LEMONADE BLESSING (2025)

June 6, 2025

Greetings again from the darkness. Those teenage years can be so bumpy. One day is the worst ever, and the next day is the best. Dealing with parents is frustrating because they just don’t understand. Making friends is impossible. Today they like you and tomorrow they join with others in making fun of you. Clothes and shoes are never right. School is a waste of time. It’s a wonder anyone ever reaches their twenties. In his first feature film, writer-director Chris Merola doesn’t try to tackle all aspects of teenage misery, rather just enough to make sure we recognize it.

John Santucci (Jake Ryan, ASTEROID CITY 2023, EIGHTH GRADE 2018) is informed by his mother Mary (Jeanine Serralles, INSIDE LLEWYN DAVIS, 2013), “You’re always going to be good.” She says it so matter-of-factly that John takes it to heart, hoping never to disappoint her. In fact, he so wants to please her that he follows her mandate of taking Eucharist Minister Training at the Parochial School where she has registered him.

On his first day at the school, he locks eyes with Lilith (Skye Alissa Friedman) and it seems their paths intersect a few times as if the universe is forcing them together. It would be easy to say opposites attract here. John is a bit shy and naïve, while Lilith is rebellious and adventurous. However, they also have common ground. John has a controlling mom, while Lilith has a controlling dad.

This relationship of oddballs develops in a strange way. The two exchange notes with Lilith tasking John with ever more daring stunts to earn the next level of sexual fun/experimentation. Lilith is one of those big talkers whose public façade hides the same insecurities as every other kid. Of course, John is too green to notice and fights every urge he has to continue following her directions. Brother Phil (Michael Oloyede) runs the ministry program and sees right through John, and Angelo (Miles J Harvey) is John’s friend who adds to the peer pressure and cover-up of teen insecurities.

Jake Ryan is superb here, and plays John in the manner of a subdued Jason Schwartzman; however, it’s relative newcomer Skye Alissa Friedman who is the standout performer here. She brings a depth to the role that most actors would have likely missed, capturing the strain and confusion of the age. Together, the two make us care about teenagers that aren’t our own … quite impressive. Filmmaker Merola uses extreme close-ups quite often, sometimes making things a bit uncomfortable (in an intentional way). We look forward to his next project.

World premiere at Tribeca Film Festival on June 5, 2025

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Posted by David Ferguson

SISTER MIDNIGHT (2025, India)

May 21, 2025

Greetings again from the darkness. London-based Indian artist Karan Kandhari chooses a misfit couple’s arranged marriage as the basis for his debut feature film. As writer and director, Kahdhari delivers a psychological comedy that goes a bit dark at times, yet the abundance of creativity and a terrific lead performance keep us anxious to see what happens next.

Uma (Radhika Apte) and Gopat (Ashok Pathak) are obvious misfits as spouses as evidenced by their first night as husband and wife. Uma is eager to consummate the marriage, but Gopat either has no interest or is so intimidated by his assertive and forward-acting bride that he prefers to ignore her – other than asking her, “Why can’t you just be normal?” With no sexual activity, and the inability to cook or clean, Uma becomes bored and frustrated, resulting in her proclaiming sarcastically, “I’m a domestic Goddess”. This leads her to take ‘wife’ lessons from her neighbor Sheetal (Chhaya Kadam). It’s here where we learn that husbands will eat any dinner if enough chili and salt is added, and more insightfully, “men are dim.”

Ms. Apte brings a physicality (as well as deadpan mastery) to her terrific performance and her wide eyes convey much of her thoughts, especially as her transformation takes place. She admits, “This is just how God painted my face”, yet as time rolls on, she’s clearly not well physically or emotionally. This causes Gopat to step up, while also allowing filmmaker Kandhari to infuse some stop-motion animation as the level of bizarreness jumps. Cinematography from Sverre Sordal and film editing by Napoleon Stratogiannakis perfectly enhance the oddity, as does the choice of music … including songs by The Stooges, Buddy Holly, Marty Robbins, Howlin’ Wolf, and even The Band’s “The Weight”.

Between the stifling heat and the less-than-elegant accommodations, it’s doubtful Mumbai’s Tourism Bureau appreciates the setting, but for movie lovers, there is significant entertainment value with this one as it exposes the misery of being trapped. Just be careful with that cookie tin.

Opens in NYC May 16, LA May 23, nationwide May 30, 2025

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Posted by David Ferguson

THE SALAMANDER KING (2025)

April 26, 2025

Dallas Independent Film Festival

Greetings again from the darkness. ‘Keep Austin Weird’. That’s one of the more popular and fitting city slogans in the United States. For five plus decades there has been an ongoing battle of conservationists versus developers … or the little guy against big money. Over those years, the city’s population has quadrupled to around one million. On the surface, it appears big money won … but there have been a few ‘little guy’ victories as well.

Austinite (and actor) Austin Nichols directs a script from fellow Texan Drew Mackintosh that centers on the battle for control of Austin Municipal Golf Course, known to the locals as ‘Muny’ (actual Lions Municipal). The course is being run by carefree Ray (Ryan Hansen, “Veronica Mars”) and his band of equally laid-back cohorts. The course is a haven for old school Austin-types who beat to their own drum and avoid the pressures of high-finance.

Their world gets rocked when the city’s Green Space Authority hires consultant Sam/Samantha (Adrianne Palicki, “Friday Night Lights”) to find a way to turn the money pit course into a viable asset for the city. Sam’s douchey boyfriend Dylan (Justin Chatwin, “Shameless”) immediately sees the opportunity to turn the 130 acres into a corporate headquarters for ‘Elon’ … thereby setting up the fight.

What’s interesting here is that all of this is told a bit tongue-in-cheek with Ray’s never-grow-up-or-sellout charm striving to maintain a bit of Austin culture (with a bigger budget, this role could have gone to Matthew McConaughey or Glen Powell). In order to do so, he must win over Sam and find a way to overcome the city’s quest for profit. Of course, much of this is hinted at early on, but it doesn’t change the entertaining dynamic. Those familiar with Austin will recognize a few spots throughout the film, but it’s really the ‘state of mind’ that drives the story. This is reinforced by the inclusion of Gary P Nunn singing “London Homesick Blues” and “What I like About Texas”.

The film’s title is derived from a long-ago Austin story about development being stopped over the threat to the Blind Salamander habitat in the area. The film is never as serious as these real life battles have been, and there’s a nice comedic touch having former USC Trojan football player Reggie Bush play the role of a Longhorn nemesis in a marketing ad. Mr. Nichols has delivered a Texas film with an Austin mentality … a feeling that plays no matter where you live.

Premiered at the Dallas Independent Film Festival on April 25, 2025

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Posted by David Ferguson

THE TROUBLE WITH JESSICA (2025)

April 24, 2025

Greetings again from the darkness. For most of us, the worst thing that happens at a dinner party is the pork loin is a bit dry or the wine selection is a bit lacking. Among the worst occurrences are the friction and hurt feelings caused by a joke-gone-wrong, or God forbid, someone brings up politics. It’s just such a dinner party that kicks off this film from writer-director Matt Winn and his co-writer and frequent collaborator, James Handel.

Husband and wife Richard (Rufus Sewell) and Beth (Olivia Williams) arrive at the lovely London home of Sarah (the always fabulous Shirley Henderson) and Tom (Alan Tudyk). Hitching a ride is uninvited mutual ‘friend’ Jessica (Indira Varma), whose recent book has just hit the bestseller list. Jessica is one who sometimes over-imbibes and is a notorious flirt, rarely taking much precaution in either activity.

Two things happen that drastically impact the evening’s proceedings … and neither has to do with the Clafoutis dish Tom prepared (and takes enormous pride in). The friends are stunned when they learn Sarah and Tom must sell the house quickly or face financial ruin – something unthinkable to those who have lived this life. Secondly, and infinitely more shocking, is the realization that Jessica has committed suicide in the garden. On top of those biggies, secrets are later revealed that feel like a gut punch after the crisis.

With the home sale pending, Tom and Sarah believe a dead body will turn off the buyer, resulting in the bankruptcy they so fear. Their plan is to convince long-time friends Richard and Beth to go along with a scheme that will prevent further disaster. Arguing, debating, and ‘what about’ discussions, some quite animated, take center stage with the group. The drama is elevated by a nosy neighbor (Anne Reid) and an unexpected visit from the potential buyer (a terrific Sylvester Groth who played Goebbels in INGLOURIOUS BASTERDS, 2009).

Winn cleverly uses chapter subtitles, each beginning with “The Trouble with …”, to reinforce the live theater feel of the story. Some of the chapters work better than others, but it’s the veteran and talented cast that diligently pull off the dark humor at a time no one should be laughing. Shirley Henderson especially shines as she spews her lines with that unique and distinctive voice of hers.

The soft jazz score, credited to director Matt Winn and Matt Cooper, provides a nice touch, and mostly we just look at these folks and wonder how far they will go to keep themselves out of trouble. If not for the comedic touches, it would be quite disturbing … well, even with the comedy, it’s quite disturbing. However, a new twist on the dinner table setting is welcome, and despite everything, the film maintains a level of entertainment.

Opens in theaters on April 25, 2025

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Posted by David Ferguson

CHOSEN FAMILY (2025)

April 18, 2025

Greetings again from the darkness. It’s feasible for a filmmaker to have the best intentions with a project, and for whatever reason, the end result just not be satisfying. This appears to be the case with this latest from Heather Graham, who wrote, directs, and stars in a film meant to inspire us to take control of our own life and stop blaming others for the obstacles or our own poor decisions.

Ms. Graham (BOOGIE NIGHTS, 1997) stars as Ann, a self-described people-pleaser who teaches yoga at a studio she doesn’t own in a coastal Rhode Island community that looks to be somewhat affluent. Somehow, her sparsely attended yoga classes must pay well, as Ann lives in a stunning home overlooking the water. Her first mission is to pick up her sister Clio (Julia Stiles, 10 THINGS I HATE ABOUT YOU, 1999) from drug rehab and drop her at their parents’ house. Dad (Michael Gross) is a religious zealot constantly accusing Ann of “living in sin”, while Mom (Julie Halston) is filled with regret that she never pursued the singing career she desired. This is Ann’s family, so given the film’s title, you can likely guess where this is headed.

In contrast to her chaotic family, Ann has a group of very close friends who support her. Max (Thomas Lennon, “Reno 911”) is opening a new waterfront restaurant with the help of his wife Francis (Oscar winner Odessa Rae) and their friend Roz (Andrea Savage, STEP BROTHERS, 2008). Ann’s poor/comical track record with boyfriends is a constant point of discussion, and Max introduces her to his contractor, Steve (John Brotherton, FURIOUS 7, 2015). Steve is a nice man and the two hit it off.

Things change quickly when Steve agrees to introduce Ann to his daughter Lilly (Ella Grace Helton, “Sweet Magnolias”), who hasn’t handled her parents’ divorce very well. That’s an understatement. In fact, Lilly displays the psychotic behavior of someone who has been a psychopath-in-training for years. She’s manipulative and vindictive, and has no intention of letting Ann come between her and good ol’ dad.

I’d like to say this piece of the story is overdone to the extreme, but again, that would be an understatement … one capped off with a totally inappropriate hip-hop dance contest between Ann and Steve’s child, Lilly. This happens around the time that Ann posts an all-too-honest vlog while wearing a bikini and dissing her family. Somehow, all of this is supposed to be played as comedy, but mostly it’s kind of pathetic seeing grown adults act the way they do here. At least Lilly’s obnoxious behavior can be explained as a young kid going through a stressful destruction of the only life she’s known.

Ann’s vlog brings her notoriety as an influencer, yet she continues to kowtow to Steve, her parents, and her sister. Things come to a head when Ann gets her big yoga break on stage at an exposition. Chaos ensues on stage and it (finally) awakens something in Ann.

We get a quick dose of a horrific backstory involving Ann and Clio as kids, but it’s never explored, and Ms. Graham handles most of Ann’s scenes with a mixture of bug eyes and squinting in disbelief.  The end result may not be what we’ve come to expect from movies, but it’s the sensible finale that gives meaning to the film’s title. There is very little real humor in this comedy, and though just about any of the story lines could have been more fully developed, we are instead left with a mishmash of Ann’s own making … which turns out to be the moral of the story.

Available for digital download beginning April 21, 2025

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Posted by David Ferguson

Broadway Dallas: MAMMA MIA! (2025)

April 17, 2025

Music Hall at Fair Park

April 15-27, 2025

Sometimes a getaway to a Greek isle is meant only to be a good time. Such is the ongoing popularity of the stage production “based on the songs of ABBA”. The Swedish band’s global success was first derived through these songs in the 1970’s. In 1997, British playwright Catherine Johnson wrote the story that led to the smash stage musical (1998), followed up by the blockbuster film in 2008 (starring Meryl Streep and Amanda Seyfried). Both the stage production and the film were directed by Phyllida Lloyd. The most recent of many incarnations of the stage musical continues this year with a United States tour, a six-month stint on Broadway (beginning in August 2025), and finally, an international tour.

For those local to the area, Broadway Dallas features a two-week run of the production and if the audience from the April 16 show is any indication, the immense popularity of the show remains in place thanks to a blend of the comedy and music. You likely know the story of Donna Sheridan, a single mom who has raised her daughter Sophie while running a hotel on a picturesque Greek island. Twenty-year-old Sophie is preparing for her wedding to Sky, and unbeknownst to her mother, has invited three of Donna’s former lovers … one who is most likely Sophie’s unnamed father.

This talented cast consists of Christine Sherrill (Donna), Amy Weaver (Sophie), Carly Sakolove (Roxie), Jalynn Steele (Tanya), Rob Marnell (Harry Bright), Jim Newman (Bill Austin), Victor Wallace (Sam Carmichael), and Grant Reynolds (Sky). Although much of the focus is on Donna and Sophia, it’s really Donna’s friends, Roxie and Tanya, who steal the show as Donna and the Dynamos and in individual scenes that elicit roars from the appreciative audience. I found Ms. Steele’s Tanya to be especially entertaining (and energetic). Of course, the three men all have their moments in the spotlight, ensuring a love-love connection with those in attendance.

The music composed by Benny Andersson and Bjorn Ulvaeus (both of ABBA) is obviously an integral part of the production. Unfortunately, during this show, the vocals were often drowned out by the too-loud instrumentation of the band’s guitars, organs, and drums. This was especially disappointing during highlight moments for featured solos by Ms. Sherill and Ms. Steele. The distraction was lessened during the ballads, and when the ensemble was in full force, the choreography delivered rousing fun for all.

White walls and blue doors make up the simple set design, evoking the familiar images of Santorini. The only shifts occur when a bed is added for ‘indoor’ scenes or a boat (named “Waterloo”) takes us briefly to the shore – and a terrific ensemble number with flippers and snorkels. Overall, the show is quite the crowd-pleaser and the familiar songs (“Dancing Queen”, “Mamma Mia”, “S.O.S.”, “Super Trouper”) generated a bit of unsolicited audience sing-along and clapping-in-time. You will likely notice a few dedicated fans dressed in sparkles and spandex, fully committing to their adoration of “Mamma Mia!” … a show designed to deliver a good time for all.

https://broadwaydallas.org/shows/mamma-mia/

@BroadwayDallas

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Posted by David Ferguson

LITTLE MISS SOCIOPATH (2025)

April 8, 2025

Greetings again from the darkness. Some folks just kind of float through life feeling ‘not seen’ … even though their inner voice speaks to them incessantly. This describes Clementine/Clem, a Pharmacy Technician who specializes in holding her tongue in most social and family situations. When her beloved dad dies, Clem is forced to cohabitate with her less than warm-hearted stepmom. This is the set-up for the first feature film from writer-director Miv Evans.

To clarify, death is not typically a hot topic for comedy, but this time it’s front and center of some dark comedy that pushes the boundaries of the ethics most members of society subscribe to. (A relatable) Jenny Tran plays Clem. She’s a repressed individual who rarely gets noticed, though her rapid-fire inner dialogue provided through narration informs us of her many insecurities, her love for her dad, and her challenging stepmom. When Dad unexpectedly passes, Jenny is bullied into caregiving for Bella (Victoria Goodhart), her uptight former hippie artist stepmom.

At work, Clem forms a rare connection with the oddball new hire. Adam (Brendan Michael Coughlin) is her ‘fantasy guy’, mostly because he’s charming and notices her and engages with her. It matters little that he is mostly full of BS, while spinning tall tales about his background, situation, and knowledge. Add morphine to this arrangement and soon enough Jenny has a new business venture that finds her selling her soul to cash in on the elderly as a client of Swan Song Agency – featuring the world’s most constantly put-off receptionist.

Add in Mrs Carter (Lisa Scott), an extraordinarily nosy neighbor, and Erica (Pamela Shaw), a flamboyant and slightly mysterious client of Clem’s new caretaking service, and you have the makings of an entertaining venture that will test your own moral code – do you support Clem or are you shocked? Filmmaker Evans kicks off the film with the line, “Everyone seems normal till you get to know them.” That sentiment certainly holds true in this little movie that would be quite popular at most film festivals.

The film releases on April 7, 2025

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Posted by David Ferguson

FREAKY TALES (2025)

April 4, 2025

Greetings again from the darkness. While I’m unsure whether this qualifies as a tetraology, this oddball and zany film consists of four separate yet interrelated stories with crossover characters.  Previous collaborations from the film’s co-writers and co-directors, Anna Boden and Ryan Fleck, include CAPTAIN MARVEL (2019), the underrated IT’S KIND OF A FUNNY STORY (2010), and SUGAR (2008).

It’s 1987 and the audience for a just-ended movie is making its way outside the Grand Lake Theater in “hella wild” Oakland, California. A truck full of neo-Nazis spew vile at the patrons as they cruise by. Best friends Lucid (Jack Champion, RETRIBUTION) and Tina (Ji-young Yoo, “ExPats”) make their way to The Gilman for some live music. There is an unrequited love connection between the two friends as the jam, but things turn violent when the neo-Nazis show up. Punks vs Nazi bullies goes full bore.

In Chapter Two, Dominique Thorne and Nomani make up the group Danger Zone, and as they leave the previously mentioned movie, they are verbally abused by the Nazis and recognized by someone who invites them to Rap Battle the great Too $hort. It’s in this segment where Ben Mendelsohn identifies himself as a cop … and the Rap Battle features some blistering lyrics.

The next chapter finds Pedro Pascal’s Clint as the collections muscle behind a crime lord, and as his pregnant wife waits in the car, Clint has a hilarious interaction with Hank, a video store manager played by Oscar winner Tom Hanks. Hank peppers Clint with movie trivia questions, despite Pascal being there for a completely different reason.

Throughout the story, there are references to the local NBA team, the Warriors, and their playoff series against the hated Lakers. Local legend “Sleepy” Floyd is mentioned, and the final chapter pretty much belongs to Sleepy (played by Jay Ellis) and Ben Mendelsohn. Angus Cloud (“Euphoria”) passed away in 2023 and he excels in his scenes with Mendelsohn. Sleepy Floyd goes off on a mystical rampage of revenge and it’s a visually volent treat.

If you are the type of movie goer seeking nuance … this ain’t the place. The filmmakers play homage to 1980’s genre films like REPO MAN (replete with neon green eye glow), while PULP FICTION is another obvious influence (Chapter 4 resembles KILL BILL a few times). Raphael Saddiq’s score is a nice complement, and you’ll note cameos from Keir Gilchrist, Marshawn Lynch (driving a bus), Too $hort, and the real Sleepy Floyd. Unfortunately we are never given instructions on how to register for “Sleepy’s Mind Wide Awake” seminar. A grain of salt is included.

Opens April 4, 2025

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Posted by David Ferguson

DEATH OF A UNICORN (2025)

March 28, 2025

Greetings again from the darkness. When most people think of unicorns, they picture something along the lines of “My Little Pony”, or some other lovable, cuddly animal from a kids’ story. This feature film debut from writer-director Alex Scharfman is definitely not that. In fact, the inspiration from the classic JURASSIC PARK (1993) is quite evident in these unicorns (and one of the main themes). Welcome to a fantasy-comedy-slasher with more than a dash of social commentary.

Ridley (Jenna Ortega, “Wednesday”, BEETLEJUICE BEETLEJUICE) and her dad Elliott (Paul Rudd, ANT-MAN) are on a road trip into the deep forest for a meeting with his employer, billionaire pharmaceutical CEO Odell Leopold (Richard E Grant, SALTBURN). Odell has terminal cancer and as his attorney, Elliott is hoping to close a deal that will set up himself and Ridley for life. Father and daughter argue about her deceased mother during the trip, causing Elliott to be distracted when a unicorn waltzes in front of their speeding car. It’s an unusual sequence that not only connects Ridley to the mystical creature and leaves them splattered in purple blood, it also sets up the rest of the story.

Upon arriving at the majestic estate in the forest, we are introduced to Odell’s wife Belinda (Tea Leoni) and their spoiled, entitled, obnoxious son Shepard (Will Poulter, MIDSOMMER), as well as the estate caretaker, Griff (Anthony Carrigan, “Barry”). It’s nice to see Ms. Leoni back, as it appears her last big screen appearance was in TOWER HEIST fourteen years ago (of course she starred in “Madam Secretary” for six of those years). There will likely be debates on the most memorable character, as Shepard is so over-the-top wacky that he becomes cartoonish, while Griff could easily have been yanked directly from a Mel Brooks film.

The key conflict in the story revolves around the all-out greed displayed by the Leopold clan versus the warnings from Ridley after she studies unicorn history and mythology via the tapestries of the Cloisters. Stuck in the middle is Elliott who wants to improve the relationship with his daughter while also appeasing the Leopold family. Scharfman includes quite a bit of comedy throughout, and when blended with the violent and gory horror elements, it actually seems to distract from what could have been a stunning cinematic experience, leaving us with a silly slasher sub-genre entry.

Richard E Grant delivers his usual strong performance and is given the actor’s dream of transforming from dying elderly man into the virile industry magnate of his youth. Will Poulter breaks away from his often-intense dramatic turns to flash his goofy comedy chops (snorting magical horn dust). The films kinda wastes Jenna Ortega’s talent, although she gets a nice line, “Philanthropy is just reputation-laundering for the oligarchy” highlighting the films anti-greed message. The argument could be made that Paul Rudd is a bit miscast, as we are never given any reason to believe he’s a strong or competent corporate attorney. There is enough to like here if fantasy-horror-comedy is your cup of tea, yet most will note the shaky GGI on the unicorns (improved for Act III), which pale in comparison to JP’s dinosaurs from thirty years ago

Opens on March 28, 2025

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Posted by David Ferguson

THE PENGUIN LESSONS (2025)

March 28, 2025

Greetings again from the darkness. Penguins are darn cute. A penguin that follows you around and chooses to live with you is almost too cute for words. But in this story inspired by true events, that’s exactly what happens. Directed by Peter Cattaneo (THE FULL MONTY, 1998), the film was adapted by screenwriter Jeff Pope (PHILOMENA, 2014) from Tom Michell’s 2015 book.

It’s 1976 in Buenos Aires, Argentina. A Military coup is in the works to take down the government of President Isabel Peron, who had served since the death of her husband Juan Peron in 1974. As you might imagine, the citizenry was on edge. Even St George’s School for the sons of privileged families was not immune. It’s also the school where Tom Michell (Steve Coogan, PHILOMENA) was hired to teach English. Michell shows up a bit haggard and unmotivated. He goes from one frustration to another: armed guards in the street, paint on his shoe, the strict rules of the Headmaster (Jonathan Pryce, THE TWO POPES), a bonk on the forehead from his housekeeper (Vivian El Jaber), and an intrusive fellow teacher in the Finnish Tapio (Bjorn Gustafsson).

Initially, it seems the perfect role for Mr. Coogan who excels at playing a curmudgeon oozing deadpan cynicism. For Coogan’s Michell, everything changes on a joy ride to Uruguay where he hopes to dance and mingle with the ladies. The dancing (with Micaela Breque) leads him to a near-death penguin washed ashore in an oil slick. In keeping with his luck, Michell doesn’t get the girl, but does get the penguin … a penguin that now refuses to leave his side.

You can likely guess where this is headed. Juan Salvador (Michell’s name for the penguin) changes lives. There is a sub-plot involving the housekeeper’s granddaughter Sofia (Alfonsia Carrocio), but the key here is that everything works to move Michell to rejoin life and shed the grief he’s carried from a personal tragedy. In fact, loss plays a substantial role throughout, having left Michell only able to react by doing nothing.

Steve Coogan is not the actor one imagines when thinking of sentimental movies, but it’s precisely his style that prevents this story from becoming overly mushy. Yes, it’s a bit comical to watch a penguin provide therapy sessions (and the titular lessons) for so many, but the redemption of Tom Michell is the key. Director Cattaneo includes the real clip of the penguin in the school’s pool that Michell shot on a handheld so many years ago. There are also a few inclusions of political commentaries that seem out of place – although not so considering the timeframe.

Opens in theaters on March 28, 2025

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Posted by David Ferguson

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