Bring Back Comedy: How American High is Bringing New Life to the Coming-of-Age Comedy in the Digital Age

While most production companies are focused solely on making content for the big screen, American High saw the potential to grow on the smaller screen. The Syracuse-based production company, founded by Jeremy Garelick and Will Phelps, was founded on the passion to make this generation’s teen comedies. Their dedication was solidified when they bought an abandoned high school to operate as their home base for their production office and filming location for future projects. The studio has grown tremendously over the last eight years, coming out with hits such as Big Time Adolescence, The Binge, and Summer of '69. As well as having eight picture deals with Hulu (recently renewed for another eight pictures per deadline).  

As they found success on the big screen, they wanted to be able to connect with this young generation where they were spending a great amount of their time, online. Coming out with their first sketch comedy channel, American High Shorts. The page displays the awkwardness and the quirks of high school that remain timeless, all under 60 seconds. Since the launch of American High Shorts, they have gained over 10 million followers across all platforms, 8 billion views, and a Webby Award. I had the chance to chat with Axelle Azoulay, the Head of American High Digital, to walk us through the evolution of the company’s online presence.

“In 2022, our social media presence was low. We were busy making 3-5 movies a year, no one was really paying attention to that, but we wanted to be the high school people…We have this high school with all the sets, all the props, all the costumes just sitting there, and we thought ‘Why don’t we make high school sketches?’ Essentially test ideas, test actors, within a one-minute format on their phone (where high schoolers really are) and see what happens.” Azoulay searched every corner of the Syracuse area for talent, from social media, comedy clubs, to college drama departments. She assembled her first team of creatives, which included Ryan and Aidan Micho, who would later be signed on to the official American High Shorts team. Through the curating process, Azoulay had to check that these creators didn’t only work well on camera, but behind the scenes as well.

“They don’t just need to be funny; they need to be funny, good writers, need good ideas, be good performers, understand social media, and be team players. There are a lot of great writers and great performers, but the combination of everything is pretty special.”

She goes on to explain how these talented creators are paving their own path in breaking into Hollywood, and how being able to adapt to so many roles in order to make content that will stand out to producers like herself.

“They are adaptable in general because they are consumers as well. They were born exactly in this time where you don’t need Hollywood to make it, you can just create content on your own and be noticed if you are good enough. Take control of your fate in your own hands.” 

After spending a week brainstorming ideas, which they would come up with 50-70 sketches they would then film throughout a 5-day period. Generating enough content for two months, and being able to see what audiences gravitated towards. Every two months, they would invite new creatives, modify the groups, and see who worked best together. Throughout this process, they would go viral multiple times with videos such as Alpha Dads, Math Teacher Who's Always Behind, and Problematic Theater Teacher. 

Like their films, they were able to capture the unique experience that is high school in a shorter format. “It’s the world of firsts. It’s something very universal; it’s something we’ve all been through. No matter where we are from. The first time you’ve driven a car, first time you kissed, first time you’ve done anything, so it’s very memorable and shaping.” 

Azoulay was able to piece together the powerhouse group that would be the face of American High Shorts: Grace Reiter, Ryan Micho, Aidan Micho, Julia DeCesare, and Hyde Healy. Once she found her team, they turned into a well-oiled writer’s room. “We operated like a Gen-Z SNL” said Azoulay. “Monday we’d brainstorm, Tuesday we’d write the scripts that were selected, Monday, Wednesday/Thursday/Friday we’d film, and almost every Thursday/Friday we’d have a guest star.” 

After the success of American High Shorts, the American High Digital Universe started to expand. Rather than

go out and buy a college campus, their relationship with Syracuse

University allows them to film content

there when needed. “We opened COLLEGE LIFE, because that was our next target audience, and the next type of movies we wanted to do.” For those who are done with school and trying to navigate the beginning of adulthood, they have a channel for you too. Barely Adults captures the chaos we face in this new chapter of our lives, trying to figure out who we are and what the hell we are doing. With the channel being based out of Los Angeles, this creates another opportunity for the company to collaborate with more creators as guest stars.

Through American High Digital, Azoulay is helping amplify the rising class of online creators. Operating like an industry-level writer’s room, it provides the support and guidance for these young creators to grow.

“We are very creator and talent forward- they get credited for every single video, the first group of American High Shorts went from pretty much no followers to famous today, and being able to do it on their own. Now, after two years, they moved on; some moved to LA, some moved to NY, some are doing stand-up or their own creations. They were cast in our movies, they are coming back to guest star, it's one big family. Now we have a new generation of American High Shorts, who I think are very funny and talented, and are definitely highlighting the next generation of up-and-coming talent.”

In addition to their short clips, the American High Shorts team took their comedy to YouTube, creating their first web series, Minimum Wage, which is currently being pitched to networks. With plans for more web series, YouTube appears to be the connecting factor in the American High Digital Universe among its four channels, joining a new wave of media creators bringing new life to the YouTube production landscape and helping revive the comedy in these spaces.

You can stream American High Shorts, College Life, Barely Adults, and Unhirables on all platforms.

You can stream the entire first season of Minimum Wage on Youtube.

Superman (2025) Review - James Gunn’s Man of Steel Swoops In to Save the DCU

After seeing James Gunn’s interpretation of Superman, I am glad to say good riddance to Zack Snyder’s reign of dark, hard-to-see, gritty “realistic” movies. For a long time, the Snyderverse seemed to be the only hope for DC to break into the mainstream, but they always fell short. The issue with Snyder’s films was the fact that they were always so grim and gloomy compared to Marvel’s free-spirited, comedic, action-filled fun (and star power). Sure, the point may have been to show how this world is “dark,” but who wants to see a superhero movie like that? Superheroes were meant to be stories of fantasy, escapism, and aspiration.

Gunn dives headfirst into embracing the science-fiction, fantasy world that Superman inhabits. Creating an otherworld filled with vibrant colors, a slight 60’s aesthetic, and regular alien invasions that have to be stopped by the Justice Gang (the Justice League still in its startup era, complete with scattered furniture and a single computer in the Hall of Justice). At any moment of the film, you could pause, and it would look like a panel from a comic book. Practical effects and CGI alike are tools used to create visual works of art that bring the Silver Age of Superman comics to the silver screen. Superheroes are not forced into our world, but we are immersed in the fantastical world of Metropolis, letting us know that this is a movie that is ultimately meant to be fun while paying homage to the source material. 

When the trailer showing Clark Kent/Superman’s (David Corenswet) interview with Lois Lane (Rachel Brosnahan) was first released, there were a few commentators quick to point out the way Corenswet alters his cadence and body language when going from Clark Kent to Superman was a similar choice that Christopher Reeve made during his iconic run in the ‘70s. He sits up straighter, his voice is deeper, and he generally looks more confident than Clark Kent, but instead of simply serving as a cover for Superman, Corenswet plays them as one and the same.

What won me over right away was the fact that we open with a brief textual exposition, immediately invoking the feeling of flipping through a comic book or

graphic novel, even down to the font, which was delightfully bright and bold while still complementing the snowy landscape where we open the film. Colors are much more saturated, allowing for everything to stand out and literally light up the screen. Even in scenes that take place at night or in dimly lit settings, there is constantly a light source that illuminates the actors and highlights the colors that they are wearing.

Costume designer Judiana Makovsky leans into the campiness that has always been inherent in the design of superhero costumes. The Superman suit is a refreshing break from the trend of superhero costumes always needing to look like a weird combination of military-grade uniforms and Nike sportswear. Instead of darkening the blue and red color scheme of the suit, each part is highlighted (but not too much) in a way that immediately pulls your attention to Corenswet every time he enters a scene. The costume leans away from trying to appear smooth by adding some texture as well. There are visible panels and geometric seams on the suit, which give it a sci-fi appearance but don’t appear to be made of anything overwhelmingly solid or hardy like Marvel supersuits, and the cape looks curtain-like in the way that it billows in the wind as Superman takes flight, creating a cool flourish. 

It’s also nice to see superhero costumes that aren’t ridiculously right. It adds up to a practical look in the sense that these costumes appear lived-in, resulting in these heroes looking more natural. This aesthetic continues in the costumes of the Justice Gang as well. Guy Gardner/Green Lantern (Nathan Fillion), Michael Holt/Mister Terrific (Edi Gathegi), and Kendra Saunders/Hawkgirl’s (Isabela Merced) outfits similarly appear very tangible, almost animated in the best way possible. Lois Lane is one of the few characters who mostly dresses in darker colors such as blacks, browns, and earth tones, which makes sense given her roots as a “punk rock” kid. It’s also a great contrast to the brighter color scheme of Clark Kent/Superman.

Moving away from costumes, the cinematography deviates from what is typical of action movies. Rather than constant hard cuts between characters during fight scenes, the camera actively moves around either in a 360-degree motion or from the perspective of another character. The best use of this dynamic camera work comes when Mister Terrific and Lois venture to rescue Superman from the pocket universe where Lex Luthor (Nicholas Hoult) is holding him prisoner. Terrific keeps Lois safe in a force field while he fights off soldiers attempting to keep them from accessing the portal to the pocket universe. Instead of a rapid-fire series of quick cuts at various angles showing Terrific kicking and punching bad guys inexplicably coming at him one at a time, we are placed in the position of Lois herself. Throughout the whole ordeal, we observe Terrific from a distance, but by staying inside the force field, we are immersed in the center of the action. 

Identity is a major theme of the movie, but instead of a push-pull between Clark Kent and Superman, it’s between Clark’s identity as a human v. alien. At the very beginning of the film, when Superman recovers from injuries in the Fortress of Solitude, Superman Robot #4 (Alan Tudyk) requests that the message from his Kryptonian parents play to soothe him as they assess the extent of his injuries. The message is delivered in Clark’s native Kryptonian language (because why would an alien race be speaking English in the first place?), which he translates to himself as he is carried to a stretcher. The message starts to glitch towards the end, which Clark explains is due to it being damaged in his ship upon arriving to Earth.

At first, the message appears to be a last farewell from loving parents reluctantly sending away their only son to another planet in hopes of a better life, but after being stolen by Luthor and translated by linguists, the message becomes something much darker. It turns out that Clark’s biological parents sent him to Earth because they viewed the inhabitants as “simple” and would therefore be easy to rule over, his father encouraging him to do so “without mercy.” His mother even urges him to “take as many wives as [he] can” so that he could repopulate the Earth with a new generation of Kryptonians.

When Clark hears this message, he is still wearing his suit and presenting himself as

Superman, but once he looks around and sees the looks of fear, betrayal, and disgust on people’s faces, everything falls apart. In that moment, he is no longer Superman nor Clark Kent, but he feels himself being labelled and reduced to an alien sent to destroy Earth rather than protect it. Corenswet channels Lena Headey during her famous Walk of Shame in “Game of Thrones,” staring straight ahead as the angry crowd surrounds him. His suit is still covered in dust and ash from an earlier battle with a kaiju unleashed by Luthor to distract him. Superman never acknowledges the crowd, even as one person throws a metal can at his head, quietly walking into the lobby of a building before allowing himself to feel the weight of this revelation.

The film frequently plays with blurring the lines between Superman and Clark Kent, the divide becoming nonexistent during his interview with Lois. During Lois’s questioning, we see that Clark/Superman is imperfect; He grows frustrated when being confronted with the recklessness of his diplomatic interference, he tries to come up with punchy soundbytes, and he tries to turn some questions back on Lois. But for all his flaws, he genuinely wants to do good for the planet he has come to know as home. 

Another standout performance of the film that is not nearly spoken of enough is that of Nicholas Hoult’s chilling yet grounded interpretation of Superman’s arch nemesis. Hoult is no stranger to taking on dark or villainous roles, from the damn near sociopathic Tony Stonem in “Skins” to fellow rich asshole Tyler in “The Menu.” Hoult’s Luther hides behind his money and walks through danger without a care in the world. When walking into the Fortress of Solitude, he doesn’t flinch even as sharp debris flies in his direction while the Engineer (Maria Gabriela de Faria) attacks the Superman Robots. 

However, fitting with the rest of the movie, Hoult still maintains a sense of humor. After taking Krypto hostage, Superman angrily bursts into his office, interrupting a meeting and ripping the door off its hinges in the process. Luthor is hilariously unbothered, simply taking another sip of coffee while Superman flips his desk over and his girlfriend Eve (Sara Sampaio) films the disastrous confrontation on her phone. 

On the other end of the spectrum, Luthor is the epitome of terrifying indifference. In the film’s darkest scene, Luthor loads a pistol with a single bullet and engages in a scarily fast-paced game of Russian Roulette with a pro-Superman civilian as he questions Superman about his true intention for coming to Earth. With Superman weakened from Kryptonite exposure, Luthor heartlessly shoots the man in the head without a second thought. It’s no question that Lex Luthor is meant to be a stand-in for the tech billionaires of today who endlessly pursue wealth, power, and prestige by profiting off of warfare, controlling the media, and unnecessary involvement with government powers while disregarding the ways that they are putting innocent lives at risk. 

Hoult has a talent for finding the emotional core of even the most evil characters, and Luthor’s is his deep-seated insecurity, which he openly admits to feeling at all times. He wants to be recognized for his intellect like Einstein and Tesla before him, while resenting Superman because he feels as though it is unfair that he was born with power,s while Luthor had to find ways to make his own. Unfortunately for Luthor, as soon as his involvement in international conflict is revealed, everything he has built crumbles around him. As he watches every news station report on his illicit activities, Hoult’s bright blue eyes tear up, and the supervillain Lex Luthor is reduced to a sad little man.

I don’t say this often, but this is a superhero film that is practically perfect in many ways. Most of all, it does what many other similar films have failed to do: genuinely inspire hope. The scene that drives this point home is one where Superman is absent. The people of Jarhanpur are on the brink of war, and a group of children is seen putting something together. As soldiers attempt to scatter the crowd, the children hoist up a flag with Superman’s “S” painted on and begin calling for him. The adults begin to join in, the call becoming less of a cry for help and more of a chant showing their refusal to give up hope. 

Superman is not and should not just be viewed as a vehicle to launch an action movie career, but he is meant to show the ways in which we can continue to persevere and do good in dark times when everything around us seems to be telling us to give up or give in. There is this earnest optimism and heart that has so long been missing from the current slew of DCEU films. Sure, there may be critics who try to argue that this film is “preachy” or guilty of not being subtle in its commentary on the complexity of the human condition or condemnation of government corruption and capitalism, but the time for subtlety is over, and the time for outright condemnation and inspiration is now.

Written By J.D. Valdepenas

Brewing Empathy Through Film: An Interview with Gabriel Noble, Writer/Director of A Cup of Tea

In an intimate, candid conversation full of empathy, insight, and mutual understanding, filmmaker Gabriel Noble opens up about the journey behind their debut short film, A Cup of Tea, a layered portrait of grief, community, and the humanity behind headlines. The project, born out of adversity, became not only a personal triumph but also a work that stirs collective reflection on justice and healing.

Recently graduated from Stony Brook University with a Master's in Fine Arts majoring in Film and TV Writing, Gabriel joined the conversation, still recovering from burnout and illness. Yet despite the fatigue, what emerged was a moving discussion about filmmaking as both a creative and emotional act of resilience.

Turning Isolation Into Art

Securing funding for A Cup of Tea was an early and defining challenge. Gabriel turned to the crowdfunding platform Seed & Spark with no prior experience. “I had to do it all on my own from filming the pitch to setting up the campaign page,” they explained. “It was exhausting. Once we launched, it became this constant anxiety. You’re just watching the numbers.”

Although the campaign began strongly, momentum stalled after two weeks. Gabriel was on the verge of giving up when a college friend stepped in with an unexpected act of generosity: a $10,000 donation. “His mom had passed away and left him money,” Gabriel said. “He wanted to use it to support other people’s dreams. Without him, this film wouldn’t have happened.”

The emotional toll didn’t stop at money. “Not a lot of people even knew I wanted to be a filmmaker,” they admitted. “My parents were supportive, but it felt like I was alone most of the time.”

But that very sense of solitude, the emotional and creative weight of feeling unsupported became the thematic bedrock of the film. “The characters are isolated, grieving. That was exactly how I felt at the time. I just leaned into that.”

Directing from the Heart

For Gabriel, A Cup of Tea was more than storytelling; it was soul-bearing. When asked which scene was the hardest to direct, Gabriel pointed to a central moment of confrontation: two parents arguing at a coffee table, consumed by grief over the loss of their child.

“I’ve never lost a child, and I don’t even want kids,” they said. “So how do I direct actors who are parents in real life?”

The answer came in emotional honesty. During two Zoom rehearsals leading up to the shoot, Gabriel asked the actors to reflect on their real lives: once on their happiest moments as parents, then on the hardest. “By the time we got to set, that emotional groundwork was already there. My job was to trust them.”

A Cinematic Eye - Even Before Film School

Though they hadn’t yet begun grad school, Gabriel already had a strong visual sensibility. “I didn’t know about the rule of thirds or traditional framing concepts,” they admitted. “But I’ve always understood how an image can carry emotional weight.”

Cinematographer Rikki Porter played a crucial role in executing that vision. “She got what I was going for, sometimes better than I did,” Gabriel said. “That’s my biggest advice to any filmmaker: find a DP you can talk to, who speaks your language. It’ll change everything.”

One sequence stands out as Gabriel’s favorite: a quietly devastating birthday scene. “It was in the first draft, I knew it had to be the centerpiece,” they said. “The camera slowly pushes in on Shannon’s face as everyone sings. No dialogue. Just her expression.”

They shot the film in a single day, a decision Gabriel now calls “insane.” By the time they reached the birthday scene, everyone was exhausted. “But I needed one more take. I asked the team to trust me. And when we got it, my producer said, ‘That was so cinematic.’ Watching it still gives me chills.”

Do you need film school to make a film? “Absolutely Not,” Gabriel said. “Every film is film school. Making this short taught me everything from managing a set to trusting collaborators.

There were so many pieces of equipment I didn’t understand. I just asked people questions. Watching them operate things with confidence was so educational.”

They laughed, “I think Tarantino said that first. But I live by it.”

A Story Born on the Block

The inspiration for A Cup of Tea came from Gabriel’s neighborhood. “There’s this woman who lives on my block, always sitting quietly on her stoop. She’s not on her phone, not reading just sitting, existing. That image stayed with me.”

In 2022, amidst the lingering trauma of the pandemic and the social unrest following the murders of George Floyd and Breonna Taylor, Gabriel enrolled in a screenwriting class. The final assignment was to write a 12-page short.

“I kept thinking about the aftermath of the protests,” they said. “What happens to the parents who were thrust into the spotlight? They’re grieving, and suddenly they’re also public figures. That contradiction stayed with me.”

Gabriel, influenced by dialogue-driven films like Before Sunrise and Before Sunset, wrote a piece that thrived on tension and subtext. At first, they weren’t going to direct it. “A mentor told me, ‘This is your story, you have to direct it.’ And I’m so glad I did.”

Evolution and What’s Next

Since completing A Cup of Tea, Gabriel’s perspective on filmmaking has grown. “Grad school expanded how I think about visual storytelling,” they said. “I still love dialogue, but now I’m drawn to darker material, thrillers, mysteries. The next short I’m working on is way different in tone.”

They’re adamant about not being boxed into one genre. “Sidney Lumet is a huge inspiration; he did Dog Day Afternoon, The Wiz, and courtroom dramas. That’s what I want: range.”

Gabriel is already beginning work on their next short film, which will explore gun violence in America. “I'm entering the funding process again,” they said. “So stay tuned.”

Building the World Through Space and Color

Set design played a pivotal role in shaping the emotional tone of A Cup of Tea. Though the team originally searched for locations in Brooklyn, they ultimately shot in Harlem near 125th Street. “I needed a house that felt lived in, something passed down through generations,” Gabriel explained.

The location they found already had depth. “Romina, the homeowner, had so many artifacts and textures in the space. We barely had to dress the set. The melanin, the plants, the warm tones it all just fit.”Color was crucial. “I didn’t want the film to be too dark. It’s about grief, but it’s also about hope. The lighting and palette of warm oranges, greens, and natural textures reflected that balance.”

What Conversations Should A Cup of Tea Spark?

As our conversation wound down, I asked Gabriel what they hope audiences take away from A Cup of Tea, especially in terms of race, justice, and healing.

“I want it to spark conversations about why this keeps happening,” they said. “Approaching the story through a natural, humanistic lens helps audiences see these people, these parents, as more than just headlines. They’re human. They're grieving. And they’re trying to move forward.”

Ultimately, Gabriel hopes the film stands in solidarity with those who've suffered unimaginable loss. “It’s about honoring the victims and the families left behind. I want people to remember that grief doesn’t disappear once the cameras do. And I hope the film helps people keep fighting for justice.”

A Cup of Tea - and a New Chapter

Gabriel may be just beginning their journey, but A Cup of Tea showcases that they are a natural storyteller or something like that.. It’s a mature, resonant film that leaves a lasting impact not only because of what it says, but because of how it says it.

As they prepare to enter a new phase of storytelling, one thing is clear: Gabriel’s voice is one that audiences and the industry should be paying attention to.

A Cup of Tea is now available to stream on Vimeo.

Written by Chloe Kaleah Stewart