
An extraordinary, and, we know now, unheralded, display of mastery of how raw grief, righteous rage, sadness, melancholy and foreboding can be created by the manipulation of sight and sound.

An extraordinary, and, we know now, unheralded, display of mastery of how raw grief, righteous rage, sadness, melancholy and foreboding can be created by the manipulation of sight and sound.

Easily the most militant, near-radical Oprah product yet. π Episode One is the usual (corporate) skewered portrait of Black people (only) wanting as-is American identity through American liberal democracy and capitalism instead of freedom, which is a much more complicated socio-political discussion that American documentarians wish to ignore. (Docs like this conveniently π forget that the American Civil Rights Movement was a McCarthyite compromise to what Blacks really wanted and had to politically dismantle–a Freedom Movement.) But admittedly, having a Black woman on-camera asking other Black women about the state of American democracy, regardless of the lack of imagination of the answers, feels new. Episode Two’s Black womanist-centered approach to the discussion of the concept of race, again, felt quite innovative. Overall, the personal-is-political approach works for Hannah-Jones since it creates tensions not normally “scene” in Black American docs.
FEBRUARY 16TH UPDATE: I finished the whole series. Nikole Hannah-Jones deserves her own family-centered, elite-access-influenced worldview, but I think future explorations of Black America should be divided into sections of multiple commentators/producers/narrators, etc. I believe that this historical doc should establish a new tradition.
….then free is the right price to see J.Lo attempt to revive the rom-com.
Not accidental that she has an Obama-level campaign stump speech. Entertainment forecasters say if she wins the Screen Actors Guild award that getting the subsequent gold action figure is a done deal.
My passionate first few minutes here are a manifestation of my core belief that writers should take sides but not necessarily be on sides. Big difference.
Zendaya, “Euphoria”
Iβm so sorry I wasnβt able to be there tonight, but I just wanted to say thank you to @goldenglobes for this incredible honor. To my fellow nominees, it is a privilege to be named beside you, I admire you all deeply. Thank you to my Euphoria family, without you, none of this is possible. Lastly, thank you from the bottom of my heart to everyone who has allowed Rue into theirs. I think everyone knows how much she means to me, but the fact that she can mean something to someone else is a gift. Iβm honestly at a loss for words as I type this, all I can say is thank you thank you thank you. Goodnightβ₯οΈ
DECEMBER 19, 2023 UPDATE (ALMOST TO THE DAY, ONE YEAR LATER, MONTHS AFTER GOTTLEIB’S DEATH): https://apnews.com/article/robert-caro-power-broker-50th-anniversary-082914f15af81b79bf7882dc6f6a8c14

The one-bullet-for-one-settler third act was impressive, but there was little new here. James Cameron, who has now shut everyone up forever, is over-emphasizing sensory immersion and love of environmentalism at the expense of story innovation. (The exception is his well-delineated complexity of one character’s insider-outsider strategy.) The political has to compete with the personal. This reviewer will probably skip the bathroom break and sit out on Nos. 3 through 5.