'Last Call' Is A Hilarious Look At What's Happening On The Other End Of The Line

Answering an unknown number is always a risk. More often then not, you wind up getting entangled in a conversation with a telemarketer who is trying desperately to get you to purchase something you neither want nor need . I used to be polite, but now I've gotten to the point where I just hang up outright, and frantically rush to block the number from my phone. However, being on the other end of that call is another experience entirely. Inspired by his time at a call center, Khaled Ridgeway wrote and produce Last Call, a hilarious short about life on the other end of the line.Desperate to make his quote at the call center, Kasey (Roland Buck III Chicago Med), turns to the absolute worst possible source for help; The DO NOT CALL list. Last Call is a fantastic piece with a crazy twist  that shows what happens when desperation overtakes common sense. After all, making your quota can feel like life or death.  Last Call also stars YouTube celebrity chef  Felicia O'Dell (Auntie Fee) who will be seen next in Barbershop 3. The film was directed by Ken Koby and edited by Chris 'Wheelz' Curry.

Check out Last Call for yourself below.

Interview: Teyonah Parris Talks ‘Chi-Raq’, Female Driven Stories & the Storm Surrounding the Spike Lee Joint

The year I graduated from a Chicago Public high school, 27 of my fellow CPS peers were gunned down. Last year, there were a total of 2,587 shooting victims in the city. I was born and raised on the South Side of Chicago, and in the 18 years that I lived there full time, things changed drastically, And yet, it’s still home to me. When Spike Lee announced his new film “Chi-Raq”, I was immediately disturbed as were many of my family and friends who still called Chicago their home. When the initial trailer for the film was released, further fuel was added to an already smoldering flame.  However, knowing Spike Lee’s history of pushing back against systematic oppression, and exploring the varied issues that continually plague the Black community, Lee’s satire “Chi-Raq” fits into his lengthy filmography.

Leading up to “Chi-Raq’s” release, the lovely Teyonah Parris who is the lead actress in the film, recently chatted with Shadow and Act about the project, the controversy surrounding it, and what drew her to the story to begin with.

Aramide Tinubu: Thanks so much Teyonah for speaking with me and with Shadow and Act.

Teyonah Parris: Of course, I am familiar with you guys.

AT: Oh that’s fantastic; well I know you only have a limited amount of time so I’d love to get started.

TP: Yes ma’am.

AT: Great, well let’s talk about “Chi-Raq”. Ironically, I was born and raised on the South Side of Chicago, so when I first heard that Mr. Lee was naming his new film “Chi-Raq” I was admittedly alarmed. However, what stuck out to me when I initially viewed the trailer was the fact the story seemed to be focused on women. So often, horrible acts of violence affect women and children most deeply. More frequently than not, we are the ones who are left behind.  I feel like a more female-driven perspective hasn’t been seen from Spike Lee since his film “Crooklyn” in the early ‘90s.  What is you opinion on that, do you feel like “Chriraq” is a woman’s story?

TP: I think that the movie being led and the source of leadership that comes from a woman in this film, I definitely think is exciting, and I think like you said, we’re often left out of the narrative and our side of the story is generally not explored. Particularly in circumstances where there are larger numbers of men who are a part of this situation. Let me be clear, there are women who are also apart of this, I’m painting a very broad stoke.

AT: Oh most definitely, of course.

TP: But yes, it’s often the women who are left to deal with everything and put the pieces back together.  So to have this young woman Lysistrata, take a stand and lead the charge in reforming this community and the movement going global; I think it’s really exciting to see a woman take charge in that way. I think that it’s also important to remember that our movie “Chi-Raq” is based off the Ancient Greek play “Lysistrata,” which was written over 2400 years ago by the playwright, Aristophanes. So [Spike Lee] really took the exact narrative and put it on the South Side of Chicago, and it’s crazy that  the story is still so potent and so relevant.

AT: Centuries later.

TP: Yes, centuries later.

AT: How did you come to the project?

TP: I came on to the project after meeting with Spike at just a very general breakfast. We didn’t talk about work or anything, but he had seen “Dear White People” and we just had a general meet and greet, so to speak. And then a few weeks later he just sends me an email with the script for “Chi-Raq”. There was no preface or anything, he just sends it and says read it.

AT: Oh my wow, OK.

TP: So I’m reading it and I see the name Lysistrata, and I’m familiar with that play. I did it during my time at Julliard. Then I realized that the play was set on the South Side of Chicago. I thought, oh wow; Spike is doing the modern reimagining of this play; so that automatically got me excited. And then once I’d spoken to Spike, the first thing that he said was that we have to save lives. If we save even one life, then we’ve done our work. But we have to save lives, and that’s what his mission has been going forward with the film. And, that’s been mine for sure as an artist, being a part of this.

AT: There has been a ton of controversy surrounding the film already. I know that people are extremely outraged because the rampant gun violence in Chicago is very real. Did you have any reservations about “Chi-Raq” because of that? And where do you feel all of the pushback has come from?

TP: I think that we’re dealing with a real life situation. This isn’t something that has been made up; the statistics in that city are very real. Spike did not create that, and he also did not create the term “Chi-Raq”. That was born of the community from local rappers in an effort to express the dire situation that they’re in, which is essentially that you are safer in the streets of Iraq or Afghanistan than you are on the South Side of Chicago.

Continue reading at Shadow and Act.

Image: Chi-Raq/Amazon

No Rest for the Wicked: Edi Gathegi Talks ‘Criminal Activities’, ‘The Blacklist’ and Playing Villainous Characters

Villains are often the most enticing characters on screen. They draw in their audience; inviting us to hang on to every word they say. Though Edi Gathegi has had many roles in films and on television, some of the most terrifying characters on his resume are some of his most brilliant. You may remember him as Cheese in “Gone Baby Gone,” or more recently you may have been watching his antics as Mr. Solomon on NBC’s “The Blacklist” over the past several weeks. Either way, you’ve probably realized that Edi Gathegi is master storyteller. Gathegi recently sat down with Shadow and Act to talk about his new film “Criminal Activities”, his role on “The Blacklist” and what it’s like to play the bad guy.

Aramide Tinubu: Hi Edi, it’s great to meet you; I’m really excited to chat with you.

Edi Gathegi: It's nice to meet you!

AT: Let’s get right to it. You've sort of become this master at playing villains. You were kind of an evil vampire in the “Twilight” saga, and currently your characters on NBC's “The Blacklist” and this current film “Criminal Activities” are still rather unsavory. How is Marques different from the other menacing characters that you've played in the past?

EG: I think the idea, first and foremost, is to understand that people may label these characters as villains, but at the end of the day I have to fall in love with the characters that I play. For me, they have to be real characters with real objectives, and driving forces. So they're all different. For instance Laurent (“Twilight”) is a vampire who has a strange desire to feed off of humans, but he tries to be a vegetarian. Unfortunately, that's too hard for him so he ends up killing a human. So, I guess you can look at him as a bad guy, but that was just in his nature. Now Mr. Solomon on “The Blacklist”, he’s bad. He is probably the worst character that I've played, in terms of having very few redeeming qualities, other than the fact that he's fun to watch. He’s someone who really enjoys living without a moral compass.

AT: Yes, he is extremely entertaining; you never know what he’s up to.

EG: Marques is a man who has been groomed and raised by unsavory characters. I think that maybe he's potentially a victim of his own environment. He's just sort of got into the family business. Maybe if he was raised in a different environment he might have had a different outlet. But, I guess he's bad because he engages in criminal activity. (Laughing)

AT: (Laughing) Yes, Marques has that cold and calculating demeanor that is similar to Mr. Solomon. However, “Criminal Activities” has this humor twist to it that is very atypical of traditional gangster films. I really enjoyed that comedic element.

EG: Yeah and what’s interesting is that I have to assume it was filmed the way it was intended, but when I read the script I didn't really see a whole lot of humor in it. It wasn’t until the actors totally committed to each scene, and what they were going for that certain things become hilarious. After all, it’s a truly outlandish situation.

AT: What intrigued you about “Criminal Activities”? How did you come to be involved with the project?

RG: I was told (and I don’t know how much of this is true) but I was told that there was a name actor that was negotiating for the role of Marques and somehow that deal fell apart. So, my agents urged me to make a tape for it. Jackie saw my tape and really liked me, but he wanted to see me do a slightly different version of the character, so I made a second tape and then they gave me the gig. I liked the role because it was a cool project. It was well written and it seemed fun, but there was a challenge for me. The difference between Marques and any other character that I’ve ever played is that he has got pages and pages of dialogue. I looked at the script and I thought this is a challenge. How in the hell am I going to say all of this and have the audience not fall asleep?

AT: He definitely has some of the best lines in the film.

Continue reading at Shadow and Act.

Image: Edi Gathegi

Review: 'Shelter' Is a Well-Intentioned Though Idealistic Interpretation of Homelessness in NYC

On my way home from screening “Shelter”, I sat on the New York City subway D train headed uptown, while sipping my extra hot caramel macchiato. As the train started roaring along the track, a homeless man began walking back and forth in the train car, intermittently begging for change and spewing gibberish. The homeless are a constant in this city; most of the time they are invisible, and other times, they feel like a nuisance; a thorn in the sides of the more advantageous residents.

As I’ve passed homeless people on the street, or seen them on train platforms, I’ve often wondered how they've gotten there. It’s unthinkable to me to have nowhere to go, and no one to turn to. Many homeless people are mentally ill; others have simply been dealt a horrible hand in life. A New Yorker himself, “Shelter” director Paul Bettany walked passed two particular homeless people - a black man and a white woman who lived just outside of his building - on a near daily basis. He never knew their story, and after Hurricane Sandy ravished the city, he never saw them again.

Idealistic perhaps, or maybe feeling the guilt that many of us feel as we turn away from the homeless in discomfort, Bettany, primarily an actor, created a story for this couple in "Shelter," his directorial debut.

Undocumented immigrant, Tahir, played by Anthony Mackie, and drug-addicted Hannah (Jennifer Connolly) are very different people, both thrown on the streets due to life’s circumstances.  Their initial meeting is painful and tumultuous. And yet, they push through, building a tentative friendship which blossoms into something much more powerful. As expected, Mackie and Connolly give powerful performances. (Though Mackie’s Nigerian accent leaves a little to be desired.) However, the story itself doesn’t allow the audience to really feel the pain and shame of homelessness in any real way.

Continue reading at Shadow and Act.

Image: Shelter Poster/ Screen Media Films

Aruba Film Fest: A Morning Spent With Dutch-Aruban Filmmaker Shamira Raphaëla - Her Debut Film, Cycles and Unconditional Love

Shamira Raphaëla is a half-Aruban, half-Dutch television director living in Amsterdam. From the outside, her world seems structured and ordered. She spends her days traveling the world and telling stories from behind her camera lens. However Raphaëla’s 60-year old father, Pempy, and older brother, Andy, live almost parallel lives. Pempy has been addicted to heroine and crack for more than thirty years, and is constantly in and out of jail. Andy has seemingly followed in his footsteps. One would assume that Raphaëla’s story would be one of destruction and pain. And yet, her debut film “Deal With It” about her father and brother, shows something radically different. It is a film about strength, acceptance, and unconditional love. Raphaëla screened “Deal With It” at this year's Aruba International Film Festival. She even took time out of her hectic schedule to show me around the island. We stopped at a snack hut for a traditional Aruban breakfast of pastechis; a pastry similar to a empanada or a turnover that’s filled with meat and cheese. From there, saw a group of donkeys, stopped to see the Balashi Gold Mill Ruins, and we ended our morning by hitting up the sunning Baby Beach in San Nicolas for a swim.

We chatted about “Deal With It”, destructive cycles, and telling our stories.

Aramide Tinubu: To start off, I just wanted to commend you on your film. I’ve never seen a film dealing with theses same themes that has had the amount of warmth and love throughout the story. It was wonderful.

Shamira Raphaela: Oh thank you. It was so important to me for people to see the love. I wanted people to see the good, and not just be focused on the bad.

AT: Oh, yes that’s incredibly important. So, what inspired you to become a filmmaker? Was there a particular moment in your childhood that sparked your interest in storytelling?

SR: I guess I was always drawn to injustice, so I always wanted to like change the world. So I was like, I can either become a doctor, or I can become a storyteller and the storyteller is what I ended up going with. I’ve always been interested in people and in their perspectives. I think it’s important to tell stories to each other, because it is the only way we can better ourselves.

AT: Yes, I think that so often what ails many disenfranchised and minorities communities across the globe is the fact we don’t talk about things, and we don’t tell our stories. It becomes a cycle, and we continue these same patterns over and over again.

SR: Right, and we all have the same story, that’s the strange thing about it. Now that I’ve screened “Deal With it” all over the world, it’s like oh my God, this is the same situation that someone in Havana, Cuba is dealing with.

AT: That’s why film and mediums like it are so important, because you can touch so many people.

SR: Yes. (Laughing) But sometimes I think that if I was a doctor, I could have saved so many more people.

AT: (Laughing) Yes, but you would probably still be in school.

SR: And in debt.

AT: (Laughing) Well to move on to you father Pempy, one of the main things that stood out to me in the film, was the Tupac poster your father has hanging on his wall. What did his admiration of Tupac symbolize for you?

SR: Tupac, is his hero. He’s got Che Guevara, Scarface, and Bob Marley of course, these are all men who were rebels and anarchist against the system, and my dad identities with them because he is also against the system. He just wants to live his life unbothered and never surrender. So for him, these are really like his role models. I chose to put them in the film because it gives the audience context to see where he’s coming from. But at the same, time Tupac is critical of my dad sometimes. I got that shot of Tupac looking over at my dad like, “What are you doing?” (Laughing)

Continue reading at Shadow and Act.

Aruba Film Festival Review: ‘Deal With It’ Is a Compelling Documentary About Cycles, Addiction & the Power of Love

Living in New York City, I've learned to avoid the drug users as they bellow loudly down the streets of Harlem. I avoid making eye contact with them, seemingly more absorbed in whatever's on my phone screen or streaming through my ear buds than the human beings right in front of me. They're forgotten to me by the time I make it to the next block. If criminals and addicts aren’t directly involved in your life, you rarely actually see them. Instead, we use them for our entertainment (and maybe education) on shows like HBO's “The Wire” and Starz's “Power”. Or, we might turn on the television some dreary afternoon to a show like “Intervention”.

We sit and observe, maybe even sympathetically, from the comfort of our own lives, watching their lives quickly spiral out of control. But, what if we didn’t have that luxury? There are many people who deal with addiction and criminalization on a daily basis that they can't escape because love and family is wholly inescapable. What if you have no choice but to deal?

Aruban-Dutch filmmaker, Shamiera Raphaëla, explores this topic in her mesmerizing and compelling freshman documentary "Deal With It”. The film follows her 60-year old drug dealing and heroin addicted father Pempy, as well as her brother Andy, who are both constantly in and out of prison. The film opens with Pempy's release from jail. As soon as he steps beyond the prison gates, he starts talking smack. His lifestyle has obviously taken a toll on him, but his spirit is still vibrant. He's hilarious and upbeat; one of his most prized possessions is a massive Tupac poster hanging on his apartment wall. If you thought 60-year-old drug dealers didn't exist, then you've never met Pempy.

Raphaëla‘s brother Andy’s story is much harder to swallow. As a Caribbean man (who is much darker skinned than his sister or father) living in Holland, the cycle and repercussions of Pempy’s choices on Andy’s life are staggering. Though, Andy isn't an addict in the way that Pempy is, he sells drugs and makes a living by robbing others. In one particular scene, he rolls crack rocks as his infant son looks on from his stroller.

Shamira Raphaëla is nearly 33 years old, so these are images she has been seeing all of her life. Still, it's truly shocking to watch what we can only assume are typical interactions with her father. Pempy cooks heroin on a spoon, while Raphaëla tries to discuss his use of crack, heroin, and meth on the same day. Yet, Pempy isn’t fazed. He flips the script on Raphaëla suggesting that she be more concerned with her biological clock and lack of boyfriend. This moment, like many others in the film, is hilariously heartbreaking.

Continue reading at Shadow and Act.

Image: Deal With It

Aruba Film Fest Interview: Venezuelan Director Fina Torres Talks ‘Liz in September’, Her New Film About Life, Love & New Experiences

More often than not, films that have an illness at the center of them are far too heartbreaking to watch joyfully.  After viewing these films, the audience leaves the theatre with a dark cloud over their heads; still lost in the somber tale as they move throughout the rest of their day. Fina Torres’ “Liz in September” does the opposite. Depicting a masterful story about love, life and friendship against a stunning Caribbean backdrop, watching “Liz in September” felt like floating in a daydream. The film follows 36-year-old Liz (Patricia Velásquez), a lesbian and former supermodel who is spending a final summer on the beach with her close girlfriends. Things don’t quite go as expected when Eva (Eloisa Maturé), an unexpected visitor shakes up all of Liz’s plans.

“Liz in September” is a vibrant film about living fully, loving deeply and being open to new experiences.

Director Fina Torres and producer Laura Oramas recently presented the film at the Aruba International Film Festival. The duo sat down with Shadow and Act to chat about the film and what drove them to tell the story.

Aramide Tinubu: Thanks so much for sitting down with me Ms. Torres. I just want to jump right in and ask “Liz in September” is based on the play, “Last Summer at Blue Fish Cove”, how did you find out about the play? Why were you inspired by the story?

Fina Torres: It’s a funny story because nine years ago, or maybe even more now when I was in LA, I was contacted by the producer who had the rights to make this movie in English; it was an American producer. However, it was very difficult to get the financing together. So many years later, I was in a Master Class with this Venezuelan actress, and she was doing a scene from the play. I thought to myself, I know this play; I was going to make this movie many years ago. The actress told me, “you need to do it now.” So I called the producer and asked if she would be interested in doing the movie but in Venezuela so it would be an adaptation. And she told me, OK let’s do it.

AT: In the film, Liz has a great deal of tension with her parents. They kicked her out at 16 years old because of her sexuality, and the relationship was never repaired. Have there been any strides at all in the LBGTQ community in Venezuela?

FT: That’s a very difficult question to answer because in a way yes, like in the rest of Western world; but in some ways not. Gay men seem to be more accepted then gay women.

AT: Really?! That’s so interesting, I would have assumed the opposite.

FT: Yes, and I think that some countries in Latin America like Argentina, Nicaragua, Chile and I think Columbia now have gay marriage, but not in Venezuela. The gay community has really tried, but the Congress there is extremely homophobic.

AT: Yes, that’s how some states are back in the US. It’s horrible.

FT: Yes, and even the more progressive political parities in Venezuela don’t dare to fight for gay equality because they fear they will lose a lot of voters.

AT:  Well, Patricia Velásquez who plays Liz in the film is the first openly gay Latina supermodel. How did Patricia’s life inspire Liz’s back-story?

FT: Liz’s supermodel background wasn’t in the play, but I thought it was important to incorporate some aspects of Patricia’s life. In the play, Liz is kind of butch but I didn’t want to make her a stereotype. So, I put some elements of Patricia’s life in there. She traveled the world as a high fashion model, and she’d known the power of beauty and how to use it to her advantage. So, I thought it would be interesting to take that and put in into the screenplay.  It was such a melding between Liz and Patricia Velásquez.

AT: I found it so striking that Lola couldn’t fulfill Liz’s wishes in the end.

FT: Some doctors, they cannot do that because they take that oath not to do any harm. They want to keep people alive, so it’s a very ethical choice. On the other hand, Eva had a son who was ill and that she forced him to fight it so much that he wasted away. So she didn’t want to do that again. So, that’s one of the reasons she’s able to help Eva.

AT: What is Margot’s back-story with the woman that appears suddenly, or was that simply a figment of Margot’s imagination?

FT: Well, that’s what I wanted people to ask themselves. I wanted to leave it up to the audience.  The way I see it is that Margot dreamt about Yolanda because she has been faithful to this love all of her life, and she has always been waiting for this woman to come back. Margot has this nostalgia for this incredible love that she had so, for me it was like a dream or a desire.

Continue reading at Shadow and Act.

Image: Liz In September

Interview: Chatting w/ Tyrese Gibson About His New Film 'Shame' & Taking on Darker Roles

Shame is a powerful emotion, it aids in secrets, lies and deception. The constant need to cover up humiliation can be overwhelming, causing you to sabotage other aspects of your life. The problem is that secrets can only remain hidden for so long. Tyrese Gibson’s new short film “Shame”; which was produced by Academy Award winner Denzel Washington, embodies all of these emotions. Set in Detroit, Michigan in 1968, Gibson plays Lionel Jacobs, a nightclub singer whose world is rapidly unraveling due to his rampant drug and alcohol abuse. Though he’s married to one of his background singer, Bobbi Ann (Jennifer Hudson), Lionel’s demons and indiscretions are beginning to catch up with him. “Shame” is a quiet film; it allows the audience to indulge in Lionel’s depressing late 1960’s world until it explodes; along with the life that Lionel has built for himself.  It’s a film about moments, reflections and unforeseen consequences.  More than that, “Shame” forces its audience to confront the sins we often try to keep hidden.

Though Gibson first appeared on the big screen in John Singleton’s 2001 film, “Baby Boy”, his most recent projects have been action films like the “Fast and Furious” and “Transformers” franchises, his character Lionel shows a much grittier side of the 36-year old actor. Gibson recently premiered “Shame” overseas at the Aruba International Film Festival.  Here is what he told Shadow and Act.

On the Inspiration Behind the Film:

Well the movie is directly inspired by my song “Shame”, from my most recent solo album, “Black Rose.” I’ve been living with this song and I was in a relationship for five years and when the relationship ended, I was devastated. So, I went in the studio and the first song that I recorded was “Shame.” After living with the song for a long time, all of these characters popped up in my head. Everything that you just saw was in my head, because I played it over and over and over. So, I got the director in place, and I asked Jennifer Hudson who was featured on the song if she would do the movie with me, and that’s when we also landed Denzel Washington. It was really just a labor of love. I tell people all the time, especially my supporters and fans, all of us have great ideas, and all of us are very creative. If you allow ideas to pop up in your head, and then you allow them to go away; or when you talk to people about it and then they laugh at you, you’re stopping yourself from impacting the world. This was in my head and I was obedient. I made it happen and I followed through.

On Lionel’s Faith, Humanity and Demons:

You know it’s interesting; almost all of us have things that we struggle with.  I don’t drink or smoke or anything like that, but I also don’t judge people who do. My mother was an alcoholic for 27 years, so I grew up with drugs and alcohol, and a lot of family in and out of jail. I grew up in the ghetto in South Central, LA so a lot of what you see are images that I was exposed to growing up. I didn’t want this character to be so far away that people can’t relate to him. I wanted Lionel to be relatable. I also wanted people to be able to say, I may have a drinking problem, I may use drugs here and there, but I need to leave it alone because I might end up looking like [Lionel].  It’s that good and that evil that most of us struggle with. That’s why I don’t judge anyone, because good and bad have various levels.  Lionel became very popular in Detroit singing at the nightclub, and his popularity made him powerful.  But then, he became abusive with his power. So, the thing is, we all have power but a lot of people become abusive with their power and that’s who Lionel was. He thought that it was OK to be married to Jennifer Hudson’s character, and to be having an affair with another background singer. He thought it was acceptable. If anyone tried to get in the way of that, he would shoot, stab and kill and then run to Jesus afterward.

Continue Reading at Shadow and Act.

Images: Tyrese Gibson's "Shame"

“Fires Of Heaven” – Recap of ‘Empire’ Season 2, Episode 3

Prosecutor Roxanne Ford is still in her low cut top holding a press conference outside of the courthouse. She is NOT pleased that Lucious has been granted bail, and she’s not afraid to let everyone know. Oh, and she might be running for Assistant District Attorney. Meanwhile, Lucious walks out of the courthouse looking slick and smooth with Jamal and his new attorney Thirsty on either side of him. The only problem is, apparently under his bail terms Lucious isn’t allowed in Empire Entertainment headquarters. This seems insane but Lucious appears to be unbothered.

At Empire headquarters (on the steps, not in the building) Lucious speaks to his fan as Roxanne Ford looks on from her beat-up car. She has it out for Lucious BAD.

At Hakeem’s apartment, it looks like several bombs detonated. (If Lucious hasn’t cut him off yet, he should really consider a housekeeper.) He’s rather disheveled as Cookie beats down his door. Apparently he’s late for something…like that’s a surprise. It seems that the youngest Lyon has been laid up with the new lead singer of Rainbow Sensation, because she pops out of nowhere looking for her draws. After Cookie puts the girl in her place, she tells Hakeem that Lucious is out of jail.

Hakeem makes it to his interview with Sway in the nick of time,  and after his performance, he sits down to chat about his leaked album and Lyon Dynasty. Sway gets Lucious on the line during the interview, but doesn’t have much to say about his youngest son or the leaked album, but Hakeem does provide an update on his girl group. Evidently they are no longer Rainbow Sensation, instead they’re Ménage à Trois.  Sway suggests that Hakeem the girls to his show in a couple of days, and despite Cookie’s horrified glare and headshakes, Hakeem agrees. (Cookie’s broom needs to make a comeback.)

Later that evening Lucious has invited the entire Lyon clan over to break bread. (Why anyone bothered to show up is beyond me.) Lucious tells them all that if they dismantle Lyon Dynasty, EVERYTHING will be forgiven.  It seems that he thinks that no one can eat without him. This is the point when Queen Cookie shows out,. Mama snatches up her bag and proceeds to tell Papa Lyon that she’ll always eat. Prior to exiting, she politely snatches the table runner and all of the food off the table.

Sometime later, Anika foolishly meets Lucious at Leviticus. He lies through his teeth and convinces her to plot against Lyon Dynasty. (SMH Anika I thought you were bright.)

Continue Reading at Shadow and Act.

Image: FOX

Interview: Chatting w/ Meagan Good About ‘Minority Report’, Her New Film ‘A Girl Like Grace’ & Viola Davis’ Emmy Shout-Out

Meagan Good has been working in the entertainment industry for well over twenty years. She first burst onto the scene as the troubled and secretive tween, Cicely Batiste in Kasi Lemmons’ 1960’s era “Eve’s Bayou” alongside Samuel L. Jackson and Lynn Whitfield. Since then, Good has been on numerous television shows, and starred in a plethora of films including “Think Like A Man” and “Anchorman 2.” Good’s career has certainly been taken to new heights in the past few years. In 2013, she snagged a starring role on the NBC drama “Deception”. And currently, she leads the new FOX sci-fi drama “Minority Report” as police detective Lara Vega, showing audiences just how badass she can be as an actress. Good took time out of her extremely hectic schedule to chat with Shadow and Act about “Minority Report”, her latest film ("A Girl Like Grace"), and Viola Davis shouting her out at the recent Primetime Emmy Awards.

Aramide Tinubu: Hi Meagan. Thank you so much for speaking with me and with Shadow and Act. How are you doing?

Meagan Good: I’m great how are you?

AT: I’m wonderful thank you. It’s great to be speaking with you. 

MG: It’s wonderful to be speaking with you as well.

AT: Thank you. I know you don’t have much time, so I’d love to jump right in and start chatting about “Minority Report” if that’s OK with you. 

MG: Of course.

AT: Well to start off, who is detective Lara Vega? Why is she so different from all of the previous characters that you’ve played in your life? From watching the first two episodes, I can see that she a badass, but she also has a gentle side.

MG: You’ll really get to know her as the season goes on, and you’ll see that there is this vulnerability to her. She wanted to become apart of Pre-Crime, because if it had been in effect, her father might not have passed away. He was murdered on the job. So, she really wanted to follow in his footsteps, and she thought that being a part of Pre-Crime would be a game changer for her. However, by the time she got to the program, it was abolished. So that really is a part of what motivates her and drives her. There is also this sense of purpose. When she wakes up, she lives and she breathes partially because of her dad. She wants to save lives and stop people from going through the pain that she and her family have been put through. She also just wants to make the world a better place, one person at a time. She’s really driven by this purpose in wanting to do good, and be good. Lara wants to give back in some way, to get rid of some of that pain of losing her father.

AT: You can certainly sense her motivations in the actions that she takes. However, knowing the history behind the 2002 film “Minority Report” starring Tom Cruise, were you nervous at all about such a well-loved film being transformed for a television audience?

MG: Yes. You definitely know that a lot of people are going to have opinions; a lot of people are huge fans of the movie and you just want to do it justice. It’s already quite different when you have a woman in that kind of role. You have to figure out how to bring strength but also that vulnerability that a woman has in a certain kind of way while still making it feel strong.  So, it’s definitely a challenge, one that I was game for and excited to have the opportunity to do. So I was a little bit nervous, but the other part of me knew that it was something that I’d literally prayed for. I’d waited on the role, and turned down other opportunities because I knew that it was coming. So when it got here, and it was everything that I really wanted, I had and have a confidence in that, because of how it all came together. I just knew that it was going to be what it was supposed to be.

AT: Yes, that’s such a blessing. I did read that you prayed about a role like this and it came to fruition for you within a year.  That’s amazing.

MG: Thank you.

Continue reading at Shadow and Act.

Image: FOX

Review: 'The Martian' Delivers + Watch Exclusive Footage with Co-Star Chiwetel Ejiofor Discussing the Film

Humans have long since been fascinated with space. There is a deep desire to discover what has previously been unknown, and a deep longing to connect with what has previously been untouched. Though brave men and women have ventured out into our vast universe, we still know very little. Instead, we are left to speculate about what we believe might be true. Ridley Scott's “The Martian” marks the third major “space film” to come out of Hollywood in the past three years, following 2013’s “Gravity” and 2014’s “Interstellar” which were both extremely successful. However with its expansive cast and focus not just on human survival, but on guilt and fear, “The Martian” is by far the best of the three.

In the midst of aborting a mission due to a horrendous storm on Mars, astronaut and botanist Mark Watney (Matt Damon) is separated from his crew. Though his crew leader Melissa Lewis (Jessica Chastain) tries desperately to find him despite harrowing winds and obscured vision, her quest proves unsuccessful. Working under the assumption that he’s dead, his fellow crewmembers abandon Mars and begin their 10-month quest back to Earth. Only Watney isn't dead.

Prior to “The Martian”, I would have never been convinced that Matt Damon could carry a film in which he was alone for large chunks of it. However, set against director Ridley Scott’s stunning red deserts depicting Mars’ atmosphere, Damon forces the audience to empathize with Watney. As the lone being on a planet, he's astonished to be alive, and completely haunted by the idea of his impending death. Time certainly isn’t on his side. It will take 4 years for a new crew to get to Mars to retrieve him, and he only has enough food to last him a year.

Though Matt Damon gives a great performance, it's the ensemble characters that set “The Martian” apart from the other recent films that were set beyond our planet. Michael Peña, whom I’ve always felt was severely underused in films, stars as Astronaut Rick Martinez. As usual, he’s wit and comedic brilliance brings light and warmth to the confined space ship of Watney’s team members.

Donald Glover also has some fantastic moments. As the talented but off-kilter Rich Purnell, Glover gets the nuances and neurosis of a brilliant scientist who doesn’t quite grasp the skill of everyday conversation. Despite his “quirks” Rich Purnell’s role in the film is imperative.

Back at headquarters, the always-stellar Chiwetel Ejiofor stars as Mars missions director Vincent Kapoor. When NASA discovers that Watney is alive, Kapoor finds himself between a rock and hard place. The space crew doesn't know that Watney has survived and NASA director Teddy Sanders (Jeff Daniels) doesn’t seem too keen on telling them.

Continue reading at Shadow and Act.

Image: The Martian/20th Century Fox

“Without A Country” - Recap of 'Empire' Season 2, Episode 2

Note: if you haven’t watched the episode, you may want to skip this recap.

After the insanity of last week’s season premiere, it looks like “Empire” has settled right back into the juicy show that we all love.

The episode opens with Cookie, Andre and Hakeem being put out of Empire headquarters. They all look rather pathetic carrying their personal items as the exit the building. Jamal really isn’t playing games with them. The trio engages in various conversations over the phone about what their next move might be. Hakeem suggests looping Anika into the fold, but Cookie is not having it, and Andre is not trying to be in the middle of them. Cookie and the boys meet at Ghetto Ass Studios, the studio where Jamal recorded some of hits last season.  Neither Andre nor Hakeem look like they’re about this life, but at the moment it’s their only option. It seems like Hakeem ignored Cookie’s wishes (surprise, surprise) because Anika is already in the studio with former Empire recording Artist V.  V is less than impressed with her surroundings because she is NOT feeling Anika or her helpful hints.

In jail, Lucious is attempting to see the doctor for his medication. If you recall, he doesn’t have ALS, but he does have myasthenia gravis, which isn’t fatal but still needs to be monitored and treated.  Unfortunately for him, the doctor can’t seem to find his authorization forms, which means no medicines for Mr. Lyon. Something is definitely amiss here.

Back at his fancy loft, Jamal is singing his ass off and giving an interview with a reporter from “Spilling the Tea”. He lets the world know that Michael is his bae and he’s chatting about the delay in his new album, and his father’s imprisonment when Cookie comes bursting in unannounced (In true Cookie fashion.)  The duo keep it cute for the cameras, but Cookie is there for Hakeem’s album. She doesn’t want Empire holding it hostage. Jamal is still feeling petty it seems, because he doesn’t seem to care what she wants. Oh, and Cookie also takes this time to tell her middle son that she, Andre and Hakeem are starting their own company.

Back on the prison yard, Lucious is acting like the King of Sheba, rapping and carrying on with his crew. Ludacris appears out of nowhere as one of the prison guards (I believe his name is McKnight). It’s clear immediately that McKnight has it out for Lucious, he snatches the crew up off their bench and then proceeds to call them “boys”.  Lucious is wheezing and out of breath and apparently McKnight knows something about his missing medical form.  He’s in Prosecutor Roxanne Fuller’s pocket. (You know the lady with the extreme cleavage from last week.) As much as I despise Lucious, McKnight is truly the worst kind of human.

At Ghetto Ass Studios, Hakeem is auditioning female artists for a girl group he randomly came up with. (Apparently he put an ad on Instagram). One particular Latina artist blows him away, but when he tells her he’s looking for a group, not a solo artist, she is over the entire situation. (I’m pretty sure this story line will somehow tie in with Lee Daniels ‘next venture with FOX, “Star”. It’s an “Empire”spin-of about a girl group based in ATL.) Later on, Hakeem tells Andre and Cookie that he found some girls he likes, but they’re all Latina. His idea was to get a Black, a white and a Latina artist to form the girl group. He wants to call “Rainbow Sensation.” Andre is understandably horrified, and it took me a moment here to stop laughing. In the midst of this, Anika comes strolling in and Cookie comes for her immediately! She knows about Boo Boo Kitty’s escapades with Hakeem, and she is PISSED. She tells Anika she knows marketing because, “She’s made a whole career of selling her ass.” WHELP!! Oh and Hakeem is 20 years old, I don’t think we knew that before.

Continue Reading at Shadow and Act.

Image: FOX

"Heavy Is the Head" - Recapping 'Scandal' Season 5, Episode 1

Note: if you haven't watched the episode, you may want to skip this recap.

In the beginning, I was a huge advocate for Fitz and Olivia’s tawdry affair on “Scandal”. I lived for the longing, the drama and the stolen moments. However, by the third season I’d had enough. Olitz had taken what it means to be on-again, off-again to a whole new level, which is why I rolled my eyes at the end of last season when Liv chose Fitz, over her sanity and well being.

The episode opens with former Vice President Sally Langston Donald Trumping on her “news show”, “The Liberty Report”. She’s terribly annoyed that the White House is hosting a state dinner for the royal family of Caledonia. She’s seems especially pressed about the number of wine options being offered. As irritating as Sally is, she throws epic shade. She called the dinner Fitz’s opportunity to “bathe in his filthy glory.” Sally may know more than she is letting on.

In the White House, Liv and Fitz are tearing up some sheets. It appears that the moment Fitz put Mellie out, Liv moved in. The duo are super cute and whatever, but I still can’t get past all that has happen. Anyway, they arise from their romp to get ready for the state dinner with the Royals.  Liv may be in Fitz’s bed, but their relationship is still on the down low.  Fitz is talking a big game about making their relationship public, but Liv is having none of it. (That would be a mess that even she couldn’t fix.) They make their way down to the dinner separately.

Meanwhile, it looks like Mellie’s invite for the state dinner was lost in the mail because Mama was not invited. Apparently the press and public are supposed to believe she has the flu.

At the state dinner, Abby is aware that Mellie has been officially barred from the White House. Therefore, she cozies up to her BFF to ask about the status of Olitz. Liv shrugs off Abby’s prying, claiming Fitz hasn’t called her. Um, ok girl. (Just so you know, it’s never a good sign when you can’t even tell your bestie about your relationship.)  A few tables over, Fitz is chatting with the Queen of Caledonia; he really wants a naval base in Caledonia.

Liv and Abby take a bathroom break to powder their noses. Abby asks about the Olitz situation again and Liv brushes her off. Abby confesses that she’s on edge at work because in Cyrus’ absence she feels she has no footing at the White House. It looks like she and Lizzie (Fitz’s new Chief of Staff) aren’t playing nice. The ladies get to gossiping about Civil Right Lawyer turned royalty, Princess Emily of Caledonia and her posh life. Turns out, Princess Em is in the bathroom listening to all of this.

Continue Reading at Shadow and Act.

Image: ABC

"The Devils Are Here" - Recap of 'Empire' Season 2, Episode 1

I’ll admit that my head was spinning after the season finale of “Empire” last spring. It seemed like the writers crammed everything they could into a two-hour story block, and it left me feeling off kilter and befuddled.  During last night’s season premiere, I felt the same way almost until the very end of the episode.

The season premiere of “Empire” picked up three months after Lucious’ initial incarceration. With Jamal still in position as the head of Empire; the rest of the Lyons are playing nice for the time being. Cookie and Jamal have put together a Free Lucious concert hosted by Swizz Beats and attended by nearly every black celeb known to man. From Al Sharpton to Andre Leon Talley, it was cameo overload, and not in a good way. When Don Lemon popped up out of nowhere, I really wanted to fight my TV screen.

Still, nothing could have prepared me for Cookie dropping on the stage in a cage while wearing a gorilla suit.  As talented as Lee Daniels is, this was just #teamtoomuch. Though I did appreciate the show driving home the fact that thousands of Black men are unfairly incarcerated, Cookie’s chanting “How Much Longer?!” did not make me feel sympathetic towards Lucious. Even Reverend Al said he was a lost cause.

After Cookie gets the crowd riled up, Jamal takes the stage to perform on his father’s behalf and we cut to Lucious watching all of this on a rather fancy television from prison.  It turns out that Lucious is basically The Godfather of jail and he already has his minions set up to do his bidding.  A shifty prisoner (who turns out to be another one of Cookie’s cousins) Jermel (played by DeRay Davis) begs Lucious to protect him from a gangster named Frank Gathers. Lucious isn’t too keen on the idea, he has no beef with Gathers and he’s not trying to start any. Lucious gives Jermel a swift brush off just in time to see Hakeem take the stage.

Continue reading at Shadow and Act.

Review: Fox’s 'Rosewood' Is Vibrant, Flashy and a Whole Lot of Fun

With so many medical dramas on television, it seems nearly impossible for one show to stick out over the others. For an audience to stay hooked, a show must have gripping storylines and captivating characters that will entice viewers to tune in week after week. Fox’s “Rosewood” has these elements and so much more. Gorgeously shot and saturated with the vibrant colors of Miami, “Rosewood” follows Dr. Beaumont Rosewood Jr.; played brilliantly and humorously by veteran actor Morris Chestnut. Rosewood is a private pathologist who likes to insert himself and his unbridled knowledge about corpses into the Miami homicide department’s most troubling cases, much to the chagrin of the members of the police department.

Though Rosewood comes off as annoying at first, his charm and charisma (which Chestnut has mastered), softens not only the other characters he interacts with, but the audience as well. Rosewood is an extremely complex character and many of his various sides are yet to be seen. It’s clear that he enjoys life and wants everyone around him to do so as well, despite having his own haunting demons.

Structured similarly to Fox’s long running show “Bones”, Rosewood meets his match in an unlikely partnership with Detective Annalise Villa; a role played so ferociously by relative newcomer, Jania Lee Ortiz that it’s clear she’s destined for great things. Like Rosewood, Detective Villa is not quite who she appears to. The chemistry between the actors and the push and pull of their characters’ relationship keeps the show churning at a delicious pace.

Continue Reading at Shadow and Act.

Interview: Chatting w/ Morris Chestnut About Heading to TV to Star in Fox's New Series, 'Rosewood'

The debonair Morris Chestnut first captivated audiences with his portrayal of Ricky in John Singleton’s classic film, “Boyz n the Hood”. Since then, Chestnut has been a leading man in numerous films, including the recent thriller “A Perfect Guy” alongside Sanaa Lathan and Michael Ealy. Though the 46-year old actor’s most notable roles have been in films, he also has also appeared in major television series including “Nurse Jackie” and “American Horror Story”. Fox’s new medical dramedy “Rosewood” will show a very different side of the generally more serious actor. Chestnut will star as Dr. Beaumont Rosewood Jr., a private pathologist with a penchant for finding clues about the dead and who might be hiding some very serious secrets of his own.

Chestnut recently sat down to talk about his new show at a screening of the pilot episode. Here is what he told Shadow and Act.

On Becoming Dr. Beaumont Rosewood Jr.:

It was tough. I pretty much prepared on a case-by-case basis depending on what they had me do. We have technical advisors and doctors on the set to advise me on the best way to do procedures, and give me information on certain aspects of doing autopsies. My character is definitely flawed from a heath standpoint. He has certain things that he can’t do because of his heath issues, and that’s one thing that I love about the character because nobody’s perfect. He’s not a superhero. He tries to do right by people, he tries to do right in life, and he tries to do by women.

On Working With Lorraine Toussaint:

She’s a great actress. She came to the show a little bit late, but she’s definitely a welcome addition. She’s incredible. I love doing scenes with her because she’s so emotional and it adds so much depth to the show.

On Rosewood’s Closeness to Death:

That’s one of the aspects of the character that I love. He treats each day like it’s his last day.  He knows his days are numbered, but he tries to instill optimism in everyone he touches and everyone he comes across on a daily basis. He enjoys life, and he wants others to enjoy life and have fun. You have to savor every moment and don’t take things for granted.

On Character Development:

Watching the character grow I think, is the fun part about a television show. All of the characters are going to grow and develop. That’s why I like to hear what people have to say about the show, because it’s not like a movie. Once we do a movie and it’s done, it’s out there and nothing is going to change. With this, if it’s something that you guys liked, or something you didn’t like that you want to see then let me know. Our writers are very receptive and you guys are our audience and we make this type of entertainment for you. That’s why I’m always open to hearing what you have to say.

On the Recent Change in Hollywood for Black Actors:

I think it’s great. With “Empire” doing as well as it’s doing, it’s open up the doors for us to have other types of entertainment out there, and different types of shows. Hollywood listens to people. People always ask me if Hollywood is Black or white. It’s really green. If people are watching, they’re going to provide you guys with more entertainment. You guys have much more of a voice then you make think, so if you don’t watch then Hollywood will stop making and producing these types of shows.

Continue Reading at Shadow and Act.

Interview: A Post-'Django Unchained' Career Conversation w/ Nichole Galicia (Syfy's 'Defiance')

Though Nichole Galicia began her career as a high fashion model strutting across runways around the globe, it was her breakout role in Quentin Tarantino’s 2012 film “Django Unchained” that got everyone buzzing about her. In the film she plays Sheba, the de facto wife of Leonardo DiCaprio’s character Calvin Candie. Most recently Galicia has starred in the Syfy series “Defiance” as Kindzi, a vicious femme fatale alien who is as respected as she is feared. Galicia took the time out of her busy schedule during New York Fashion week to chat with Shadow and Act about Kindzi and “Defiance”, working with Tarantino, and her upcoming project.

Thanks so much Ms. Galicia for speaking with me and with Shadow and Act, I’ve been really looking forward to chatting with you about your upcoming projects and all of the great things that you’ve been working on.

Shadow and Act:  Though you began your career as a high fashion model, working with everyone from Neutrogena to Vogue, you have most recently turned to acting. How different are these two worlds for you? Do you have any regrets about shifting your focus towards film and television?

Nichole Galicia: I love modeling. It involves beautiful clothes, amazing locations and gorgeous photographs so what’s not to like? However, I was always meant to be an actor, so I have zero regrets.  My experience as a model has aided me in navigating the business side of acting, but I also use a lot of the techniques I learned as a model in my acting, like movement, subtly, and improv.

S&A: Quentin Tarantino is such a polarizing and well-respected filmmaker. Were you aware of “Django Unchained’s” plot prior to accepting the role of Sheba? Were you hesitant at all about becoming a part of such an iconic filmmaker’s filmography? 

NG: I read the script for “Django Unchained” before accepting the part, but honestly I would have accepted any part Quentin had to offer.  He’s Quentin Tarantino.  He’s a genius. I’m a huge fan of his work and have such an immense respect for him.  In this industry, if you don’t ruffle a few feathers you probably suck.  Quentin does not suck.

S&A: Can you tell me how you landed the role?

NG: I auditioned for a role in “Death Proof”, which was apart of “Grindhouse”, the film Quentin did with Robert Rodriquez.  Quentin loved my read, but said he had always envisioned the character as blond haired and blue-eyed and wanted to stay true to his vision. But he promised me he’d keep me in mind for future projects, so when “Django” came along he said he “needed a girl with confidence 200 years in the making” and that girl to my surprise and joy was me.

Continue Reading at Shadow and Act.

Review: Talented Actors Are Wasted in the Disappointing Thriller, 'The Perfect Guy'

As a young woman, I've always been hyper-aware of my surroundings and my personal space. Growing up on the South Side of Chicago, lessons in the importance of safety were constantly relayed to me. I was told to carry an extra $20 around with me at all times, walk with keys in hand, and to walk in middle of the street if it was dark and no one was around. Those lessons (passed down to me from my parents) have stuck with me into adulthood and I assume the same is true for most women who live in large cities. "The Perfect Guy" tells the story of Leah, who manages to forget all of the basic rules because she becomes single-mindedly fixated on the dream of a husband, kids, and a happily ever after.  Naturally because of this, disaster ensues.

The talented and stunning Sanaa Lathan plays Leah who breaks up with her boyfriend Dave (Morris Chestnut) when he is unwillingly to agree to the timeline she sets for marriage. Leah quickly falls into a steamy affair with a new guy Carter, played impeccably by Michael Ealy, who appears to be the total package even sharing Leah’s desire for marriage and a family. Not so surprisingly, Carter isn't quite the Prince Charming Leah thought he was. After displaying unfounded rage, which seemingly comes out of nowhere, Leah puts an end to their short affair. Of course, Carter doesn’t take too kindly to this, and he begins to rip her life apart piece by piece.

Though there are some good components in "The Perfect Guy," mainly due to the fact that Lathan portrays a successful, independent, Black woman who is apologetically in control of her body and sexuality, and Ealy who successfully captures the maniacal and psychopathic character of Carter, the film unfortunately falls flat. It seems too far-fetched that such a powerful woman would let down her guard entirely, and allow a total stranger complete access to her and her loved ones. Perhaps it would have been more realistic if Lathan’s character was desperate, but she didn’t come across that way at all.

Continue Reading at Shadow and Act.

Image: Screen Gems/ Sony Pictures

Skyler Shaye Dishes On Growing Up Amongst Hollywood Royalty, Her Role in ‘Ray Donovan,’ And Reminds Us How She Brought MerDer Together On ‘Grey’s Anatomy’

Growing up in Los Angeles and rubbing shoulders with major Hollywood figures during family dinner parties definitely sounds like a dream to most, one that many aspiring artists wish for every day. Admittedly, there are benefits to the star-studded, glamorous lifestyle: friendships are forged and connections are made. However, carving out a name for yourself among all of that glitziness can prove to be a bit more difficult than one would imagine. Children of major icons like Goldie Hawn and Will Smith have managed to stand on their own, settings themselves apart from their famous families. Still, this was not achieved without some extremely difficult work on their part.

According to actress Skyler Shaye, who can be seen in the third season of Showtime’s Ray Donovan, connections aren’t everything. At the end of the day, you still have to prove that you deserve to be there; you want to make a statement. And then there’s also the factor of wanting to distinguish yourself from your family, showcasing that you’re your own person and not just a name. “I think that people on the outside think it would be so much easier because I’m so connected. It helps in a certain sense because you meet people, but that doesn’t get you the role,” she says.

Shaye might be best known for her role as Cloe, the super-skilled soccer player who relentlessly tries to keep her friendships together in Bratz: The Movie (2007). However, the bubbly and warmhearted Shaye boasts another important title. At 17, she starred in the pilot episode, “A Hard Day’s Night,” of ABC’s Grey’s Anatomy as Katie Bryce, the patient that essentially brought Meredith Grey and Derek Shepherd together.

Together with the guidance of her super famous godfather Jon Voight and her matchless talent and brimming determination, Shaye is more than ready to take Hollywood by storm with all of the incredible projects that she has coming up. On a sunny afternoon, the native Angelino took the time to chat with GALO about her role in the third season of Ray Donovan, her favorite memories from Grey’s Anatomy, and her advice for teen girls today.

GALO: First of all, I want to congratulate you on your new role on Ray Donovan. That’s so amazing!

Skyler Shaye: Thank you so much! I’m really excited.

GALO: Well, to just jump right in, for your upcoming role on Ray Donovan, I read that you will be playing a prostitute and that your character is really fun and down to earth. Can you give me a bit more insight into your role?

SS: Honestly, I can’t really say much more about what the storyline is, but the actual show this season is really badass. There are so many different elements going on.

GALO: I heard it’s going to be unbelievably incredible.

Continue Reading at GALO Magazine.

Image: TJ Manou

'Straight Outta Compton' Is An Amazing Film, But It Omits Some Ugly Truths

I screened F. Gary Grey's Straight Outta Compton twice before it hit theaters. Both times, I was enraptured in the film.  (You can read my review on Shadow and Act) N.W.A. was born out of Compton, California at a time when the community was reeling from the drug epidemic and unimaginable impoverishment. The group and their hit songs not only helped birth hip-hop as we know it, but would also introduce the world to some of the most revered rap artists of our time, including Eminem and Snoop Dogg. From what I knew about the group prior to seeing Compton as well as the film's portrayal, it was a long and very difficult road for N.W.A. to get where they are now. Though Grey was careful not to gloss over many aspects of the groups rise and subsequent disbandment, as I dug more into the history of the group, I learned there were still many voices silenced in the film.

In 1991, Dr. Dre, viciously attacked and beat a young journalist by the name of Dee Barnes in a nightclub. It seems that he was displeased with N.W.A. depiction in an interview Barnes did with Ice Cube. Barnes' lawsuit against Dr. Dre for the crime was eventually settled out of court in 1993. This horrific event was not depicted at all in Straight Outta Compton, despite the fact that the film chronicles the group from 1986 to group member Eric "Easy- E" Wright's death in 1995. Likewise, Dr. Dre's tumultuous and often violent relationship with artist Michel’le was never acknowledged. Furthermore, the film erases the major contributions of female hip-hop artists including Ice Cube's female protegee Yo-Yo; nor the many horrific and mysoginist lyrics from tracks like "A Bitch Iz a Bitch" and "She Swallowed It". Film director Grey has been reluctant to address any of these topics, telling the Associated Press that the original cut of the film which included the group members relationships with women came in at three and half hours, and the film had to be cut down.

As I said previously, the film is exquisite not just in the perfect way it captures Compton in the late 1980's and 90's and the casts stunning portrayals, but also for the stark parallels that it draws between the Rodney King trials and LA Riots as well as  the #BlackLivesMatter movement and issues with police brutality that we are still dealing with presently. And yet, all of these things do not erase the many issues the group had with women. They may have been omitted in the film, but they can certainly not be erased or ignored because they did happen.

Film director Ava DuVernay who was born and raised in Compton during this time period, penned an eloquent twitter essay about Straight Outta Compton acknowledging the beauty of the film, but also the harsh realities for women and hip-hop culture.

It seems obvious why Dr. Dre and Ice Cube who were directly involved in the project, didn't want their dirty laundry aired on screen. As Dee Barnes said in her Gawker essay about the film and her experience, "The truth is too ugly for a general audience." As a woman who is black and who is deeply in love with hip-hop, I find myself once again in a very peculiar space. trying to understand the Intersectionalities that continue to pull me in various directions. Hip-hop is and will continue to be been problematic for women, and we must continue to speak about that and voice our opinions. As women, we must continue to tell the stories that no one wants us to tell, even if they are ugly and brutal and not easily digested by a larger audience. I would still urge everyone to see Straight Outta Compton. The film is truly is a stunning work and it speaks deeply to our time, but it's certainly not the whole truth.

Watch the trailer below.

[embed]https://www.youtube.com/watch?v=OrlLcb7zYmw&oref=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DOrlLcb7zYmw&has_verified=1[/embed]

Images: Universal Pictures/Jaimie Trueblood (2)