‘D.L. Hughley Uncut’ Coming To Pluto TV Via Kevin Hart’s Laugh Out Loud Network

‘D.L. Hughley Uncut’ Coming To Pluto TV Via Kevin Hart’s Laugh Out Loud Network

Kevin Hart’s Laugh Out Loud Network is bringing comedian D.L. Hughley’s take on current affairs and pop culture D.L. Hughley Uncut to Pluto TV. The Peabody Award-winning stand-up will be joined by his longtime radio co-host, Jasmine Sander, in the 60-minute livestream format.

The weekly series premieres Friday on Pluto TV.

“Laugh Out Loud is one of the most dynamic and diverse brands in comedy and I couldn’t be more excited to be teaming up with them,” said Hughley. “I can’t wait to get started and speak directly on the topics that matter most to our community without any filter or hesitation.”

Said Laugh Out Loud President Jeff Clanagan: “D.L.’s ability to balance humor and realness while taking on almost any topic no matter how controversial or challenging, makes him a great addition for LOL Network as we break new ground with our first live weekly series, Uncut.

Hart and Laugh Out Loud signed a deal with NBCUniversal’s forthcoming Peacock streaming service in January.

Hughley won a Peabody for his 2012 Comedy Central docu-comedy special D.L. Hughley: The Endangered List. His book How Not to Get Shot and Other Advice from White People is a New York Times bestseller.

D.L. Hughley Uncut premieres at 8 p.m. ET Friday at pluto.tv/live-tv/laughoutloud, with new live episodes each week.

Original article was published here.

Kevin Hart, Serena Williams & Steph Curry Partner With Chase For Virtual Graduation

Kevin Hart, Serena Williams & Steph Curry Partner With Chase For Virtual Graduation

The celebration will include formal commencement speeches, recognitions and the first ever virtual graduation walk.

This is what support looks like! Celebrities Kevin Hart, Serena Williams & Stephen Curry have partnered with Chase banking to host a virtual graduation for the Class of 2020! 

A lot of concern has been raised about what can be done to celebrate the class of 2020. Despite the hard work students have put in, as a result of the coronavirus pandemic, proms, graduation, and even in person schooling has been cancelled in masse. There seems to be no end in sight to this social distancing and no concrete date on when, if at all, things will return back to normal. 

With this new reality facing us, one corporation has decided to step forward. Thasunda Brown, CEO of Chase Consumer Banking, took to social media to make the announcement. The “Show Me Your Walk” initiative will be broadcast across Twitter & YouTube and hosted by Kevin Hart, Serena Williams and NBA Superstar Stephen Curry. The celebration will include formal commencement speeches, recognitions and the first ever virtual graduation walk.

“To the Class of 2020 – while graduation this year is not what any of us imagined, what you’ve accomplished is huge and you deserve to be celebrated!,” Brown wrote on Instagram. 

The virtual graduation takes place May 2nd on Twitter and YouTube at 2pm EST. 

Let’s all tune in to support our graduates!

Original article was published here.

Trailer To Netflix’s All Day And A Night, Directed by Black Panther Co-Writer Joe Robert Cole

Trailer To Netflix’s All Day And A Night, Directed by Black Panther Co-Writer Joe Robert Cole

By Wilson Morales,

Netflix has released the trailer, key art and images to All Day And Night, written and directed by Black Panther co-writer Joe Robert Cole and starring Ashton Sanders, Jeffrey Wright, Yahya Abdul-Mateen II, Regina Taylor, Yahya Abdul-Mateen II, Kelly Jenrette, Isaiah John, Shakira Ja-nai Paye and Christopher Meyer.

ALL DAY AND A NIGHT hits Netflix on May 1

As soft-spoken Jahkor Abraham Lincoln (Ashton Sanders, Moonlight) struggles to keep his dream of rapping alive amidst a gang war in Oakland, his ill-fated life and real-world responsibilities drive him further and further across the line of right and wrong with tragic consequences. Landing in prison beside his father, J.D. (Jeffrey Wright, Westworld) whom he never wanted to be like, Jahkor embarks on an unlikely journey of self-discovery, exploring the events that unite them, in hopes of helping his newborn son break a cycle that feels unavoidable.

The film is produced by Nina Jacobson and Brad Simpson (The People vs. O.J. Simpson: American Crime Story), and Jared Ian Goldman (Ingrid Goes West).

Original article was published here.

Director Gina Prince-Bythewood Reflects On Love & Basketball 20 Years Later

Director Gina Prince-Bythewood Reflects On Love & Basketball 20 Years Later

By Wilson Morales,

April 21st marked the 20th anniversary of Gina Prince-Bythewood directorial feature debut, the romantic classic ‘Love and Basketball.’

Having worked as a writer on numerous series such as A Different World, South Central and Felicity, this was her big transition to the film world. Produced by Spike Lee and his 40 Acres and a Mule banner, Prince-Bythewood was confident in her story and with a cast that featured newcomers and veterans.

Centering on two childhood friends who love and play basketball together through many life challenges from childhood to adulthood, the film starred Sanaa Lathanand Omar Epps in lead roles supported by Alfre Woodard, Dennis Haysbert, Kyla Pratt, Debbie Morgan, Harry J. Lennix, Gabrielle Union, Boris Kodjoe, Regina Hall, Monica Calhoun and Tyra Banks.

While the film grossed around $27M at the box office, it found a second audience once it hit home video and most folks saw it on VHS. Throughout the years, more and more people have seen the film and each person has loved it so much that the film is consistently named among the top romantic films ever whenever someone does a list.

Prince-Bythewood has since gone on to direct other films such Disappearing Acts, The Secret Life of Bees, Beyond The Lights and the upcoming The Old Guard for Netflix.

Blackfilm.com spoke exclusively with Prince-Bythewood as she takes a look back at the film that jumpstarted her career.

Prior to the film, you had already been in the business, writing for numerous TV shows. Were you ready to direct? How did it come about?

Gina Prince-Bythewood: When I came out of film school, I assumed very wrongly that scripts were going to be thrown at me. It became very clear, very quickly, that was not going to happen. I was fortunate enough to get a job out of college writing for A Different World and stayed in TV for five years, but the whole time I knew I wanted to direct. I knew I wanted to write a script and attach myself to direct. I felt like that was the only way I was going to get the opportunity and thought I could write at the same time as writing for TV, but it was just impossible. So I finally said I need to commit to this and said, “Let me take a year out and make descriptive in my head and see what happens and see if I can get it going in a year.” That year turned into a year and a half of writing, and then went out with it and got crickets.

Every single studio turned it down. I was completely stuck. In fact, I just wasted a year and a half of my life and didn’t know what to do because the project was essentially dead. Then by miracle two people on two consecutive days mentioned the script to the heads of Sundance and so they read it, called me in and offered me a spot and and that was such a game changer. They put on a reading as part of the program and cast it and then they invited producers and studio folks. That’s where Spike Lee’s company saw it and said that they want to be a part of it and got it in front of Mike DeLuca. It was the greatest meeting I ever had. The first thing he said to me was, “This is the best love story I’ve ever read. I want to make this” In letting me, a first timer, have more money than I asked for to direct it, I will never get over that. I’m forever grateful. It was a magical day.

Looking back, would you would you think that you were getting rejected because you were a female? At that point in time, they weren’t that many female directors in the game. Had a guy sent that script around, would it have been different?

Gina Prince-Bythewood: No, because it was a love story with black characters. That’s hard to do now. 20 years ago nobody was checking for that. I think it was really my choice that was being discriminated against more so than me personally.

LOVE AND BASKETBALL, Omar Epps, Sanaa Lathan, 2000, (c)New Line Cinema/courtesy Everett Collection

They loved the script. Was there any point when they wanted somebody else to direct as opposed to you because you’re a first timer?

Gina Prince-Bythewood: It never came up once, which was beautiful. I tend to think that there may have been a part of it where Mike thought if Gina totally starts screwing this up, Spike could swoop in and finish it. But thankfully, he never had to do that. But that may have given him a little more comfort. giving it to a first timer, but the only thing I directed besides my short film and a school break special. So I don’t think that was making anyone knock my door down. But I think having the backing of Spike Lee was beneficial.

Can you talk about putting together the cast, most who are still working today?

Gina Prince-Bythewood: In the room, I told Mike DeLuca that I wanted to cast an unknown for Monica. And he said, “I’ll let you do that if you cast Omar Epps.”The great thing was Omar was absolutely my first choice. So I went to him, and it was one phone call one conversation and he came aboard. That was really exciting. That gave me the opportunity to look for an unknown for Monica. Getting Alfre Woodard attached was another huge one for me. It was Alfre Woodard. She gave the film a really good gravitas and helped make it feel real for people like Dennis Haysbert to come aboard.

With the young cast, I love casting and I just go by my gut and Gabrielle (Union) auditioned for Monica and she wasn’t quite right for Monica, but I knew she was special and wanted her in the film. With Regina Hal, I had seen her in The Best Man. I joke with her, but it’s true. I thought that Malcolm had found a stripper who could act. I found out though she was actually an actress. I thought that she was special. So you know, Boris and even the kids, Kyla Pratt, was a star to me. So it was just really fun to put this group together and Debbie Morgan, who I’ve been a fan of for so long, and to see everyone’s still working today is a beautiful thing.

Besides the love story, there’s basketball story subplot. Around that time the WNBA was just getting off the ground. Did they they cooperate with you?

Gina Prince-Bythewood: When I was writing the script, and even when I sold it at the WNBA was not in existence. So it was pretty amazing to start and getting the opportunity to finally make the film and it gave me the perfect ending. I guess everything happens for a reason and I needed that time for the WNBA to happen. They were amazing. We shot at a game that was the actual lineup and they just allowed us to put Sanaa in their actual lineup and announced her name as Monica Wright. The crowd didn’t know any better. We’re cheering along with it like she was Lisa Leslie. The fact that they opened it up so big for us. I think part of it for them was that it was a young league and they’re trying to make a name as well. So an exposure that they could get is all positive. So it was a really good marriage.

Were you involved with the soundtrack?

Gina Prince-Bythewood: I knew a lot of the songs going in, and it was literally because I was doing it. It was really fun to just go back and go into my my box of mixtapes that I had in college, the cassettes and listen to what we’re listening to and hear Guy, Keith Sweat and Bobby Brown and knowing I wanted to put some of my favorite songs in the film. Then expanding it and getting Maxwell for them. Soundtracks were the thing. The best soundtracks are the ones that when you hear the movie, you then go by the soundtrack and you listen to the soundtrack, and you get to watch the movie all over again. It’s so strong and it evokes those emotions. That was my goal, to create a dope soundtrack that could allow people to see the film again, and we were just very fortunate that New Line and Mike DeLuca understood the importance of soundtracks as well and really let us go after and put all these great artists on.

How do you feel knowing that 20 years later, the film is still watched, beloved and considered one the best romantic films ever?

Gina Prince-Bythewood: The fact that we’re talking about it 20 years later is so amazing and humbling and that as an artist, you just hope that your work resonates and you’re going to have some longevity and you never know what’s going to hit. I’m blown away, especially given how hard it was to get this movie made. When it came out, you know, I wanted to make the amount that The Best Man made but it’s still did well, given what it was, but it wasn’t until it hit VHS. It just blew up on that on that second vice, and that was really exciting. And God bless BET, who literally plays it once a week for 20 years. I think the most exciting thing for me is just how many people who watched it or loved it in high school or college and have shared it with their kids now. That’s amazing to me.

What did the film do for you? Did you get offers or scripts?

Gina Prince-Bythewood: So right after Love and Basketball, I got Disappearing Acts and that was great because Disappearing Acts was my favorite book. I tried to go after it before Love and Basketball and got zero traction. I couldn’t even get a meeting. But it was still available. And after Love and Basketball, it was easy. So that was exciting and the fact that I got to work the Sanaa again. It’s certainly slowed down and you look up and it’s eight years later until I did my next studio film. I developed two different things that didn’t go in between then and each one of those takes a couple years. You do look up and you wonder what the hell happened, but I wasn’t flooded with stuff I was. I had a couple things coming my way. But for me, I have to be absolutely passionate about something to take it if I’m going to put everything into it, so I am very picky and I wasn’t excited about the things except for those two things were in development.

Now I’m good, I get offered stuff all the time. But every movie I’ve gotten for people or asked to do something, it’s amazing that I would say 99% of the time they reference Love and Basketball is one of the reasons that they’re interested in me doing something. So the fact that my first one has affected my career in that way is a beautiful thing and why I always tell young filmmakers, the first thing you come out with should speak to who you are as an artist, because it can absolutely set the tone for your career in this industry and Love and Basketball has certainly has.

You have Old Guard coming up for Netflix. Will the film reflect the story or characteristics from the comic book?

Gina Prince-Bythewood: Oh, hell yeah. I love The Old Guard comic book. Greg Greco, the writer. He’s a special dude. The female characters he creates are just different and he wrote the script. When you do an adaptation, I think it’s important to stay true to the source material, because that’s what people are excited about. So if you love the comics, you’re gonna love the movie.

Is it an action-drama or just drama?

Gina Prince-Bythewood: Action drama. It’s a big one. It’s got dope dope action. But what I love about it is the genre. It has so much depth. The characters are so deep and interesting. The story is something that just keeps surprising you and I love to be able to bring that level of depth and storytelling to the action genre.

Is this new for you? This type of filmmaking?

Gina Prince-Bythewood: Yes. In my head, I had a trajectory that I wanted for my career. I thought that was going to be Silver and Black of where I was pushing myself towards, but Old Guard turned out to be that. I wanted to be in the action space. I love action films. I wanted to do one of those big budget films. I wanted to bring my aesthetic to the genre, and I was able to do all of that and I’m very excited about that. It’s no secret how few women get the opportunity and then a black woman getting this opportunity. You can count on one finger. I’m grateful and excited, I got the opportunity and proud of the film and I hope that it allows others to have this opportunity now as well.

Original article was published here.

Mayor Keisha Lance Bottoms Got a Racist Text Just Because She Doesn’t Want More Georgians Dying From COVID-19

Mayor Keisha Lance Bottoms Got a Racist Text Just Because She Doesn’t Want More Georgians Dying From COVID-19

By Zack Linly

It doesn’t take much for black people to prompt attacks by racists. All Atlanta Mayor Keisha Lance Bottoms wants is to keep her citizens safe during an ongoing global pandemic. That’s it. She decided it was better that the people of Atlanta stay as healthy as possible rather than risk lives in an effort to save Georgia’s economy, which is why she publicly criticized Gov. Brian Kemp’s plan to reopen non-essential businesses in Georgia. For that, she was told “Shut up, nigger” by an angry anonymous texter.

On Wednesday, Bottoms tweeted a screenshot of a text that read, “Nigger, just shut up and RE-OPEN ATLANTA!” She included a caption with the tweet that read “With my daughter looking over my shoulder, I received this message on my phone. I pray for you.” The caption included a paraphrased quote from Martin Luther King’s “Letter From Birmingham’s Jail” in which he said, “Nothing in all the world is more dangerous than sincere ignorance and conscientious stupidity.”

“It doesn’t frighten me, but it saddened me that in 2020 this is what we’re still facing in America,” Bottoms told MSNBC.

On Monday, Kemp announced plans to start reopening businesses that were shut down due to the coronavirus outbreak such as gyms, movie theaters, barbershops and nail salons. Bottoms said in an interview that she had no idea that he was going to make his announcement and she expressed concerns that the decision was premature because, according to her information, COVID-19 cases were on the rise in Georgia. In an interview with CNN, she said, “I have searched my head and my heart on this and I am at a loss as to what the governor is basing this decision on.”

She said she is considering legal options for Atlanta, which she said is “not out of the woods yet.”

“You have to live to fight another day. And you have to be able to be amongst the living to be able to recover,” she said.

According to CNN, Georgia Attorney General Chris Carr is investigating the text. Carr said he was very concerned about the “hateful message” and requested his office “immediately investigate” to ensure it wasn’t sent from a state employee.

Bottoms told CNN that she would not be intimidated and that she would not stop speaking up.

“We are not cowards. Cowards don’t run for office,” she said.

Original article was published here.


Watch Exclusive Clip From HBO’s Documentary Series ‘Atlanta’s Missing and Murdered: The Lost Children’

Watch Exclusive Clip From HBO’s Documentary Series ‘Atlanta’s Missing and Murdered: The Lost Children’

By Wilson Morales,

Having debut on April 5, ATLANTA’S MISSING AND MURDERED: THE LOST CHILDREN is a five-part documentary series offering an unprecedented look at the abduction and murder of at least 30 African American children and young adults in Atlanta between 1979 and 1981. Forty years later, with the official re-opening of the case by Atlanta’s Mayor Keisha Lance Bottoms, the series tells the inside story of this shocking tragedy, shedding new light on the horrific killings through interviews with those closest to the children and the investigation, as well as exclusive archival material. The series tracksthe story from the initial disappearance and discovery of two murdered teenage boys to the fear that progressively gripped the city, ultimately building to the indictment and prosecution of 23-year-old Wayne Williams, revealing the rush to officially shut down the case and the continuing deluge of questions that remain unanswered.

The series will also be available on HBO On Demand, HBO NOW, HBO GO and partners’ streaming platforms.

ATLANTA’S MISSING AND MURDERED: THE LOST CHILDREN is executive produced and directed by the Emmy® and Peabody award-winning filmmakers Sam Pollard, Maro Chermayeff, Jeff Dupre, and Joshua Bennett for Show of Force. The five-part series is executive produced by John Legend, Mike Jackson, and Ty Stiklorius for Get Lifted Co. in association with Roc Nation.

Over a two-year period beginning in 1979, at least 30 black children and young adults were murdered in the city of Atlanta. By February 1982, Wayne Williams was found guilty of murdering two adults: 28-year-old Nathaniel Cater and 21-year-old Jimmy Ray Payne. Ten other children’s murders were linked to Williams by the prosecution. Days after Williams was sentenced to two life terms, most of the children’s cases were closed and attributed to Williams, without ever going to trial. The series explores how the victims’ family members – along with many others in the Atlanta community – remain skeptical of Williams’ guilt, despite circumstantial evidence linking the victims to him. The series points to alternate suspects, and the biases and unexplored leads that may have tainted the original investigation.

The series begins with the March 2019 announcement by Atlanta’s Mayor Keisha Lance Bottoms and Chief of Police Erika Shields that the city would be re-examining evidence from the brutal killings. In exclusive interviews, Bottoms and Shields both assure the public and the victims’ families that every investigative lead will be followed, with Shields speculating, “Do I think that, in some of the cases, there will be a different suspect? Yes.”

Through never-before-seen footage, interviews, court documents and other materials, this timely documentary series brings new evidence to light, providing a powerful window into one of America’s most shocking chapters. Investigating the racial tensions and political clashes that brought Atlanta to a boiling point and caught the nation in a moment of transition, the series raises new pressing questions. Featuring interviews with key figures and experts, the series reveals a shattered community that has fought for justice for their children for forty years.

Part 4

Debut date: SUNDAY, APR. 26 (7:45-9:00 p.m. ET/PT)

In a move that stuns Wayne Williams’ defense attorney, Mary Welcome, prosecutors introduce pattern evidence mid-trial that they assert links him to ten of the child murders. Drawing predominantly on hair and carpet fibers found on the victims that allegedly match items in Williams’ car and home, the jury delivers a swift guilty verdict in February 1982. Just days later, the Atlanta police department shuts down the task force investigating the 30 murders, and attributes most of the cases to Wayne Williams. A year later, as the dissent of an unconvinced community grows louder, the Georgia Supreme Court makes the controversial decision to deny Williams’ plea for a retrial.

Original article was published here.

‘We Aren’t Getting to Shoot the Finale We Wanted’: Lee Daniels ‘Heartbroken’ over ‘Empire’ Series Finale

‘We Aren’t Getting to Shoot the Finale We Wanted’: Lee Daniels ‘Heartbroken’ over ‘Empire’ Series Finale

By Jasmine Alyce

Empire” fans were already preparing to bid their farewells to the Lyon family when the it was announced in 2019 that its sixth season would be its last, but now the cast, crew, and all involved with the show are having to deal with the final season being cut short due to COVID-19.

The hit series’ co-creator Lee Daniels released a statement confirming that the show’s 18th episode will serve as the series finale, instead of the scheduled episode 20 that wasn’t able to be completed because of the pandemic.

Lee Daniels celebrates a successful but ultimately incomplete “Empire” run. @leedaniels/Instagram

Daniels began by expressing his pride to everyone that worked on the show. “The success of ‘Empire’ and bringing the Lyon family to broadcast television will always be one of the proudest achievements of my career,” he said in the statement published by Essence. “This show is the definition of breaking barriers. Thank you to our incredible cast, especially Terrence [Howard] and Taraji [P. Henson], along with our amazing writers and tireless crew, for all of their hard work and bringing this story to life.”

Co-creator Danny Strong also released a statement, saying that he hopes to one day deliver the series finale that the characters and fans truly deserve.

“The episode airing on April 21 was never meant to be the series finale, but due to current events it will likely be the last one our fans will see for a while. We had an ending for the series planned that we all loved, and hopefully someday we’ll be able to film it and give the series its proper conclusion,” reads his statement.

While he’s not thrilled with the circumstances either, Daniels still holds out hope for a satisfying Lyon family conclusion — someday. “I think there’s more to do with these characters, and I’m heartbroken we aren’t getting to shoot the finale we wanted — at least not yet. But you know what they say in television? Stay tuned! To the Empire!”

According to Deadline, “the newly minted finale features footage from Episode 19, which was halfway through filming when the COVID-19 crisis paused all Hollywood production.”

“Empire” cast members past and present of (bottom row, from left) Bryshere Gray, Jussie Smollett, Trai Byers, (middle row, from left) Grace Gealey, Kaitlin Doubleday, (back row, from left) Gabourey Sidibe, Terrence Howard, Taraji P. Henson, and Ta’Rhonda Jones won’t be leaving viewers with the show finale the creators intended. (Photos: Fox/Fox Image Collection via Getty Images)

The “Empire” team isn’t new to having to pivot storylines at the last minute. When the show’s former, now embattled star Jussie Smollett came under fire during the infamous allegedly staged 2019 hate crime incident, he was written out of the series in season 5.

Original article was published here.

‘The Last Dance’ Review: Enthralling ESPN Series Captures the Magnitude of Michael Jordan and the ’98 Bulls

‘The Last Dance’ Review: Enthralling ESPN Series Captures the Magnitude of Michael Jordan and the ’98 Bulls

By Steve Greene,

Everyone in “The Last Dance” has a Michael Story. Maybe it’s one they’ve told enough times at dinner parties or family gatherings that the timing has been workshopped to perfection. In some cases, the story might have drifted so far from the truth that it exists as its own self-perpetuating myth. Over the course of 10 episodes of “The Last Dance,” the ESPN documentary series examining the singular stardom of Michael Jordan through the lens of the legendary Chicago Bulls 1997-98 title run, the breadth of subjects and timelines almost makes the veracity of those stories irrelevant.

Directed by Jason Hehir, whose previous projects include multiple editions of ESPN’s long-running “30 for 30” series, “The Last Dance” is less an investigation of a sports dynasty’s last flames and more the chronicle of how improbable its survival always was. The goal seems to be to make a definitive account of what that season meant for all involved, regardless of how some of the empirical facts may have changed in the two decades since.

Structurally, “The Last Dance” is a marvel, finding thematic parallels between the drama unfolding in the “present” of that ‘97-’98 season and the foundational framework that made that final Finals run possible. Out of a swirling mess of personnel moves, family tragedies, and international showcases, Hehir and a team of editors — led by Chad Beck, Devin Concannon, Abhay Sofsky, and Ben Sozanski — manage to craft a smooth, coherent pair of forward-moving tracks. “The Last Dance” shows how, by the fall of 1997, the Bulls had already cemented themselves as basketball royalty, amassing a trophy case filled with championships and individual accolades. The promise of one more ring takes on a mythic quality nonetheless. Even if some flashbacks do leave the Last Dance season’s action at a tantalizing crossroads, there’s never a sense of whiplash as the narrative seesaws across the years.

Image credit: ESPN / Netflix

In the process, “The Last Dance” is able to focus on the other key figures in the Bulls dynasties who didn’t also happen to star in “Space Jam.” One episode traces the Arkansas roots of future Hall of Famer Scottie Pippen, while another shadows Dennis Rodman in some of his headline-grabbing nightlife antics. In many ways, the series is consciously wrestling with a question that media outlets of the day were also puzzling over: While Jordan was in his inarguable prime, was the team’s success due to his prowess or did that causal arrow point in the other direction? There’s an acknowledgement that the Bulls’ superstar transcended every measure of fame and attention, but “The Last Dance” certainly doesn’t ignore the idea that this was a team effort.

Part of that comes across in footage of practice and team travel, largely filmed by a camera crew that was embedded with the Bulls for the season. (Filmed as part of a planned documentary about the team, much of this footage has been effectively stashed away in the league archives.) Private-plane card games, hotel room sanctuary sessions, and gym trash-talk all become vital supplements for the tales relayed by teammates like Tony Kukoc and Bill Wennington, all the way up to head coach Phil Jackson. For as much as these moments are often left to breathe, those behind-the-scenes hangouts are the one area that “The Last Dance” could afford to indulge in even more.

Not simply relying on 21st-century perspective, “The Last Dance” also knows how to use the strengths of ‘80s and ‘90s announcing teams across multiple networks. (In some cases, as with Magic Johnson and Bill Walton, it’s also a subtle way to show how Jordan served as a bridge between two eras: His former competitors became the immediate witnesses to each new chapter in the game’s history.) For every iconic Marv Albert “spec-tac-ular move” call, there are a handful of points where a play-by-play crew can only sit back and be dazzled by what this team was able to achieve.

Beyond the sportswriters and reporters — both local and national — and the broader team staff, some participants do feel a little superfluous. Interviews with broader pop culture figures like Nas and Justin Timberlake feel less essential in outlining specific rhythms of that season (even if they do manage to show how much Jordan still exists as a quintessential, pantheon-level celebrity to people who can relate to the crushing weight of fame that Jordan tries to outline here).

As “The Last Dance” often reiterates, Jordan is one of recent history’s most picked-over figures, with his movements, statements, and choices analyzed on a global scale. The extent to which this doc draws insight directly from Jordan is mostly a function of the man himself. To his credit and the series’, moments of reluctance manage to peek through. With multiple episodes’ worth of time spent in conversation, it becomes easier to spot the points when Jordan is embracing the chance to parse out on-court specifics or clear up decades-old feuds. That isn’t always the case. Whether it’s a preemptive strike against some bubbling-up emotion or a desire not to say anything that could be misconstrued, there are plenty of examples where an answer of few words manages to convey much more.

To some extent, “The Last Dance” can’t be completely kaleidoscopic in a way that some viewers might be hoping for. Whether it’s the guardrails of someone increasingly private like Jordan or the post-career baggage brought by someone like Dennis Rodman, or the decades of revisionism that have shifted people’s perspectives about on-court spats, there are some truths and some corners of this season that not even 10 episodes can address.

But those confines are certainly still wide enough to house not just the surging years of a franchise, but the way that the fortunes of an entire sports league can shift on serendipitous convergences and generational talent. There’s also simmering parallels to be drawn between the actions of Bulls brass and an approach to management of any kind that sidelines value for control and success for ego placating.

To say that “The Last Dance” is completely uninterested in separating myth, legend, and otherwise would be unfair. Some episodes wrestle with Jordan’s notorious reluctance to become involved in state and national politics (and comments that may have enforced that reputation). Another examines his unlikely mid-career pivot to minor league baseball (and whether that move was a choice of his own making).

At the same time, there’s also a sense that “The Last Dance” is aware of what already exists and has been parsed through about each point on the Bulls/Jordan timeline. Sam Smith’s book “The Jordan Rules” is still there to be read if viewers want more of that early championship story, just as Ron Shelton’s “30 for 30” installment “Jordan Rides the Bus” has a half-hour more on the Birmingham Barons. If “The Last Dance” is definitive, it’s as a bulldozing primer, moving as much dirt from across the surface as it can, even if others with smaller shovels have dug deeper.

“The Last Dance” is essentially asking the audience to be Jordan’s teammate through this ride. You see how his overbearing competitive drive leads to ticks in the win column, and also strains individual relationships along the way. “The Last Dance” isn’t necessarily an evidence-gathering operation, but as the series goes on, the input from teammates, coaches, and members of the Jordan inner circle all seem to ask whether the outcome of June 1998 was worth all the turmoil. For many viewers lifted by the way “The Last Dance” captures the sweep of history, the likely answer will be “yes.”

Original article was published here.

Kamala vs. the Coronavirus

Kamala vs. the Coronavirus

Harris views the disease as a powerful, skilled combatant that is currently getting the best of its unprepared, untrained opponent—America.

By Michael Harriot,

Kamala Harris knows how to fight.

When The Root solicited the California senator (for now…hint, hint) for our series on how the novel strain of the coronavirus could impact the not-so-novel strain of white supremacy that has infected this nation for centuries, she didn’t bother discussing how American ingenuity could defeat the deadly disease. Unlike most people, myself included, Harris didn’t spiel off aphorisms about “attacking” the virus, putting it in a headlock and forcing it to submit to the “great American way.” Instead, the former presidential candidate has an entirely different plan.

She wants to use it.

While we could not independently verify Sen. Harris’ martial arts credentials, she did explain her approach to addressing the global pandemic that is wreaking havoc on black and brown communities. Referencing the ancient art of judo, Harris suggested that she and her fellow legislators could use the coronavirus crisis to address the persistent racial and economic divides that plague the country by implementing the lesson of judo founder Jigoro Kano, who said:

In short, resisting a more powerful opponent will result in your defeat, whilst adjusting to and evading your opponent’s attack will cause him to lose his balance, his power will be reduced, and you will defeat him. This can apply whatever the relative values of power, thus making it possible for weaker opponents to beat significantly stronger ones.

There is nothing in Kano’s book about chopping coronaviruses in the throat.

I checked. 

But after seeing the data on how COVID-19 has disproportionately infected and killed non-white Americans, Harris views the disease as a powerful, skilled combatant that is currently getting the best of its unprepared, untrained opponent—America. And, according to the senator, as the coronavirus exposes some of America’s previously ignored weaknesses, the only way we can hope to defeat the disease is by eliminating the deficiencies such as structural racism and institutional inequality.

“If I were to list the disparities, I would put them into buckets,” Harris explained. “I would put it into the public health bucket, the economic justice bucket, the educational justice piece, and environmental justice. But those aren’t exclusive, right? There are definitely others.”

Although I thought I was speaking clearly, Harris either didn’t hear or intentionally ignored my suggestive hints when I repeatedly referred to her as “Vice President Harris.” Maybe this quarantine has robbed me of my “outside voice.” Or perhaps she was social distancing from my joke.

Hopefully, Joe Biden heard me.

Instead, the former California attorney general went on to explain how the murderous microorganism presents an opportunity to tackle the issues that disproportionately impact black America. She rattled off a list of specific policy plans and legislative goals that she hopes will use the pandemic’s rapid momentum against itself, in turn, creating a stronger and more equal country.

Environmental Justice

Noting that COVID-19 is a respiratory illness, Harris related it to the climate crisis, which she called an “existential threat to us as human beings.” She illustrated how health disparities are inextricably intertwined with environmental policy and air quality, condemning Donald Trump for cowering to the wishes of the oil industry by lowering Obama-era automobile admissions standards.

“Vulnerable communities are always going to pay the price,” Harris told The Root. “You look at the fact that African Americans are 20 percent more likely to have asthma, um, and, and all of the other respiratory illnesses. Environmental justice is very connected to that. We have to focus on the need to have smart environmental laws because the most vulnerable are going to be most affected by environmental policy.”

Harris’ climate plan, outlined during her past presidential campaign, focuses on the parallel policies of environmental justice, healthcare and economic opportunity. She proposes a mandate for car manufacturers to produce a certain percentage of electric vehicles and figures that investing in renewable energy will not only eliminate pollutants and improve air quality but will also create jobs that would have a positive economic impact on the communities that were disproportionately affected by environmental toxins.

Which brings us to the second bucket…

Economic Justice

“We can look at what this, this, this pandemic has done, meaning that we already had the fact that almost half of American families couldn’t afford $400 unexpected expense, right,” said the former prosecutor, just before she rattled off a list of facts. “We already had the fact that in 99 percent of the counties in the United States, a minimum-wage worker working 40 hours cannot afford market rate for a one-bedroom apartment. We already know that black households are twice as likely to rent as white households, right? Not to mention, you just look at the overall wealth disparities.”

“Black folks are 13 percent of the population of the United States but only own 3 percent of American wealth,” she continued. “Black homeownership is at 45 percent whereas white homeownership is 73 percent. And Latinos aren’t doing much better than black folks—they’re at 47 percent.”

But instead of just pointing out the disparities highlighted by the disease, Harris suggests that coronavirus offers both sides of the political aisle to embrace long-term progressive solutions. Along with Sen. Richard Blumenthal (D-Conn.) and Sen. Maggie Hassan (D-NH), she has already proposed the Rent Relief Actwhich will create a “refundable tax credit for households whose housing costs exceed 30 percent of their income, including rent and utilities.” 

Unlike already existing legislation, Harris’ bill offers benefits to needy families on a monthly basis. Combined with her campaign’s agenda aimed at closing the homeownership gap, Harris doesn’t see her ideas as short-term solutions only meant for this current predicament. She thinks they could address housing affordability and the homeownership gap for years to come. 

“People are on the verge of becoming evicted or losing their homes, which is why I’ve been pushing like so many others for a moratorium on evictions, for a pause on foreclosures,” she explained. “I have a history of working on this. I worked on the foreclosure crisis back when I was attorney general, California where black families and Latino families and immigrant families were disproportionately targeted, but those predatory loans and disproportionately impacted by the foreclosure crisis. So all of that is connected.”

“This issue of homeownership and housing security is highlighted in a profound way during this pandemic,” she continued. 

Harris is also crafting legislation that would force credit card companies to suspend penalties, interest and late fees during the pandemic. She is pushing a proposal that would press pause on home foreclosures, one that would increase SNAP benefits as well as legislation that would offer funds and support to black and minority-owned businesses.

“Did you know that black women are the fastest-growing group of entrepreneurs in America?” Harris asked.

It was not a rhetorical question. She waited for an answer.

I did not know that.

Voting Rights

Harris was most animated when she arrived at the idea of voting rights. She will soon present a Senate bill that hopes to explore and promote pathways for people to vote by mail. She believes it is a secure and effective way of casting ballots while ensuring the safety of citizens.

She explained:

I was just, for the second time, in Selma and walked across the Edmund Pettus Bridge with John Lewis. There is a proud tradition of going to the polls on election day…bringing the children of taking a picture…There are ceremonies associated with it. We have “Souls to the Polls and places where everybody after the church service gets on a bus and goes to vote and then goes back to the church for fellowship.

Part of what I’m saying again to use the pulpit is: ‘Guess what? You can honor the ancestors by voting by mail but we need to get people ready for that…You can still create a ceremony around it and have the kids around and maybe you know, have asked them questions and let them fill in the fill-in with you. 

The senator acknowledged that some people don’t have the ability to vote by mail, noting as an example, that 26 percent of Native Americans in Arizona don’t have a postal address. To solve that problem, Harris presented an idea that might make voting more accessible to historically suppressed voters. 

“What I’m pushing for in terms of solutions is that we put money into ensuring that elections are accessible to people with disabilities that we promote, She began. “You wanna hear my idea? Now here you go. Ready…Drumroll…”

Y’all, she actually did the drumroll.

“Curbside voting,” she excitedly revealed. “I’m talking about, like, drive-thru voting like a restaurant drive-thru. Part of my bill would say that there needs to be, we need to have a maximum wait time standard. Right? And, and, and that we need to do that in a way that we can use technology. Google already has ways they can tell you if a store is going to be busy when you get there. Why not use that for voting?”

On Thursday, Harris introduced VoteSafe Act of 2020, legislation to ensure safety and protect voting rights, not just during the pandemic, but for the future.

This was the part where I introduced an idea I’ve been pondering for more than a decade. If we can pay taxes, bank and register to vote online, then why can’t we vote online?

“Let me just be very clear about something,” said Harris before crushing my plan to smithereens. “I do not trust, nor am I ever gonna say to you, we should have voting online. Because the bottom line is, Russia can not hack a piece of paper.”

For a second I had almost forgotten that Harris was on the Senate Intelligence Committee and, therefore, knew more about what she was talking about. 

“It’s just that I don’t trust that we can create a secure system,” she elaborated.”There are too many foreign actors who clearly want to interfere with who might be the next president of the United States. But certainly, technology can help make it easier for people to figure out when is a good time to go and all everything you said.”

Welp…Let’s move on.

Educational Justice

According to my research, no one in America has ever talked to a Howard University graduate who didn’t mention their alma mater at least once. And, in this specific instance, Harris didn’t break tradition.

“Then there is the issue of educational justice,” she said, as I felt the “you-know-I-went-to-Howard” percolating. “And, as you know, I’ve been fighting for Howard University, my alma mater, and other minority-serving institutions because so many of those kids who are first in their family to go to college, they, they were living in the dorms and they had to leave. Where were they going to live? So a big part of our push was to get, um, extra assistance to HBCU and minority-serving institutions because so many of those kids are first-generation.”

Again, she came with receipts. 

“40 percent of African Americans age 25 to 55 have student loan debt as compared to 30 percent of whites. So when you look at that and you combine that with what we know around the digital divide. That’s why I’m proposing that we have $2 billion to start making sure that we deal with internet equity because all of these kids who are at home supposedly being homeschooled, but you can’t, you can’t teach a child without access to the internet.”

You’re probably wondering what all of these statistical realities have to do with coronavirus in black communities. That’s when Harris dumped all the “buckets” on the floor.

“See, the educational disparities create the income disparities, and the income disparities create wealth disparities and the wealth disparities create voter suppression and politically underrepresented communities and the lack of political power allows for environmental injustice, which then creates the healthcare disparities,” she said without taking a breath. “And the healthcare disparity is what exacerbates the disproportionate rates of infection and death with coronavirus.”

And the thigh bone connects to the hip bone. 

They are all interconnected. 

The senator explained that it is impossible to address the coronavirus or the communities it affects without fixing the underlying issues. And that is precisely what she is trying to do right now.

Kamala Harris’ 3 Laws of Power

But how can one person—even a senator—fight such a formidable foe?

Harris says she adheres to a personal principle that there are three elements of power that arms her with the ability and the responsibility to affect change:

  • POLICY: “For me, as a senator, that includes pushing for legislation that will have impact.”
  • THE BULLY PULPIT: “Every day, before we were social distancing, I had a bouquet of microphones in front of me. With it comes the opportunity to elevate public discourse and, educate people about issues they may not consider or think of or have a perspective on.”
  • THE POWER TO CONVENE: “Like today, I had a Zoom meeting with seventy-something black women from around the country talking about maternal mortality. And I had these physicians of color talking about their experience with their patients and the need for solutions but first of all, for a recognition of the issues.”

And, as daunting a threat as COVID-19 might be for black America, the swashbuckling legislator insists that the invisible pathogen may make it possible for black America to beat its 400-year-old opponent—white supremacy. Now that the coronapocalypse has made the pervasiveness of rampant inequality impossible to ignore, legislators and regular Americans might be willing to set aside their political differences for a common goal.

“I come from a perspective that the vast majority of us have so much more in common than what separates us,” Harris said. “And with that spirit, we could actually do a lot to not only repair what’s broken but also to heal. And that’s how I approach it.”

Asked if she sees the coronavirus as a weaker opponent or a stronger one, Harris simply responded: 

“I see it as an opportunity…The opportunity to restructure a broken system.”

That’s probably the best solution for black America.

I would’ve just tried chopping it in the throat.

Original article was published here.

Tika Sumpter and Thai Randolph Launch “Sugaberry” Website For Black Mothers

Tika Sumpter and Thai Randolph Launch “Sugaberry” Website For Black Mothers

By Jasmine Grant,

If you were to search “Black motherhood” in Google right now, you’d likely find some results about the state of Black maternal health and tough conversations we’re forced to have with our children. Being Black and a mother in this country no doubt comes with its own unique challenges. But where do Black moms go when they just want to delight in being moms?

That’s the question Mixed-ish actress Tika Sumpter asked herself when she was first pregnant with her daughter Ella three years ago. After scouring the internet looking for joyful content for moms that looked like her, she soon found a void in the marketplace. Sumpter was later introduced to Thai Randolph, EVP of Kevin Hart’s Laugh Out Loud and fellow mom, who recognized she was on to something. “When I talked about my idea for Sugaberry, [Thai] said, ‘I would be the first person on that site,’” said Sumpter. “So we decided to work together and cultivate it to what it is now.”

Sumpter and Randolph went on to co-found Sugaberry, which they call “the brown mama’s guide to the sweet life.” The lifestyle brand just launched this week, along with their motherhood podcast “The Suga.”Randolph says their goal is to build a platform for Black mothers where “motherhood could be enjoyed and not endured.”

Randolph, an accomplished media executive, knew exactly how it felt to not be seen in her motherhood journey. She and her husband encountered some fertility issues before giving birth to their son in 2018. Randolph distinctly remembers seeing no other women of color in the fertility clinic waiting rooms. It’s one of the reasons she’s become so passionate about providing a sense community to other Black moms. “We want to talk about all the little nuances of what it means to be a mom,” says Randolph. “From postpartum to delighting in like the smell of your child’s hair. We want to talk about all of the little delicacies and also some of them like real hardships.”

Sumpter and Randolph aren’t going at this alone. You can look forward to special guests join their podcast like Jazmyn Simon of HBO’s “Ballers” and Dr. Imani Walker of Bravo’s “Married to Medicine Los Angeles.” 

“Our topics range from mental health to just the indulgence of enjoying motherhood and making space for oneself, regardless of where you are on the spectrum,” says Sumpter. “We don’t only wear the badge of strong Black moms. We have vulnerabilities and things we need to talk about. We have to put our own mask on before we put anybody else’s.”

Original article was published here.