Light spoilers ahead for MaXXXine.

MaXXXine is the climactic—or should I say anticlimactic—end to Ti West’s trilogy. Rather than a crescendo with a peak, it struggles to even race beside the previous two. Gore and violence are sparse with a plot that lacks focus. It’s more of a pick-your-poison “choose your own adventure” film. With Maxine Minx in Hollywood attempting to transition from porn star to movie star, her past rears up and puts an unnecessary kink in her plans. While audiences won’t walk away hating MaXXXine, it’s a lackluster film that drifts from the mind after viewing.

Directed and written by Ti West, MaXXXine marks the final chapter in the trilogy. Maxine, played by Mia Goth (Suspiria, Infinity Pool), is so close to breaking into Hollywood from the porn industry. But with a snoopy P.I. John Labat (Beverly Hills Cop: Axel F, Leave the World Behind) in the mix, deaths adding up around her, and cops sniffing at her heels, her career might be dead on arrival. However, Maxine is not someone anyone should cross. She still possesses her self-preservation edge. With all the promise built from the other films with Mia Goth’s star performance, it’s a wonder this final film falters so much. 

MaXXXine Takes Audiences From Say Something to Say Nothing

X was astounding because of its gore and how it subverts traditional horror. Rather than the stereotypical “pure” final girl, they have a woman who is literally shooting a porn film to survive. Religion and the restrictions women face play out underneath. There is plenty to draw from rewatching X.

The second film, Pearl, was a prequel focused on gender constraints through a warped Wizard of Oz tale. There’s also the nature versus nurture question of whether Pearl was always prone to violent outbursts or if her mother’s restrictive rearing led her down that path. By its climax, Dorothy does not ever leave Kansas. She remains trapped, building up her bitterness and resentment for a life never lived. 

Then there is MaXXXine, a less refined version of the two. MaXXXine lacks cohesion. It has too much happening, and few parts meld together. There are ideas that the movie wanted to explore, including gender and religion, the entertainment industry, and the thin line between entertainment and reality. However, it fails to nail any of them. 

Pointless Parts in MaXXXine Taint the Whole Picture

A familiar refrain will haunt viewers, and it’s one word; “why.” Unfortunately, too much feels unnecessary or designed for laughs. The in-universe film director, Elizabeth Bender (Elizabeth Debicki), feels jammed in without a purpose. Maxine has brief mental struggles with what happened at the farmhouse, but it never amounts to anything. So much hinders the film, like the inclusion of the ’80s real-life serial killer, the Nightstalker. 

At first, it seems as though the infamous murderer is stalking the streets and explicitly targeting those close to Maxine. But it takes little effort to realize who may resent Maxine and her “life of sin.” The movie tries to tease the threat, only showing the individual’s gloved hands, but it does not even take three guesses to identify her foe. So, while it tries to go the mystery route, it fails miserably. MaXXXine‘s uncertainty with what it wants to be. Is it a callout to the industry? Or is the film perhaps a mystery, Giallo horror, etc.? It is unclear.

Mia Goth Still Rocks as Maxine, But There’s Too Much Camp

In MaXXXine, religious zealotry and moments of bright, violent girl power run throughout its narrative. Mia still delivers a forceful and deadly performance. From nutcracker to face-keying, whenever Maxine unleashes her violence on the men around her, it’s always fun and deserved. Still, because of the breadth of what the film takes on, even Mia Goth feels underutilized in the final film. Too much attention goes to flat jokes and exaggerated religious zeal. You nearly forget that Maxine is trying to make a movie. 

Detective Williams (Michelle Monaghan) and Detective Torres (Bobby Cannavale) are excess baggage in an already bogged down film. Their whole schtick is Torres being an obnoxious man, talking down to Maxine, then Williams steps in, and Maxine leaves. Rinse and repeat. Many attempts at comedic moments with these two do not land. It’s more obnoxious and will likely leave audiences bewildered. They are not even essential to the final fight.

That Death Was Certainly a Choice

Another strike for MaXXXine, tying in with the gore, is how one death is handled. A Black person has one of the only gruesome deaths that takes place onscreen. Sure, it’s set in the ’80s, and few Black characters in predominantly white films survived. However, if we were going by the checklist of the time, Maxine herself would not have made it out of X intact. 

An argument can be made regarding the fact that the most gruesome deaths are men—although only one is her friend. But there was not enough done to cement that aspect. It’s ruddered in crudely. (If you’re a fan of Cardi B, you can insert her “what was the reason” GIF here.) Because choosing to have one of the most gruesome deaths be a Black person is a jarring disappointment.

MaXXXine had all the promise and goodwill engendered by the two preceding films. Unfortunately, it does not earn much beyond a shrug and “That’s it?” It would be fine if it weren’t part of a trilogy that rose beyond gore and violence while still delivering both. But the final act is “Yikes” in cinema form. MaXXXine forfeits it all, devolving into a messy puddle of obscurity, where whatever themes viewers say the movie explores is more of a wish than reality. The further you get from the theater, the less you’ll like or want to remember this film. 

MaXXXine ⭐ (2 of 5)

The film hits theaters on July 5.

The post MAXXXINE Gives Ti West’s Horror Trilogy a Very Anticlimactic Ending appeared first on Nerdist.

A Quiet Place: Day One is a haunting human look at mortality, connections, and little moments that make living worthwhile. Thanks to its premise, audiences experience most of the film sans dialogue. Yet it is such a profound, moving experience where terror and sorrow resonate in equal measure alongside exquisite compassionate moments plus comedic relief. While some directorial decisions raise a quizzical brow, A Quiet Place: Day One might be my favorite of the franchise’s trio, thanks to a phenomenal cast that delivers emotional peaks and valleys without speaking. And yes, that includes the wide-eyed, side-eyeing cat, Frodo, who is the MVP. 

Directed by Michael Sarnoski and written by Sarnoski, John Krasinski, and Bryan Woods, the film follows withdrawn Samira, played by Lupita Nyong’o (Black Panther, Us), as she shares her poetry that relays how much she hates everything to her fellow hospice members. Lupita gets tricked into attending a marionette show with the promise of pizza. Not just any pizza—but Patsy’s in Harlem. Before long, nixing any possibility of exquisite pizza, the creatures appear, falling from the sky, causing chaos, fires, accidents, and intentional soul-snatching from the ultra-hearing sensitivity of the monsters.

In A Quiet Place: Day One, the name of the game is survival, but for Samira, it’s more. Her life consists of a countdown of moments, regardless of the ill-timed arrival of monsters from the sky. 

Action Takes Twists That Channel Other Cinematic Gems

Of course, the emotional maelstrom has destructive, deadly chaos at its center. A Quiet Place: Day One builds tension as survivors quickly realize that silence is golden. But staying silent in a city with debris and shattered glass is challenging. Not to mention, the mental and psychological toll of knowing your world is entirely upended. So, naturally, people’s first response is to scream for help, look for loved ones, etc. As such, the body count is biblical. 

But Samira is also quick-thinking, anticipating problems before they arise, such as the mass exodus toward the ferries. Or, she really wants Patsy’s pizza, which is a fixation of hers throughout the movie. Some scenes similar to the 28 Days Later films, and there’s even one that screams Aliens. Besides similarities to other films, other aspects ground A Quiet Place: Day One in reality. Patsy’s in Harlem is real, as is Octavia E. Butler’s Dawn, a story about an alien invasion, that Samira finds. 

A Quiet Place: Day One Explores Humanity with Horror Beats

Where the first movie felt like a horror film with emotional beats, A Quiet Place: Day One is the reverse. It’s a touching production with horror beats—albeit unrelenting horror beats. However, the pain, terror, and sorrow are all visceral. As is the heartwarming emotional moments between Samira and Eric, played by Joseph Quinn (Stranger Things). Eric’s a kind human stray her cat brings to her. Those brief moments to grasp normalcy and unity elevate A Quiet Place: Day One above its previous films in the series. 

In a sense, Eric’s successful magic trick mirrors the surprise and sense of fulfillment he brings to Samira. Human connection is a type of magic that too many forget the wonder of. His kindness and soulful eyes showed her that it was okay to care, reminding Samira of the wonder of living. Her existence has value, and her magical cat agrees.  

There Are Spellbinding Performances From the Cast—Cat Included

Lupita Nyong’o already demonstrated via Us that she is a genius at relaying emotions through facial expressions. But here, she uses her entire body to convey exhaustion, stress, pain, frustration, and joy. Her raw performance leaves audiences catching their breath, especially with her precious cat in tow. Speaking of, the cat, Frodo, is another one who is acting with a capital “A.” Its divine intervention is what brings Eric and Samira together. 

She finds a perfect counterpoint with Joseph Quinn, who possesses that same talent of delivering a performance through his eyes. He stole hearts in Stranger Things. He, like Lupita, understood the assignment. The casting in A Quiet Place: Day One is top-notch.

A Quiet Place: Day One Has Some Pointless Additions and Baffling Decisions

It’s not all smooth sailing, as the film makes a couple of debatable choices. While Djimon Hounsou is an exceptional actor and deserves lead roles in films, his appearance feels pointless in the film as it lacks a thematic essentialness. The only possible parallel is how he deals with a man panicking on the rooftop compared to how Samira handles Eric’s panic attack. However, the former felt like an outburst based on circumstances, while Eric’s seemed like a condition. So it feels flimsy, even inconsequential. 

The other is the final scene. While the shot is stunning and impactful, the movie does not set up Eric’s panic attacks enough. Nor does A Quiet Place: Day One adequately set up or justify Samira’s choice. It’s as though the end shot was a concrete choice, and they forced a path that did not feel authentic to the character’s development, their relationship, or the plot. The climactic end lacks a logical course. 

A Quiet Place: Day One is an outstanding movie that emotionally guts you as much as it makes you jump in fright. It delivers a film that leaves audiences awash in a myriad of feelings, from terror to shock to laughter. Once it unleashes its torrent, the film swells and crests like a storm with little lulls of relief, but the feelings never cease. The monsters’ inescapable onslaught mirrors that; it’s irrepressible and unstoppable.

A Quiet Place: Day One is one of the best horror films—inarguably one of the best films—of 2024 so far. And Frodo is a wise savior who led bae to Samira! Wanna find a partner? Get yourself a Frodo!

A Quiet Place: Day One ⭐ (4.5 of 5)

A Quiet Place: Day One hits theaters on June 27.

The post A QUIET PLACE: DAY ONE Is a Haunting Look at Mortality and Human Connection appeared first on Nerdist.

Black characters in anime have a spectacular range of variety. From villains to heroes to anti-heroes, they run the gamut. Narrowing it down to one beloved character is difficult and feels like a betrayal to so many incredible characters. Who doesn’t love the coolness of Dutch from Black Lagoon or the fighting prowess of Bob Makihara in Tenjou Tenge. But Bleach‘s Yoruichi Shihōin is all that… and more. She’s as formidable as she is stunningly gorgeous, possessing long purple hair, feline speed, golden-yellow eyes, and reflexes. 

Funny, strong, yet gentle when necessary, Yoruichi can bring enemies down with lightning—or flash step—speed, tame a bitter foe with a soft touch, and was in the best arc in Bleach, “Soul Society: The Rescue Arc.”  

Yoruichi in Incredible Cat Form

The series, based on the original manga by Tite Kubo, began in 2004 with Yoruichi’s introduction in episode 15 of the first season. And we met her as a talking cat, no less. Ichigo (along with those who don’t know the manga) assume she’s just a cat. A special cat, clearly, but a cat nonetheless.

Yoruichi doesn’t appear in human form until the 41st episode. But even before transforming, she exudes strength and power. In cat form, Yoruichi is hilarious yet she still inspires fear. Whether it’s her threatening Ichigo after he mangled her precious tale while unconscious or her headbutting Inoue for her carelessness when they went into Soul Society, she inspires both laughter and mystery. Yoruichi proves size does not matter because she can deliver blows in either form. She’s just that good. 

She’s pivotal in training Chad and Inoue to prepare to enter Soul Society to rescue Rukia from execution. Without her assistance, these two wouldn’t stand a chance. Mind you, she does all this while in cat form. How many others in Bleach can say that about themselves?

Yoruichi vs. Byakuya

Let’s call a spade a spade. Ichigo gets stronger throughout the Soul Society arc, but his confidence sometimes writes checks his backside cannot cash. When he faces Byakuya in Soul Society at Rukia’s repentance cell, Byakuya prepares to unleash his shikai, Senbonzakura—his first level zanpakutō move. Ichigo faces a certain defeat but survives thanks to plot armor and the timely arrival of the terrifyingly strong and swift Yoruichi. After rendering Ichigo unconscious, she squares up against Byakuya in a game of tag to escape. Here’s where viewers get a glimpse of her talent. 

Although Byakuya moves fast to the point where Ichigo has trouble reading his movements, Yoruichi is a flash step above him, literally landing on his arm with the unconscious Ichigo slung over her shoulder. Hence, her label is “Flash Master Yoruichi.” Though the series touts Byakuya as a significant threat Ichigo must face, Yoruichi talks to him like a child trying to compete with the grown-ups. The verbal sparring amidst swift evasions makes it clear Yoruichi is equally fearsome. At that point, Yoruichi established herself as tough and stirred the need for everyone to learn more about her. Let’s also not forget that Yoruichi trains Ichigo to achieve the second level of his sword, “bankai,” without which he would never win against Byakuya. 

Yoruichi’s Powerful Past and Leadership Style 

Yoruichi was the former leader of the Stealth Force and captain of Squad One in Soul Society. She soon adds a young girl, Soifon, to her ranks during her time there. Within a short time, the pair grew close with a kohai/senpai relationship. But when affection and adoration disintegrate, resentment, jealousy, and pain (in the form of rage) can take their place. Such is the case with Soifon. Soifon lives in Yoruichi’s former shadow. So it stands to reason that when the battles to stop Rukia’s execution begin, Yoruichi would square up with her former friend. 

Their battle gives glimpses of Yoruichi’s past, as experienced by Soifon. And Yoruichi is who she’s always been: happy and caring. Despite her lofty titles, she does not care for titles that separate her from her squad. She’s not a leader on the sidelines or from the safety of the rear. In fact, Yoruichi fights alongside those she leads. All Soifon wants is to fight alongside her, yet Yoruichi disappears one day, and Soifon’s love turns to hate. It’s not because Yoruichi left but because she did not include Soifon, which is a testament to her effect on others. 

Yoruichi Vs. Bee Lady—I Ship It

Now Soifon commands Squad One of the Thirteen Court Guard Squads, with an entire crew at her back to take down her idol-turned-rival. Yoruichi takes every single one down within moments with her flash steps and lethal combat skills. It’s not just the fact she is from the Shihoin clan, one of the Four Great Noble Clans, that made her the former leader of these groups. 

Though Yoruichi faces Soifon’s zanpakutō in bankai form, she never uses her own. Yoruichi honed her body into a deadly weapon capable of going toe-to-toe with enemies who possess weapons. Imagine that every captain in the thirteen squads must have a zanpakutō and have released it to bankai level—except Zaraki Kenpachi. It’s a prerequisite. But Yoruichi, unleased zapakutō or not, never bothers to use hers. That says it all regarding her physical strength. 

Yoruichi battles against Soifon’s zanpakutō, Suzumebachi, and comes out victorious. When Soifon tries to unleash an ability she claims she made herself that has no name; she discovers Yoruichi made the move at least a hundred years ago. Hence, uniforms for the leader of the Punishment Force have no back to them. The move rips the cloth from the back. When an enraged Soifon tries to continue the match, Yoruichi gently holds her hand, and the anger unravels to hurt. It’s easy to see why. Who wouldn’t be heartbroken if Yoruichi left them behind? I don’t care what anyone says. I ship these two, and though they are not canon, it will never diminish my hope. 

Yoruichi is an incredible Black woman who delights as a black cat, breaks hearts in human form, and devastates in combat using the weapon before weapons: her body. Despite her lightheartedness, Yoruichi is unwavering in her sense of right and wrong. Even if it hurts others, like Soifon or herself, she does not refrain. Yet she’s not cavalier, taking lives frivolously. Her penchant for random nudity is shocking and funny because she is in cat form for lengthy periods. I get it, Yoruichi. Clothes are so confining.

Obsession aside, without Yoruichi’s presence, Ichigo would never have made it past the “Soul Society Rescue Arc,” and that’s, in the words of young Erica Sinclair, “just the facts.” So put some respect on this queen’s name.

The post An Ode to BLEACH’s Yoruichi Shihōin appeared first on Nerdist.

The Fall of the House of Usher is here in time for Halloween, but it did not come alone. It’s apparent from The Haunting of Bly Manor and The Midnight Club that Flanagan loves incorporating other works from an author. So, it should shock no one that The Fall of the House of Usher does not draw its tale solely from Edgar Allan Poe’s aforementioned story. Stories, poems, and folks from personal conflicts appear in this dastardly tale of monstrous people and wealth. The episode’s titles clearly state the story the episode pulls from. But there’s more here besides that. So, here’s your spoiler warning. 

“The Raven”

Poe’s most famous poem, “The Raven,” published in 1845—I prefer “The Bells”—papers the eight episodes. Besides the literal raven flitting about in episodes, there is also Roderick Usher’s granddaughter’s name, Lenore, which draws from the lost love in the poem. Two of the episode titles also come from that poem. The first episode, “A Midnight Dreary,” is the first line of Poe’s narrative poem, “Once upon a midnight dreary,” while the last episode takes the poem’s title. 

“For Annie”

Another morbid yet beautiful poem, “For Annie,” published in 1849, gets a nod in the first episode. While in church to mourn the loss of three of his children, Roderick Usher is distracted by paranormal guests. Meanwhile, the priest’s words, “and the fever called living is conquered at last,” pull directly from this poem about blessed death. 

“Spirits of the Dead”

“For Annie” isn’t the only poem referenced by the priest at the funeral. He transitions from that poem to how those who pass away remain around one in death as they were in life. That comes directly from this poem, published in 1884. The poem even appears literally with all the dead lingering around Roderick Usher. 

“Lenore”

The name Lenore does not just appear in Poe’s “The Raven,” but the lady gets her self-titled poem. Originally published under the title “A Pæan” in 1831, the poem’s title changed to “Lenore” in 1843. Besides the granddaughter, Lenore, in the show, an older Roderick recites lines from the poem as a young Roderick and Madeline bury their dead religious mother, Eliza, in the backyard. 

“Tamerlane”

While Tamerlane Usher is not ruling on the scale of the narrator in Edgar Allan Poe’s “Tamerlane” poem, published in 1827, she exudes the qualities discussed within. She is proud and seeks power, wanting to climb to the top of her small Goop-like empire and gain recognition from her father, Roderick. This comes with the price of lost love, save as the poem’s narrator. 

Murders in the Rue Morgue

Camille’s death mirrors the one in this short story, though the series takes an additional supernatural spin. Auguste Dupin is in three of Poe’s short stories, the first of which is Murders in the Rue Morgue, published in 1829. In the series, RUE means Roderick Usher Experimental, which his offspring called “RUE Zoo” as kids before realizing the animal cruelty and changing it to “RUE Morgue.”

Dupin is a recurring character in three of Edgar Allan Poe’s short stories. In the stories, he is a detective rather than a prosecuting lawyer whose relationship with the Ushers goes back decades. 

The Narrative of Arthur Gordon Pym of Nantucket

In the show, Arthur Pym is the Usher family’s lawyer, hitman, cleaner, etc. But in Poe’s works, he’s from Poe’s only novel The Narrative of Arthur Gordon Pym of Nantucket, published in 1838. Before meeting Pym in the series, during the funeral in “A Midnight Dreary,” a part of this novel makes its first appearance when Roderick sees apparitions only he can see at the church. 

His granddaughter, Lenore, questions him, using the nickname “Grampus,” which is the name of the ship Pym boards in the story. It’s referenced again in “The Masque of the Red Death” episode when Lenore and her father, Frederick, complete a boat in a bottle for Roderick and discuss naming it “Grampus.” 

Lastly, in the series’ sixth episode, “Goldbug,” Pym mentions a dinner date with Richard Parker. In the novel, the crew of a whaling ship winds up lost at sea and eats a young crewmate named Richard Parker. Also, think about the fact that the 1938 book prophetically came true decades later.

“The Spectacles”

Napoleon Usher’s first name comes from the short story published in 1844, “The Spectacles,” about a man who learns a valuable lesson about wearing his spectacles to see what’s there. It’s loosely similar to what Napoleon experiences in the series during “The Black Cat” episode, as what he and others see differs. 

“Morella”

Frederick’s wife, Morelle Usher, ties in with the “Morella,” a short story published in 1835. But it goes deeper than that. The story is about a narrator who wishes for his wife’s death, going on to dislike his daughter as she begins to resemble his late wife. In the series, Frederick resents Morelle because he believes she had an affair, and that anger builds to where he takes it out on their daughter, Lenore. 

“Eleanora”

A short story about a man obsessed with his cousin—if you know about Edgar Allan Poe, then you know—a quote from the short story “Eleanora,” published in 1842 surfaces during Tamerlane’s “Goldbug” episode. After Roderick accuses his sister of spouting nonsense, she responds, “Men have called me mad; but the question is not yet settled, whether madness is or is not the loftiest intelligence.” It is fitting that a woman like Madeline, who does not want a man to control her but also has an unnaturally close relationship with her brother, says this.  

“William Wilson”

Yes, even a spouse or two get in on the action. Tamerlane’s husband is William “Bill-T” Wilson. “William Wilson” is a short story published in 1839. It’s about the narrator, William Wilson, encountering another William Wilson, who shares countless similarities, including date of birth. A doppelganger-style tale that devolves into narrator Wilson trying to kill the other. Though Tamerlane’s husband bears the name, Tamerlane herself goes through this ordeal, which comes to a head in the “Goldbug” episode.

“The Premature Burial”

Usher’s daughter, Victorine Lafourcade, gets her name from “The Premature Burial,” published in 1844. In the short story, the narrator’s mind incites terror not of death but of burial while still alive. Though not in The Fall of the House of Usher, that terror and paranoia is a staple of Poe’s works and appears in Victorine’s episode “The Tell-Tale Heart.” 

“The Imp of the Perverse”

Roderick and Madeline Usher’s arc in The Fall of the House of Usher series shares similarities to Poe’s tale, published in 1845, about someone who murders to inherit a man’s estate. Though, arguably, Fortunato is the Usher birthright, they still kill to claim it. Additionally, quotes from the short story, “The boundaries which divide life from death are at best shadowy and vague,” and “We stand on the brink of a precipice,” appear in the first episode.

“The Cask of Amontillado”

Fortunato is a company in the series. But in Poe’s short story published in 1846, Fortunato is a person. A friend murders him by chaining him to the wall and bricking him in alive, precisely how Roderick and Madeline murder CEO Rufus Wilmot Griswold to seize control of Fortunato. The murder merges “The Imp of the Perverse” and “The Cask of Amontillado.” Another connection is the costume Griswold wears of a carnival jester, as in the story, the murder takes place during Carnival season, and the 1925 bottle of Amontillado wine Madeline hands Rufus. 

“The Bells”

Given the bells jingling throughout the series, it may connect to “The Bells,” Poe’s poem published in 1849. The poem talks about hearing the sound of different types of bells and the subsequent emotions their differing sounds engender. The bells in Griswold’s Carnival mask can easily fit the bone-chilling “brazen bells” or “iron bells” in the poem. Now, about Griswold…

Rufus Wilmot Griswold

Griswold was a colleague of Poe’s who became a foe after Poe gave a less-than-stellar review to a poetry anthology Griswold put together. As soon as Poe died, Griswold wrote articles criticizing him and went on to write a biography, further painting Poe in a negative light.   

William Wadsworth Longfellow

Roderick and Madeline’s father, who refuses to acknowledge them as his own, William Longfellow, in “A Midnight Dreary,” connects to Poe and fellow writer and poet William Wadsworth Longfellow. Though initially cordial, Poe later attacked Longfellow’s works, even going so far as to accuse him of plagiarism.  

John Neal

Another contemporary writer who gets a nod in the series is American author, critic, and editor John Neal. In The Fall of the House of Usher, John Neal becomes Judge John Neal and oversees the trial against the Usher family. Although, he seems predisposed to show favoritism to the defendants—the Ushers—over the prosecutor, Dupin.  

Eliza

Roderick and Madeline’s mother, Eliza, share the same first name as Poe’s mother. Though with just a first name, it’s hard to be sure. But given the amount of detail in Flanagan’s previous works, I will say the choice of name is intentional. 

With all the interconnectedness between Poe’s works, did we miss something? Let us know! The Fall of the House of Usher is on Netflix now.

The post The Many Edgar Allan Poe References in THE FALL OF THE HOUSE OF USHER appeared first on Nerdist.

With Saw X‘s release comes a new set of deviously sadistic traps to torment the chosen victims and horrify moviegoers. Part of what makes Saw a cut above is not only the inventiveness but the significance of the traps. Usually, they tie in with the person’s transgressions, and Saw X continues that blood-soaked trend. So, let’s take a tour of the traps in this newest installment and break down who is in them and who gets out. Before we di[v]e in, here’s your spoiler warning. 

Saw X‘s First Trap: Eyes or “Sticky Fingers”

Early in the film, while in the hospital, Kramer spies a custodian in a patient’s room stealing their possessions. So, strapped in a chair, his challenge is sacrificing those five-finger discount digits or his eyes. His fingers individually have a device wrapped around them. He must turn a dial to snap each finger. If not, the suction tubes attached to his eyes will remove those instead. Though he fails, he survives because this occurs in Kramer’s mind, and the custodian returns the items. 

Pipe Bomb or Skin

Diego, the touristy driver, and the fake Dr. Cortez is next. Diego’s hands drove Kramer to the scam, and he pretended to operate on Kramer’s head to remove the tumor. Now’s his time to hone his scalpel skills. He has pipe bombs with wires stuck to his forearms and a scalpel taped to his hands. To survive the challenge, he has to cut the skin off his forearms to remove the bombs. He succeeds and, as is Jigsaw’s philosophy, lives on. 

Fake Test to Real Bone Marrow

Valentina’s turn is where the gruesomeness ratchets up. After putting Kramer through useless tests for his fake surgery, she now faces real stakes. She’s stuck in a seat with a wire saw at neck level set to behead her. She has to use a wire saw along the dotted line on her leg to sever and use a suction device to suck enough of the bone marrow out for a key, or its lights and life, out. Though she tries, she fails to meet the allotted three-minute deadline. 

Brain Surgery…For Real

As Mateo pretended to help in the surgery and anesthetizing, his test required surgery sans anesthesia. Strapped to a chair, he has a metal trap with coils that heat up on his head. It’s currently open but will close if Mateo doesn’t pass his exam. He must first drill into his skull and remove the bone. Then, Mateo has to take pieces of his brain out and place them in a container with acid. A key will release when there’s enough brain in it, and he has three minutes to get it done. He does not survive, and the metal mask slams shut on his head and face. 

Radiation Lift Off

Gabriela provided fake care to real cancer patients. So, Gabriela’s test finds her suspended in the air, one hand chained above and one foot chained below. In front of her face is an X-ray machine. To survive, she must smash her foot with a hammer to slip free and then her hand before the machine unleashes deadly radiation. Though injured and badly burned, she survives the test. But unfortunately, she does not survive Cecilia, who gets free thanks to Sears and snaps her neck. 

Kramer and Carlos’ Test

Through circumstances, Kramer finds himself and the kid he cares about, Carlos, trapped in the test he meant for Cecilia and Sears. Tethered on opposite sides of a metal slab that operates like a seesaw with chains around their necks and a lever beside them, their test begins. Kramer pulls his lever, which lowers his side, and blood pours out, waterboarding him, but Carlos is elevated and safe from the blood. But Carlos, despite Kramer’s demand not to pull, cranks his lever and undergoes the same torture to help Kramer. They both survive, thanks to Sears and Cecilia activating the final trap. 

This test highlights the blood on Kramer’s hands despite his assertion that he is not a killer, and Carlos emphasizes how someone innocent always pays the price. 

Just Breathe

Sears and Cecilia trigger their test in the office. It fills with a gas that burns them as they breathe it in. In the wall, there’s space to stick their head out of the room to catch their breath, but there’s only room for one. So, the couple does what any couple built on greed and duplicity would do. They fight. Cecilia stabs Sears and sticks her head out. Whether she survived has a question mark. She can breathe, but everyone leaves her in that room, so her fate is unknown. That’s the last trap in the movie. However…

Saw X’s Post-Credit Trap: Stomach Scar 

Henry Kessler was the one who showed Kramer his fake scar across his stomach from his “surgery,” setting off the scam. Of course, Kramer did not forget. The final trap in the post-credits scene of Saw X shows Kessler suspended in the air with a contraption on his stomach, with razor-sharp blades moving and ready to slice his abdomen. Whether he survives is also unknown. 

Saw X is in theaters now.

The post All the Gruesome, Terrifying Traps in SAW X appeared first on Nerdist.

The Saw universe is back with John Kramer (Tobin Bell) a.k.a. Jigsaw taking his painful lessons to Mexico. Saw X doesn’t have the mind-blowing shock of the original film. But, with inventive deaths that will make viewers’ faces and extremities cringe in horror, it’s a great—even occasionally funny—addition to the franchise. 

Directed by Kevin Greutert and written by Josh Stohlberg and Pete Goldfinger, Saw X packs in gore with a more personal story surrounding Kramer. Given Saw‘s long history of twists, seeing them forgo this in lieu of a deeper emotional investment is refreshing. For all his technological trap savvy, Kramer is still an old man dying from a cancerous brain tumor. He even falls victim to the same scams that others in his generation do.

Saw X captures the susceptibility and allure of scams, not to mention how disarming con artists appear because they tell people what they need to hear. John’s hope rises after Henry Kessler (Michael Beach), a fellow cancer support group member, discloses his special treatment and subsequent freedom from cancer. Another conversation with Dr. Cecilia Pederson (Synnøve Macody Lund) further feeds into John’s curiosity. With the perfect blend of surety and sympathy, Dr. Pederson convinces John to come to Mexico for the surgery. This is a flashing red flag with resounding alarms for most people. If there isn’t a whole level of hell for folks who swindle the dying, there should be.

It’s easy to sympathize with Kramer despite his history of torture. Saw X humanizes John Kramer moreso than previous Saw films. He befriends a child, Carlos (Jorge Briseño), helping fix the wheel of his bike and cares about the soft-spoken woman, Gabriela (Renata Vaca), who sees to his comfort while he awaits surgery. It’s that affection that makes him return to the location with a wine bottle that is supposedly for luck, and nothing is there except clues to the scam. Tobin Bell somehow makes Jigsaw likable, infusing the character with a frailty and vulnerability that screams, “Don’t let me down.”

But, of course, that’s what transpires. And hell hath no fury like a Jigsaw scammed. The film shifts back to the franchise’s standard of setting horrific traps and everyone is on the list. This is where Saw X‘s supporting cast shines. In addition to Lund and Vaca, Paulette Hernandez as nurse Valentina, Joshua Okamoto as Diego the driver, Octavio Hinojosa as anesthesiologist Mateo, and Steven Brand as Parker Sears along with other cured patients played their role to perfection, delivering award-winning and legitimate performances.

The traps don’t have the jaw-dropping shock of previous Saw films. However, how they are often tailor-made for the individual’s transgressions deserves a tip of the hat. The rigged traps play expertly off of the fake operation scam with hospital themes. There is ample body horror, blood, and viscera—though this part causes shocked laughter. Like the other films, Saw X makes viewers question the lengths they’ll go to survive. Spatters of laughter ease some tension, but throughout Kramer’s trip, the viewer’s senses register at varying DEFCON levels. 

While the film certainly excel at gore, the gentler aspect of Kramer adds dimension and presents a stark contrast to the later bloodshed. Despite his failing health, he reminds the bad people and audiences why he is still the Jigsaw GOAT. Tobin Bell immortalized this character, cementing him as one of the most iconic villains of the last twenty years. Inventive and shady in his punishment, the traps reflect his wit and show that a sharp mind remains in Saw X, one you cross at your peril. 

Saw X hits theaters on September 29.

Saw X ⭐ (4 of 5)

The post SAW X Is Bloody and Bold with a Slice of Scam appeared first on Nerdist.

There are iconic horror villains like Michael Myers, Ghostface, and Pinhead who fans reference when waxing about their favorite films. But there are other horror villains, be they monsters or people, that often fall by the wayside. When it comes to horror, the ’80s and ’90s delivered some supreme films that went in unbelievable directions with villains who deserve more recognition and shine. So, let’s celebrate some of the most underrated horror villains of the ’80s and ’90s!

Note: Some films on this list do not disclose the villains’ identity until the climax of the film, so please proceed with caution.

John Ryder – The Hitcher (1986)

The Hitcher takes the familiar cautionary tale about picking up hitchhikers and ratchets it up. John Ryder—a.k.a. The Hitcher (Rutger Hauer)—plays a cat-and-mouse game with Jim (C. Thomas Howell), the young man who gives him a ride. Even when Jim realizes his mistake and escapes, Ryder is unavoidable. Smiling, creepy, and downright sadistic, Ryder instills terror to the point that dying becomes less a fear and more a blessed relief. 

Harry Warden/The Miner – My Bloody Valentine (1981)

Sometimes, celebrating a holiday has dire consequences. The Miner (Peter Cowper) might not talk under the mask, but his blood-soaked rampage speaks louder than words. Few horror films combine small-town mine terror with an urban legend and a holiday. Plus, his laugh at the end is the stuff of nightmares. This ’80s horror movie might be B-horror and camp, but they knew how to stick the landing with this underrated horror villain. 

Horace Pinker – Shocker (1989)

It’s unfair when villains get a paranormal payback buff. An underrated Wes Craven gem, Shocker is a supernatural serial killer flick. Horace Pinker (Mitch Pileggi) is a terrifying murderer with a high body count before his execution. After his death, he returns, seeking vengeance against the young man who turned him in. While the effects do not age well, Pinker inspires chills and laughs like another Craven villain. 

Pumpkinhead – Pumpkinhead (1988)

“Keep away from Pumpkinhead unless you’re tired of living.” You don’t have to tell us twice. But giving this summoned beasty a wide berth is easier said than done if it gets called up to kill you. If you’re not the target, Pumpkinhead gives peak “mind the business that minds you” energy. Tall, lanky, and ghastly pale with a tail, this beast is nigh undefeatable with a chilling smirk. Not only does Pumpkinhead deserve more love, but we want to see it in Dead by Daylight. 

Angela Baker – Sleepaway Camp (1983)

Considering the portrayal of summer camps in horror films, it’s surprising they still exist. Watching Sleepaway Camp again with the awareness of who the killer is adds a layer of surprise each time. While some know the series, few mention Angela Baker (Felissa Rose) by name and it’s time that changed. She’s burned someone with scalding water and beheaded another. And Angela achieved all this while being a teeny teenager. The original film even spawned four sequels thanks to that unforgettable ending, so put some respect on Angela Baker’s name. 

Sandman – Sleepstalker: The Sandman’s Last Rites (1995)

The Sandman’s story is as creepy and tragic as his supernatural invincibility. To maintain his sand-resurrected body, Sandman has to sever the link to his mortal world. So, he goes on a murder spree searching for that link, leaving a trail of bodies in his wake. With his body made of sand, he can transform parts of himself into a weapon, like his arm into a spear. Otherworldly killers abound in cinema, but thanks to a creepy song and his distinct features and abilities—sand gets everywhere—the Sandman earns a spot on this list. 

Patrick Channing – The First Power (1990)

Before he played the mentally unstable vampire, and later the magic-dealing warlock on Buffy the Vampire Slayer, Jeff Kober was Patrick Channing—an erratic and violent supernatural killer on a violent murder spree after his execution. I am sensing a trend here. Jeff Kober always nails the disturbing murderer role. Patrick’s power set is actually overpowered—resurrection, teleportation, and possession—and that makes him pure nightmare fuel. Murderers who massacre from sheer enjoyment are in a different league.  

Stewart Swinton – Wolf (1994)

If smarmy, yuppie killers had a runner-up to Patrick Bateman, Stewart Swinton (James Spader) fits the bill. He takes his mentor’s position at work and has an affair with his wife. But when he fails to hold the job, the claws come out literally as he delves into payback. Wolf is a slasher horror with practical effects that still hold up well; Swinton is the beast that’s greedy and hollow, who wants what others have. He’s a villain you despise before he even kills anyone. 

Alex Hammond – Prom Night (1980)

There’s something about slashers that make you question the villain. Alex (Michael Tough), in his glittery mask towing an ax, is one of those. Creepy calls and a murder spree in one night make for superb killers. The clincher is he is not otherworldly or one of those villains who keep getting up after being stabbed, bludgeoned, or anything else. When he attacks, he puts his weight into wielding his weapons. He is mortal in every sense and one of the few sympathetic villains on this list.  

Candyman – Candyman (1992)

Another character who should be in Dead by Daylight, Candyman, is a graphic killer, and Tony Todd’s voice adds a layer of charisma amidst the blood-curdling terror. Yes, we are all familiar with what happens if you say his name five times in a mirror or a reflective space. But Candyman doesn’t often make the list of great/iconic horror villains like Ghostface and Jason Voorhees, so that’s why he’s on this underrated list. The way he butchers characters is artful, and he does not hesitate to arrive when summoned. This is a killer to avoid, even with a tragic backstory, because he’s into exquisite pain. Don’t expect a quick death. 

The post The Most Underrated Horror Villains of the ’80s and ’90s appeared first on Nerdist.

There are tons of animes that have women jockeying for the time and affection of one guy, which is called harem anime. But well-done animes that do the opposite, a.k.a. reverse harem anime, are a rare breed. There’s something satisfying about a story with a woman (or girl) with humor, compassion, or wild antics that makes the other characters (and us) fall for her. So, to celebrate them, here are some of the best reverse harem anime series.  

Fruits Basket

After her mother’s passing, Tohru Honda lives in a tent. When the landowners, the Soma family, discover her, they offer to let her reside in their home, but there’s a secret in the Soma family. They transform into animals from the Chinese zodiac during times of stress or when the opposite sex hugs them. There are many hilarious moments, and it’s easy to see why everyone gravitates toward kind and caring Tohru. It’ll make you laugh and sob equally and at unlikely moments. 

Where to Watch: Free on Funimation and Crunchyroll

The Wallflower

Forget tsundere. This lady is beyond the tough girl hiding a good heart. Sunako Nakahara is a homicidal nightmare with a penchant for melting wicked witch style in the face of unfathomable beauty. She meets her match in the form of four gorgeous boys who live in her wealthy aunt’s house. Sunako’s aunt gives them an ultimatum: pay rent or transform Yukiko into a beautiful lady. Yes, terrifying goth girls can be surrounded by handsome boys, even if they sob as she chats with her skull pals. 

Where to Watch: Hulu and Funimation (premium subscription)

Ouran High School Host Club

This gender-bender reverse harem anime is one of the most flamboyant anime ever. Haruhi Fujioka attends the elite Ouran High School despite a lack of wealth. After smashing a vase, she works off her debt by being a host to the girls in the school. Haruhi is comical, challenging, yet calm, and a perfect counter for the overly dramatic Host Club president, Tamaki. The series delivers range with occasional fourth-wall breaks while playing firmly and assuredly in its rom-com genre. 

Where to Watch: Tubi, Netflix, Hulu, and Crunchyroll

Kiss Him, Not Me

A side-splitting reverse harem anime that shows love to BL (boy’s love) fans, it’s funny despite its problematic premise. Kae Serinuma is a big girl with a BL obsession. She remains in bed the whole week after her favorite character dies. When she returns to school, she’s lost weight, and the popular boys circle her. It traverses love based on character over physical characteristics, all while wrapping it in a delightfully comedic lens of anime/manga fandoms, hooking you before you realize it. Worth a view for the shipping wars argument alone because Serinuma is a fanatic. 

Where to Watch: Crunchyroll

Vampire Knight

Vampire Knight is a spicy drama and mystery that follows Yuki Cross. She attends Cross Academy and acts as a guardian keeping the peace between the humans in Day Class and the vampires in Night Class. You can’t go wrong with vampires. Everyone is stunning, and seeing the vampires’ different abilities makes you want to delve into and revel in this world. Yuki may be a typical anime girl, but that’s part of the appeal, especially as the mystery froths to the surface.

Where to Watch: Crunchyroll, Hulu, Peacock, and The Roku Channel

Hana Yori Dango

The oldest series on the list follows Makino Tsukushi, a poor commoner who attends an elite school and wants to graduate unnoticed. That changes when she defends a friend against the F4, a group of the wealthiest and most powerful teenage boys, and becomes their target. Determined not to lose, the group inevitably takes an interest in her, and a love triangle forms between her and two of the boys. Not all the parts age well. But at its center, Makino Tsukushi stands out as an altruistic character, and there are unforgettable moments of laughter and love. 

Where to Watch: Crunchyroll

Romantic Killer

The newest series on the list, Romantic Killer revels in its absurdity. A strange wizard creature, Riri, appears to Anzu Hoshino and transforms her life into an otome game. To ensure she has Hoshino’s full attention of all the gorgeous boys who will soon line up, Riri confiscates Hoshino’s games, chocolate, and cat. But Hoshino’s not the average heroine, and with so much on the line, she’s determined to chase these gorgeous boys off. If that means grotesque faces or dressing like a fashion victim, so be it. Similar to series like Lovely Complex or His and Her Circumstances, anime fans will adore this series. The heroine is not poised, sweet and innocent, but loud, dangerous—for Riri at least—and obsessed with games. What’s not to love?

Where to Watch: Netflix

Hakuoki

Touted as a show that hides surprising depth and shoujo elements in a genre usually built around comedy, Hakuoki still lives in the reverse harem realm. Disguised as a boy, Yukimura Chizuru heads to Kyoto in search of her father. After the Shinsengumi rescue her and learn she’s the daughter of the doctor they are also searching for, they aid her in her quest. Fan of reverse harems with more action will love its bountiful fighting and mysteries.  

Where to Watch: Crunchyroll

My Next Life as a Villainess: All Routes Lead to Doom

Beware of the flags of doom! In this ludicrous reverse harem rom-com isekai, the heroine, Caterina Claes, recalls her previous life after sustaining a head injury. She died and somehow wound up reborn as the villainess in an otome game, Fortune Lover. In the game, her character faces exile or, at worst, death. To avoid this, she befriends boys and girls, becoming the object everyone seeks. One of the highlights in the series is the multiple versions of Caterina holding meetings in her mind to discuss the best ways to avoid death flags. Each time she unintentionally plays the role of one of the guys in the game, you realize what she hasn’t caught onto—that everyone is crushing on her. 

Where to Watch: Crunchyroll

The post 9 Reverse Harem Animes That Show Women Lots of Love appeared first on Nerdist.

Pearl is a new horror gem—likely to become a horror classic—that digs into its titular character (Mia Goth) and her desperate need to escape farm life. Sound familiar? Of course it does. Ti West’s follow up to X is basically a warped version of The Wizard of Oz that answers how Dorothy would fare if she never went to Oz. What happens when the lesson learned through adventure and fantasy is instead through anguish, disappointment, and the mundane? Arguably, the film has a tin man, lion, scarecrow, wicked witch, and even another Dorothy that are struck down by Pearl waking up from her fantasy.  

We initially see a brief conflict between Pearl and her mother Ruth (Tandi Wright). Pearl soon goes outside and there’s vibrant music reminiscent of The Wizard of Oz. As the movie progresses, Ruth is hellbent on killing her daughter’s spirit. From forcing her to care for her father, to never allowing her to enjoy herself, Ruth is a miserable thorn in Pearl’s side. This is much like the wicked witch is towards Dorothy, even though Ruth plays a duel role as an evil version of Auntie Em. As emotions swell to a crescendo, Pearl and Ruth wind up in a physical altercation, and Ruth’s dress catches fire. Her death is accidental, similar to Dorothy accidentally dropping a house on a witch.

The Tin Man is made of metal or tin. The Projectionist (David Corenswet) job is playing films from canisters made of tin. Like the Tin Man himself, the Projectionist is charming and sophisticated. He appears worldly, just like the character Tin Man does as he sings “If I Only Had A Heart.” Both the Tin Man and the Projectionist seem full of life; however, they feel hollow inside due to something missing. Interestingly, this Pearl character also reflects another famous The Wizard of Oz character: the Scarecrow.

The Scarecrow in this story is a mix. After meeting the Projectionist, Pearl rides her bike back home. Losing the film clip he gave her, Pearl moves through a field to find it, and she sees a scarecrow perched aloft. Envisioning the Projectionist’s handsome features on the scarecrow, Pearl makes out with him… and more. Later in the film, Pearl stabs the Projectionist with a pitchfork after realizing he doesn’t love her. It’s an interesting tool of choice considering pitchforks are used to pitch hay, which is what scarecrows are made of. The Wizard of Oz likenesses truly run rampant throughout Pearl.

Now, Pearl’s father (Matthew Sunderland) resembles the Cowardly Lion. Though expressionless at the beginning of Pearl, he comes to embody one singular emotion: fear. He is the first one Pearl considers killing when she wheels him to their bayou. She tells him how much she loves him and fears what will become of him if she leaves the farm. In her mind, this is a mercy killing. After that, whenever Pearl’s father appears onscreen, his eyes hold terror. Like the Cowardly Lion, he feels fear, but unlike this lion, he does not lack courage. His disability means he cannot speak or move, so he is at the mercy of those around him. 

Pearl’s sister-in-law Misty (Emma Jenkins-Purro) also wants to dance, and agrees to audition with Pearl for a church dance group. The collective will travel to different towns for performances. Misty is closer to the character of Dorothy than Pearl, despite Pearl’s delusions. Her attire—from her dress to shoes—is strikingly similar to Dorothy Gale’s style. Their differences become more glaring when she and Pearl talk after the auditions following Pearl’s monologue.

Pearl’s attire of long dresses and richer colors looks like wicked witch wear. After all, her mom is a wicked witch, and the two evil witches in The Wizard of Oz film are related. And what does Pearl, the second wicked witch, do? Kill. When Pearl, angry because she thinks Misty got the role and not her, follows Misty out and grabs the ax, Pearl embraces the part of the wicked witch and murders Misty, a.k.a. Dorothy.  

Pearl’s character and depiction in the film—believing she is Dorothy when she is the witch—gives credence to author Cassandra Clare’s phrase that “no one is ever the villain in their own story.” Pearl thought she was Dorothy, understandable given Ruth’s treatment, but in the end, she is another villain. No one successfully acquires the parts their counterparts in the The Wizard of Oz attain. Pearl makes sure of that and, in the end, damns herself. 

The post Ti West’s PEARL Puts a Warped Spin on THE WIZARD OF OZ appeared first on Nerdist.

A24’s Bodies Bodies Bodies—directed by Halina Reijn with a screenplay by Sarah DeLappe and story by Kristen Roupenian—is a hilarious slasher whodunit with a twist. The film follows a group of rich 20-something friends who throw a hurricane party at David’s (Pete Davidson) family mansion. But when one of them turns up dead, built-up resentments and jealousies unravel the party. Full of self-aware lingo from the disconnected rich, Bodies Bodies Bodies it feels like “eat the rich,” or watch the rich self-destruct, come alive. There is the horror of death but, for Bee, the horrors of wealth, class, and petty human nature play out in front of her, changing her life forever.

Sophie (Amanda Stenberg) and her partner Bee (Maria Bakalova) arrive at a party with the former’s friends. The gathering itself is bizarre considering the circumstances. When hurricanes come, most people evacuate and stress the cost of destroyed property. However, this bunch of affluent young adults throw a party as the storm looms. Bee is an outsider and, like the majority of the film’s audience is not rich. So it is easy to connect with her point of view among this group. Immediately, there is lukewarm excitement at Sophie’s arrival, which makes you wonder 1) why she came and 2) why she would bring Bee into this tense atmosphere. (It turns out Sophie went through rehab and her family seems to have cut her off from their wealth for now, but she grew up wealthy like all her friends.)

We meet this spoiled and entitled group. There’s the aforementioned David and his girlfriend, Emma (Chase Sui Wonders), an aspiring actress, though thanks to family wealth, hardly a starving artist who gossips about her cocky boyfriend. Jordan’s (Myha’la Herrold) family is working class rich and jealous of Bee and Sophie’s relationship. Then there is Alice (Rachel Sennott), a podcaster, who makes a distinction between inherited wealth and wealth from working parents and her new, much older boyfriend Greg (Lee Pace), who was a vet. 

The social and economic differences between Bee and the others is an uncomfortable horror within itself. In the beginning, Bee does what any good guest would do: she brings food to David’s house. For the average person, this is a common gesture; however, the group looks at her with a snotty “gee thanks” attitude. Their reaction immediately makes an already uncomfortable situation even worse. She’s now in a house for the foreseeable future and a minority in the sense of wealth and class.   

Their conversations and interactions further isolate Bee. They have the luxury of pursuing dreams with any degree of ferocity they choose because they do not worry about bills. Everyone is insufferable and constantly competitive with each other. For example, there is blatant animosity between David and Greg because David does not think Greg is “that hot” even if he can slice a corked bottle open with a sword. David feels threatened when another man is around who outshines him, as evidenced by the unseen Max, who left the party before Sophie and Bee’s arrival after giving David a black eye. 

Jealousy abounds, creating the perfect atmosphere for the ensuring mayhem that comes from their decision to play a murder mystery/ mafia plus tag game called “Bodies Bodies Bodies.” Jordan is jealous of Sophie’s relationship with someone who is “beneath her.” The storm outside is not the only one brewing. When the game begins, they all have to take a shot and slap the person to their right. Here the animosity is glaring, as David hits Greg hard. He harasses Greg to explain something, claiming that it is a “teaching moment,” which causes Greg to leave. A “teaching moment” is supposed to be a positive lesson, but David weaponizes it and the language to attack Greg. It’s yet another nod to the general “rich and clueless” aura in the air.

For the audience, it’s fun watching unlikeable people who live in their spoiled, entitled world drop like flies. But for Bee and Sophie, it becomes a living nightmare. As they decide who to vote off as the killer, they have nothing to go on. So they start to argue, using their issues with each other as evidence—a theme that runs throughout the film. Once people start dying, they accuse each other despite having no real evidence, just petty jealousies. After David accuses his girlfriend Emma, claiming she is the killer and she is just acting innocent because she’s an actress, they vote him off, and he leaves in anger. Ironically, the situation then flips. 

They discover an actual body (gasp!) and the group immediately suspects Greg, the vet and other outsider besides Bee. They find and confront him after discovering his bag with a map and knife. While trying to defend himself, Bee, thinking Sophie is in danger, kills him with a kettlebell to the head. They kill him off because they do not know him and they assumed vet meant war vet. But Alice points out he was a veterinarian’s assistant. Again, their emotions and assumptions lead to death.    

Interestingly, Emma the actress dies off camera. No spotlight, no awards, and no attention. Her body is at the bottom of the stairs. They again assume that the killer pushed her down the stairs. Now it’s Bee’s turn to be labeled the killer because the “poor girl” would do it. And she’s now a threat after Greg’s death. Bee could be any of us if we were trapped with rich people dying off. We just want to stay quiet, aware, and ride it out until we can get out of dodge. But we’d probably be accused of murder and get roped into something by trying to protect someone. 

Classist Alice, another who misuses words like “silencing,” dies next after Jordan accidentally shoots her. Must be galling to die at the hands of someone in a lower income bracket. You truly cannot feel sorry for such awful people. The remaining three is the “love triangle” of Bee, Sophie, and Jordan. Jordan has quietly tried to come between Bee and Sophie throughout the film, accusing Sophie of cheating on Bee with her. She even demands with her dying breath (as Bee pushes her off a railing) that Bee check Sophie’s texts with her dying breath. Jordan is so wrapped up in driving a wedge between the couple that she refuses to let it go. That’s commitment. 

And, after all that, it turns out that David was never murdered. His need to be the top dog in his fancy mansion is what killed him. Inebriated, he attempts to do the same trick Greg did and slices his neck with the sword. None of what they thought was real, until they manifested it themselves. Majority of the deaths were a series of misunderstandings and accidents.

Their laissez faire attitude about storms, inability to look past assumptions and their own biases is what escalates the situation. They feel untouchable, in a world of their own. Death ensues and there is no way to contact the police for help because the hurricane knocked out the power. They are trapped and never foresaw any issues arising that their money, lavish home, alcohol, and drugs could not remedy. And, while Bee survives, she unfortunately will bear the consequences of a night with the rich and lawless.

Bodies Bodies Bodies shows how class, money, and the negative parts of humanity like sheer jealousy can turn into a series of horrors. And, it is a reminder that maybe, just maybe, throwing a party in the middle of a weather disaster and tossing in a murder game isn’t a great idea. Especially if the majority are rich, spoiled, and filled with jealousy.

The post BODIES BODIES BODIES and the Horrors of Wealth, Class, and Bad Human Nature appeared first on Nerdist.

There are often archaic notions of who can be a criminal. From serial killers to thieves, we usually think of men. True, they are the usual culprit, but that’s why it is delightfully shocking when a woman occupies that space. Women thieves and con artists fling the rules based on gender construct in society’s face. And we love them for it. Even now, home and hearth are typically perceived to be a woman’s end goal. Their “happily ever after,” so to speak. Seeing those who don’t conform to society awakens that part of us that feels confined and wants to do things outside the so-called norm. And these society dynamics do not form solely along gender lines. Capitalistic hierarchy also plays a role. 

In The Dark Knight trilogy, Hathaway’s Catwoman demonstrated a disdain for the elite class. As Selina Kyle tells Bruce Wayne, the rich are unrealistic about what they have other than their wallets. Society makes money the measuring stick to determine a person’s value. It ranks their “worth” through financial portfolios, what they buy, where they go, and where they live.

But, without their money and society’s capitalistic system, many of those people are no different than us and, truthfully, less important. Catwoman brings this to examination to our attention, striking back at the wealthy by taking from them. In a world where we see wealthy people showing off their excessive purchases while millions struggle for basic needs, this hits on a deeper, primal level for the average viewer.

Michelle Pfeiffer’s Catwoman in Batman Returns reaffirms this dislike for the wealthy, specifically noting how they abuse their power. Rather than using their resources for good, they selfishly, narcissistically manipulate and hurt others to accrue more money and power. She also disdained women who let men trample on them. This is shown when she rescues a woman from an attacker. Catwoman steps in to save her; however, she’s not thrilled by the woman’s cavalier attitude for her own life as she waits for someone to rescue her. This sends a clever message that women need to be their own saviors by any means necessary, whether fighting back physically or disrupting the system. It rallies for pushback against traditional roles and societal expectations that seek to disempower women. 

Catwoman uses force when needed primarily to extricate herself from a dangerous situation or prevent capture; however, her talent for blending in and craftily stealing is her most admirable skill set. To be a thief is to be a magician and magic speaks to the curious child in all of us. A sleight of hand where something is there one second and gone the next, leaving us wondering if our eyes deceive us. That is, if we even notice something was there in the first place. There’s also the thrill of getting away with something. You know, like Catwoman got away with Bruce Wayne’s valet ticket and his car in The Dark Knight Rises. We all desire to have that cunning nature and bend things to our will.

The word thief also conjures up images of stealth. Someone who swipes goods with ease and often unbeknownst to their victims. Others typically underestimate this person, which is why it works so well for women, both in fictional characters and real life. There’s a lot of love and intrigue surrounding Doris Payne, a Black woman who was a real-life international jewel thief. Doris charmingly stole millions over her decades-long career without violence. She got away with crimes during eras that were fraught for Black people. In a sense, it was a way to strike back at those who were oppressing women like her.

The life of women thieves is as freeing as it is enticing and adventurous. We see this with Catherine Zeta-Jones’s sultry and skilled character, Gin, in Entrapment as well as in the 2018 film Widows. Viola Davis literally led a team of women on a dangerous heist! Eartha Kitt’s Catwoman would be proud since she was always devising plans and had a lair just like Widows‘ crafty quartet. 

Whether fictional or real-life, thieves like Catwoman remain fascinating. The new Batman looks promising with another iteration of this famous character. Zoe Kravitz appears cool and collected with a “trust me but beware” look that could prove treacherous for the caped crusader.  Catwoman is a criminal by society’s rules and laws. But we are keenly aware that working by society’s rules—especially the further we are from the white, heteronormative, patriarchal default—will get us nowhere.

The post Catwoman and Our Undying Love for Cunning, Chaotic Women appeared first on Nerdist.

The first episode, “I Said Bitch”, showcases two Black men (played by Key & Peele) complaining about their respective wives. Both end their rant claiming they called their wife a “bitch,” but they are sure to make this claim when their wives are nowhere near them. Toxic masculinity forces men to preen and strut among their community. But, at the same time, both of them leave those stories with their friends. And they don’t demonstrate that toxic behavior in the company of their wives. This could apply to any man married to a non-Black woman yet, because they are Black, the clear message is that you don’t mess with Black women. 

“Manly Tears” flips the script on a group of men in a gang. The odd one out is not the member mourning the loss of a friend, but the member laughing at them. It is universal in discussing how toxic masculinity derides men for showing emotions like sorrow and pain. However, the skit focuses on Black gang members, who are often stereotyped as callous criminals. It brings the comedy back to how our communities sometime socialize Black men and boys in terms of their emotions with a twist. This is what makes Key & Peele so dynamic. The main cast is almost always Black and our stories and experiences are the focus, not a seasoning added to spice up a white sketch. 

Key and Peele understand that reversing the roles is sometimes the best way to show how ridiculous certain behaviors or attitudes are. In Key & Peele’s “Substitute Teacher” sketch, we get a city substitute teacher berating his students for how they pronounce their names during roll call. Black people frequently experience this in the United States when they do not have a “white” name. People mispronounce it, often getting annoyed or giving up when they are corrected by the one with the “hard” name. And, like the students in his class, we refuse to fight for the correct pronunciation sometimes. It is often because of the energy it takes or a power difference that makes someone else’s mistake our punishment. 

The show also delves into facets of racism, such as microaggression and overt racism. In their “A Cappella” sketch, a group of seven white men sing a cappella. The group also includes its one token Black member (Peele). When a prospective Black member (Key) arrives, Peele feels threatened, and they proceed to argue after the white men leave. There is a mindset in many jobs and groups that there is only room for one Black person—a token. Anything more garners a raised eyebrow, sometimes from the token person who feels “special” in some way. 

In “Black Ice,” Peele is a reporter talking to the newsroom about the weather. Key is a weather reporter at the same station arguing with the white reporters about the way they discuss the dangers of black ice as a euphemism for Black people. Later the racism is blatant and this is often our experience. 

Continuing to combine comedy and commentary on racism, season three’s “High on Poteneuse” highlights people’s double standards regarding rights and equality. During an office meeting sketch, an employer runs his speech by a trio of employees—a Black man, a woman and a gay man—to ensure his speech is not sexist, racist or homophobic. They argue with him before the speech begins about his use of words that show implicit biases; however, when his speech starts with a joke at the expense of Arab, Chinese, and Polish people, they are excited to hear the punchline.

In reality, the battle for equality and rights falls short when people only fight for their group while allowing other marginalized groups to suffer. In “Alien Imposters,” Key and Peele are in a dystopian world where aliens look like people. So to unmask them, they ask questions like “Would you let me date your daughter?” to a white man and “What do you think of the police?” to a Black man. These questions point to larger biases and social challenges that Black people face.

Finally, there is “Power of Wings” with two actors pretending to be gang members in the United States. One is actually in a gang while the other is a British actor. The white director feels the British actor is playing the role well, while the one with real-life experience needs to step it up. There is a continuing debate about whether it is acceptable for Black British actors to play American roles. Especially when some exhibit contempt for Black Americans. This buys into the same stereotypes that plague Black people in any country. People want to be us but truly do not like nor care about us. 

Key and Peele made the sketch funny and relatable, because there are white people that have an image in their mind of how Black people who grow up poor in cities should dress, talk and behave overall. And when our image does not match theirs, the problem is us, not them. 

Key & Peele’s comedy did not feel like it was at our expense for the sake of white audiences, which increased the hilarity. The sketches were varied, lighthearted and yet did what the best comedy does. It points out what doesn’t make sense in this world in a “truth is stranger than fiction” fashion. They both went on to new heights, with Keegan-Michael Key moving on to films like Keanu and the new Christmas classic Jingle Jangle.

Of course, Jordan Peele moved on to writing and directing stellar films like Get Out and Us. They both cemented themselves as talented individuals and showed that comedy sketches about Black people can resonate with a wider audience and still be tailor made for us.

The post These KEY & PEELE Sketches Are Inherently and Hilariously Black appeared first on Nerdist.

Prudence found a way to shine despite narrative limitations. The show’s creative team could have certainly gone deeper into her as an individual, giving additional depth to her relationships with Ambrose, Agatha, Dorcas, or her siblings beyond the surface. We meet her as a devout worshipper of The Church of Night and a staunch supporter of Father Blackwood. She’s a classic mean girl bully to those she looks down on or feels threatened by. In fact, we mostly see her amidst conflict, often involving Sabrina, or as a tool for others to use. She doesn’t get to simply enjoy laidback conversations amongst friends or casual joking. It is disheartening to not get more with her considering there was a lot brewing beneath her surface. 

Netflix

Her beliefs and mindset stem from loneliness and desire for family and a community because she is an orphan. She craves this to the point of finding joy in being eaten by coven members in the Feast of Feasts because she will become part of everyone. (Fortunately, that did not happen.) Prudence is clearly in pain when Father Blackwood rejects her as his child yet she stands by him, misogyny and all, in hopes of eventually winning his acceptance. She’s loyal to a fault, to say the least. 

Yet, her fierce independent streak and awareness of a woman’s worth give her a unique charisma. In the first season, she allies with Sabrina, despite her distaste for the half-mortal, to teach a terrifying lesson to four mortal boys who bullied Theo over his identity. Prudence playing “Devil in the Dark” was a shining moment for many fans. Like us, her passions and sometimes skewed moral compass guide her actions, making her an often conflicted witch. 

In season three, Prudence and Ambrose’s blossoming relationship is a gateway to a new side of Prudence, showing her vulnerability and affectionate side. Though just a hookup at first, they found something more profound with their compatible personalities as they commiserated over the shared pain Father Blackwood inflicted on them. Even when Prudence and Ambrose were at odds, there was chemistry, mutual respect, and affection. 

Prudence cares for those in her small circle, especially Agatha and Dorcas. When Father Blackwood poisoned the coven, she teleported them to the Spellman mortuary first. She also fought to save Dorcas after Pan turned Dorcas into stone in the third season. That love is mutual and keenly felt, when Dorcas, murdered by mad Agatha, heals Agatha, forgives her, and leaves. As Prudence sobs, Agatha regains her sanity. The pain in Agatha’s voice, as Prudence removes her straitjacket to comfort her, asking “what did I do.” It was one of the only redeeming parts of season four. 

We probably won’t get a Prudence spinoff series. But it is still fun to imagine what she could do in the future. In fact, I have a few ideas. Considering her skill at taking charge and protecting students, I’d love to see her in a mortal school. She could cast spells on faculty for discriminating against students and perhaps teach a sex-ed course. If anyone can undo the stranglehold that religions have on sexuality, it’s Prudence. She doesn’t sugarcoat the past so teaching history courses is a possibility. 

Prudence could also be a bounty hunter or detective. The former may be preferable since it comes with fewer restrictions. But with either, she could help bring criminals to justice. Prudence freed herself from her manipulative, abusive leech father. She combed the Earth to bring him to justice for his attempted massacre of the entire coven. Granted, her dismembering him is not exactly in league with mortal law, but that’s where the potential lies for conflict. I can picture Prudence doing a dual sword-wielding takedown of a predatory criminal. 

Diyah Pera/Netflix

On a personal level, Prudence probably wouldn’t lean towards marriage nor other typical labels of “happiness.” But she’d probably be in a relationship with Ambrose at some point. Witches age slowly, so there’s future potential for them. This duo would make excellent parents; their kid would be mischievous, witty, and fashionable, as evidenced by Prudence and Ambrose’s attire. Her outfit when she searched for Father Blackwood with Ambrose in Louisiana was casual chic. And that psychedelic two-piece she wore for the Battle of the Bands in “The Returned” episode in the final season was gorgeous. She was certainly the best dressed in the series. Speaking of fashion, Prudence exudes the beauty, class, and sex appeal prime for a fashion career. She’s not only cutthroat but she forces everyone to do a double-take when she walks past.

Perhaps a skilled creator, preferably a Black woman, can craft a Prudence Blackwood spinoff series that gives her the leading spotlight and attention she deserves. Until then, she will keep holding a special place in many fans’ hearts.

The post An Ode to CHILLING ADVENTURES OF SABRINA’s Prudence Blackwood appeared first on Nerdist.

20th Century Studios

Evil Willow Peeks Out

Despite Willow combatting magic addiction and that darkness inside her in the final season, it leapt out in “Selfless.” While trying to protect a girl and herself from a spider monster that takes hearts, Willow gets fed up with the girl’s mewling. We see black-eyed Willow return as Willow orders, “For God’s sake, shut your whimpering mouth!” As Halfrek states, there are fans of Willow’s “water cooler vengeance,” and I am one of them.

Don’t F*** with Me

Willow was not to be trifled with in season six. The writing was on the wall when she threatened Giles in “Flooded” after he admonishes her for using magic to resurrect Buffy and calls her a “rank, arrogant amateur.” When Willow cautions, “The magics I used are very powerful. I’m very powerful, and maybe it’s not such a good idea for you to piss me off,” it was a WTF moment for the ages that the show revisits later.

“Buckle Up, Rupert”

20th Century Studios

And here is when Willow is more than ready to unleash her rage. Willow had iconic dialogue in season six—I mean “bored now” when she flays Warren and “get off super-bitch” are also unforgettable—but the scene in “Grave” when Giles returns to stop evil Willow takes the cake. Not only does Willow call him irrelevant, but she reminds Giles of when he called her a “rank, arrogant, amateur” and tells him, “well buckle up, Rupert… cause I’ve turned pro.” Willow, good or bad, is stunning, and her clapbacks—superior.

Battling a God

Season five marks the first time we see black-eyed Willow as she lays the smackdown on Glory. In “Tough Love,” the god from a hell dimension feasts on parts of Tara’s brain, leaving Tara insane. Willow ain’t letting that slide. Though Willow only has a few years of magical experience under her belt, she makes Glory cry out in pain. Although Buffy has to rescue Willow as her strength wanes, Willow still flexed her skills. I mean, she had lightning shooting out of her hands!

“She’s with Me”

20th Century Studios

If there’s one thing about Willow, she will dish payback at the opportune moments. In “The Gift,” Willow finally found a way to help Tara by dipping her hands in Tara and Glory’s brains to take back what Glory stole. That already weakens Glory for her upcoming battle with Buffy. All I know is I’d want Willow in my corner every single time. Willow and Tara’s dialogue and embrace after is beautiful.

“Hush”

Season four featured a lot of Willow moments to choose from: her “will be done” spell gone awry, her choosing Tara after Oz’s return. But the moment in “Hush” when Willow and Tara’s connection is so powerful they’re able to move a vending machine tops it. The entire scene has passion, confusion, and uncertainty as their eyes and hands meet. Magic and love? The best combination! Willow and Tara remain goals.

No More Snuggles with Vampire Willow

Being a fan of Willow made this episode even better because we got two Willows! Willow was the best vampire in the series. The entire episode of “Doppelgängland” in season three was hysterical. Willow fans will notice the vampire Willow’s “bored now” turns up with evil Willow in a later season. The best moment is regular Willow in the vampire Willow’s attire. “I’m a blood-sucking fiend. Look at my outfit!” I almost fell out my chair. Though “I think I’m kinda gay” is a beloved runner-up, and “what do I want with you” was hilarious, and “I’m all fuzzy” and…

“Phases”

20th Century Studios

This episode in season two gives us the first long-term relationship for Willow. Not only were Willow and Oz adorable together, but their quirky banter at the end of the episode was goals at the time. Willow accepts Oz, werewolf and all, pointing out that “three days out of the month [she’s] not much fun to be around either.” Aww, their young love was the best from the entire group’s high school days.

“Deliver”

This is the moment I joined team Willow. Despite Willow’s self-deprecating, insecure nature, she demonstrated spunk in Willow fashion. In “The Harvest” episode in the first season, after Cordelia gossips about Buffy in class, Willow tries to defend Buffy and receives a verbal lashing from Cordelia. But Willow gets the final word, and laugh, when Cordelia wonders what key to hit to save her work in computer class, to which Willow simply replies, “Deliver.”

The post Willow’s Best Moments in BUFFY THE VAMPIRE SLAYER appeared first on Nerdist.

We receive our first introduction to the newest Candyman, Sherman (Michael Hargrove). Candyman is an amalgamation of the victims of lynching, police brutality, and each new victim—some of which are real—creates a new Candyman to join the rest. In the words of William Burke (Colman Domingo) later, Candyman is “the whole damn hive.” Geography and silence are why Candyman was a violent force within the community. However, gentrification sets the stage for Candyman’s violence to extend beyond the marginalized communities of Cabrini-Green to the white presence now spreading across the exact location. 

MGM

The original Candyman, Daniel Robitaille (Tony Todd), we learned about in the first Candyman, kills those who say his name five times in a mirror. The silence of residents also plays a role. Even in the first Candyman, residents were hesitant to disclose information to Helen Lyle. So few white people lived in Candyman’s primary hunting ground, and even fewer knew his name, so they could not summon him. That’s why victims were usually those in the community who dared say it or those in his path. Statistically, despite wanting to shy away from the numbers, most violent crimes—including murder—are intraracial. Rage also, by definition, is uncontrollable. Those who suffer will be those closest. Asking why Candyman hurts his community is similar to when white people ask why; when marginalized communities riot, they destroy their community. But a change is coming. 

While the focus is the art scene in Candyman, Black writers, entertainers, actors, etc., can speak to the predatory nature of white exploitation. Too often, white people as a collective exploit cultures and locations while suffering next to no ramifications. However, with gentrification, Anthony McCoy’s (Yahya Abdul-Mateen II) art installation, and his addition to the Candyman collective, Candyman broadens his deadly scope. Anthony’s art is the first time many people outside of the original community of Cabrini-Green hear about Candyman. Gentrification and the white woke art scene introduces the first victims to Candyman, a white couple subsequently butchered at the same art exhibit.

The seething rage of Candyman, combined with Anthony’s experiences with Clive, is why he does not care about Clive’s murder. Thanks to those murders, Anthony’s art becomes infamous, and the name of Candyman starts making the round. The next group to die is a set of white teens in a high school bathroom. Again, Candyman’s reach stretches to the root of the horrors we face.  

MGM

To be sure, Black and Brown people also arrive as part of the gentrifying set, but there is a distinction often made between the two. White people are comfortable with those Black and Brown people who participate in gentrification with their white friends. When they speak of inclusion and community, they do not mean the residents who are already present. This is what makes Anthony a perfect fit. He is, unknowingly, from Cabrini-Green and also part of the acceptable inclusion of Black gentrifiers. He is straddling both worlds.

Anthony’s push to be the next Candyman is different from the previous ones because William Burke assists with setting him up to be gunned down by police. William Burke knows that this time white people will suffer. They are now in the neighborhood, and white people will assuredly say Candyman’s name to showcase their bravado, which is nothing more than white privilege hubris. Though an argument can be made about Burke knowingly setting Anthony up to die, all the cops had to do was not shoot an unarmed Black man lying on the ground, and they couldn’t even manage that. 

MGM

The parasitic nature of white encroachment shines through in these seeming woke white people who now reside in Cabrini-Green, as does the more substantial police presence. The way they come to a neighborhood for a sense of diversity and push the actual community out speaks to the superficiality of most diversity efforts. Often displacement through gentrification pushes tens of thousands to poorer communities, so who benefits?

MGM

Candyman shifts past a nightmare figure for the Black residents and becomes an expression of the collective rage and pain from centuries of abuse. White people collectively become the stand-in for white individuals who have personally harmed. While its fairness is debatable, the benefits white people continue to reap from Black generational trauma are inarguable. That’s likely why the story of Helen Lyle from the first Candyman is passed down, marking her the villain who tries to burn baby Anthony. Rarely in marginalized communities is the presence of white people a positive. Cops seek to stalk, harass, and abuse while gentrifiers use microaggressions or flex their privilege, all while maintaining their liberal, sympathetic façade. 

In summation, don’t gentrify sh*t, or you’ll f*ck around and find out.

The post How Gentrification Expands CANDYMAN’s Urban Legend appeared first on Nerdist.

Systemic Separation and Generational Trauma

In Fear Street Part 1: 1994, we learn about two adjoining towns: Shadyside and Sunnyvale. Sunnyvale is a suburb with little to no crime; everyone is financially well off, primarily white, and living their best life. The opposite of this quaint suburban dream is Shadyside, a place rife with poverty, crime, and years of recurring killing sprees. The similarities between Sunnyvale and Shadyside are no different than any city or town in the world. There is an area of affluence that may have a few Black people or people of color living there in juxtaposition to an impoverished area, usually separated through bridges, highways, or interstates to keep the poor and wealthy divided. The latter has mostly Black people and people of color but includes downtrodden white people who rarely get to “the other side.”

Netflix

The rare exception is Sam, the ex-girlfriend of protagonist Deena Johnson, who lives in Shadyside. Sam is a white girl who was able to get out of Shadyside and move to Sunnyvale. But unfortunately, with the curse, she is still seen as a Shadysider. Perhaps because she never fully assimilated into Sunnyvale by rejecting her sexuality and adhering to a heternormative role to appease her mother. Upward mobility is limited, and the more aspects of one’s identity—physical or sexual—that fall from the norm, the fewer options one has. 

Similar to redlining, the “undesirables” are kept out of certain areas, yet police—the sword of white supremacy—have authority over Sunnyvale and Shadyside, a community they harm and have an active bias against. When Deena and Sam are leaving Sheriff Nick Goode’s house in Sunnyvale, his neighbors gawk at them. Any person from a poor neighborhood, especially if they are not white, knows those looks.

Sunnyvalers exhibit the same sentiments towards Shadysiders that wealthy and upwardly mobile people do towards the poor in real life. There is little to no delineation between indigence, discrimination, targeted harassment, and crime. They believe the poor and those who commit crimes exist because something is inherently wrong with them. Otherwise, they would be successful. Shadysiders are frequently objectified, like when Peter grabs Deena and forces a hug on her. It demonstrates the egotistical nature of Sunnyvalers and white supremacy to believe they have dominion over someone else. Those outside privilege circles exist for their entertainment and amusement. 

There is also the way Kapinski treats Deena and Sam. He leans into his head-patting condescension and demand they “find their boyfriends” since they need to “relax.” Incidents like this a large part of what makes the Fear Street trilogy so appealing. We see our circumstances reflected at us in this fictional world where there is a single source for the inequity, a curse that can solved. If only white supremacy were as easily destroyed. 

Netflix

In Fear Street Part 2: 1978, the divide between the have and have nots is still clear, with both Sunnyvalers and Shadysiders attending Camp Nightwing for the summer. Sunnyvalers run the camp for the most part, with some older teens from Shadyside as counselors. The divide is present throughout the Color Wars between them. From the apparent political color reference of red (Sunnyvale, good, Republican) vs. blue (Shadyside, evil, Democrat) to the way each team of children treats their “hostages,” it’s clear who sees the other’s humanity and who does not.

In this film, we get confirmation that this curse is for Shadysiders alone. Tommy, a seemingly ordinary Shadysider, suddenly becomes a murderous killer. Yet, he does not target any kids from Sunnyvale. Even this bears similarities to white supremacy and the interconnected systems of subjugation. Often when a person snaps from years of discrimination, marginalization, and exploitation, the victims are people in their own community.   

We also see Sheriff Nick Goode, Sunnyvaler, as a young camp counselor who befriends and pursues Ziggy, a Shadysider. Initially, he seems to care about Ziggy; however, generations of Sunnyvalers looking down on Shadysiders doesn’t simply fade. He appears to be an ally, sympathetic to Ziggy, but he doesn’t believe the curse caused Tom’s rampage. Similar again to how people espouse platitudes for marginalized communities while simultaneously believing they are just bad people. And when they “snap,”  the privileged always see the behavior as inexcusable because they lack understanding of the severity and toll oppression takes on a community. 

The Rewriting of History and Pervasive Lies

Fear Street Part 3: 1666 gives us the full backstory of Sarah Fier (known as the witch) and the curse. Unsurprisingly, the witch is a girl who lives in a puritanical time that frowns on sexuality and deviations from traditional heteronormative roles. But Fier wasn’t a witch. She was simply an unfortunate scapegoat because of her sexual attraction to girls. She’s on the outskirts of acceptability to the point that a pervasive lie about her being a witch lasts for hundreds of years with current Shadysiders attributing their curse to her. The narrative spun by oppressors is rampant in Shadyside, whether they believe in the curse of not. The people who don’t believe are unknowingly doing the work of the oppressor. After all, you can’t combat a problem you feel doesn’t exist.

Part 3 ultimately reveals that the villain is Solomon Goode, ancestor of Nick Goode and a white man, of course, who pursues power through a curse that sacrifices others for personal power and social gain. The Goode family has several generations of sheriffs, politicians, and financial growth. (Has anyone ever seen a sheriff’s house that looks like Nick Goode’s in real life?!) This not only benefits the Goode family but all of Sunnyvale, whether they realize it or not, because they have no crime and wealth. 

Netflix

White people, consciously or not, are the beneficiaries of a system that harms others. Poor, marginalized communities are subject to environmental harm, like the Flint, Michigan, water crisis, racial profiling, subpar education systems, and many other issues. The further down the ladder you are, the less likely you will succeed, unless you are one of the chosen few who do to provide “evidence” that white supremacy does not exist. 

The village makes brutal decision to hang Sarah Fier, evoking her rage that will live on. But her words were not meant to harm Shadysiders, but to exist as long as the Goode curse remained in tact. It’s why the curse targets individuals who have seen the witch differently. It affects only one killer on a rampage. But when someone sees Sarah Fier, the truth may come out. So all previous killers are forced to rise and kill that person. That was the case with Ziggy in 1978 and Sam in 1994. This silencing and lies are similar to the way society, then and now, harms marginalized people. Then, those with privilege wonder how someone “just snaps.” It speaks to the superficial disingenuousness of the curse and real-life white supremacy.

Yet, change came from Deena and Josh, the younger generation of Shadysiders. They fought to change their world for the better for themselves and future generations. Similarly, the most vocal against oppressive systems in our society are youth. They challenge racism, sexism, ableism, the archaic, subpar healthcare system, laws, workplace environment, and much more. 

In the Fear Street films, there was a curse that explained the horrors of Shadyside and the joys of Sunnyvale. It came from a white man named, hilariously enough, Goode, and changed the lives and history of many people. This is the same for us: a curse originating from white men that affects generations of people. It’s past time we all said it, recognized it, and combatted it too.

The post The FEAR STREET Trilogy’s Curse Is an Analogy for Systemic Oppression appeared first on Nerdist.

The story centers on Sam (Karen Gillan), who follows in her mother Scarlet’s (Headey) footsteps as a hired killer for The Firm. When she decides to help protect a young girl, Emily (Chloe Coleman), and botches her job, she joins forces with the trio of women from the library and her estranged mother to fight back.

Netflix

When we meet the trio of ladies—Anna May (Bassett), Florence (Yeoh), and Madeleine (Gugino)—in the library, the conversation feels similar to John Wick’s first Continental trip. The combo of books and weapons is perfect. Thankfully, the dialogue doesn’t use heavy exposition to enlighten viewers of the world. The talent of the actresses holds our attention; from Anna May’s bluntness to Madeleine’s warmth, each one gets to shine. Emily (Coleman) is adorable as the eight—excuse me—eight-and-a-half-year-old little girl now thrust into this dangerous world.  

The story is fast-paced, and the dramatic music fills out the film’s old-school vibe. The fight choreography is inventive and exciting. A few instances will prompt viewers to give a long, drawn-out “damn.” It will be a challenge to choose a favorite between the fight scenes, though two in particular stand out. 

Netflix

The color palettes are gorgeous—the reds and purples in the bowling alley, the white austerity of the clinic, and the brown of corporate patriarchy captivate the eyes. It’s like a living mood board. Tarantino is likely an inspiration for aesthetics; I also get Sam Peckinpah, Akira Kurosawa, and Bogart film vibes. It is a challenging feat, yet Gunpowder Milkshake pulls off incorporating styles from previous decades. 

Gunpowder Milkshake has style, from directing to fighting to dialogue and costume/set design. It all works in conjunction with the others. There is room for more stories in this world. A prequel that explores the relationships between Anna May and Scarlet and Madeleine and Florence would be fabulous, as I felt there is more than a friendship between these characters. Exploring it in this film would have been preferable, even if it adds to the runtime. A story of the young quartet when they first encounter each other.

A film with three generations of women and girls joining together to take down The Man has never been this entertaining, beautiful, and violent. Watch as soon as it drops. Fingers crossed for a prequel and sequel.

4.5/5

The post GUNPOWDER MILKSHAKE Is a Blast From the Past in the Now appeared first on Nerdist.

Zola opens with the glitz and glitter of Zola and Stefani (Riley Keough) applying their makeup in the mirror under dim fluorescent lights. The beauty of the two in bright and glittering colors does not diminish the shadows lurking behind them. Then Zola delivers the phrase from the infamous tweet thread that inspired the movie:, “It’s kind of long, but it’s full of suspense.” Zola does not disappoint.

A24

The opening scenes hilariously feel like kismet before the drama. Zola and Stefani initially get along so well, finding kinship as strippers, and bonding over the judgment they experience from the others. Romantic, whimsical music plays in the background heightening their fated connection. Although it initially feels like a storybook encounter, somewhere we realize we picked up the wrong book, seduced by its cover. As any horror fan knows, going on a road trip with strangers doesn’t bode well. Self-assured Zola’s brief naive moment lands her in unforeseen drama when she agrees to go to Florida with Stefani, her boyfriend Derrek (Nicholas Braun), and her roommate, credited on IMDb as “X” (Colman Domingo).

The road trip starts bright, with talk and music as the quartet dance and rap to Migos’ “Hannah Montana.” But a sense of disquiet grows once they reach the dirty, cheap motel. Once Zola realizes that X is Stefani’s pimp who plans to enlist Zola as well, the bloom is off their friendship rose. Some scenes are graphic, but the lens stays distinctly female, which is refreshing.

A24

As Stefani, Keough will leave audiences alternating between sympathy and frustration. Stefani’s character weaponizes her white woman’s tears to garner compassion from Zola. (She is, as Zola herself yells, “messy.”) Braun is hysterical as well; one moment he worships Stefani, and the next, he is threatening her or himself

But the top performances in this group are hands down Paige and Domingo. From Paige’s multitude of facial expressions to her dialogue and hand gestures, she does a brilliant job. She gives Zola life in dramatic, but often full-bodied-hilarious fashion as curveball after curveball hurtle at her on this trip. Neither Zola’s narration nor the accompanying Twitter sound effect feel misplaced. Thanks to the story and Paige’s acting and expressiveness, these feel like essential offshoots of the character.

Domingo as X is perfect. Point of fact, it would be a challenge to find a role Colman Domingo does poorly. He captivates as the seemingly laidback roommate with an authoritative demeanor; Domingo handles both ends of this with ease.

A24

The directing focuses on Zola’s perspective. It immerses and captures our attention as effectively as the original tweet thread did. Though makeup and styles are bright, there’s also a muted tone throughout that accentuates Zola’s journey. She may have thought they were in for a colorful and wonderful time, but lord was she mistaken. 

Zola doesn’t objectify its women; truthfully, the most unsavory characters are all the men trying to control them. While there is dramatization to make the story more riveting, there is an underlying truth throughout. Some of the funniest and wildest stories are the real-life grenades thrown our way at the least expected times. Despite natural comparison points like Hustlers, Zola deserves its time to shine along with the hilarious and dynamic performances of the cast. Zola is a wild ride, and we are silent passengers. Well, maybe not silent, because audiences will laugh and scream. 

4.5/5

The post ZOLA Is a Fun, Thrilling Story About the Road Trip from Hell appeared first on Nerdist.

The film opens with foreboding music, and a Mr. Rogers quote slowly appears. “Listening is where love begins. Listening to ourselves and then our neighbors.” Audiences will laugh in disbelief. The opening showcases the balance of horror and humor. 

IFC Films

When Beaverfield falls victim to werewolf invasion, the townspeople all hole up at the local inn together. Unfortunately, this does not go well; in small towns, everyone knows everyone else’s business. As such, there is more suspicion and resentment than trust. People deploy gossip as weaponry. The only one who exemplifies “small-town neighborliness” in the best way is new addition Finn. However, Finn as the interloper and the epitome of a “nice guy” is ill-equipped to handle the disputes, let alone a werewolf crisis. So as the horror escalates, everyone side-eyes each other more and more. The werewolf becomes second fiddle to the paranoid townspeople.

What sells this the most is the characters and the conflict among them. Ranger Finn has arrived amid a neighborhood dispute about a pipeline. On one side, there’s the environmentally conscious yoga couple, Devon and Joaquim Wolfson (Cheyenne Jackson and Harvey Guillén). They conflict with Pete and Trish Anderton (Michael Chernus and Michaela Watkins) over the pipeline. (Tell me you can’t imagine Pete and Trish with a pro-Trump sign.) The half that wants to sell out to Sam Parker (Wayne Duvall) can’t because the vote has to be unanimous among their town. 

IFC Films

The film’s two main characters, Finn Wheeler and Cecily Moore (Milana Vayntrub), are its standouts. Another is the recluse that refuses to recognize authority—every town’s gotta have one—Emerson (Glenn Fleshler). Every time Emerson is onscreen, he steals the show with his deadpan delivery. You won’t know whether to be Emerson’s friend or steer clear of him. Additionally, Trish Anderton is a hilarious nod at people who love their pets too much. The characters aren’t fleshed out, but the comedy comes from their exaggeration. Werewolves Within is how one would imagine a meeting between “leftists” and “Trumpers” to go, with a comedy spin. 

I usually dislike the addition of comic relief to bona fide horror films. (I don’t want the ease of tension in a film touted as horror.) However, horror-comedies, when done correctly, can inspire laughs as big as the scares. Werewolves Within delivers on that. Audiences will shriek, cackle, and discuss their favorite characters from the ensemble.  

IFC Films

Werewolves Within is like Howling V meets 30 Days of Night meets Clue. Despite this, the film is original. It has quick-witted dialogue delivered by a cast adept at comedic timing. As such, audiences will love and appreciate the savvy director who gave us the equally comedic horror Scare Me. Josh Ruben is quickly establishing himself as a master of horror comedies. He uses the werewolf to show the monster that truly terrifies, the one that resides in people.

Werewolves Within is a thrilling whodunit and an ensemble comedy with enjoyable dialogue delivered in a well-timed, hilarious fashion. And with Ace of Base’s “The Sign” now playing in a loop in my mind, I can only applaud. Bravo. (Oh, and I guessed the werewolf. Good luck!)

4.5 out of 5

The post WEREWOLVES WITHIN Is a Hilarious and Thrilling Horror Whodunit appeared first on Nerdist.

The Conjuring: The Devil Made Me Do It, directed by Michael Chaves, isn’t the worst installment the franchise has given us. However, neither is it one of the best. Vera Farmiga and Patrick Wilson return as Ed and Lorraine Warren, investigating and helping victims of the supernatural. In this situation, they try to prove that demonic possession caused a murder. But the story—for sensationalization purposes—becomes overly dramatic and increasingly convoluted. The film ends up a flustercluck, with the most memorable would-be horror moments becoming comedic ones. 

Not only is this a horror film, but it becomes a whodunit among the living characters. The Warrens learn that Arne Johnson (Ruairi O’Connor) murdered his landlord and boss Bruno (Ronnie Gene Blevins) because of a curse. They initially think it was straight possession, as Arne was present when they performed an exorcism on young David Glatzel (Julian Hilliard). Arne challenged the demon to possess him instead. Once they realize it’s a curse, they work to ascertain who is behind it. The shift to a human adversary is refreshing, but doesn’t pay off. 

Warner Bros

The supernatural is still present, with the stylish visuals that only Hollywood’s big-budget provides. Compared with the first film, The Devil Made Me Do It is more Hollywood than paranormal. Sets look more manufactured than authentic. But there are scares. The scenes with little David may be the most terrifying; children in danger, and children who are dangerous, make for the most compelling and nightmarish stories around. In that regard, The Conjuring sequel does not disappoint. 

Farmiga and Wilson are always great together in these films. As the couple, their acting and affection never let us down. Additionally, Julian Hilliard is excellent, and Ruairi O’Connor looks suitably tormented. But the performances may not be enough to save this latest outing; simply too much happens in this film, and our concern is stretched thin. The best scene involves Ed Warren challenging Arne’s skeptical lawyer to come to their house where she can see their collection—Annabelle included. Theater-goers will laugh before seeing the aftermath because we already know what that lawyer will face. 

Warner Bros

Each film in The Conjuring series feels like it gets further away from what initially made it so good—the true story aspect. The plot in this film revolves around solving a mystery that never really happened. They could have made a compelling story dealing with David’s possession and ended the movie with Arne’s possession and Bruno’s murder. For this, the plot needed to be stronger, and it just isn’t there. 

Perhaps after a year spent away from theaters, interest in films on the silver screen has waned. We can enjoy, pause and watch a movie from our home—with subtitles—and it doesn’t feel wasteful because we haven’t gone out of our way. At home, if a movie doesn’t prove worth it, we click away, read a book, work on a project. Now, when we have to put in time and money to see a film that doesn’t meet expectations, the frustration is worse. We are left with an, “I came out for this?” 

Will this harm future films? Doubtful, but it may force Hollywood to raise the bar and release quality films. There is no need to waste hours to go to the cinema with competitive streaming services available, especially for middling films. People who go for the theatrical experience will not have an issue as, for them, it’s about more than just the picture. But for a lot of other viewers, Hollywood needs to step it up. 

3/5

The post THE CONJURING 3 Has Its Scares, But Is Middle-of-the-Road Horror appeared first on Nerdist.

Sava Savanović

AP Archive

One of the most, if not the most, famous vampires in Serbian folklore, Sava Savanović lived in an old watermill in a remote village. Supposedly, his meal of choice was the drained blood of millers who came upon the mill. There’s no body count, and any evidence of this tale has been lost to the ravages of time.

However, the old watermill did exist and was owned by the Jagodić family. The family never repaired the mill, terrified that Sava Savanović would seek vengeance upon them if they altered it. Even the locals believe this. Unfortunately, the watermill collapsed in 2012. Now, locals fear the Sava Savanović is not only free, but looking for a new home (and his next meal).

Arnold Paole

Another story from Serbia features a separate infamous vampire. Unlike Savanović, Arnold Paole was accused of becoming a vampire only after he was already dead. Naturally, if we subscribe to the “you have to die to become a vampire” conceit, as they are literally the walking dead, this doesn’t seem quite as implausible. Arnold Paole died around 1726, during the height of vampire hysteria in Europe. Prior to Paole falling and breaking his neck, he’d told people a vampire had been after him, but that he cured himself by drinking the blood of the vampire and eating the dirt from its grave. 

After his death, several people fell ill and claimed that Arnold had visited them before they too died. Investigators, upon inspecting the body and noticing hair and fingernails growing and no decomposition of the body, decreed he was indeed a vampire. So, they drove a stake through his heart, chopped off his head and burned the body, Stoker style. 

Fritz Haarmann

Public Domain

This one’s not for the squeamish! Fritz Haarmann was a serial killer in the early 1900s in Germany. He was convicted of killing over 20 boys and young men (though, according to Fritz, the death toll was between 50 and 70) and was sentenced to death by beheading. He was given several names; one of which was the “Vampire of Hanover,” because he would bite into the throats of his victims as he strangled them. Disturbingly, his head was preserved and kept in a medical school until it was finally cremated in 2014. 

Auguste Delagrange

Whether a true story or one born of the internet to drum up interest, Auguste Delagrange is still a fascinating addition. Supposedly a serial killer in Louisiana during the early 1900s, he was said to have killed over 40 people. Although his victims were dismembered, there was little blood present on site, hence the belief that he was a vampire. A Roman Catholic priest and a Voodoo priest teamed up, tracking and killing Auguste Delagrange by driving a stake through his heart. In the early 2000s, an auction on eBay claimed to have the heart of Auguste Delagrange with a plaque. Whether it’s true or not, who wouldn’t want to crow about having the heart of a real life vampire? Wait…

Béla Kiss

Public Domain

A Hungarian serial killer around the turn of the 20th century, Béla Kiss targeted primarily women. He would take out ads claiming to be a widower looking for marriage and would rob and kill the women who responded to the ads. He would strangle them, drain the blood from their bodies via their necks, then put their bodies in steel drums filled with methanol to preserve them. In total, Béla Kiss killed over 20 women. 

His murders weren’t discovered until he was drafted to fight in World War I. A couple of years later, his landlord, figuring he must’ve died, decided to clear his possessions away to make room for a new tenant. When he looked at the collection of steel drums on the property, he discovered the bodies. Though military police tried to locate him, he was never found. The last reported sighting of Béla Kiss had him working as a janitor in New York City in the 1930s.

Elizabeth Báthory

Public Domain

The only well-known woman serial killer dubbed a vampire, Elizabeth Báthory lived in Hungary in the late 1500s; it’s believed she kept hostage, tortured, and killed hundreds of women and girls. She was accused of being a vampire due to claims of her of not only committing cannibalism, but bathing in her victims’ blood. That she got away with her crimes for so long was because of her position as a noblewoman. 

She likewise avoided the death sentence thanks to her rank; though, there are two slightly differing accounts regarding her sentence. Some say she was bricked into her room to live out the rest of her days. Others say she was confined to her castle. Still, she never left her home and died in 1614 at the age of 54. 

Vlad the Impaler

Public Domain

Undoubtedly the most famous of vampire killers, Vlad III, also known Vlad Dracula, was a ruler in the 1400s in Wallachia. There is plenty of political intrigue, espionage, and betrayal in Vlad’s upbringing. But he did not stand for opposition. He was known for impaling his rivals’ armies and was later accused of drinking the blood of his enemies. Anyone found to have conspired against him or his family met a similar fate.

Vlad lost and regained his ruler position a few times, but ultimately died fighting and was supposedly dismembered. Accounts of where his body—parts—are buried vary. One supposed location was found not to have his body, but the bones of animals. This lent to the mystery and, some say, origin of Dracula of Transylvania. 

DarkSkyLady is a freelance writer and film critic. Follow them on Twitter!

The post 7 Real Life Killers Who Were Labeled Vampires appeared first on Nerdist.

The story follows Usnavi (Anthony Ramos), a bodega owner in Washington Heights, over three days. He feels conflicted about closing his store to return to the Dominican Republic. The film doesn’t focus solely on Usnavi, showing the different perspectives of people who live in the same neighborhood. The Latinx community is not a monolith—no community is or should be—and the film aptly demonstrates the various outlooks and desires of its main cast.

Warner Bros.

There is Nina (Leslie Grace), who has recently come home to Washington Heights; she struggles with feelings of betraying her community, isolation, and profiling at Stanford University. Usnavi’s cousin Sonny (Gregory Diaz IV) has no desire to return to DR but dreams of college. Benny (Corey Hawkins) works with Nina’s father, Mr. Rosario (Jimmy Smitts), as a cab dispatcher.

The film shows the lifeline that a community truly is, and how adrift we become when we lose it. You will have favorites in this film, but then you’ll keep adding other characters until you have almost the entire crew. The one issue pertains to the diversity of casting, particularly as it relates to skin color. The majority of the cast is paper bag-shade or lighter; it does a disservice to any community when a section of it is barely acknowledged. 

 Warner Bros.

The encroaching gentrification of Washington Heights is not a main part of the story, but it creeps throughout. It’s not only moving into an established community that’s a problem, but expecting said community to conform and mold itself around you. This inevitably hurts people who’ve lived there all their lives and have built businesses. They must get out or be forced out as costs surge. Interlopers lack that sense of community that is built over time, ignoring that their presence harms the community they now reside in. Where one goes, more always follow. 

The music will force you to move—either with a foot tap or a whole merengue body sway. Dancing usually starts in the hips as the music drives you from your seat and this film does that. The songs range from the ensemble titular track “In The Heights” to the hilarious “Benny’s Dispatch.”

Warner Bros.

A year spent within a pandemic that has us yearning for connection gives In The Heights an added boost. Not that it needs it. You feel connected to the movie because of the music and good acting—especially Anthony Ramos and Olga Merediz as Abuela Claudia. (Her song “Paciencia Y Fe” is phenomenal!) The directing does justice to the songs with an appropriate magical quality. After all, community is magical and can lessen a blow and amplify joy and hope. Community can find that spark within us when we can’t find it for ourselves. 

Sadly, the days of getting shaved ices with friends, playing in front of an open fire hydrant, or yelling “I got next” on a handball court are gone for so many of us right now. Still, this film will fill audiences with hope. Hope for their dreams; hope for spending time with family and friends; hope that this pandemic ends so that we can all continue to pursue our passions. Sometimes our passion changes, but our community will always be there to cheer for us. In The Heights reminds us of those moments with loved ones and gives us a sparkling light at the end of this pandemic tunnel. All we need is “paciencia y fe”!

4.5/5

In the Heights comes to theaters and HBO Max on June 11.

The post IN THE HEIGHTS Is a Magical Fix of Friends, Family, and Summer appeared first on Nerdist.

A Hero’s Valiant Origin Story

Jujutsu Kaisen follows Yuuji Itadori, a physically strong teenager leading an ordinary life. But when his classmates are attacked by curses, he eats a cursed finger belonging to Ryomen Sukuna, the “King of Curses.” This causes him to take Sukuna into his body. Itadori attends the Tokyo Metropolitan Jujutsu Technical High School to learn how to fight curses with his fellow first-years, Megumi Fushiguro and Nobara Kugisaki, while keeping the evil Sukuna inside him under wraps.

The series draws comparisons to shows like Bleach with a strong teen who assimilates into a world they aren’t prepared for to save the ones they care about; but, Itadori is mostly alone, lacking the familial connections that Bleach‘s Ichigo had.

Crunchyroll

The one family member we encounter, Itadori’s grandfather, passes away after telling his grandson to help others with his strength. Itadori tries to live by that request, therefore the choices he makes are driven by others’ safety over his own. This explains him eating Sukuna’s finger to protect his classmates and Fushiguro. It also fuels his decision to find Sukuna’s fingers and save others from horrible deaths. 

Travels, Thematic Thoughts, and Pacing 

Jujutsu Kaisen travels to darker places like Fullmetal Alchemist: Brotherhood, touching on issues of bullying and what defines human beings. The shows share similar pacing to a degree, but Jujutsu Kaisen moves somewhat faster, which might be off-putting for some viewers due to anime’s typical drag. We’ve all watched shows that spent 5-10 episodes on one fight with unnecessary recaps of the previous episode. This anime’s pace, by contrast, is amazing and more realistic for those who like things to progress faster. 

Also, like Fullmetal, we slowly start to wonder what the difference is between curses and people. The Jujutsu Kaisen curses believe they are the true human. Hanami, a curse who speaks backwards, wants to eliminate people because, among other reasons, they are destroying the environment. 

Crunchyroll

Jujutsu Kaisen also shows a trio of first-years—Itadori, Fushiguro, and Kugisaki—who are under the tutelage of Gojo. The latter, a show favorite, stands out with his white-haired appearance and sense of humor that masks a significant amount of power and determination. This teacher-student dynamic is similar to Naruto, Sakura, and Sasuke with Kakashi-sensei but the characters tackle different circumstances.

Itadori and his comrades are sent on high-stakes missions like, for example, rescuing people trapped in a detention facility with a curse on the loose. They encounter philosophical questions and tackle the idea of negative energy fostering itself into curses, the living embodiments of this feeling. It’s a concept that’s honestly not too far outside the realm of reality. 

The Wonderful World-building of Jujutsu Kaisen

As a recent anime, Jujutsu Kaisen’s artwork is predictably striking and lush. The creators don’t emphasize every aspect of a scene or background, instead opting to focus details on key specifics like Jogo’s drops of blood hitting a barrier before splattering Gojo’s face. One scene radiates the energy surrounding Itadori’s Black Flash attack. Even the opening credits are comprised of beautiful, arresting imagery, yet stylistically different from what you see in other animes.  

The world-building is exceptionally detailed with students training to fight curses. Like regular school, they receive different skill ranks which show what level of curse they can handle. And each student has different abilities and methods for fighting. For example, Kugisaki uses a hammer and nails while Inumaki uses curse speech. Inumaki cannot talk like a normal person, instead only speaking in onigiri ingredients when he’s not in combat.

Jujutsu Kaisen’s group of villains and their leader Mahito, whose temperament is similar to Gojo, have a clear plan of action. However, because Itadori houses Sukuna inside him, we know there is an even bigger bad lurking with their own agenda. The curses have variety of sizes, color shapes, and overall designs with some speaking while others cannot. These rich characters leave a lot to explore in the future for this series. 

Sounds and Scenes of the Land

The opening rock songs “Kaikai Kitan” and “Vivid Vice” amp the listener up for action. Those tunes accompany the visuals well with glimpses of future characters and their abilities from the curse speech user pulling down their zipper to speak to another student loading a gun. The underscoring and incidental music blends perfectly with the fight scenes to heighten excitement and tension. It feels like destruction on beat.

The closing songs also stand out. “Lost In Paradise” gives a vibrant, dance party feel, showing off the personalities of our lead characters with Itadori doing hip-hop dances, Gojo with his natural swag, and Fushiguro walking casually.  The subsequent song leaves us hoping and praying that Itadori gets to live a fun life with his new friends. 

Jujutsu Kaisen has everything to become the bar for shōnen anime to surpass in the future. It captures parts of beloved shows and gave us something stellar without the drag. There is no definitive renewal information at this time but a prequel film, “Jujutsu Kaisen 0,” will drop in Winter 2021. Hopefully, this show continues to dazzle and maintain its momentum.

The post JUJUTSU KAISEN Sets a High Bar for Future Shōnen Animes appeared first on Nerdist.

The family uses the phrase throughout the show’s five-season run. It’s the excuse they use to justify their actions. While this is not a claim that The Originals is a white supremacist show, there is a connection to that mindset. It’s a form of tribalism that, similar to the stranglehold white supremacy has on capitalism and power, the Mikaelsons use to cover their destructive natures. And it’s ultimately self-defeating. 

The CW

Klaus and Marcel

In the first season of The Originals, we see the Mikaelsons in New Orleans. Witches summoned them for help and have taken Haley—a werewolf pregnant with Klaus’s child—hostage so that Klaus will work to stop a vampire named Marcel. Marcel, a Black man, is like a son to Klaus, who saved him from a slavemaster in 1820. He raised Marcel, and later turned him into a vampire. Klaus decides to help the witches, but in large part due to his resentment that Marcel thrived without him. As the seasons progress, Klaus veers between apologizing to Marcel and calling him family or threatening and attacking him when he does anything Klaus doesn’t like. 

In season three, the Mikaelsons learn of a prophecy that says they won’t survive the year, and that they’ll be taken down by friend, family, and foe. This causes them to retreat further into heartless conduct. They believe the prophecy refers to Lucien, another unfortunate victim of theirs who drinks a powerful strengthening serum. Their desperation to defeat him leads them to sacrifice a witch named Davina, whom Marcel views as a daughter. Marcel then drinks the serum and becomes the monster that was prophesied. Although he takes it, he pretends he didn’t so he can see how his “family” treats him. 

Initially, after Davina’s loss, Klaus is comforting. Until he learns Marcel has the serum—not realizing Marcel already took it. Klaus then becomes angry and warns Marcel that he can’t allow him the “means to destroy [Klaus’s] family.” Because Marcel himself is only family when Klaus needs something from him. And so long as Marcel remains, by Klaus’s mind, beneath him. 

Marcel and his proximity to this family is similar to white supremacy. No matter how far we get in this society—or how often white people claim to accept us—we are still cast aside. Because white supremacy still, like Klaus and in Marcel’s words, “has to be king!” White supremacy must have that position and that feeling of benevolence, just like the Mikaelsons. It’s a quintessential facet of white supremacy that some of us are allowed to succeed, as long as we remember that it was the system of white supremacy and its henchmen that allowed us to climb. This isn’t solely Klaus, as his siblings also look at those outside as “other.”

The CW

Children as “other”

Elijah similarly upholds this notion, as he repeatedly kills and betrays others for his family. In season four, after a powerful witch tries to come after Klaus and Hayley’s child, Hope, Elijah tells Vincent to demand the witches in New Orleans participate in a harvest ritual. The ritual calls for the deaths of four young witches. Vincent refuses and later Elijah calls him to the cemetery where he has slit the throat of four teenage witches. This puts Vincent in a position to perform the ritual, or else the children stay dead. Vincent is able to succeed, but questions if Elijah even remembers what it’s like to be human. Elijah kills four children to save one, a fact that’s chilling but unsurprising. Because he doesn’t see them as children, but as “other.”

Similarly, white supremacy taints the eyes that view videos of Black children being handcuffed, maced, and body-slammed by school security and police. There is little uproar when Black children endure violence. People turn their heads when police cuff and mace a 9 year old. The media often uses phrases such as “young woman” or “this was no ordinary child” or “big for their age” to nullify whatever sorrow and empathy might surface. 

The CW

“Always and forever” 

Rebekah and Kol are as problematic as their siblings. Rebekah’s on-and-off romance with Marcel is largely the result of Klaus, who doesn’t want them together. After all, they should be serving him. But despite this interference, Rebekah usually sides with her family. She even beseeches Marcel to cure Kol and Elijah, after he bit and poisoned them with stronger werewolf venom. Ignoring that had Marcel not already taken the serum, Elijah would have succeeded in killing him. Kol, within two episodes of the same season, loses Davina, thanks to Freya and Elijah. And yet he prepares to fight alongside them because “always and forever”—even when family kills the love of your life. 

White supremacy harms those lower in the pecking order. White women are often at the mercy of white men. Yet they continue to uphold the system. Often, they don’t seek equality in the sense that everyone is equal—but the equality that would make them equal to a white man. 

The Mikaelsons make enemies through their destructive, callous disregard for people outside of their immediate family. Even within the family, the dynamics of a hierarchy are firmly established, as with white supremacy. Klaus and his family create enemies, then blame them. White supremacy does the same. It creates an impoverished system, stacking the odds increasingly against us—then faults us when we rail against the rigged system. They claim it’s in the past while continuing to harm. Just like the Mikaelsons continue to make new enemies. 

Combatting a system that, like the Mikaelsons, has existed for generations is damn near impossible. That is, until white people on the lower rungs realize shaking off the yolk of white supremacy will allow all, including them, to flourish. Or until, like Klaus and Elijah, those in power destroy each other.

The post How THE ORIGINALS’ Mikaelson Family Upholds White Supremacy appeared first on Nerdist.

The film is a true story about Fred Hampton (Daniel Kaluuya), head of the Black Panther Party, and William O’Neal (Lakeith Stanfield), a member tapped to act as an FBI informant. Though initially being heralded as a Hampton biopic, this feels more like a snapshot of a particular section of their lives when they all converge.  

The acting is sensational. Both LaKeith Stanfield and Daniel Kaluuya give knockout performances. Their innate talent onscreen is aided by a strong screenplay and they bring the dialogue to life. The scenes between Kaluuya and Dominique Fishback, who plays Hampton’s love interest Deborah Johnson, are warm, inviting and loving, and feel far too brief in this film. Ashton Sanders and Algee Smith also shine in their brief roles. However, the film feels like it is trying to accommodate multiple voices or focal points, and in the end has a blurring effect among all. 

Warner Bros.

The directing, by Shaka King, is good at times, but others—especially scenes of violence—feel too in-your-face in a time where many of us are exhausted. The film feels of an ilk with Queen & Slim or Promising Young Woman thanks to scenes of violence lacking real purpose. Albeit, this could be a reflection of how tired I am of seeing us killed and abused, even if it is a true account. 

The film alternates focus between Hampton and O’Neal, but this uncertainty leads to a muddled film unable to do justice to each of its leads. (This despite the brilliance of Kaluuya.) If this film aims to give a glimpse of two people, it does not succeed; it ends up being about what happened to them rather than who they were.

It also felt like the film pushed to be about the Black Panther Party overall, spending too much time with other characters in a film already over two hours long. Picking a focus and trimming away all excess would have helped. Judas and the Black Messiah struggles because it feels like the film is figuring out what it wants to be rather than presenting what it is. It’s an attempt at something rather than being. 

Warner Bros.

The story was written by Keith and Kenneth Lucas and the screenplay by Will Berson and Shaka King. The dialogue throughout the film is strong. There are powerful conversations that will stick with you. But the best part of the film is the acting that brings those conversations to life. Despite my grievances with how the violent scenes were handled, Kaluuya depicts Hampton so masterfully—with wisdom and pathos—that at times you will forget the scenes of violence…until they occur again. Kaluuya deserves far more accolades than he has received thus far. However, this year and this role may be his year. 

We’ve had a few years of police brutality cases, of BLM, and the last thing we want to see after witnessing a video of a man begging for his life is a film showing us what we have long surmised—that our lives are worth little. Most of the violence, despite many parts being true, feels unnecessary to driving the story. I heard a phrase repeatedly used about this film as “Oscar bait,” and that seems to be the answer to who this film was intended for. 

For those interested in watching, watch it. There is good here, but brace yourselves for some pain and sorrow; ultimately, my issues with Judas and the Black Messiah could just be due to our current climate. I’m tired of violence against us portrayed onscreen, no matter the reason. I’m tired of seeing a white writer or director attached to our stories because it always leaves me wondering how much control our creators had in the final product I’m viewing. Part of me loves the film, thanks to Daniel Kaluuya especially. And the other part is just tired. 

4/5

The post JUDAS AND THE BLACK MESSIAH Is Too Much Trauma, Not Enough Character Exploration appeared first on Nerdist.

Is the American dream, if one believes it exists, about providing for your kids? Or achieving your dreams to show them how it’s done? Must there be a separation—a choice—between the two? Sometimes the dream for our children’s future causes us to lose our connection to our children now.

As husband and wife Jacob and Monica, Steven Yeun and Yeri Han are sensational. There is a familiarity between them as well as discord arising from views that are not right and wrong—just different. Yeun is wonderful as a father trying to fulfill a dream for himself and his family, but struggling with the real-life challenges farming entails and how so much rides on just one season of crops.

A24

This feels like a common tightrope balance in a relationship—one dreams big while the other partner remains grounded to tether them to reality. The question of priority—what matters in the moment versus what might not pay off until the future—are always debatable topics because life is unpredictable and often uncontrollable. You will feel sympathy for both Jacob and Monica, as both want what’s best for their family. They just differ on what that means.

Young David (Alan S. Kim) expects a baking, gentle grandmother, but instead has Soonja (Youn Yuh-jung), a grandmother who can’t bake and swears. David initially sees the differences as bad. Point of fact: none of the dialogue is staid, but flows effortlessly from one moment to the next. Their conversations move beyond the moment to life lessons, such as a warning grandma gives David when they encounter a snake in the woods: “Things that hide are more dangerous and scary.” Their relationship is the source of a lot of heart in the film as well as hilarity.

The score, composed by Emile Mosseri, is phenomenal. It captures every scene’s emotion—both the overt and the underlying. Some scenes will render you drenched in nostalgia while others, when the music enters, will cause you to cackle in shock and humor. By the end, the beauty, hilarity, and love this film inspires will leave you sobbing or, at the minimum, fighting back tears.

A24

Some viewers may assume crash positions waiting for something horrible to happen; but the beauty resides in how understated the film is while still being a riveting, splendid piece of filmmaking. Nothing is explored in a heavy-handed, neon-signal manner.

Occasionally, the timing of the film feels disjointed; however it seemed part and parcel of the story. After all, struggles and conflict are usually disjointed. (Even the musical score feels wondrous and disjointed at times.) The direction is as beautiful as the film. It lives and breathes with a life all its own and works seamlessly with the rest of the components.

Minari is a moving, beautiful delight about struggle—struggle financially, struggle for identity, against preconceived notions, and for unity. Steven Yeun and Youn Yuh-jung deserve nominations. The idea that “American” has something to do with language or culture is stifling. When we lay out restrictions we extinguish the flame of creativity and beauty. Let’s allow creations to breathe.

4.5/5

The post MINARI Is a Poignant Portrayal of a Family’s Journey appeared first on Nerdist.

One Night in Miami is a fictional account of the night that four amazing Black men—Muhammad Ali (Eli Goree), Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.), and Jim Brown (Aldis Hodge)—spent together after Muhammad Ali’s world-championship win. The initial meeting is, seemingly, to celebrate Muhammad Ali’s victory. Though Malcolm X is hoping to ask a particular favor of Muhammad Ali. However, differing ideas on how to support Black people in a time of the Civil Rights movement and segregation leads to conflict amongst the group. 

Patti Perret/Amazon Studios

It’s Regina King’s feature-film directorial debut and it is stunning. She does such a great job of conveying emotions, camaraderie, and tension. The use of natural light, rather than the glare of Hollywood, emphasizes its authenticity. This is a conversation, and though we know it is fictional, we can envision them having it amidst the muted yellow glare of an obscure hotel. There’s little doubt Regina King took the best of her experiences in front of the camera to guide this vision. 

The acting is riveting, strong, and pained. And each actor portrays that. It demonstrates the way we can be happy and torn, joyous and weary. Because we are always at odds with where we are, what we need to do, and how we get there. The acting is not only composed of dialogue, but mannerisms down to finger snaps and walks. Memorable performances abound. Kingsley Ben-Adir as Malcolm X is magnetic and heartfelt as he talks about giving back to the Black community and not playing up to whiteness. His sermonizing is riveting and captures the powerful way Malcolm X expressed his thoughts. 

Patti Perret/Amazon Studios

Aldis Hodge as Jim Brown is no less entrancing. His words and behaviors are often far more reserved, but are the epitome of “quiet strength.” This is a person that could easily lay you out, and feels no need for the self-aggrandizing behavior to herald a beatdown. He displays not only physical strength, but mental strength and acuity. Aldis brings Jim to life. Jim’s observations are often spot-on among his three friends. He is no less passionate than the others, but can convey that passion through words and expressions without yelling.

The conversations are ones we still have now. Black celebrities and their obligation, if there is one, to uplift those in their community is a constant debate online. As is the detrimental behavior of the reserved racist who does not mind helping the “good negro” so long as we don’t forget our position in the white supremacist machine and we show the appropriate gratitude on demand. 

Patti Perret/Amazon Studios

Leslie Odom Jr. as Sam Cooke is a revelation. His style and demeanor is that of a playboy. But his heart nevertheless struggles with the challenges Black people face and his role in it. He is the celebrity singing songs of love. But he faces criticisms that his music that does not speak to his people’s struggles and suffering. He depicts a Black man torn between his understanding of the harm white people cause and the need to be accepted.

Scenes between him and Ben Kingsley-Adair will keep the audience engrossed. We can understand both vying beliefs on how to move forward. And like them, we need to realize there is no one solution that will solve the crisis of white supremacy and racism. But there’s pain and hope. Sam Cooke’s “A Change Is Gonna Come” clearly resonates through this film long before it is sung. 

Patti Perret/Amazon Studios

The actors unite and rise greater than the sum of their parts. One Night in Miami feels at home then, now, and tragically will still feel at home in the future. We continue to debate about how to best uplift Black people, and their roles as celebrities. Malcolm X’s challenge to Sam Cooke to use his talent to help the community rather than coast through white circles with love songs is no different from what we shout at celebrities on social media. Nor is Sam’s assertion that the way for Black people to succeed is for them to have financial success unique to that time. And, like back then, you have people who feel it’s not a celebrity’s responsibility to be a force for Black people.

The struggles for us to be recognized as human beings with intrinsic value won’t change in this generation. Not when hate is so powerful that white people would be happy sinking their own ship as long as they know we are in the bowels and the treacherous water will reach us first.

There is so much beauty seeing our people depicted onscreen without the focus being on trauma, but a way through. And the buzz One Night in Miami is deservedly generating shows there has been changes. Is it enough? No. But it’s still a change, and as long as we hold white supremacy’s feet to the fire. And as long as we stand united, we can bring about the changes we want to see. 

5/5

The post ONE NIGHT IN MIAMI Is an Achievement in Splendid Storytelling appeared first on Nerdist.

Sylvie’s father owns a record store and her mother teaches girls the social behaviors and graces befitting women in ’50s Harlem. While their life is not rich, appearances are important, particularly to her mother. Sylvie meets Robert when he comes to the record store to buy a Thelonious Monk record and inquires about a job. And so their journey towards love begins.

Amazon Studios

I love the way the film shows issues like gender roles, for the most part, and racism. It’s present in the film, yet the focus is on two people in love and how they come together. The sets bring to mind images of old television commercials running ads for the “happy housewife.” The film has a realistic quality amidst its fairytale feel that endears us to the story and relationship. On top of all this, the music is beautiful, especially if you’re a fan of the music from that decade. (There will be songs you know and songs you’ll definitely look up after seeing the film.)

Tessa Thompson is delightful to watch as always. She can depict strength, love, and frailty in a single glance—a feat rarer than some may realize. Nnamdi Asomugha holds his own as her partner. Their chemistry showcases a love that sweeps the pair away despite obstacles.

However, their love isn’t always as beautiful as we perceive it to be. Sylvie’s love is altruistic, as most women’s love seems to be depicted on screen. Knowing she is pregnant and not wanting to take Robert’s music opportunity away, she opts to remain silent so that he can pursue his jazz dream. It’s an incredible sacrifice given the time and views on both women and pregnancies outside the “sanctity of marriage.” But she does this because she loves Robert.

Amazon Studios

But in the latter part of the film, it becomes clear that this doesn’t go both ways. Attributive characteristics of “what makes a man a man” guide Robert’s conversations and thoughts. He prioritizes his perceptions of manhood over those he loves. His choices stem from the masculine belief that if you are not providing, particularly as the major breadwinner in the household, abandonment of said family is the preferred choice. Better that than lose your masculine pride.

Even though the story tries to draw a parallel between Sylvie’s decision and Robert’s, it isn’t apples to apples. Though the ending is happy, almost fairytale-like, we have to wonder what happens after and whether Robert’s views on gender roles will continue to create increasingly larger obstacles for them in the future.

This is a beautiful story and I enjoyed it immensely… until the end. It’s exhausting seeing men prioritize nonsense over their love. And it’s downright depleting to witness women pursue them regardless. Hopefully, people enjoy the film without lamenting that they don’t have a love like the one onscreen. Be grateful. Any relationship where you have to lessen yourself to make your partner feel special or important is not one to emulate.

4/5

The post SYLVIE’S LOVE Is a Romantic Tale of Unselfish Love… Almost appeared first on Nerdist.

Back when I first started watching Buffy the Vampire Slayer, I could not resist the humor, drama, and the monsters. They so often dealt with universal issues with specificity. Now, stuck indoors in New York City as COVID-19 cases increase once again, there’s one particular episode that hits more deeply than in my original viewing. The sixth season episode “Normal Again” explores mental health amid our current isolation and disconnection.

In the episode, Buffy is stabbed by a demon, which alters her perception of reality. Instead of seeing her world in Sunnydale with her friends, she finds herself in a mental hospital where she’s been a patient for some time. She is told: in order to exist in “reality,” she has to eliminate the connections she has in her imaginary world of Sunnydale. Initially, the episode made me uncomfortable, because… what is reality? If it’s only what we register with our senses, how are we sure what our minds are processing is real?

20th Century Fox Television

Buffy’s feeling of disconnect from her world and friends is something I, and many others, have been struggling with this year. Our friends are no longer physical manifestations that we can hug; they are now images on a screen, voices on the phone, or posts on social media. It feels as though we are in a waking dream. As days meld together and time moves at simultaneous tortoise and hare speeds.

That isolation and disconnect leads to increased mental health issues. According to the CDC, struggles with mental health issues have increased when compared to numbers from around the same time last year. (This can include anxiety disorders, suicidal ideation, and substance abuse.) When a person feels disconnected from their surroundings, everything ceases to matter because nothing feels real.

The monotony of our current existence can leave us with a sense of sleepwalking through our lives. We see this in Buffy’s sense of emptiness as she works at her mundane job at the Double Meat Palace. There, she dumps fries and stares off into space. Many of us have experienced this when working jobs for a paycheck. It’s hard to tell one day from the next. Buffy was able to escape this. But many of us have spent a year trapped in a holding pattern of uncertainty.

20th Century Fox Television

Combine that with the holiday season, when suicides spike. This pandemic is not only killing people with the virus, but with the alienation and fear many feel as they face the holidays and new year. Buffy is caught between the physical prison of the hospital and a mental prison. She drags Dawn to the cellar and says, “You’re just a trap for my mind.” Buffy is projecting onto those around her. Because she is hurting and feels removed from those she loves. In this pandemic, many of us are trapped in every sense of the word.

For Buffy, there are certain comforts to this reality. Not only are her mom and dad together, but there is less uncertainty of how to care for herself or those she loves. There’s no fear about rent, bills, and food. Her choices are stripped, but so is her terror. The kind of terror that comes with providing for yourself or others in a pandemic.

Along with increased financial burden and threats of homelessness, this year has also seen an uptick in domestic violence. New York City’s domestic violence agencies and websites in saw a surge of activity during the lockdown—more than double their usual traffic. In “Normal Again,” Buffy herself reacts violently to her friends and family because of how she feels. She ties up Willow, Xander, and Dawn in the basement for the demon to kill.

20th Century Fox Television

Buffy blames herself for her feelings and her poor choices, but then she decides to lash out. Detachment can push people to assign blame elsewhere. Because they don’t want to accept that they need help. When Buffy states to Dawn, “I should be taller than you,” she’s rationalizing that this world she’s in is not real. She blames the phony world and her fake friends and family. Spike jokingly says all of them being figments of her imagination makes sense because it would explain why he’s “soft on her.”

At the end of the day, when this pandemic ends, a lot of us will go back to “normal.” Like Buffy, we will attempt to move on. But some will continue to live in isolation because of health (mental or physical). And because this society resists making room for them, they will remain in varying levels of danger. Hopefully, post-pandemic, we all push for more accessibility for those with disabilities and those who are in toxic, violent relationships. But the title of the episode, “Normal Again,” is a joke. There is no normal; not for Buffy, not for us.

The post BUFFY THE VAMPIRE SLAYER’s “Normal Again” Takes New Meaning appeared first on Nerdist.

Here are some of my favorite songs from anime to turn to during trying times. 

Kyoto Animation

Jujutsu Kaisen

“Kaikai Kitan” by Eve

This one is a new and worthy edition to this list! The anime has not completed—it only began in October—but this song is what brought me to it. The build when the lyrics start will have you bobbing your head in rhythm, and as the guitar jumps in you’re ready to launch out of your seat and shadowbox. I literally got up and worked out as soon as I heard this song for the first time. Make it part of your Spotify playlist. I did. 

Attack on Titan

“Great Escape” by Cinema Staff

It’s always surprising when one of the best songs from an anime is the end song rather than the opening. The guitar intro is amazingly fast and when it stops you’re suspended in anticipation. It may feel counterproductive that this song is at the end; however, this track gets your blood pumping in anticipation of what’s next—be that the next episode of this anime or the next challenge in your life. 

Kyoukai no Kanata (Beyond the Boundary)

“Kyoukai no Kanata” by Minori Chihara

This opening starts softer and more laid back than a lot of the other tracks on here, but it’s just as powerful, especially as it heads toward the chorus. It has the heart we all direly need to remind ourselves that we and those around us possess. This track is perfect to listen to while writing, especially if you’re the kind of writer who composes in bursts rather than a steady flow of thought. 

Naruto

“Haruka Kanata” by Asian Kung-fu Generation

Anyone who’s watched Naruto knows this song is when they are beginning their exams and competition with other ninjas, and is the introduction of some of the show’s favorites, like Gaara. The bass guitar opening in this track hits you in your spine. And when the lyrics begin and hits that scream reminiscent of Joplin, you’re screaming and ready right alongside our trio of characters in this series. 

Naruto Shippuden

“Hero’s Come Back” by Nobodyknows

After waiting a while for the continuation of Naruto, this song—along with the opening scene of Naruto and Sasuke, with Sasuke wrecking the nine-tailed fox demon inside Naruto—made us realize we weren’t going to be disappointed. This track starts minimal with the drums and hi-hat sound before the guitar and rap kicks in and thoroughly complement each other. A great opening that let us know these were no longer kids. They were now in the fight for their lives. 

FullMetal Alchemist Brotherhood

“Hologram” by Nico Touches the Walls

An amazing song from a stellar anime series. This track reminds us that the unknown is both scary and necessary. This world is fashioned by our reality and what we accept. So, it’s up to us to demand better, from ourselves and everyone else. The singing, guitar, and drums feel like the very definition of uplifting. But perhaps that’s because it’s a song from my favorite series. This song can apply to anything: working, exercising, rock climbing, running. 

Bleach

“Ichirin No Hana” by High and Mighty Color

This song has a darker sound, singing and screaming on the track for which all should be grateful. But that’s why it works both for this anime show and for motivating the listener to keep striving to achieve. The guitar is relentless, just like our determination. This is the intro to when we get to see the second level, bankai, of the soul reapers weapons as they fight to stop a friends arrest and execution. This is about not only protecting those who matter to you, but letting them know you’re going to be there for them and they also need to never give up. 

“Velonica” by Aqua Timez

Bleach truly has some of the most unique openings in anime. Each one is completely different from the other. One of my favorite intros that, try as I might, I still can’t sing along to—yes, I try to learn how to sing along to my favorite anime songs like any other—“Velonica” has rap backed up by rock sounds. The rap here is so fast that it’s impossible to keep up and you’re just pulled along in its wake. Let this track move you to tackle those projects you’ve been putting off in dread. 

“Change” by Miwa

Like the song’s title, this is about staying true to yourself regardless of what comes. Many of us let our fears, our doubts, and society’s “rules” tell us what is and is not possible depending on our age, gender identity, race, and ethnicity. But as long as we’re alive, we have opportunities; however small or large, and we can’t move forward by standing still. 

Death Note

“The World” by Nightmare

The guitar and drums, along with the vocals—a mix between a swoon and a scream—feels dark, but sometimes there’s inspiration found in darkness. Even if you don’t know the lyrics, the song will have you yelling, “Get the f–k outta my way” to any block whether it’s a situation, a person, or yourself. It’s about creating your vision for the world. And while the lead in this anime series didn’t fare well because of his narcissistic goal, the song still inspires grit as soon as those rock sounds begin.  

Samurai Champloo

“Battlecry” by Nujabes

“Sharp like the edge of a samurai sword, the mental blade cut through flesh and bone.” The lyrics for this one is what will motivate you and get you moving, whether it’s finishing an assignment or making a decision. The whole music is minimal and lets the lyrics tell you everything you need to know about yourself—and this anime. This track will remind you to “trust your instincts” and be damned if you’ll let any opponent stand in your way. If you’re a fan of boxing, turn this track up as you wrap your hands and get ready to demolish that bag.

The post 11 Anime Songs to Pump You Up During Trying Times appeared first on Nerdist.

The film is about a punk-metal drummer and recovering drug addict named Ruben (Riz Ahmed) who experiences hearing loss. When he learns his hearing loss will continue to worsen, he struggles to accept it. So his bandmate and girlfriend Lou (Olivia Cooke) convinces him to go to a retreat for deaf people to prevent him relapsing. As Ruben gradually becomes part of the deaf community, he needs to decide between this new life and the one he had. 

Amazon Prime Video

The film quality, gratefully, doesn’t look like the sleek perfection of a blockbuster movie. That would detract from the authenticity the film achieves. It’s hard to feel invested in a journey such as the one our lead goes on when every scene feels like a polished shot on a Hollywood film lot. Scenes feel haphazard and claustrophobic because that can be how life feels. Especially when you’re navigating a disability. Everything feels like it’s closing in. And the trailer they live in inspires envy, given some of our current isolation in urban cities amidst a pandemic. 

The attention to sound throughout the film—from the distorted, guttural opening sounds during their live stage performance, to the softer sounds—is wondrously done. The level of distortion and muted sounds are as disconcerting and terrifying for the viewer as they are for Ruben. Many of us can’t imagine losing a sense we take for granted. The sounds from Ruben’s perspective are so well-crafted that it feels like another character in the film. There are times when you will even feel that sound is the enemy. 

Riz Ahmed does stirring, heartfelt work portraying someone who is losing their hearing. He captures the confusion and fear when we think something we feel or experience is a fluke, but quickly learn it’s far more serious. Another tragedy is the failure of our healthcare system. Hearing isn’t considered essential, so hearing aids aren’t always covered by health insurance. This is hardly surprising, since our country doesn’t even consider healthcare as an essential human right for everyone. 

Olivia Cooke plays Lou movingly, and with the love and confusion a partner would feel particularly if one’s as codependent as Ruben and Lou clearly are. Though her journey—perhaps because of her father’s wealth—feels more along the lines of the rebellious child now ready to embrace her family’s wealth, which is unfortunate. Granted, Lou is not the focal point of the story. But it still would’ve been nice to have something more than what was presented. It’s a testament to Cooke’s acting that you’re able to forget, for brief moments, that there is little more of this character beyond a cocktail party “I went slumming, too” cliche. She brings a genuine affection that you feel with each scene she and Riz are in.  

Amazon Prime Video

The film also opens a discussion about how we view Deaf people in the world. And also, how they view themselves. Specifically regarding where the line is between accepting oneself and changing oneself. Not all change is absent of acceptance. Yet some people view aspects of themselves as problems to fix. How do we challenge people’s perception of themselves without judging them for their choices? Sound of Metal doesn’t answer all of these questions. But it starts a discussion rarely brought to mainstream audiences. Hopefully this film, will push for these conversations to be on the main stage.

4/5

Featured Image: Amazon Prime Video

The post SOUND OF METAL Centers a Riveting Story Around Deafness appeared first on Nerdist.

The film, written and directed by David E. Talbert, has all the wonder and splendor of older Christmas films with a cast that showcases the magic and ability that resides in all of us. Jingle Jangle not only puts Black people front and center; it celebrates them. There’s all the Christmas spirit of belief, song, and dance that Ms. Johnston could shake a mistletoe at. It’s chock full of joy, emotion, and a story that children or adults can reach out to when life hits rough or when they just want to smile. 

Gareth Gatrell/Netflix

The story is about Jeronicus Jangle (Justin Cornwell/Forest Whitaker), a superb toymaker, who employs mathematical knowledge to create magical toys. When he is betrayed by his apprentice (Keegan-Michael Key) and his prized creation stolen, it’s up to his creative, genius granddaughter (Madalen Mills) to help him remember the spirit of belief and magic.

Jingle Jangle‘s setting is also special and unique. Imagine a world where math and magic collide; where there are equations for “spectacular!” While there are holiday films that have a Black cast, few have elements of wonder and magic that are as heavily featured as they are in this film. Many, such as The Best Man Holiday, exist in rural or urban settings instead of an imaginary setting. Very few of our stories have a world akin to Harry Potter films and fewer have that wrapped in a holiday.

The acting is all-around hilarious, moving, and dripping with talent. The young Jangle played by Justin Cornwell has all the joie de vivre that comes with self-assurance, love, and happiness. It’s impossible not to get swept away in his presence as his joy and excitement are like gravity, pulling everything to him. Forest Whitaker as the older Jeronicus Jangle is a perfect counterpoint. His pained, beleaguered portrayal is a stark contrast as he gives up believing in himself. Whitaker shows how reticent and awkward a person can become when they lose the strength of self-belief. 

Gareth Gatrell/Netflix

Madalen Mills is adorable, delightful, and shines as Jangle’s granddaughter Journey. She will have any child or adult believing in the possibilities that reside within themselves; something that is sorely lacking because the world often hammers it out of us. We are constantly told what we can’t accomplish, but the fight starts with not accepting it and holding onto our belief in what we can accomplish. Ms. Johnston (Lisa Davina Philip) is a spotlight in the film with her affection for Jangle, singing, and the backup group, all of which were wonderful to see as well.

Jingle Jangle‘s costumes and settings are gorgeous and picturesque so much so you can imagine it on a holiday Christmas postcard: “Happy Holidays from Cobblestone!” It feels like a world that exists on steam engines and magic which will leave many wishing fervently that they could relocate there. The songs will have young and old memorizing for holiday re-watches—yes, I’m waiting for the soundtrack to drop on November 13th, too.

The soundtrack has Usher featuring Kiana Ledé’s “This Day” which fills you with excitement to keep pursuing your dreams. Though I think the favorites—hard to pick—will be a tie between Mrs. Johnston’s “Miles and Miles” song to “Jerry”, as she affectionately calls Jangle, and Madalen Mills’ heartfelt song about possibilities. It’s no surprise that Jingle Jangle‘s songs hit given they have John Legend contributing original music as well as producing. 

By default, being Black means you can’t have fictional stories of innocence, magic, and joy without a gritty reality. We aren’t allowed to be innocent, no matter our age, as evidenced by the news regularly. White people have many from Edward Scissorhands to Miracle on 34 Street to the stop-motion Rudolph The Red-Nosed Reindeer. It’s past time we gave our children stories that reflect them. 

Jingle Jangle will and should be a staple every year when Christmas rolls around. There’s too much to love here and the fact that Black children have a Christmas story of their own when so many of us didn’t have that, fills me with joy. I hope to see more original films and stories that give children a glimpse of the possibilities in them. 

Rating: 4.5/5

Featured Image: Gareth Gatrell/Netflix

The post JINGLE JANGLE: A CHRISTMAS JOURNEY is a Vibrant and Magical Wonder appeared first on Nerdist.

Greg Nicotero (The Walking Dead) is an executive producer, with Kiefer Sutherland (24) voicing the first story and Joey King (The Kissing Booth) on the second. While I was initially grimaced at the casting choices, both easily showed they have the ability to carry their individual stories. 

Shudder

This special only has two stories, but they leave an impression. First, the intro has the Creep in gorgeously chilling makeup that looks so real. I would not want to sit beside him; you can smell the stench and death. Before there was the Cryptkeeper—who also loved a horror pun—there was the Creep. Maybe they’re cousins…twice removed? 

What amplifies the fear is the music. The intro tune is a perfect homage to the original Creepshow. They’re almost identical, but this one still manages to shine in the best, most dreadful sense. You could be in 90-degree temperature, cozying up to a fireplace, and you will still be rubbing your arms, trying to shake the cold creeping in underneath your skin and freezing your bones. 

The intro art style is from the Creepshow series. I love the art and 3D styling of the Creep, with artwork from comics hanging behind him. He’s wearing the stories as garb—literally swathing himself in horror. And naturally, no Creepshow would be complete without introducing the animated comic and turning the pages from mail-order products to our first tale. 

The first story, “Survivor Type” is about a man stranded on an island, and is based on a story by Stephen King. The man’s only companions are the occasional gulls and a corpse. We hear him tell the story of his past and how he wound up in his current circumstances. But as resources dwindle, his mind begins to slowly unravel. Kiefer Sutherland, surprisingly, was a perfect choice to narrate this story. He sounds like the definition of a “wise guy.” 

Shudder

The second story, “Twittering From The Circus of the Dead” is my favorite. To a large degree, we know details based on the title alone. Based on a short story by Joe Hill, it follows a teenage girl and her family trip to Colorado. Unhappily tweeting from the backseat about how she hates this, things take a turn for the nightmarish when her father detours, sees a circus, and decides to check it out. This story still leaves some surprising twists that will leave you saying “Oh sh*t” a few times. This story is perfect for Halloween!

What I love particularly about the second is the reminder for me. Haunted houses, circuses, and clowns all make me uncomfortable because what happens when they’re legit? What happens when the clown or the monster is a crazed killer—a real monster? The cynical nature of people has increased, and while this can be beneficial, it can also be detrimental when you scream for help and no one believes you’re even in danger. It shows the dual nature of social media, which can be a space for love and joy—or a space to further harm. 

Shudder

Overall, A Creepshow Animated Special is a welcome addition to the Creepshow collection. And cheers to the Stephen King cameo! The writing is wonderful, increases the realism of each story, and the animation still terrifies. The gore is colorful and riveting all by itself.

If I had a complaint, it would be that there aren’t enough of these animated specials. I hope to see more horror stories told through animation, both in series and feature films. If you’re a horror lover and love animation, this will leave you drooling for more. Well done!

4.5/5

The post A CREEPSHOW ANIMATED SPECIAL Is a Macabre, Colorful Joy appeared first on Nerdist.

The story follows Marquis, who crashes his plane in rural Appalachia with his family on board. He wakes up in an elderly couple’s attic with his family nowhere to be found. The couple won’t let him leave and the matriarch, Eloise—who practices Hoodoo—may have plans for him. 

Visually, the film is unnerving. It uses a lot of closeups. Sometimes it’s too close, almost prompting you to lean away from the screen. But understandably, this is meant to heighten the audience’s discomfort, which it does. And it is an uncomfortable house with a dreadful attic that just screams, “You have now entered horror.”

The acting is great. Especially Omari Hardwick as Marquis and Loretta Devine as “Miss Eloise,” as Marquis respectfully calls her. Loretta Devine from Waiting to Exhale is wonderful in the worst way. She is the person you encounter who laughs and makes you wonder if it’s because of an inside joke. She is creepy cringe. In such a claustrophobic setting, with just a few characters, so it’s important to have acting that effectively holds the audience’s interest. Hardwick and Devine both do that well. 

Unfortunately, the issue here is the dialogue. It feels like the talking is done for the audience’s benefit more than anything else. As though the writer chose to explain what’s happening while also showing what’s happening. Even worse, it feels unnecessary and similar to television shows that have to dramatically explain what’s being shown onscreen. 

The nightmares Marquis has about his father and the abuse he suffered feel even more unnecessary. Granted, his father’s death is what prompts the familial trip to Appalachia where everything goes terrifyingly wrong. But it still feels pointless to drag these nightmares through the film. What was the point of those scenes? We don’t learn what Marq’s father taught him that supposedly helped him. Unless the implication is that the abuse helped him. 

The film lacks depth and that is, in large part, due to the writing. These characters feel like cutouts. And the film is unsure whether it wants to be more meaningful than standard horror fare. It keeps dipping a toe into the deep end without fully submerging in it. While there are films that consciously do a bait-and-switch between horror subgenres, tricking their audience, it does not feel conscious in this film. In some moments, it seems like we are watching a horror film with Hoodoo. And there others where it seems like, because of the abuse—and its importance in the film—that perhaps Marquis just snapped. 

Spell is entertaining, and if you love Omari Hardwick and Loretta Devine, you’re going to enjoy seeing them together. There are scenes that will make you sharply inhale as though you’re experiencing what Marquis goes through. But it would’ve been better without the unnecessary abuse. 

Ultimately, the only message gleaned here is one we’re already seen in many horror films: avoid small towns and avoid the woods. Which is always an entertaining reminder if you’re in the comfort of an urban apartment. 

3/5

Featured Image: Paramount Pictures

The post SPELL Is Confused About What It Wants to Be appeared first on Nerdist.

Many refugees who flee countries and have young children experience displacement. Especially the young children. As time passes, you become assimilated into the country you live. You pick up language, style and habits of the country. But you are constantly reminded that you are an outsider, no matter how much you assimilate.

It’s not only the cinematography that captures the isolation of displacement, but also Henry Golding’s stellar acting. It’s different from being a tourist—especially if you are a white tourist. You know there is going to be a feeling of separation. But when you visit the country you’re from and are treated in the same manner as the country you now reside in, the sorrow compounds. You don’t fit in, but how can you not feel connected when it is home?

Every visual highlights Kit’s emotional state. And the scenes are breathtaking in brilliant and sad ways. The use of wide shots that show Kit by himself amplifies his painful solitude and loneliness. Even when Kit is around people, such as his friend Lee, there’s loneliness. He tries to present them with gifts, but feels ridiculous because of the gifts he chose. In one moment, he brags that the water bottle he brought filters and cleans the tap water. It provides teeth-clenching discomfort.

Director Hong Khaou lets a lot of what is being felt play out in awkward silences to great effect. Whether it’s the silence between two people on the screen or Kit looking quietly into space, we feel his loss. He’s trying to connect with a homeland he mostly can’t recall, and reconcile that what once was is no more.

Peccadillo Pictures

Monsoon also shows that, in a war, no one survives unscathed. When Kit meets a love interest, Lewis, whose father served in the Vietnam War, their history places them on opposite sides. They barely avoid an argument when Lewis says, “It’s not a war they can recall with pride.” Kit replies angrily, “Why would you want to?” However, they have affection for each other despite the history and their relationship.

Those moments where Kit feels bereft lessen as he connects with the people around him, feeling less and less like a tourist and outsider. He travels, meets with friends and lovers and slowly starts to see the beauty in what is now. As they lessen he appears more present in every shot rather than separate from what is around him. In the end is it a location that determines a home, or is it the people we love and cherish?

Monsoon is beautiful, dramatic in its subtlety, and wonderfully meaningful because of the diversity and the subject. It’s a joy to see Henry Golding in this role and hopefully we see more films in future that handle these kinds of difficult subjects with both beauty and authenticity.

Featured Image: Peccadillo Pictures

The post MONSOON: A Touching Look at Refugee Displacement appeared first on Nerdist.

Nok, a poor girl, travels to take care of Ana, a wealthy cousin she does not know. Ana is haunted by spirits of the dead, and Nok discovers she can win the lottery by taking advantage of her cousin’s situation. Minus the ghost elements and familial connection, there are clear similarities to Bong Joon Ho’s Oscar-winning film Parasite. In that film, a poor South Korean family become the staff of a rich South Korean family through some underhanded methods.

Truthfully, it can be hard to find sympathy for the poor in a capitalistic society, particularly if we believe in the system. The system of capitalism, by design, favors economic status; as such, we are often susceptible to regarding the poor with an harsher gaze. It’s because of these sentiments that the wealthy continue to thrive while the poor are pushed further and further away—something we see in both of these films.

In Dearest Sister, Nok clearly exploits Ana’s ability for financial gain, but she is not solely to blame for the escalating circumstances she finds herself in. Ana is clearly not the nicest person either, just easier to overlook. When Nok arrives at the home, Ana wants her to live in the servants quarters; to sleep on the floor in a room shared with a maid and a handyman. It’s only thanks to Ana’s husband that Nok ends up living in the home and gets her own room, complete with a bed. Through the film, both Ana and her husband provide little in comfort to the other caretakers. While there could be a “both sides” argument, who is more at fault? The wealthy atop the system? Or the poor trying to survive it by whatever means necessary?

Shudder

Similarly in Parasite, it might be hard to sympathize with the poor family because of how they behave. They are lazy, always looking to get something with minimal effort—an exact portrayal of what many think of when they think of poor people. It doesn’t matter if Bong Joon Ho knowingly holds this reflection up to us, or if his own biases are depicted in the Kim family. Ultimately, this belief and the blame falls on all of us who prize capitalism. In Dearest Sister, Nok is just as unsympathetic a character; rather than sending money home to her parents and boyfriend, she splurges on herself. And many wealthy people are guilty of the same. But this behavior seems unsavory for a poor person. Is it only alright to gorge when a person is rich?

With capitalism comes an overvaluing of monetary gains simultaneously with a devaluing of human life and quality of life. A necessary side effect are the stereotypes that diminish those who are not wealthy. Capitalism favors money, appearances, and societal etiquette. It views people as means to an end. Therefore, poor people are called lazy, crass, or worse. And it works. In the US, for example, Republicans and conservatives seem to heartily believe this, despite studies debunking the myth of laziness. 

In Dearest Sister, Ana is consistently cold to Nok, and allows a friend to insult her until she feels like Nok is of use to her. She then gives her the nickname “little sister.” The label is a false title that never exists nor will exist in the film, because Ana never fully sees Nok beyond what she can get from her: care. She sees Nok as a means to an end, which is precisely how Nok sees Ana.

The same happens with Parasite. The poor Kim family is seen as bloodsuckers, while the rich Park family are hapless victims of their greed because the Park family is nice. Yet the Parks’ behavior is the same as any wealthy family who make their help feel a part of the family until they cross whatever imaginary line the elite have that clearly separates them from the poor. 

NEON

In the US alone, around 78% of workers live from paycheck to paycheck. Far too many around the world are closer to being homeless than they are to being wealthy. Yet, surprisingly, too many people still extend their sympathy and pity to a wealthy person, whilst condemning a person for trying to survive. 

This sympathy for the wealthy—while viewing people in poverty’s actions through a harsher lens—is indicative of what we are taught throughout our lives: to aspire to wealth and do it the “right way.” It is hammered into our psyches that if we are unsuccessful, it’s because we are not being our best selves. We see the various versions of “hustle and grind” sayings; indeed, in many societies your value is partially determined by that level of grind. Do you work 40+ hours? You’re amazing! Work 20 or less? You’re lazy and just want to have fun and never grow up. Not only is this mentality ableist, but this implies the wealthy don’t party and have fun. Meritocracy is a myth; it’s the bootstrap lie. Still, people on social media staunchly defend their favorite elites from any criticism about how they earned their money.  

It’s a game. If everyone realized the wealthy were wealthy because of the exploitation of the poor and working class, what would happen to the elite? They would be decimated. So, to prevent that, they spin a yarn that anyone could be where they are. We just have to want it enough. Then, any failure is on the individual and not society.  

Shudder

We need to retire the mentality that being “nice” equates with being good. This is another tactic we see in these films; one that allows sympathy for characters who don’t deserve it. Many people are nice because society expects a level of superficiality. In Parasite, when Choong-Sook’s husband points out the rich mother, Yeon-kyo, is “rich, but nice,” Choong-Sook clarifies she’s “nice because she’s rich.” 

People will fire you…nicely. They say you don’t deserve equality…nicely. The elite will threaten you…nicely. They’re nice so long as we are useful, as when Ana refers to Nok as “little sister” because she needs her attached, grateful, and appreciative. We’ve been taught niceness and appearances have more value. Capitalism is a system where we are forced to play by rules that change on the whims of the elite. Let’s stop wringing our hands in sympathy for the wealthy. It may look nice, but it’s smoke and mirrors. They don’t need our sympathy and they don’t deserve it. Feel bad for the ones who didn’t get a chance to live because they were too busy trying to survive. 

Featured Image: Shudder

The post DEAREST SISTER, PARASITE, and How Capitalism Shames the Poor appeared first on Nerdist.

The film gives us stellar comedy from Radha Blank as she tries to navigate the theater industry and the white gatekeepers who hold the keys to success. White people telling us what is an authentic “Black” experience—a.k.a. poverty porn as RadhaMUSprime declares—or accusing us of not being Black because our writing doesn’t reflect their view of Blackness, is something all of us have heard an iteration of at least once. 

An embarrassing moment onstage leads Radha Blank to retreat back into playwriting and making a deal with the devil—pardon, white gatekeeper—to change her story, which has now downgraded to including white gentrifiers, soy milk, and the “sassy, old Black woman.” This is a sharp reminder that without the inclusion of a white character or stereotypical Black characters, our stories are not considered marketable. 

Jeong Park/Netflix

D (Oswin Benjamin), though younger, parallels Radha to a degree. He makes beats for rappers, and we see his frustration with the fact that his beats are used to talk about the usual: women and money. Radha’s authenticity—about who she is and where she is—allows her to tell a story that is unheard of in hip hop and is precisely why D gravitates to her. 

The black-and-white cinematography aesthetic adds a grittiness that epitomizes the New York we know. Radha riding the bus, the variety of personalities and cultures we get to know in our diverse neighborhoods; it’s all raw and real. People aren’t wearing heaps of makeup. It’s not needed; they are genuine, and that’s beauty. The rest of the cast does an amazing job as well. The relationship between Elaine (Imani Lewis) and Rosa (Haskiri Velazquez) is adorable and an added layer to an already complex and diverse film. 

I am a huge fan of the underdog. “There ain’t nothing wrong with you” should be an emblazoned neon sign visible for everyone. When Radha decides to switch to rapping, the majority of people have absolutely no faith in her capabilities and those that do—like her high school friend and manager Archie (Peter Kim) who saw her rap in high school—still believe it’s an unrealistic dream. Achievements are expected for the youth and if, for one reason or another, you haven’t achieved your goals by a certain age, the consensus is you never will.

Jeong Park / Netflix

Radha is a heroine who refuses to sacrifice her integrity and vision for her stories and people to dance for the white gatekeepers and white gaze. That’s commendable and it also begs the question: how much integrity do successful Black people and people of color have to sacrifice? Our fight to break into an industry inevitably transforms us into a cog in the machine we rail against. 

Every step away from the default in this society means a larger opportunity to be ignored, except when they need the novelty of representation. When the topic is hot and you fit the demographic. If that occurs, there are still rules to stifle our voices so that what we release is not our voice—strong and forceful—but a diluted, acceptable one. 

We need more stories like this. More stories like Radha Blank’s. There are already so many versions of the quirky, misunderstood outcast teen searching for their identity or voice. And searching for identity doesn’t always happen in our youth. Life can prevent that. But it does not mean failure. Sometimes we have to get older and settle into ourselves to discover who we are, and that’s just fine. Cheers to sisters. Cheers to Black women. 

Featured Image: Netflix

The post THE FORTY-YEAR-OLD VERSION Is a Poignant Story of the Unheard appeared first on Nerdist.

The Shudder original La Llorona (not to be confused with the recent atrocious Americanized version) exemplifies what an urban legend brought to film and centered in reality can accomplish. The film oozes atmosphere that leaves a weight on viewers throughout its runtime, increasing the pressure until the climactic end. Everything from cinematography to dialogue feels like we are viewing people who have lost something: their humanity, their loved ones, their morality. And yet, what stands out even more are the various women central to the plot and the patriarch that wrought this destruction. Their journey is essential to ending the patriarchal stranglehold and, symbolically, the demise of all patriarchy—particularly Carmen’s, the grandmother and matriarch of the family.

The patriarchal system is meant to circumvent the power of women and subjugate them, lowering them to a submissive position that is often reflected both in the home and in society. White patriarchy—that which has stretched its insidious tentacles globally, along with racism—is used to excuse the enslavement of Black and Brown people for the patriarchy’s capitalistic gains. Even countries that have avoided direct colonization have sought to emulate the economic successes of “first world countries,” believing the toxic systems were the keys to it. This also leads to colorism, which is a staple of racism. Slaves were dark-skinned, so the further away one is from dark-skin, the more privilege they have access to. This is precisely why victims, particularly of large scale atrocities, are often darker-skinned, and the perpetrators are typically white or light-skinned. Few have escaped the grasp of misogyny, racism, and colorism, nor how that mindset determines how we see victims. 

Shudder

The film uses the legend of La Llorona, incorporating the myth into real-life atrocities committed in Guatemala. Paralleling reality, the patriarch of the film, General Monteverde (Enrique), is on trial for the genocide of Indigenous Mayan-Ixil people. La Llorona itself is a legend that centers women and the suffering we experience at the hands of not only unjust men, but a society and culture that propagates patriarchal supremacy and matriarchal subjugation.

From the opening of the film, gender lines are clearly showcased through the pullback shot of the matriarch praying along with her daughter and a group of women. We see, despite her internalized misogyny, the women are united together in a collective to pray and protect. This also highlights the importance of the matriarch, Carmen, in the ghosts’ quest for vengeance.

Next, we see the patriarch and progenitor of violence and trauma, Enrique. And while there are other men in the shot, they are out of focus and in stark contrast to his visibility.  

We can surmise that Carmen has gone through a lot of travails with her husband Enrique, including an affair that resulted in an illegitimate child. While not a likable character, she is certainly a relatable one. She internalizes misogyny and colorism. She hates dark-skinned Indigenous women, particularly the ones who testified against her husband, referring to them as “whores.” This doesn’t gel with her sentiments that she treats her servants well (though Carmen and women like her would disagree), expecting gratitude for all those free tortillas. She is the woman who would rather keep a position in society that favors men and lighter skin because at least she is not on the bottom. But in order to end the reign of vicious men, a united effort is required. This mirrors the divide we have between women who stand in opposition to the patriarchal system—which includes capitalism and oppressive systems used to sustain the patriarchy—and those who are abettors to the system. 

Shudder

We cannot appeal to the humanity of the patriarchy, a system that only sees women and girls as empty vessels for male use. Inevitably, as shown in the film, its perpetrators will believe their lies and rationalizations. Enrique is a symbol and microcosm of the patriarchal system. He runs around trying to murder a ghost he sees as a guerrilla terrorist, who was in actuality a woman trying to survive with her children. He is unable to acknowledge what he has done; lies become truth when they are repeated enough. 

What we need is a matriarch brought into the fold. But how does one accomplish that when the matriarch in question won’t acknowledge her husband’s actions (and projects his transgressions onto the Indigenous women) and does not speak the language of her marginalized sisters? The method is two-pronged: send her dreams where she experiences the suffering, murder, and trauma that whittles away at her militant stance beside her husband. 

Enter Alma, a victim of Enrique’s, unbeknownst to everyone. Granted, Enrique slaughtered so many people he probably can’t remember them all. Upon her arrival, Carmen starts to have dreams where she is running with two children, trying to evade soldiers. In dreams, Carmen is vulnerable and those rationalizations of dark-skinned women tempting her man won’t infiltrate because she is in a situation where her class and lighter skin won’t save her. Carmen isn’t solely meant to sympathize with Alma, but to live her experience, to breathe it in. And at that moment, she craves what Alma does: vengeance. 

The second approach is that Alma, a beautiful young woman, inspires jealousy in Carmen when she discovers Enrique with an erection, spying on Alma in the bath. Naturally, that anger should be solely directed at Enrique, but Carmen is unable to fully break free of the vise of internalized misogyny. While her daughter adamantly apologizes to Alma, Carmen orders Alma to stop wearing the maid uniform; thus, she lays the blame for her elderly husband’s predatory actions on Alma and what she wears. However, she doesn’t let Enrique off scot-free. We all know the saying: “Hell hath no fury like a woman scorned.”

Shudder

In the end, Carmen has to be the one to kill Enrique. It’s her atonement and her punishment. She strangles him because that is what the system has done to us. It constricts, limiting out free will, our ability to even breathe and exist without fear when simply rejecting a man is grounds—in their minds—for them to harm us. Enrique and the patriarchy had to die, and it had to be done by a woman in the manner it’s done in La Llorona. 

This is also why, in the end, the women and girl in the house are the only ones standing. Even the male bodyguard, Letona, disappears when two ghost children lead him away. The point was to punish evil men. While there is a discussion to be had regarding whether silence or complicity rival such atrocities, here the judgment is for the guilty and the culpable’s judgment is to carry out the execution. After all, the author of all is white supremacist patriarchy. It is hard to break free of a system that is meant to cow you while doing it so seamlessly at every turn that your suspicions are rarely aroused. A system so pervasive that there is little opportunity to step fully outside the system. 

But in the end, vengeance is still incomplete as it’s never just one man responsible. There are those who give the orders, those who act it out, and those who protect. And it’s clear from the final scene that Alma is not done. Her screams are chilling because, in this world, we don’t have to imagine women raped and killed, their children butchered. We live in it and any of us can be next. 

There can be no demise of the patriarchy until women, both those who have been culpable in uplifting patriarchy and those who actively resist, come together. But unfortunately, life isn’t a film and, there is no opportunity to have a woman who aids the oppression of women with darker skin experience what their silence, their rationalizations, their jealousy, have fostered. Perhaps more vengeful spirits are needed out here in the world. But we all know that’s not possible. Or is it?

Featured Image: Shudder

The post La Llorona and a Death Knell to the Patriarchy appeared first on Nerdist.

White Cape Productions

This is not a complete list of the best short horror films on Youtube. That would be next to impossible given how many videos are uploaded daily. But this is a helpful list of short films I’ve seen that would be handy for someone beginning the foray into horror on YouTube. Many of these short films have won awards and a few are recent.

Prepare to have your hair raised and to dash desperately through any darkened rooms you encounter.

Alexia

At under 10 minutes, this short film gets straight to the point in building suspense and terror. A man looks at a picture of his ex-girlfriend and feels guilty when weird occurrences leave him desperately trying to unplug. With sound effects that increase tension and makes you jump, this short film is an adorable intro to the goldmine of horror on YouTube. 

It Had Pale Skin

A young girl is walking down a darkened street in suburbia. What could possibly go wrong? Horror fans know the answer to this one. Many will also wonder why the hell anyone would walk down a street that is pitch black. 

Simplistic, this short will leave you horror-struck, particularly if you’re coulrophobic. Don’t know what that is? Watch the short and you will. 

Vicious

A woman returns home to find her front door unlocked and fears there’s an intruder.

From there, the short quickly ratchets up the tension and scares. It plays on a common experience, when familiar shapes in the day appear sinister and demonic in the night. This short film won several awards and it’s easy to see why. For extra fright, watch in a pitch-black room. You’ll swear that pile of clothes on the chair moved. 

Peephole

A man, asleep in his apartment, answers a knock at the door. 

There’s nothing like old-timey music, creepy marionettes, and a dimly lit hallway. It calls to mind a scene from 1408 in which John Cusack tries to seek help from someone in a building across the street. If you live in a building with similar hallways, you have my sympathies. 

Latch

A teenage girl is dared by her brother to play a game…in a closet.

Nothing good can come from these games. But sometimes, insatiable curiosity combined with a “don’t back down” mindset can lead to nightmares…if you’re lucky. It’s uncomfortably horrifying how many innocuous locations and objects in a home can be transformed from mundane to bone-chilling. A top recommendation from this list. Try the game yourself if you want. Let me know how it goes. 

On My Way

A police officer is on his way to a Halloween party when he realizes that everyone in town has gone crazy.

People going crazy is one thing, but people going crazy on Halloween is worse. We question whether it’s genuine or a group performance put on in the spirit of the season. That leads to danger and possible death. Filmed in one continuous shot, the fear ratchets up as you experience it alongside the officer in real-time. 

The Passing

Two detectives investigate an empty house and encounter a scared woman searching for her missing daughter. 

Scary with a twist, The Passing could easily be transformed into a full-length film. There’s an added layer of fear and dread when children are in the mix, either as innocents or just perceived as innocent. An atmospheric house that you’d only see people enter on a dare just adds the icing on this frosted fear cake.

Behind The Door

A young boy hides at home while something predatory lurks outside, trying to get in. 

We are immediately tossed into the midst of this short horror film, and the stellar use of shadows and camera angles ratchets up our fear. And again, creepy music from a handheld radio that changes stations all on its own just increases our dread. If you hear a knock on your door while watching this, it’s a guaranteed jump scare. 

Creak

An older woman hears strange sounds coming from her basement. 

Honestly, there’s little as terrifying as creaky sounds, particularly when you’re home alone and the sounds are coming from another room. The sound effects for this one feel like their pulsing in time with your galloping heartbeat. At under three minutes long, this one is short and scarily sweet.

Suckablood

A poetic, nightmare story of a little girl with an evil stepmother. 

While a traditional gothic bedtime story, rhymes and all, this short is both panic-inducing and satisfying. The dramatic opening and the terrifying voice narration aptly demonstrate that this genre of horror still has life. I can hear the Beach Boys singing, “Wouldn’t it be nice if Suckablood existed?” Another top recommendation! 

Mr. Creak

Penelope explores her childhood home and finds something more.

Not to be confused with Creak, this one bears more of a similarity to Suckablood. There’s something great about just getting to the meat of the horror, and still being able to build the fear. The music here deftly does it with a “wait for it” pressure that haunts as it climbs. Mr. Creak is a thoroughly chilling ride and one well worth taking.

Ripped

A young man heads to a new gym to work out and get buff.

A bit of a cheat as it’s more comedic than scary, Ripped is still well worth your time. There is some fear and scares but overall this is just an enjoyable trip with a great twist. Kudos to showcasing how annoying and problematic overly helpful people can be. Never fun to be lurky.

Is That You?

Whitney is at home on Halloween night when she sees someone outside her house. 

Terror on Halloween may be a common story; however, they never grow old. Watching people run around in costumes for Halloween when you suddenly notice someone standing still is creepy enough. What adds to it is that, thanks to the mask, you can’t tell if they are simply facing your direction or staring at you. You can’t see what intent lies in the eyes. And how do we know that it is indeed a costume? Add this to your watchlist and enjoy the spine-tingling intro music. 

After Hours

Working late to finish a project, a woman realizes someone or something is stalking her.

It may hit too close to home for some who have not only worked late at a job, but have been the last one out the door. The silence in an empty building increases your unease alongside the protagonist. When there is sound, it’s even worse, vibrating, and pulse-shredding. Enjoy and never work late at work again.

“What’s up bro?”

A man at home is looking at investment options when he gets a text message from an unknown number.

The style of this one, from the cinematography to the ruse of yellow shades, is inspired. The camera angles raise the hairs on your neck as the unknown texter quickly goes from harmless to code red. The surprise may not alleviate all your fears because we all know what they say about karma. 

I Love You, Jamie

Wes is working late when a presence stalks him through the job while his partner watches online. 

There’s something voyeuristic about our addiction to watching the real lives of people online. This story amps it up by making the lady an unwitting purveyor of Wes’s imminent danger. It’s also reminiscent of the Scream franchise as it becomes horror within horror. If you’re a fan of films like Host on Shudder, this may be in your wheelhouse. 

Daddy

A man is having nightmares.

The description does little to convey how great this short film is, and it is scary. The film takes place in a bedroom with a man in the midst of gripping nightmares. It has horror, loss, and trauma, and in the end, you still won’t be sure what was real. At under four minutes, it’s an essential watch. 

Love Hurts

A woman gets into an argument with her boyfriend in a public bathroom. When he leaves, she hears strange sounds coming from the stall beside hers. 

Another short film that deals with sadness and what that can cause or create when allowed to fester, it’s a wonderful use of lighting, atmosphere, and makeup. Pain and sorrow is a nightmare in itself, but perhaps sometimes it can foster something more. 

Play Time

A woman is asleep in bed when her television turns on in the living room.

A lot of short films build up the terror, easing from zero to 100. Granted, many of these short films reach 100 faster, but Play Time starts at around 50, then leaps to 100, and all you can do is tremble and clutch at whatever is nearby: a pillow, a toy, a person. Superbly done sound effects combined with makeup makes this is a well-oiled horror machine. 

Don’t Look Away

A lady is staying at her boyfriend’s place while he’s out of town but unfortunately, she’s not alone.

Again, we have a petrifying combo of a phone, home alone and for extra chills, the use of the camera. It’s never easy to build and maintain tension when the film takes place in one room, but it’s done with ease here. Here, it’s what you’re not seeing that freezes your blood. 

Featured Image: White Cape Productions

The post 20 Terrifying Short Horror Films You Can Watch On YouTube appeared first on Nerdist.

Time and again, stories told outside the “norm”–i.e. the cis white male perspective–are challenged. Their validity questioned. If previous successes like In Living Color, Living Single, and Moesha weren’t enough to silence these naysaying voices, current successful shows and franchises–like Black Panther, Watchmen, and Euphoria–should tell them audiences are hungry for a reflection of Black lives, culture, and experiences. 

Enter a new series that blends Jim Crow-era 1950s with science fiction and horror: HBO’s Lovecraft Country, created by Misha Green and based on the novel by Matt Ruff. In the series, Atticus “Tic” Black (Jonathan Majors) teams up with his Uncle George (Courtney B. Vance) and friend Letitia Dandridge (Jurnee Smollett-Bell) to search for his missing father. The only clue is a letter Tic receives from his dad. A letter that beckons him to Lovecraft Country to learn the truth about their family heritage and legacy.

There will be comparisons to HBO’s other hit series Watchmen, but each is a unique story and setting. And while they both tackle subjects like racism, white supremacy, and white privilege, they approach them in distinctly extraordinary and mind-blowing ways. 

HBO

Tic navigates a magical family legacy that puts himself and those he cares about in harm’s way. He also faces the racist legacy of America, and learns how trauma is passed along. The series showcases the inescapable nature of anti-Blackness and misogynoir. We feel the polarizing perceptions of who we are and who we are seen to be, and how–no matter what we do to bridge that distance–there are barricades placed to halt us. 

The characters are not flat, one-dimensional cutouts existing solely to propel Tic’s story. Letitia is more than just a possible love interest for Tic. She is not the quiet, timid woman wringing her hands, waiting to be rescued. She fully participates in her existence and the journey, even propelling it forward at times, with a passion and zeal that makes you cheer. She’s not just a fighter. She exudes vulnerability coupled with a fierceness that signals, “I’ve had enough of this”. 

Even Tic’s father, Montrose Freeman, goes beyond the label of an abusive father. He raises his son to be strong. Beneath the exterior, there is love, pain, and anger all jockeying for position. We see the complicated relationship Montrose has with both his son and brother, and we know we are not seeing the whole picture. 

HBO

Lovecraft Country doesn’t beat us over the head with expositional flashbacks. Instead, situations are presented so the viewer can ascertain what lurks in each character’s history. I am grateful for this, as flashbacks have become de rigueur in many series; oftentimes taking up too much time and space. The mashup of music from different eras is also essential, demonstrating how issues of racism encompass the ’50s and present-day. The music acts as a bridge between times, and signals to the viewer, “Yeah, we know, we’re still in it.”

Themes of monsters, and not just the terrifying ones from pulp fiction stories, inhabit the series and endanger our cast. But in Lovecraft Country, the most dangerous monsters are white people: both the blatantly racist white people and the ones that shroud their prejudice in etiquette while feeling superior to the white hoods. For many viewers–myself included–the white people will petrify them more than the monsters biting off heads. 

It’s impossible to know what Lovecraft Country will become as it progresses. But overall, the show is painful, and warm, and full of vibrancy that does not solely come from the wardrobe, but from the characters themselves. It’s a spellbinding and refreshing story set in an era so many barely know, as we’re fed sanitized versions in school. If the rest of the show is as good as the five episodes provided to critics, I expect to see a slew of Emmy nominations for Lovecraft Country next year. 

Featured Image: HBO

The post LOVECRAFT COUNTRY Is a Radical Blend of Race & Sci-fi appeared first on Nerdist.

Ellie

Ellie is not a likable character. You understand the angst she had as a kid, but now that anger has morphed into a self-absorption that is destructive. She exudes angst and selfishness from the beginning of the game until the end. It didn’t start with the death of Joel, as flashbacks reveal what drives Ellie’s obsession for payback: her discovery of the truth of what happened at the hospital.

When Jesse arrives to help her, she manipulates him as well. When he learns Dina is pregnant with their child and suffering from 24/7 morning sickness, he and Ellie agree that once they find Tommy, they will all return to Jackson. However, when they learn where he is while at a mall, Ellie balks and says they need to head to Abby because that’s where Tommy would head. Her goal is to kill Abby, as evidenced by her countering Jesse’s fear that Tommy may die with a “he can take care of himself.”

Naughty Dog

Ellie is so immersed in pain, anger, hatred, and guilt that she has no issue manipulating and lying to those around her, or putting them in harm’s way. When she discovers that Dina is pregnant, she’s upset solely at the “burden” it places on her. This chapter of the game proves that Ellie’s hunger for vengeance overshadows everything, including her feelings for Dina. This is proven near the end of the game when she opts to abandon Dina and her son to again hunt for Abby, despite having barely survived their last confrontation and Abby’s warning.

Tommy is also destroyed by Ellie. Initially he did not seem hellbent on vengeance when he spoke to her. But because of her determination he goes alone to seek vengeance, ends up permanently injured and bitterly pining for vengeance as well. This is also thanks to Ellie swearing she would go after Abby again. Yet when she does, it is selfishly motivated and has nothing to do with her promise to Tommy.

She goes so far as to fight through a throng of people just to rescue Abby so that they can fight. While she finally comes to the realization that none of this changes anything and her pain is from her own guilt for resenting Joel and while she does spare Abby’s life, there is no consolation that she can return to her relationship. Even her sparing Abby comes from a place of selfishness. In the end she lost her opportunity for a life with Dina and baby JJ, as Dina made it clear that she would not be waiting and we see, from Ellie’s return to an empty (save for her things) house that Dina was true to her word. She has lost her redemption, her opportunity to move on and it ends with her leaving the house. Perhaps to head to Jackson and see if Dina is there. Perhaps to simply learn to live with the memories in seclusion.

Naughty Dog

Joel’s murder causes Ellie to resent Abby’s group because, though she does not want to acknowledge it, she realizes they are not so different. Whereas Jesse and Dinah question whether Abby’s group are really villains, Ellie remains steadfast in her rage and ignores the fact that Abby spared both her and Tommy when she could’ve killed them both and tied up that loose end.

Abby

The twist of playing as Abby forces us to understand her motivation; however, she is just as selfish for most of the game. Her quest to kill Joel overshadows all other aspects of her life, costing her romantic relationship with Owen. Her obsession with training to effectively track and kill Joel eventually pushes Owen away. While also interested in vengeance alongside Manny, Mel and the others, Owen understands that living matters more.

Years after their relationship has ended, Abby finally gets a lead on Joel and asks Owen to come along with the others. After finding out Mel is pregnant by Owen, Abby’s reaction is similar to Ellie’s with Dina: she is annoyed that this may put a kink in her vengeance plan. So she goes on her own. But when she realizes who Joel is, instead of just immediately killing him, she uses him and Tommy to survive and return to her group, then, once she is effectively safe, she seeks brutal revenge. There’s a line for how much she risks her life for revenge, but risking others’ lives is completely okay.

Naughty Dog

Her revenge is her revenge. Not theirs. This is clear when Abby could have easily put a bullet in Joel and called it a day. Instead, she tells Mel to tourniquet his leg, the significance of which horrifies Owen and Mel. They signed up for revenge, but it’s clear for Abby that this is not just about killing the person who killed her father.

Abby chooses to spare Ellie and Tommy due to her own selfishness—this was just about Joel—but that choice puts all of her friends in greater risk; this is an example of The Last of Us Part II’s recurring theme of lack of care of foresight. Joel didn’t anticipate revenge, though he should have. Abby doesn’t anticipate revenge, despite Ellie telling her that she will kill all of them after watching Abby beat Joel. Abby, not wanting to feel like a monster but an avenger, chooses to let Tommy and Ellie live. The results of that choice have far-reaching consequences for her.

Once Abby’s revenge is complete, she rekindles her relationship with Owen, who is still with a pregnant Mel. Abby is driven by her own desire not to feel like a horrible person, yet she is unable to make the choices based on what is right. It’s about how it will make her feel. That’s why she is unable to sympathize with Mel, who is uncomfortable in her presence because she beat a man to death. Abby doesn’t see that she already crossed a line, and feels as though she is being wrongly shamed for what she did as she and Mel discuss it.

Even her aiding the two kids, Lev and Yara, comes from a place of wanting to feel good, wanting to feel that she’s done what’s right. Maybe subconsciously she knows and refuses to acknowledge that she crossed a line in murdering Joel and is actively seeking to prove to herself that she is not selfish. But again, it comes from a place of doing what is right to feel good.

Naughty Dog

Her choices to spare Ellie and Tommy and go on a mission with Lev and Yara lead to the deaths of Owen, Manny, Mel, and everyone else involved with Joel’s murder. Abby isn’t a good person. She is still selfish throughout the game. When she and Ellie have their first fight, Abby, knowing Dina is pregnant, is prepared to slit her throat regardless. What stops her is arguably Lev, but truly it is Abby knowing she would have to confront her nature and desire to feel like a “good person.”

Later in the game, Abby’s selfish nature is again on full display as she drags Lev to find Fireflies, thereby putting them both in danger. She even gives their info to the random stranger on the radio which leads to both of them being captured.

The game confronts us with a large degree of discomfort in how it attempts to have us sympathize with Abby, which it fails to do. But it goes beyond this, to make us realize that neither Abby nor Ellie is a selfless individual. Some of the peripheral characters are selfless which adds to the stark contrast between them and our leads. Yet, because of this, the game is unique. The discomfort and anger is lasting. It sticks with you, and isn’t that what the best games do?

Featured Image: Naughty Dog

The post In THE LAST OF US II, No Redemption Is Necessary appeared first on Nerdist.

The late ‘90s and early 2000s saw an explosion of Asian horror, and even had a company which housed a great portion of some of the best the genre had to offer: Tartan Asian Extreme.

This is not an exhaustive list of all the films released at that time, but just a list of favorites from what I’ve seen. Many of these lack a happy ending, and they will leave you feeling as bad as you are scared. 

Cinema Service / B.O.M. Film / Tornado Films

Phone

Before 2003’s One Missed Call and the 2008 American remake of the same name, there was Phone. A reporter writes pieces about a pedophilia scandal and becomes the target of one of the men named. She changes her phone number, but soon learns that every person who has had that number has died mysteriously. As the danger dials up, she tries to uncover what happened to the other victims before she becomes one. 

This film has great use of darkness and shadows. Also, the little girl does an extremely great job at being both creepy and scary. The twist is surprising and the end will give you nightmares. Check it out and you’ll never listen to Beethoven’s “Moonlight Sonata” again without chills. 

Whispering Corridors

This is the first film in a Korean high school horror trilogy; each film features an all girls school, but has a different story. In Whispering Corridors, Eun-yung receives a call from a fellow teacher, Mrs. Park, telling her that her deceased friend Jin-jiu is back. The next morning Mrs. Park is found dead and Eun-yung investigates whether her friend has really returned.

This story is scary and sad, given how many schools and teachers not only write off students for various reasons, but also force friends apart. Still, as part of a set, this is a great introduction for what’s to come. It’s not only about the supernatural, but the brutal treatment students experience; trauma so bad it can create the supernatural.

Memento Mori

The second film in the Korean high school horror trilogy, a student finds a diary—shared by two seniors at her school (one of which committed suicide)—that not only contains unknown drugs, but creates a psychic connection between her and the other senior. As she and her friends try to uncover what happened, the paranormal activity rises. 

This film is scary in parts, but its biggest strength is highlighting the way students are treated when they don’t fit traditional roles of gender or sexuality. These films are arguably an indictment on how competitive and formulaic traditional educations are, and what they expect students to adhere to. 

Wishing Stairs

The favorite out of the trilogy, this film follows best friends who are both dancers. One is considered the best while the other is often seen as the worst in this competitive arts school. However, there are a set of stairs that, if the extra step appears, grants the climber a wish.

This film is atmospheric with chillingly creepy music. It demonstrates how toxic competitiveness and the push for greatness can be. Furthermore, it showcases the traditional “be careful what you wish for” theme as well as the “devil’s in the details.” Still scary with a twist I did not see coming. 

Red Shoes

Sun Jae leaves her husband after discovering his infidelity and lives in an eerie apartment with her young daughter. On the subway, she discovers a pair of gorgeous red shoes that are a perfect fit and brings them home. But those shoes are tied to a curse she has to solve before she becomes the next victim.

This film is gritty, with most of the colors leached away, except for those shoes. The obsession over the shoes and the curse are not the only scares this film has to offer. There are issues regarding how we classify age, style, and dress, often labeling certain attire for the “young crowd” and others for the “old crowd.” The film is more than a pair of cursed shoes, and I am grateful for it!

Carved

A suburb is tormented by a vengeful spirit who murders people, primarily children.

This film was based on the urban legend of the slit-mouth woman. The legend goes that a woman wearing a surgical mask approaches someone and asks “am I pretty?” If you respond yes, she removes the mask, showing her sliced ear-to-ear grin and asks, “am I pretty now?” If you respond “no,” she kills you. Respond “yes” and she will cut your mouth, giving you the same smile. Honestly, a terrifying story, particularly if you don’t know the trick to escaping her, which I won’t share here. The movie does a wonderful job of giving the vengeful spirit a more unique backstory as opposed to the traditional one attached to the tale. Watch, but be warned: her appearance is the stuff of nightmares. 

Acacia

A couple who had a difficult time conceiving adopt a six-year old boy who spends most of his time underneath their acacia tree. When the mother becomes pregnant, phenomena begins to occur.

A well-crafted story but, like a few on this list, you may end up feeling bad by the end. You are wondering what is going on, what has happened, and what is going on with that creepy tree. Don’t want to spoil it, but this film definitely deserves to be a part of the explosion of Asian horror that came out in the 2000s. 

Arang

A detective, Min, along with a forensic partner, Lee, investigate a murder that seems to tie into a salt storehouse, a murder, and a missing girl from ten years ago. As more people connected to that history die, it’s up to them to solve the crime and stop the murders. 

One thing is clear: Asian horror loves its vengeful spirits. Yet, you can’t help but applaud the uniquely terrifying stories around the spirit. At times both scary and sad, this story will leave you angry at the injustices and abuse women often suffer, but you’ll be rooting for vengeance.  

Audition

A widower, at the urging of his friends, decides to hold a fake audition to find a love interest. 

While this could be written off as a horrible date gone wrong, it is so much more than that. This film is creepy, at times disturbing, and touches on issues of abuse. The girl and her shy innocent nature is reminiscent of the hair-raising anime girls from “Higurashi No Naku Koro Ni” (“When They Cry”) that look like they would lovingly dismember you. If you can handle some violent and gross moments, this film is for you. 

Ghost

Min Ji-won is a student with amnesia. As she tries to remember her past, old friends of her are mysteriously drowning. As bits start to come back, Min tries to unravel her past to prevent more people from dying. 

I didn’t see the twist for this one coming, mostly because it is rarely employed. Not only was the twist and story done well, but the plot keeps you invested, trying to solve the nightmare before the protagonist. Watch and see if you can solve it.

Dorm

Ton is sent to boarding school by his father and is told scary ghost stories by his classmates about a boy who drowned and a girl who committed suicide. As he struggles to adapt to his new surroundings, he finds a friend in Vichien, but soon realizes that Vichien is the boy who drowned.

This is not so much horror as a sad and haunting coming-of-age story. It will have you smiling at the connection between Ton and Vichien and hurting for the fact that only one will get to go on. There are scares in the film but the story is about friendship and growth. Recommended—but maybe keep a box of tissues handy. 

Face

Lee Hyun-min, who reconstructs faces from skulls to solve crimes, retires. But after he’s haunted by a woman’s spirit, he aids police in the search for a serial killer while trying to protect his daughter, who is also having disturbing visions. 

For a lot of the Asian horror films that came out in the 2000s, there seems to be two default moods: scared and sad (sometimes both), and this film doesn’t disappoint in either category. The story keeps you invested as you watch, fearing not only for the daughter but the father as well. A welcome addition to any Asian horror collection, particularly if you love Tartan Asia Extreme. 

The Maid

Rosa accepts a job as a maid in Singapore to help the Teo family care for their mentally disabled son. But, during the seventh month, there are rules to follow to ensure spirits don’t follow you home. When Rosa breaks these, she finds herself in a nightmare. As she tries to stay safe, she needs to figure out what happened to the previous maid. 

Both scary and also a conversation-starter regarding mental disability and accountability.

R-Point

Set during the Vietnam War, a South Korean base receives a radio transmission from a missing platoon. Choi Tae-in is chosen to lead a squad of eight soldiers, to a location known as R-point to find proof the missing platoon is alive or dead. 

“This is R-point…nothing survives here.” This land has a bloody history that does not allow anyone to escape. The scenes in the jungle make you fearful, as this group is basically cut off from civilization. Imagine being stuck somewhere and you can’t trust what you see. One of my favorites from this list, I’d call R-Point essential viewing. 

Hansel & Gretel

A man crashes his car and meets a young girl who invites him to a house. Unfortunately, he can’t seem to leave.

To say more about this movie will give it away. It is beautiful, poignant with scary sequences, but mostly you will be barraged with “wtf” moments as you try to figure out what’s going on. This movie is often compared with A Tale of Two Sisters because it’s that damn good, though this one, befittingly, has a more dreamlike quality to it. It’s often included on “Best Asian Horror” lists. 

Alone

Pim moves with her partner from Thailand to Korea for a fresh start and to escape the grief she feels, having lost her conjoined twin. Her deceased twin has other ideas.

One of the more terrifying films on this list, with a few twists you won’t fully see coming until they’re in your face, no collection is complete without it. Dreary weather and atmosphere set in a house that makes you ask, “You thought this would help?!” That’s like me saying I want to escape from meat eaters only to get an apartment above a butcher’s shop. 

Bloody Reunion

When a group of former students visit a dying teacher, death and mayhem occurs. 

Sounds so simplistic doesn’t it? Yet, the story is what pulls you in. You know you’re in for violence and horror, but why? That’s the beauty and driving question of a lot of horror films. We watch to get to the why—who is at fault? Will the people we are rooting for make it? When these students visit their old teacher they get more than a lovely trip down memory lane. Not all memories are beautiful, and some easily forget what they have wrought.

Cinderella

A high schooler named Hyun-su lives with her plastic surgeon mother, Yoon-hee, and life seems wonderful. Until her friends, who had plastic surgery from her mom, begin cutting themselves up and it’s up to Hyun-su to find out what the connection is between the surgery and her mom.

Remember when I mentioned creepily smiling girls. Yeah, this has that in spades. The horror is there, along with the twist. Like many of the films on this list, it has an “abandon all hope, ye who enter here” feel that makes for the most memorable horror films. Another high recommendation from this list!

A Tale of Two Sisters

Returning from a mental hospital, Sun-mi goes to live with her sister, Su-yeon, father, and stepmother in their country home. As conflicts arise between the sisters and the stepmother and father, strange things occur and dark revelations are coming.

Had to leave my best for last! The only film I intentionally put on here with an American remake, this is the pinnacle of it all. From the cinematography, colors, and musical score, this film knocks it out the park. Combine all this with a story that hits on horror—mental and psychological—seamlessly weaving them all together with a twist that is mind-blowing, and I’ll say you can’t call yourself a horror fan until you have at least seen this movie! 

 Featured Image: Cinema Service / B.O.M. Film / Tornado Films

The post 19 Terrifying Asian Horror Films You Need To See appeared first on Nerdist.

The struggle of a single mom caring for her child is relatable, and the element of race curtails the pair’s opportunities for success. Enter the Miss Juneteenth pageant, where the winner will receive a full ride to the college of her choice. Turquoise was a previous Miss Juneteenth winner; however, her life did not pan out the way she’d hoped and she is determined that her daughter Kai will succeed where she did not. But Kai is less than thrilled to be a part of the pageant, and it’s not hard to see why.

Vertical Entertainment

There are strict rules for pageants of these natures that focus more on presentation (i.e. appearance) than character. Even the hairstyles of those competing is about what is considered “looking your best,” all of them forgoing their natural hair for traditional European beauty aesthetics. The pageant causes further friction between Turq and Kai as Turq pushes her daughter to not only compete, but to submit to Turq’s ideas of how to succeed.

While additional problems inevitably crop up, the Miss Juneteenth pageant represents more than the possibility of education for this family; it represents an exploration of dreams, acceptance, and recognition. And while there are love interests explored in the film, they do not exist as a solution for mother nor daughter. They are capable of finding their own way.

Vertical Entertainment

Nicole Beharie and Alexis Chikaeze play their roles magnificently. They share the easy affection and love of a mother/daughter dynamic, with the friction that arises when children grow and dream in a direction that makes their parents uncomfortable. Nicole Beharie plays Turquoise to perfection, with the emotional range necessary for a mother working several jobs to care for her child and maintain a level of kindness underneath the strength. Even when we don’t agree with her choices, there is never a question that she is driven by her love for her daughter, Kai.

When she is once again let down by her husband, Ronnie (Kendrick Sampson), we see Turq’s frailty and pain. Nicole shines here, and it’s hard not to cry with her (as we recall our own history) and to feel exhaustion from constant disappointment. Ronnie is not a necessarily bad character, as racism no doubt plays a role in his being jailed for killing a gator, but neither is he responsible enough to justify pushing to remain a part of Turq’s life.

Vertical Entertainment

The supporting cast also offers exploration of the hypocrisy of followers of religion in the form of Turq’s mother Charlotte (Lori Hayes), a devout churchgoer as well as an abusive alcoholic who criticizes and schemes to sprinkle holy water on her daughter—who earns a living as a stripper, which Charlotte considers “devil’s work”—and granddaughter. We see each previous generation’s flaws and mistakes, but we also see the proceeding generations’ growth.

Juneteenth, the date when slavery ended, is of note particularly in Texas—where Miss Juneteenth takes place—as the state’s enslaved people did not discover they were recognized as free for over two years after the end of the Civil War. The film connects with this history in a story about Turquoise and Kai both learning that they were always phenomenal, without a poem, without a pageant, without men. They always had been.

4.5/5

Featured Image: Vertical Entertainment

The post MISS JUNETEENTH Explores the Holiday in a Black Mother/Daughter Relationship appeared first on Nerdist.

The film is a mix of genres. It’s not solely a war film, though it has war elements sprinkled throughout, with the one constant war being that within the mind of the tormented Paul. But it also has comedy and caper elements. Four Black men who served in Vietnam—Paul (Delroy Lindo), Otis (Clarke Peters), Melvin (Isiah Whitlock Jr.) and Eddie (Norm Lewis), and the initially unwelcome addition of Paul’s son David (Jonathan Majors)— set out both to find the remains of their fallen friend Stormin’ Norman (Chadwick Boseman), but also to find the gold they hid over 30 years ago.

David Lee/Netflix

This movie is essential, fitting—given the protests for Black lives—and long overdue, as Black men were disproportionately drafted to fight the Vietnam War. (Young Black men made up 11% of the population, but 14% of the total that served.) In too many war films, the white man serves as lead; he often enlists for “the experience” or to make a statement, like in Platoon and Tigerland, while supporting characters laugh at him for foolishly joining what many would have given anything to avoid. It is simultaneously captivating and excruciating to see a film that centers on Black soldiers and the toll that both wars, Vietnam and racism, take.

The film opens with a montage of clips of the war, the fight for civil rights, the protests against the Vietnam War, and draws a line between each, highlighting the fact the Black men were disproportionately sent to kill people of color in forced service to a country that regularly kills and dehumanizes them. The mellow, rhythmic voice of Marvin Gaye plays in the background, certain lyrics bombarding you (“trigger happy policing”) alongside scenes of America’s violence against people in Vietnam, and protestors in the U.S. It’s a ringing reminder to us: there is no difference. You also clearly see the toxic madness that is both military service, racism, and patriotism as he hates the country but also believes our vile president that illegal immigrants need to be kept out. 

David Lee/Netflix

The film’s song list on spotify has a whopping six tracks from Marvin Gaye, an artist who crafted the song “What’s Going On” after seeing the toll the war took on his brother Frankie. Through his tracks, Gaye was able to convey a variety of moods: jovial, spiritual, pained.

The movie brings to mind Dead Presidents, directed by the Hughes brothers, not in its style per se but more in the underlying issues of race, abandonment, and invisibility as a Black man who fights for the U.S. while shouldering the feeling of fighting for a country that hates you, that uses you and forgets you. Furthermore, what can happen when that pain, combined with trauma of war, horror at the atrocities you’ve committed, and financial hardship (at the hands of the country that abandoned you) coalesce—you have a recipe for destruction. 

Some of the overly dramatic music, particularly during the scenes when the main characters first touchdown near the fallen plane, are almost comical. But it’s meant to be a throwback to older films that heavily incorporated dramatic sounds and sweeping grandiose notes for effect. That, combined with the fact that Paul, Melvin, Eddie, and Otis all look their current age while Chadwick Boseman’s Stormin’ Norman looks young in the flashbacks, is disconcerting, but the movie still manages to hold your interest.

David Lee/Netflix

Although there are some predictable elements (after Chris speaks with Hedy about her job, you just know landmines are going to play a part in this movie), you are still caught off guard…repeatedly. You are holding your hand over your mouth mumbling, “Please no” as you watch. When Paul goes into his monologue about his deteriorating health thanks to the U.S. government, you wish you could look away as you are immersed in your own rage and pain or blasted by guilt. 

Paul, Otis, Eddie, and Melvin killed people of color in Vietnam for the white man. In the present day, these people of color, working for the white man, try to kill Paul, Otis, Eddie, and Melvin, and so the cycle continues. The cycle of fighting each other for the white man’s greed, hoping to one day be accepted and valued. That sickness doesn’t end when the credits roll; we are each fighting our war now to break free from white supremacy, while others are fully immersed in the madness. 

This film is fearsome, engrossing, and will likely become necessary viewing for film studies and acting thanks to Delroy Lindo. Get the jump on that and watch Da 5 Bloods on Netflix. 

4.5/5

Featured Image: David Lee/Netflix

The post DA 5 BLOODS Puts Black Soldiers and Their Struggles Centerstage appeared first on Nerdist.

Arakawa Under the Bridge

Ko Ichinomiya subscribes to his wealthy family’s motto of “never be indebted to anyway”. As such when he falls into a river he doesn’t ask for help, but receives it nonetheless, from a strange girl named Nino who lives under the bridge. Nino (a self-proclaimed Venusian) wants to experience love and Ko owes her a debt so he decides to aid her and, while aiding her, he must a wide array of weird, hilarious characters who make up the residents of the Arakawa River and bridge.

Shaft

This anime is heavier on the comedy, especially if you love oddball characters. From the man in a kappa costume saying he’s a real kappa to the man in a nun outfit who looks as though he’s seen some battles, there is no short supply of kooky, funny characters, and Ko’s reaction just ups the hilarity. 

Where to Watch: Crunchyroll (Sub)

Hana Yori Dango

One of the older animes on this list, that has spawned a few live action dramas in various languages (my fav is Japanese version) this series follows our lead heroine, Tsukushi Makino, in this reverse harem series as she navigates a rich, elite school as a poor student. All Makino wants is to graduate and get out without drawing attention to herself. Unfortunately, plans change when her friend draws the attention of F4, a group of four boys who are the elite of the elite at the school, and Makino steps in to help, She is targeted and bullied by the school’s students at the behest of F4’s leader Tsukasa Domyoji. However, Makino isn’t the type to back down and her fearlessness leads to unlikely friendships and love interests.

While it deals with serious subjects, overall the series is lighthearted and funny. Makino’s mother is particularly memorable because she wants her daughter to marry rich. Despite the aged look of the series, you won’t regret giving this a look and may even look for some of the live action versions afterwards. 

Where to Watch: Crunchyroll (Sub)

Kimi Ni Todoke

Being shy is one thing. Being shy and looking like a vengeful spirit right out of a Japanese horror film is another. Sawako (named Sadako from The Ring at school) has a hard time making friends as people think she can see spirits and curse people. It’s not all the students’ fault as when she tries to smile it’s terrifying. But one popular student, Shota Kazehaya, helps her to try and make friends. As she works to speak up, her kindness not only wins her friends, but Kazehaya’s heart.

Production I.G.

This anime is both funny and oh so cute! There’s so much to love about this series from Sawako’s creepy smiles, to the gym teacher’s loudmouthed antics. The way others see her and the way she sees her behavior is entertaining and a must watch. If you’ve ever seen The Ring or Juon, you will understand why students initially flee when she’s near. 

Where to Watch: Crunchyroll (Sub), Hulu (Sub)

Yamato Nadeshiko Shichi Henge (The Wallflower)

Four gorgeous high school boys live in a mansion rent free. Until the owner tells them they have two choices: either pay rent or transform her niece into a lady. It seems simple enough, until they realize her niece, Sunako, is a goth girl who hides in the shadows, talks to her skeletons, and has a penchant for nosebleeds and melting when confronted with dazzling beautiful creatures like Kyohei, one of the four boys charged with helping her. 

While some romantic elements, this series leans more to the comedy side; however it would be remiss not to include this on your watchlist as Kyohei and Sunako’s relationship will make you cackle. He wants her to be a lady so he doesn’t have to pay rent, and she wants to kill him because he’s that beautiful. 

Where to Watch: Hulu (Dub), Funimation (Dub)

Watashi Ga Motete Dousunda (Kiss Him, Not Me)

Kae Serinuma loves anime and when her favorite anime character dies, she stays in her room for a week and loses a lot of weight. Upon returning to school, suddenly all the boys that never noticed her in a romantic sense are pursuing her. There’s just one problem. Serinuma is considered a fujoshi, meaning her favorite animes explore yaoi (guy on guy) romance or bromance. What is she supposed to do when she’s more interested in the guys who like her getting together?

Brain’s Base

It’s problematic that these boys never expressed interest while she was fat, but if you can look past it there are some many funny parts in this series, namely Serinuma herself. She gets nosebleeds and drools whenever she sees the guys being friendly with each other. And you may love her animated debate over who’s a “top” or “bottom” in the yaoi animes she ships. 

Where to Watch: Crunchyroll (Sub), Funimation (Dub) 

Kaguya-Sama: Love Is War

Kaguya Shinomiya and Miyuki Shirogane lead the student council at a rich, elite private school. They’re also in love with each other. The problem is they both believe to confess their love first would be a weakness. So what else can they do, besides orchestrate situations where the other person has to confess. In this battle for love and pride there can be only one victor. 

A-1 Pictures

This series is a raucous good time. There is so much conniving and scheming that you have to tip your hat to them, particularly Miyuki as her plans are often more detailed than Kaguya’s. The side characters are also hilarious as they don’t understand what is happening between these two and always throw a wrench in their schemes. A definite must see, if you’re planning to wring a confession out of a love interest. 

Where to Watch: Crunchyroll (Sub), Hulu (Sub)

Kareshi No Kanojo

Miyazawa Yukino was excited for high school, ready to declare her greatness and receive heaps of praise; however someone scored higher than her on the test, Arima Souichiro. Miyazawa pretends to be sweet and demure at school while excelling at sports and academics, just like Arima. But she does so because she loves the praise and attention she receives. When Arima discovers her secret and blackmails her, their lives become intertwined as they explore who they are individually and who they are to each other.

This is another older series, but hilarious thanks to Miyazawa and what she brings out in Arima. There’s love, bullying, drama and heaps of comedy in this series. The artwork is still incredibly beautiful and heartfelt. 

Where to Watch: Youtube (Dub)

Lovely Complex

Koizumi Risa is entering high school and hoping to find a boyfriend, but she’s so tall and isn’t seen as a girl. Otani is short and rarely seen as a boy. Together, they are considered a comedy duo by the school as they bicker and create scenes. They decide to compete to find a partner and hilarity and hijinks ensue. 

Toei Animation

This is one of the funniest animes out there. Koizumi’s facial expressions and her best friend’s occasional back breaking attacks will leave you gasping. While many of these animes don’t have realistic scenes (i.e. Koizumi floating as a ghost) we can all relate to having a complex about our appearance, and the pain and joys of first love. 

Where to Watch: Crunchyroll (Sub)

Itazura Na Kiss (ItaKiss)

Kotoko finally works up the courage to confess her love to fellow high schooler, Naoki. Naoki, smart and athletic, is cold, aloof and bluntly tells her he doesn’t like stupid girls. Both heartbroken and embarrassed, Kotoko’s situation worsens as, due to a natural disaster, she and her father move in with her dad’s best friend, who is Naoki’s father. Living under the same roof creates a problem for Kotoko who is trying to suppress her feelings, and Naoki, who can’t seem to avoid her. 

This anime is adorable. Not only will you fall in love with how kind and warm she is, but you will root for her as their lives continue past high school.  

Where to Watch: Hulu (Sub)

Chobits

In this society, computers (known as persocoms), can be as small as a keychain or doll that moves and talks, or the size and appearance of a person. Hideki Motosuwa didn’t pass his exams to get into college, so he heads to Tokyo to take courses to study and prepare to try again. Too poor to afford his own persocom, he finds one in the trash and brings it home. After struggling to find her switch (between her legs) to turn her on, he names her Chi since that’s all she can initially say, but as time passes he realizes that Chi is no ordinary personal computer and his feelings for her aren’t ordinary either. 

Madhouse

From CLAMP, an all-female manga artist group, who also helped create animes like Cardcaptor Sakura and Code Geass: Lelouch of the Rebellion, comes this sweet romantic comedy that explores love and what it means to be human. Is it genetics? Appearance? The ability to learn and love? Watch this series that explores it all in an entertaining way. 

Where to Watch: Funimation (Sub/Dub)

Ouran High School Host Club

Haruhi Fujioka is attending an elite private school on scholarship. While looking for a quiet place to study she encounters the Ouran High School Host Club, a group of boys who cater to the girls in the school. After destroying an expensive vase, and thinking she is a boy, the leader of the club, Tamaki, has her work to pay off her debt. But will she still be able to remain a part of the club if others realize she is a girl? 

Bones

A reverse harem series that also pokes fun and deconstructs the anime romantic comedy genres as a whole, it’s easy to see why this series is one of the best of its kind. The characters and episodes are side splitting, and there’s someone for every viewer. Available on three different streaming services, there is no excuse not to give this anime series your undivided attention!

Where to Watch: Netflix (Sub/Dub), Hulu (Sub/Dub), Funimation (Sub/Dub)

Featured Image: A-1 Pictures

The post The Best Rom-Com Anime for Love and Laughter appeared first on Nerdist.

The show captures the skateboarding scene among women in a realistic way, thought it addresses issues outside of that world as well. The skateboarding is what brings them together, but friendship—the tangible, authentic kind—is what binds them to each other. There is loyalty, hilarity, and drama among these women that does not stretch belief. This is thanks in part to the characters, but also to director Crystal Moselle, who first approached the girls for the film Skate Kitchen, and ever so slightly reimagined their story for Betty. 

Moselle made waves with her documentary The Wolfpack, which followed a set of unique siblings who were confined indoors a majority of their lives and explored the world outdoors through film. She continued with Skate Kitchen, and now finds her footing in a series that recalls the best parts of that film, while expanding upon character in a way that’s distinct to the show. Betty has the same overall theme of unity among girls who skateboard, but while the movie’s focus was Camille, this series is a more comfortable mix of all. 

HBO

Betty opens with Kurt (loyal and hot-headed) happily photographing an injury on her ass. She and Janay (strong and caring) are friends attempting to create an all-girls skateboarding session when they meet Honeybear (shy and wise) at the skate part taking pictures. Later they meet and help Camille, a girl who seems to yearn to be one of the guys, on a journey to find her missing backpack. During this, they also encounter Indigo (loving but unsure of who she is) who initially does not skateboard, but becomes part of the group and starts to learn. 

The skateboarding both stands out and plays second fiddle to the integral connectivity between the leads, and also separates and brings them together. From casting to style to sexuality, the mix is diverse without feeling forced for “woke” points. With the standout cast we see glimpses into a few of their lives, and each is different and yet still so similar; all of the girls try to be themselves without fear, while still feeling the weight of parental and societal governance over them. 

Betty also touches on heavier themes that are, sadly, all too familiar when you navigate this world in a body determined by society to be woman. We witness issues of consent, more fully fleshed out here thanks to #MeToo, that force us to look at our history regarding relationships and physical experiences, like Janay exploring her sexual past with her ex-partner Donald. The show also explores the prevalent issue of gaslighting that women experience at the hands of men; an act that often makes us feel like crazy, emotional wrecks. This happens when Camille is told she’s acting weird by simply pointing out her guy friend, Bambi’s, cold demeanor. How often have we had a guy act cold or disrespectful, and when we get upset or ask what the problem is we are told we’re “imagining” things or “making a big deal” out of nothing?  

HBO

This isn’t to say the show is heavy; it just doesn’t shy away from the ups and downs of living. But overall, Betty captures the experience of being a woman, a friend, and a skateboarder in a way that doesn’t oversaturate the viewer. The intro to each episode is often hilariously different (my favorite happens in episode four) and the music is as varied as the ladies (rap, alternative, dance, blues) and may have you researching some of the more obscure choices. 

Betty is overall a lot of lighthearted fun that will have viewers reminiscing about hanging out, getting high, and laughing with their friends. It’s the kind of show to put a smile on our faces as we wait excitedly to reunite with pals after quarantine has passed. It may even motivate you to take up skateboarding or another form of travel that doesn’t rely on transit to get you there. Just your body, your skateboard, strength and spirit, and you’ve got all you need. 

Fingers crossed that there is a second season that delves even deeper into the character’s personal lives but also shows a thriving all-girl skate sesh. (And kudos to the Tony Hawk cameo!)

Betty premieres May 1 at 11 p.m. ET on HBO.

Featured Image: HBO

The post BETTY Beautifully Explores Women Who Skateboard appeared first on Nerdist.

With that in mind, here are 10 action anime series you can stream online right now.

Code Geass: Lelouch of the Rebellion

In this world, Britannia has taken over Japan and its citizens, who are known as “Elevens.” Lelouch is an exiled prince of the Britannian empire. When a girl, C.C., gifts him with a power called geass, a mind control ability, he uses it to fight and lead a rebellion to free Japan and make a better world for his sister, Nunnally.

This show is chocked full of espionage, mecha action, drama, and is a painful depiction of what many countries experienced during the height of colonization. It also shows both sides of a never-ending debate we still have: Is it better to fight to win change or become part of the system and change it from within? 

Where to Watch: Netflix (Dub/Sub), Hulu (Dub/Sub), Funimation (Dub/Sub)

Outlaw Star

Gene Starwind and his kid partner Jim Hawking have a business where they do odd jobs. One day, they discover a mysterious girl with a unique ship that journeys through space, and they join her. Together, they pick up interesting new crew members as they go in search of the legendary Galactic Leyline, while still finding odd jobs in space for money. 

One of the older series on this list, Outlaw Star has a large dose of both action and comedy, with some sprinklings of drama thrown in. The characters are unforgettable and some of the more hilarious episodes, “The Strongest Woman in the Universe” and “Hot Springs Planet Tenrei,” have some quotable dialogue to boot. Give this a go if you love action with some ecchi elements occasionally thrown in.

Where to Watch: Hulu (Dub/Sub)

Deadman Wonderland

Ganta’s entire class, save him, are murdered at school. Framed and convicted for the murders, he is sent to Deadman Wonderland, a privatized prison and “amusement park” where inmates engage in Ninja Warrior-esque, deadly games for people’s entertainment. Ganta finds himself thrown into another layer of the game reserved for prisoners with special abilities. While surviving each battle, he tries to unravel what is happening and what connection this has to his classmates’ deaths and his incarceration. 

This show wasn’t as well-received as it should have been. A hidden gem filled with violence, action, and comedy, you will be blown away by how masterfully they were able to juggle all these transitioning emotions, and maybe even question if humanity has an innate thirst for gore or if it’s something we’re taught. 

Where to Watch: Funimation (Dub/Sub)

Bleach

One of the longest-running shounen anime series—which is about to see a new edition—Bleach follows Ichigo, a high schooler who can see spirits of those who passed, but some spirits become monsters known as Hollows. When his family is endangered, he absorbs the abilities of a Soul Reaper, Rukia, to protect them and there’s no going back. 

This show has a lot of action mixed with comedy, and you’ll quickly see why it was so popular. Almost every opening song slaps and gets you amped for each episode, and it’s also hilarious that there is still feuding and politics in the afterlife…but is that any real surprise? Watch for the show, and the new songs you can add to your playlist. 

Where to Watch: Netflix (Dub/Sub), Hulu (Dub/Sub)

Black Lagoon

Businessman Rokuro, “Rock” is on a trip when the ship he is aboard is hijacked and he is taken hostage by Black Lagoon Co., a group led by Benny, tech guy Dutch, and loose cannon Revy. As his life is carelessly discarded by the company he works for, Rock stays on with the Black Lagoon crew who constantly play fast and loose with the laws to make money. 

The gritty, messy bass and guitar in the opening song “Red Fraction” by Mell perfectly sets up this series. If you want to see violence and WTF moments galore, this may wind up as your favorite series. Not only are the lead characters entrancing—particularly the relationship between Rock and Revy—but the side characters—from arms-selling nuns to murderous maids—are also unforgettable. This series gets a gold star for the level of fascinating stories, violence, and humor amidst that violence.  

Where to Watch: Hulu (Dub/Sub)

Sword Art Online

The year is 2022 and a new massive multiplayer RPG enables you to use your mind via a Nerve Gear helmet to play. Unfortunately, one day they learn that they are unable to log out and the creator announces they can’t leave until the final boss in the game is defeated…and if their avatar dies in the game, they die in real life. Player Kirito sets out to defeat the game solo, but encounters many friends—and enemies—along the way.

If you’ve ever played a game like Diablo or World of Warcraft, you’ll understand just how dire these circumstances would be, especially with the threat of death thrown in. It’s unheard of to down a final (likely raid) boss in a single fight with no deaths in a game of that size. If you like RPGs, this anime is for you, and the connection to our current predicament is vast, with some in the game believing it’s a lie and killing indiscriminately, and others fighting to save everyone. 

Where to Watch: Netflix (Dub/Sub), Hulu (Dub/Sub)

Witch Hunter Robin

A Hunter who uses Craft named Robin joins a group, STNJ, in their search for Witches. As she tries to adjust to her new surroundings, her reserved partner Amon, and control her ability, she starts to learn more about not just the Witches, but herself and the truth behind this hunt. 

A series from the early 2000s, this show still stands out because of the music and the compelling story. Robin is young and quiet, but also a force of nature. And what happens to these criminals after they are captured? Plus, Robin’s attire and hairstyle are amazing! Watch this if you love action combined with supernatural elements. Who doesn’t want to be a firestarter?

Where to Watch: Funimation (Dub/Sub)

Naruto

Naruto is a mischievous, orphaned kid training to become a ninja, who dreams of becoming Hokage and gaining recognition from the people in his village who ostracize him. The show follows him, Sakura, and Sasuke on their adventures. 

This series is another shounen anime that has it all—especially drama, action, and comedy from the main character, Naruto, who is just that damn funny and likable. He is overall a good and caring person who is as outspoken as many of us wish we were. This series has spawned movies, games, a sequel when they are older, Naruto Shippuden, and a series that follows their offspring later. If you’ve got the time—and many of us do—sit with this anime and you won’t regret it.

Where to Watch: Netflix (Dub/Sub), Hulu (Dub/Sub)

Bubblegum Crisis Tokyo 2040

An incident decimates Tokyo and Megalo City is built over the ruins with the help of Boomers, or androids that were created to help people. But some of these Boomers go rogue and attack and kill people. While the city’s AD police are working on the case, a group of vigilante females known as the Knight Sabers are always one step ahead—and newcomer to the city, Lina, wants to join them. 

This series is special thanks to its kickass women-only fighters. The story is good, the future looks bleak to a large degree, but these ladies are hope. Not to mention, the rock music sung by Knight Saber Priss and the beats playing throughout each episode are catchy and will stick with you. Definite must see!

Where to Watch: Funimation (Dub/Sub)

Fullmetal Alchemist: Brotherhood

When brothers Edward and Alphonse Elric lose their mother, they perform taboo alchemy to try to bring her back and pay the price. Edward becomes an alchemist for the military, and they work together to search for the mythical Philosopher’s Stone to restore what they’ve lost. 

Another shounen anime, this is, inarguably one of the best anime series ever created. You are invested to the point of tears, and it’s superior to its original, which destroyed goodwill with a horrible movie. This newer one is much better as it sticks closer to the source material and we meet characters that never existed in the previous iteration. However, the Fullmetal Alchemist original series did also have really good music and I’d recommend it on that alone. But FMA: Brotherhood improves on the original, which is what every remake should strive for. All hail Fullmetal Alchemist: Brotherhood!

Where to Watch: Netflix (Dub/Sub), Hulu (Dub/Sub), Funimation (Dub/Sub), Crunchyroll (Dub/Sub)

Featured Image: TV Tokyo

The post 10 Thrilling Action Anime Series To Stream appeared first on Nerdist.

So if horror’s your thing, here are some anime series that may leave you sleeping with the lights on—or with one eye open. 

Disclaimer: Many of these series have violence, gore, and/or nudity so make sure you do not watch it with children. 

Higurashi No Naku Koro Ni (When They Cry)

Keiichi moves to a small village that is seemingly peaceful and makes friends with a group of girls: Rina, Mion, Satoko, and Rika. However, something sinister is happening to the village and its residents, and Keiichi and his friends are not immune. 

The opening splatter sounds and heavy breathing as a boy with a bat pummels two girls to death tells you what to expect. Yet this show has interesting twists and turns that will leave you surprised and initially confused as you try to decipher the mystery of what is happening, who’s causing it, and what forces are in play. Give this a go if you’re a fan of horror and girls smiling adorably as they try to eviscerate you.  

Where to Watch: Hulu (Sub)  

Another

Koichi transfers to a new school, and ends up befriending a quiet girl, Mei, who is ignored by her classmates; however, this treatment goes far beyond mere bullying. As senseless deaths pile up, Koichi must find out what is happening and find a way to survive the calamity.

Another is a cautionary tale about the far-reaching ramifications when a person—or, in this case, an entire class—refuses to accept the death of a beloved classmate; thereby, inviting death into their school. The unique ways some of the students die will remind some of the Final Destination franchise. In a similar vein to Higurashi No Naku Koro Ni, it mixes the supernatural, mystery, and graphic horror elements. 

Where to Watch: Crunchyroll (Sub Multiple Languages)

Ghost Hunt

Mai, a high school girl, ends up meeting Naru, the head of Shibuya Psychic Research as he and his team investigate paranormal claims at an empty building at their school. Despite disliking Naru, she ends up joining the team and following them on investigations of curses, hauntings, and psychic phenomena. 

This series has a mix of lighthearted episodes, like the ghost that drenches couples in a park, and downright terrifying episodes, like the ghost mother claiming kids because she lost her own. Most will leave you craning your neck at every creak. Were those footsteps?

Where to Watch: Funimation (Dub/Sub)

Paranoia Agent

Tsukiko, creator of the beloved character Maromi, is feeling the pressure to create the next big thing when she is involved in what she claims is an attack. The lead detective isn’t buying it, but soon more people appear to be victims of the same boy with a crooked bat on roller blades. If she made it up, what is actually happening to these people and how far will this villain, dubbed “Lil Slugger,” go? 

This series is super creepy, deals with pressures all of us experience at some point in our lives, and touches on collective mania. The intro and outro music plus visuals are disturbing, as if we are all laughing while our world burns or falls collectively asleep at the wheel. 

Where to Watch: Funimation (Dub/Sub)

Elfen Lied

Lucy is a diclonius, a mutant with pink hair, ears atop her head, and invisible arms known as “vectors.” She escapes from a governmental facility, but loses her memory and meets Kohta and his cousin Yuka who take her in. But there is a history here none of them remember and the government isn’t about to just let her go, as she is the progenitor of her kind.

This series is violent and—when you see the backstories of some of the characters—heart-wrenching. You soon realize who the monsters are: us. (This one has a lot of nudity so be prepared.)

Where to Watch: Amazon Prime (Dub)/Hulu (Sub)

Corpse Party: Tortured Souls OVA

This anime is based on a video game. A group of classmates perform what they think is a friendship charm—called “Sachiko Ever After”—for a transfer student named Mayu. But this charm transports them to another school where evil spirits and countless horrors reside. They have to find each other and try to get back to their school, but will they all make it?

This anime has a huge amount of violence and gore, and no one—no matter their age—is safe. This show will scare you and may leave you as traumatized as the survivors. 

Where to Watch: YouTube (Sub)

Devilman Crybaby

Akira, thanks to the urging of his friend Ryo—who tells him demons are back to take over the world—merges with a demon so that he can defend those he loves. But as tensions rise among humans and demons, the line between who is the monster becomes blurred. 

This series is visually trippy and, similar to Elfen Lied, will leave you wondering whether benevolence exists in the people around you. 

Where to Watch: Netflix (Dub/Sub Multiple Languages)

Yami Shibai: Japanese Ghost Stories

Yami Shibai is in a similar vein to The Twilight Zone, in that each episode stands alone. The picture story style is unique and is based on Japanese stories and urban legends. 

One of the most arresting compilations of horror based on real-life tales, this is a top pick. What makes this show even better and sets it above many of the others? Each episode is bite sized: only a few minutes long! This makes for an addictive and easy binge.

Where to Watch: Crunchyroll (Sub Multiple Languages)

Featured Image: TV Tokyo

The post 8 Terrifying Anime Horror Series to Stream appeared first on Nerdist.

Nostalgia inspires some of our best films and shows, paying homage to a previous generation and wistfully recalling fond memories of songs, styles, and, for some, youth. There is, however, a fine line between nostalgia that calls on memories of sounds, hairstyles, and bright clothes oddly paired, and nostalgia that pines for a time that was better…for some.

The Netflix series I Am Not Okay with This relies heavily on nostalgia that resides specifically in the white gaze, wherein Black people are erased except when used to emphasize a behavior or action stereotypically rooted in Black culture. The teens in shows like I Am Not Okay with This exist in their “vanilla suburbs,” recalling a peaceful, beautiful past that is mythical. It presents this idealism by heavy-handedly invoking suburban nostalgia from white films, where there were few intruders in sight.

Netflix

This propagation of the ’80s as a time of wonder is damaging. Many Black kids and kids of color did not experience this idyllic setting (nor many white kids) and most aspects that did exist for white families came at the expense of Black families. Black lives were used to uplift white lives and Black culture was mined for white appropriation. To present this as an ideal time is to motivate a present day recreation of it—to return to swaths of erasure, stereotypes, and tokenism, where Black bodies are relegated to sidekicks (like in the case of I Am Not Okay with This‘s Black character Dina).

In the opening scene of I Am Not Okay with This, a teen girl in blood-soaked formal attire walks down a dimly lit street, bloodied dog tags jangling around her neck. This harkens back to Carrie White leaving her prom, drenched in blood and soaked in shock, in the 1976 film Carrie, based on the horror novel by Stephen King. The film Carrie employs Blackness via the white gaze, as in the scene between Billy and Chris joyriding in a car while “Heatwave” by Martha & The Vandellas plays. Black people are erased except when their art is used by white characters having fun at the expense of their idea of Black stereotypes.

United Artists

Another reference in I Am Not Okay with This is John Hughes’ The Breakfast Club, a film once again from white teen perspectives as they grow up in a suburban setting. The movie brings in blues music while the students are getting high and Brian jokingly says “Chicks cannot hold they smoke. That’s what it is,” in a Black voice; however, they are seen as innocent and, thanks to the blues music, cool. Meanwhile, during this time in the ’80s, the war on drugs was raging in marginalized urban communities.

Yet a third reference, Pretty in Pink features a white girl who doesn’t fit in and has a friend who adores her, Duckie, whom she often treats as disposable. This parallels Syd and Stan of I Am Not Okay with This in this current iteration of white alternative angst. Furthering this, Duckie also has a scene where he dances to Otis Redding’s “Try a Little Tenderness.” If you want to show how cool or problematic a character is, simply add a splash of Blackness. Other than that, we get no acknowledgment. We are used for stereotypes, appropriation, subject of white gaze, or a combination of all the above.

Paramount Pictures

The films above are all classics, yet current shows and films could improve upon where they went wrong by not participating in the same white exclusionary gaze that either uses Black people or Black stereotypes to make a point. A person can be cool or bad without distilling Blackness through a white gaze.

Style, music, art appreciation and reverence is one thing, but the love I Am Not Okay with This shows is for a period in time that is viewed nostalgically only for some. Many outside this select group do not share those experiences. For them, rural or urban, the ’80s was a time fraught with poverty, drugs, and violence. When we watch a Pretty in Pink or The Breakfast Club, it is with a surprise and wistfulness that this world actually exists for some. If this is popular and common, what does that say about life experiences out of this narrow view?

Netflix

Another issue with I Am Not Okay with This is the supporting character, Dina, the stereotype of the Black best friend to the lead Syd. She is subject to the white gaze via Syd, who needs her both emotionally and physically. Dina does not exist as her own individual, but as a repository for Syd. Dina also exists in a tug of war match between two white gazes vying for domination: Syd’s and Dina’s boyfriend, Brad. While an argument could be made that we don’t see much of Dina sans Syd because Syd is the lead, why then do we see moments of Stan sans Syd? Even when characters interact, we see a few from the perspective of that specific character. Syd, as the lead, interacts with her mom, brother and friends, Stan with his dad, and Brad stewing with a friend in the cafeteria then again before the dance. Yet Dina doesn’t have the same attention.

Dina exists throughout the series only by her connection to Syd particularly, and Brad secondarily. She is not a whole character outside of those two. Her scenes are literally tied to the white gazes around her and how she is perceived by them; for Syd, it’s a friend and love interest, and for Brad it’s a sexual partner, but both still relegate her to the position of object. Her dialogue is Syd- or Brad-related, with nothing outside of it to make her more than a cutout.

Netflix

Throwing in a token may appear to alleviate a white saturated series; however tokenism is just like the one Black employee in a job. It does not remove issues with inclusion, diversity and equality but instead hinders it because tokens were created to counter those issues to continue control and oppression. It’s the equivalent of the sentiment that Obama was president, ergo racism is dead.

Despite cries for diversity, it seems that we are inevitably the cat chasing its tail. For every gain from a Dear White People or Astronomy Club, we are given an I Am Not Okay with This. It’s not as though shows with Black people as the main characters didn’t exist. We had Family Matters, A Different World, and The Jeffersons, and Eddie Murphy dominated the big screen with his comedic antics. Unfortunately, movies especially now seem to be rooted in Black people’s history as it relates to past and present trauma. We have Harriet and Queen & Slim and others that demonstrate a need for society, when they see Black people, to only see them suffering.

Carsey-Werner Distribution

Black people are more than their suffering. Like any human being, we laugh, cry, experience love and heartache, so why not create films and shows that demonstrate all that? Black people are not in the world simply to play the best friend in a white person’s narrative. There have been enough shows and movies with white nostalgia. It’s long past time to see stories from other perspectives. Give us a movie with a group of Black women (queer, cis, trans) who have weekly club meetings where they watch and discuss K-dramas or anime while navigating the challenges and joys in their lives.

To keep accepting shows like I Am Not Okay with This as entertainment not only increases the likelihood that we will, once again, have only shows and films that deal with white experiences, but also pushes this false narrative of a utopian time onto future generations (while education abets it by misrepresenting history and its’ impact on particular demographics). It’s 2020 and yet these types of shows and films continue to be produced, despite resistance.

Featured Image: Netflix

The post I AM NOT OKAY WITH THIS and Nostalgia for the White Gaze appeared first on Nerdist.