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Amanda Wilkinson

• No More Me and You
• Amanda Wilkinson · 2005
• It's Okay to Cry
• Gone from Love Too Long
• A Man to Me
• Life Is a Beautiful Thing
• Hearts Open Slowly
• The Art of Letting Go
• Something Else

About Amanda Wilkinson

Amanda Wilkinson is a Canadian country artist and television star. Amanda was born January 17, 1982, and from the age of six she sang with her father, Steve, and her brother, Tyler. In 1997, when Amanda was 15 years old, the family trio was signed to a record deal after a small gig in a Nashville club. As a member of the Wilkinsons, Amanda was heard on five albums between 1998 and 2007: Nothing But Love, Here and Now, Shine, Highway, and Home. Unfortunately, only the first album produced highly successful singles: "26 Cents" and "Fly" both reached number one on the Canadian country charts, but other singles failed to match the success of the trio's early work. Still, they have earned nine Canadian Country Music Awards, a Juno Award, and two Grammy nominations. In 2005, Amanda opted to go solo, recording and releasing her self-titled debut album on Universal South Records. The album spawned four singles, but only three of them managed to reach the Canadian country charts. The most successful was "It's Okay to Cry," which was a Top Ten hit for Wilkinson. In addition, Wilkinson is a television star; along with her immediate family (five members in total), she stars on the Canadian CMT network in a television show entitled The Wilkinsons, which is a scripted reality television-style program focusing on the family's move back to a small town. The show ran for two seasons, but has since played in syndication. Alone, Wilkinson has been nominated four times at the Canadian Country Music Awards, for Single of the Year, CMT Video of the Year, Female Artist of the Year, and Album of the Year. ~ Matthew Chisling

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Currently there haven't been any big Amanda Wilkinson concerts or tours unveiled for America. Sign up for our Concert Tracker to get notified when Amanda Wilkinson events have been released to the itinerary. For recent announcements for Amanda Wilkinson concerts, take a look at our Tour announcements page . In the meantime, view other Country / Folk performances coming up by Hot Country Knights , Adam Ezra Group Ramble , and Walker Hayes .

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No events =(, about amanda wilkinson tour albums.

Amanda Wilkinson arrived on to the Country / Folk scene with the debut of tour album "Amanda Wilkinson", released on N/A. The song was instantly a hit and made Amanda Wilkinson one of the top emerging great concerts to witness. Subsequently following the appearance of "Amanda Wilkinson", Amanda Wilkinson announced "Country Hits 2007" on N/A. Its fair to say that "Country Hits 2007" was not among the more well known tour albums, although the single did get a noteworthy amount of attention and is a crowd pleaser at every performance. Amanda Wilkinson has published 7 more tour albums since "Country Hits 2007". With over 0 years of albums, Amanda Wilkinson top tour album has been "Amanda Wilkinson" and some of the most popular concert songs are , , and .

Amanda Wilkinson Tour Albums and Songs

Amanda Wilkinson: Amanda Wilkinson

• It's Okay To Cry
• Something Else
• Hearts Open Slowly
• Gone From Love Too Long
• Life is a Beautful T...
• No More Me And You
• A Man To Me
• The Art Of Letting Go

Amanda Wilkinson: Promo Only: Country Radio November 03'

Amanda wilkinson: promo only: country radio may 05', amanda wilkinson: highway, amanda wilkinson: country hits 2007, amanda wilkinson concert tour questions & comments, amanda wilkinson tour and concert ticket information.

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• the Wilkinsons
• 5′ 1″ (1.55 m)
• January 17 , 1982
• Belleville, Ontario, Canada
• Gino Wilkinson November 11, 2013 - present (1 child)

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Official Website of Fat Girls Traveling

Amanda Wilkinson

Born in California and 3 weeks later Amanda found herself on a plane to India and hasn’t stopped moving since.

When she isn’t planning her next trip, Amanda can be found exploring her new home in Bristol, United Kingdom with her husband where they run their own Digital Agency building websites and consulting on all things Digital.

View this post on Instagram It’s a Sunday vibe and honestly these last few weeks have made me so happy that we picked Bristol as our home. I love it here. I really do. A post shared by Amanda Wilkinson (@amanduhhelen) on Jul 19, 2020 at 5:32am PDT

Amanda is also the Founder of While Fat the ultimate resource for fat and plus-sized travelers to make informed decisions before booking their travel plans with confidence.

You can find Amanda on Instagram here or if you like books can follow her here .

See some of Amanda’s recent posts below:

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Four years after she was electrified, a Lindon teen finds solace and hope in her music

A benefit concert aims to help gracelyn wilkinson, now 18, get the treatment she needs..

(Rick Egan | The Salt Lake Tribune) Gracelyn Wilkinson talks about how she feels helping others overcome their difficulties, onTuesday, July 19, 2022.

On Sept. 3, 2018, when she was 14 and a ninth-grader at Oak Canyon Junior High in Lindon, Gracelyn Wilkinson wrote in an English class notebook that “Today hasn’t been a very eventful day.”

After school that day, something happened that changed Gracelyn’s life, though she doesn’t remember it. Receiving a massive shock of electricity through one’s body will do that.

“I don’t really remember anything except waking up and having searing pain throughout my whole body,” said Wilkinson, now 18. She said she only knows what happened because of what other people have told her.

Today, Gracelyn Wilkinson is dealing with a variety of health problems — issues with regulating her body temperature, and her memory and comprehension, among them — most of them attributable to the effects of electricity on her central nervous system, her family said.

According to Gracelyn and her family, she has developed a sixth sense for knowing when other people are in trouble. And, she said, she has found healing through her passion for music — which is why an upcoming concert to raise money for a new treatment is so close to her heart.

“I know that if [music] can help me as I’m going through my journey, maybe it can help other people,” she said.

Stepping on a live wire

After school that day in 2018, near the start of Gracelyn’s last year in middle school, she was in rehearsal for a Shakespeare competition in Cedar City. She and her classmates were performing a scene from the comedy “The Two Gentlemen of Verona,” and Gracelyn had one of the main roles.

The school’s theater rehearsal space had recently been converted from a computer lab — and an electrical outlet on the floor had become dislodged, exposing a live electrical wire, according to a lawsuit filed in August 2020 by Wilkinson’s parents against the Alpine School District. The lawsuit is still pending. (A spokesperson for the district did not respond to requests for comment.)

“I walked across the classroom and there was a big boom and a flash,” Gracelyn said. “And I was unconscious on the floor. … [The] only thing I remember is pain, everywhere. It was debilitating, like there was stabbing all through my body.”

In the lawsuit, the family says it doesn’t know how many volts of electricity went through Gracelyn’s body.

Looking back, Gracelyn said, it’s a “blessing” she doesn’t remember more of what happened. But her mother, Amanda, remembers every second, starting with the call she received from Gracelyn’s phone that afternoon.

Because the call came from Gracelyn’s phone, Amanda Wilkinson said, “first, I thought someone was punking me. … I thought, ‘This isn’t very funny.’ But then I heard some mumbling in the background and it sounded like Gracelyn’s voice, but it was like she was having a hard time putting words together.”

Amanda Wilkinson said no one called an ambulance for Gracelyn, and she had to pick her daughter up at school.

Since the accident, Amanda Wilkinson said, the response from the Alpine School District has been “minimal,” with the school giving $5,000 in financial support — which didn’t even cover the cost of Gracelyn’s first trip to the emergency room. The family, her mother said, has “carried the burden of [Gracelyn’s] medical costs ever since.”

The family has racked up more than a million dollars and counting in medical bills, Amanda Wilkinson said.

“It’s been a life-altering injury,” she said, “and we’re still in the middle of it.”

A list of problems

In the first two years after being electrified, Gracelyn spent 12 months in the hospital for various surgeries and complications. She had been resuscitated five times, had open chest surgery, a kidney transplant and brain rehabilitation.

Most of the issues she now faces involve her central nervous system. Things like regulating her body temperature, or balancing her electrolytes, or adjusting to changes in elevation. She has had to relearn to walk multiple times.

She still struggles with things she never had issues with before — such as language, memory, or the ability to comprehend things.

For example, there was a time, shortly after the accident, when a friend brought over a plate of chocolate chip cookies. Amanda Wilkinson recalls Gracelyn looked at the plate and asked if she could have “a circle with those circles on it.”

Gracelyn’s typical day revolves around what her body needs to function at the most basic level. Gracelyn said she takes nearly a dozen medications, including three to just regulate her ability to use the bathroom. She is constantly on a feeding tube, which she refills every six hours. The shock also caused vascular damage, the family said.

She is going through laser therapy and a Rezzimax , a device that is used to control migraines without medication, to prepare her nervous system for rehabilitation.

When Gracelyn was having consistent bad pain days and blacking out from it, her mother said, she looked her daughter in the eyes and said: “Gracelyn, we’ll look the world over until we find solutions for you. I promise you we will keep working until you tell me that you’re done.”

Amanda Wilkinson said she took to researching the after-effects of a massive electrical shock on a child’s body, but cases were rare. “It’s something that a lot of doctors are not skilled or educated on,” she said. ( A 2003 study found only 16 children, ages 10 to 15, killed by electrocution over 13 years of records in San Diego and 34 years of records in Adelaide, Australia.)

Through her research, Amanda Wilkinson found the Spero Clinic in Fayetteville, Arkansas, which she described as a place where people go to rehab their nervous systems. Amanda said she considers the regimen there — Mondays through Thursdays, 8 a.m. to 6 p.m., for four to six months — a sort of last shot at healing some of Gracelyn’s core health issues.

To get Gracelyn to Arkansas, though, the family said they had to raise $70,000 in two months — out of pocket, because insurance won’t cover it.

The power of music

The need to raise money quick led to the “Fight for Light” benefit concert, set for Friday, August 5, at 7 p.m., at Pleasant Grove High School, 700 E. 200 South, Pleasant Grove. Several Utah acts are set to perform at the show, headlined by the indie-rock band Foreign Figures . Tickets are $15 for adults, $10 for children 10 or younger, at fight-for-light.ticketleap.com .

“We wanted to do something that was going to give a gift back,” Amanda said, while being “true to who Gracelyn is and how she’s handled this journey.”

Gracelyn said she has always loved music, particularly musical theater.

“When I started to get sick, something I could always turn to and put all my energy into was music,” Gracelyn said. “I would utilize music therapy a lot in the hospital and everyday life.”

She wrote a song, “Fighter,” which she calls her anthem. She said she wrote it when she was in a “very dark place,” during a hospital stay when COVID-19 restrictions isolated her from her family and medical staff.

The song, she said, is about “how even in those darkest times, you are a fighter and you can lift your head and the light is going to shine.” She added, “I wrote that song because I wanted to believe those words.”

On the outside, Gracelyn looks like any other young coming-of-age woman, with no visible signs of trauma other than the mini backpack she carries with her — which contains the pump that connects to her feeding tube.

Her injuries are, in a way, invisible. She likes to sing, cook and draw henna during her free time.

Gracelyn said the benefit concert and her trip to Arkansas are two of the few things that have given her real hope in a very long time.

A portrait of perseverance

Even though Gracelyn missed more than half of her high school experience, she persevered.

She graduated from Pleasant Grove High School, after having to retake 12 credits she missed while recovering from an infection after her kidney transplant. She spent the first three weeks of her senior year in the hospital.

“I got to the point where I felt like I knew the nurses in the hospital more than I knew my classmates,” she said — but she decided to finish high school with no regrets, finding strength by “finding joy in all the little things.”

Gracelyn recalled the time she was doing her conditioning training on the mountain trail behind her house. She jogged, and pushed herself harder and longer than she ever had since the accident. She veered left and right while doing it, which prompted a biker that passed her angry at her, and accusing her of “goofing off.” Even so, Gracelyn considered it a significant win for herself.

While she was in the hospital, Gracelyn started making warrior bracelets — and so har has donated more than 300 to patients and caregivers, a reminder that they can get through their own battles.

At school, she said, she found herself more aware of ways to share kindness with those around her. She started a weekly “Wednesday lunches” program, where she’d bring people back to her house for lunch.

“One thing that I’ve found to be such a huge blessing is, because of these things I’ve experienced, God has entrusted me in a very different way with some very sacred things,” she said.

She says it’s as if she’s gained a sixth sense.

One story that Gracelyn holds close to her happened at school, after she found out she would need a kidney transplant. She had left her class because she felt sick, and on her way back, she saw a girl crying in the hallway. Overcoming her own anxiety, Gracelyn said, she went up to the girl, whom she did not know, and gave her words of encouragement.

Later that night, the family found out the girl had been planning to take her own life.

A few months later, Gracelyn said, she ran into the girl outside the school, where she was waiting to be picked up. While they chatted, the other girl’s father came out of a car with a service dog, which the girl named after Gracelyn because “she saved her life.”

Both the girl and the father told Gracelyn how her simple act had made a world of difference.

“With this gift of seeing beyond the face that people put on, beyond the words people say, I feel like that’s been one of the biggest things I’ve gained through this [experience],” Gracelyn says.

Gracelyn said she wants to go to college, and that’s another motivation behind going to get treatment in Arkansas. Her plan is to become a child life specialist — a health care specialist who works with families and children at hospitals — because she met one, Lindsay, who changed her life while in the hospital.

Most of all, Gracelyn doesn’t want to be known as the girl who got electrified anymore.

“Arkansas gives me hope to be able to do that,” she said. “[Living] without a feed tube, without having to be super close to the local children’s hospital in case something happens.”

That prospect, she said, is so beautiful for her.

The ‘Fight for Light’ benefit concert , to raise money to send Gracelyn Wilkinson to Arkansas for medical treatment, is Friday, August 5, at 7 p.m. at Pleasant Grove High School, 700 E. 200 South, Pleasant Grove. Tickets are $15 for adults, $10 for children 10 and under, and are available online at fight-for-light.ticketleap.com .

Editor’s note • This story is available to Salt Lake Tribune subscribers only. Thank you for supporting local journalism.

Donate to the newsroom now. The Salt Lake Tribune, Inc. is a 501(c)(3) public charity and contributions are tax deductible

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FAD Magazine

FAD Magazine covers contemporary art – News, Exhibitions and Interviews reported on from London

Amanda Wilkinson Gallery opens new space

By Mark Westall • 25 May 2023 Share —      

Amanda Wilkinson Gallery to open a new space on the 1st Floor, 47 Farrindgon Road, London, EC1M 3JB with an inaugural exhibition by Phoebe Unwin with whom the gallery has worked for over 20 years.

Coinciding with London Galley Weekend 2023 the works in this exhibition continue and extend Unwin’s idiosyncratic exploration and reconstitution of the familiar. The paintings are made without any source material other than her memory of moments or things in daily life. Dense and saturated layerings of oil paint are built up over time becoming other-worldly renditions of faintly recognisable objects and environments.

Phoebe Unwin, The Pointed Finger , 2nd June – 8th July 2023, Amanda Wilkinson Gallery, Opening Friday 2 June, 6 – 8pm

About the artist

Phoebe Unwin’s paintings explore perceptions of everyday experience. Her invented figurative images and their corresponding relations to mark, scale and colour, fuse to visually articulate the variety of feelings invested in looking.

Unwin was born in Cambridge in 1979 and lives and works in London. She studied at Newcastle University and Slade School of Fine Art. Recent exhibitions include ‘Illicit Flowers’ Stiftung Museum Schloss Moyland, Germany (group) (2016); ‘Distant People and Self-Soothing Objects’, Wilkinson Gallery, London (solo) (2015); ‘One Day Something Happens: Paintings of People, work selected from the Arts Council Collection by Jennifer Higgie (group) (2015-16); ‘Emotional Resources’, Northern Gallery for Contemporary Art, Sunderland (group) (2014-15). In 2010 she exhibited in the British Art Show 7 ‘The Days of the Comet’, a Hayward Gallery National Touring Exhibition.

Unwin has exhibited in both Europe and the US and her work is in public collections including Tate Collection, London; Arts Council Collection; British Council Collection; Museum Boijmans Van Beuningen, Rotterdam; and Southampton City Art Gallery.

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Mark Westall is the Founder and Editor of FAD magazine -

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Wilkinson is the stage name of Mark Wilkinson, a British drum and bass DJ, recording artist and music producer from London, UK.

Starting out playing the guitar before trading it in for a sequencer, Wilkinson’s drum and bass beginning came on December 13, 2010 when he released his debut single “Moonwalker / Samurai” through the revered Andy C.’s RAM Records on the compilation album “Nightlife 5”. Wilkinson’s follow-up split single “Every Time / Overdose” featuring vocals from Marcus Greff was the 99th single released of RAM Records and first of Wilkinson’s to have a music video.

2012 brought a handful of single releases included “Need to Know / Direction”, “Take You Higher / Crunch” and “Heartbeat” featuring P Money and Arlissa. The singles - along with the additional “Afterglow” which represented Wilkinson’s biggest commercial success, peaking at No. 8 in the UK Singles Chart - were all taken from his debut studio album entitled “Lazers Not Included”. The album was released October 28, 2012 and peaked at No. 46 in the UK Albums Chart. The same year Wilkinson won the award for Best Breakthrough Producer at the U.K.'s National D&B Awards 2012.

Wilkinson has worked with a handful of artists since this album release including Katy B, Wretch 32, Angel Haze and Knytro. A deluxe version of his debut “Lazers Not Included 2.0” was intended for an August 2014 release. However, this plan was scrapped to allow work on his sophomore studio album.

The DJ and music producer subsequently released the single titled “Dirty Love”, which was premiered on BBC 1Xtra and features vocals from Talay Riley.

Live reviews

Wilkinson is one of the very few artists that I've been lucky enough to see locally, at his set in Exeter's student club, The Lemon Grove. Arriving later on in the night, when the club had filled up with eager fans, Wilkinson made an entrance and immediately began setting the place in motion.

Known for the hit single 'Afterglow', he started the performance with some of his lesser known tracks like 'Moonwalker' and 'Need To Know', before launching into the more popular songs to really get the crowd going. His music has a powerful bass, and is nearly impossible not to sing along to once you've heard it a few times - the vocalists on the tracks are always incredibly talented, and the lyrics are catchy and vibrant. He himself is an interesting character on stage, focused heavily on producing his best work, but constantly smiling and checking to make sure he's having the impact he hopes. The performance is always excellent, and the effect on the audience is a surefire good time, a fantastic rhythm to dance to, and the almost immediate need to go home and find more of his songs on YouTube. A truly strong DJ and producer, both on his own and in collaboration with people like Angel Haze or Katy B.

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They were absolutely amazing! The atmosphere was perfect. The 2 support acts were also good. Nothing could've been better! I think the music was perfect and the fact drum and bass can be played live is just even better. Every single sound was made live which is perfect. I was able to dance and enjoy my self. The venue was also good.

The warm-up set was dire, then things picked up when the second DJ came on, and Wilkinson the man himself was fucking mind-blowing. Great light show and effects so respect to the guys doing that.

Loved the show specially liked the smoke and lasers !

Guest appearance by Wretch 32 for the new tune was big and of course the finale of Afterglow brought the house down .

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DNB ALLSTARS PORTUGAL

Touch Bass - Brisbane

Wellington Square

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Want to see Wilkinson in concert? Find information on all of Wilkinson’s upcoming concerts, tour dates and ticket information for 2024-2025.

Wilkinson is not due to play near your location currently - but they are scheduled to play 11 concerts across 4 countries in 2024-2025. View all concerts.

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Critic’s Pick

‘Kingdom of the Planet of the Apes’ Review: Hail, Caesar

The latest installment in an excellent series finds mythology turning into power.

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By Alissa Wilkinson

For a series with a goofy premise — what if talking apes overthrew humanity — the “Planet of the Apes” universe is uncommonly thoughtful, even insightful. If science fiction situates us in a universe that’s just different enough to slip daring questions past our mental barriers, then the “Apes” movies are among the best examples. That very premise, launched with talking actors in ape costumes in the 1968 film, has given storytellers a lot to chew on, contemplating racism, authoritarianism, police brutality and, in later installments, the upending of human society by a brutal, fast-moving virus. (Oops.)

Those later virus-ridden installments, a trilogy released between 2011 and 2017, are among the series’ best, and well worth revisiting. The newest film, “Kingdom of the Planet of the Apes,” picks up exactly where that trilogy left off: with the death of Caesar, the ultrasmart chimpanzee who has led the apes away from what’s left of humanity and into a paradise. (The scene was a direct quotation of the story of Moses leading the Israelites to the Promised Land, but dying before he could set foot there.) The apes honor his memory and vow to keep his teachings, especially the first dictum — “ape not kill ape.” Caesar preached a gospel of peacefulness, loyalty, generosity, nonaggression and care for the earth; unlike the humans, they intend to live in harmony.

The teachings of peaceful prophets, however, tend to be twisted by power-seekers, and apparently this isn’t just a human problem. “Kingdom of the Planet of the Apes,” directed by Wes Ball from a screenplay by Josh Friedman, leaps forward almost immediately by “many generations” (years matter less in this post-human world), and the inevitable has happened. The apes have fractured into tribes, while Caesar has passed from historical figure to mythic one, a figure venerated by some and forgotten by most.

That there even was a Caesar is unknown to Noa (Owen Teague), a young chimpanzee whose father, Koro (Neil Sandilands) is leader of his clan and an avid breeder of birds. That clan has its own laws, mostly having to do with how to treat birds’ nests, and that’s all that Noa and his friends Anaya (Travis Jeffery) and Soona (Lydia Peckham) have known.

But then one day tragedy strikes, in the form of an attack on the clan by the soldiers of Proximus Caesar (Kevin Durand), the leader of a clan of coastal apes. Noa finds himself alone, searching for his clan, who have been carted away. On his journey Noa meets a human (Freya Allen) who, like the other humans, doesn’t speak.

At this point in the evolution of the virus, mutations have rendered any surviving humanity speechless and dull-witted, living in roving bands and running from predators; to the apes it’s as preposterous to imagine a talking human as a talking ape is to us. But he also meets Raka (Peter Macon), who believes himself to be the last of the faithful followers of Caesar’s peaceful teachings, even wearing Caesar’s diamond-shaped symbol around his neck. (Eagle-eyed viewers will recall that the symbol echoes the shape of the window in the room in which Caesar was raised as a baby.) Noa learns from Raka. And when he finds what he’s looking for, he realizes he has an important job to do.

“Kingdom of the Planet of the Apes” is not quite as transporting as the previous trilogy, perhaps because the apes now act so much like humans that the fruitful dissonance in our minds has mostly been mitigated. It’s simpler to imagine the apes as just stand-in humans when they’re all talking, and thus easier to just imagine you’re watching, say, “The Lion King” or something.

But there’s still a tremendous amount to mull over here, like Proximus Caesar, who borrows the idea of Caesar to prop up his own version of leadership. The real Caesar was undoubtedly strong and brave, but Proximus Caesar has mutated this into swagger and shows of force, an aggression designed to keep his apes in line. He is not brutal, exactly; He is simply insistently powerful and more than a bit of a fascist. Every morning, he greets his subjects by proclaiming that it is a “wonderful day,” and that he is Caesar’s rightful heir, and that they must all work together as one to build their civilization ever stronger.

Visual cues indicate that Proximus Caesar’s kingdom is modeled partly on the Roman Empire, with its colonizing influence and its intention to sweep the riches of the ancient human world — its history, its labor, its technology — into its own coffers. By telling his version of Caesar’s legacy, Proximus Caesar makes the apes believe they are part of some mighty, unstoppable force of history.

But of course, history has a habit of repeating itself, whether it’s ancient Rome or Egypt, and in Proximus Caesar’s proclamations one detects a bit of Ozymandias : Look on his works, ye mighty, and despair! “Kingdom of the Planet of the Apes” is set in the future, but like a lot of science fiction — “Dune,” for instance, or “Battlestar Galactica,” or Walter Miller’s “A Canticle for Leibowitz” — there’s a knowing sense that all this has happened before, and all this will happen again.

That’s what makes “Kingdom of the Planet of the Apes” powerful, in the end. It probes how the act of co-opting idealisms and converting them to dogmas has occurred many times over. What’s more, it points directly at the immense danger of romanticizing the past, imagining that if we could only reclaim and reframe and resurrect history, our present problems would be solved. Golden ages were rarely actually golden, but history is littered with leaders who tried to make people believe they were anyhow. It’s a great way to make people do their bidding.

There are some hints near the end of “Kingdom of the Planet of the Apes” of what might be next for the franchise, should it be fated to continue. But the uneasy fun of the series is we already know what happens, eventually; it was right there in the first movie, and the warning it poses remains bleak.

At the start of the 1968 film, the star Charlton Heston explains, “I can’t help thinking somewhere in the universe there has to be something better than man.” You might have expected, from a movie like this, that “better” species would be these apes. But it turns out we might have to keep looking.

Kingdom of the Planet of the Apes Rated PG-13, for scenes of peril and woe and a couple of funny, mild swear words. Running time: 2 hours 25 minutes. In theaters.

Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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