deerstalker

http://www.afronerd.com/2022/07/thor-4-spoiler-review-mcu-phase-4.html

Afronerd Radio can now be heard LIVE courtesy of Apple Music/Itunes

Ok, citizens, let's get into this!  Check out the latest episode of Afronerd Radio's Mid Week in Review airing this Wednesday at 8 p.m. eastern on the BTalk 100 internet broadcasting platform.  Join your Kree-enhanced AFROnerdist hosts as they unpack the above-titled issues including a recent toy exhibit in Las Vegas depicting a statue of a lynching in a model train scene.  Hence this appalling scene:

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

http://www.afronerd.com/2022/07/thor-love-thunder-review-candace-patton.html

Afronerd Radio can now be heard LIVE courtesy of Apple Music/Itunes

Let's keep it tight and concise, folks!  Welcome to the latest episode of Afronerd Radio's The Grindhouse broadcast airing this and every Sunday at 6 p.m. eastern on the BTalk cyber-radio platform.  Listen to your shattered Uru-hammered empowered AFROnerdist hosts as they discuss the following topics: the highly-anticipated fourth installment of Marvel's Thor franchise, Thor: Love and Thunder was released this weekend to a healthy 300M plus global box office takedown, and the crew have their first impressions; CW Flash actress, Candace Patton has recently alleged onset racial disparities along with social media harassment that her employers failed to address; our thoughts concerning the season finales of Amazon's The Boys (S3) and Star Trek: Strange New Worlds (S1); a recent article and MSNBC TV appearance by Naval War College educator and conservative writer, Tom Nichols, places some blame on the popularity of MCU films for the rise in young male perpetrated mass shootings in the US; former Japanese PM, Shinzo Abe, was assassinated in a country with minimal gun violence and Dburt has to ask, is the US exporting its culture to the "Land of the Rising Sun?"; more icons are leaving the planet-Sonny Corleone himself, James Caan passes at the age of 82 and F-Troop comedic actor, Larry Storch dies at 99; Lastly, more details are coming out about the fourth installment of the Captain America franchise, starring Anthony Mackie (including Chris Evans future in the Steve Rogers role an dthe MCI at large).   

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

https://blackgirlnerds.com/review-netflixs-resident-evil-is-an-action-packed-story-about-family/

Written by: April Prince

Since the release of the first game in 1996, Resident Evil as a series has captured the attention of gamers all over the globe. It’s even spawned other forms of media such as comics, animated films, audio dramas, live-action films — and TV shows. That’s what we’ll be taking a look at today. Thanks to the people at Netflix, we were granted early access to the new live-action Resident Evil show from showrunner Andrew Dabb and Constantin Films. Let’s see if this new angle on an old favorite holds up or if it’s meant to be put down.

Resident Evil follows Jade and Billie Wesker, the half twin daughters of everyone’s favorite mad scientist Albert Wesker. Yes, that’s right. Wesker is allowed to parent in this iteration and surprisingly? He seems like a genuine, loving father. 

The series takes place during two periods in time. The first takes place in our current time during 2022, where Jade and Billie are teens who just moved to New Racoon City with Albert and are adjusting to their new life. The other half of the show takes place in 2036, 14 years in the future. In the future, most of civilization has been wiped out by a virus. Jade is a researcher seeking to understand said virus on how the “Zeroes” work. Zeroes are the name given to the infected. 

In this new live-action story, we are getting themes of family, survival, and forgiveness. The survival is obvious; this is a Resident Evil show after all. But those themes of family and forgiveness are ones that are handled with a lot of heart and honesty. RE is not new to tackling these things, but the way it’s handled in the show makes you care about the characters and how they relate to each other. 

As stated before, Albert Wesker is a surprisingly caring father, and it puts the viewer on edge mainly if you’re familiar with his depiction in the games. It’s like waiting for the other shoe to drop. There’s a tinge of the usual threatening nature we’re used to with him but not to the degree or in the way you’d expect. 

There’s the very easy-to-spot fact that Albert is being portrayed by a Black man. Yes, there was some controversy about this casting choice. However, Lance Reddick brings his masterful skills to the role, marrying the fresh depiction of Wesker as a father with the usual haunting and off-putting figure fans recognize from the games. It’d be easy to write this off as a racebending casting for brownie points, but Reddick does a great job with the material. Don’t write him off.

As for the show’s other characters, Jade and Billie hold their own quite well. Jade is a strong-willed woman who puts her goals above all. This is something that realistically serves as both a positive and a negative. Thankfully the show doesn’t pull punches when it comes to her flaws. Having a one-track mind can lead to catastrophe when you don’t know when to pull back. 

Billie, on the other hand, is someone who goes along to get along, for better or worse. She’s passive by nature, and that means she’s more likely to turn the other cheek for the most part. In the beginning, she alludes to her explosive temper and how she doesn’t want to relive those moments of anger and lashing out. It makes for an interesting character arc of her either choosing to continue to be passive or letting her anger out and being known as the wild, irrational girl all over again. 

The setting of New Raccoon City is portrayed as an idyllic suburb on the surface while below that there’s something more sinister going on. There’s an undercurrent of militarized threat that permeates almost every interaction, and the presence of surveillance doesn’t assuage those feelings. Each time teenage Jade or Billie seeks to better understand their surroundings there’s someone there to shut that down as soon as possible. It gives the viewer an incentive to keep watching as we know only as much as the characters we’re following do. If they don’t know something, we don’t know either. It’s what makes certain reveals later in the season hit hard and land effectively. 

The big question to ask is, who is this show for? Well, longtime fans of the series may find it hard to reconcile what you already know and expect from a Resident Evil story with how Constantin chose to go about their version. But, once you give it a chance, it’s entertaining and does a good job of telling an engaging story while leaving things open for a second season. For newcomers who aren’t as familiar with Resident Evil, the show is a good mixture of action, sci-fi, and family dynamic. The characters are well defined and their motivations are paired well with their personalities. 

All in all, it’s a good show that deserves a fair shot with the potential to offer something new to an already packed franchise. 

The series premieres on July 14, 2022, on Netflix. 

https://blackgirlnerds.com/interview-comedy-gumbo-with-sam-jay/

It’s an interesting thing, interviewing Sam Jay.

When you sit down with the comedian, Emmy-nominated Saturday Night Live writer, and host of HBO late-night series PAUSE with Sam Jay, at least if you’re me, you get the feeling like you came at the wrong time. A twenty-minute Zoom meeting is fine for establishing the facts, but it’s not enough for getting into the spirit of things. 

There are glimpses, yes, of the fun one usually sees on Jay’s hilarious and often brutally personal talk/sketch show. However, maybe because the setting is more formal than the laid-back bars and lofts where Jay and her friends typically have PAUSE’s lively discussions about everything from sexual miscalculations to being a rude kid in school, the vibe is off. Stilted.

Then again, I may just be a bad and/or boring interviewer. But I also get the feeling Jay doesn’t necessarily like interviews. As she tells me about the format of her HBO show, she prefers dynamic discussions to interviews. 

Part of the feeling I get may just come from the fact that Jay is a Boston comedian by way of Atlanta. Why does it matter that she’s from Boston? To quote her, “I think Boston is also a cynical town.” This cynicism may work in a few ways. On the one hand, it may make you wary and a little wearied by answering questions that are similar, if not unintentional facsimiles, of ones you’ve been asked before. On the other hand, in Jay’s estimation, this cynicism is also one of the main ingredients of what she calls “comedy soup,” the sausages (maybe even the shrimp?) in a comedic gumbo. 

If you’ve seen Episode 2 of PAUSE’s latest season, titled “The Crackas Is Coming,” you might see some of this apparent cynicism. 

At one point, in an absorbing interview (read: frank discussion) with a psychologist, Jay asks what the components of an abusive relationship are. The therapist, a white woman, outlines the signs — trauma bonding, gaslighting, a lack of empathy — and Jay asks if Black people are in an abusive relationship with white people in America. “Yes,” the therapist says. “Well,” Jay responds, “do we need to leave?” 

The audience never finds out the psychologist’s answer.

If that situation didn’t read like out-and-out cynicism, that’s because it isn’t. Another part of what I believe Sam Jay’s comedy gumbo to be is empathy. Yes, she tells me, writers’ room arguments were what led to the show having its looser format where several people have often overlapping discussions over drinks while a camera follows along. “As we were building the show, I just kind of felt like it still wasn’t resonating. Like the vehicle you’re using just sort of didn’t feel correct. And when I was kicking it with one of the writers, we were drinking and just arguing, and I was like, ‘Oh, it should feel like this.’” The writer agreed, and he and Jay took the idea back to producer and co-creator Prentice Penny (Insecure, Happy Endings, Girlfriends). He and HBO agreed, giving Jay the leeway to make the show structured however she saw fit. 

As a result, we get a show with a surprising — and, depending on who you are, frustrating — amount of empathy. We get a show trying to see where people are coming from and what makes them tick, even if it seems like the most vocal folks on Twitter have seemingly closed the books on any given conversation.

This process of building a comedy show built around people’s personal struggles begins with Jay and the things she’s experienced. “It’s a very personal season. I talk about prison because my brother went to jail, and, like, what that did to the family. I talk about cheating because I just went through that with my girl, and we just got on the other side of that stuff.” As far as pressure to become a topical late-night talk show goes, Jay has this opinion: “There’s enough people taking the topics of the day and saying their opinions about them. I feel like that space is filled. Beyond filled. And so we’re trying to make a show that fit in another space that wasn’t being occupied.”

The other space the show fills is certainly something different. 

It comes from a place of pro-Blackness, but it asks “Woods Whites,” that is, white guys who might hang out in the woods on purpose for fun, what their deal is. It asks the same therapist from earlier why white women don’t seem to be on the lookout for white men and their potential struggles the way Black women, in Jay’s view, tend to look out for Black men. 

If the previous sentence just sent you into a fit of reflexive hand-wringing, well, that’s the show. I ask her if the idea of pushback for looking at every angle of an issue — what we might sometimes too simply call “both sides” — makes her want to steer clear of it. “I don’t know if you can avoid that,” she says, “but I don’t know that I can cater to that either.” She adds, “There’s also other shows that don’t do that.” She says with a laugh, “That’s what this show does. If you’re not into that, that’s cool.”

What seems to be Jay’s whole thing at the end of the day is mixing laughs with genuine emotion, trying to get an understanding even for people from the so-called other side. 

“I’m really curious. If we’re out here talking, I’m curious. It’s also I’m genuinely interested in what this person is going to say and why they are thinking or moving the way that they’re moving. It’s a genuine curiosity there.”

I ask where this need for empathy, and, therefore, understanding, comes from and how it affects her show.

“I had to live with a lot of different people after my mom died. I’ve seen people’s behavior switched, and I’ve seen just a lot of sh*t that kind of forced me to be empathetic and to realize that everybody’s carrying their own stuff with them. And a lot of times it’s that stuff that makes people act the way they act. Not this natural evil or good, but just life and its circumstances and where they bring you. And so I don’t think I would have survived a lot of this shit I survived mentally if I couldn’t make space for that thought process. Then I would have been holding on to so much bitter sh*t, and it would have destroyed me.”

As far as the show goes?

“[Empathy] just became a part of my personality. The show has that in it because it’s truly in me.”

So, Sam Jay’s comedy soup is one part Bostonian cynicism, one part empathy, and a large part of laughs. It’s certainly not for everyone, but, then again, what food is?

Seasons 1 and 2 of PAUSE with Sam Jay are available to stream on HBO Max.