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In yet another remake from the 80s, Dune makes its way back onto the nostalgia train and into the pop culture collective memory. For the record, this is the second film but the fourth adaptation of Frank Herbert’s award-winning novels. This is the second movie remake for director Denis Villeneuve and he does not disappoint as a filmmaker. There is grand and sweeping cinematography mixed in with intimate performances from seasoned actors. Dune had everything it needed out of the gate and gains so much momentum on the strength of its direction. Y’all, it does the original vision justice.
Denis Villeneuve holds the line in another sci-fi remake. Listen, he’s got a style, it worked in Blade Runner 2049 and it is even more refined in Dune. Highly contrasted between the extremes of light and dark in each shot. There’s a high level of creativity and intention all throughout the film. It would be easy to just glaze over the undertaking by calling it ‘a love letter’. Nah fam, there were so many obviously deliberate choices and painstaking details that the movie really does just vibrate with the resonance of Villeneuve’s signature style.
Casting is loaded but not at all overdrawn. A lot of heavy hitters in this cast. While Timothee Chalamet and Zendaya are top-billed and do the damn thing in their roles, my goodness, everyone else carries this first outing. Everyone understood the assignment. Rebecca Fergusson as Lady Jessica is a complex balance of the affection and ferocity of any and every mother. Charlotte Rampling alone, as the Reverend Mother completely ate every moment of her less than five minutes of screen time. The bruisers of the film – Josh Brolin, Jason Momoa, and Dave Bautista provide the edge and gruff to contrast the deeply woven (and intentional) feminine strength that defines the main story arc; but never counteract it. Oscar Isaac, Stellan Skarsgård, and Javier Bardem bookend the cast as the patriarchs fighting for interplanetary supremacy and survival of their peoples. Each and every character is portrayed in the fullness of their humanity, and the actors leave nothing on the table. Also, shout out to David Dastmalchian for being in everything and being memorable in every role.
Denis Villeneuve is a Dune Stan and he is not shy about it. In several interviews and featurettes, he goes in about Herbert’s work being instrumental in his personal development. He went so far as to say he made this movie for himself since there would be no greater critique. In response to that, his interpretation of Dune is visually stunning. It is clear from the first moment that every penny possible went to making sure the visuals were without flaw or failure. The logistics alone required to bring this world to life make this a must-see in cinema history.
*Light Spoiler Alert*
That said, there are some cultural moments that didn’t sit right with me. For those of you seasoned in the Dune-iverse, quite a few bodies hit the floor in the first part of the book and the original movie. Which is great for getting the story arc off to an explosive start, but literally all of the primary speaking roles for the Black and Brown actors are killed off! When the movie opens it says, “Dune: Part One”, so why oh why can’t these actors have been characters that live? It was so sad to watch the life leave their bodies in such a rich narrative landscape. Quite honestly, it’s a little triggering with all of them but for the one that goes out with some dignity.
Another thing, the OG Dune was very much inspired by various cultural influences, most notably language and aesthetics sourced in Arabic. None of that seems as important or revelatory in this interpretation, but this is only the first installment of a series. Hopefully, there are more people in the room to create longer-lasting opportunities for actors of color in this franchise. Suffice to say, Denis Villeneuve’s Dune is a phenomenal movie and it demands to be seen.
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The post ‘Dune’ Review: As Good As The Sum of its Parts appeared first on Black Nerd Problems.
In yet another remake from the 80s, Dune makes its way back onto the nostalgia train and into the pop culture collective memory. For the record, this is the second film but the fourth adaptation of Frank Herbert’s award-winning novels. This is the second movie remake for director Denis Villeneuve and he does not disappoint as a filmmaker. There is grand and sweeping cinematography mixed in with intimate performances from seasoned actors. Dune had everything it needed out of the gate and gains so much momentum on the strength of its direction. Y’all, it does the original vision justice.
Denis Villeneuve holds the line in another sci-fi remake. Listen, he’s got a style, it worked in Blade Runner 2049 and it is even more refined in Dune. Highly contrasted between the extremes of light and dark in each shot. There’s a high level of creativity and intention all throughout the film. It would be easy to just glaze over the undertaking by calling it ‘a love letter’. Nah fam, there were so many obviously deliberate choices and painstaking details that the movie really does just vibrate with the resonance of Villeneuve’s signature style.
Casting is loaded but not at all overdrawn. A lot of heavy hitters in this cast. While Timothee Chalamet and Zendaya are top-billed and do the damn thing in their roles, my goodness, everyone else carries this first outing. Everyone understood the assignment. Rebecca Fergusson as Lady Jessica is a complex balance of the affection and ferocity of any and every mother. Charlotte Rampling alone, as the Reverend Mother completely ate every moment of her less than five minutes of screen time. The bruisers of the film – Josh Brolin, Jason Momoa, and Dave Bautista provide the edge and gruff to contrast the deeply woven (and intentional) feminine strength that defines the main story arc; but never counteract it. Oscar Isaac, Stellan Skarsgård, and Javier Bardem bookend the cast as the patriarchs fighting for interplanetary supremacy and survival of their peoples. Each and every character is portrayed in the fullness of their humanity, and the actors leave nothing on the table. Also, shout out to David Dastmalchian for being in everything and being memorable in every role.
Denis Villeneuve is a Dune Stan and he is not shy about it. In several interviews and featurettes, he goes in about Herbert’s work being instrumental in his personal development. He went so far as to say he made this movie for himself since there would be no greater critique. In response to that, his interpretation of Dune is visually stunning. It is clear from the first moment that every penny possible went to making sure the visuals were without flaw or failure. The logistics alone required to bring this world to life make this a must-see in cinema history.
*Light Spoiler Alert*
That said, there are some cultural moments that didn’t sit right with me. For those of you seasoned in the Dune-iverse, quite a few bodies hit the floor in the first part of the book and the original movie. Which is great for getting the story arc off to an explosive start, but literally all of the primary speaking roles for the Black and Brown actors are killed off! When the movie opens it says, “Dune: Part One”, so why oh why can’t these actors have been characters that live? It was so sad to watch the life leave their bodies in such a rich narrative landscape. Quite honestly, it’s a little triggering with all of them but for the one that goes out with some dignity.
Another thing, the OG Dune was very much inspired by various cultural influences, most notably language and aesthetics sourced in Arabic. None of that seems as important or revelatory in this interpretation, but this is only the first installment of a series. Hopefully, there are more people in the room to create longer-lasting opportunities for actors of color in this franchise. Suffice to say, Denis Villeneuve’s Dune is a phenomenal movie and it demands to be seen.
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The post ‘Dune’ Review: As Good As The Sum of its Parts appeared first on Black Nerd Problems.
Welp. The movies and tv shows have officially begun to catch up with the comics in terms of absolute ridiculousness. The barriers of space and time have been rendered inconsequential and the multiverse is starting to take center stage. Decisions made in a split-second splinter into infinite possibilities, versions, and combinations of characters that can sometimes be inspiring, creepy, or mind boggling. Most of the time, like in Marvel’s anthology series, What If…?, the result is pretty much always nerd service of the highest order. It almost gets a little meta because current iterations of some characters and stories we see being touted as movie universe canon spawn from years of comic interdimensional madness.
So, maybe now, the multiverse won’t be so darned white. One popular tradition in Hollywood is the idea that a story with white leads can whitewash a usually diverse place with their very presence. For example, anyone who ever watched Friends probably can’t remember seeing more than two Black people in their iteration of New York….bonus points for a speaking role, daily double for a line that actually incurred a laugh track. Friends NY didn’t even have any good stereotypes of color. Even in the most gentrified parts of the Big Apple, surely Joey Tribbiani would have run into a dude trying to sell him a mixtape. All that time spent commuting and we never heard a dance troupe yell “SHOWTIME” on the train? Now, take that lack of representation and multiply it times an entire universe.
Remember that show, Sliders, where a dudebro scientist opened a random portal through the multiverse and took his friends through it without any way to return home? Remember the Black guy….a blues musician? Ignoring how nonsensical it is to take a Blues musician joy riding through the dangers of all space and time, see if you can recall how many counterpart versions of the Black guy you ever saw on Sliders. Because I remember exactly none.
But now look at us making power moves in this sector. Loki went on a six episode Doctor Who adventure with the blonde, smarter version of himself to destroy the time/space continuum branch of Dunder Mifflin, and they find a Black man holding it all together! And the second Sylvie delivers his sudden, untimely fade, the multiverse immediately descends into chaos. See what happens when you keep Black owned businesses off the field? In fact, even the Watcher, omnipresent observer of all things possible and impossible across the multiverse….is a Black dude. And it’s not just that he’s being voiced by the incomparable Jeffrey Wright, but let’s unpack how important that is real quick. Even though the Watcher is a longtime staple in Marvel’s comic lore, the What If…? cartoon series is a hit and has propelled the character into the collective consciousness. And the voice a generation will hear in their head for the foreseeable future is likely going to be Jeffery Wright. Going forward, you’ll be hard pressed to imagine any other voice when the Watcher appears.
It’s like how hard it is to separate Josh Brolin’s voice from Thanos. I couldn’t help but hear the Mad Titan instead of Gurney recently when I was watching Dune. That’s gonna be Jeffrey Wright every time you watch Westworld going forward or even when he shows up as Jim Gordon in the upcoming Batman film. That’s powerful on his own, but on top of all that, he’s depicted holding his own in a fight. The Watcher is a Black dude with gravitas and hands!
And that’s not even mentioning the representation of fixed-point characters in time.
I grew up with the DCAU cartoons where the lesson was that Lex Luthor is repugnant in just about every timeline…even when he’s not a villain. And Superman is represented as the one main symbol of good throughout the infinite possibilities of the multiverse. Now, we see characters like T’Challa who is depicted as an inspiring figure even when he’s a rogue intergalactic treasure hunter (and basically an entertaining tribute to the great Chadwick Boseman himself). And then there’s his cousin Killmonger whose treachery transcends time and space. He’s shown in What If…? stabbing Tony Stark in the back and lying his way to the Wakandan throne. This is only to playing along as a “Guardian of the Multiverse” long enough to pump fake his teammates and steal the infinity stones for himself as a play to ascend to godhood. Mr. Hey Auntie has come a long way since poisoning white women’s pumpkin spice lattes.
And honestly, this is just the beginning if writers don’t backslide and keep the landscape as diverse as it has become in the past few years. Anything’s possible. One day soon, there will be a generation of kids who can’t remember a time when Spider-Man wasn’t a Black kid in Jordans. I mean…we can dream, right?
Cover image via The News Motion
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The post Finally, the Multiverse is Less White appeared first on Black Nerd Problems.
With Diwali kicking off the holiday season and a supply chain issue in books (and everything at this point), now is the time to get those book orders in. Each of our four bookish gift guides this year will feature a handful of books, age recommendations, and more. If you know a voracious reader who prefers a challenge, then don’t worry—other guides will include a preteens list and a YA+ list. The adult gift guide won’t be books, and that’s all I can say about that right now!
While we love a good classic or celebrity book—looking at you, Lupita N’yongo—these books by authors/illustrators were released in the last three years. Each pick notes some themes and a general age recommendation, useful whether you’re looking to donate a book or you know the kiddos personally. Either way, they’re reading.
We Are Water Protectors by Carole Lindstrom and illustrated by Michaela Goade
(Image: Roaring Brook Press.)
This story follows one young water protector taking a stand against a black snake threatening to destroy the earth and poison the water. While fictionalized, this book takes inspiration from the many Indigenous-led environmental movements in North America. Releasing a few months ago, We Are Water Protectors is already seeing widespread recognition and success.
This story touches on Indigenous heritage, the environment, and health. Recommended age range is two to seven or those in preschool to first grade.
Coquí in the City by Nomar Perez
(Image: Dial Books.)
Based on the author/illustrator’s own experience, this book is about a boy who moved from Puerto Rico to New York City. At first, Miguel is homesick and feels frustrated because he misses the food, his neighbors, his Abuelo’s stories and his pet frog, Coquí. However, Miguel soon learns there’s actually a lot in common and finds unique ways to keep Puerto Rico with him.
This story touches on new experiences, moving, disability, and family. Recommended age range is three to seven, or those in preschool to second grade.
Carol and the Pickle Toad by Esme Shapiro
(Image: Tundra Books (NY).)
A complete coincidence that there are two amphibians on this list, but if frogs carry wisdom, maybe we should listen? Anyways, Carol has used her bossy toad hat to guide her through life, and when a pigeon plucks it away, Carol is unsure what to do. She makes another hat, and it, too, is taken from her—the funny, heart-warming story about a girl learning to be self-reliant and listen to her own heart.
This story touches on self-esteem. Recommended age range is four to eight, or those in kindergarten to third grade.
The Pronoun Book: She, He, They, and Me! by Cassandra Jules Corrigan and illustrated by Jem Milton
(Image: Jessica Kingsley Publishers.)
In early grade school, we learn what pronouns are and how to use them, meaning a conversation about others’ pronouns should fit nicely into what kids are already learning. Corrigan and Milton’s picture book explains what they are, how to use them, and what to do if you accidentally misgender someone.
This book actually comes out December 3, so if pre-ordering just to reship is an issue, They She He Me: Free to Be! by Maya Christina Gonzales and Mathew SG is a good choice—especially if you want a book to introduce them to the topic younger.
This story touches on identity, language, and self-esteem. Recommended age range is five to nine, or those in second to third grade.
Who Is Florence Price? by students of the Kaufman Music Center
(Image: Schirmer Trade Books.)
Tracing her life as a musician who defied both racial and gender expectations, the middle schoolers of the Kaufman Music Center in NYC wrote and illustrated this book about Florence Price. Price is the first Black woman to be recognized as a symphony composer and performed at a major American orchestra in 1933. The collaborative, short book releases November 18.
This story touches on perseverance, racism, sexism, and music history. While there is no official age range I could find, this seems ideal for those 7+.
The Reign: North and South America by C Nichole and illustrated by Sailesh Acharya
(Image: Pan African Publishing House.)
The second book in the Reign series (doesn’t have to be read in order) is a non-fiction picture book exploring 20 ethnic groups of the African Diaspora within North and South America. Each entry features illustrations and historical information, and shows the similarities and differences between these groups.
Recommended age range is 8+, or those in third to fifth grade.
Red, White, and Whole by Rajani Larocca
(Image: Quill Tree Books.)
The first chapter book on this particular list, Red, White, and Whole, is a novel told in verse. As the only Indian-American student in her school, Reha feels like she has to live two different lives—one at home to please her family and one at school to fit in. Though Reha feels most disconnected from her mother, Amma, this is challenged when she finds that her mother is very, very sick. Reha is determined to become a doctor to aid Amma’s pain and be the “perfect daughter” to help her mother feel more comfortable.
This story touches on immigration, emotions, long-term illness, and poetry. Recommended age range is 8+, or those in third to seventh grade.
The Last Human by Lee Bacon
(Image: Harry N. Abrams.)
Like the previous entry, the final entry is another chapter book and can be a child’s first introduction to (non-picture book) science fiction. Thirty years after humans went extinct, a twelve-year-old robot (XR_935) has known nothing but peace and prosperity. Things change, however, when the impossible occurs as XR_935 finds a human girl named Emma.
Together with two other robots, they embark on a journey for answers. Did I mention the perspective is in the first person with the robot being the main narrator?! If that didn’t sound exciting enough, The Last Human is set to be adapted into a movie by the same producers of the best Spider-Man film, Into the Spider-Verse.
This story touches on friendship and dystopian society. Recommended age range is 8+, or those in third to seventh grade.
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If you feel so inclined, there are many great books lists on the several articles we have about conservatives banning or “reviewing” books because they dare talk about race, gender, etc. (From Pennsylvania to Texas.) Either way, keep on the lookout for the upcoming gift guides in the books sections and other places on The Mary Sue!
(image: Quill Tree Books, Roaring Brook Press, and Tundra Books (NY))
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The post TMS 2021 Gift Guide: World Expanding, Confidence Building Books for Kids Under 10! first appeared on The Mary Sue.
After 84 years, Universal has finally found their leads for the long-delayed Wicked movie: Cynthia Erivo and Ariana Grande.
First a book by Gregory Maguire, Wicked was adapted and greatly transformed into the 2003 Broadway musical that has gone on to generate more than $1 billion in ticket sales and become a great soundtrack for AMV makers. Stephen Schwartz wrote the music and lyrics, and Winnie Holzman wrote the book for the Broadway version.
The musical is a take on the Wizard of Oz from the perspective of Elphaba the Wicked Witch of the West and Glinda the Good Witch, who meet in college and, through destiny and mixed racial metaphors, are forced to choose different paths. There is also a dude in it, but he doesn’t matter.
Universal has had an adaptation of the musical in the works since 2004, says The Hollywood Reporter, and this upcoming film is to be directed by In the Heights’ Jon M. Chu. Erivo will play Elphaba, while Grande will play Glinda.
Cynthia Erivo, is an English actress who won a Tony Award for playing Celie in The Color Purple revival and became an Academy Award nominee for her role in Harriet, a controversial one due to her comments about Black Americans. She is, without a doubt, a talented singer and actress with a Broadway background.
Ariana Grande, while best known for her R&B/Pop music, also has a Broadway background and was an actress before making the switch to pop music. I honestly would love to see her do a rendition of “Popular.”
This casting has gotten mixed response, due to the age of the actresses, who are supposed to play freshmen college students at the beginning of the story. Erivo is only two years older than Idina Menzel was when she originated the role, but still, that works on stage but may not in a film adaptation.
I think both women are fully capable of performing the roles, but musical adaptations are just a very mixed bag. Most don’t do well because there is something about the stage performance that is special.
As someone who has just recently seen Wicked on Broadway for the second time, I can say that the set design, production, and effects make it so much more compelling to watch. That’s especially true when Act 1 is really solid, but then Act 2 sort of us just … devolves into a rushed heteronormative love triangle with a lot of unnecessary references to The Wizard of Oz and really outdated ableism in how Nessarose/The Wicked Witch of the East is depicted.
For Wicked fans, this will be an exciting development, and hopefully it will at least do better than Cats and Dear Evan Hansen, because I don’t think the theatre kid community can take another blow.
(via THR, image: TORSTEN BLACKWOOD/AFP via Getty Images)
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The post Cynthia Erivo and Ariana Grande to Play Elphaba and G(a)linda in Wicked Movie Adaptation first appeared on The Mary Sue.