Christopher Schroeder

Category: reviews

  • The Dope on Kids and Their Parents Today

    Michaeleen Doucleff’s (2026) new book Dopamine Kids offers an alternative account of challenges confronting kids and their parents today.

    Doucleff, who has a physical chemistry PhD, was surprised to learn that dopamine isn’t a pleasure hormone as it is commonly regarded but a wanting hormone, or one that initiates cravings or urges. For her, this insight explained why would feel worse after acting on urges to surf social media for example or indulge in junk food.

    These together form the basis for this book, which is her second one about parenting. In this one, she criticizes the ways digital tech and processed food industries manipulate kids and adults, which she observed in her own home, and offers an account of her efforts, including her research reviews, to change these conditions.

    From these, she outlines a process for other parents and people who also want to disrupt their dependencies upon digital technology and processed foods. This process begins with identifying their values, selecting specific alternatives, and reinforcing these replacements and efforts.

    Central is recognizing the difference, and often the gap, between wanting and liking. The former figures centrally to the development of cell phone apps for example and snack foods, and is why such changes shouldn’t be seen as will-power problems. Regardless, this distinction Doucleff maintains can be hijacked to support such changes by reconfiguring the connection between these.

    Parents in Doucleff’s approach lead these efforts, which requires them to challenge their own choices alongside those of their children. Together, kids and their parents can disrupt their dependencies not by depriving themselves but by replacing these choices with more satisfying ones — closing the gap in other words between wanting and liking — and thus change their homes and their lives.

    This book seems to resonate with many reviewers, who like its mixture of personal anecdote, scientific research, and practical processes and strategies. I too appreciated the insight that kids and their parents aren’t surfing social media or eating junk food because these activities make us happy and the suggestion that these changes needn’t result in additional conflict or herculean sacrifices.

    I also welcome the inherent challenge that parents must confront their own behaviors and model better ones. I no longer have children at home but think this challenge nonetheless applies for anyone who lives with people whom they love and support.

    I struggled with the prominence of the personal experience throughout this book. I can see how it humanizes the author, and could even reduce any sense of superiority or arrogance. Still, I found it excessive at some points and even condescending at others.

    I more disliked its unconventional structure, which intersperses principles and practices. I again understand the argument for such an approach. At the same time, I struggled to rehearse the prior reasoning at the outset of the next theoretical, and research, section.

    Nonetheless, I think this book was well worth the effort. I wondered before I started it whether it would contain enough insights for someone whose children left years ago, and whose challenges reflect a more senior age group, but I can attest that I certainly got more than I needed and and even more than I hoped.

  • Reality For Few

    Fantasy Life, which is a new movie written and directed by Matthew Shear, is a more substantial story than some critics seem to think.

    Sam (Shear), a law-school dropout, agrees to babysit his psychiatrist’s (Judd Hirch) granddaughters and soon thereafter finds ways to spend their mother Dianne (Amanda Peet), an unemployed actor. Dianne, who does little to discourage Sam’s attention, nonetheless ends the affair almost before it begins but uses it to needle her estranged, and increasingly inebriated, husband (Alessandro Nivola) and their parents over dinner in her parents’ summer home.

    Dianne’s husband, who drives away and then crashes his car, recovers in his parents’ home, but she eventually invites him home. Dianne later encounters Sam between sessions in another psychiatrist’s office, and asks him to meet her in a nearby coffee shop after hers, and they discuss their lives and split dessert before going their separate ways.

    Most credible critics seem satisfied with this movie, which some nonetheless consider “slight” or even unoriginal. I however found it perhaps more subtle and refreshing, which made it even more satisfying.

    The directing and acting are accomplished enough to support this unconventional plot. Dianne, who initiated their meeting and later hears the limitations of her belief after her new psychiatrist mirrors it back to her, seems incapable of expressing herself, and retreats into the less challenging topic of Sam’s missing money. Sam for his part seems relieved that Dianne doesn’t challenge his account of his life since he left after that disastrous dinner and in return accepts Dianne’s retreat.

    Both in other words recognize, and resign themselves to, unfinished realities, and neither pushes for more, which are choices only mature people, however messy, could make. Such lessons are ones many of us could learn, which is why it is a more substantial, and significant, story.

  • Towed Too Far

    Credible critics think well of think well of Tow, but I think it’s misfocused, and thus a middling movie.

    This movie tells the trust story of Amanda Ogle (Rose Byrne), a Seattle woman living in her old Toyota Camary that is stolen while she is interviewing for a job and then towed and sold. She discovers that she needs more than the court order she obtains, so she accepts the offer from a non-profit lawyer named Kevin (Dominic Sessa) and the kindness of Barb (Octavia Spencer), a homeless shelter manager, and others who are staying there, and eventually succeeds.

    The predictable focus of the movie, as written by Jonathan Keasey and Brant Boivin and directed by Stephanie Laing, is Amanda’s persistence. She is called a hero near its end by a reporter who wants to write about her experiences and efforts.

    This focus is reinforced by a successful ensemble, which enables Byrne to make the most of this character. It is reiterated by the apparent replacement of these actors by the people whom they’ve been portraying in a closing scene, which lasts longer than expected.

    The problem is that the Amanda’s efforts are less engaging than her need for connections and community. Amanda is reluctant when her car is towed to rely upon anyone, and must learn how to trust, and be trustworthy, again.

    This process starts in the shelter where Barb tells Amanda for example that her failures are familiar, and thus ones she can overcome, and where Amanda in turn mirrors this tough love to Denise (Ariana DeBose) and supports Nova (Demi Lovato), who is pregnant. Beyond the shelter, she forms semi-functional connections to her lawyer Kevin and even a tow-yard employee named Cliff (Simon Rex).

    Amanda admits to others in one of the support group sessions that she is an alcoholic and an addict who cannot without her car even see her estranged daughter (Elise Fisher). This admission initiates the emotional resolution much as if not more than the successful verdict.

    These moments however aren’t enough to dislodge the hero narrative at the center of this movie, which makes it messy, and not one that can ultimately hold the attention of its audience.