2017
http://blacknerdproblems.com/batgirl-14-review/
Writer: Hope Larson / Artist: Christian Wildgoose / DC Comics
After a couple of standalones bridging the gap between Son of Penguin and now, Batgirl #14 begins the Summer of Lies arc with a tag-team partner from Blüdhaven, Dick Grayson AKA Nightwing. Grayson’s role is clear in the narrative as part sidekick and part romance bait, which works well enough as the story leaps back and forth between flashbacks and present day. Their combined experience make for an interesting flashback in that it is inherently more reliable; instead of imagining Batgirl’s sole perspective on the events, you know from the start that whatever happens was experienced by them both. There are two mysteries to unfold here – what happened in the past, and how that informs whatever is happening now – and that bifurcated plot is making for an interesting read. In between the exposition are two things Nightwing is meant to bring to the table – team-up fight scenes and allusions to a relationship beyond crime fighting and friendship.
The ship bait does not distract from the larger mysteries – at least not yet – so whether you like that sort of thing or not there isn’t enough to cause bother. Instead, attention is drawn to a suicide that happens quite suddenly and unexpectedly. As Babs and Grayson discuss who the situation reminds them of, the flashbacks take you to the alternate mystery of what happened to them – and maybe even between them – all those years ago, when Grayson was still known as Robin and Batgirl was newer to the role of crime fighter.
Chris Wildgoose’s artwork leads effortlessly between the flashbacks and present day, along with a few fun action scenes and spot-on facial expressions capturing the mood of the moment. A facial expression might have been overdone a time or two – winking scenes should be banned from comics – but overall this issue shined, particularly including Mat Lopes’ colors, from the dulled flashbacks to the brilliant Mad Haberdashery color schemes.
Overall, there’s every reason to be glad Batgirl is back with a fun arc. Looking forward to where this goes next, and – given the flashbacks – where Batgirl and Nightwing have been.
9.3 out of 10
Reading Batgirl? Find BNP’s other reviews of the series here.
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Writer: Hope Larson / Artist: Christian Wildgoose / DC Comics
After a couple of standalones bridging the gap between Son of Penguin and now, Batgirl #14 begins the Summer of Lies arc with a tag-team partner from Blüdhaven, Dick Grayson AKA Nightwing. Grayson’s role is clear in the narrative as part sidekick and part romance bait, which works well enough as the story leaps back and forth between flashbacks and present day. Their combined experience make for an interesting flashback in that it is inherently more reliable; instead of imagining Batgirl’s sole perspective on the events, you know from the start that whatever happens was experienced by them both. There are two mysteries to unfold here – what happened in the past, and how that informs whatever is happening now – and that bifurcated plot is making for an interesting read. In between the exposition are two things Nightwing is meant to bring to the table – team-up fight scenes and allusions to a relationship beyond crime fighting and friendship.
The ship bait does not distract from the larger mysteries – at least not yet – so whether you like that sort of thing or not there isn’t enough to cause bother. Instead, attention is drawn to a suicide that happens quite suddenly and unexpectedly. As Babs and Grayson discuss who the situation reminds them of, the flashbacks take you to the alternate mystery of what happened to them – and maybe even between them – all those years ago, when Grayson was still known as Robin and Batgirl was newer to the role of crime fighter.
Chris Wildgoose’s artwork leads effortlessly between the flashbacks and present day, along with a few fun action scenes and spot-on facial expressions capturing the mood of the moment. A facial expression might have been overdone a time or two – winking scenes should be banned from comics – but overall this issue shined, particularly including Mat Lopes’ colors, from the dulled flashbacks to the brilliant Mad Haberdashery color schemes.
Overall, there’s every reason to be glad Batgirl is back with a fun arc. Looking forward to where this goes next, and – given the flashbacks – where Batgirl and Nightwing have been.
9.3 out of 10
Reading Batgirl? Find BNP’s other reviews of the series here.
Are you following Black Nerd Problems on Twitter, Facebook, Tumblr or Google+?
Did you miss any of our third week of BE Modern Men for 2017?
This year’s 100 Men of Distinction prove their perseverance, sharing how they’ve turned struggle into success. Our third set of 10 honorees starts with digital guru Rae Holliday and also includes a band director, a sports agent, a Hollywood executive, and a wealth manager.
Rae Holliday (Photo by James Anthony)
Meet ‘The Content Genius’ Rae Holliday
Digital Producer & Editor
“About five years ago I found myself at an awful crossroad. Because of the mismanagement of my personal funds and after being laid off from my last corporate job (ever), I found myself broke and on the brink of homelessness. Weeks away from eviction, I needed to turn things around pretty quickly. With prayer and determination, I used my struggle to propel my motivation to not only never be in that position again, but to inspire others who may be in the midst of a struggle they need help getting out of mentally.”
Read his full profile here.
Dr. Ishbah Cox (Photo by Tom Fogerty)
Meet ‘The Band Man’ Dr. Ishbah Cox
Bands Director & Music Educator
“I grew up in a poor, rural, county school in South Central Alabama. Although my school system lacked educational resources, my community displayed an abundance of love and care for its students. Unfortunately, by my high school graduation, I was not as prepared as I needed to be for my undergraduate experience at Auburn University. My first year of college would have been a disaster if I had not learned how to put my pride aside and ask for help, particularly from others who did not look like me. As a result, I have been empowered by countless advocates and mentors who motivated me to pay it forward with my mentoring and teaching efforts as well.”
Read his full profile here.
Quentin Vennie (Photo by Daryl Taylor of D. Taylor Images)
Meet ‘Mr. Meditation’ Quentin Vennie
Wellness Expert
“I was born and raised in a single-parent household on the west side of Baltimore. My father was a heroin addict, and by the time I was 12 I had been shot at and spent more time visiting prisons than most of the people I was close to. Despite spending a lot of time in my old neighborhood in West Baltimore, I went to predominantly white schools in the suburbs of Baltimore County. I experienced racism, discrimination, prejudice, you name it. I was diagnosed with acute anxiety and mild depression when I was 14, and then diagnosed with severe generalized anxiety and panic disorder, and mild to severe major depressive disorder, at 26. I endured a two-year addiction to my anxiety medication, survived an accidental overdose and two failed suicide attempts, but was fortunate to discover a wellness system that saved my life.”
Read his full profile here.
Ian V. Rowe
Meet ‘Mr. Head of Class’ Ian V. Rowe
Chief Executive Officer, Public Prep
“In elementary school, my family moved from Brooklyn to Queens. Our junior high school, which had historically been mostly white, was rapidly becoming mixed. And so a number of the white parents from my school pushed for an annex school to be opened in a nearby neighborhood. My parents presumed the education would be better in that other school, so they were going to send me, too. I remember one Sunday crying and crying to my parents and begging them to keep me in my current school. They ultimately relented. And it was so meaningful. I now had a duty, a responsibility, to do good things in that school. I also remember thinking to myself, “Why should the other school be better? Why should the education suddenly go down in my school just because most of the kids who are going to be left are black?” There’s no doubt that struggle influenced me for the rest of my life—professionally and personally—to create equal opportunity, regardless of the school that one enters, no matter race, income level, or zip code.”
Read his full profile here.
D.J. Fisher
Meet ‘The Agent’ D.J. Fisher
Sports Agent
“What stands out the most is overcoming [when] those that you believe are for you, the ones you expect to support and encourage you, are your worst enemy. I had a select few distant kindred. They weren’t close or even around enough to know who I truly am but always had the most to say. It really took a toll on me. I became distant, quiet, didn’t talk much. I felt as if I didn’t belong. I would skip school to go to the library at the local university. I failed to graduate high school on time. I would find my comfort in reading books on sports and business. In those quiet times, I got to know myself, who I am and my purpose and begin to apply myself and fulfill my purpose from the knowledge I gained. I used all of the negative energy, business knowledge and combined it with my passion for sports. It doesn’t matter who is for you or who is against you. If you trust God and apply yourself, there is nothing in this life that you cannot accomplish.”
Read his full profile here.
Terrance Stroud
Meet ‘Mr. Public Servant’ Terrance Stroud
Director of the Continued Occupancy Unit, NYC Dept. of Housing Preservation & Development
“When I entered the workforce, like many people I struggled to find my footing. I was not sure of the type of role that would suit me. In the end, mentorship and sponsorship helped me enhance my strengths and reduce my weaknesses. I’ve had great mentors that have empowered me to challenge myself as well as sponsors who’ve played a crucial role in vouching for my talent and abilities, and this has fast-tracked my career and encouraged me to consider and accept new challenges.”
Read his full profile here.
John Gibson (Photo by Wood D)
Meet ‘Mr. Hollywood’ John Gibson
Advisor for Inclusion and Multicultural Outreach, Motion Picture Association of America
“Overcoming bureaucracy and inertia by persuasion and joining with like-minded allies. Asking for forgiveness instead of permission; however, if you’re successful you rarely have to ask for forgiveness.”
Read his full profile here.
Hayling Price
Meet ‘Mr. Social Impact’ Hayling Price
Social Impact Consultant
“Early on I struggled to chart my path as a professional. As a young man of color pursuing a mission-aligned career, I didn’t see many people who looked like me doing the work and was often advised to pursue more lucrative jobs in the private sector. At times I felt like I could have used more encouragement and support for navigating the nonprofit space, but my pursuit of the road less traveled pushed me to cultivate an entrepreneurial spirit. That independent streak has led to opportunities I couldn’t have imagined just a few years ago.”
Read his full profile here.
Justin Binion
Meet ‘Mr. Wealth Management’ Justin Binion
Wealth Management, Wells Fargo
“Growing up, my parents were young, hardworking people. Because of the hours they worked I was raised by a ‘village’ that truly cared about my well-being. Although my family wasn’t able to lace me up with the latest pair of Jordans, or always buy me the latest toys when they came out, they gave me the tools for survival and success. They taught me hard work, dedication, humility, and respect—which is the foundation of how I approach life on a daily basis. A major plight in the black community is the lack of financial education, and unfortunately I witnessed this time and time again throughout my life. While working in the sports industry I saw a special on television that highlighted the financial difficulties that athletes have, and it was at that point I decided to switch career paths. I saw an opportunity to be something greater. I didn’t know anything about the wealth management industry, but I knew if I dedicated my time to understanding it, that I could really have a lasting effect on people’s lives.”
Read his full profile here.
Andre McDonnell
Meet ‘Mr. Footwear’ Andre McDonnell
Founder, It’s From the Sole
“When I began It’s From the Sole, my biggest struggle was having sneakers to provide for the homeless. I began to ask friends and family for their old sneakers. Eventually word spread and I was overwhelmed with the outreach from the community.”
Read his full profile here.
It’s our normal to be extraordinary. Follow @BEModernMan and join the conversation using #BEModernMan.
Come celebrate the BE Modern Man 100 Men of Distinction at the first-ever Black Men XCEL Summit, Aug. 30 – Sept. 3, at the PGA National Resort & Spa in Palm Beach Gardens, Florida.
(Image: Instagram/malcolmdlee)
Despite seeing a 12% downturn in box office tickets this summer, Girls Trip, a film celebrating black sisterhood, has earned $100 million. This makes the comedy the first movie with an African American cast, director, and writers to reach this benchmark. As a result, the film’s director, Malcolm D. Lee, has joined 11 other African American directors who’ve achieved such a landmark, domestically.
Back in 2013, Lee’s Best Man Holiday earned $30 million during its opening weekend but only $70 million in total domestic gross. Still, the director told BlackFilm.com that he remained confident that he would eventually reach the “century club.”
“I thought it would be possible at some point in my career. There was talk that it could have happened with Best Man Holiday and I loved our release date, but we were sandwiched between Thor: The Dark World and The Hunger Games: Catching Fire in a very busy holiday season. I thought it could possibly happen there, but this is certainly the one that I thought could possibly happen. I’m grateful that the fans came out and supported it. They got me to the century club,” Lee said.
In honor of Lee’s milestone achievement, here’s a look at five other high-grossing movies directed by African American filmmakers.
The Fate of the Furious – Directed by F. Gary Gray
Following its release in April, The Fate of the Furious earned a whopping $225 million in the U.S. in less than a week. The film, which was directed by F. Gary Gray, went on to gross $541 million around the world, making it the biggest worldwide film opening since 2002.
This is not the only film that Gray directed to tip over the $100 million mark. Straight Outta Compton (2015) raked in $161 million in a mere nine days while The Italian Job (2003) made $106.1 million over the course of a little more than three months.
Get Out – Directed by Jordan Peele
Jordan Peele’s socially conscious horror flick Get Out grossed $117 million in just 16 days, making Peele the first African American writer and director to earn over $100 million at the box office with a debut feature film. Just as impressive is the fact that the comedian-turned-filmmaker made the movie on a shoestring budget of $4.5 million. Altogether, Get Out grossed a total of $175 million, which is a hell of an ROI!
Stir Crazy – Directed by Sidney Poitier
Legendary filmmaker Sidney Poitier is the first black director to make a film that earned over $100 million following the release of Stir Crazy in 1980. The film was also the third-highest-grossing move that entire year.
Fantastic Four – Directed by Tim Story
Tim Story’s 2005 Fantastic Four was a commercial success that earned $154 million domestically in 10 days and a gross income of over $330 million around the world. Story also directed the sequel, Fantastic Four: Rise of the Silver Surfer (2007), which made $131 million in the U.S.
Creed – Directed by Ryan Coogler
Ryan Coogler was only 29 years old when he released Creed in November 2015, a spin-off and sequel to the Rocky film franchise. The film earned $30.1 million in its opening weekend and ended up grossing $42.6 million within five days. Its earning tipped over the $100 million benchmark in 38 days.
Other black directors whose films topped $100M in the U.S. include Keenan Ivory Wayans for Scary Movie (2000), which grossed $157 million; John Singleton, whose 2 Fast 2 Furious (2003) earned $127 million; and Clark Johnson for S.W.A.T (2003), which earned $116 million. (See a full list at BlackFilm.com.)
Despite these examples of high-earning films made by black directors, the amount of diversity in Hollywood remains scarce. According to a report published by the Ralph J. Bunche Center for African American Studies at UCLA, only 10% of films were directed by a person of color. Diversity is profitable, but when will Hollywood get the picture?
The BBC has released a list of the “100 Greatest Comedies of All Time.” Of those 100 movies (101, actually, including one tie), only four are directed by women: Elaine May’s A New Leaf (#90), Vera Chytilová’s Daisies (#89), Maren Ade’s Toni Erdmann (#59), and Amy Heckerling’s Clueless (#34). The list is also nearly 100% white. I wish this were surprising, but it’s nothing new in the world “Best Of” lists.
To the credit of the BBC, they didn’t make the decisions. Rather, they asked 253 film critics from 52 countries for their top ten lists. Obviously, comedy is subjective. But we also have to acknowledge that by and large, there is a collective unconscious bias toward valuing work by white men. Even beyond the institutional bias that allows them to dominate the film industry, work made by and about women tends to be diminished in the eyes of critics and audiences.
Interestingly, in a companion article, the BBC breaks down the differences between the lists of male and female critics. While they’re overall very similar, there’s a striking difference in what they dub “the Clueless effect.” They found that “there are a handful of films, just 14, where a critic’s gender does seem to matter. The poll data showed that nine films are reliably more popular with men and five with women.” Clueless, When Harry Met Sally, What We Do in the Shadows, The Great Dictator, and Mean Girls were all overwhelmingly more popular with female critics. The Nutty Professor, Playtime, Animal House, Groundhog Day, Sherlock Jr, Sons of the Desert, Monty Python and the Holy Grail, Raising Arizona, and The General were all more popular with men. What moves those films from good to great in the eyes of a critic? What makes someone prefer Animal House to Clueless? Personal taste, sure. But we can’t pretend that things like representation and unconscious bias don’t play into that taste, or that “personal” taste isn’t largely influenced by larger cultural trends.
Again, comedy is incredibly subjective. So I’m not mad that my own favorites aren’t on the list. Well, besides the exclusion of Big, directed by Penny Marshall. That, objectively, is a travesty. But there are plenty of movies directed by women whose absence is surprising–plenty that deserve more celebration. On first look, I would happily swap out, say, There’s Something About Mary for A League of Their Own, or the South Park movie for Obvious Child, or maybe one of Woody Allen’s three spots for Monsoon Wedding.
But that’s just my own opinion. What would be on your list?
(image: Columbia Pictures)
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