deerstalker
https://blackgirlnerds.com/review-donald-glover-and-maya-erskine-are-exceptional-in-mr-mrs-smith/
When it was first announced in 2021 that multi-hyphenate artist Donald Glover (Atlanta) was coming out with a new version of Mr. & Mrs. Smith, the eye-roll reception was to be expected. People love to hate remakes, believing that revisiting previous stories and concepts and approaching them from a different perspective lacks originality. Well, this is Donald Glover, and no one should expect him to simply remake the 2005 Brangelina action rom-com. He told EW, “I hope some people are like, ‘This is better than the original,’ and some people are like, ‘This is far worse.’”
Co-created by Francesca Sloane (Fargo, Atlanta), Prime Video’s eight-episode series reimagines a decidedly more grounded, relatable Jane (Maya Erskine) and John Smith (Glover). The action-packed opening scene may be more along the lines of a spy thriller. But there’s a distinct shift in tone to a sleeker, more corporate setting where we meet the titular spies. Their interviews look like they’re taking place in an episode of Black Mirror, which creates an immediate sense of unease and excitement. The two are strangers to each other, paired by an unknown agency that gives them new identities and a set of wedding rings.
The newlyweds/partners have their unconventional, extremely awkward meet cute in their new home, a beautiful Manhattan brownstone decked out with high-end everything and the best mood lighting. They also now live right next to Paul Dano’s charming character, accurately credited as “Hot Neighbor.” I was immediately invested in this marriage and eager to see how two expert liars open up to a new spouse, or if it is even possible for them to do so. Their relationship is tested as they discover each other’s appealing traits and annoying habits (gross mouth sounds, adorable laughs, etc.).
Both Erskine and Glover have perfected being endearingly weird and awkward characters. With similar senses of humor and fearless vulnerability when it comes to acting, their incredible chemistry and comedic timing are what makes the series compelling from beginning to end. This series allows them to play into their natural comedic talents while providing genuinely dramatic moments and surprisingly intense action scenes. Whether they’re on the streets of New York arguing over how to intercept packages or laying in bed exchanging hilarious observations, Jane and John enjoy a lot of awkward intimacy, which either has you feeling anxious or joining in on their infectious laughter, usually both.
The two share the screen with an impressive roster of guest stars including John Turturro, Parker Posey, Wagner Moura, Michaela Coel, Ron Perlman, Sharon Horgan, Billy Campbell, Alexander Skarsgård, and Eiza González. Whether they’re in multiple episodes or only one scene, the actors all deliver mesmerizing performances as characters varying in eccentricity and threat level.
And as seen in the trailer, the Smiths go see a couples’ therapist played by the wonderfully talented Sarah Paulson. At the center of the series is the growing relationship between Jane and John as colleagues and as a real couple. These scenes remind me of You, Season 3, when Joe and Love go to therapy and have to talk about her “breaking a vase” that was actually her killing someone again.
Speaking of body disposal, a similar incident occurs early on in this series and it’s one of the best scenes. Getting rid of a dead body is usually horrific and messy or presented with slapstick silliness, but Mr. & Mrs. Smith has it both ways, which feels more realistic. Authenticity is consistent throughout the series, especially when it comes to relationships. They experience the good and the bad and go through the usual things that couples have to deal with. They just happen to be figuring it out while they’re surrounded by constant danger.
Glover and Erskine each wrote and starred in semi-autobiographical TV shows, Atlanta and PEN15, respectively, both of which can be just as relatable as they are surreal. And the two get to tap into some of that surrealist comedy here. Real life is often bizarre in general. But their job requires pretending to be other people and surviving life-or-death situations. They’re thrown into intense shootouts and have masked assassins on motorcycles chasing them in beautiful locales around the world. But this isn’t James Bond or even Austin Powers for that matter. John and Jane aren’t the suave spy and femme fatale. The specificity in their personalities — John’s laid back optimism and Jane’s coldness and need for control — feels familiar and relatable.
Fans of Atlanta will recognize the similarities in cinematography — off-center shots, close-ups, voyeuristic ’70s-era horror angles — because Glover shares directing credits with directors and DPs who also worked on his series — Hiro Murai, Christian Sprenger, Amy Seimetz, Stephen Murphy, Cody Jacobs, along with Karena Evans (Dead Ringers). More behind-the-scenes talent includes writers Stephen Glover (Swarm, Atlanta), Adamma and Adanne Ebo (Honk for Jesus, Save Your Soul), Carla Ching (Home Before Dark), Yvonne Hana Yi (Raising Dion), and Schuyler Pappas.
For all the skeptics: this isn’t a remake, reboot, or requel; it’s a new story inspired by Donald Glover’s own viewing experience of the 2005 film. There are more differences than similarities, and honestly, if the character names and the series title weren’t Mr. & Mrs. Smith, it probably wouldn’t have been compared to the film at all. It wasn’t created as a race-swapped version, either. (Fleabag’s Phoebe Waller-Bridge was originally slated to be Jane before exiting because of creative differences).
Mr. & Mrs. Smith is a fun comedy with high-stakes action and realistically imperfect romance. The series subverts the crime thriller and rom-com genres, taking a look at the reality behind the spectacle of espionage, the mundane moments post-mission when all they want to do is take off their shoes, wash off the blood, and watch cartoons. Jane and John don’t calmly walk away from explosions; they faceplant and disorientedly flee the scene.
Between the exceptional writing and direction, composer David Fleming’s (The Last of Us) mix of modern beats and retro doo-wop music, costume designer Madeline Weeks’ (Armageddon Time) stylish fits, and the absolutely stacked cast, Mr. & Mrs. Smith is an undeniable hit that more than deserves another season or five.
Some may feel like the series isn’t something they need but they’ll sure want it.
All eight episodes of Mr. & Mrs. Smith debut February 2, 2024, on Prime Video.
When it was first announced in 2021 that multi-hyphenate artist Donald Glover (Atlanta) was coming out with a new version of Mr. & Mrs. Smith, the eye-roll reception was to be expected. People love to hate remakes, believing that revisiting previous stories and concepts and approaching them from a different perspective lacks originality. Well, this is Donald Glover, and no one should expect him to simply remake the 2005 Brangelina action rom-com. He told EW, “I hope some people are like, ‘This is better than the original,’ and some people are like, ‘This is far worse.’”
Co-created by Francesca Sloane (Fargo, Atlanta), Prime Video’s eight-episode series reimagines a decidedly more grounded, relatable Jane (Maya Erskine) and John Smith (Glover). The action-packed opening scene may be more along the lines of a spy thriller. But there’s a distinct shift in tone to a sleeker, more corporate setting where we meet the titular spies. Their interviews look like they’re taking place in an episode of Black Mirror, which creates an immediate sense of unease and excitement. The two are strangers to each other, paired by an unknown agency that gives them new identities and a set of wedding rings.
The newlyweds/partners have their unconventional, extremely awkward meet cute in their new home, a beautiful Manhattan brownstone decked out with high-end everything and the best mood lighting. They also now live right next to Paul Dano’s charming character, accurately credited as “Hot Neighbor.” I was immediately invested in this marriage and eager to see how two expert liars open up to a new spouse, or if it is even possible for them to do so. Their relationship is tested as they discover each other’s appealing traits and annoying habits (gross mouth sounds, adorable laughs, etc.).
Both Erskine and Glover have perfected being endearingly weird and awkward characters. With similar senses of humor and fearless vulnerability when it comes to acting, their incredible chemistry and comedic timing are what makes the series compelling from beginning to end. This series allows them to play into their natural comedic talents while providing genuinely dramatic moments and surprisingly intense action scenes. Whether they’re on the streets of New York arguing over how to intercept packages or laying in bed exchanging hilarious observations, Jane and John enjoy a lot of awkward intimacy, which either has you feeling anxious or joining in on their infectious laughter, usually both.
The two share the screen with an impressive roster of guest stars including John Turturro, Parker Posey, Wagner Moura, Michaela Coel, Ron Perlman, Sharon Horgan, Billy Campbell, Alexander Skarsgård, and Eiza González. Whether they’re in multiple episodes or only one scene, the actors all deliver mesmerizing performances as characters varying in eccentricity and threat level.
And as seen in the trailer, the Smiths go see a couples’ therapist played by the wonderfully talented Sarah Paulson. At the center of the series is the growing relationship between Jane and John as colleagues and as a real couple. These scenes remind me of You, Season 3, when Joe and Love go to therapy and have to talk about her “breaking a vase” that was actually her killing someone again.
Speaking of body disposal, a similar incident occurs early on in this series and it’s one of the best scenes. Getting rid of a dead body is usually horrific and messy or presented with slapstick silliness, but Mr. & Mrs. Smith has it both ways, which feels more realistic. Authenticity is consistent throughout the series, especially when it comes to relationships. They experience the good and the bad and go through the usual things that couples have to deal with. They just happen to be figuring it out while they’re surrounded by constant danger.
Glover and Erskine each wrote and starred in semi-autobiographical TV shows, Atlanta and PEN15, respectively, both of which can be just as relatable as they are surreal. And the two get to tap into some of that surrealist comedy here. Real life is often bizarre in general. But their job requires pretending to be other people and surviving life-or-death situations. They’re thrown into intense shootouts and have masked assassins on motorcycles chasing them in beautiful locales around the world. But this isn’t James Bond or even Austin Powers for that matter. John and Jane aren’t the suave spy and femme fatale. The specificity in their personalities — John’s laid back optimism and Jane’s coldness and need for control — feels familiar and relatable.
Fans of Atlanta will recognize the similarities in cinematography — off-center shots, close-ups, voyeuristic ’70s-era horror angles — because Glover shares directing credits with directors and DPs who also worked on his series — Hiro Murai, Christian Sprenger, Amy Seimetz, Stephen Murphy, Cody Jacobs, along with Karena Evans (Dead Ringers). More behind-the-scenes talent includes writers Stephen Glover (Swarm, Atlanta), Adamma and Adanne Ebo (Honk for Jesus, Save Your Soul), Carla Ching (Home Before Dark), Yvonne Hana Yi (Raising Dion), and Schuyler Pappas.
For all the skeptics: this isn’t a remake, reboot, or requel; it’s a new story inspired by Donald Glover’s own viewing experience of the 2005 film. There are more differences than similarities, and honestly, if the character names and the series title weren’t Mr. & Mrs. Smith, it probably wouldn’t have been compared to the film at all. It wasn’t created as a race-swapped version, either. (Fleabag’s Phoebe Waller-Bridge was originally slated to be Jane before exiting because of creative differences).
Mr. & Mrs. Smith is a fun comedy with high-stakes action and realistically imperfect romance. The series subverts the crime thriller and rom-com genres, taking a look at the reality behind the spectacle of espionage, the mundane moments post-mission when all they want to do is take off their shoes, wash off the blood, and watch cartoons. Jane and John don’t calmly walk away from explosions; they faceplant and disorientedly flee the scene.
Between the exceptional writing and direction, composer David Fleming’s (The Last of Us) mix of modern beats and retro doo-wop music, costume designer Madeline Weeks’ (Armageddon Time) stylish fits, and the absolutely stacked cast, Mr. & Mrs. Smith is an undeniable hit that more than deserves another season or five.
Some may feel like the series isn’t something they need but they’ll sure want it.
All eight episodes of Mr. & Mrs. Smith debut February 2, 2024, on Prime Video.
Of all the streaming shenanigans that have come to pass in recent history, password-sharing crackdowns seem like the most unfair (and, sadly, one of the most effective) tactics of them all. Yes, someone has to pay in order for streaming services to survive. But it does feel especially discordant to limit the use of a digital product in such a way. After all, no one would prevent you from mailing a friend a DVD you purchased. But password-sharing crackdowns seem to be the new horizon for streamers. Netflix first began the sharing limitations, and since then, Disney+ added language to set up a similar restriction. Now, Disney-owned Hulu has also taken the first measures for a password-sharing crackdown of its own, following in the footsteps of the other streamers.
The Hollywood Reporter revealed that Hulu sent an email to its subscribers warning them of the password-sharing crackdown to come. The email noted, “Unless otherwise permitted by your Service Tier, you may not share your subscription outside of your household… ‘Household’ means the collection of devices associated with your primary personal residence that are used by the individuals who reside therein.”
Additionally, Hulu cautioned, “We may, in our sole discretion, analyze the use of your account to determine compliance with this Agreement. If we determine, in our sole discretion, that you have violated this Agreement, we may limit or terminate access to the Service and/or take any other steps as permitted by this Agreement.”
Sigh! This Hulu password-sharing crackdown language feels very similar to what Disney+ shared with its subscribers in September of 2023. It doesn’t seem like Disney+ has offered any further action or explication of the message after the terms of agreement change, though. But Disney sending this notice to Hulu’s users seems to hint at an escalation across platforms. The Hulu password-sharing crackdown will go into effect on March 14.
According to The Hollywood Reporter, Disney CEO Bob Iger shared last summer, “We’re actively exploring ways to address account sharing and the best options for paying subscribers to share their accounts with friends and family… we will roll out tactics to drive monetization sometime in 2024.” We guess we will see how harshly Hulu and Disney+ legislate password sharing in the coming months.
The post Hulu to Begin Password Sharing Crackdown, Mirrors Disney+ Tactics appeared first on Nerdist.
When Hidden Figures came out in 2016, it was a global success. The film grossed over $236 million worldwide and was nominated for Best Adapted Screenplay, Best Motion Picture of the Year, and Best Performance by an Actress in a Supporting Role.
More than just a box office success, the movie played a crucial role in honoring women Black women scientists. Retelling the stories of Mary Jackson, Dorothy Vaughan, and Katherine Johnson helped inspire thousands of Black girls and women.
Eight years later, it’s vital to continue acknowledging Black female scientists.
Here is a look at the women Hidden Figures was based on and the women continuing their legacy.
Remembering the Black Women Pioneers of NASA
Let’s begin by acknowledging the women who inspired the book and the movie Hidden Figures.
Mary Jackson was a mathematician, an aerospace engineer, and the first Black woman to work for the National Aeronautics and Space Administration (NASA). Played by Janelle Monáe in the movie, Jackson was one of the few Black female engineers of her time. Known as the human “computer,” Jackson eventually rose from working in a segregated department to working for the famous aeronautics engineer Kazimierz Czarnecki.
Another crucial character was Dorothy Vaughan, played by Octavia Spencer. She was NASA’s first African American manager as well as a mathematician. She was the head of the National Advisory Committee for Aeronautics (NACA) and the segregated West Area Computing Unit from 1949 until 1958.
Last is Katherine Johnson, played by Taraji P. Henson in the movie. Johnson was a mathematician who worked with NASA for over three decades. It was her calculations that helped analyze the flight paths of numerous spacecrafts. She helped astronauts travel to the moon.
Because of these three ladies, the progress of Black female scientists, mathematicians, and engineers has advanced. Because of the women of the past, we can continue to celebrate Black success with even more women at NASA.
Current Groundbreaking Women of NASA
Although NASA was once a segregated institute, much has changed since those times. Now, NASA is dedicated to diversity, equity, and inclusion within their ranks. Here are some women who are no longer hidden figures but recognized and honored women of NASA.
Wendy Okolo
Born in Nigeria, Dr. Wendy A. Okolo became an aerospace engineer and received her doctorate from the University of Texas. She was the first Black woman at the university to earn that degree.
Okolo is an award-winning engineer who has been honored and recognized for her research on technology development. Some of her awards include being the first female recipient of the NASA Ames Early Career Researcher Award, the NASA Ames Award for Researcher/Scientist, and a NASA Exceptional Technology Achievement Medal.
Outside of NASA, she has also been honored with the Black Engineer of the Year Award for Most Promising Engineer in the U.S. Government.
Beyond research, Okolo works to ensure NASA’s commitment to women’s recruitment, retention, and promotion by working as a Special Emphasis Programs Manager for Women.
Concha Reid
Concha Reid had a strong interest in math and science at a young age. She grew up on the Virgin Islands, where she experienced many power outages. Reid knew she could help solve her hometown’s electrical problems if she studied math and science. Although her school didn’t have advanced programs, her teachers and father mentored and supported her interests.
When she came to the United States to study engineering, she created a new life that consisted of building a strong family and a solid career.
Reid earned her bachelor’s and master’s degrees in electrical engineering, emphasizing power systems. She also met her husband during graduate school and took time off to have and raise three children.
However, her time away didn’t slow her down. When she returned to work, she began working at the Power Division at NASA’s Glenn Research Center. There, she worked with fuel cells and batteries. Yet, her career growth didn’t stop there.
Her superiors encouraged her to join the leadership development program at NASA, where she worked with the European Service Module Integration Office. In this new position, she was responsible for exchanging and delivering spaceflight hardware between the European Space Agency (ESA), Lockheed Martin, and NASA.
This was certainly a role that put a lot of responsibility and pressure on Reid’s shoulders, but she got the job done and made crucial contributions to the Artemis project, which will send the first woman and first person of color to the moon.
Lyndsey McMillon-Brown
Lyndsey McMillon-Brown works at NASA’s Glenn Research Center in Cleveland, Ohio, focusing on solar cells. These cells convert energy from light into electricity.
Her work as a research electrical engineer focuses on making solar cells more affordable and efficient for use on Earth and in space. Solar cells would lessen the need to use fossil fuels for energy.
Constantly inspired by nature and books, McMillon-Brown and her team are developing a new type of solar cell using a lightweight and cost-effective material called Perovskite. Her research could revolutionize how we use energy on Earth and in space.
Every day, these women are not only helping math and science progress, but they are helping to reshape the image of Black women and how powerful and influential they can become.
In 2019, the gawd of storytelling, N.K. Jemisin and the messiah of the brush strokes, Jamal Campbell created the best dressed Green Lantern to ever step foot in the DC Universe. Far Sector’s Sojourner “Jo” Mullein’s is back. Sojourner’s first mission was to bring peace to the Enduring City (a city without emotion). In DC Power 2024, N.K. Jemisin and Jamal Campbell reunite to give Jo a send off back to OA after a job well done. Her escort is none other than Green Lantern 2814.3 John Stewart. We got to do a quick interview with N.K. Jemisin author of the story ‘Enduring Farewells’ which marks the monumental moment of John Stewart and Jo Mullein meeting for the very first time.
Omar Holmon: It was 5 years ago you got to introduce Sojourner Mullein in Far Sector and she is a hit now. How does that feel for you for folks to enjoy her, keeping her around as a main stay when that doesn’t always happen introducing a new character?
N.K. Jemisin: Well, that was my intention. When I created Far Sector, I had the opportunity to release it as a Black label book. Which is more of like a physical book as opposed to like a compilation or a comic book that would be sold straight in bookstores from what I understand. And I deliberately chose not to do that although as a book author that probably would have worked better for me financially. More of my readers would have bought it because it would have been in the bookstores as opposed to the comic book shops where, for the first 12 issues until the compilation came out later, there was no way my readers would have found those books. I decided against it because, you know, I’m not a current comic book fan, but I have been one and I know enough about the fandom to get that if it got released in this different medium the fans would not have accepted her and it seemed important for me for the books to get released in floppy so Jo could feel like a real Green Lantern.
That DC Comics then was able to move on and put her into Geoffrey Throne’s run on Green Lantern. That actually I was happy to see. Regardless of what actually happened with her. I never wanted to write in the main DC continuity. It’s too much for me. I can’t keep up with the who’s dead and who’s not and all that other shit (pardon my language), but I can’t keep up with it. So, Geoff wanted to do it? Great, enjoy! Have fun Geoffrey. Enjoy my character. I made her to go forth and be part of the continuity in other ways. So, I’m glad to see that that has happened.
Omar: This story Enduring Farewells in DC Power 2024 is like a proper send off from the City Enduring. What’s that like for Jo and for you?
N.K. Jemisin: Originally, I had hoped Far Sector would become an ongoing comic. When we first did it as a 12-issue run, it was a trial. Did it sell well enough to establish itself as its own comic, and sadly, that did not happen. Sadly, that didn’t happen with any of the Young Animal books, even the ones that were popular like Umbrella Academy, for various reasons. That said, once I realized it wasn’t going to be a thing that continued, I discarded a lot of those plot ideas that I was planning to write into the story right after that. But that said, it was nice to at least come back and say farewell to the plot arc that I did manage to do. As far as I’m concerned, it’s about the characters. I wanted the readers that had grown to love those characters and that world to have their own chance to say farewell to it. It was fun to do.
It was also my chance to say farewell to working with Jamal (Campbell). He’s so busy and he should be so busy cause he’s amazing. It’s just so wonderful working with him. I say vague things, and he turns it into this incredibly precise artwork. I don’t know how he does it, but it’s nice to see the magic happening.
Omar: Speaking of magic happening, it was a great showcase seeing John Stewart and Jo together. Seeing Jo showing John around the City Enduring like, “Hey look at this. I helped with this.” And we talk about these scenes Jamal Campbell drew. There was a great scene between them, a Black moment where they side eye each other.
N.K. Jemisin: I don’t know a lot about John Stewart. When I first came onto Green Lantern, I wasn’t all that clear on who was considered the main Green Lantern. I had come up watching Justice League, where it’s all John Stewart. I thought John Stewart was Green Lantern, and I kept wondering, who is this white dude? Turns out it was Hal Jordan, and he’s kinda important. So, I’m not super familiar with Green Lantern, and I never was. What I am familiar with was John Stewart. I wanted it to be clear Jo was a giant raging fangirl of his but had to keep cool while working with him in that moment. I think the bobble head scene gets that across.
Omar: John telling her that she’ll have her own one day is an incredible detail. When I interviewed you when Far Sector first came out, I made a joke that you had the best dressed Green Lantern in the game. Five years later and fandom points it out all the time. Jo is the best dressed Green Lantern to ever do it and we see it again in DC Power 2024.
N.K. Jemisin: Well, that’s Jamal. That’s Jamal. I did not dictate the outfits. What I did do was tell him some aesthetic things I was thinking of. Afro goth. Afro punk. I told him one thing; Jo is the kinda person who always has her eyebrows done. Her eyebrows are always going to be completely on point. That was all I needed to say, and then he was off to the fashion races. I didn’t have to suggest outfits. Literally, he came up with all that. So, I think it was just in his mind, “Oh? Oh, now I can play.” And he did, and it was beautiful. So all that was Jamal.
Omar: One of my favorite things about your writing is your switch between details. It’s eloquent in describing situations and cultures. The humor of it comes when you’re blunt about something. In particular, when you’re talking about Marth you say here’s the side piece and Syzn is the current girlfriend. They give each other the alien version of the Black side eye. Can you speak to their tension in the room (between them) and how it pans out in the end?
N.K. Jemisin: I meant for it to be tension that pans out. It’s meant to be a hint towards a plot line that I never got the chance to explore which was that Marth and Syzn would eventually would have decided that, “Okay we both love her, so we’re just going to share her. We’re going to do like a time share.” *laughs* (Omar: I see why they call you the goat. I see it) And of course Jo would have had some objections, logically, because that’s not how Earth folks do stuff. They were reasonable people from an emotional society that prided itself on rationality so to them it would seem like, “Well we both love her. We’re mostly going to try to do good things to her. So how can we make this work?” That is where I would have eventually ended up. I wanted to show some preemptive tension and a little bit of jealousy, but also that they were able to resolve it and work around it because they both cared about her, and they both wanted to say farewell. So that was literally just a hint at a plot line that I didn’t get to explore. That’s it.
Omar: Speaking of that, Jo’s friends throw her a surprise party and the way you break it down how this normal thing for humans is so foreign for aliens to understand. They’re trying to figure out why humans want to be momentarily terrorized. It’s such a great playful thing in taking this small human gesture and making it this complicated thing for these aliens to understand as something so absurd.
N.K. Jemisin: Yeah, I think Jamal had fun with it to. I told him at one point you can get silly with this point in the plot. You can turn them into lil’ deformed characters, you can make them bobbleheads if you want, and he did. *laughs* He had fun with it! It’s such a joy working with him.
Omar: What was it like to come back all these years later and work with Jamal Campbell? Because to me, there’s certain teams, like Brian Michael Bendis and Alex Maleev. Kelly Thompson, Leo Romero, and Jordie Bellaire. These names that are synonymous with each other. I forget the bar but it’s like, “Top 5 alive and I only got two out.” There’s Far Sector and this DC Power 2024 short story but it’s giving Andre 3 Stacks type status with the work.
N.K. Jemisin: I’ll take it. l mean he’s a delight to work with. He’s at the top of his game. We barely communicate, which is really kinda the weird thing about it. Jamal is kind of a soft-spoken quiet person himself. I am better at communicating in writing then I am verbally. So we email each other periodically. I write the instructions or details that I want to be visible in the script. He will sometimes ask me questions about it but mostly he doesn’t need too. He just pictures it out of my brain, then puts It on the paper, and asks, “What do you think?” and I’m like…. How did you do that? It is a delight to work with another artists who is literally a genius at the top of his game, does not need any type of hand holding, and he gets it right: the little subtilties I put into the scripts, the little character ticks. He gets them all.
He’s the one who suggests ways to make them visual. All I did was say, “her eyebrows are gonna be on point” and suddenly Jo became a fashion plate. I did not envision that. It was so perfect. Like you said, everybody’s like she’s the best dressed. That was his invention, and it was 100% perfect for her. So, all the stuff where readers were like oh my god she looks amazing. I was saying the same thing.
Omar: In doing the DC Power 2024 anthology, how has it been for you stepping into comic books. Is it something you would like to come back to periodically like I come back every so often or I give you one album every five years because people really enjoy your work.
N.K. Jemisin: That’s delightful to hear. I would like to come back at some point. What it boils down to is that my bread and butter comes from other media. Comic world doesn’t pay that well. I make much more money for writing my books, writing my stories, writing film scripts. That’s been my kick lately. I would like to come back to comics, but then it’s gonna have to wait ’til I get some mortgage payments. *laughs* Gotta pay those bills first, then I can play.
Omar: Capitalism will be the end of us all.
N.K. Jemisin: Yeaaaaaah man. Woo–hmmm-*laughing* Okay. That’s a different conversation for a different time *laughing*
Omar: With that, since you would like to come back. You got to create a character that people love, and there are characters that have been around for a long time that may be seen as C-string or D-string. Who would you like to take a hold of and maybe push into the spotlight?
N.K. Jemisin: Hmmm… I’m not enough of a comics fan to know who should be pushed forward. Whose story is complex enough to support that or whose back story needs to be fleshed out. I don’t know enough about comics to know that. I would like to write more Jo. If I did—I still don’t wanna deal with the DC continuity. Just trying to keep track with what’s going on with the Lanterns. Figuring out all the different Lanterns, what’s going on with The Guardians. Are they blue, are they green today? It was a lot goin’ on, you know? There’s so much backstory that I cannot incorporate. Much of it contradictory, much of it— my head still works like a novelist’s.
In my head when a character is dead a character is dead, but that’s not how comics work. So, I can’t deal with the comics contradictions. But, if I ever had the chance to come back, I’d probably wanna do Far Sector itself again or something similar. Create a completely different world or send Jo on her next assignment which is something else on the border of the sectors. I don’t mind creating new worlds. World building is easy for me. It’s fun. Working with the DC world is just too much. *laughing* I get that people would like me to write something that’s in the continuity, It’s. Too. Much. Sorry, that’s not goin happen.
Omar: I guess that’s all my questio— oh, *laughs* My only other question is are you still a Guy Gardner fan?
N.K. Jemisin: I am! I haven’t read him in the last few years. Now if he suddenly turns around and turns into a right wing Trumper or something—
Omar: Oh, no. No. No. He’s from Boston, but he’s not that bad.
N.K. Jemisin: OOOOH yea. Well, okay then. Yeah. As long as he stays not Bostonian. I’m sorry I lived in Boston for eight years I can talk shit about it. But I do still like Guy Gardner.
You can catch Green Lanterns Jo Mullein and John Stewart meeting for the first time in DC Powers 2024, which releases January 31st, 2024.
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The post N.K. Jemisin Gives Green Lantern Jo Mullein A Homecoming Celebration in DC Power 2024 appeared first on Black Nerd Problems.