ReportWire

Tag: Damsel

  • Damsel: Dinner and a show 

    Damsel: Dinner and a show 

    Damsel director and choreographer Otis Sallid (left) and and the restaurant’s owner and operator Dave Green.
    Photo by Kerri Phox/The Atlanta Voice

    Damsel, the multi-level establishment, is no ordinary supper club, but much more.

    Located in the Works on Atlanta’s Westside, Damsel brings not only a collection of global-inspired finger foods to try, but a cabaret-style show with the culinary experience.

    To better describe the 10,000 square-foot restaurant, think “sexy and 1880s Paris, the Moulin Rouge meets 21st century Cabaret/Musical Theater, with a touch of disco madness thrown in for good measure”.

    Damsel offers three separate dining experiences.

    Downstairs offers small plates, the restaurant’s private club has elevated cuisine, and the lounge features interactive cooking displays. Damsel also has live shows every night featuring dancers, musicians, and other forms of entertainment.

    Damsel’s vision is to create a haven where art, elegance, and entertainment converge to form a tapestry of unforgettable moments.

    With the culinary experience curated by owner and restauranteur Dave Green, who also is owner of The Select, another top-rated dining spot in Atlanta, and entertainment referred to as “The Show” was directed by the esteemed choreographer Otis Sallid.

    Photo by Kerri Phox/The Atlanta Voice

    Damsel’s creation

    With their grand opening back in April, Green said it feels “amazing” to finally be open.

    “It’s amazing because we’re finally able to share what we wanted to create with the public,” Green said. “The grand opening was an eye opener, I think for everyone and now we get to go around, meet everyone, and get their feedback.”

    Green also said the experience has been “extraordinary” and live entertainment had “gone early from Atlanta, especially at this level.”

    “I think the response has been overwhelming,” he said.

    Damsel was a two-year project, according to Green.

    Furthermore, Sallid was tasked with producing “The Show”, with his company Creative Otis. The Show is a highly stylized cabaret that’s described as ‘sexy, seductive, sassy, at times bawdy, always elegant, and a fashionista’s dream.’

    Green said a cabaret-style restaurant was always in the works because live entertainment was non-existent in Atlanta. One day, he was telling a group of people at his restaurant about why he named it, “The Select”, which is about the 1920s restaurant where a lot of luminaries gathered and wanted to change culture forever.

    “They were very successful in brining all of Europe together and it was an interesting time after World War One and became the roaring 20s, which was the Jazz Age in Europe,” he said. “Cabarets were a place to bring people together.”

    As he’s talking about The Select’s history, a young lady who’s a producer comes out of the bathroom and overhears the story, which she thinks is amazing, according to Green. This is where the lady introduces Green to Sallid.

    “She told me who Otis was and I was completely blown away but thought he had way too much going on to work with me on this cabaret,” he said. “When I met him, it was wonderful.”

    Additionally, Sallid said producing and choreographing “The Show” was about making history.

    Sallid and his wife visited The Select one day and sat listening, talking, and saw how Green treated his staff and how he moved around the room.

    “This time in my life, we’re not looking for a job, but we’re looking to make history and so he was saying all the right things through all the right things and treating his dad and being the kind of person, we believed in,” Sallid said.

    The process, Sallid said, was like “making soup” and having to find the right ingredients for the show to fly

    “We needed a certain kind of dancer, a certain kind of person, in which we found a lot of great people, not just in Atlanta. We needed to find the right people for this, and we found five great dancers,” he said.

    The shows last five minutes, then you have small bites for 15 minutes, vice versa. Sallid said he wasn’t sure if it was going to work, but Green told him it would work.

    Sallid said they both operate in trust, which is the bonding of their relationship.

    “When we started doing it, it really worked,” he said.

    “I just have tremendous respect for him, his wife, and his life’s work. He represents 50 years of modern American dance culture and he’s here in Atlanta and for us to meet was like the planets aligned,” Green said.

    Photo by Kerri Phox/The Atlanta Voice

    The Damsel Menu

    Executive Chef Julian Parker and his eloquently trained team experiment with unique, globally inspired cuisine like their crab canapés, lobster cones and foie gras benedict to deliver a burst of flavors, all in one delicious bite.

    Aside from the bites in the supper club, guests can find a private space on-site for exclusive, members-only dining as well as a rooftop lounge with interactive food carts for display cooking and midnight breakfast.

    Green also said curating the menu with Executive Chef Julian Parker was amazing.

    Some of Sallid’s favorites are the Shrimp Phyllo and the Tuna Roll.

    “He’s (Julian) an artist, those are my favorites,” he said.

    Green said he likes the A5 Wagyu Nigiri and the lobster cones because it’s full of lobster.

    “We also do truffle arancini, tenderloin, Beef Wellington, Sliders, and more,” Green said. “We have a vegan presentation in our what we call, ‘Count Me In’, which is our first platter that you get in one of the interstitials.”

    Photo by Kerri Phox/The Atlanta Voice

    Damsel & Beyond

    After the show, Damsel turns into a dance club, reminiscent of New York’s Studio 54, so the party can continue. 

    “We stay open until 2 a.m. Thursdays, Fridays, and Saturdays,” Green said.

    He also said they are going to be adding Happy Hour and going to give free bites away on the rooftop from 5 p.m. to 8 p.m. Green added there will be what’s called, “Midnight Breakfast”, so when guests hang out late, they can order breakfast items such as pancakes and chicken and waffles as well.

    “The rooftop has the happy hour and then it becomes the place where there’s food carts, which we’re thinking about getting a Flambé station, so after your meal, you can come to the dessert room, which will be the rooftop,” he said.

    By phase three, Green said, Damsel is going to be the hottest place in Atlanta.

    “That’s what we’re shooting for,” he said.

    Both Green and Sallid said to pay attention to the dress code and what people are wearing.

    “Look at the elegance and how people are dressing up in Atlanta. They’re paying attention to our dress code and trying to have an elegant night out whether it’s a date night, or if you want to meet somebody, or to go out with friends,” Green said.

    Photo by Kerri Phox/The Atlanta Voice

    No matter what it is, there’s a place for everyone at Damsel, and you will be welcomed with open arms, Green said.

    “I love the feeling of being connected again and really feel at home,” Sallid said.

    When guests visit Damsel, Sallid said there’s a feeling of joy, love, and happiness he wants to permeate the work they do because it’s something that will stick with guests for the rest of their lives.

    Green said when people visit Damsel, he wants them to open their minds, be a part of something new, and have a good time.

    “Be a contributor via giver when you come to Damsel. This is going to take a community to raise Damsel and we’re very clear on that and leave all your inhibitions at home,” he said.

    For more information, visit https://www.damselatl.com.

    The post Damsel: Dinner and a show  appeared first on The Atlanta Voice.

    Isaiah Singleton

    Source link

  • Damsel Leaves Only Distress (And a Yearning to Watch The Princess Bride)

    Damsel Leaves Only Distress (And a Yearning to Watch The Princess Bride)

    Being that Millie Bobby Brown has, thus far, been known for her discernment when it comes to choosing roles in her still germinal career, Damsel has proven to be a noticeable disappointment in her filmography (not that her Godzilla forays are for everyone). Directed by Juan Carlos Fresnadillo (whose most major work is 28 Weeks Later, not even 28 Days Later), the problem isn’t as much in the flat style of the film, but its script, written by Dan Mazeau, who is known for directing more male-oriented movies like Wrath of the Titans and Fast X. In tapping Mazeau to write the script, perhaps Netflix was hoping to bring a dash of “laddishness” to the “strong” and “willful” character played by Brown, Elodie. In fact, all we really know about Elodie is that she is strong and willful…for a girl. That usual backhanded caveat that materializes when women can prove themselves to have the same qualities as men. Or rather, the same qualities that men are supposed to embody based on societal expectations. 

    Damsel is all about expectations, even if not really societal ones. Instead, the expectations are unique to the fictional milieu of Aurea. A place briefly shown (albeit in a cave) during the first few moments of the film when a king and his soldiers come face to face with a fire-breathing dragon that’s about to kill them all. Before we can find out if or how the king is spared, Fresnadillo cuts to the title card: “CENTURIES LATER…IN A FARAWAY LAND.” The viewer is then introduced to Elodie in a way that establishes what a “special” and “unusual” girl she is (in the same way as Belle from Beauty and the Beast—another role one could see Brown playing if Emma Watson hadn’t already done it for the live action version). Because—gasp!—she’s chopping wood. So hardcore! So self-sufficient! And she has to be, because she lives in a barren land where her people are starving. Not yet a queen, her father, Lord Bayford (Ray Winstone, more than slightly out of place in a movie like this), remains the rather incompetent king married to Elodie’s stepmother, Lady Bayford (Angela Bassett, who apparently needed a paycheck as well). This union between a white man and a Black woman goes unacknowledged in terms of being anything “unusual” for that epoch, as it seems to be the Netflix way to employ revisionist histories (à la Bridgerton). 

    What also goes unacknowledged as viewers watch the plot unfold is the idea that there isn’t really any need for all the pomp and circumstance surrounding the Aurean tradition of sacrificing a bride to the dragon that the Aurean king from the intro struck a deal with all those centuries ago. Mainly because, if the whole means of tricking the dragon into believing that the Aurean royals are sacrificing their own “daughters” as recompense for the three baby dragons the Aurean soldiers brutally murdered is as simple as slicing open any girl’s palm and slapping it with an Aurean royal’s sliced-open palm, then, honestly, why bother with a wedding? Or searching far and wide for a girl to fit the bill when, clearly, as viewers will see by the end of act two, when Elodie’s younger sister, Floria (Brooke Carter), is taken captive as a “replacement” for Elodie once she achieves the formerly impossible by escaping from the dragon’s lair, any human with a vagina can suffice. What’s more, the Aurean royals could have simply indoctrinated their “common people” with the rhetoric that being a sacrifice to the dragon was the ultimate “good deed” they could do for their king and queen. Problem solved…and any expenses on a wedding spared.

    Queen Isabelle (Robin Wright, who has fallen far from the gritty grandeur of The Princess Bride in this outing), the “queen bee” of the royals who arranged these nuptials in the first place, is certainly not happy about the revelation regarding Elodie’s escape (sounding kind of like a Scooby-Doo villain when she says, “I knew that girl was going to be trouble!”). Thus, she leverages Floria as bait, knowing full well that someone as “brave” and “morally upstanding” as Elodie will be foolish enough to come back for her. Plucking her from the ship that her father and stepmother kept waiting after Lord Bayford developed a guilty conscience and tried to go back and rescue his daughter (to no avail), Floria is taken to the same cave. It is there that Elodie’s not so princely husband, Henry (Nick Robinson), reaches his breaking point (apparently, a girl being too childlike is enough for him to miraculously develop a conscience). And so, when he decides to refuse his mother’s demands to toss Floria in the hole, too, she snaps, “A prince protects his kingdom. Without hesitation or complaint. Give me your hand” (sounds like what “King” Charles might have said to Prince William before posting the doctored photo of Kate Middleton). Henry replies, “I cannot do this. She’s just a child.” Irritated by his flickers of humanity, Queen Isabelle spits back, “You’re weak” before then approaching Floria herself to perform the blood oath. With all the pretense cast aside in a moment of “desperation,” the viewer has it officially confirmed that this entire movie is built on an extremely flimsy pretext. 

    A pretext that doesn’t even lead to something all that worthwhile filmically, unless one enjoys watching Elodie wander blindly through a cave for the majority of the movie. And yes, there are pervs who might particularly enjoy it when she stands beneath a dripping portion of the “orifice” with her mouth agape, full-on blow job-style. Or perhaps one might find the dragon’s incessant gabbing (voiced by Shohreh Aghdashloo) a source of “charming amusement” when all else fails. 

    Considering the casting of Robin Wright, it’s obvious the creators were hoping for some kind of “update” to 1987’s The Princess Bride—for it’s in that same realm of the fantastical, medieval genre (adventure fantasy, if you prefer). These types of movies being far more pervasive in the 1980s perhaps because things had become too modern for people. If there’s a resurgence of the genre now, then it’s likely for the same reason. Unfortunately, 1) they just don’t make such movies the way they used to and 2) in order to make this kind of movie in the present, the new requirement is that there needs to be a gimmick. In this case, the one about how Elodie is no damsel in distress, taking that word and its association and slaying it with as much vitriol as she does the dragon. Except, oh wait, the other twist/“modern update” to how one tells a medieval story is that she does not slay the dragon. Instead sparing it because it has its own empathetic backstory. And to drive home the point that women themselves have more empathy for others than men.

    While “passable” for those who don’t know any better, one imagines that Brown and others working on the project hoped Damsel would offer some grand message about female independence (this heightened by the overt marketing ploy of releasing it on March 8th, International Women’s Day), and that any other actual plot holes (apart from just the hole Elodie is thrown into) could easily go ignored thanks to an aura of empowerment. Alas, not so much. And if you’re looking to watch a movie with the word “damsel” in its title, you might be better off trying Whit Stillman’s Damsels in Distress.

    Genna Rivieccio

    Source link

  • Millie Bobby Brown Fights to Survive a Deadly Dragon as Part of a Sacrificial Ritual in ‘Damsel’ Trailer

    Millie Bobby Brown Fights to Survive a Deadly Dragon as Part of a Sacrificial Ritual in ‘Damsel’ Trailer

    Millie Bobby Brown is fighting for her life against a dragon and a kingdom’s insidious plans in the first teaser trailer for Netflix‘s upcoming film, Damsel.

    Directed by Juan Carlos Fresnadillo and written by Dan Mazeau, the film follows Brown’s “dutiful” Damsel after she’s selected to and agrees to marry a handsome prince. But her magical future turns into a nightmare present after she learns she’s being used by the royal family as a sacrifice to pay an ancient debt — leaving her to defend herself against a treacherous threat.

    “For generations, it has been our task to protect our people. So tonight, you join a long line of women who have helped to build this kingdom,” Robin Wright‘s queen can be heard saying. “The price is dear, but so too the reward.”

    Set to Timber Timbre’s “Run From Me,” the new teaser promises a harrowing trial, which will see Brown’s “princess” fighting for her life with mostly the clothes on her back. Seen navigating a series of deadly trials, she dashes through the woods to avoid a hideous lurking creature, climbs a cavern of sharp, crystal spikes within a mountain high above, and narrowly escapes a dragon’s fire and burning embers as they rain down on her.

    Alongside that are clips of the kingdom and its leaders — Wright and Nick Robinson — along with, presumably, the kingdom’s subjects, including Angela Bassett. The trailer also teases a group dressed in dark robes and golden masks, along with a cave wall etched with the names of countless women.

    The film also stars Ray Winstone, Brooke Carter and Shohreh Aghdashloo. Mazeau also produces with Joe Roth and Chris Castaldi, with Emily Wolfe as co-producer. Brown serves as an EP, as does Robert Brown and Zack Roth.

    Damsel is set to release on Netflix in 2024.

    Abbey White

    Source link