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https://blacknerdproblems.com/masters-of-the-universe-revelations-review/

Preface

If you hate women, actively or passively, don’t watch Masters of the Universe: Revelations. You will hate it, go to social media with your misogyny, and get dragged (as you should). That said, MOTU: Revelations is a great addition to the 80s/90s nostalgia-train running through Netflix at light speed. Not gonna lie, Kevin Smith did the damn thing and truly brought the He-Man property into the twenty-first century. [There will be a spoiler-specific section, labeled, later in the piece.]

Masters of the Universe: Redux

First things first, this ain’t YOUR He-Man. Not by a long shot. So sit yo ass down if you think anything about this run of Masters of the Universe is going to allow you to return to a simpler time. It’s not. There are two Kevin Smiths, one before the heart attack running wild and saying wild stuff on Comic Book Men; and another, who recovered from a near-fatal experience and assessed his place in the world. The latter Kevin Smith wrote, directed, and was the showrunner for this. The clarity in the voice direction. The ability to make Prince Adam somehow likable while explaining why his humor (in either form) was (and remains) corny AF. Real touchstones. Along with Smith’s growth and humility is the ever-present sphere of influence that comes with being Kevin Smith. This brings me to my next point: the cast of MOTU: Revelations is stacked beyond belief.

Vox La Familia

If Smith had any favors, he called them ALL in for the voice cast. A mix of voice work legends and luminaries of the screen. Batman: The Animated Series alums Kevin Conroy and Mark Hamill, in the booth! Game of Thrones castmates Lena Headey and Liam Cunningham, Cersei and Davos on the mic! Sarah Michelle Gellar getting her Buffy on with Diedrich Bader in the building like Brave and the Bold was yesterday. Also, what Kevin Smith project doesn’t have Jason Mewes? Add Black Flag frontman Henry Rollins to the mix and the list of talent tapped to bring these characters to life gets as long as a timeline swipe and goes way back. All the way back. Back to the OG Masters of the Universe. Y’all. They got Alan Oppenheimer, the original voice of Skeletor, back in the game like Pacino in Godfather III! There is so much fan service in that choice alone to make this a legendary reboot.

MOTU: Revelations is right up there with the Netflix reboots of She-Ra, Voltron, and Transformers and the 80s nostalgia rabbit hole we’ve been pushed down. Which might be a good thing given how faithful to the cultures of their properties they were. More importantly, they took liberties that brought these fantastical worlds into the present-day sensibilities. The talent of Masters of the Universe elevated the story beyond nostalgia. Beyond a feeling of returning to what was. It forced the work to evolve into a story with the weight and heft of legacy. Which had to be hard to do, especially with characters named He-Man and Skeletor as key figures, but they get it done.

First Rule of Fight Club

The fight animation is just two-dimensional flames. Fight scenes in Masters of the Universe are easy to read and dynamic, like, you really see gravity working in these frames. There are numerous fights that you can feel the force of. It gave a level of detail a few notches south of Avatar: The Last Airbender (there might never be a joint close to A:TLA’s caliber or intention). The action choreography was way better than I thought it would be. I felt like some of the fights in Voltron were pretty damn good, but MOTU surprised the hell out of me with a few of them. Man-At-Arms was just a problem with the hands, and Teela put the beats on everybody, so yeah. They gets busy. A lot of throwback villains are brought into the fold and most of them just end up as punching bags with backstories. It works though.

*Spoilers Here*

What really brings Masters of the Universe: Revelations home is the writing. Strange as that might sound, but it’s strong for a cartoon (refers back to the ‘He-Man and Skeletor’ line from a while back). No games played, there are plot shifts from jump. I love a departure from ‘the hero’s journey’ and nothing is more of a departure than killing the hero. In the first episode. Then again at the end of the fifth!? My jaw was on the ground both times. Moving Teela into the spotlight as the protagonist? Epic. Also caused a riot with the self-righteous and self-appointed gatekeepers of the culture. A lot like having a Black King Greyskull, voiced by Dennis “The other voice of God” Haysbert. Last spoiler, promise.

*Spoilers Done*

Fabulous, Secret Powers

A right and proper sequel to the original series, Masters of the Universe: Revelations came to leave its mark on the game and walk away with the nostalgia championship belt. Callbacks were the order of the day. From the use of remixed music, shifted and mixed-up lore, and easter eggs out the wazoo, this five-episode season knows exactly what it is, and it delivers. Despite being a blast from the past there’s a passion in its design, in the acting, in the writing that takes the show to a different stratum. More than anything, Masters of the Universe: Revelations is a love letter to fans of the original that is well-received. By no means is the show flawless, but the intention is strong, and it lands most of what it throws down. Check this out with an open mind and a love for your childhood, if you haven’t already.

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The post ‘Masters of the Universe: Revelations’ Review appeared first on Black Nerd Problems.

https://thenerdsofcolor.org/2021/07/29/netflix-has-released-the-official-trailer-for-vivo/

Netflix and Sony Pictures Animation’s Vivo will release globally August 6 on Netflix. The animated film includes the voices of Lin-Manuel Miranda, Zoe Saldaña, Juan de Marcos, Brian Tyree Henry, Michael Rooker, Nicole Byer, Ynairaly Simo, and Gloria Estefan. As …

https://www.essence.com/entertainment/report-black-creators-are-taking-their-power-back/

By Kovie Biakolo ·July 29, 2021July 29, 2021

When rapper 2 Milly first filed a lawsuit against video game and software developer Epic Games in 2018, contending that its Fortnite game ripped off his “Milly Rock” dance moves, David Pellum II paid close attention to the case, engrossed in its potential implications for creators. 

“When everybody was trying to sue Fortnite for their likeness and their dance…That’s when I started raising questions about how this whole choreography stuff works,” he says. 

Seven years into a music production career, Nashville-based Pellum boasts impressive credits including “Energy” by Drake, Khalid’s “Location” and Beyoncé’s live film, “Homecoming.” Although 2 Milly eventually dropped the case, Pellum’s interest in intellectual property was ignited by the incident, and he began pursuing licensing, royalties, and managing music copyright under his company, Pellum Publishing. He currently represents ESPN’s stadium anthem “Swag Surfin,” but is yet to copyright the dance associated with it. With the ongoing TikTok strike whereby Black creators are refusing to make content — notably dances for popular songs that usually go viral — to protest cultural appropriation in conjunction with alleged creative theft, Pellum sees an opportunity for creatives to be more contentious about safeguarding their work. 

“There’s two ways to do this. The government is very slow and there’s people that are involved that don’t really know the culture…and they can say yes or no to a dance,” Pellum says, referring to creatives who wish to pursue legal safeguard via copyright. “So, the best way is if they say yes, you can get it copyrighted, it’s $35 and to expedite [it] is $800. That’s one way.” 

New York City-based entertainment attorney Casandra Spangler notes that copyright fees fluctuate, and there are stipulations regarding applying for an expedited copyright. 

“Whether it’s dance or music, it can vary a little bit in the range between $35 and $75,” she says. “The expedited fee is very high, and there has to be some kind of a legal action. So, you have to be in the process of filing a lawsuit or something like that, in order to request expedited processing.”

The move to copyright dance moves made news earlier this year in April when celebrity choreographer JaQuel Knight announced the launch of Knight Choreography and Music Publishing Inc. In doing so, Knight became the first choreographer to own the copyright of his own movements and routines.

It’s a tricky endeavor, according to Spangler, because the law is slow in comparison to how quickly culture and media evolve, especially where digital media is concerned.

“Copyright law in general is pretty behind and it hasn’t caught up with a lot of new technology, especially where you have things that are going viral, which didn’t exist when the copyright law was written,” she says. “Now you’re talking about platforms like TikTok where it could overnight be copied… hundreds or thousands of times, and the copyright law just hasn’t really caught up with a way of dealing with that.”

Texas-based creative and dancer Cat J, however, was thrilled when she first learned about Knight’s company. Although her social media focus is largely on Instagram and YouTube as opposed to TikTok where the Black creators strike has been most prevalent, she notes that Knight’s action should become a norm in the digital age across platforms.

“I love that idea. Because being a creative, I understand how it feels to get my choreography stolen. I’ve had my choreography stolen before,” she says. “When you go to Instagram, you can’t post certain videos with certain music because they’re copyrighted. I feel as though it should be the same for dance moves where maybe not so much you can’t post it, but it’ll show whose credit it is.” 

Pellum says an official use of credit or crediting is the way forward for Black creatives to protect their rights in dance in the digital space. Obtaining credit would show that you are the first person who created a routine or choreography, which can result in indisputable acknowledgement, and make securing monetary returns easier. 

“Credit is the biggest thing right now. With that, I’ve teamed up with a digital platform called Clocr,” he says. “Basically, it’s a digital vault. You can go in and throw your video in there, upload your video and you’ll get an official timestamp…a timestamp certification of when your creation was uploaded.”

According to Pellum, credit in this capacity will be groundbreaking because even if you fail to get a legal copyright approval, the time stamp certification demonstrates evidence. His venture with Clocr is music to the ears of New Jersey-based artist FlyBoyFu, the creator of the viral TikTok song and dance, “Laffy Taffy (Remix).” FlyBoyFu is also currently working with Pellum.

“This is a big breakthrough of what we’ve all been waiting for because we don’t have it as dancers, you know, we don’t have the protection, to protect our dances…it’s always about songs,” he says. “Your work is timestamped…You have your proof…so if someone goes and tries to take your stuff, you go right back into your receipt, you pull that up… and now you can get compensated.”

FlyBoyFu also expressed support for the TikTok strike and discontentment with the platform’s inability to incorporate technology that could circumvent this lack of crediting culture. He says that the lack of recognition has bolstered a spirit of distrust among Black creatives toward the platform, and that they feel disillusioned by seeing the profile of their white counterparts heighten while performing the dances Black creators make. The proverbial straw that broke the camel’s back for many was Tik Tok user Addision Rae’s now infamous appearance on Jimmy Fallon’s Tonight Show, in which she taught him dances that were created by other TikTok users, notably Black ones. FlyBoyFu hopes the strike continues.

“Why would they want to keep going and creating things when they’re not getting the proper credit. It’s discouraging,” he says. “Some people don’t want to create anything [anymore] because they kind of feel like it’s going to keep getting taken.”

A representative for TikTok cited the company’s blog post detailing their commitment to “diversity and inclusion.” And in a statement to Essence on the dissent from Black creatives, a spokesperson for TikTok said the following, “We recognize and value the impact that Black creators continue to have on our platform and across culture and entertainment. We’re committed to investing in resources and building technology that address their concerns, including finding solutions that help cement a culture of credit and working to ensure fair and equitable moderation policies. We wholeheartedly want to be part of the solution and will continue to share updates as we make progress toward these goals.”

For Florida-based creative and life-long dancer Erick Louis, TikTok’s actions (or lack thereof) in response to the Black creators, has not been good enough, and he has taken his own unique approach to protesting the platform. Initially not a big user of TikTok for dance — at least not in terms of his own choreography — Louis has opted to retaliate against Black creative theft by claiming white creative output on the platform as his own.

@theericklouis

If y’all do the dance pls tag me it’s my first dance on Tik tok and I don’t need nobody stealing/not crediting

♬ Thot Shit – Megan Thee Stallion

“In protest to the appropriation of content on the app and the anti-Blackness and suppression we deal with, I’ve decided to steal any and all content made by white folk on the app,” he says. “Basically, what I’ve been doing is stealing choreography that white folk have made and repurposing it and putting it on my platform.”

Arguably, he has been quite successful with his most recent video having been viewed 1.7 million times, and two others getting over 1 million and 3 million viewers, respectively. As a fellow creative, he’s wrestled with the ethical dilemma of this action, but believes it is necessary in order to push back against both this current moment and the United States’ historical white pop culture practice of appropriating from Black artists, without credit or compensation.

“I see these white choreographers…get on these platforms and preach to us about what hip hop culture looks like, that they created this or [that… they they’ve created their own styles within hip hop. [But it] never made sense to me because all they’ve managed to do is regurgitate blackness,” he says.

Retributive theft aside, another ethical dilemma that Black creators pushing back on all platforms have to contend with is the history and politics of claiming dance moves versus dance routines and demonstrating the difference between the two. In the context of the Black diaspora where some movements may have a history traced to precolonial African communities, it is possible that a dance move or even many moves that may be composed in a routine can be made popular in a viral video. Who does the dance belong to then?

Spangler draws a parallel to music, suggesting that legally, dance and movement would likely work the same way: some parts of a choreography could be copyrighted, while others are fair use or free to use by anyone. 

“So, in that situation, what happens is the original elements are protected, and the… elements that they’re taking from the public domain are not protected,” she says. “But if you’re adding enough unique elements and you’re putting them together in a way that creates a unique choreography, then the unique part of it would be protected by copyright.”

While the law continues to lag, Pellum is laser focused on credit as the way to ultimately give Black creators a voice. And for him, it’s not just about protecting individual creators, but also, giving Black culture it’s due.  

“Young people are making a movement by telling their story through dance. Black creators are now expressing themselves through dance to document their ideas and experiences,” he says. “I want to preserve the art of dance in the digital age, we as Black people need to start archiving the origins of these creations.”  

TOPICS:  tik tok

The post Report: How Black Creators Are Taking Their Power Back And Pushing For Protection appeared first on Essence.

https://www.essence.com/beauty/best-beauty-looks-for-music-festivals-concerts-and-carnivals/

Getty Images By D'Shonda Brown ·July 28, 2021July 28, 2021

The world is opening back up and so are opportunities to get our social lives back. This means that festivals, carnivals, and experiences including ESSENCE Festival are making a full comeback and we can’t wait. We can all agree that the most exciting part of the festival process is the fashion, style, and glam. Don’t know where to start? These beauty experts can get you right!

“Festival season is fun. It’s the perfect time to show your personality and be free. I always suggest trying more daring things,” Bobbie Riley, founder of Bobbie Riley Beauty University told ESSENCE. “When the pandemic started the women were inside and eager to get dolled up and express themselves like they were used to. With COVID being over and festivals back and running, do-it-yourself makeup is that key tool to having fun, breaking free, and expressing themselves!”

When it comes to prepping for music festival season, makeup artist Alexus Brown prefers a natural beat with a hint of pizazz which she refers to as the “Superstar Glō.” She describes it as a “simple, sleek” look and “similar to the look Kim [Kardashian] wears on a regular [basis].” “These looks are timeless! If you want more of a pop, those bold vibrant colors could be a perfect companion in creating that perfect eye-catching look that will have all eyes on you!,” Brown told ESSENCE. 

Below, Riley and Brown give ESSENCE readers their makeup artist expertise on the do’s, don’t’s, and must-haves of festival season for all your beauty needs. Check it out!

Lipstick versus Lip Gloss

I absolutely love a good gloss, but for longevity, lipstick would be more efficient due to the long hours spent outdoors because you’ll have to touch it up less. If I had to choose a shade, I’d definitely be going for a matte mauve pink with a brown lip liner. If I wanted to make a bold statement, I’d go for a banging red lip! Not just any red but a red that has blue undertones. When a red lip is worn you have no choice but to be fearless, bold, and have all eyes on you. – Alexus Brown

Experiment with Colors

Be young, wild, and free. That’s what festivals are for, right? Living your best life, enjoying what life offers all in one big day! Colors to experiment with are blues such as teals on the lip and eye. Iridescent for those luminous colors that change when seen from different angles. If you aren’t big into eye shadow, white liner, black liner, or color on top of the black liner is beautiful. 

I’ll say this ladies – you can’t go wrong with super bold pigments. You can also do blue, fuchsia, and emerald green colored lashes. If you want to go out with a bang, try out face laces for graphic eyeliner and eye stickers. – Bobbie Riley

Get Crazy and Creative

I love the look that resembles actual art on the faces [and]  the creative looks that stand out. The looks that embellish the person’s facial features. I’ve seen a face that was very expressive with triangle shapes around the eyes – it was super impressive! I absolutely love to see the looks that combined the blush with glitters on the cheeks because it looks so fierce! Last but not least, I love the jewels that are placed on the face in an ever so pleasing way! – Alexus Brown

Coverage Galore

Other essentials while out at festivals and carnivals for a little coverage are BB Cream or CC Cream. For smooth but high coverage, light natural finishes, and any long-wear foundation is a plus for outdoors. We can’t forget our sunscreen – the higher the SPF the greater for your face and body. – Bobbie Riley 

Match Your Shadow with Your Fit

Your outfit determines the eyeshadow look. If you wanted to stay more on the natural side of things, I’d go with a warm brown on the lid with a bold winged liner and a pop of color in the inner corners of the eye. Sometimes when I’m feeling fancy I’d go for a cut crease with details that matches the outfit – Alexus Brown

Hydrating, Mattifying, or Poreless Primers?

It depends on the skin. During a summer festival for oily skin, you may overproduce oil and that can ruin the make-up look you were aiming for. Don’t forget your SPF! As for dry skin – hydrate, hydrate, hydrate. The summer heat and dry air will dry your skin out so fast especially if you plan to be at the festival all day, use a moisturizer and SPF. – Bobbie Riley

Keep Your Face Fresh, Clean, and Hydrated

Having a good skincare regimen is essential every morning and night. Starting your makeup with a clean face is just as important as ending your night with a clean face because it rids the skin surface of any dirt, oil, and makeup particles. Most people think wearing makeup creates breakouts but in reality, it’s the skincare regimen that protects the skin. Properly cleansing your face after a day of makeup eliminates the chances of your pores getting clogged, therefore limiting the chances of a breakout. 

It is also important to make sure your skin is properly hydrated and fresh, especially as an active makeup wearer.  Maintaining your skin’s health and hydration helps elongates youthfulness, creating fewer wrinkles and discoloration upon the skin. A good skincare regime is a foundation to a beautiful face of makeup every time! – Alexus Brown

The post Best Beauty Looks For Music Festivals, Concerts, and Carnivals appeared first on Essence.