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    <lastmod>2026-06-19</lastmod>
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      <image:title>Home - THE WORLD</image:title>
      <image:caption>There are 3,000billionaires in the world, and their offspring make up an ultra-elite club of educated, complicated, wounded children who have inherited the weighty responsibility of improving all life on Earth. It’s a strange job that none of them asked for and most of them fail. The sad truth is many of these kids are, deep down, just seeking the love their successful parents could never provide. The requirement to be perfect amidst feelings of inadequacy, and the suffocating politesse of “high society” drives many of them to mental imbalance. Drugs, alcohol, and plastic surgery are the norm, and most have hit a wall of self-destruction by the time they turn 25. In RAGER, which draws on the real life experiences of the writer/director, each character is at a critical turning point of choosing wellbeing or annihilation. In order to do so, they must escape the curse of their lineage. While the global aristocracy, should, in theory, be a haven for civility and progress, underneath its surface are shocking acts of misogyny and sexual assault with few consequences. If anything, discrimination and abuse becomes more sophisticated and covert the higher you get. For those who can afford to buy anything in the world, the thrill of breaking a human spirit or body can be the last great frontier. That said, it’s pretty hard to feel bad for billionaires. This intersection of toxic wealth and toxic masculinity in RAGER offers a darkly funny albeit disturbing look at the life of young billionaires, while providing a cautionary tale about the power of female rage and the dangers of perpetuating a cycle of abuse.</image:caption>
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      <image:title>Home - READ BFF SCENE</image:title>
      <image:caption>Xoana and Kai test their friendship by discussing Xoana’s engagement to her unkind fiancé, Preston.</image:caption>
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      <image:title>Home - READ BREAKFAST SCENE</image:title>
      <image:caption>All the friends gather for a lush breakfast, but tensions rise as they casually exchange insults with each other.</image:caption>
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      <image:title>Home - READ MEN’S WATCH SCENE</image:title>
      <image:caption>A game of hide and seek is determined by the most honest symbol of a man’s worth: his watch.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6137f0c20719a66c37f30676/9360b652-4c29-483a-bacf-074561fd8572/MishaCalvert-17.jpg</image:loc>
      <image:title>Home - WRITER / DIRECTOR MISHA CALVERT</image:title>
      <image:caption>Misha is an award-winning writer, director, and showrunner based in New York. She has created five digital series: STRUT (2018 Tribeca Film Festival) which campaigned for an Emmy in 2022, and ALL HAIL BETH, which landed in the top 25 on the iTunes soundtrack charts in 2019. Her upcoming projects include FAULT (Tribeca 2026), a drama set in the world of women’s pro tennis; PINK FLAGS, starring Raye and Sawyer Spielberg (Panavision New Filmmaker Grant); and THE F*CKBOY DIARIES, a comedy web series about dating (Bentonville Film Festival 2026). Misha’s work is high-concept and visually driven, with a consistent focus on gender, mental health, power, and the female experience. She is also the founder of Vermilion, an educational arts organization supporting actors and multi-hyphenates. More info at www.mishacalvert.com.</image:caption>
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      <image:title>Home - THE FEMALE GAZE</image:title>
      <image:caption>After 130 years of white heteronormative storytelling in film, the female gaze still feels subversive. Yes, there is gender parity in lead roles on television, and the centering of female stories has become more common. However, the less palatable edges of the female experience are a territory Hollywood is just starting to explore. The style and gaze of RAGER embraces these edges with a mainstream tonality that has successful precedent. For example, the abuse of women is handled masterfully in Mary Harron’s iconic AMERICAN PSYCHO. Much like RAGER, it uses violence to crank the winch of patriarchy while anesthetizing us with its stunningly dark humor. Amy Heckerling’s CLUELESS, centers outrageous wealth and comedically selfish characters in the same way RAGER does. Phoebe Waller-Bridge’s KILLING EVE, on the other hand, spotlights physical violence and unstable mental health while not shrugging off the sex appeal of either of its main characters.   This is the sweet spot where RAGER lives tonally. The cast will be recognizable, and the cinematography as fun, flattering, and adventurous as a dark comedy thriller can be. From the beginning we side with the women, who have agency and take up space. We look through their eyes with the camera lens and empower them with the camera angles. Attractive as the women are, we admire their physicality onscreen without male-gaze-sexualization. Instead, we get gratuitous male nudity at key moments. And when the power dynamics shift and the women take over, we enjoy hunting down their male assailants, the camera tracking with us as we run and sometimes literally turning upside down to match Xoana’s transforming worldview.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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