Abby Olcese (@indieabby88) has been many things — a campus ministry leader at the University of Kansas, an English teacher in Prague, and an advertising assistant at Sojourners. These days, she’s a freelance writer based in Kansas.
Raised on a diet of Narnia, Bob Dylan records and Terry Gilliam movies, Abby is drawn to the weird, the nerdy, and the profoundly artsy corners of popular culture. She loves sharing this knowledge with others by writing about interesting new releases as well as lesser-known gems.
Abby is also passionate about the intersection of faith, social responsibility, and culture. She believes in the power of art to spark important conversations, inspire social change, and help people to better understand life in the kingdom of God.
When she’s not watching movies or writing things down, you can usually find Abby reading comic books or perusing the selection at her local record store.
Posts By This Author
'The Front Runner' Dulls Its Own Message by Refusing to Commit to a Perspective
To his credit, Reitman tries to humanize the characters on all sides of the issue, in an attempt to cast some shades of gray. It’s an admirable idea, but the lack of commitment to a particular perspective sinks the film. It also goes pretty easy on Hart, and one gets the sense that Reitman and his co-writers Matt Bai and Jay Carson (themselves experienced both in running campaigns and political reporting) seem to think it’s a real shame that media scandal tanked a campaign that could have done some real good. That may be, but it’s impossible to ignore that if Hart had stuck closer to the morals he claimed, there wouldn’t have been a scandal to report. Whatever good qualities he may have had, he’s just as guilty as the people who brought him down
'Monsters and Men' Takes a Multifaceted Approach to Police Brutality
Reinaldo Marcus Green’s film Monsters and Men is part of an interesting moment in popular culture. It’s one of four films this year to address the relationship between law enforcement and people of color. It’s also one of two movies playing at this years Toronto International Film Festival that deal directly with Black Lives Matter and the killing of black men by police officers.
Women Rally for More Inclusion at Toronto Film Festival
In that vein, the festival has made public strides to provide a platform for the issues faced by women in film, and to work toward promoting change. Thirty four percent of the films at this year’s festival come from female directors. As an organization, TIFF has made a five-year commitment to increasing opportunities for women in film by creating mentorships, skills development opportunities, and education initiatives. They’ve even expanded that commitment to women working in the media, with a push to invite female critics and reporters — as well as people of color — to cover the festival
'Standing on the Shoulders of the Sidney Poitiers and Spike Lees'
Sojourners spoke to Washington and Harrison about the dialogues the film encourages, what they learned while preparing for their roles, and how those experiences inform the actors’ perspectives on racial injustice and the relationship between police and people of color.
How Artists Are Using Comics to Tell Bible Stories
These comic book creators, and others like them, are drafting complicated, compelling narratives of Christianity that cut across today's expected divisions. Writers and artists who grew up with Christian backgrounds are finding inspiration in the stories and characters who marked them early on, and re-examining them with questioning minds.
‘Eighth Grade’ Reminds Us Of Our Need To Be Understood
Most of us who managed to survive middle school regard it as the most awkward time in our lives, when we cared deeply about how others see us, but were just as deeply unsure of how we saw ourselves. Eighth Grade uses that to tell a story about perception, one which applies to adults as much as it does to 13-year-olds. Burnham’s film explores how we want to be perceived by others, the harsh ways we perceive ourselves, and the way we’re perceived by those who see us fully, and love us unconditionally.
'Sorry to Bother You' Is Trippy Satire That Is Not Far From Reality
There’s a lot going on thematically in Sorry to Bother You. Cash has to deal with the indignity of trading success for being his authentic self. As an artist, Detroit also struggles with selling out —she, too, has a “white voice,” but instead of selling a product, she’s using it to sell herself. The news media covering the RegalView strike is addicted to easily-repeated clips rather than the whole story, as when a protester who throws a can of cola at Cash becomes famous when the incident goes viral. Our willingness to laugh at rather than empathize with the struggles of others is also displayed through a popular game show called “I Got the S**t Kicked Out of Me,” where contestants get beaten up and dunked in excrement.
The Enduring Kindness of Mister Rogers
Yes, goodness and altruism in others may seem rare. But the importance of Won’t You Be My Neighbor? lies in showing us that it’s not impossible, and may be easier to generate than we think.
'Tully,' Parenthood, and Allowing Ourselves to Ask for Care
Tully is a real, funny, unflinching look at the demands of parenthood. It shows the pressures of outside judgment, and constant frustration, as well as the small moments of beauty and victory when everything works, and we’re buoyed by the kindness and care of others. It also shows what happens in the absence of that care, or our unwillingness to recognize how much we need it.
What ‘Avengers: Infinity War’ Teaches Us About Uncertainty, Loss, and Sacrifice
Previous Avengers movies were about the challenges of building and sustaining and a community. Infinity War is a sobering reminder that even the biggest, strongest communities sometimes face adversity that results in sacrifice, uncertainty and loss. This is the MCU’s equivalent of C.S. Lewis’ The Last Battle, gathering characters both beloved and new, and throwing them into a brutal endgame. It’s a Good Friday movie, too, putting those left standing at the end into their own version of Gethsemane.
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