deerstalker
https://blacknerdproblems.com/star-wars-the-phantom-isms/
Hello there. Now that Obi-Wan is out in the world, episodes deep, there are some things we need to discuss. First off, if there’s a new Star Wars property there are probably new characters, shifted canon, callbacks out the wazoo, and something…else. Something nefarious and deeply engrained. Something that has tarnished the once wholesome experience the Star Wars franchise was aglow with. For clarity, the “something” is racist and sexist fanboys with a chokehold on the fandom. The kind who want some change but not enough to like change voter suppression or abortion laws – because they remember how things used to be.
From the casting of only two Black actors (three-named thespians James Earl Jones and Billy Dee Williams) in the OG trilogy main cast to a primarily POC main cast in the last three entries in the Skywalker Saga. From Carrie Fisher’s spunky and sharp Leia as the lone femme to Daisy Ridley and Kelly Marie Tran holding major screentime in several blockbuster films. Despite all of this perceived progress, Ahmed Best (Jar-Jar Binks) considered self-harm, Kelly Marie Tran removed themselves from social media, Daisy Ridley sought therapy, and John Boyega was boycotted. Now, Obi-Wan cast member Moses Ingram is catching death threats in their DMs. While Lucasfilm has stepped the social media support of cast members in recent weeks, they were spectacularly silent about the treatment of Best, Tran, Ridley, and Boyega.
How, in a world with Rodians, Twi’leks, Wookies, and hundreds of other fictional but ‘alien’ species does anyone get caught up on the physical appearance of anything in the Star Wars universe? How, in a show like Obi-Wan that aesthetically and thematically references the impact of real-life fascism, do “fans” engage in behavior that reinforces white supremacist fascism? In the wake of the earlier mentioned bullying and the increasing racist backlash, non-white nerds are faced with a wildly absurd question: is this an inevitable part of the Star Wars fandom moving forward? If so, how do we, melanated and marginalized media consumers, move on? Do we abandon the franchise? Which, by extension, abandons the people of color in front of and behind the camera? I’m asking because I am truly at my wit’s end and don’t have an answer.
The reality is, much like the narrative arc of Obi-Wan, we are faced with way more questions about the future of the Star Wars landscape than we are given answers. There are still parts of this fandom where inclusion and diversity reign supreme without sacrificing lore and continuity. The Mandalorian being a prime example, add to that some literary canon from Daniel Jose Older’s Star Wars novels and his run on Marvel’s The High Republic comics. Both of which have all types of DEI gems. Folks from all the imaginary walks of life can be found there, and it’s done with all the swashbuckling panache of the OG extended universe, without the saccharin canon butchering of the Kenobi/Leia dynamic on Obi-Wan.
Don’t get me wrong. Vivian Lyra Blair is doing a great job with the role, but ‘the precocious know-it-all politically savvy beyond her years’ fan service hits a wall quickly. *knocks on fourth wall* We don’t want young Leia throwbacks where she’s doing poorly choreographed parkour in the woods. We want Finn as a Bast-damn Jedi! We want Rose to rise up as a tactical mastermind and replace Leia as the ‘heart’ and general of the rebellion. We want Kit Fisto to not have gone out like a mark ass buster in Revenge of the Sith after seeing him body a whole armada on Mon Calamari in The Clone Wars 2D series! That last one was personal and twenty years in the making, but the point stands. The kinds of diversity and equity true fans want to see in this universe don’t require shifting established canon. There is more than enough galaxy in the world to make new stories, shout out to Taika Waititi who said as much.
“Look, I think for the Star Wars universe to expand, it has to expand… I would like to take something new and create some new characters and just expand the world, otherwise it feels like it’s a very small story.”
Taika Waititi, via TotalFilm
Word throughout the nerd-o-sphere is mixed on the reviews for the Obi-Wan series. On one end, the hype train for the Vader vs. Kenobi lightsaber showdown spectacular was running full steam. The anticipation of a Hayden Christiansen acted Darth Vader coming back to the world that launched him into simultaneous stardom and infamy was electric. You can’t write this powerful of a redemption arc. Mind you, every time Vader was onscreen that deeply tense conflict was front and center. Deborah Chow is a fantastic combat director, and she made the fight choreo look and feel weighty. Even the laser deflections looked like an earned and labored on the elder Kenobi. The play-up of the rebellion was a sentimental connection to the later entries in the chronology, and you really can’t go wrong with casting Indira Varma (who plays Tala).
On the other hand, die-hard fans and sci-fi/fantasy enthusiasts were deeply disappointed with quite a few things. Namely, the things that make little to no sense and cheapen the overall quality of the material. Things like Reva surviving the kind of injury that took Qui-Gon Jinn out the Jedi game. Twice. Who gets lightsaber stabbed twice and walks that off? Things like Leia’s parkour abduction in the woods, or the fact that they’d have even met before A New Hope. Things like Kenobi not being able to lift a bag of chips with the Force, to outdoing Anakin ‘I find your lack of faith disturbing’ Skywalker, after a decade on the bench? Outside of reshaping canon and power-level inconsistencies, the real disappointment comes from the series’ lost potential. Obi-Wan had all the makings of a grittier and pared-down story exploring Kenobi’s character post-Order-66. Since Leia and Kenobi had never met, there was no need for that entire arc to exist. Without all the fluff, what we could have gotten was the Star Wars equivalent of Logan. Just Obi-Wan, his PTSD, and a shared obsession with him and his jilted former padawan. A lean, mean, series with Kenobi hitting the one-arm pushups like Iroh in prison. Staying in touch with the Force on the low like a splinter cell agent. Instead, we got something more family-oriented and far less interesting.
Whatever decision-making processes led to the series we just watched gives the idea the show was undercut by plot holes, awkward direction, and a need to pander to ‘fans.’ The same ‘fans’ have consistently pushed back against the inclusion of anyone that doesn’t fit within their imagination. Lucasfilm apologized, defended Moses Ingrams, made snarky tweets, had costars chime in, and the whole shebang. But if there is always a conflict to engage with just to consume some media, is it really worth it? If it isn’t worth it, where do we go? We know what we want to see, but do they – and can we afford to wait? If we stay to consume, how do we demand what we want to see?
Cover image via StarWars.com
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The post Star Wars Episode Eleven-teen: The Phantom-isms appeared first on Black Nerd Problems.
Hello there. Now that Obi-Wan is out in the world, episodes deep, there are some things we need to discuss. First off, if there’s a new Star Wars property there are probably new characters, shifted canon, callbacks out the wazoo, and something…else. Something nefarious and deeply engrained. Something that has tarnished the once wholesome experience the Star Wars franchise was aglow with. For clarity, the “something” is racist and sexist fanboys with a chokehold on the fandom. The kind who want some change but not enough to like change voter suppression or abortion laws – because they remember how things used to be.
From the casting of only two Black actors (three-named thespians James Earl Jones and Billy Dee Williams) in the OG trilogy main cast to a primarily POC main cast in the last three entries in the Skywalker Saga. From Carrie Fisher’s spunky and sharp Leia as the lone femme to Daisy Ridley and Kelly Marie Tran holding major screentime in several blockbuster films. Despite all of this perceived progress, Ahmed Best (Jar-Jar Binks) considered self-harm, Kelly Marie Tran removed themselves from social media, Daisy Ridley sought therapy, and John Boyega was boycotted. Now, Obi-Wan cast member Moses Ingram is catching death threats in their DMs. While Lucasfilm has stepped the social media support of cast members in recent weeks, they were spectacularly silent about the treatment of Best, Tran, Ridley, and Boyega.
How, in a world with Rodians, Twi’leks, Wookies, and hundreds of other fictional but ‘alien’ species does anyone get caught up on the physical appearance of anything in the Star Wars universe? How, in a show like Obi-Wan that aesthetically and thematically references the impact of real-life fascism, do “fans” engage in behavior that reinforces white supremacist fascism? In the wake of the earlier mentioned bullying and the increasing racist backlash, non-white nerds are faced with a wildly absurd question: is this an inevitable part of the Star Wars fandom moving forward? If so, how do we, melanated and marginalized media consumers, move on? Do we abandon the franchise? Which, by extension, abandons the people of color in front of and behind the camera? I’m asking because I am truly at my wit’s end and don’t have an answer.
The reality is, much like the narrative arc of Obi-Wan, we are faced with way more questions about the future of the Star Wars landscape than we are given answers. There are still parts of this fandom where inclusion and diversity reign supreme without sacrificing lore and continuity. The Mandalorian being a prime example, add to that some literary canon from Daniel Jose Older’s Star Wars novels and his run on Marvel’s The High Republic comics. Both of which have all types of DEI gems. Folks from all the imaginary walks of life can be found there, and it’s done with all the swashbuckling panache of the OG extended universe, without the saccharin canon butchering of the Kenobi/Leia dynamic on Obi-Wan.
Don’t get me wrong. Vivian Lyra Blair is doing a great job with the role, but ‘the precocious know-it-all politically savvy beyond her years’ fan service hits a wall quickly. *knocks on fourth wall* We don’t want young Leia throwbacks where she’s doing poorly choreographed parkour in the woods. We want Finn as a Bast-damn Jedi! We want Rose to rise up as a tactical mastermind and replace Leia as the ‘heart’ and general of the rebellion. We want Kit Fisto to not have gone out like a mark ass buster in Revenge of the Sith after seeing him body a whole armada on Mon Calamari in The Clone Wars 2D series! That last one was personal and twenty years in the making, but the point stands. The kinds of diversity and equity true fans want to see in this universe don’t require shifting established canon. There is more than enough galaxy in the world to make new stories, shout out to Taika Waititi who said as much.
“Look, I think for the Star Wars universe to expand, it has to expand… I would like to take something new and create some new characters and just expand the world, otherwise it feels like it’s a very small story.”
Taika Waititi, via TotalFilm
Word throughout the nerd-o-sphere is mixed on the reviews for the Obi-Wan series. On one end, the hype train for the Vader vs. Kenobi lightsaber showdown spectacular was running full steam. The anticipation of a Hayden Christiansen acted Darth Vader coming back to the world that launched him into simultaneous stardom and infamy was electric. You can’t write this powerful of a redemption arc. Mind you, every time Vader was onscreen that deeply tense conflict was front and center. Deborah Chow is a fantastic combat director, and she made the fight choreo look and feel weighty. Even the laser deflections looked like an earned and labored on the elder Kenobi. The play-up of the rebellion was a sentimental connection to the later entries in the chronology, and you really can’t go wrong with casting Indira Varma (who plays Tala).
On the other hand, die-hard fans and sci-fi/fantasy enthusiasts were deeply disappointed with quite a few things. Namely, the things that make little to no sense and cheapen the overall quality of the material. Things like Reva surviving the kind of injury that took Qui-Gon Jinn out the Jedi game. Twice. Who gets lightsaber stabbed twice and walks that off? Things like Leia’s parkour abduction in the woods, or the fact that they’d have even met before A New Hope. Things like Kenobi not being able to lift a bag of chips with the Force, to outdoing Anakin ‘I find your lack of faith disturbing’ Skywalker, after a decade on the bench? Outside of reshaping canon and power-level inconsistencies, the real disappointment comes from the series’ lost potential. Obi-Wan had all the makings of a grittier and pared-down story exploring Kenobi’s character post-Order-66. Since Leia and Kenobi had never met, there was no need for that entire arc to exist. Without all the fluff, what we could have gotten was the Star Wars equivalent of Logan. Just Obi-Wan, his PTSD, and a shared obsession with him and his jilted former padawan. A lean, mean, series with Kenobi hitting the one-arm pushups like Iroh in prison. Staying in touch with the Force on the low like a splinter cell agent. Instead, we got something more family-oriented and far less interesting.
Whatever decision-making processes led to the series we just watched gives the idea the show was undercut by plot holes, awkward direction, and a need to pander to ‘fans.’ The same ‘fans’ have consistently pushed back against the inclusion of anyone that doesn’t fit within their imagination. Lucasfilm apologized, defended Moses Ingrams, made snarky tweets, had costars chime in, and the whole shebang. But if there is always a conflict to engage with just to consume some media, is it really worth it? If it isn’t worth it, where do we go? We know what we want to see, but do they – and can we afford to wait? If we stay to consume, how do we demand what we want to see?
Cover image via StarWars.com
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The post Star Wars Episode Eleven-teen: The Phantom-isms appeared first on Black Nerd Problems.
#SDCC: RIPPED FROM TOMORROW’S HEADLINES, MATTEO PIZZOLO INTRODUCES ROGUE STATE
Announcing a Provocative, New Comic Book Series from Black Mask Studios, Premiering at Comic Con International
LOS ANGELES, CA–What if a contested Presidential election plunged America into turmoil? What if political violence consumed the streets? And what if a raging Supreme Court, in a strict interpretation of the Second Amendment, legitimized and deputized all militias—transforming the entire country into a paramilitary police state? What if a freedom fighter emerged from the chaos, raised a civilian army, and carved out a territory across the United States–pushing out police, militias, and National Guard… enforcing its own laws… sovereign. What if Americans refused to be governed?
This is the world of ROGUE STATE, the new ongoing graphic novel series that marks writer Matteo Pizzolo’s return to comics for his first new series since 2017’s acclaimed CALEXIT, reuniting with artist C. Granda (who illustrated 2018’s CALEXIT: SAN DIEGO comic book that raised funds for families separated at the US-Mexico border) and CALEXIT cover artists Soo Lee and Ashley A Woods. ROGUE STATE will launch this October from Black Mask Studios, the Los Angeles based indie publisher of beloved titles including BLACK, 4 KIDS WALK INTO A BANK, SPACE RIDERS, KIM & KIM, ALICE IN LEATHERLAND, and GODKILLER. Together, Pizzolo and Granda have created a timely title about rebelling against tyranny, reconquering stolen land, punching fascists in the face, and building a better nation.
“A big part of building authenticity and depth to the characters and the world of Rogue State comes from C. Granda’s incredible eye for detail and the way he infuses the work with his own experiences and observations,” said Matteo Pizzolo, co-founder of Black Mask Studios and the writer of ROGUE STATE. “Granda grew up in Medellín-Colombia, where he still lives and runs multiple cultural organizations devoted to supporting comic book creation in Latin America. He was a kid during the Palace of Justice siege when insurgents stormed the Supreme Court and left half the Justices dead. When Granda imagines a comic book world roiled by political violence, there’s a reason it feels so vital and lived-in.”
In ROGUE STATE, a crew of young vigilantes will rise against an authoritarian state robbing Americans of their rights. The ongoing series tells the story of Vya Of Brightstars, a mysterious freedom fighter rising from the unrest, and Clara Cruz (she/her), a young professional who becomes activated in Vya’s movement when her fiancée Taylor Sanchez (they/them) is disappeared as militias take over their Mission District neighborhood. As a nationwide police state takes shape following a contested Presidential election and The Supreme Court’s Second Amendment ruling to deputize paramilitary groups, Vya and Clara’s rogue state will blaze a path across America, inspiring others to raise their own armies… some in solidarity, others in opposition. Each issue of ROGUE STATE will also include non-fiction material about building local support networks and grassroots campaigning for coming elections.
“Confronting disinformation with political art has never been more important,” said Brian Giberson, Black Mask’s head of publishing development. “Black Mask Studios has always focused on stories that are adventurous and also have a real message driving them. Starting with OCCUPY COMICS, we published stories about inequity and the struggle for financial justice. Since then, we published stories about gentrification (THE DREGS), LGBTQIA+ self-discovery and found family (ALICE IN LEATHERLAND) and empowered Black superheroes fighting racist plutocrats (BLACK). We’ve partnered with creators to fundraise for Black Lives Matter, legal aid for families separated at the border, comic shops subjected to Covid lockdown mandates, and bail funds during the George Floyd protests. The fact that the comic market continues to support and provide a platform for such brave voices is a striking reminder that comics play a crucial and important role in our social, political, and cultural dialogue.”
“This is an amazing and crucial moment in the history of comics. It’s a real renaissance for socially relevant and politically challenging comic books and graphic novels, but at the same time these books are facing more attacks, lawsuits, and bans than they have in a generation,” said Matteo Pizzolo, co-founder of Black Mask Studios and the writer of ROGUE STATE. “Researchers are pointing out the explosion in book banning has been disproportionately impacting graphic novels–and whether it’s Maia Kobabe’s powerful GENDER QUEER, Art Spiegelman’s incredible MAUS, Alison Bechdel’s moving FUN HOME, or Alan Moore and David Lloyd’s piercing V FOR VENDETTA, it’s clear that deeply personal and fearlessly political comics and graphic novels are capturing imaginations across our polarized world. There’s never been a more robust range of comics and graphic novels speaking to the demand for social and political change than right now.”
The first issue of ROGUE STATE will be available from Black Mask Studios in October 2022, with a special preview book available in extremely limited quantities this week at Comic Con International in San Diego. Black Mask’s full slate of exclusives can be found below, and fans can find out more at the company’s panel on Saturday July 24!
Black Mask SDCC exclusives:
– Calexit: Our Last Night In America [Uncut]
(limited to 66 main cover, 25 clean art)
An extended version of the FCBD 2021 Calexit story which was edited and had pages cut for FCBD’s T+ format. Exclusive cover by Sunando.
– Godkiller: For Those I Love I Will Sacrifice #1 advanced issue
(limited to 66 main cover/25 clean art of a censored cover, and another 66 main cover/25 clean art of an uncensored cover)
Complete issue for upcoming series launch. Exclusive cover by Jasmin Darnell.
– Godkiller: Tomorrow’s Ashes Collected Edition Hardcover & Softcover
(limited to 200 hardcover/200 softcover)
Collected editions in hardcover and softcover with limited edition art by Maria Llovet
– Rogue State ashcan
(limited to 50)
Preview book for upcoming series
– Destiny, NY Chapter 1
(limited to 99 of main cover, 25 of clean art)
Special edition of Destiny, NY’s first chapter. Exclusive cover by Amancay Nahuelpan (Calexit, Batman: Detective Comics)
Black Mask: Debuting Tomorrow’s Legends
Saturday July 23, 2022 5-6pm, Rooom 28DE
Black Mask has made a name for itself as the hottest launchpad to debut new talent and as the home for some of the coolest, most provocative comics around, including BLACK, Destiny NY, CALEXIT, 4 Kids Walk into a Bank, and Alice In Leatherland. Black Mask co-founder Matteo Pizzolo (CALEXIT) joins creators Kwanza Osajyefo (BLACK), Pat Shand (Destiny NY), Adam Egypt Mortimer (Ballistic), and others for a wide-ranging discussion of how new ideas are changing comics and how you can be a part of it.
ABOUT THE ARTIST: C. Granda is a freelance comic book creator and teacher with more than 20 years of self-study and more than 16 years dedicated to the creation and promotion of comics in his homeland of Medellín-Colombia, where he founded and was the associate director of the National Comic And Manga Hall cultural corporation, and one of the leaders of FICCO (Independent Colombian Comics fair) and the creator of COMICFAN a small press publisher specialized in creating comics for the Colombian market and creating content aimed at the teaching of comic book creation in Latin America including a Youtube channel with more than 250 videos about the making and analysis of comics for and in the Latin Market. He is also an experienced comic book artist with more than 10 years of experience in professional work with several US and UK publishers such as Heavy Metal, Black Mask, Zenescope, Markosia and others, with titles including CALEXIT: SAN DIEGO, PIROUETTE, GRIMM FAIRY TALES, ESCAPE FROM MONSTER ISLAND, THE JUNGLE BOOK, HEROES OF HOME ROOM C, and ARACHNA, as well as handling his own self published titles. Currently Granda lives in Medellín with his wife Cindy and their four cats; Shazam, Mister Darcy, Totoro and Achu.
ABOUT THE WRITER: An Amazon #1 bestselling author, Matteo Pizzolo was named Wired Magazine’s “World’s Most Wired Comics Creator,” one of Bleeding Cool’s Top 100 Most Influential People In Comics, and has appeared on CNN, NPR, and FOX News. While living out of a backpack as a teenager in NYC’s Lower East Side, Pizzolo got his start as a playwright in Hell’s Kitchen’s Ensemble Studio Theatre’s Youngblood program. At 19 he wrote and directed THREAT, an independent feature financed with credit cards and set in NYC’s hardcore punk & underground hip hop scenes, which premiered at the Coachella Valley Music & Arts Festival, won a Best First Time Filmmaker award at the Rome Independent Film Festival, and was distributed by Sony. He then wrote the comic book GODKILLER (selected as one of Kirkus Reviews’ Best Books Of The Year) and directed its animated film adaptation, distributed by Warner Brothers. He wrote the comic books YOUNG TERRORISTS (second only to Lumberjanes as the highest selling indie graphic novel of the year) and CALEXIT (recipient of international acclaim, including a Publishers Weekly starred review), and co-founded Black Mask where he’s championed “subversive, provocative, and just plain awesome comics and creators.” Utilizing his background in political organizing, Pizzolo created the Occupy Comics project and devotes himself to supporting and creating some of the bravest comics on shelves.
ABOUT BLACK MASK STUDIOS: Bringing the punk rock ethic to comics c/o co-founders Brett Gurewitz, Steve Niles, and Matteo Pizzolo, Black Mask supports creators telling awesome and important stories.
The post #SDCC ANNOUNCEMENT: MATTEO PIZZOLO INTRODUCES ‘ROGUE STATE’ AT COMIC CON appeared first on The Nerd Element.
Nope is the newest feature from horror auteur Jordan Peele. He has a way of exposing the true horror of the everyday and turning it into supernatural concepts. In Get Out, Peele exposed the irony in the old saying: everybody wants to be Black, but nobody wants to be Black. In Us, Peele exposed a forgotten society in a stunning exploration of how all of our sides make us true and complete people.
Peele managed this all while scaring the living daylights out of his audience. The stunning visuals, haunting scores, precise script, and stellar cast are just some of the things that elevate Peele’s movies past just a popcorn flick.
The success of his past ventures has made the hype for Nope extremely exciting. We were given just a small premise when a poster was released of a small cloud with a kite-like string hanging from it. Speculation ran wild and there have been panel events and press activations taking you further into the world of Agua Dolce and Jupiter’s Claim.
While the lead-up to the film was interesting, I wonder if it hurts the film? I’m sure Nope is filled with easter eggs, but on its face, it’s a pretty simple story.
An old ranch hand is trying to break in his new horse: Ghost. A freak storm occurs, and Otis Haywood (Keith David) is lost. Six months later, we see his son, OJ (Daniel Kaluuya), a name that is not missed by anyone new he meets, trying to pick up the pieces. He’s a horse trainer and comes from a long line of animal wranglers for film and TV. His sister Emerald (Keke Palmer) helps where she can. He’s got the smarts and know-how and she has the personality. Together they make a good team, but even they can’t account for the folly of man.
Strange occurrences begin that make OJ question his sanity and Emerald question how they can get rich from the idea. On its own, it’s a solid movie. I had a great time and would definitely go see it again. A part of me does wish we’d spent more time on the background of the fissure between OJ and Emerald, what happened to their mother, and why Emerald always feels the need to run away.
Instead, we’re thrown head-in to these family dynamics, but there’s a distraction that makes the Heywood story less impactful. The movie begins with the filming of a ‘90s sitcom in front of a live studio audience. We hear a pop, like a gunshot or a balloon pop — then suddenly we hear screams and see a shoe sitting on its heel with a single dot of blood. Later we learn more about the origins of this tease from Ricky “Jupe” Park (Steven Yeun), owner of Jupiter’s Claim, who is trying to stay relevant in the public eye.
His storyline is fascinating and pokes fun at Hollywood in a way that had everyone in the audience laughing. It was engaging but also completely confusing. I can’t say it goes nowhere because I think it serves a purpose, but I would almost rather it be its own property. Or that there was something more overt that tied Jupe and his plight to the core story. I can’t say more without major spoilers — just know that while I loved his sections, they were slightly incongruous with the film at large.
This is what I meant about the over-speculation maybe being a mark against the film because when you have these huge swings done by the audience, they’ll want a payoff just as big. I don’t know if I can say the reveal is big. It’s thought-provoking, but I don’t know if it’s as earth-shattering as some of the theories.
We see OJ and Emerald enlist the services of a local tech store employee, Angel (Brandon Perea), and experimental cinematographer, Antlers Holst (Michael Wincott). Together they try to figure out the rules of the supernatural occurrences and see if they can capture them on tape. They will defend their ranch and their father’s legacy no matter the cost.
The acting is phenomenal, especially between Kaluuya and Palmer. They have an interesting sibling dynamic that shows that even when they’re at odds, they’re still family. Stephen Yeun does a great job, yet again, I have SO many questions about his character and storyline. The fact he and his younger counterpart made their parts so engaging that I was begging for more is really saying something.
The look of the film is similar to Peele’s other films in which the nights are shot beautifully, and you can easily see dark tones in the light. With the horses and the good guys vs. bad guys of it all, there are definite western vibes — it works well. There was so much care taken with the way things moved and how they showed on screen. The landscape and scenery all add to the story.
I can’t say much more without giving it away, but I will say there was a very confusing design choice. It raised even more questions and caused more distractions. There is also a fleeting biblical reference that connects to nothing and of course talks of “bad miracles.” As different puzzle pieces it’s interesting, but the final picture is kind of unfinished.
Now at this point, I believe in Peele to make stories that are original and memorable and I know there’s a plan for everything. I trust him completely, and I can’t say I’m disappointed with the film, but something is disconcerting about how disjointed it appeared to be.
Overall I do recommend Nope. There were laughs and jump scares, but I would say to guard your expectations. Just throw them out the window and enjoy the movie as it comes.
Nope will premiere in theaters on July 22, 2022.
Once again, Issa Rae (Insecure) is showcasing a Black woman’s friendship on screen–and she turns it up to the tempo. The Emmy-nominated actress’s new HBO Max comedy series, Rap Sh!it delivers a unique flare that departs from Insecure’s uniquely Los Angeles story of awkward, but loveable Issa Dee (Issa Rae) and stubborn, but ambitious Molly Carter (Yvonne Orji).
This time around, fans are introduced to two Miami-based rappers, Shawna (Aida Osman) and Mia (KaMillion), who join forces years after their high school days to form a rap group. Together, they begin slowly climbing the ladder to fame. As expected, their quest to fulfill their dreams isn’t an easy one.
The series was produced by Hoorae Productions and 3 Arts Entertainment with Syreeta Singleton, now stepping into her own as the series’ showrunner after writing for Insecure. Additionally, the show draws reference and authenticity from real-life rappers. This includes the show’s co-lead KaMillion, Cardi B, Megan Thee Stallion, Nicki Minaj, City Girls, and more.
The Good: Rap Sh!t Spits Its Own Distinct Rhymes
Rap Sh!it comedically immerses and juxtaposes Miami tourist culture with local culture. This makes it clear that similar to Insecure, the plot is driven by location. From the first episode, the creators convey plans to be very Miami-centric. They introduce audiences to both Miami, Florida, and the specific group of people they have living there.
While, in many ways the show, replicates the same formula as others, it brings a refreshing perspective through its depiction of social media. Although social media plays a vital role in American life, many series fail to reflect how much leverage an online presence has on social and professional success. This series makes viewers more mindful of their own behaviors (literally with selfies and IG lives). Audiences have a realization that most people use social media like currency — and that’s just what it is on Rap Sh!t.
Social media takes on a persona of its own, as it simultaneously conveys information, fuels conflict, bolsters careers, and cancels people as episodes go by. It plays with surveillance and what it means to constantly live in front of and behind a camera. Even intimate moments are observed by strangers and inundated with comments and likes. In that light, each episode presents a serious phenomenon amid lighthearted booty twerks and dropping beats.
The series also addresses the issues of selling out, cultural appropriation, and talent that goes overlooked. In the rap industry especially, Black women have always had the odds against them–even after making countless contributions to rap culture.
While it’s about the music industry, Shawna and Mia tell a bigger story about how Black women are discounted and devalued for their work. Instead of competing against each other, the Black women rappers in Rap Sh!t are (for the most part) a team. Many of Shawna’s raps are about the structural issues of racism, colonialism, student debt, and misogyny–which are ignored versus music about sex and partying. By contrast, Mia’s raps are more geared toward money, parties, sex, and fast cars. Together, the show pushes the message that rap should combine politics and party to inspire listeners. Thus, making this team the dream.
Finally, there are hilarious “Karen” moments and other pokes at entitled white women that hop on Black trends for the social media likes (but don’t actually value Black people). The show reflects the reality of Black women trying to break into a superficial industry without compromising who they are.
The Bad: The Characters Don’t Extend Further Than Their Social Media
Overall, there aren’t standout performances. However, Osman does create a compelling character that carries to the story. Shawna is the most developed character with clearly understood motives and struggles. Mia, on the other hand, works wonders comically — but presents a character that’s difficult to take seriously. While she endures considerable struggles, there’s an almost unbelievable (and aggravating) ignorance about her, which makes her friendship with Shawna perplexing.
While pairing characters with vastly different temperaments and moral codes may be engaging in some projects, in Rap Sh!t it’s awkward. The same goes for Osman and her longtime boyfriend Cliff Lewis (Devon Terrell). They both seem like they went on a few dates rather than being in a committed relationship for several years. Whether on purpose or due to lack of chemistry, the two don’t make any sense. They beg the question of why the relationship is introduced in the series at all. What it does (if anything) to build the story.
Following a similar path, the minor characters melt into the show without making a strong impact. They help move the plot forward, and not much more. While the social media aspect is engaging, it seems to often act in place of character building. The characters are reduced to their social media–and it feels like a lot of noise without substance.
The number of characters is also disorienting. So many names and faces are introduced within the first few episodes alone that it’s difficult to connect or relate with anyone beyond Mia and Shawna.
Final Verdict
Rap Sh!t is no Insecure. It has charm — but the two don’t and shouldn’t be compared. While there’s nothing like Issa Dee mirror rapping to hype herself up (or not), this is a different rap vibe altogether. Few shows dive into storytelling through social media so boldly while making people evaluate their own lifestyles at the same time. For that, the show is notable. However, it lacks the substance-infused comedy Rae is known for bringing to her projects.
So far, the story of Shawna and Mia draws intrigue without adoration, making for an overall mildly fun show that (if given another season) could become the newest top-charting hit.
Rap Sh!t arrives on HBO Max on July 21, 2022.