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https://nerdist.com/article/empire-strikes-back-deleted-scene-torture-bounty-hunters/

George Lucas’ original Star Wars trilogy sparked the imagination of a whole generation, inspiring countless merchandise, much of it aimed at very young kids. Because of this, Lucasfilm substantially trimmed down one of the most disturbing moments from The Empire Strikes Back. Originally, George Lucas and director Irvin Kershner were going to show Han Solo’s torture at the hands of Darth Vader on Cloud City in greater detail, but cut away from most of it. But the YouTube channel Star Wars Analyst details how that scene was once much more graphic, but ultimately cut way down, so as to not traumatize ’80s children.

In the DVD commentary for Empire, Kershner describes how originally, the scene with Vader torturing Han was longer. Vader did all this so Luke would sense Han’s pain via the Force, and fall into Daddy’s trap. We see a brief glimpse of this mechanical torture before the camera cuts away. Harrison Ford’s muted screams behind closed doors are all that remains. But according to Kershner, he even cut that down. All because he and Lucas thought it was too disturbing for “the kiddies” who bought all those Kenner toys. And to be fair, Lucas was right. Like Leia’s torture by Vader in A New Hope, we didn’t need to see it to know it happened.

I do take issue with the narrator of this video saying that ’80s kids were “too soft” for this scene, when he grew up with Anakin’s immolation in Revenge of the Sith. I have to defend my generation’s honor a bit here. We Gen-Xers grew up with a shark eating a kid in Jaws, a guy ripping his face off in Poltergeist, and melting Nazis in Raiders of the Lost Ark. And let’s not even get into Artax the horse’s death in The Neverending Story.

We could handle a lot, thank you very much. But Lucas made the original trilogy prior to the invention of PG-13. He didn’t want to push the envelope and risk an R-rating. He didn’t have the luxury of PG-13 existing, as he did with Revenge of the Sith. But aside from that dig, this video properly highlights how The Empire Strikes Back was very nearly that much darker.

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The post Han’s Torture in THE EMPIRE STRIKES BACK Was Almost Way More Grisly appeared first on Nerdist.

https://blackgirlnerds.com/representation-in-comics-the-impact-of-black-female-creatives/

Written by: Megan Maher

Christie Sylvester from Refract Magazine wrote, “My dream is, that one day, a little Black girl will be able to walk into a comics shop and see heroes that look like her, as far as the eye can see.”

Jackie Ormes, Eartha Kitt, Hannah Beachler, Mara Brock Akil, and Javicia Leslie are some trailblazing women who are helping make that dream come true. 

Jackie Ormes

Jackie Ormes became the first Black woman syndicated cartoonist to be published in a newspaper. She was a trailblazer who pioneered an Afrofuturism expression of writing and illustration. Ormes’ works, including Torchy Brown (1937–1938), Candy (1945), Patty-Jo ‘n’ Ginger (1945–1956), and Torchy Brown: Heartbeats (1950–1954), have left a lasting mark on the world.

Ormes’ comics centered on complex Black women. She utilized the “funny pages” to share stories delving into the Great Migration, romance, art, etc., while providing social, political, and environmental commentary. However, due to the period (McCarthyism) and the repression and persecution of left-wing individuals, Jackie Ormes was put under surveillance by the FBI. 

While reading Black Women in Sequence: Re-inking Comics, Graphic Novels, and Anime by Deborah Elizabeth Whaley, a passage discussing Jackie Ormes’ comic, Patty-Jo ‘n’ Ginger stood out. At the forefront of this comic strip is the theme of comic art within traditional art spaces. In the panels, we see our protagonists, two Black middle-class sisters, Patty-Jo and Ginger, dressed in high fashion, walking through an art museum. A Picasso-esque painting of an abstract male profile hangs on the wall. The sisters, aesthetically, seem to belong in the space, yet this Picasso painting is glaring at them. Ginger returns the look of disgust to the painting and says to Patty-Jo, “Let’s get out of here… I don’t think he approves of us!” What made Ormes such an impactful artist was her ability to simplify complex themes and impress upon the reader introspective questions.

Eartha Kitt

Ertha Kitt became the first Black Catwoman in the 1960s Batman series. She is a trailblazer whose talent transcends generations. Kitt’s unique portrayal was nothing short of iconic. She redefined the character with her distinct purr-like dialogue and seductive roll of her r’s.

Kitt was referred to as “the most exciting woman in the world” by Orson Welles, and Batman producer Charles Fitzsimons remarked, “Eartha had a natural cat-like style that made her perfect for the role.” While this praise was deserved, Kitt’s portrayal of Catwoman came with racial barriers. Because of Standards and Practices regulations, interracial romance could not be depicted on television, which stopped the Batman-Catwoman love story. Eartha Kitt capitalized on the opportunity and without a romantic subplot, Kitt’s rendition of Catwoman emerged as a striking figure — elegant, enigmatic, and undeniably dangerous.

In Thursday’s Child, a book by Eartha Kitt, she reminisces about her first experience with theater as a teenager: “I saw the world in a different color. Everything was rosy, lavender, grey, and alive.” Kitt understood the gravity of the moment and the power of her voice, and she used hers to speak up for the voiceless. Unfortunately, Kitt’s career suffered (while under surveillance by the CIA), but in true Catwoman form, her career was able to breathe in a new life with her portrayal of more iconic characters.    

Hannah Beachler

Hannah Beachler is the first Black woman to win an Academy Award for Best Production Design for Black Panther (2018). She is a trailblazer who can translate Afrofuturism into a world that exists beyond our imaginations.

As a production designer, Beachler serves as the cinematic architect, shaping the visual landscape of the story. Beachler possesses a remarkable talent for reclaiming time and space, presenting them in a way that constructs a future world that the audience can understand, engage with, and somehow remember.

In a 2018 interview with City Lab Detroit, Beachler discussed the extensive research and intentionality that went into every detail of designing. There is a moment where she discusses the cityscape of Wakanda’s capital, Golden City, and the first building that stands out is the palace, followed by the records hall. It’s a stunning revelation because, like Beachler explains, as a Black American, you’re dealing with the erasure of our ancestors, the rejection of countries. In this fantastical world, untouched by colonization, where tradition and lineage have remained intact, the records hall emerges as one of the most prominent buildings.

Mara Brock Akil 

Mara Brock Akil is the co-creator of Black Lightning (2018–2021), which is one of the first significant superhero shows with a Black lead on the CW Network. Brock Akil is a trailblazer who uses her pen to tell stories where we are celebrated.

Mara Brock Akil’s influence on television is profound. Her work, including Girlfriends (2000–2008), The Game (2006–2015), Being Mary Jane (2013–2019), Love Is (2018), and more, center around authentic and complex Black stories. Black Lightning is no different.

Black Lightning is an action-filled show with tons of political and social commentary, but at its core, it is a show about family. At the 2017 ATX Festival Panel, Brock Akil shared how her introduction to comics stemmed from falling in love with her husband, Salim Akil, who brought a box of comics home when they moved in together. She states, “It is through my husband and children, I’ve really opened up to how to tell stories in this medium.” What resonates with Brock Akil’s words is that when watching Black Lightning, it doesn’t matter how extreme the situation is or how isolated a character feels, through their love as a family, the members of the Pierce unit will always be okay.      

Javicia Leslie

Javicia Leslie made her mark in history as the first Black actress to take on the role of Batwoman. Beginning her journey as Ryan Wilder in the CW series Batwoman in 2020, she succeeded Ruby Rose and brought a fresh and dynamic perspective to the superhero. Leslie is a trailblazer who showed us that everyone deserves a hero.

Bruce and Kate Wayne often symbolize privilege, and the city of Gotham shines the brightest light on them, with and without the cowl. However, Ryan Wilder is a character who has an underprivileged background. Leslie brilliantly harnessed that juxtaposition and embodied a Batwoman performance that was so raw and endearing that it made “The Bat” relatable. Her depiction invited new audiences to connect with Gotham’s biggest hero.

Regrettably, this groundbreaking moment for Black representation was met with a barrage of racist backlash from social media trolls. Yet, Leslie’s resilience shone through, never allowing it to dim Ryan Wilder’s light. In Batwoman, Season 2, Episode 15: “Armed and Dangerous,” there’s a scene where Javicia Leslie truly comes into her own as Batwoman. One of Ryan Wilder’s closest allies is in a life-threatening situation, and due to systemic obstacles, she can’t protect him. Ryan Wilder stands in her Bat suit in the Batcave, without the cowl, fully embracing the moment’s weight. Leslie delivers an emotionally charged performance that immediately distinguishes Ryan Wilder as Batwoman. While Bruce and Kate Wayne aim to keep Gotham safe, Ryan Wilder is focused on protecting all the citizens of Gotham, even the ones the world pretends not to see.    

The post Representation in Comics: The Impact of Black Female Creatives appeared first on Black Girl Nerds.

https://blackgirlnerds.com/giselle-bailey-explores-the-legacy-of-black-storytelling-in-hbos-seen-heard/

HBO’s latest docuseries Seen & Heard is more than just a chronicle of Black storytelling in Hollywood, it’s a resounding declaration of its power, legacy, and ongoing fight for visibility. Directed by Giselle Bailey, the series delves into the evolution of Black representation on screen, amplifying the voices of trailblazers who shaped the industry and those pushing it forward today. Through personal narratives, archival footage, and candid reflections, Seen & Heard unpacks the cultural impact of Black cinema and television, shedding light on the triumphs, struggles, and systemic barriers that have defined its history.

In an exclusive interview with Black Girl Nerds over at SXSW, Bailey shares her vision behind the project, the challenges of crafting such a comprehensive narrative, and the urgent need for authentic representation in entertainment. From the early pioneers to the groundbreaking creators of today, Seen & Heard stands as a testament to the resilience and influence of Black storytelling. The series is also produced by Issa Rae.

Seen & Heard takes a dynamic time-traveling approach to storytelling. How did you and your team decide to take on this structure and what challenges come with weaving these different eras together? 

We wanted to make sure that we were showing cycles. And so my natural inclination a lot of the time is to not necessarily tell a story in a linear way, because I think that’s the best way you can see, the progress come and then kind of fall and start over. And so that’s really how we tracked the two episodes. The first one is talking about Black people just being present on television. It was also important to me to show all kind of the social issues, the political issues that were happening around those moments, and even how some of them were playing out on screen. As we got more agency, we were able to put more of our own content on television, and that’s where you see the heyday of the 90s, and then everything crashes. And you hear about titans like Shonda, Oprah or Tyler Perry, talking about fighting from the bottom. I think we forget about that. When we see people who are successful, we forget about what it took. And so I really wanted to make sure you saw them filled from the ground up.

What do you see as the biggest milestone in this journey so far?

That’s interesting. I don’t know if it’s happened yet or if it’s yet to come. Because of the way that history is repeating itself, I certainly think the Norman Lear-era kind of changing from that into… okay, we’re not just on TV. And also, I hope it comes through in that era, how much, even though people weren’t necessarily Black, people weren’t necessarily writing the material, it was their essence. It was their improv that was really making those shows sing. But then there’s a moment where people are really able to craft the story, define their own narrative. Debbie Allen, for example, for me, is the godmother of Black television.

What do you think still needs to change for Black representation in television, to truly be sustainable and equitable?

Ownership.  Figuratively and literally we have to be able to define our own destiny. So it’s creatively being able to tell our stories, but also it’s about owning the companies, owning the distribution, building together to create our own sources of financing so we’re not dependent on the industry to give us an opportunity.

How did your collaboration with Issa Rae help shape the direction of the documentary?

Issa is creatively involved.  Her notes, her thoughts, her own experiences growing up really shaped the documentary. Issa was born in the United States, but she lived in Senegal, and you’ll see more of that in the documentary, and then moved back. And so her experience, she took a bunch of their family, recorded a bunch of Black shows, and took them with them. And she really came up with those shows. I’m an immigrant to the US. I’m Jamaican, but I lived in a few different countries, as we were making our way into the United States, and when I got here, we landed in the south, which was alienating for me, because of the specific environment I was in. There weren’t a lot of Black people, and so the Black shows really gave me community. So some of those experiences, the similarities and the differences, really helped shape I think the project.

How do you see the role of streaming platforms in shaping the future of Black television, and are they more of a help or a hindrance?

I think like any technology or any system, it’s to be used. We can’t let it use us. Streaming is where we are in the landscape of television. Whether it’s where we’re going is really going to be based on us, you know what I’m saying? So I think we can see that it helped us at certain points. We also can see how having agency and creating our own content, putting it out digitally, has really shifted television and could shift it again. So, yeah, I think it’s about how do we use these things, or how do we make our own?

Seen & Heard made its debut at the 2025 SXSW Film and TV Festival and is coming soon to MAX.

This interview was edited and condensed for clarity.

The post Giselle Bailey Explores the Legacy of Black Storytelling in HBO’s ‘Seen & Heard’ appeared first on Black Girl Nerds.

https://www.themarysue.com/best-downton-abbey-characters-ranked/

After premiering in the United Kingdom in 2010 and in the United States in 2011, Downton Abbey quickly permeated the cultural zeitgeist. Created by Julian Fellowes, this 20th-century historical British drama captured the attention of audiences worldwide. Beyond viewers, the series was also critically acclaimed, taking home six Emmy Awards, three Golden Globes, four SAG Awards, and two BAFTA Awards during its six-season run, and a third movie is on the way.

Fans adore the aristocratic Crawley family and the hardworking servants who attend them. With so many memorable characters to choose from, it’s hard to narrow them down, but as matriarch Violet Crawley would advise, “Don’t be defeatist, dear, it’s very middle class.” So, let’s keep calm and carry on. Here are the 10 best Downton Abbey characters ranked for your consideration.

10. William Mason

William, played by Thomas Howes, is the second footman at Downton Abbey. William wanted to work with horses, but his mother wanted a better life for her son and pushed him into household service. This kind, honest, and hard-working man was often the victim of first footman Thomas Barrow’s vitriol, but everyone has a breaking point. When Thomas pushed him too far after the death of his mother, William punched him in the face. No one blamed him.