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Time to make the donuts or at the very least, conduct an internet broadcast huh?  Listen to the latest musings from your "Cyttorak-empowered" AFROnerdit hosts during this Sunday's (8 p.m. eastern) Grindhouse show airing on the one and only BTalk 100 platform.  The topics up for grabs this week are: technologist and Tesla entrepreneur, Elon Musk is causing quite a ruckus with his recent purchase of Twitter social media platform for purportedly 44B; legendary artist, Neal Adams passes away at 80 and we discuss his impact, legacy and his influence on current comic book culture; our thoughts about the penultimate episode of  Disney plus' Moon Knight; and then there was Knight's Jewish identity episode-some applauded the long-awaited nod to cultural representation and others deemed it illusory;  the Warner-Discovery Channel merger continues to consume....hence, the cancelations of CW fan-favorite shows, Batwoman, and Legends of Tomorrow; Spider-man franchise director, Jon Watts leaves the highly-anticipated Fantastic Four reboot due to "genre fatigue"; Lastly, our impressions of CinemaCon revelations.     

One thing that Dburt is doing (finally) is investing in cryptocurrency, courtesy of Roundlyx. We would implore our followers to investigate, discern and then explore by using our referral code: afro-87A4BF

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Too often in popular media and especially in the world of literature, via comics and graphic novels, mothers are glaringly absent. It is a depressing observation on my end as I always look for them, especially the mothers of Black characters. This is a work that goes beyond the scope of a simple editorial. Alas every journey starts with one step. Here I choose to start small and explore two women from one of my favorite graphic novels that feature incredible women who are the mothers of the main character in Nubia: Real One.

These women are named, thankfully. They are not dead before the start of either book and neither are they killed off in the name of plot advancement in either graphic novel. As supporting characters, these women have voices, agency, flaws and secrets, even. These mamas show us a glimpse of Black motherhood that is not always seen or even accessible in comics. It is perhaps only in recent years for more mainstream publishers and audiences that we begin to see this type of Black motherhood.

Note: This editorial will explore the women who are the mothers of the main characters of Nubia: Real One. Please know that while I do not spoil the entirety of the graphic novel, certain details are revealed and elaborated on. To avoid any spoilers, please consider reading the book and returning to read if this caught your eye!

Nubia: Real One is a graphic novel aimed for the young adult audiences published through DC Comics centering the adventures of teenage Nubia, Wonder Woman’s twin sister. Author L.L. McKinney (A Blade So Black trilogy) and artist Robyn Smith (Wash Day) teamed up to bring a fresh spin to an older comic book character who has been on the sidelines for too long. A widely misunderstood woman, seen as a disrupter, rival and challenger to her twin sister, Wonder Woman, this graphic novel presents an awkward teen and absolutely loveable high schooler figuring out who she is in the times of Black Lives Matter, hypervigilance due to police brutality, and school shooters. The narrative threads connecting this young Black woman’s heroic efforts to living in a world that doesn’t always see her as a whole person, much less a hero worthy help, makes this book a worthy addition to any library. 

Teenage Nubia has a family unit that I can’t say that I saw too often in comics or graphic novels growing up. Instead of a nuclear family unit of a mother, father and child, her parents are two women, and I can’t be happier to see it. Danielle and Amera are her brilliant and fiercely loving moms who bring double the discipline but also double the heart as a tag team. Families such as these do exist, and Black and Brown women deserve to see themselves on the page represented as mothers and parents in households they lead with the children they raise and love. In that same breath, as do their offspring. 

The real kicker, plot wise, that took me by surprise in such a pleasant way was the reveal that one of Nubia’s moms once hailed from the island of Themyscira. As a former Amazon under the rule of Wonder Woman, Amera found love with a woman from the world of man and left her life on the island behind her. With the love of her life, they saw a baby Nubia in need and stepped up to raise her as their own. Two queer women took up arms of another kind to raise a Black girl child in a unforgiving world where girls and women aren’t given the same protections and importance as they would be in the land of their Amazonian sisters. Their mission to raise Nubia and keep her safe is marked by layers:  due to her skin color, they know their daughter won’t be welcomed, respected, protected, or cherished everywhere. There are those who are eager to paint a target on her back. Gleeful, even since she’s a young woman. Thanks misogynoir! Throw in her super powered strength and her family heritage and relation to a certain superhero that ruffles feathers and challenges gender stereotypes everywhere she goes–that has been kept a secret-makes the target on her back even bigger.

To be clear, there are several really tough scenes and panels throughout Nubia: Real One: some involving interactions with police officers. (See some trigger warnings at the end of our site’s review here) In the earliest chapter of the graphic novel, there is a police officer who places young Nubia in handcuffs, deeming her suspicious. He then drives her home, still sitting in the backseat of the car handcuffed. When she gets home, she is in tears–the interaction with the police officer has left her emotionally devastated: before speaking with him she had stopped a burglary when out with friends, and acted on using her super strength, potentially exposing her secret identity and her beloved parents. The cashier at the store mistakenly assumes Nubia to be one of the burglars and adds her description to the cops after Nubia leaves the scene, even at the behest of the witnesses there, a schoolmate of Nubia’s. 

Upon that, she encounters a person of authority who does not make her feel safe, decides that she’s suspicious, and makes her feel like a criminal by handcuffing her. He doesn’t call her parents. Upon seeing her in distress, he does not comfort her or do any type of damage control by offering resources. Nubia enters her home in tears and her mothers soon bumrush her, embracing her, and loving on her. Once the story is out, they are angry. Enraged and wanting justice for how their child was handled, they are furious at how their Black child was treated. 

These are the images I want to see in the world. These are visuals that I know, love, and want to always see in any book of a Black mother and their children. Black mothers know that they cannot protect their children from a world that is so anti-Black and preys upon girl children. But in a Black mother’s arms, if only for a moment or a few minutes, they are safe.

“We’re with you, always” – Mama Danielle

“…You are perfect, Nubia, exactly as you are. The rest of the world is broken. Not you. Never you…” – Mama Amera

In an interview about the graphic novel with CBR, Author L.L. McKinney mentioned relationships of Black girls and women as one of the biggest takeaways that she wanted readers to walk away with after reading: “…I wanted to show that we deserve to be loved and supported and protected and defended. Nubia’s moms are willing to upend their entire lives repeatedly if it means keeping their baby safe…” As moms, Danielle and Mera are quick with affection as are they also quick with a disciplining word. Nubia may be called out on talking back or going to parties when grounded but she’s still loved, still called down to the table for dinner, and still comforted. Most importantly, she is still their child and they never let her forget that through the thick and thin.

My favorite set of panels in the latter half of the book are of Danielle grabbing her daughter as she’s off to a local protest for a slain black teenager, who was killed by police officers. Amera holds her tight after reminding her of safety tips for attending a protest (most helpful when you’re a activist from a marginalized background, especially if you’re a Black one–turning off your location, having an exit strategy, and using milk, not water, in case of pepper spray) and fiercely reminds her that she is proud of Nubia. 

She then stands as a united front with her wife Danielle, holding hands as they watch their little girl–now their almost adult daughter leave home to join the others at the protest to take a stand in their community. These pages are among some of the most impactful and loving scenes between Black women and their child in a comic book that have touched me and made me feel seen. The images of these Black mamas in Nubia: Real One continue to stay in my heart, a buffer against the awful things that plague living a life while being Black and woman. These panels continue to make me grateful for Black women in comics: the ones making them and the ones on the page. Author L.L. McKinney and artist Robyn Smith did a masterful job on being inspired by the women in their lives and bringing that love in creating Amera and Danielle, Nubia’s moms. Their work should definitely be the start of a masterclass on bringing Black motherhood to the page in comics and it stays an impactful and meaningful representation that should never be overlooked or forgotten. 

Nubia: Real One is available where comics and most books are sold.

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The post Tell Mama: Black Motherhood in Graphic Novels Centering Black Girls appeared first on Black Nerd Problems.

Hatching (Pahanhautoja) (2022)

By Désirée I. Guzzetta

Director Hanna Bergholm’s feature, “Hatching,” unflinchingly shows us the monsters we are, and the monsters we can become. Working from a screenplay by Ilja Rautsi, Bergholm takes the audience on a hell of a coming-of-age journey filled with spectacular practical creature effects and terrifying human beings.

The Finnish “Hatching” begins with Tinja (Siiri Solalinna), a teenage gymnast, stretching as her mother watches her. Tinja’s position makes her look somewhat like a bony egg, foreshadowing what’s to come. She seemingly has a good relationship with her mother (played by Sophia Heikkilä), who comes up and tickles her. Everything seems loving.

Turns out, though, that Mother is an influencer filming the scene for her vlog, “Lovely Everyday Life,” and life isn’t really that lovely in her home. Mother is incredibly selfish, while Father (Jani Volanen) is a weak man who lets Mother dictate their lives. Tinja’s brother, Matias (Oiva Ollila), is an obnoxious clone of his dad. Tinja has no friends because her mother drives her so hard to win at gymnastics. All for their viewers, of course, and not because she wants Tinja to succeed for her own self-esteem. Tinja’s needs are not really her concern.

A horrifying series of events is set in motion when a bird shatters the faux-idyllic shoot, leading Tinja later to discover an egg that needs protection and help so the baby inside can hatch. However, the egg grows to gigantic proportions and what emerges is hideous. Despite the baby bird’s monstrous looks, though, Tinja grows to care for it and dubs it Alli. She hides Alli in her closet and mothers it.

After Tinja befriends the new neighbors’ daughter, Reetta (Ida Määttänen), who turns out to be a better gymnast, things go more awry. Mother doesn’t like seeing Reetta’s superior skills and forces Tinja to practice until her hands are calloused and bleeding. Mother’s family has their online reputation to protect, after all.

Alli also doesn’t like anything that causes Tinja distress. As Alli grows larger and larger, the curtains get pulled further open on the realities of Tinja’s broken home life.

At Sundance, Bergholm revealed they changed the lead character of the story from a boy to a girl because she feels there needs to be more complex females in film. The change works very well here, given the nurturing Tinja does for Alli, and the relationship she has to her selfish, winning-at-all-costs mother, whose idea of relieving stress is to win. “When you win, you don’t have to worry about anything,” she tells Tinja at one point.

“Hatching” devastates with its scathing critique of the way social media warps real-life sensibility in the pursuit of presenting perfection, but its greatest depth is in showing what repressing emotions can do to someone. It’s also a brilliant metaphor for coming of age, as Tinja grapples with the truth of her family’s dysfunction while also caring for a literal monster she feels responsible for. Tinja might as well be invisible for all her family actually cares about her as herself–she is only allowed to be whatever Mother wants. She’s living a teenager’s nightmare, only it’s on-screen for Mother’s followers to praise because they can’t see the horror behind the artifice.

Solalinna is affecting as the shy, bird-like Tinja, and Heikkilä shines as the self-involved Mother (neither Father nor Mother get names). The practical effects on Alli are exquisitely grotesque and a joy to see for folks who enjoy a good old-fashioned monster as well. 

“Hatching” makes an excellent addition to the pantheon of horror films dealing with teenage girls growing into their own power, such as 2000’s “Ginger Snaps” and 2007’s “Teeth.” But what sets it apart is its unflinching ability to delve deep into the damage mothers can do to their daughters when they try to live through them without paying any attention to their daughters’ feelings.

The post “Hatching” a monster tale of family dysfunction appeared first on The Nerd Element.

BGN interviews the cast of Prime Video series The Wilds.

Featured in the interviews are: SARAH PIDGEON / Leah Rilke, REIGN EDWARDS / Rachel Reid, JENNA CLAUSE / Martha Blackburn, SOPHIA ALI / Fatin Jadmani, SHANNON BERRY / Dorothy ‘Dot’ Campbell, ERANA JAMES / Toni Shalifoe and MIA HEALEY / Shelby Goodkin.

Teenage girls from radically different backgrounds find themselves stranded on a remote island, unaware they’ve just become the subjects of an elaborate social experiment.

Interviewer: Stacey Yvonne

Video Editor: Jamie Broadnax

The Wilds premieres Friday, May 6 only on Prime Video.