Capturing School Life: Principal & Content Creator

In the video Myths and Opportunities: Technology in the Classroom, Alan November speaks of Marblehead, Massachusetts, a small coastal town of now nearly 20,000 that prior to the American Revolution was the fourth largest town in the colonies. November, makes note of the town’s connection to technological industry such as shipping and its global reach. He speaks of the town “thinking Globally,” as its survival was dependent on trade and the waterways of the ocean. 

This notion of ”thinking globally,” speaks to my sensibilities as a Catholic school leader who recognizes that technology can enable deep and enriching learning that extends the traditional classroom. Furthermore, as digital citizens there is a need and responsibility to nurture Catholic Social Teaching through technology, so that young people understand their role in walking with Christ; being responsive, inclusive and community minded. As the small town of Marblehead, needed to think Globally to survive and thrive, students also need to be globally minded as critical thinkers and reflective learners who learn deeply. As such, schools need to inspire a global mindset where students foster a sense of self, all-while growing as global citizens who can effectively communicate, collaborate, innovate, create and problem solve by harnessing technology as an enabler of transforming faith through practice. 


As noted by Michael Fullan in his writing Deep Learning: Engage the World Change the Word “so the role of technology is to get this equation I want to put it. The equation is what do we want to learn and how do we want to learn it? I’ve said deep learning, the six Cs, the partnership, that’s one half of our equation. And then how do we best learn that? And we learn it by tackling real problems. How do we tackle real problems? Technology gives us access to much more insight. So we’ve got to use technology to do that” (Fullan, 2017). 


At the core of my role as a school Principal is Fullan’s inquiry: “What do we aim to learn, and how do we wish to learn it?” I fervently advocate for pedagogical documentation, storytelling, and enabling students to demonstrate their learning through digital media production. Through this process educators can gain insights into students’ thinking processes, learning styles, and areas for further exploration.

As a result, I enthusiastically join classroom activities and school events, equipped with my camera to capture content, showcasing the potential of pedagogical documentation. Personally, as a school leader, it’s imperative for me to be fully immersed in genuine student learning experiences. Here’s an example:

Gr. 3 Bee Bots at St. Andrew Catholic Elementary School

By fostering the creation of such content and empowering students to be producers themselves, the profound impact on relationships starts to flourish. As a school principal, my place isn’t confined to the office. I aim to actively engage in witnessing learning, fostering it, modelling creativity, and most importantly, showcasing a genuine passion for both students and the crucial work teachers do every day.

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Whimsical Confections: Wonka’s Guide to Transformational Leadership

As the Ontario winter break ends shortly and schools prepare to resume, students and staff frequently face what might be dubbed the “dark days” of the school year. In Ontario, the previous year marked the province’s gloomiest winter in over 80 years. Particularly notable was the experience in Toronto, Canada’s largest city, where sunlight eluded the city for 14 consecutive days last January. This underscores that the period from January to April can be an extended stretch requiring a conscious shift in mindset and an infusion of positive thinking; one could even liken it to a confectionery of sorts.

The notion of “confectionery” inspiration struck me during two recent screenings of Paul King’s Wonka. Featuring the delightfully whimsical Timothy Chalamet, his portrayal of Wonka radiates a joyful optimism, which is in stark contrast to the harsh realities he confronts in pursuit of his dreams.

Willy Wonka, a budding magician, inventor, and chocolatier, arrives in Europe to establish his chocolate shop at the Galeries Gourmet. Despite depleting his modest savings, he is compelled to stay at Mrs. Scrubitt’s boardinghouse under the watchful eye of her henchman Bleacher. There, he encounters an orphan named Noodle, who warns him about the hidden challenges of his stay and the “fine print,” of the contract he is about to sign. Subsequently, he finds himself ensnared along with others, all obligated to work off their dues.

As the narrative unfolds through moments of musical enchantment and vibrant set pieces, Wonka transcends being merely a magician, inventor and chocolate maker; he emerges as as a transformational leader able to unite and inspire in the pursuit of a common goal. Rallying his newfound friends to witness the impossible and relying on their support, he exemplifies the potential of living with optimism and hope. By transforming into a team and community leader, he dispels negativity and embraces togetherness.

Instead of harbouring bitterness about his circumstances, Wonka seeks the silver lining in life, leading to a transformation of himself and those around him. This is precisely where Wonka’s story aligns with what can be the dreary winter days of school life. As a leader, he endeavours to propel his new friends and team beyond their comfort zones, introducing new goals and embrace the power of hope. Through his charm and persuasiveness, he effectively communicates and connects on a profound level, underscoring his transformational leadership abilities and serving as a reminder for educators and school staff to uplift mood and tone as a collective.

This aligns with the concept of transformational leadership, as emphasized by the University of Waterloo’s Ivy Academy. According to their definition, “the most effective transformational leaders are charismatic because they are skilled communicators, verbally eloquent, but also able to connect with employees on a profound, emotional level.” Wonka exemplifies this description perfectly.

Watching Wonka was a brisk reminder to uncover magic and potential in my surroundings, especially during what has been a challenging time of immense personal loss and grief. Much like Wonka, who navigates his own struggles while holding onto optimism, the film serves as a call to action. As a school leader, it’s a prompt to consistently transform myself through introspection and actively contributing to the transformation of others.

As we return to school post-Christmas break and journey through the wintry weeks until the arrival of Spring, let’s energetically discover and craft our own confetti of joy and new possibilities. Let’s make a conscious effort to transform both ourselves and those around us.

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[Book Review] Working with High-Risk Youth: A Relationship-based Practice Framework

For a while, Working with High-Risk Youth: A Relationship-based Practice Framework by Peter Smyth has held a spot on my “Must Read List.” The book underscores the significance of nurturing relationships and cultivating a culture of resilience, innovation, and empowerment, particularly for students grappling with high-risk challenges such as mental health issues, abuse, or navigating the complexities of government agencies. Smyth delves into the emotions of hopefulness and loneliness that students may experience, emphasizing the pivotal role positive relationships play in reshaping mindset and behaviour. This insightful read advocates for strength-based teaching and empowering learners, prompting me to reflect on my role as a school administrator and consider promising practices for supporting “At-Risk” students through specialized programming options. The conversation sparked by the book highlighted the nuanced and intricate responsibility of guiding students through alternative programming / expectations, stressing the need to empower and mobilize learners to recognize their potential and strengths.

As outlined by the Ontario Ministry of Education “alternative expectations are developed to help students acquire knowledge and skills that are not represented in the Ontario curriculum. They either are not derived from a provincial curriculum policy document or are modified so extensively that the Ontario curriculum expectations no longer form the basis of the student’s educational program. Because they are not part of a subject or course outlined in the provincial curriculum documents, alternative expectations are considered to constitute alternative programs or alternative courses.”

A program I’m personally familiar with in my district is the Supervised Alternative Learning (SAL) program. As the board website highlights, “Supervised Alternative Learning (SAL) is an option under the Education Act that allows alternative programming for secondary students aged 14-18, who find they are not benefiting within the regular school system. It is the parent’s decision to apply to SAL, in consultation with the school social worker and administration, by completing the appropriate application process and creating a SAL Plan (SALP).”

The program serves students who may present with the following challenges:

  • Chronic absences from school
  • Disengaged from school
  • Difficulties coping with the traditional structured classroom
  • May benefit from a practical, short-term employment experience
  • May benefit from different life experiences to help gain personal awareness and knowledge, develop skills for problem-solving, decision-making and goal setting

Reflecting on Smyth’s “Getting Connected” framework, the pathway to a program such a SAL requires graceful navigation by school staff as both the student and their parent(s)/guardian(s) must see the intrinsic value and hope that comes from such an opportunity to be supported. It must be understood that a alternate program like SAL does not equate failure by any means. Rather, it speaks to potential, resilience and the empowered mindset required to take courageous action in the pursuit of self-improvement, leaning into personal strengths and finding personal success. Furthermore, such a program promotes the positive relationships that supports well-being. As Symth notes, “secure attachments helps children regulate their emotions so feelings they experience are not overwhelming (Smyth, 74).”

I highly recommend Working with High-Risk Youth: A Relationship-based Practice Framework for its compelling exploration of fostering relationships and creating a culture of resiliency, innovation, and empowerment for students. This insightful read offers hope and emphasizes the significance of strength-based teaching and empowering learners.

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[Movie Review] With Mission Impossible: Dead Reckoning Part One, Tom Cruise Saves the Summer Movie Season Once Again

There’s a definitive moment in the original Mission Impossible (1996) where Tom Cruise transforms from a drama-oriented actor who demands the truth in courtrooms to a full-fledged action star that is capable of saving the world from corrupt secret agents and charismatic weapon smugglers .

Sitting across from actor Henry Czerny, framed tightly within a Brian De Palma canted angle close up, Tom Cruise’s Ethan Hunt snarls “Kittridge, you haven’t seen me very upset.” From there, the scene heightens with Cruise performing a massive on-camera stunt where a piece of explosive chewing gum shatters the aquarium facade of a restaurant, which leads him to run out of the building as glass crumbles and water cascades into the cobblestone streets of Prague.

It’s in this singular cinematic moment with De Palma’s style in full effect, that actor and first-time producer Cruise makes the muscular-Reagan era action hero obsolete and marks his arrival as a true action star. Now, nearly 27 years later, he and his alter-ego Ethan Hunt have become Hollywood’s last action hero.

As Cruise continues to prove himself both as an actor obsessed with on-camera action extravagance and as an award winning producer capable of creating impeccably crafted productions, his Mission Impossible series has become more relevant than ever. With the threat of AI villainy and a looming”technological arm race,” amongst nations and operatives who are seeking to weaponize “The Entity,”, Ethan Hunt’s latest mission is a complex web that certainly leads to reckoning for him and his IMF family.

Although, the franchise has shifted away from its unique flavour of having each new instalment directed by a distinctly different filmmaker, the Christopher McQuarrie era of Mission Impossible has breathed new life into the series. With McQuarrie and his 1995 Oscar for Best Original Screenplay in hand for The Usual Suspects (1995), the tone of the series has shifted from pulpy heist film to high octane globe trotting action spectacle. Importantly, with this shift, the human stakes that have always motivated super agent Ethan Hunt have remained the same and give the latest instalment the emotional weight needed to make all the mind-blowing action truly matter.

Equally, Cruise never truly receives the credit he rightfully deserves. As he’s done masterfully in dramatic films such as The Colour of Money (1986),  A Few Good Men (1992), The Firm (1993) and Eyes Wide Shut (1999) his ability to shed emotion in small and big moments is incomparable. This is evident throughout the original Mission Impossible where De Palma’s lens is helplessly in love with Cruise in close up. As De Palma readily knew, “The Cruise Close Up,” can radiate a wide spectrum of emotions. Love him or hate him, the longevity of his career and success of his films suggest this to be true. There’s a connection made to character, story and audience that makes for true cinematic moments.

A scene that best exemplifies this in the Mission franchise is Christopher McQuarrie’s Mission Impossible: Rogue Nation (2015). After coming back from the dead, Ethan stumbles while attempting to slide over the hood of a car. Benji (Simon Pegg) looks on in shock as Ethan is clearly out of sorts. Perfectly played by Cruise and crafted behind the camera by McQuarrie, this quiet moment speaks to his versatility that has injected the most recent chapters of Mission Impossible with a perfect balance of lightness and self-awareness that is missing from contemporary action franchises such as The Fast Saga

In fact, the screw-ball antics that have been gloriously blossoming between Cruise’s Ethan Hunt and Pegg’s Benji Dunn since Mission Impossible 3 (2006) reaches new old-Hollywood heights with the inclusion of Hayley Atwell’s Grace in Mission Impossible: Dead Reckoning Part One. Their spirited interactions give the latest installation a whimsicality that is often missing from Hollywood blockbusters. 

Seemingly, with Ethan’s IMF story potentially coming to a close as Tom Cruise approaches the age of social security, Mission Impossible: Dead Reckoning Part One is an action opus that is near perfection and shows no signs of Cruise or M:I crew letting up. At nearly a three-hour running time (that doesn’t feel its length at all), McQuarrie brings Ethan full circle with a new sense of emotional urgency that makes all the action feel so real and not just because Cruise puts himself in extreme danger for audience pleasure.

With the return of Henry Czerny as Kittridge and the AI villain called “The Entity,” the some-times silliness of the script (“The Entity” is said quite often and exposition runs long), never lessens the high stakes that prompts Ethan and team to once again travel the globe in order to save it. As Ethan and team mask up, plot and run (there’s plenty of Cruise running) to save the world, the most compelling aspect of Dead Reckoning, is the introduction of Ethan’s past and what brought him to the IMF. Similar to James Bond entry Skyfall (2012), the spy universe is expanded with a glimpse of backstory that will certainly broaden with Dead Reckoning Part Two next summer.

Without treading into spoiler territory, Mission Impossible: Dead Reckoning Part One is a masterfully made summer spectacle with Cruise fully in control and delivering on the action. Like with last summer’s Top Gun: Maverick, Tom Cruise saves Hollywood and the summer movie season, once again. 

Now playing, see Mission Impossible: Dead Reckoning Part One on the biggest screen possible.

Accept the mission!

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The Importance of Play

Play.

I love to play basketball outside with my kids, watch movies at the multiplex, play tennis, video games, kayak, swim, and enjoy live sports to compensate for my overall lack of athleticism. This play and recreational time brings balance, joy and readily sparks creativity that uplifts my soul. 

Reflecting on play, there was a time when work seemed to outweigh the joys of recreation. However, now at 42 with my kids a bit older and my wife and I at a stage where particular “adult” goals have been met, play is certainly a priority and has been easier to allow into our personal lives without suffering from first-generation immigrant guilt that screams WORK!

When it comes to my professional life, I was a classroom teacher who loved to play. Being a Communications Technology teacher, play came easily. Talking about pop-culture and producing digital media with teenagers definitely made each day fun. Through everyday banter to working collaborative with students, I was able to form incredible bonds with students all while having my own creativity ignited. 

Now, as a Secondary School Vice Principal, my reality dramatically differs from my time teaching and producing digital media in the classroom with students. Although deeply fulfilling, the role doesn’t innately provide the same type of “play” that came with creating.

Therefore, I have to intentionally create and find balance in a very multifaceted school role. This is to say that I find it incredibly important to stay connected to who I am. From my office that features posters of my favourite movies and other pop- culture memorabilia to making movies with kids after school, being and sharing an aspect of who I am with staff and students is incredibly important and certainly helps to form meaningful relationships.

Play is not only a natural and joyful activity for children but also a powerful tool for teachers/educators to forge positive relationships with their students. Through playful interactions, educators create a bridge between the academic and emotional realms, fostering trust, empathy, and connection.  Personally, within the realm of play, I’ve been able to chip away at the everyday perceptions of the VP role which has resulted in knowing students at a deeper level and hopefully creating a sense of safety and comfort. 

For example, with the  wonderful support and encouragement of my school principal, I moderate a games room every Friday during two lunch periods. Leaning into my passion for pop-culture, RETRO LUNCH is an open call to all staff and students to spend time together in play. With  the help of amazing students, video game consoles such as Super Nintendo, PlayStation 2, Nintendo Switch are set up up flatscreens and a LCD projector, beaming classics like Street Fighter Turbo on a big screen. 

Along with video games, staff and students have access to an assortment of board games and have the opportunity to play in the spirit of togetherness. Togetherness and play. Two powerful words that are certainly interconnected and have the potential to shape safe and accepting schools. In the moments of play, we can share who we are as educators and discover so much about students. From their family life to interests in and out of school, I know that the intentional time to connect allows me to see fully and be a caring adult in the building.

Regardless of your profession, I encourage you to prioritize play in both your personal and professional life. Whether you hold a position as a school administrator or engage in other professional endeavours, I urge you to carve out moments to disengage from the demands of “work” and authentically connect with the people around you.

As a school administrator, I firmly believe that such efforts are indispensable in creating a nurturing and inclusive school environment, where positive relationships can thrive.

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Top Gun: Maverick and Authentic School Leadership

For many film critics Peter “Maverick” Mitchell is the quintessential Tom Cruise role. Like many of Cruise’s characters, Maverick is a character navigating some type of personal trauma, who then discovers something about himself that requires critical reflection. This reflection leads to a change in action that eventually leads to a personal victory. This victory then solidifies both greatness in character and craft (pilot, race car driver, brother, bartender, lawyer, spy etc).

This Cruise blueprint, certainly personifies Maverick in the original Top Gun (1986) a film that unapologetically spoke to 80s Reagan values and overtly fetishized military life through a cool MTV atheistic. The movie rocketed Tom Cruise to superstardom, increased enlisting in the United States Air Force and sold out bomber jackets and aviator glasses in malls across North America. Top Gun and Maverick of 1986 was about youthful cool, the need for speed and self-preservation.  

Fast forward over thirty years, and Maverick now in his late 50s, is quite different. Although he still embodies his call sign’s attributes, his renegade spirit comes with renewed purpose.  Although he still fully embraces the “need for speed,” Maverick in Top Gun: Maverick (2022), is looking to belong and serve.

Throughout his journey as a relic in a modernized Air Force, he leans into his vulnerability all while becoming an example of how Authentic Leaders lead. As Peter G. Northouse notes in Leadership: Theory and Practice, “authentic leadership is as an interpersonal process. This perspective outlines authentic leadership as relational, created by leaders and followers together (Eagly, 2005). It results not from the leader’s efforts alone, but also from the response of followers. Authenticity emerges from the interactions between leaders and followers. It is a reciprocal process because leaders affect followers and followers affect leaders” (Northouse, 196). 

The reciprocal process between leaders and followers is at the centre of the film and the masterclass it provides in leadership. In regards to education, school leaders can take some notes from Captain Mitchell. Maverick is an example of an authentic leader who is fully immersed in his team and who will always do what he asks of others.

Let’s take a moment to reimagine Top Gun: Maverick through a schooling point of view. 

A group of ace educators are brought together to reimagine and shift pedagogy . They are the “best of the best,” and together can achieve greatness as they lean into their vulnerability with a commitment to serving and activating their new learning. 

Their instructional leader is a master teacher. With a decorated professional history, he’s known for both his skill and rebellious mindset. Misunderstood by most, he has been called on to prepare the young aces for the unknown; asking them to adapt. He knows that adapting will be a challenge that will require considerable vulnerability. To adapt is to disrupt.

As the story unfolds, the team struggles to grasp the realities of their new professional learning. The mission to change the parameters of how they teach is too daunting. They can’t see the way. Through frustration, in-fighting and self doubt, their confidence begins to fragment. The goals seem unattainable. The disruption is too much.

As the team faces their challenges, the master teacher is facing their own stark realities. Not fully supported by his direct supervisor, the master teacher finds themselves trapped. Seen a relic by some, he knows that he must lead in a way that is true to who he really is in order to protect and best serve his team.

With the “best of the best,” losing faith and with the team’s wellbeing at stake, what will the master teacher do?

The master teacher embraces an authentic mindset through direct action. Leaning into their core values, the master teacher places themselves directly into action.  The master teacher isn’t teaching – but doing. The master teacher acts on their values with purpose.  

This authentic action coupled by the adaptive spirit of the team, leads to victory.

As school administrators, we’re called to be authentic leaders just like Maverick. In becoming the team leader and flying an impossible mission alongside his team, Maverick exemplifies that “authentic leaders understand their own values and behave toward others based on these values” (Northouse, 198). 

All of this reminds me that to lead, to serve and to be authentic, requires continuous reflection and understanding of my own values. Values shape our purpose and purpose shapes action. This type of self-awareness leads to authenticity. As Northouse notes, “self-awareness refers to the personal insights of the leader. It is not an end in itself but a process in which individuals understand themselves, including their strengths and weaknesses, and the impact they have on others.” (Northouse, 202).

Ultimately, any form of leadership is complex and layered. However, more now than ever, educational leadership requires a bit of Maverick. Looking to 2023, I will certainly do the work to fully understand and act on my values and purpose.

 Bibliography:

Northouse, P.G. (2022) Leadership: Theory and practice. Los Angeles: SAGE.

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Before Visiting Pandora, Enter The Abyss

Before you take a deep dive into this love letter to The Abyss (1989) it’s imperative that I disclose a conflict of interest. I was born and raised in Niagara Falls, Canada, where James Cameron first found his teenage love for all things science-fiction, saw Stanley Kubrick’s 2001: A Space Odyssey (1968) a dozen times at the now closed Seneca Theatre on Queen’s Street and first dreamt of metal skeletons and alien landscapes while in class as a student at Stamford Collegiate High School. As a movie geek, growing up in the “Home of James Cameron,” was euphoric in that Hollywood seemed so close to home. Needless to say, I was obsessed with his blockbusters from a very young age and still find myself fully immersed in his exploratory stories that are often about the intersection between technology and humanity.  

Looking back to my teenage self, imagine if the character of Dawson Leery from the CW teen drama Dawson’s Creek was from the same town as his idol Steven Spielberg. If you get the reference then you can appreciate my level of adoration for all-things James Cameron. 

Now known for his love of aquatic adventure, James Cameron’s first big-screen immersion into the depths of the ocean took place in 1989 with The Abyss. Released 33 years ago, The Abyss remains a taunt screening with the ground-breaking special effects that have become the norm for a James Cameron movie.

In fact, The Abyss is necessary viewing prior to seeing Avatar: Way of the Water (now in theatres) as it provides the groundwork for the environmental discourse that is at the centre of Cameron’s Pandora universe.

Before visiting Pandora, enter The Abyss.   

Cameron and Science Fiction:

“Science fiction has always asked the great and profound questions: What is it to be human? What is the place in the grand scheme of things? Are we alone in the vastness or part of a great community? What does it all mean? What will happen next? Are we doomed, or destined for greatness? It’s a genre that’s not afraid of the deepest philosophical abyss.” 

James Cameron from James Cameron’s Story of Science Fiction

Steeped within the folklore of James Cameron is his unadulterated love for all things science fiction. As shared throughout his AMC mini-series titled James Cameron’s Story of Science Fiction and the book of the same title, it was from an early age that Cameron sought to ask big questions about the world around him.

From the science fiction works of Ray Radbury to the cinema of the fantastic broadcasted on late night television, a teenage James Cameron spent much of his time dreaming, writing and drawing worlds of science fiction that highlighted his understanding of the genre’s rich cultural discourse. Cameron understands fully that science fiction is not merely about space, time travel and other worlds. Rather, science fiction is about big ideas.  As such, true science fiction film is not merely concerned with the fantastical but rather the culturally rich discourse that shapes humanity. 

James Cameron on the set of The Terminator (1984) with Arnold Schwarzenegger


Profound questions are explored within the depths of The Abyss.  Squarely grounded within the politics of the Cold Water and the fear of nuclear disaster, The Abyss tells the story of a U.S. search and recovery team, on a mission to locate a sunken U.S. nuclear submarine before it is discovered by the Russians.

Loosely inspired by H.G Wells’ 1879 story In the Abyss, Cameron’s story highlights a world where technological evolution creates a constant threat and where nature is fully alive. As water shaping alien sea creatures magically come to life on the big screen (technology that would make Terminator 2 and Jurassic Park possible), both the film’s characters and audience are challenged to explore their own understanding of life and humanity’s relationship with the environment. This connection is further explored in Cameron’s Avatar films and reinforces the engrossing canvas science-fiction enables in in examining real world issues. Often for Cameron, the intersectionality of technology and humanity is at the centre of his cinematic stories and The Abyss is no different.

Cameron’s Visual World:

Cameron’s cinematic body of work ranks amongst the groundbreaking achievements of film giants including George Lucas and Steven Spielberg.  Like George Lucas who built Industrial Light and Magic (ILM) in order to make Star Wars (1977), James Cameron often finds himself in the midst of technological innovation in service of story. Leveraging his experience on the ground floor of the Roger Corman film factory of New World Pictures as an art director, matte painter and special effects coordinator among many other roles, Cameron has a tradition of changing the tide of movie effects with each film he makes.

From Battle Beyond the Stars (1980), Corman’s low-budget and yet ambitious take on Star Wars to Galaxy of Terror (1981), an Alien inspired b-movie romp, Cameron’s experience as a multifaceted and skilled taskmaster helped propel him to the ranks of blockbuster behemoths. In fact, it was the Academy Award Winning special effects of computer generated sea-creatures in The Abyss that evolved into the liquid morphing spectacle of the T-1000 in Terminator 2: Judgement Day (1991) and the evolution of CGI that has led Cameron to Avatar (2009).

Although, designed by the creative minds at ILM, Cameron, unlike other filmmakers who may stand at the sidelines of such creative design,  was intrinsically entrenched within the behind-the-scenes development of the technology used in making movie magic.  

The T-1000 from Terminator 2: Judgement Day (1991)

However, when it comes to The Abyss, CGI rendered sea creatures pale in comparison to the complicated nature of the practical effects that the film required. Whereas James Cameron was heralded for his deep ocean dives in order to capture the opening segment of the real Titanic for his 1997 cultural phenomenon, The Abyss was very much his prototype for underwater cinematography. Placing actors within real submarines and shooting underwater segments in an abandoned power station, which was converted into the world’s largest fresh-water filtered tank, (check out this behind-the-scenes video) Cameron pushed the elevelop both in terms of computer generated imagery and practical in camera and on-set effects. 

Water comes to life in The Abyss (1989)

140 Minutes of Movie Magic:

Ambitious and brilliant, The Abyss still remains one of the best science fiction films ever made. The antithesis to the rapid speed of the Star Wars films, The Abyss is a slow dive into the depths of the ocean all while building claustrophobic tension that still resonants over 30 years later. 

So, if you’re snowed-in this Christmas weekend and can’t make it to the theatre to see Avatar: Way of the Water, make sure to add The Abyss to your watch list.

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Register Now: A Media Literacy Week Conversation

Media Smarts’ National Media Literacy Week is soon approaching and promises an exciting opportunity for educators in Canada and beyond to learn, unlearn and relearn as it pertains to all-things media literacy.

Recognizing that educators and students are navigating a complex space of consumption and production, it’s critical to continuously reframe as it pertains to media literacy. As an educator with a diverse media literacy and digital technology background, I’m constantly reflecting on how to best evolve my practice so that all educational partners can actively engage in what is a vast (and at times scary) digital media landscape.

As an educator of nearly eighteen-years, I’ve attempted to champion digital media through a positive and responsive lens. From video production that brings to life personal story to digital portfolio design that allows students to “show what they know,” my work looks to a creating and embracing the “good” that production allows and that online culture can help further evolve.

However, as a secondary school Vice Principal and parent of a daughter entering “tweendom,” the dystopia of social media cannot be ignored. More now than ever, a collective effort is needed to educate and empower students to be their best in-person and online. We need to actively support and promote social and emotional learning that will allow educators and students to be their very best. This mission is not impossible but will take real and purposeful action.

As such, let’s come together for a critical conversation about teaching and leading in the social media dystopia.

Register for Connected Teaching and Leading in the Social Media Dystopia

When: Tuesday October 25th from 4:00pm – 4:45pm via Zoom.

Join the conversation: Click here to Register

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[Media Literacy] Lightyear: A Family Watch Guide

Setting the stage for family movie nights can help in nurturing young people to be active consumers of media text. 

In the spirit of reading deeply, providing young viewers with an opportunity to reflect and share prior knowledge can nurture their skills as critical thinkers and effective communicators 

As it pertains to Lightyear and the Toy Story world, there is a rich opportunity to navigate conversations about leadership and the call to be a self-reflective life long learner.

Prior to watching the movie, discuss what leadership means.

Suggested starting points:

  • What does leadership mean to you?
  • What makes a person an effective leader?
  • What leaders to you look up to and why? 

Watch the following video of Kid President, together as a family. In this video Kid President explores what makes a great leader by connecting with young leaders.

As you watch the movie, quietly reflect on the characteristics noted in Kid President video (above). The goal is to actively watch so that you can shape a post-movie conversation with your family.

Some key ideas to reflect on:

Throughout the film, Buzz is burdened by the very notion of being a leader. Like in the original Toy Story (1995), Buzz is preoccupied with taking action. As a result, his ability to lead is often ineffective and narrow. This is evident in the the opening sequence of Lightyear, where Buzz’s drive to “do it alone” results in the catastrophe that puts his team in harms way.

If only Buzz combined his desire to engage in action with cooperation all while taking the time to understand and value others. If he had, the events that shape the story may have been altered. Nonetheless, his inability to empower and be humble leads him on a journey of self-discovery; one that forces him to lean into his vulnerability and understand himself fully.

As the film begins, Buzz still has so much to learn. He associates leadership with heroism in the most traditional form. However, leading without actively listening, reflecting and reframing can have considerable consequences.

As the story unfolds, Buzz begins to learn, unlearn and relearn. He grows to understand what leadership truly means and benefits from positive outcomes of empowering others and embracing their skills and mindset. Consequently, he discovers his true self through by actively listening, being responsive, open and accepting. He now understands that leadership is not heroism but a journey of vulnerability where change is constant.

As a family makes connections between Buzz and the characteristics shared by the young people in the Kid President video.

Furthermore, read the following blog from the Disney Institute: What Toy Story Can Teach Us About Leadership and Teamwork to deepen connections between Lighyear and what can be learnt about leadership.

Along with “deep read conversations,” young kids can have some creative fun with the official Lightyear Activity Pack

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[Trailer Review] Halloween Ends

With the return of Jamie Lee Curtis to the Halloween franchise in 2018, the new series of Jason Blum produced and David Gordon Green directed films have garnered huge box-office results along with divisive critical response.

Premiering as part of the Midnight Section at the Toronto International Film Festival in September 2018, Halloween (2018) was a return to form for Michael Myers and company. Continuing where John Carpenter’s original 1978 Library of Congress inducted masterpiece left off (all while disowning prior sequels), Halloween told the story of trauma, the consequences of violence and the erasure of victim voices. Heralded by audiences and critics alike, the Shape found new meaning within a culture navigating #metoo and examining the repercussions of male violence.  

With Laurie (Jamie Lee Curtis) now in her late 50s, audiences found her living a life filled with sorrow, regret and anger. In particular, anger drives Laurie as a character burdened with the lure of vengeance and broken by trauma. Like Sarah Connor of Terminator 2: Judgement Day (1991), she has transformed from prey to predator. She has the capacity to take action in the attempt to fix the wrongs of the past and potentially the future.

As Laurie navigates her transformation, the David Gordon Green sequel is very much the offspring of Carpenter’s original in tone and style. Driven by psychology and atmosphere, Halloween is the perfect compliment to the original film.

Whereas Halloween (2018) followed in the psychology of the first film, the sequel Halloween Kills (2021), was a brutal tale of violence.  With Michael becoming increasingly more vicious, the film moved away from suggestiveness towards a more grind-house flare for carnage. Most interesting is that the film detours from Laurie’s trauma to that of Haddonfield’s, the small American town that the boogeyman has haunted for decades.

With legacy characters such as Tommy Doyle (Anthony Michael Hall) revisited as adults, Halloween Kills attempts to explore the potential for anyone to Michael Myers. Harkening back to the mob in James Whales’ Frankenstein (1931), director David Gordon Green brings to the screen Haddonfield’s own monstrous side. Although, well intentioned, the film loses itself to violence rather than the intensity that comes from the lurking threat of the unknown.

The mob scene in Halloween Kills (2021)

Now with the story supposedly concluding with Halloween Ends arriving in theatres this October, the trailer (see below) suggests the epic final showdown between Laurie and Michael. One can only hope that Halloween Ends is less grind-house and more Carpenter original. Less can certainly be more when it comes to horror.

Halloween Ends arrives in theatres October 14.

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