Literature Review

I watched "His Three Daughters" on Netflix, and have to talk about how relatable the family conflict is Y!entertainment.com; by Corey Chichizola; 9/25/24 The streaming wars are showing no signs of slowing down, with the various services offering a variety of new and exciting content. One new film that might end up being one of the best Netflix movies out there is Azazel Jacobs' His Three Daughters, which is streaming now for those with a Netflix subscription. I recently streamed the flick, and have to talk about the family dynamics, especially as we slowly get closer to The Holidays. His Three Daughters focuses on (you guessed it) three sisters, adult women who are forced to cohabitate as their father is in hospice care. Director Azazel Jacobs put tributes to hospice nurses in the film, but other than that its largely about the three women's relationships with each other. And I loved how realistic it felt, especially in the way that family occasions tend to bring out honesty among relatives... for better or worse. Editor's note: This movie is getting alot of media buzz. I watched it and found the family's dynamics through their father's final days of actively dying to be spot-on. However--especially since "hospice" is core to the story--I was concerned about some basic communications and practices from the the hospice nurse. Examples include discussions about calling 911, what to do when the death occurs, no sense of a larger hospice team or  agency support (just these 2 nurses), an ICU-like monitor, and (yikes!) smoking inside a small apartment with the father's oxygen machine nearby. (Oh no!) I put these forth as you hear others talk about this "hospice" movie. Still, the family conflicts--specific to their father's dying--are indeed "relatable," authentic, and worth the watch.

The patient care experience on full display Modern Healthcare; by Mary Ellen Podmolik; 9/13/24 Art exhibits can promote a visceral reaction. The one that just opened along a hallway of windows on Thomas Jefferson University’s health sciences campus certainly does just that. The installation includes five hospital beds, life-sized mannequins inside large pill bottles, personal possessions and deeply personal quotes from five unnamed people who’ve gone through life-threatening trauma — a miscarriage, a pulmonary embolism, a wait for a kidney transplant, a case of undiagnosed paralysis and cancer. The Philadelphia artist behind the exhibit, Pepón Osorio, is the cancer patient. “Convalescence” is a complex and compelling exhibit of patient pain, reliance on drugs and inequitable care — part of the patient experience that can get lost in the daily tussle between providers and payers. “It is a critique of the healthcare system,” Megan Voeller, director of health humanities at the university, told me.

‘The Last Ecstatic Days’ one day screening strives to teach the world how to die without fear Bangor Daily News, Bangor, ME; by BDN Community; 8/13/24 Hospice Volunteers of Waldo County invites Greater Waldo County to a single night screening on Tuesday, Aug. 20 at 7 p.m. Post-screening, there will be a Community Conversation with Hospice and Palliative Care Physician Aditi Sethi, MD and Director of the Center for Conscious Living & Dying/Hospice Volunteers of Waldo County’s Flic Shooter. Sethi, MD’s end-of-life palliative work is featured in the film. “The Last Ecstatic Days” focuses on a young man with terminal brain cancer (Ethan Sisser) as he sits alone in his hospital room. When Sisser starts live-streaming his death journey on social media, thousands of people around the world join to celebrate his courage. Still, he envisions more–to teach the world how to die without fear. To do that, Sisser needs to film his actual death. What unfolds next is a rarely-glimpsed perspective of how a community of strangers helps a young man die with grace.Editor's Note:  This movie has been featured on PBS. The Boston Globe describes, "... courageous end-of-life chronicle, which overflows with compassion." The Louisiana Mississippi Hospice & Palliative Care Organization shared this as a viewing and discussion at their July 2024 conference. For the trailor and more information, click here. 

New play focuses on Advance Care Planning for LGBTQ+ families and caregivers Hospice Foundation of America; by Lisa Veglahn; 7/29/24 Hospice Foundation of America (HFA) has added a new version of the short play “Lily” by award-winning playwright Bryan Harnetiaux to its AD (Advance Directives) Project, a collection of plays that dramatize the importance of advance directives. In the play, Jo visits her ex-wife, Lily, who is seriously ill. Jo is surprised that after years apart, Lily has asked to see her. She is even more surprised by Lily’s request that Jo serve as her surrogate decision maker when or if she cannot make healthcare decisions for herself. Hospice Foundation of America’s AD Project uses two-character, 10-minute plays featuring different relationships and settings. The plays are easy to produce and are intended for use by hospices, hospitals, and other community-based organizations wanting to engage audiences in discussions about advance care planning.The world premiere of the newest version of “Lily” was produced by Accord Hospice & Palliative Care in Sedona, AZ, in partnership with PFLAG Sedona, Unify Sedona, and the Sedona International Film Festival.Editor's Note: Click here for licensing information, to use this play in your community.  

KCAD grad Brianna L. Hernández explores intersection of art, death, and grief through prestigious Hyperallergic curatorial fellowship Ferris State University, Grand Rapids, MI; 6/25/24 As Brianna L. Hernández grieved the loss of her mother, she understood she was not alone in the experience and her thoughts turned to helping others. Her work to share the experience has earned recognition. Hernández, a 2016 graduate of the Kendall College of Art and Design of Ferris State University, was one of five people selected for the prestigious 2024 Emily H. Tremaine Journalism Fellowship for Curators ...  Every year, the fellowship offers five curators $5,000 to support their research while developing their journalistic skills. ... [Experiencing her mother's death] profoundly shifted her work toward a focus on death, and the living who are left behind to cope with loss. “As she was dying and right after she died, I knew I needed to make work about it for my own healing, but I also knew that my situation was not unique,” Hernández said. “I felt like it was of both artistic and social importance to put that out there in a way that hasn't been addressed.”

Beyond medicine: 'Being Mortal' challenges healthcare's approach to death and dying SwiftTelecast; by Shawn Butlere; 5/11/24 This video from the “Frontline” series, titled “Being Mortal,” follows Dr. Atul Gawande as he explores the complex relationships between doctors, patients, and end-of-life decisions. Based on his best-selling book “Being Mortal,” Gawande discusses how medical training often falls short in preparing doctors for the realities of death and dying. The documentary highlights personal stories, including Gawande’s own experiences with his father’s illness and death, to illustrate the challenges in balancing hope with realistic outcomes and the importance of quality life in the face of terminal illness. 

SXSW 2024: ‘Flipping the Script on End of Life’The Michigan Daily; by Olivai Tarling; 5/7/24 If you asked me to describe a Hollywood death scene, I’m pretty sure I could do it perfectly. ... This panel discussed the taboo topic of death and the dangers of its inaccurate portrayals on screen. Panel members included Zoanne Clack (“Grey’s Anatomy”), doctor-turned executive-producer, screenwriter Scott Z. Burns (“Contagion”) and Julie McFadden, hospice nurse and social media personality, as they discussed the taboo topic of death and the dangers of its inaccurate portrayals on screen.

‘Take Me Out Feet First’ docuseries about end of life options debuts on Amazon Prime Video Variety; by Addie Morfoot; 5/7/24 In “Take Me Out Feet First,” a new docuseries now streaming on Amazon Prime Video, director Serene Meshel-Dillman chronicles people’s right to choose medical aid in dying. The six-part docuseries, made in partnership with the nonprofit advocacy organization Compassion & Choices, profiles 25 terminally ill people, their families, and friends, as well as experts in the medical field who advocate for MAID. The series chronicles people who have taken control of how their final days will play out. While some live in states where medical aid in dying is legal, some do not.

Art exhibition held to honor hospice patientKTVN 2 News, Nevada; by Jake Reno; 4/28/24 Robert Henry, who has always dreamed of showcasing his artwork, was very overwhelmed and happy to see all of the people who came to see his work. Compassion Care Hospice and the Nevada Fine Arts held an art exhibition to honor Robert Henry, a hospice patient ... After members of the hospice care team found out more about Henry's story and how much art meant to him, they were inspired to figure out a way to honor him and his life's passion.

Reno Little Theater’s ‘The Quality of Life’ explores the complications of death and grief ThisIsReno, by Taylor Harker; 4/14/24Reno Little Theater’s “Quality of Life” brilliantly interweaves the lives of two families confronting profound grief and mortality. ... Together, ... two families navigate the turbulent waters of existential crises, each bringing their unique perspectives on faith, resilience and the ethics surrounding end-of-life decisions. ... “Quality of Life,” a dramatic comedy by Jane Anderson, explores how individuals and families confront and converse about death. The narrative is both tender and perceptive, delving into the internal conflicts and strong familial bonds that challenge and uphold them.

‘I’m kinder and more compassionate’: actor Greg Wise on men and grief The Guardian, by Tim Jonze; 3/24/24 How the tragic death of his beloved sister, Clare, gave Greg Wise a new outlook on navigating the end of life.  ... Wise is best known as an actor. He met [his wife, Emma] Thompson on the set of 1995’s Sense and Sensibility and has notched up more than 30 years in film and TV. But these days he has carved out a niche for himself as someone who wants to change the way we think, and talk, about the end of our lives. “Not having a proper relationship with one’s grief is one of the great ills of the world,” is how he puts it. "[Without] witnessing and accepting our own pain, we can’t have empathy – proper empathy. I don’t think we can see someone else’s suffering until we can see our own.”

'Living well, leaving well': Yishun end-of-life art exhibition allows seniors to demystify death, document life Today, by Nikki Yeo; 3/18/24, updated 3/19/24 A senior-led exhibition [in Singapore], Tides, features a group of eight women and their reflections on end-of-life matters. ... The project engaged seniors in the Yishun community over nine months to form art works based on "living well" and "leaving well." ... The pictures [of family foods] are overlaid with handwritten messages exchanged between Madam Devi and her grandchildren. ... Her grandchildren calls her "atha", or grandmother, and have written, "I love you so much", "from young I’m eating your food", "I’m so grateful to you".

Poem: I knew you had been sick for quite a while. I had no idea you were walking your last mile.The Andalusia Star News, by Vickie C. Wacaster, "a patient and hospice advocate for Aveanna Hospice"; 3/14/24. This poem is at the end of an article, "COLUMN: Hospice helps make most of all moments."I knew you had been sick for quite a while. I had no idea you were walking your last mile. Had I known your time was so near, Despite my fear, I would have talked more, touched more, and loved more. I asked about your care, your prognosis, your life, Why couldn’t they tell me? I was your wife. Or was I in denial? Did someone try to tell me? Did I refuse to hear? Could I not see? Did I refuse to accept? Your diagnosis and prognosis, did I reject? Was it because of unbelief? That death snatched you as a thief.We could have made the most of the time you had left, If only we had not been afraid of what we felt.