Review: 'Triple 9' Would Be a Typical Heist Film, But It’s Stand-Out Performances & Tantalizing Twists Give It Much More Depth

Walking home once, I stopped in my tracks and watched dozens of cop cars and emergency vehicles come racing down the streets; sirens ablaze. In New York City, and certainly in my neighborhood, siren sounds aren’t a rarity. However, what stopped me that day was the sheer number of cars zooming to their destination. The experience was so jarring, that it shocked me into a standstill.

Evidently, in many counties when a cop is shot, the code ‘999’ is called in; the results are what I witnessed on that fateful day.  Fellow cops were racing to help their distressed comrade. John Hillcoat’s fast-paced heist film ‘Triple 9” gave me that exact feeling. It is a film that not only encompasses the anticipation of looking at something exciting, but also (at times) captures that paralyzing state of being left in the dust. Helmed by a powerhouse ensemble which includes, Chiwetel Ejiofor, Anthony Mackie, Casey Affleck, Aaron Paul, Norman Reedus, Woody Harrelson, and Kate Winslet, “Triple 9” is one of those rare thrillers that actually keeps you guessing until its gory end.

Set in Atlanta, Georgia, Hillcoat turned away from the city’s typically seen charms, and instead forces the audience to swallow its most gritty and prickly backdrops. ‘Triple 9’ follows a rag-tag group of criminals, led by Ejiofor’s Michael Atwood.  Atwood plays a weary former ops solider, who finds himself under the beck and call of the Russian-Israeli mob, which is led by Winslet’s conniving and ruthless Irina Vaslov. Michael’s group includes two dirty cops, Marcus Belmont (played by Anthony Mackie), Jorge Rodriguez (played by a masterful Clifton Collins Jr.), as well as the Welch brothers, Gabe (Aaron Paul) and Russell (Norman Reedus), who is also Michael’s best friend.

With such a robust cast, and a complex but often-muddled narrative, it took some time for me to get my bearings with what was actually occurring onscreen. At times, I felt as if I were watching two different films. As Michael and his partners try to pull off one last heist for Irina, we also get to know Detective Belmont’s (Mackie) new partner, Chris Allen (Casey Affleck), who's a little too “green” for his own good.  We also learn about his uncle/mentor Jeffrey Allen, a true crimes investigator and drunk, played to perfection by Woody Harrelson. Obviously, these two worlds don’t stay separate for long, especially when the heist crew decides they need to pull a ‘999’ in order to complete their final task and walk away from Irina and the Russian mob for good.

Continue reading at Shadow and Act.

Image: Triple 9/Open Road Films

‘Race’ Falls Just Short of a Gold Medal

Hollywood seems to pride itself on biopics of historical Black figures. Over the past several years, Jackie Robinson, James Brown and Bessie Smith’s stories have all gotten the film treatment. This year, it’s Olympic Gold medalist and track star Jesse Owens’ turn in the film “Race”.

During the Great Depression and the height of Hitler’s Nazi regime in Germany, Owens defied all odds. He was not only the fastest man in the world, but he also became the face of America at the Berlin Olympic Games in 1936. “Race”, which stars “Selma” actor Stephan James, is about Owens' incredible rise and unprecedented success.

Film studios often get biopics wrong because they present a glossy version of a person’s life. The settings are perfect, and though the story hits all of the major plot points in the figure’s life, they often lack authenticity. Even with a stunning performance by the film’s lead, as was the case with Chadwick Bosemen’s portrayal of James Brown in “Get On Up”, something typically lacking. The audience is left feeling as though they are viewing this person and their trials and tribulations behind a two-way mirror. Their life becomes spectacle, on display for 21st century moviegoers. Rarely does the audience feel as if they are moving through the journey with the character. One of the most recent exceptions was Jamie Foxx’s 2004 performance in “Ray”.

“Race”, while beautifully shot and helmed with some stellar performances, has that filmy layer of fabrication cast over it.  The sets are perfectly polished, even the ones set in Great Depression Ohio. Likewise, the acting (while fantastic) does not aid in grounding the audience in the time period.

Continue reading at Shadow and Act.

Image: Race/Focus Features

Sundance 2016 Review: 'Jacqueline (Argentine)' Is a Strangely Disjointed Film That Somehow Remains Captivating

Some of the most intriguing films are mysteries. You’re not sure what you’re looking at until the final frame, and sometimes, even then, you’re left questioning what you’ve just seen with your own two eyes. Bernardo Britto’s mockumentary “Jacqueline (Argentine)” left me with this particular feeling. So full of twist and turns, it’s a film that is as fascinating as it is exasperating. Britto was inspired by Laura Poitras’ Academy Award winning documentary “Citizenfour”, about NSA spy Eric Snowden.  However, “Jacqueline (Argentine)” is something else entirely.

The film follows an unnamed struggling film director (played by Wyatt Cenac) who, while house-sitting for a friend in Miami, receives a strange and rather troubling voicemail. In the message, a source claims to have stumbled upon some French national security secrets. Without much more information, and mostly out of boredom, the director grabs his cameraman and sound guy and hightails it to Argentina where the source has gone to seek refuge.

Upon arriving in Argentina, things quickly start off on the wrong foot. The airline has lost the crew’s camera equipment, and we soon learn that the source is actually a young French woman by the name of Jacqueline Dumont (played wonderfully by Camille Rutherford). Jacqueline has run off to Argentina after discovering a plot to assassinate a mid-level Arab politician.  According to Jacqueline, this no-name politician’s death will have irreparable repercussions for countries across the globe. The death does actually occur, even though no reporter seems to take Jacqueline’s claims seriously. However, things don’t happen exactly how this captivating woman says they are going to.

Continue reading at Shadow and Act.

Image: Jacqueline (Argentine)

Sundance Review: 'How to Tell You’re a Douchebag' Is a Black Rom-Com for the 21st Century

It was films like “Nothing But A Man,”  “Love Jones” and “Love & Basketball” that made me fall in love with cinema. As a millennial, in the ‘90s there was “Love Jones”, a narrative of passion set against Chicago’s urban backdrop. Hopeless romantics and cynics alike watched as Nina Mosely and Darius Lovehall, desperately tried to figure out that thing called love. In the past decade (except for Gina Prince-Bythewood‘s “Beyond the Lights”) Black romance in film has fallen by the wayside in favor of buddy comedies or ensemble features. First time feature director Tahir Jetter’s “How to Tell You’re A Douchebag” has the potential to help reinvigorate the genre for the 21st century.

What does it mean to be a heterosexual Black 20-something looking for love while living in a major city? The media would like us to believe that our options are sparse. As Black women continue to outpace Black men in terms of education and job advancement, we’re told that our only options are "fuckboys" or "dopeboys." However, that hasn’t been my experience; nor has it been the experience of my girlfriends. “How to Tell You’re a Douchebag” follows Ray Livingston (played by relative newcomer Charles Brice), a 20-something Brooklynite anxious to find his footing as a writer while advancing his blog, “Occasionally Dating Black Women." Getting over a rough breakup, Ray finds himself unable to cope with his emotions, which leads him down a rather rocky path. At rock bottom, Ray makes the grave mistake of insulting up-and-coming journalist, Rochelle Marseille (played by DeWanda Wise). At the top of her game professionally, Rochelle is a stunning beauty who doesn’t take shit from anyone; especially not self-proclaimed “nice guys” like Ray.

A quintessential 21st century Black romantic comedy, Jetter’s film explores topics that Darius and Nina would have found unfathomable when “Love Jones” debuted in ’97. After all, millennials are meeting people and dating in ways that are wildly different than any generation that has come before us. Along with the usual trials and tribulations, including rampant misogyny, we are also dealing with social media and its various influences on the process.

Continue reading a Shadow and Act.

Image: How To Tell You're A Douchebag

REVIEW: “Ride Along 2” Is Predictably Unfunny

If you're a Kevin Hart fan, then you know what you're in for when you sit down to watch one of his films. There are always some hilarious moments (including a bit of slapstick humor) some decent cameos, and even some witty one-liners. From his stand up performances to his characters on the big and small screens, Hart has mastered the art of capturing the audience’s attention. And yet, when I sat down to watch Hart and his co-star Ice Cube in the first “Ride Along” film, (which debuted in 2014) I was pleasantly surprised by just how much I enjoyed it. I laughed more than I thought I would, and Hart and Ice Cube's chemistry hit that perfect sweet spot that’s needed for any decent buddy film. Still, when the sequel to the cop action comedy was announced, I found myself rolling my eyes. This was not a storyline that needed an additional moment, and certainly not another full-length film. It turns out, I was right to be apprehensive.

Despite the vibrant Miami background, flashy cars, and new cast members, “Ride Along 2” failed, as most sequels do, to live up to the corny light-heartedness of the original. In “Ride Along 2”, recent police academy graduate, Ben, eagerly follows his soon to be brother-in-law, James, to Miami in order to follow up on a lead in a big drug case. Just a week before his wedding to James’ sister, Angela (played by Tika Sumpter), Ben is determined to prove that he has what it takes to become a detective. Continue Reading at Shadow and Act.

Image: Ride Along 2 Poster/Universal Pictures

Interview: Tyler Perry Talks 'Love Thy Neighbor,' 'The Haves and the Have Nots' & His Process From Page to Screen

I’ve personally never felt that characters of African decent should be inherently good, educated, or of a particular caliber in order to be presented in film and on television. In my opinion, that is an argument of past centuries, when the narrative of Black Americans on screen may have needed a particular sort of trajectory. I also feel that everyone has a right to tell their stories, but I don’t feel that these stories should be mediocre or inherently stereotypical, which is why I often find the work of Tyler Perry extremely problematic. Still, despite my criticisms and the criticisms of others, Perry has carved out a prolific path for himself in the entertainment industry.  From his stage plays to his body of films, and now with four shows on Oprah Winfrey’s OWN Network, including, “Love Thy Neighbor” and “The Haves and the Have Nots”, which premièred last week to over 3 million viewers, it’s clear that his audience is always eager to tune in.

At a recent press event for “The Haves and the Have Nots” and “Love Thy Neighbor”, Tyler Perry, as well as some of the casts from both series, including John Schneider, Angela Robinson, Patrice Lovely, and Palmer Williams sat down to talk about the success of the shows, Perry’s writing process, and being a part of OWN Network. Shadow and Act was there to take it all in. Here are some of the highlights.

On the Evolution of Both “The Haves and the Have Nots” and “Love Thy Neighbor”

Tyler Perry: What’s amazing about this, is that we are about to cross one hundred episodes for both of these shows. What’s so great about it is, that you start one way, but the characters dictate where they want to go, and how they want to go. If you look at a show when it first starts, you go, ‘hum…how is going to go?’ but by the tenth episode, you see the characters start to gel, and you really start to believe them. That’s what has happened with both of these shows. By episode fifteen we had settled in. I think at this point in both the shows, the characters have evolved and the show has a evolved. With Veronica (Angela Robinson ‘HAHN’) having one or two lines in the first show, I didn’t know she was going to turn out to be this character, but I love the madness of it. I love the insanity of it.

On the Writing Process

TP: I’ve said this before, I don’t have a writer’s room, I write all of the shows myself. Ninety-one episodes a season, I’m sitting at the computer writing, writing and writing. I want the voice to be authentic, so the audience is hearing from me and not other writers.  There are a lot of other shows on the air that are fantastic shows, but they have writer’s rooms. The people that we love the most only write one or two episodes a season. What’s great about it when your writing for actors like this, who are tremendously talented, you can throw anything at them. I sit in a room and as I’m sitting at the computer, and I can hear these characters talking. The only thing that is difficult for me is to force one show out of my head so that Eddie doesn’t sound like Joe, or that Mama Hattie doesn’t sound like Angela which in a way they kind of do.  If you look at the characters themselves, and the shows themselves they are very different and don’t think people really give credit to how different each show is. The pleasure that I take is being at work for the actual characters themselves. So, the minute that they stop talking we have a problem.

Continue reading at Shadow and Act.

Image: Tyler Perry

Review: VH1 Original Movie 'The Breaks’ Is a Hilarious Tribute to Hip-Hop and Dreams

Whether you were born and raised in New York, or you arrived with nothing but a dollar and some dreams, the city will humble you with a quickness. It’s a town that demands wits, ingenuity and fearlessness; no matter what industry you’re tying to break into. In order to make it here, you have to be a doer and a hustler, or else, opportunities will simply pass you by. I’ve lived in NYC for seven years now, and the hustle mentality is something I’m still learning every day.

VH1’s latest original film, “The Breaks,” is a movie that suggests that the grind in this town is nothing new. It’s a story about passion and the things that can break you before you even get started.

Set in the summer of 1990, Seith Mann’s “The Breaks” follows three 20-somethings - Nikki Jones, David Aaron and DeeVee - who are all scrambling after their dreams, desperate to reach them by any means necessary. The city can be a lot to handle today, but back then, the crime-riddled streets were even grittier. Mann brilliantly captures the grey caste, graffiti, chunky gold, and most importantly, the music of the era.

Inspired by journalist Dan Charnas’ novel on hip-hop business, entitled “The Big Payback,” we meet Nikki Jones (played by Afton Williamson), a recent grad, who turns down a scholarship to Harvard Law School in order to hustle her way into a internship at Fouray Entertainment, a big shot entertainment company. Williamson’s performance as Nikki is brilliant, and, quite frankly, she carried much of the film on her shoulders. Despite the naysayers and the sexism that continually permeates the hip-hop music business, Nikki’s quick thinking and sharp tongue keep the men—and women—around her in check.  Some of the best lines in the film spill out of her mouth, instantly inciting laughter from the audience. And yet, the most brilliant thing about her character is the fact that you never quite know who she is, or if you even like her by the end of the film.

Continue reading at Shadow and Act.

Image: VH1

'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)

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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.

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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.

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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.

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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.)

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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.

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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.

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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.

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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.

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Image: ABC