage will be featuring DJ Justin Cornwall, and local bands brother and The Rubies. Draft beer, wine, hot cocktails and hot chocolate will be served in the main plaza. 

12th Annual NYE Masquerade Ball
Salt Lake City Hilton
255 S. West Temple, SLC
Friday, Dec. 31, at 9 p.m.–1 a.m.
Giveaways, dancing, food, door prizes, and dance the night away to DeeJay Stario; $150 per person for dinner tickets, $50 for reception only tickets.

The Black & White Ball NYE Party
Urban Lounge 
241 S. 500 East, SLC
Friday, Dec. 31, doors open at 8 p.m.
With Flash & Flare and Jesse Walker; tickets $10 per person, $150 to reserve a booth. 

The 4th Annual Silver Ball 
Quarters Arcade Bar
5 E. 400 South, SLC
Friday, Dec. 31 at 4 p.m.
Free-play pinball, live music, and drinks; first annual Silver Ball Showdown pinball competition starts at 5 p.m. 

New Year’s Eve With Brighter Tides
The Rest
331 Main Street, SLC
Friday, Dec. 31, at 10 p.m.–1 a.m.
Musical Performance by Leah Woods; $80-$90 per person.

New Year’s Eve 2022
Flanker 
6 N. Rio Grande St., Suite #35, SLC
Friday, Dec. 31
DJ Scene; $20 per person

Countdown to NYE Party
The Complex
536 W. 100 South, SLC
Friday, Dec. 31 at 9 p.m.
DJs, giveaways, special guest appearances; $15-$35 per person. 

JRC Events Presents: NEW YEARS EVE 2022
Union Event Center
235 N. 500 West, SLC
Friday, Dec. 31, doors open at 8pm
Shows at 9 p.m., 10 p.m., 11 p.m., midnight;  $30-$75 per person.

Great Gatsby Gala
Prohibition
151 E. 6100 South, Murray
Friday, Dec. 31, 2021 7:30 p.m.-12:30 a.m.
Dress in 1920s attire, burlesque shows at 7:30, 9:30, 11:15 p.m.; $25 admission at door, reservations required. 

SHOWS

Mokie New Year’s Eve
The Commonwealth Room 
195 W. 2100 South, SLC
Friday, Dec. 31, doors open at 8 p.m.
$40 per person. 

Pixie & The Partygrass Boys New Year’s Eve
The Depot
13 N. 400 West, SLC
Friday, Dec. 31, doors open at 7 p.m. 
$15 per person.

DINING & DRINKING

New Year’s Eve Food and Beer Pairing
Bewilder Brewing 
445 S. 400 West, SLC
Friday, Dec. 31, 7-10 p.m.
Six-course meal with five 8 oz. beers (including a small batch beer release) and a brewery tour; $125 per person.

New Year’s Eve Dinner at Finca
Finca 
1513 S. 1500 East, SLC
Friday, Dec. 31; Book reservations through Opentable
Four-course tasting menu with vegetarian options; $75, optional $32 wine pairing.

New Year’s Eve Dinner at Franck’s
Franck’s 
6263 S. Holladay Blvd., SLC
Friday, Dec. 31, 7-10 p.m.
Five-course meal; $165 per person. 

New Year’s Eve at Pago
Pago (9th and 9th)
878 S. 900 East, SLC
Friday, Dec. 31, 5–9 p.m.
Five course tasting menu; $95, optional $35 wine pairing.

New Year’s Eve at Pago 2.0
Pago On Main
341 S. Main Street, SLC
Friday, Dec. 31, 4–10 p.m.
Three-course tasting menu; $65, optional $35 wine pairing.

New Year’s Eve Dinner at Stanza
Stanza 
454 E. 300 South, SLC
Friday, Dec. 31
Five-course prix-fixe meal; $95 per person.

New Year’s Eve Dinner at Tuscany
Tuscany 
2832 E. 6200 South, SLC
Friday, Dec. 31
Four-course menu; $150 per person.


See more of Salt Lake magazine’s event coverage in our Art & Entertainment section and subscribe for our latest issue.

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Merry Geekmas: What to Watch This Holiday Season

By Arts & Culture

This December, as we’re all sitting around wondering what to watch this holiday season, we do not have to submit ourselves and our families to another viewing of A Christmas Story. Instead, this year, the new holiday releases have been taken over by some pretty nerdy adaptations and original films and TV shows.

That’s good for Utah, which is consistently rated among the, if not the, geekiest state in the nation. Whether it’s the study by a real estate website Estately or this one by Zippia, which both looked at the number of people with nerdy interests listed on their social media profiles, or another study by AT&T, which looked at the number of pop culture conventions and nerd-adjacent retailers. And this year, on-demand streaming services have a gift for Utah: some very, very nerdy content on the list of what to watch this holiday season. 

The Book of Boba Fett premieres Wednesday, December 29, 2021 on Disney+

Disney+

Hawkeye – Season Finale on Wednesday, Dec. 22, 2021

Marvel Studios’ Hawkeye stars Jeremy Renner as Hawkeye, who teams up with another well-known archer from the Marvel comics, Kate Bishop, played by Hailee Steinfeld. The cast also includes Vera Farmiga, Fra Fee, Tony Dalton, Zahn McClarnon, Brian d’Arcy James and newcomer Alaqua Cox as Maya Lopez. Hawkeye is helmed by Rhys Thomas and directing duo Bert and Bertie. Hawkeye debuted on Disney+ on Nov. 24, 2021.

The Book of Boba Fett – Premieres Wednesday, Dec. 29, 2021

The Book of Boba Fett, a thrilling Star Wars adventure teased in a surprise end-credit sequence following the Season Two finale of The Mandalorian, finds legendary bounty hunter Boba Fett and mercenary Fennec Shand navigating the galaxy’s underworld when they return to the sands of Tatooine to stake their claim on the territory once ruled by Jabba the Hutt and his crime syndicate.

LEGO Star Wars Holiday Special – Now Streaming

The LEGO Star Wars Holiday Special reunites Rey, Finn, Poe, Chewie, Rose and the droids for a joyous feast on Life Day. Rey sets off on a new adventure with BB-8 to gain a deeper knowledge of the Force. At a mysterious Jedi Temple, she is hurled into a cross-timeline adventure through beloved moments in Star Wars cinematic history, coming into contact with Luke Skywalker, Darth Vader, Yoda, Obi-Wan and other iconic heroes and villains from all nine Skywalker saga films. But will she make it back in time for the Life Day feast and learn the true meaning of holiday spirit?

Season two of The Witcher premieres December 17, 2021 on Netflix 

Netflix

The Witcher – Season Two Premieres Dec. 17, 2021 

The Witcher returns with Season Two. Convinced Yennefer’s life was lost at the Battle of Sodden, Geralt of Rivia brings Princess Cirilla to the safest place he knows, his childhood home of Kaer Morhen. While the Continent’s kings, elves, humans and demons strive for supremacy outside its walls, he must protect the girl from something far more dangerous: the mysterious power she possesses inside.

Cobra Kai – Season Four Premieres Dec. 31, 2021

Cobra Kai takes place over 30 years after the events of the 1984 All Valley Karate Tournament with the continuation of the inescapable conflict between Daniel LaRusso (Ralph Macchio) and Johnny Lawrence (William Zabka). Season 4 finds the Miyagi-Do and Eagle Fang dojos joining forces to take down Cobra Kai at the All Valley Under 18 Karate Tournament… and whoever loses must hang up their gi. As Samantha and Miguel try to maintain the dojo alliance and Robby goes all in at Cobra Kai, the fate of the Valley has never been more precarious. What tricks does Kreese have up his sleeve? Can Daniel and Johnny bury their decades-long hatchet to defeat Kreese? Or will Cobra Kai become the face of karate in the valley?

Lost in Space – Season Three Now Streaming

In the third and final season of Lost in Space, the stakes are higher than ever and the Robinson family’s survival instincts will be put to the ultimate test. After a year of being trapped on a mysterious planet, Judy, Penny, Will and the Robot must lead the 97 young Colonists in a harrowing evacuation—but not before secrets are unearthed that will change their lives forever. Meanwhile John and Maureen with Don at their side—must battle overwhelming odds as they try to reunite with their kids. The Robinsons will have to grapple with the emotional challenge of not just being lost—but being separated from the ones they love…as they face the greatest alien threat yet.

HBO MAX

The Matrix Resurrections – Premieres Dec. 22, 2021

From visionary filmmaker Lana Wachowski comes The Matrix Resurrections, the long-awaited fourth film in the groundbreaking franchise that redefined a genre. The film reunites original stars Keanu Reeves and Carrie-Anne Moss in the iconic roles they made famous, Neo and Trinity. The Matrix Resurrections stars Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II, Priyanka Chopra, Jonathan Groff, Neil Patrick Harris, Jessica Henwick, Parker Posey, Telma Hopkins, Eréndira Ibarra, Toby Onwumere, Max Riemelt, Brian J. Smith and Jada Pinkett Smith. The Matrix Resurrections will be available on Dec. 22 in theaters and on HBO Max, streaming only on the Ad-Free plan in the U.S. for 31 days from its theatrical release.

8-Bit Christmas – Now Streaming

Set in 1980s suburban Chicago, 8-Bit Christmas centers on ten-year-old Jake Doyle’s quest to get the latest and greatest video game system. The film stars Neil Patrick Harris, Winslow Fegley, June Diane Raphael, David Cross, and Steve Zahn. Screenplay is by Kevin Jakubowski, adapted from his debut novel.

Young Justice – Season Four Finale on Dec. 30, 2021

This animated spy drama, Young Justice, explores the entire DC Universe through the eyes and stories of young Dick Grayson/Robin, Kaldur’ahm/Aqualad, Wally West/Kid Flash, Conner Kent/Superboy, M’gann M’orzz/Miss Martian, Artemis Crock/Artemis, Zatanna Zatara/Zatanna, and Raquel Ervin/Rocket. As this core team steps out of the shadows of their mentors and matures into adult heroes – with some joining the Justice League and others taking on new identities Nightwing, Aquaman, and Tigress– they also mentor a new generation of protégés including Forager, Wonder Girl, Blue Beetle, Cyborg, and Halo, all in their ongoing crusade for justice.

The Wheel of Time, based on the high fantasy series by Robert Jordan, is now streaming on Amazon Prime

Amazon Prime

The Wheel of Time – Season Finale on Dec. 24, 2021

The Wheel of Time is one of the most popular and enduring fantasy series of all time, with more than 90 million books sold. Set in a sprawling, epic world where magic exists and only certain women are allowed to access it, the story follows Moiraine (Rosamund Pike), a member of the incredibly powerful all-female organization called the Aes Sedai, as she arrives in the small town of Two Rivers. There, she embarks on a dangerous, world-spanning journey with five young men and women, one of whom is prophesied to be the Dragon Reborn, who will either save or destroy humanity. The first three episodes of Season One premiered Friday, Nov. 19, with new episodes available each Friday following.

Shatner in Space – Premieres on Wednesday, Dec. 15, 2021 

A one-hour special that details the events before, during, and after Shatner’s life-changing flight—which made him the oldest person to ever travel to the cosmos—and the growing friendship between the Star Trek icon and Blue Origin founder Jeff Bezos, whose dreams of space travel, like many, were inspired by the original Star Trek series.

The Expanse – Season Six Premieres Dec. 10, 2021

The sixth and final season of The Expanse picks up with the solar system at war, as Marco Inaros and his Free Navy continue to launch devastating asteroid attacks on Earth and Mars. As the tensions of war and shared loss threaten to pull the crew of the Rocinante apart, Chrisjen Avasarala makes a bold move and sends former Martian Marine Bobbie Draper on a secret mission that could turn the tide of the conflict. Meanwhile, in the Belt, Drummer and what’s left of her family are on the run after betraying Marco. And on a distant planet beyond the Rings, a new power begins to rise. Series stars Steven Strait, Dominique Tipper, Wes Chatham, Shohreh Aghdashloo, Cara Gee, Frankie Adams, Keon Alexander, Nadine Nicole, and Jasai Chase Owens reunite for the most epic season yet.


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