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Writers: Hudlin Entertainment inc and Leon Chills / Artists: Doug Braithwaite, Taurin Clarke, Andrew Currie, and Brad Anderson / DC Comics

Y’all. It just got real in Icon & Rocket. 

This series has been great from the jump, but Icon & Rocket #4 took it to the next level. 

Icon & Rocket have cleaned the drug dealers off the streets, then went worldwide and dealt with the suppliers. The only problem is, that’s the money that controls governments, and without its influx, there’s serious potential for major power vacuums. 

That’s where we get our new villain, a Martian Manhunter who has been on Earth for almost as long as Augustus Freeman, who the government has tasked with taking out alien threats in the past. It’s heavily implied that he killed a baby Kal-El in 1939, which is absolutely insane and cool. 

Now he’s after Icon & Rocket, trying to scare Rocket into stopping this crusade by hurting her mother. 

First off, I just want to say: Wow. 

When they first announced the return of Milestone, I felt like it would be it’s complete own thing. Yes, it exists in the greater multiverse, but I didn’t think they’d be touching on, even in small ways, major markers of the universe. But now we’ve got a full-fledged Martian Manhunter who killed Superman.

It’s not supposed to be J’onn J’onnz, at least not as of now. I’m pretty sure it’s just another Martian. And I like that. It’s just enough of a nod to pique your interest but not too on the nose where it feels forced. I can’t explain to you how far my jaw dropped and how loud I screamed. It was so dope. 

Icon & Rocket #4 give Icon an interesting villain, and because they’re both not from this planet but their origins are different, I wonder if in the future they might need to team up when the powers that be make the decision to go after both of them. I’ll be there for that. That’s exciting stuff.

10 Multiversal Connections out of 10

Enjoying Icon & Rocket? Check out BNP’s other reviews here.

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The post Icon & Rocket #4: Season One Review appeared first on Black Nerd Problems.

Season 5/Episode 2, HBO

One Year Later…

Issa got the BLOCC hot, Molly on her mindfulness, and the best relationship in Insecure history is back on track. Now, that’s how you fast forward. Issa is really out here doing the lawd’s work with the BLOCC. She’s hosting book signings and saving the lives of awkward-ass folks who compliment you then stay in your face 2 feet away for 10 seconds too long. Yeah, no.

Nevermind her. Back to Issa and Molly. They fren-friends again! Sleepover and satin bonnet-type friends. We love to see it. Speaking of friendships, Issa and Nathan are friends and clients now. Also, shout out to the Black woman changing her life, changing her hair trope. This is one I love to see. Molly’s cut is sugar sharp (as my momma would say). The rekindling of relationships and self reflection this season is real. It’s good to see my girls on this side of the game together.

Speaking of games…

Molly’s mama stay on some other, don’t she? Herbert-from-church-Herbert is at the cookout sharing his trap gospel tracks. He only there because of Molly’s mama playing matchmaker. No ma’am, mama. Who is pressing you about a wedding? Not Molly. Who is pressing you about dating? Not Molly. Who is pressing play on that gospel trap?! Absolultely nobody. Molly so kind. She let her mama bop to that Tye Tribbet wanna be track and gave ole dude the…

Issa in her power suit giving presentations and folks wanna do what they do when it comes to up-and-coming Black folk- play pause games. Give excuses. Ask for a compromise. Oh, Crenshawn was dope when this was first pitched. He’s from the community and giving back to it, but he’s a risk now? Oh, word? You got too much money on the line and he doesn’t have enough experience? Cool, cool. NBW got new money and a bevy of issues, just like Nathan probably sitting on a bevy of biscuits. Shoot, Herbert got a bevy of dad-pics and he ain’t nobody’s daddy. *wipes brow* Chile, that hairline is giving every bit of born in 1964 and mama texting Molly his pics like he a snack. The dude is an aluminum foil tv dinner at best!

What are you looking for?

It seems like Molly is giving in to mama’s requests a little. She ain’t on the Hebert gospel train, but she’s back on Lead looking for dating prospects. Updating that profile means reflecting on her dating history and well, that ain’t easy. Advocating for your client ain’t easy either, but Issa jumped her NBW’s DMs and set up that breakfast date with the boss. They finally follow her lead, but it comes with a list of “notes” that Crenshawn ain’t feelin. Free men eat snacks on the job and free men create and flex their vision how they want to. It’s a thin line between compromise and selling out. Issa is treading that line tough and Crenshawn ain’t feeling it. After a little persuading, he decides to follow Issa’s lead. Yeah, sometimes you just gotta eat the sandwich, bro.

Not only is Molly reflecting on her dating life, she’s reflecting on her processing and reactions to her parents’ lack of estate planning. Giving your mama a call and saying sorry is not easy, but mama knows that little penciled notepaper wasn’t working. But no matter what she says, Herbert ain’t bringing it to nobody’s beach. Somebody grab some holy water for mama’s burning bush.

Is there a hand sign?

It’s the day of Crenshawn’s runway show and Molly’s fit ate like she was on the catwalk! You better walk into bessfren’s event like “we ova here now!” Quoia still leary of Molly and pulled out the metal detector, though. Protect ya neck, sis. She ain’t forgot about the block party in season 4. Molly ain’t the one with the heat, though. It’s Crenshawn. Forget them notes. He a artist and [fill in Badu quote here]. Compromise is not what got Crenshaw this far and he knows it. Issa is trying to help pave the way for him to reach a bigger audience, but is she doing it right? Regardless, Crenshawn brought the heat and Seth is feeling the fire. The fire got him feeling like it’s time to increase funding and move with Issa on new passion projects. Issa is feeling all kinds of… whatever feelings you feel that make you send that “you up?” text.

While Molly is embracing the change and going on her first date in over a year, Issa is hanging with Nathan at the crib. Emotional as all get out, when he gets ready to dip, Issa hits him with the “spinnanight” eyes. We saw this coming didn’t we? Well, at least I thought we did. What I did not bank on was my good sis crying into dude’s mouth during a kiss. YOOOO! That was the most random outburst ever. You cannot try to get it in when you are full of emotions on a full moon. Nathan was so taken aback. He was a good dude though, he held Issa while she cried. Nathan ain’t stay, but he at least let her fall asleep before he hit her with the…

Honorable Mention(s):

1. Issa Rae has the Midas touch on awkward moments. We’ve seen them each and every season. Hell, awkward is her brand! So, to start this episode with that awkward ass “you saved my life” stare and to end it with a cough in the mouth and a literal closed door is just a chef’s kiss of awkward delight. Nobody does awkward like Issa.
2. Speaking of what Issa does best and things that Insecure is known for… where is my show within the show? I know we’re only two episodes in, but I need this gem. I lived for “Looking for Latoya” last season. Season one had Conjugal Visits. I could’ve lived without the Due North of season two, but Kev’yn did my little 90’s heart glad for season three. Do I hold my breath or what? Please tell me that the final season isn’t saying goodbye to this gem! Molly and Issa had a whole tv night and I couldn’t see the screen. How Sway? Since when? Call Issa. Call Prentice. I need answers.
3. I said it earlier and I’ll say it again. Molly’s fit ATE! That’s it. That’s the emotion and here is the pic. 

Check out BNP’s other review of the show here.

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The post ‘Insecure’ Recap: Growth, Okay?! appeared first on Black Nerd Problems.

Six artists selected for inaugural program focused on advancement of transgender storytellers of color

Los Angeles, CA – The nonprofit Sundance Institute launched today the inaugural Trans Possibilities Intensive, a three-day virtual program focused on advancing transgender storytellers of color and their projects. Six artists have been selected for the Intensive which provides a supportive environment to work on their projects, sharpen their craft, develop community, and challenge the obstacles that continue to exclude transgender artists of color. The Intensive is designed and led by Moi Santos, Sundance Institute Outreach & Inclusion and Indigenous Programs Coordinator, and includes guidance from experienced creative advisors including Sam Feder, Yance Ford, Tourmaline, and Ro Haber.

The selected fellows include Ava Davis, StormMiguel Florez, River Gallo, Carol Grant, Mitchell (MiSha) Owens, and Savannah Ward. They were nominated by the Institute’s allied organizations, including organizations working explicitly with emerging transgender artists of color, and peers within the Sundance Artist Programs.

During the Intensive, fellows will participate in a robust schedule focusing on key areas of craft including group exercises, discipline specific workshops, and work closely with established creative artist advisors. The program begins with a free public event on October 18 at 10am PT on Sundance Collab, Beyond the Tipping Point where visionary filmmakers Tourmaline (Happy Birthday, Marsha!) and Sam Feder (Disclosure) discuss their filmmaking processes, the state of transgender representation, and the power of storytelling as an agent of cultural change.

“This Intensive is the result of ongoing and evolving priorities through Sundance’s Outreach and Inclusion work and a year of thoughtful and intentional planning, heartfelt commitment, and a belief in supporting transgender storytellers of color and their stories,” said Santos. “We are honored that the Fellows have chosen to share their artistic journeys with us and look forward to continuing our relationship and building community together for years to come.”

In advance of the Intensive, Moi Santos and GLAAD created a transgender awareness training designed to further knowledge, learning, and understanding about transgender and non-binary people so the Sundance Institute can continue advancing inclusion for transgender artists, employees, volunteers, and audiences in physical and online spaces, as well as through our programming of accurate and authentic representation on screen.

In conjunction with this work, the Institute partnered with the Disclosure filmmakers and GLAAD to build a toolkit geared toward entertainment industry executives and creators seeking to use Disclosure as a resource for trans-inclusive storytelling. It is designed to ignite conversations and enhance the work of professionals providing industry DEI training on trans representation in media, and will be available in November here.

The 2021 Trans Possibilities Intensive Fellows and projects are:
Ava Davis
Ava Davis, also known as the Duchess of Grant Park, is a trans actress,  producer/filmmaker, and writer living in Atlanta, Georgia. She is also an advocate for increasing trans and queer representation, especially that of black and other minorities.

The Waltz: Career-driven Claire has fully transitioned into a woman, and finds an unlikely partner who can help her realize her lifelong dream of learning to waltz, but both find themselves unsure of the others’ feelings.

StormMiguel Florez
StormMiguel Florez is a trans, queer Xicane filmmaker, actor, and lifelong musician, whose film work includes documentaries The Whistle (Producer/Director) and MAJOR! (Co-Producer/Editor). He’s originally from Albuquerque, NM and has lived in the San Francisco Bay Area for 25 years. He lives with his partner and their 3 chihuahuas.

Welcome To Roswell: A middle aged trans filmmaker returns to his father’s birthplace, Roswell, New Mexico to document coming out to his family. His partner’s obsession with the 1947 UFO crash takes him and his film crew in a very different direction.

River Gallo
River Gallo is a GLAAD award-winning Salvadoran-American filmmaker, actor, writer, model and intersex activist. They are the creator and star of the short film Ponyboi (Tribeca 2019) which was the first narrative film created by and starring an out intersex person in cinema history. River is currently developing Ponyboi into a feature film, produced by Ezra Miller. They are represented by CAA and Management 360.
Ponyboi: When a high-profile john expires coitus interruptus, intersex sex worker Ponyboi suddenly finds himself in a fever dream on the run from the New Jersey mob on Valentine’s Day.

Carol Grant
Carol Grant is a screenwriter and Nicholl Quarterfinalist from the San Fernando Valley. Between writing screenplays about queer identities and bodies, she writes for publications like Vice, Indiewire, and Little White Lies. Carol’s stories come from both a trans and a neurodivergent perspective, discovering the thin boundaries between flesh and mind.
Eurydice V: In a decaying Earth, a troubled mercenary must smuggle a young, illegal clone that’s escaped from her creator through a dystopian Mexico to a sanctuary on a colonized moon.

Mitchell (MiSha) Owens
Born and raised just outside of the Navajo Nation I’ve always wanted to tell stories that would resonate with audiences. Whether it be raw, and gritty, or light hearted and comical, I want my stories to remain authentically real by staying true to who I am as a TransFeminine individual.
The Boy from Across Town: After a late night hook up, a small town Drag Performer gets caught up in an old classmate’s involvement with the local drug cartel.

Savannah Ward
Savannah Ward is a Black trans/non-binary writer who’s currently an Executive Story Editor on Cruel Summer, the thriller drama series produced by Jessica Biel for Freeform. In their spare time, Savannah writes Horror features because, “what is more horrific than being a Black, queer, trans person in America?”
Meta: Insecure about his masculinity, Black transgender teen Jake, aims to be a star athlete and transfers schools to run on the Boys Cross Country team. But when he discovers that most of his teammates are a pack of bloodthirsty, toxically masculine Werewolves, Jake must define what it means to be a man for himself.

Sundance Institute

As a champion and curator of independent stories for the stage and screen, the nonprofit Sundance Institute provides and preserves the space for artists in film, theatre, film composing, and digital media to create and thrive. Founded in 1981 by Robert Redford, the Institute’s signature Labs, granting, and mentorship programs which are dedicated to developing new work and take place throughout the year in the U.S. and internationally, are supported largely through contributed revenue. Sundance Collab, a digital community platform, brings artists together to learn from each other and Sundance Advisors and connect in a creative space, developing and sharing works in progress.
The Sundance Film Festival and other public programs connect audiences and artists to ignite new ideas, discover original voices, and build a community dedicated to independent storytelling. Sundance Institute has supported such projects as Clemency, Never Rarely Sometimes Always, Zola, On The Record, Boys State, The Farewell, Honeyland, One Child Nation, The Souvenir, The Infiltrators, Sorry to Bother You, Won’t You Be My Neighbor?, Hereditary, Call Me By Your Name, Get Out, The Big Sick, Mudbound, Fruitvale Station, City So Real, Top of the Lake, Between the World & Me, Wild Goose Dreams and Fun Home. Join Sundance Institute on Facebook, Instagram, Twitter and YouTube.

The post The Sundance Institute Launches Trans Possibilities Intensive appeared first on The Nerd Element.

Missouri’s most pro-insurrection senator Josh Hawley delivered the keynote speech at this weekend’s National Conservatism Conference. His speech was dedicated to what he sees as “the left’s attack on men in America.” Based on a clip of his speech that’s been making the rounds on Twitter, it was exactly as inane as you’d expect.

In the clip, Hawley blames feminism for driving men “into the enclave of idleness, and pornography, and video games.”

Josh Hawley says more men today are watching porn and playing video games because their masculinity has been criticized. pic.twitter.com/R0eXdRSYNT

— Ron Filipkowski (@RonFilipkowski) November 1, 2021

“After years of being told they are the problem, that their manhood is the problem,” why would men not turn to these things, Hawley asks. Well, I don’t know but maybe the party that’s built itself around ideas of “personal accountability” could start by growing a little backbone and stop blaming women’s fight for equality and basic respect for men’s interest in porn and video games.

That clip has gotten a lot of attention for being completely ridiculous. But after having found a copy of the speech in its entirety, it’s not even the worst or weirdest thing he said at this event.

Without subjecting you to too much of Hawley’s baffling pomposity (you can read the speech in full here if you so choose for some reason), it’s full of bad faith arguments, strawman fallacies, and a complete dearth of actual logic and reason.

To prove that “the left” (an undefined but apparently all-encompassing, uniformly man-hating entity) is trying to destroy masculinity and therefore America itself, Hawley takes issue with the idea that systemic oppression in any form exists. He whinges about how “the left’s” insistence that toxic masculinity is a thing that exists, men are getting married less and at older ages, and that they’re being driven from higher education and even the military.

(He specifically cites a workshop about toxic masculinity upsetting young men at West Point Academy, but given the prevalence of sexual assault at said academy, it’s hard to really care that a few men were a bit miffed.)

Hawley touches on numerous disparate issues including vaccine mandates, over-medicating children, and outsourcing labor to foreign countries, shoving all of these things and more under the umbrella of a leftist war on men.

He dips into anti-trans rhetoric, citing trans inclusion in women’s sports and gender-neutral language in conversations about reproductive health. As Hawley sees it, the left’s “assault on womanhood” is part of the larger war on gender—but really, on men. (Also, if anyone’s waging a war on women—and they are—it’s the Josh Hawleys of the world.)

Not one single sentence in Hawley’s speech comes from a place of good faith. Just one example: To illustrate how unreasonable “the left” is regarding gender, he cites a 2018 op-ed from Professor Suzanna Walters of Northeastern University in which Walters argues that it “seems logical to hate men” because of all the harm they’ve caused women.

Hawley holds this up as an example of liberal culture run amok without acknowledging that the university immediately put out a statement that Walters’ views don’t represent the institution, but that “Northeastern is committed to fostering an environment in which controversial ideas can be discussed, debated and challenged.”

So not only is this clearly just one woman’s opinion and not that of any larger group or institution, but aren’t people like Hawley and other conservatives constantly complaining about controversial ideas being silenced? The hypocrisy is astounding.

Hawley’s entire speech is comprised of fearmongering talking points that are rooted in nothing but an assumption that those listening will regurgitate those points without doing any critical thinking about whether or not they’re true.

“The Left want to define traditional masculinity as toxic,” Hawley claims. “They want to define the traditional masculine virtues—things like courage, and independence, and assertiveness—as a danger to society.”

That’s simply ridiculous. And Hawley likely knows it’s ridiculous, but he’s also managed to be successful in building a career and a reputation on this sort of fact-free scaremongering partisan war nonsense, so he will continue to act a clown for as long as he can.

(image: MANDEL NGAN/AFP via Getty Images)

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