Monday, May 27, 2019

Book Review: Chip Davis’s “The Wolf and the Warlander” Trilogy


When I was a kid, I loved to read books during summer break. I spent countless hours flipping through pages of well-worn books, escaping into stories of intrigue and mystery. 

The reading you did during elementary school had a special impact on you — more than the books you consume as an adult. I think that’s partly due to younger minds being able to willfully suspend disbelief. 

I was recently given the opportunity to read a trilogy of books that are the brainchild of Chip Davis — founder and leader of the Omaha-based music group Mannheim Steamroller

Before we go any further, I can’t imagine Christmastime without the pulsating rhythms of Mannheim Steamroller’s 1984 album Christmas. Davis’s electronic stylings on that album epitomize the holiday season for me. 

As a small business owner myself, I appreciate Davis’s entrepreneurial efforts over the years — products that go beyond the music. 

For example, one of my early clients was the Greater Omaha Barbeque Society. I did the newsletter for the organization, and Davis’s grilling product “Bry” (a liquid seasoning in a spray bottle) was one of the barbeque-related confections advertised during those years (I found Bry to be particularly good on grilled chicken). 

Anyhow, enough reminiscing...

Chip Davis’s “The Wolf and the Warlander” trilogy is reminiscent of books I read during the latter stages of elementary school and early stages of middle school. 

The three books are part of a boxed set produced by American Gramaphone (Davis’s company). They are written by Mark Valenti and feature illustrations from James Taylor. 

They are set in a time period that appears to be the late 19th or early 20th century. 

Each book focuses on the adventures of a wolf named Seti and a Warlander horse named Ghost — oddball friends in the natural world who forge a life-long friendship. 

Both animals are named for Davis’s real-life pets. If I recall correctly, there was a segment focusing on Davis’s animal friends during the PBS special “Mannheim Steamroller 30/40 Live.”

Seti is adopted by Ghost’s family at an early age. The young wolf pup becomes part of the family — something out of sorts in the animal world. 

“The Forever Time” — Book One

The first book in the series — “The Forever Time” — sets the stage for both of these characters. The story recalls Disney’s 1981 movie “The Fox and the Hound.” 

“The Forever Time” pours the foundation for the next two books in the trilogy. 

One of the more entertaining aspects of the “The Forever Time” is the segment focusing on “The Running” — a race that “lasted an entire day” where many horses “never made it to the end.” 

The race itself serves as a metaphor for life. It also enhances the narrative fleshing out the relationship between Ghost and his father Pegasus — providing some “Jedi-like” moments as Ghost trains for the race. It sets up a classic proving scenario for our young protagonist since his father was legend in “The Running.” 

Pegasus tells his young son, “The first part of the race is all about watching the other horses. See if you can spot the ones who seem strong, but aren’t using their power yet. Those are the horses who will still be running at the finish line.” 

During the training, Ghost expresses doubt about his readiness to run in the race. His father intones, “You’re a Warlander. And you’re my son.” 

Both Ghost and Seti long for adventure in their lives. While the two kindred spirits find their paths moving in separate directions, fate has a way of bringing them together. 

Early on in “The Forever Time,” Ghost learns about his Warlander ancestry, and how his forebearers served at Neuschwanstein Castle in Bavaria (a real-life structure that served as inspiration for Walt Disney’s famous castle). 

Here is a photo I took of Disney's Bavarian-inspired castle on a recent trip to Disney World: 


That legend of the Warlanders — and the castle in Bavaria — pops up throughout the trilogy. It is the middle-grade-horse-story equivalent of Roland’s quest to see “The Dark Tower” in Stephen King’s long-tread fantasy series. 

It is interesting to note that the author had a stint as Creative Manager for Disney Interactive during his career. In addition, he worked on programs for ABC Family, Nickelodeon, the Hallmark Channel, and Steven Spielberg’s Amblin Entertainment. 

You can certainly see those influences in “The Forever Time” — a tale that is told in small “vignettes.” 

While the first book does a yeoman's job setting up the story, the emotional heft in “The Wolf and the Warlander” trilogy comes in the next two novels. 

“Ride the Wind” — Book Two

“Ride the Wind” is the second book in the “Warlander” trilogy. 

Here we see Ghost and Seti as they mature into adulthood. Seti has a family and is quickly becoming the “alpha” in his pack, while Ghost experiences pangs of love for the first time. 


There is a twist that sends Ghost on a harrowing journey — a dangerous sequence where the future of our protagonist is threatened for the first time in the trilogy. 

It is mentioned early in “Ride the Wind” that Ghost “thought about the promise he made to himself long ago — to see the world; to have many adventures; and to become as great a horse as his father.” 

There is a fun new character introduced during the second book: a dog who finds his way into Seti’s pack. The canine thinks of himself as a wolf, and helps the weary wolves find water. 

I should point out that these stories feature sage advice on life. As such, if you have kids, it might be fun to read the stories together. 

For example, when Ghost is considering a relationship with his girl-horse crush Echo, his father offers this advice:

“Your mother and I took a long time to know each other. When there were hard times — and there are always hard times with everyone — instead of fighting against each other, we stood by each other’s side and figured out the answer together.” 

“Ride the Wind” features a more fully-realized narrative than “The Forever Time.” 

“The Long Road” — Book Three 

Some years have passed since the events in “Ride the Wind.” 

Our protagonists are getting older, and facing the very real possibility that their best years are behind them. This creates an existential crisis for our protagonists. 

The meat of “The Long Road” focuses on Ghost and Seti setting forth on an adventure together — something both had spent their lives longing to do. 

But the adventure is more than a mere journey. It is a quest to see the castle Ghost’s father had told him stories about during his youth. 

All doesn’t go according to plan, and there are moments when things look bleak. The stalwart Seti opines, “Ghost, even if your father’s castle was set on fire; if it was made of mud; if there turns out to be no castle at all, I would never leave you on your own. I promised you I’d come with you on this adventure. I’d never break my word to you.” 

These dire sequences in “The Long Road” prove to be among the best the series has to offer, and provide a nice philosophical core underpinning our characters’ honor and integrity. 

The author writes that the duo “set out to find adventure and ended up finding themselves.”

When I read that quote, it reminded me of the trailer for the 1990 Kevin Costner movie “Dances With Wolves.” 

During the trailer, there are interstitials that read, “In 1864 a man went looking for America... and found himself.” 

(I don’t know why I just tossed a reference to “Dances With Wolves” in here. Maybe it is because the wolf Seti in “The Wolf and the Warlander” trilogy reminded me of the wolf “Two Socks” in Costner’s movie.) 


In addition to the books, there is a CD with “atmospheric effects” (roughly 45 minutes long) included in the box set to listen to while you read the stories. While the CD provided a nice backdrop, I wished Davis (talented musician that he is) had created a “mini-soundtrack” to go along with the book trilogy. 

“The Wolf and the Warlander” is an engaging fiction saga from one of this generation’s beloved musicians. 

I’d particularly recommend these books for those in the latter stages of elementary school and middle school who enjoy stories about animals and adventure. I think they’d find a lot to like in this set. 





Wednesday, May 22, 2019

Review: Disney’s “Dumbo” Remake Fails to Take Flight


Disney has been remaking a lot of its animated classics the past few years. 

As a general rule, I enjoy the product Disney doles out on an annual basis, and have mentioned on this blog that it would be difficult to imagine the current box office without the company’s “tentpole” films. 

That said, the idea of remaking classic films isn’t something that gets my heart racing. 

To be honest, other than 2015’s “Cinderella,” I haven’t really watched any of Disney’s live-action remakes of animated classics.

I didn’t have a burning desire to watch a live action version of “The Jungle Book,” and I thought they should have left well enough alone when it came to “Beauty and the Beast.”

Regardless, in this day and age you can’t fault “The Mouse” for attempting to refresh some of its older IP. 

That brings us to Disney’s “Dumbo” remake. 

Chances are you already know the basics. It’s the story of an elephant tot with big ears who can fly. He is the son of a circus performing pachyderm named “Mrs. Jumbo.” Dumbo’s skills are soon utilized by the Medici Brothers’ Circus to draw in crowds. 

The story takes place in 1919 and this live-action version includes a subplot about the Farrier family. The Farrier’s team of performing horses is sold when Annie (the matriarch of the Holt brood) dies from Spanish flu.


Her widowed husband Holt (Colin Farrell) and children Milly (Nico Parker) and Joe (Finley Hobbins) soon discover Dumbo can fly. 

Eventually, the flying elephant becomes a sensation in the Medici Brothers’ Circus, and owner Max (Danny DeVito) decides to join forces with entrepreneur V.A. Vandevere (Michael Keaton) — a businessman who owns an amusement park in New York City called “Dreamland” — to cash in on the novelty of the flying elephant. 


Quite honestly, the most interesting thing about this “Dumbo” remake is that it was a “Batman Returns” reunion for director Tim Burton and actors Danny DeVito and Michael Keaton.


Other than that, it was a pretty big yawn. 

Am I being too harsh? 

The original 1941 animated “Dumbo” film was 64 minutes long. That movie focused on the animals — in particular, the relationship between Dumbo and Timothy Q. Mouse. Unlike the original, the 2019 remake didn’t have talking animals, nor did it feature the mouse sidekick (other than a brief shot of a mouse in a cage we assume to be Timothy). 


Also absent were the musical numbers featured in the original. 

I’m sure a Burton-led remake of “Dumbo” sounded like a good idea at the boardroom table. 

Very few directors the past 30 years have brought viewers the unique visual style Burton infuses into his films. There are some visually interesting moments in “Dumbo,” but none of it soars like the director’s past efforts. 


Not only that, the 1 hour 52 minute runtime is far too long. My niece and nephews squirmed a lot during the movie (the only time my youngest nephew was engaged came during the two-and-a-half minute trailer for “Toy Story 4” that played beforehand).

Disney has two more live-action remakes of animated classics coming to theaters this year — “Aladdin” and “The Lion King” — along with a live-action version of “Lady and the Tramp” coming to the new Disney+ streaming service this fall. 

Here’s hoping those entries don’t fall flat like the refreshed “Dumbo.”



Thursday, May 9, 2019

Review: “Cobra Kai” Season 2 is an Emotional Kick in the Gut


When the first season of “Cobra Kai” debuted on YouTube Premium last year I was immediately smitten. 

I wrote in my review of the first season that the show was “less a reboot and more a sequel to the original movie.”

The second season of “Cobra Kai” further develops the rivalry between characters Daniel LaRusso (Ralph Macchio) and Johnny Lawrence (William Zabka). 

When the second season begins, retro-minded Lawrence has clawed his way out of a low-rent existence, spruced himself up, and led his newfangled Cobra Kai dojo to a win at the Under 18 All Valley Karate Championships.


(There is a scene illustrating his newfound confidence involving a custom Cobra Kai-inspired paint job on the Challenger he obtained during the first season... )

Unfortunately, his journey to redemption hits a snag when former sensei John Kreese (Martin Kove) returns “from the dead” and reinserts himself in Lawrence’s life. 


At the same time, LaRusso works to bring back Miyagi-Do Karate (building on the principles Mr. Miyagi used to guide him in “The Karate Kid”) so he can properly train Johnny’s estranged son Robby (Tanner Buchanan) — who he befriended and mentored during the first season — along with additional students. 


As the 10 episodes progress, LaRusso and Lawrence continue their burgeoning rivalry. The season’s arc develops during the summer months, meaning the students from the competing dojos can explore their relationships outside the context of school. 


Viewers are treated to more exploration of the budding relationship between Robby and Daniel’s daughter Sam (Mary Mouser). 

A new girl named Tory (Peyton List) comes on the scene and joins Cobra Kai. She and Lawrence protégé Miguel (Xolo Maridueña) strike up a friendship.


We also delve more deeply into the psyche of recovering geek Eli “Hawk” Moskowitz (Jacob Bertrand). 


“Cobra Kai” manages to up the ante between rival dojos in the second season. Both of our protagonists — Lawrence and LaRusso — have soul-searching moments. 

The second season explores what happens when a childhood rivalry goes too far. All of this simmers to a boil in a season finale that is shocking, tragic, and shows no mercy. 


In that regard, the second season of “Cobra Kai” is more in tune with the 1986 movie “The Karate Kid Part II” — where the narrative sees karate intertwining with life-and-death situations. 

As Mr. Miyagi once said, “This not tournament. This for real.”

It dawned on me during those closing moments just how invested I am in these characters. 


I mentioned in my 2018 review of “Cobra Kai” season 1 that the series was created by the minds behind movies like the “Harold & Kumar” franchise, “American Reunion,” and “Hot Tub Time Machine.” 

As a result, the second season of “Cobra Kai” isn’t all melancholy. 

There is a geeky adult who joins Cobra Kai named Raymond (Paul Walter Hauser) who injects some sophomoric humor into the second season. 


This felt like an attempt to infuse a vibe similar to the movie “Old School.” I don’t know if the gag quite worked. It kind of felt out of place in a season featuring so much emotional heft.


There were other moments that seemed “uneven” in the second outing of “Cobra Kai.” For example, I thought certain parts of the “Kreese plotline” were a bit heavy-handed. 

I also thought it was interesting to see 1989’s “The Karate Kid Part III” become a point of reference in “Cobra Kai” season 2 (since “Part III” was a pretty forgettable entry in the movie series). 

Macchio addresses the “Cobra Kai” references to “The Karate Kid Part III” in a recent podcast interview with Bill Simmons (also includes some interesting tidbits about Macchio’s early acting career):



Overall, my quibbles are minor. The second season strikes a decent balance in the narrative threads. 

I have to say the writers/creators did a solid job on “Cobra Kai” season 2. They’ve created a reboot/sequel to the original “Karate Kid” movies that is fresh, fun and compelling. 


The second season also manages to transcend “80s nostalgia” to become its own living, breathing thing. That’s a good sign moving forward. 

It was announced last week that “Cobra Kai” has been renewed for a third season (surprising no one). I’ve also heard that Elisabeth Shue is set to reprise her role as Ali Mills next season. 

It’s neat to see them getting the band back together in “Cobra Kai” (via character additions and cameos). 


I’ve made no secret that I love “Cobra Kai.” In my mind, it is one of the best things going on television today. 

I’m just bummed we have to wait another year to watch more!

Highly recommended. 


P.S. — If you haven’t seen this ESPN 30-for-30 “Mockumentary” about Daniel LaRusso vs. Johnny Lawrence at the 1984 All Valley Karate Championship, check it out: 


Related posts on “Cobra Kai”:






Tuesday, May 7, 2019

Will Disney+ Be a Worthy Streaming Service?


I’ve been waiting for the right time to talk about Disney’s recently announced streaming service, Disney+.

Disney unveiled its “director-to-consumer” strategy when Bridget and I were at Walt Disney World in Florida (oddly enough). 

If you want to know how “meta” the experience was, I listened to this CNBC interview where CEO Bob Iger discussed Disney+ as I took an hour-long walk around the Art of Animation Resort we were staying at:


Iger told CNBC “you have to look at not only the way the world is going, but we had to assess what the biggest opportunity was for the company to grow over the long term. And clearly, consumers are enjoying a kind of a different form of entertainment in the home — one that is over-the-top, and not necessarily connected to a traditional satellite or cable distributor, or distribution model.” 

Part of the reason I started this blog in 2016 was to talk about cord cutting and various streaming services that would help you ditch traditional cable and satellite TV subscriptions. 

I’ve done some posts on the topic, but not nearly enough. 


I’d been looking forward to seeing what Disney would unveil with its so-called “Netflix competitor.” The Mouse finally unveiled details about their streaming service on April 11 in its “Investor Day 2019” webcast

Here are some basics about the Disney+ streaming service...
  • Disney+ will launch on Nov. 12, 2019. 
  • The price will be $6.99/month, or $69.99 ($5.83/month) if you pay for a year in advance. 
  • The service will be ad-free and be rolled out globally. 
  • It will support 4K HDR playback.
  • Allows subscribers to download content to view offline (as long as they maintain a subscription). 
BAMTech is the company that powers Disney Streaming Services (they are also behind the MLB.tv streaming service). Disney owns a controlling interest in the company. 

The service is segmented into different sections of interest: Disney, Pixar, Marvel, Star Wars, and National Geographic


Disney+ will include original films and TV shows as well as catalog content from the "vault." All of it will be downloadable (something other streaming services only allow with select programming).

In addition, Disney’s recent acquisition of 21st Century Fox was designed to enhance and accelerate the company’s direct-to-consumer business (translation: every episode of “The Simpsons” will be available to stream, select Fox movies like “Avatar” will be included, and documentary-type content from “National Geographic” will round things out).

Kevin Mayer — who is the Direct-to-Consumer & International Chairman at The Walt Disney Company — outlined the company’s strategy during the April 11 presentation. 

Mayer talked about how Disney’s overall content portfolio attracts “a four-quadrant audience: adults and children, males and females.”

Disney is the only studio to top $7 billion in box office receipts for a single year (with consumers buying 900 million tickets to Disney movies in 2018). They have tremendous amount of brand affinity around those properties. 

The same creative teams behind the Marvel Cinematic Universe and the recent “Star Wars” films will be creating content for Disney+.


They demo’d the app during the presentation in a fairly general sense to give an idea of how content would be organized and what will be included with a subscription. 

When Disney+ debuts on Nov. 12, it will feature Star Wars live-action series “The Mandalorian” (set after the events of “Return of the Jedi”), a new live-action “Lady and the Tramp” movie, “High School Musical” The Series, and box-office blockbuster “Captain Marvel.” 


Within the first year, the service will add the original movie “Noelle” (starring Anna Kendrick as Santa’s daughter), the Marvel series “Falcon and Winter Soldier,” Pixar originals, new episodes of “Star Wars: The Clone Wars,” “Phineas and Ferb the Movie,” and “The Imagineering Story” (a documentary takes you into the world of Disney’s theme parks). 

In addition to the “new” offerings, Disney+ will feature 13 signature films on Nov. 12 — including “Snow White and the Seven Dwarfs,” “Pinnochio,” “Cinderella,” “The Jungle Book,” The Little Mermaid,” and “The Lion King.”

The vast majority of Disney’s “recent hit films” will also be available on Day 1. This includes films like “Moana,” “Big Hero 6,” and “Frozen.”


Eighteen of Pixar’s theatrical films will be available on Day 1 (three other films will come to the service within the first year) along with Pixar’s entire library of short films. The original Pixar series “Forky Asks a Question” will debut with the streaming service. 

Many of the movies from the Marvel Cinematic Universe will be available on Nov. 12 (with more being added during the first year). In addition to the new “Falcon and Winter Soldier” series, the studio is also developing a series called “WandaVision” (focusing on the MCU characters played by Elizabeth Olsen and Paul Bettany), and a series focused on Tom Hiddleston’s Loki character. 


Lucasfilm President Kathleen Kennedy outlined what “Star Wars” content would be offered on Disney+. As mentioned, “The Mandalorian” will debut with the service on Nov. 12. Lucasfilm is also working on a series focusing on the Cassian Andor character (played by Diego Luna) from “Rogue One: A Star Wars Story.” 

Kennedy also said they are developing “several more live-action series.” Some have speculated a series starring Ewan McGregor as Obi-Wan Kenobi could be in the works. 

The library of back “Star Wars” content will be available, but it was unclear what all might be included (and when). They did mention the first two “Star Wars” trilogies (plus “The Force Awakens” and “Rogue One”) will be available on Day 1. 

I would assume animated "Star Wars" series like "Resistance" and "Rebels" will be available. 

In addition to “Star Wars” properties, Ron Howard has suggested a series based on the 1988 movie “Willow” could be in the works for Disney+. YouTuber John Campea discussed this possibility on a recent episode of his show:


In the first year of Disney+, the service will feature “more than 25 original episodic series and more than 10 exclusive movies, documentaries, and specials.” 


Disney+ will eventually become the exclusive streaming home for all content from the company’s various brands. 

The service will debut with an extensive offering from Disney’s catalog including films in the “vault” (which haven’t been seen in a number of years). 

In the first year, Disney+ will have more than 7,500 episodes of television, over 400 library titles, and over 100 recent theatrical film releases (like “Captain Marvel”). 

By the fifth year, they expect to have 50 original series on an annual basis. At that juncture, there will be 10,000 TV episodes and well north of 120 recent films available to subscribers. On top of that, they’ll include all 500 Disney library titles. 


So, what do I think of Disney’s direct-to-consumer streaming strategy?

I think the price point — $6.99 a month or $69.99 if you pay for a year in advance — is a non-intimidating amount to entice a fair number of subscribers during the first 12 months. 


Whether or not consumers stick with the streaming service for the long haul will depend on a variety of factors. 

If the original series and movies are compelling, it will go a long way to making the service a desirable commodity. I also think the popularity of the service will depend on Disney’s theatrical offerings over the course of the next five years. 

It was reported online today that “Star Wars: The Rise of Skywalker” (which is being released on Dec. 20) will be the last “Star Wars” movie until Dec. 16, 2022 (with sequels to follow in 2024 and 2026). 


If the news is true, fans of the tentpole property will have to wait three years to see more “Star Wars” at their local multiplex. 

It's possible this is all part of Disney’s strategy to “prime the pump” for the Disney+ subscription service. 

If Disney+ is the only place where you can see fresh “Star Wars” content following the release of Episode IX (until 2022), then that could prove an enticing hook for fans of “a galaxy far, far away...”

Disney is at something of a crossroads right now. They are in the midst of the tremendous success of “Avengers: Endgame” at the box office. 


Because “Endgame” is the culmination of 11 years of Marvel Cinematic Universe films, it likely means the mammoth franchise is moving in a different direction — one that might not see story arcs develop over 20+ films in the future. 

Even if future films follow a similar pattern, Disney suggested the Marvel content offered on Disney+ will intertwine with the MCU in a meaningful manner. 

Disney could narrow windows between theatrical release dates and those MCU films debuting on Disney+. 

In the company’s presentation, they suggested theatrical content won’t debut on the service until “after” theatrical runs — and traditional home video releases. 

But as the years progress, you wonder if that strategy will evolve. 


There are those who speculate “physical media” in home video is dying (a topic I’ll address in an upcoming blog post). 

We all know Netflix is spending insane amounts of money to produce content for its streaming service (making more TV shows and movies annually than a number of established studios).

As the price of consumer electronics continues to drop — coupled with the introduction of advanced technology like 8K televisions — you wonder if Disney+ will become the centerpiece of the Mouse’s content strategy. 

It’s all part of the massive upheaval we’ve seen the past decade. Technology companies find themselves becoming content companies. Entertainment companies find themselves becoming technology companies. The lines are starting to blur between the two. 

I don’t know if Disney+ will be a full-bore competitor to Netflix out of the gate. 

That said, now that Disney holds a controlling interest in Hulu, the combination could prove to be a solid one-two punch (Iger has suggested they’ll offer bundles at some point)

More than anything, it brings into question the future of entertainment. 

Disney is the glue holding the theatrical box office together. It’s hard to imagine the movie-going experience the past decade without Marvel, Pixar, and Star Wars. 

Competitors are struggling to develop tentpole properties as compelling as Disney. As a result, Disney will continue to enhance its prowess. With the purchase of 21st Century Fox, the Mouse has more control over the theatrical schedule than ever before — clearing the lane for domination the next decade. 


If Disney decides to “flip a switch” with Disney+, it could also become the dominant player in the streaming market. 

Can you imagine a world where Disney puts a movie like “Avengers: Endgame” on its streaming service 90 days after theatrical release?

What if Disney decides to stop making DVDs/Blu-Rays entirely, and instead makes Disney+ the “only” way you can watch its movies in your home?

Moves like that would have long-term ramifications. 

In the near term, the key to hooking subscribers will be the quality of original shows like “The Mandalorian” (with Jon Favreau and Dave Filoni behind it, I have high hopes).


When the service debuts on Nov. 12, I’ll be back with a full review. Rest assured...

Additional Resources (which were particularly helpful in composing this post):

Disney’s Investor Day 2019 Webcast

Disney’s Investor Day 2019 Transcript