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Happy New Year to our stalwart supporters and listeners! We're keeping it simple, citizens! This will be the last show for 2021, so we will keep it topical for the last week of the year as well as an assessment in Black blerd pop culture in '21.  Check out this special Year in Review during the "Mid-Week" tonight at 8 p.m. eastern on the mighty BTalk 100 internet broadcasting network.   Included with a rundown of notable events in 2021, the crew will be discussing: Gen-Z' apparent discovery of the classic hiphop trio, De la Soul, courtesy of the end credits song, "Magic Number" featured in Spider-man: No Way Home; iconic football coach, sports commentator and VG brand master, John Madden passes at 85; Dburt admittedly winced at the sight of a very human-like android, Amera and how society may be on the cusp of the "uncanny valley" as AI advances:

Another MCU IP, Ghost Rider, might be next for the reboot treatment but who will portray the demon of vengeance? Another The Batman trailer hits the cyberverse and we have our thoughts:

As the popular Black female-centered HBO series, Insecure comes to a close, some folks on Twitter were inquiring about the need for  Black male-oriented "crew" series.  Unfortunately, the request was met with a strange bit of vitriol; Basketball greats, Kareem Abdul Jabbar and Lebron James have a bit of a virtual dust-up online over COVID, and lastly, #ihadawhitefriend trends on Twitter for another "shame on you" reason.

One thing that Dburt is doing (finally) is investing in cryptocurrency, courtesy of Roundlyx. We would implore our followers to investigate, discern and then explore by using our referral code: afro-87A4BF

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Writer: Nicole Andelfinger / Artist: Simone Ragazzoni / Boom! Studios

I know what you’re thinking: there have been a lot of Power Rangers comics these last couple of years. You’re right, and we’ve only covered a small portion of the available offerings. That said, the reason we keep finding ourselves here is because the Power Rangers occupy a very beholden place in our childhoods (or at least my childhood), and given the franchise’s long-lasting tenure, there is a wealth of lore and mythology that is always worth delving into. Our latest venture: the origins of the Phantom Ranger (conveniently, one of the last characters I vaguely remember because I fell off of the franchise around Turbo).

Andelfinger takes ample opportunity to play with classic sci-fi tropes, setting the first page in “The Distant Past” where an unnamed proto-Ranger gets stuck in the Morphin Grid to keep an unspecified, but obviously evil entity in. Then, we flash forwarding “584 years” a couple pages later where a different group of scientists/teenagers with an attitude must deal with the consequences of said actions. There are a lot of different named characters (Ori, Kartor, Vivavli, Phiro, Rhian, Telosi, Xev) that we get very cursory introductions and who are all concerned with the events that befell Namize. With such a large ensemble and only very brief characterizations to go off, there is a little bit of a tracking issue, but that’s not entirely uncommon with first issue science fiction comics.

That said, while it took me a minute to keep all of the character names straight, there is still plenty of charged dialog and clever quips. I enjoyed Andelfinger’s writing as a whole, and I don’t envy the task of having to establish so many worldbuilding elements within a mini-series. And Ragazzoni does a fantastic job bringing the Rangers of the distant past plus five hundred eighty four years to life and also displaying the awesome power of the Morphin’ Grid. The book looks like exactly what you’d expect a Power Rangers book set in such era would look like. The costumes are dramatic, the set pieces are extravagant, and the monster design is sharp. It’s a vibrant first issue.

Out of all of the Power Ranger titles, this one’s probably going to appeal particularly to the already enfranchised and specifically to those who are explicitly familiar with the Phantom Ranger. Andelfinger and Ragazzoni do a great job bringing the story to life, but this is a bit of a deep dive with a lot of moving pieces, but if you’re into it, you’re gonna be really into it.

8.6 “Grids” out of 10

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The post ‘Power Rangers Universe #1’ Review appeared first on Black Nerd Problems.

OWN: Oprah Winfrey Network debuts the trailer and key art to the juicy new drama, The Kings of Napa from acclaimed writer and executive producer Janine Sherman Barrois (Claws, Self-Made: Inspired by the Life of Madam C.J. Walker) and Warner Bros. Television, to premiere on OWN Tuesday, January 11, 2022, at 8 p.m. ET/PT.

The series features Ebonée Noel (FBI, Wrecked) who plays August King, the middle sibling and the family’s brilliant marketing whiz who’s passionate about wine and always looking for new ways to expand the business. Rance Nix (Zero Issue, Amsterdam Ave) plays Dana King, the older brother and the savvy CFO of the winery. Karen LeBlanc (Ransom, Jack Ryan) plays Vanessa King, the matriarch of the family who gave up her career to help run the winery in Napa with her husband Reginald King, played by Isiah Whitlock Jr. (The Wire, Da 5 Bloods). Yaani King Mondschein  (The Prince & Me, Saving Grace) plays Bridgette Pierce, the cousin of the King siblings who works as the vineyard manager for House of Kings wine. Ashlee Brian  (The Forty-Year-Old Version, Family Reunion) plays Christian King, the youngest brother with swag who manages the winery’s bottling facility but knows little about growing grapes. And Devika Parikh (Grey’s Anatomy, Aquaman) plays Melanie Pierce, August’s aunt who is now back in the States with a firestorm that threatens to change the King family forever. 

The Kings of Napa is produced for OWN by Harpo Films in association with Warner Bros. Television. Sherman Barrois serves as showrunner and executive producer alongside Michelle Listenbee Brown (Love Is__, Real Husbands of Hollywood) and Oprah Winfrey. Academy Award® winner Matthew A. Cherry (Hair Love) directs the first two episodes of the series.

The Kings of Napa is centered on a gorgeous and picturesque Napa Valley, California vineyard owned by the Kings, an aspirational African American family whose wealth and status land them on the pages of design magazines and society pages. The wine business has brought the family success and acclaim, but following the patriarch’s sudden exit from the company, his three children must grapple for the reins to the kingdom — to their own power, wealth, and legacy.

While it’s been exactly a year since the last time we witnessed the battle for the karate soul of the Valley, all of maybe two seconds have passed between Cobra Kai season 3 and season 4. Our very first scene features the vague profile of an aged Terry Silver getting the call to action from John Kreese, and the second scene picks up from Miyagi-Do and Eagle Fang’s joint practice with a simple “Ready / Let’s begin” (appropriately, the title of the first episode).

The promise of the fourth season of Cobra Kai is the much-anticipated team up between Johnny Lawrence and Daniel LaRusso as they recognize that their feud means nothing in the grand scheme of John Kreese resurrecting his brutal pedagogy and cultivating a cult of personality with a bunch of teenagers…again. After the absolutely brutal home invasion that capstoned last season, the dojos have agreed to a super tentative truce with the agreement to hash everything out at the All-Valley. To the victor, goes the spoils. To the loser, their dojo must shut down.

And thus sets the stage for what I will continue to argue is the best high school martial arts drama series that has absolutely no right being as entertaining as it is. I’ve been advocating for this series since the YouTubeRed era in 2018 and once they were handed off to Netflix, I have made it a point to proselytize to everyone on the good show that is Cobra Kai. After watching season 4, my position has not swayed me. If you can willingly suspend some disbelief over community reaction to karate-based gang violence (which I’m assuming if you’re three seasons deep, you’re reconciled with this already), you’re gonna enjoy the ride.

Cobra Kai season 4 feels like the narrative parallel to The Karate Kid, Part III. Season 1 was a modern recreation of the first Karate Kid, and season 2 and 3 acted as a prolonged narrative interlude that featured much higher stakes and a trip to Okinawa (albeit much shorter than the one The Karate Kid, Part II). With the All-Valley Under 18 Karate Tournament (gotta use the full name as a matter of respect) as the focal point for the season and the physical return of Terry Silver into the fray, season 4 is about new training regimes in preparation and grappling with a bunch of turbulent emotions in a way that hits all sorts of nostalgic notes.

There are many central themes surrounding Cobra Kai. Don’t let the past grudges define who you are in the present. Being aggressive doesn’t mean you need to be an asshole. Bullying is still a fundamental problem in society because children can be needlessly cruel, and adults don’t always know the best way to intervene. Balance is key. And all of these messages appear throughout the ten episodes, although I think that some of these points are belabored considering we’ve gone over them in thirty past prior episodes and three movies (five movies? You get the idea). 

The keystone dynamic of Daniel LaRusso and Johnny Lawrence not seeing eye to eye on things at this point is beginning to run out of novel narrative space. Given that is the foundation of the series, it’s understandable if the folks behind the camera are worried about straying from what endeared us in the first place, but at times it’s almost as if they’re afraid to move past that and keep rehashing the same conflict over and over and over. But thankfully there are plenty of other character dynamics in play that open up the story to keep things interesting.

The extended Karate Kid universe has an impressively deep roster, and it’s clear that the ensemble have grown and matured together. However, it’s nice to know that the cast is still growing. In the interest of keeping things spoiler-free, I can’t explain exactly how these new characters complicate things, but I can at least be appreciative that the cast is slowly (very, very slowly) becoming a little more diverse. This increase in cast size though does come at the expense of some character development and much like Eli Moskowitz’s/Hawk’s sudden redemption in the season 3 finale, there are some…leaps that just happen. Nothing that feels like a dramatic departure, but it’s clear that some payoffs feel a lot better than others.

Throughout the ten episodes, some things that happen are incredibly predictable, but are exceedingly well executed. The twists that happen are perfectly placed and had me picking up my jaw off the floor in shock. The performances are fantastic, the fight quality is sublime, and the music soundtrack still on point. 

There is so much to love about the series, and everyone involved has gone to great lengths to make sure that we’ll be able to spend ample time in the extended Karate Kid universe for a long time to come. I think season 4 does suffer a little from a slow start and repetitive arc, but the culmination of the All Valley Tournament is some of the finest sports drama you could ask for and the promise of Season 5 has me chanting “COBRA KAI NEVER DIES.”

Check out the reviews of previous seasons here.

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The post ‘Cobra Kai’ Season 4 Continues to Vie for “Best Martial Arts Drama” appeared first on Black Nerd Problems.