deerstalker
https://thenerdsofcolor.org/2021/04/21/netflixs-shadow-and-bone-satisfies-in-every-way/
Television adaptations of fantasy books tend to have a bad reputation. Many fans of such novels are so protective of their favorite characters and storylines that there is added pressure for studios to get the story right. So when Leigh Bardugo’s bestselling novel Shadow and Bone was first announced to be made into a television series for Netflix, all eyes were on showrunner and executive producer Eric Heisserer to bring this world to life in a way that would do it justice. Heisserer took on the difficult task to not only adapt Shadow and Bone into eight episodes, but to also include the characters from Bardugo’s Six of Crows duology, which is set at a different point in time in the novels. With Bardugo consulting on the script and phenomenal casting, Shadow and Bone is absolutely remarkable.
House Minority Leader Kevin McCarthy is pushing for a House vote to formally censure Rep. Maxine Waters over comments she made this weekend while visiting Brooklyn Center, Minnesota to show support for protesters.
“We’ve got to stay in the street and demand justice,” Waters told reporters, per CNN. As the country waits for a verdict in Derek Chauvin’s trial, Waters said, “We’re looking for a guilty verdict” and that if that doesn’t happen, “then we know that we got to not only stay in the street, but we have got to fight for justice.”
When asked what protesters should do if the verdict does not come back guilty, Waters said, “We’ve got to stay on the street. And we’ve got to get more active, we’ve got to get more confrontational. We’ve got to make sure that they know that we mean business.”
McCarthy claims that Waters’ remarks “incited violence.”
He also criticized Waters for breaking the city’s curfew, but as Waters pointed out, a police-imposed curfew to silence people protesting police violence is an unjust rule and doesn’t deserve to be heeded.
“I don’t think anything about curfew. Curfew means I want you all to stop talking. I want you to stop meeting. I want you to stop gathering. I don’t agree with that,” she said.
Still, McCarthy and other House Republicans are pushing for a vote to censure Waters, likely to happen Wednesday. It’s absolutely ridiculous for so many reasons. These are the same people who did semantics backflips to convince themselves that when Donald Trump told his protesters to “fight,” he wasn’t calling for violence, even though they immediately went and violently breached the Capitol building.
But when Waters says protesters need to be “confrontational,” they assume she means violence. The double standard is hypocritical, it’s racist, and it’s in total bad faith.
.@AOC on Republican effort to censure Rep. Maxine Waters: “For a bunch of people who care so much about alleged cancel culture, they’re out here trying to censure everybody in the book for anything they don’t agree with.”
— Elizabeth Landers (@ElizLanders) April 20, 2021
Moreover, it’s just incredible that these Republicans feel the need to condemn Democrats, given the state of their party–the party that includes Matt Gaetz, Marjorie Taylor Greene, Lauren Boebert, and so many more toxic trash fires.
Wait, they’re going to censure Maxine Waters, but a guy who walked around showing pornographic photos on the floor of the House is just hunky-dory?
— Laura Lorson (@prairielaura) April 20, 2021
And that’s exactly what Waters’ colleague Rep. Hakeem Jeffries told McCarthy today.
Speaking to reporters, Jeffries said McCarthy “should focus on his own conference, because the Republicans in the House are a mess right now.”
“When you’ve got a situation where Lauren Boebert is a mess, Matt Gaetz is a mess, Marjorie Taylor Greene is a mess–Clean up your mess, Kevin,” Jeffries said.
“Sit this one out. You’ve got no credibility. Here, we support peaceful protests.”
Rep. Hakeem Jeffries (D-NY) slams Rep. Kevin McCarthy (R-CA) for wanting to censure Rep. Maxine Waters (D-CA):
“Lauren Boebert is a mess. Matt Gaetz is a mess. Marjorie Taylor Greene is a mess. Clean up your mess, Kevin.” pic.twitter.com/OpenTDA9xx
— The Recount (@therecount) April 20, 2021
For the record, in an interview with The Grio, Rep. Waters clarified what didn’t really need clarifying for anyone but those interpreting her words in bad faith: that she is “nonviolent.”
“I talk about confronting the justice system, confronting the policing that’s going on, I’m talking about speaking up. I’m talking about legislation. I’m talking about elected officials doing what needs to be done to control their budgets and to pass legislation,” she said.
She also said that she is “not intimidated” and she is “not going to be bullied” by Republicans because this is just what they do anyway, all the time, no matter what.
“Republicans will jump on any word, any line and try to make it fit their message and their cause for denouncing us and denying us, basically calling us violent … any time they see an opportunity to seize on a word, so they do it and they send a message to all of the white supremacists, the KKK, the Oath Keepers, the [Proud] Boys and all of that, how this is a time for [Republicans] to raise money on [Democrats] backs,” Waters said.
(image: Alex Wong/Getty Images)
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The post “Clean Up Your Mess, Kevin”: Rep. Hakeem Jeffries Tells Republicans to Worry About Themselves first appeared on The Mary Sue.The new AMC series from the UK Gangs of London is so good, I accidentally sliced my index finger with my paring knife when cooking while watching one of the fights during the show. The script is a roller-coaster ride, and the fight choreography blew my mind. This contributor to BGN bandaged up her finger and hopped on Zoom to speak with Ṣọpẹ́ Dìrísù, who brilliantly plays Eliott Finch, the male lead in this spectacular crime/action drama.
It’s fantastic encountering more than one Black character centered in a multi-racial cast. There’s like five Black series regulars in Gangs of London! What attracted you to playing this role? What was learning the fight choreography like? I want to know everything!
I’m gonna answer all your questions, but I would just like to say, on that thing you said about there not just being one Black person… that was a major draw for me. Gangs of London is a series, more than many others, that shows London in all of its diversity and all of its nuance. Not only are there more than one Black person, you get classes of Black persons. We see the middle class, the upper middle class, the wealthy ones, the ones who aren’t as well off. We show Blackness as a spectrum rather than just like, oh, if you are Black, then you are x. Which I think was so important. Someone said recently that more people are consuming television content every day, so that means there’s more nuance and more of a spectrum that we have to represent in our storytelling. Gangs of London is doing that.
When it came to reading the script, there were other factors that made me excited about it. I just loved the “opera” of it. It was so intimate, but also the scale of it was so massive. And the ensemble was strong; all of the characters have depth and journeys. Elliott, his journey in particular, was really incredible. This was one of the first scripts that I was offered that had range and depth and was going somewhere. It wasn’t going to be the “Black guy who died right at the beginning of the show.” So that was one of those things that really attracted me to it. Then when I found out it was a Gareth Evans project, and he’s obviously famous for The Raid and stuff, that 13-year-old inside me was just like, “I get to fight?!?!”
So tell me about the fight choreography. How much training did you have to do to prepare for this role, and what was the rehearsal process like?
I joined the production, a month before everybody else, so that I could have time to learn the choreography and condition my body to have the stamina to get through those shoot days. I relish the physical preparation that I needed to go through in order to achieve that because I was desperate not to be the weak link in what was an incredibly well-oiled and incredibly productive machine. Gareth and his action department and all of the stunt guys had been working for months beforehand designing these action sequences before they’d even cast me! The fight choreography looked great, and I didn’t want them not to look great, so I really, really gave my body and everything to that bit of the project.
You didn’t have to do much training for the role?
Not in terms of lifting or cardio or stuff like that. I think a lot of that came with the learning of the choreography. We would do it, do it again, drill it at speed, slow it real down, and all of that means your body’s moving a certain way. When you do it quick, your heart’s going. So I think if my body changed at all, then it was from that exercise rather than going to the gym and lifting weights. We had this discussion about how Elliot is a human being. He’s not a superhero, he’s not straight out of DC or Marvel Comics; he’s just a guy who has had this training because his father was a boxer, and he was in the army for a while so he can handle himself, but it’s not he’s bulging muscles. Also he’s not a martial artist. I think a lot of Gareth’s previous work is rooted in some styles of martial arts, and that lends itself to certain camera work, whereas Elliott didn’t have the instruction for that. So if he started doing anything that looked a bit too flowery, then we’d have to pull that back. It was great to have that sort of negotiation with Gareth about where the character comes from, what he was trying to achieve, and marry in the middle.
I loved the love story between Eliott and Shannon (Pipa Bennet-Warner). It was beautiful witnessing a dark-skinned Black couple falling in love. Tell me more about their relationship.
I think that portraying dark skinned love was really important to us as well. We know that there’s a dearth of these relationships [on screen]. Half the world is built up by them, you know? So why don’t we get to see them? And I don’t want to enter a colorism debate, because I’m not equipped to do that, but I hope that we’re starting to dismantle that bit by bit with our choices of casting, being “color conscious” rather than “colorblind.” In terms of that relationship: Have you ever come out of relationships and had all of this love that you were giving to someone that you can’t give them to anymore and it needs to be placed somewhere?
Yes. Totally.
I think there’s an element of that. There’s a love and a grief because Elliot’s lost love. And that is his balance. Because without someone to love, he is just the shell, this aggressive ball of violence. When he places that love and care on Shannon and her son Danny [Tae Matthew], that becomes so important in terms of him keeping himself. There is initially a transference of that love, but then it grows into its own thing. He can’t lose anybody again; it would be bad for him.
What brought you the most joy doing while being involved in this project?
The community that we formed. When you work in this industry, you do have to make families and break families so quickly on every job you do. But there’s something really lovely about doing a series because firstly that family lasts for longer. And then, there’s the chance that you’re going to get to see them again and again and again and really build strong relationships. I think this will be the first time I’m doing the second series of a series. I’m really looking forward to seeing what comes from the seeds that we plant in the first series [season] to wherever the series goes.
Put the knives away and check out Gangs of London Sundays at 10pm EST on AMC. Stream all 10 episodes of Season 1 on AMC+. Created by Gareth Evans, Matt Flannery.
Writer: Chip Zdarsky / Artist: Pascal Ferry / Marvel Comics
One thing I miss as an elder millennial comic reader is the “What If?” era. Sure, we have the occasional Big Two multiversal hijinks becoming more common all the time, but that’s nothing compared to a good old fashioned look at what could have happened at key points in Marvel history. Spider-Man: Spider’s Shadow is a pretty entertaining throwback to the good old What If days.
This book delves into Peter Parker’s time wearing the Black symbiote costume after the Secret Wars (the first one) and ponders what would happen if he’d kept wearing it and leaned into some of his nastiest instincts. We meet a younger Peter at a time when his life is moreso in shambles than usual. His aunt isn’t speaking to him, his girlfriend can’t cope with his double life and he’s having feverish nightmares more frequently all the time. Our hero is unraveling mentally, and the only respite he seems to get is when he puts his newly acquired duds on and goes out superheroing. And even then, the stress seems to be making him a bit edgy.
Peter struggles with dark thoughts: his own and the symbiote’s…
Now, since this is a 40 year old story, we all know this inevitably leads to Peter rejecting the costume’s dark desires so it can become one of his greatest enemies. However, it’s still fun watching him gradually succumb to the whims of the suit. Zdarsky plays it a little like a psychological thriller. Peter genuinely believes for a while that the voice that speaks for the dark parts of his mind is getting louder when we know it’s the suit pushing him. The approach is effective in creating a creepier, more unsettling narrative when we feel like we should know where this is headed. The story reads less like a hero-turned-villain story and more like a monster movie in the vein of the 80s remake of The Fly or Earth vs. The Spider. And Pasqual Ferry does a lot of gorgeous work in this book, but the first glimpse at the symbiote’s more monstrous form will absolutely haunt me for the rest of my days.
Bottom Line: Chip Zdarsky took what could have been a paint-by-numbers What If and created an eerie beginning to a story that plays out more like a pulp horror movie of the week than a Spider-Man story.
9 Shirtless Jeff Goldblums out of 10.
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