Connect with us

a&e features

‘Black Panther’ proves Black Movies Matter

“Black Panther” embraces and celebrates black culture

Published

on

Courtesy Disney/Marvel

Created in 1966 by Marvel founder Stan Lee and artist/author Jack Kirby, Black Panther was the first black superhero in mainstream comics. It took 50 years – and the rise of Marvel to the level of multimedia powerhouse – for him to make his big screen debut in 2016’s “Captain America: Civil War.”

Two years later, he has a movie of his own, and it’s a lot more than just another spin-off; it’s a watershed moment in the cultural narrative.

It’s not that its story is anything unexpected; on the surface, the film largely adheres to familiar formula. T’Challa (Chadwick Boseman) is heir to the throne of Wakanda, a fictional African nation that is secretly the world’s most technologically advanced society. Part of his role as ruler is to assume the mantle of Black Panther, a warrior-protector who defends the country with the help of superhuman powers bestowed through ancient tribal rituals. His transition to the throne is challenged by Erik Killmonger (Michael P. Jordan), who seeks to use peaceful Wakanda’s superior resources to dominate the rest of the world. It’s up to T’Challa and a handful of loyal supporters to defeat him and regain control over the country’s fate.

This hero-versus-villain scenario – though executed with the cleverness, style and technical expertise that has become the well-established standard for these Marvel films – is typical fodder for blockbuster entertainment, which aims for thrills and not much more; but “Black Panther” has its eyes on a higher prize.

Thanks to the screenplay by director Ryan Coogler and Joe Robert Cole, “Black Panther” is the vehicle for a wide-ranging array of cultural messaging. This is no safe, middle-of-the-road adventure; Coogler and Cole have made a barely concealed political allegory in which Wakanda becomes a stand-in for (among other things) America itself.  Struggling between its self-preservationist isolationism and its role in the global community, it becomes a nation divided; its leadership, plagued by past failures and uncertain of future direction, is usurped by an outsider with an extreme ideology who seeks to subdue or silence any opposition to his agenda; and its citizens must choose between patriotic duty or resistance against the ominous course set by the new regime. Add to this the fact that the resistance is largely driven by smart, empowered females, and the parallels are hard to miss.

More significant than the Trumpian overtones, yet profoundly complementary to them, are the ways in which “Black Panther” embraces and celebrates black culture. It’s reflected in every aspect of the film, from the colorful costume and scenic designs, which incorporate heritage and history into its imagination of an Afrocentric futurism, to the exploration of social themes that not only recur throughout but form the very basis of the story’s central conflict.  T’Challa’s struggle is not just with an arch-villain; it’s a conflict between opposing ideas of social justice. Do we right the wrongs of the past with education and leadership, or do the subjugated strike down their oppressors and change the world by force? This is, of course, a superhero fantasy, so it’s no spoiler to say that the movie doesn’t end with an all-out race war; still, it’s significant to note that “Black Panther” does not oversimplify these questions, and that it takes pains to present all sides of the discussion in a sympathetic light.

That all of this comes through so clearly is a testament to the talents of the movie’s creators and cast. Director Coogler navigates his way through the dense trappings of the sci-fi setting without ever losing track of the story’s heart and soul – or its big ideas. Boseman brings the charisma and fire he displayed in Black Panther’s “Civil War” debut, and he deepens the character with a vulnerability that makes him a hero even more to be admired. Jordan’s turn as Killmonger gives us a complex, human antagonist who earns our empathy, instead of the kind of caricatured “bad guy” that would turn the movie into a one-sided parade of tropes.

The rest of the cast is no less important, and no less impressive. Lupita Nyong’o, as Nakia, is no mere love interest, but a force to be reckoned with. Danai Gurira, as Okoye, general of Panther’s bodyguard, is a fierce and imposing presence whose wisdom is every bit as formidable as her physical prowess. Letitia Wright, as Shuri, T’Challa’s sister and chief technical mastermind, is impish and irreverent, providing a hip and youthful energy while establishing herself as a supremely capable and self-sufficient heroine in her own right. This is a trio of proud, smart, compassionate women that could fully support a movie of their own.

Representing the older generation are Angela Bassett and Forest Whittaker, both regal and indomitable as T’Challa’s mother and adviser, respectively. Martin Freeman reprises his “Civil War” role as CIA agent Ross, using his much-loved deadpan befuddlement to great effect; though essentially serving as a “token white” character, his likable persona serves as an important reminder that unity in the cause of justice is not defined by race.  Andy Serkis, the movie’s only other significant white actor, gives a gleefully colorful performance as the secondary villain, Ulysses Klaue.

All these stellar contributions blend together into the whole; no one element outshines any other, and “Black Panther” shines all the brighter for it.

As good as this film is, though, its importance does not lie in its quality.

The movie’s opening weekend ticket sales in North America outstripped anticipated figures; its global take for the weekend shattered myths about the overseas performance of movies featuring non-white actors. It had the highest gross for a February opening in history, and the fifth highest of all time. Black audiences turned up at theaters in droves, sometimes as part of school and church groups, often dressed in clothing celebrating their cultural heritage. There has even been a campaign to register voters at theaters showing the film.

The impact of such a film – one that fills an oft-lamented gap for mainstream movies featuring people of color – should have been a no-brainer. For a major studio release to be so unapologetically “black” is a major step forward that is long overdue.  To be sure, Marvel’s film comes in the wake of such surprise successes as “Moonlight” and “Get Out,” and feels connected to last summer’s “Wonder Woman,” which delivered a similar shock to the system, and Pixar’s Latino-themed “Coco.”

Even so, “Black Panther” feels like the crest of a wave. The Hollywood industry, like any other business, is motivated by money; this movie has made a lot of that, already, and will certainly make much, much more. The studios will receive that message, loud and clear, and if history is any indication, they will clamor to jump on the gravy train.

Hopefully, at long last, that will mean more movies about and by non-whites.

Whether or not it will also encourage a more inclusive atmosphere for other underrepresented groups – like Latino, Asian, or LGBT audiences – remains to be seen.

Continue Reading
Advertisement
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

a&e features

Hollywood’s Peter Kallinteris Agency launching LGBTQ dreams

“It’s important to me to actively participate with a platform and space for the LGBTQ community. I want to make a difference and be a leader”

Published

on

Hollywood sign courtesy of the City of Los Angeles

HOLLYWOOD – Whether they’d admit to it or not the aspiration for most actors is to be sitting in the Dolby Theatre at some point in their careers, dressed in their finest fashion ensemble at the most prestigious event of the year and hear, “and the Oscar goes to [insert their name].” Conversely also true for the Emmy awards or the Tony awards, yet for many LGBTQ artists the path to that goal is fraught with obstacles and difficulties.

In 2018, a young Black actor from Atlanta, Georgia, was given a supporting role as Ethan in the surprise hit film Love Simon. That actor, Clark Moore, in interviews with host Rob Watson, journalists Dawn Ennis and Brody Levesque on RATED LGBTQ RADIO and separately with Teen Vogue’s Shammara Lawerence spoke of the difficulty landing roles like that of Ethan, but also the conflict inherent with how the film and television industry has seen LGBTQ actors.

Answering a question by Teen Vogue’s Lawerence centered on that conflict, Moore bluntly assessed the landscape telling her; “Historically, I think the reason why there haven’t been more gay roles or more gay actors playing roles that have lots of layers to them and lots of depths to them is because for whatever reason, people think that the story is done. We’ve seen the gay character. We know what he says. We know what he thinks. We don’t need to tell that story anymore, but if you think about it, we’ve had a full canon of stories about straight white men that stretch back millennia, and so we’re only scratching the surface,” Moore pointed out.

“If we can have stories about people all the way back thousands of years ago and we can still be telling the same story now about straight white men and their journey to self-discovery or redemption, there’s plenty of stories to tell of people of color and LGBTQ people and anybody who falls in the intersection of those two identities,” he added.

Yet in the age of digital moving beyond the traditional film and television as more and more content is streamed online- and there’s insatiable need by casting agencies for a wider diverse spectrum of actors, there are still obstacles in the path for LGBTQ actors, especially trans and disabled LGBTQ actors.

Enter Peter Kallinteris, who with his broad based knowledge and understanding of the critical needs of the LGBTQ actor community decided that the time has arrived to have specialized representation for that community.

“Looking to the past, Hollywood hasn’t been very kind to the Queer community. Throughout the history of cinema gay men were either played as effeminate, weak, airheads, and lesbians as tough softball or gym coaches, who are often played by straight people,” Kallinteris said. “Within the the broader culture, there are subcultures, just as within any community. They are nuances within each that will never find its way between the pages of a table read.”

“To create an authentic moment the space has to be made for those who’ve lived that life every day. Gay, Black, White or Straight ect, our experiences of the world are different depending on how we show up. In many cases that will determine our outcomes,” he noted. “Specialized representation is so important because without the lingering trauma, and continued hatred & fear toward our community the Queer division of PKA wouldn’t exist, we’d just be accepted. We have important stories to tell and will continue to be telling them. PKA is just the begging for all to feel safe and thrive.”

In a statement issued from his offices at the Sunset-Gower Studios, the former historic home of pioneering Columbia Pictures founded in 1918, Kallinteris reflected, “When I was a young Actor being gay was career ending.”

“Today it’s celebrated. It’s important to me to actively participate with a platform and space for the LGBTQ community. I want to make a difference and be a leader because I can.”

To accomplish this he launched the Queer Division of his PKA agency. “The Queer Division of  PKA was inevitable, a natural outgrowth of my own personal evolution first by coming out as gay man, from Artist to Agent. The timing was right to make an impact with talent,” he said.

“As my Agency grew I was able to gleam that there was a space beginning to open up by which I could represent the full spectrum of Queer humanity & sexuality within the arts. Not as one dimensional static caricatures, but as beings who’s emotions run the full gamut of the human experience. This was very exciting to me, I have a opportunity to effect change. I wanted to be apart of history Pioneering a movement,” he added. 

He said that his message to LGBTQ artists is simple. “I want talent to know they will be given the opportunity to be who they are, live their truth and work for who they are without rejection, humiliation, fear, or hopelessness. People perform at their best, live at their best. And do their best when they are happiest.  PKA is not just a brand, we are the LGBTQIA community. If life imitates art, then let’s represent it boldly!”

His expectations of the film and television industry’s reaction? “My inspiration to launch the Q.D. is truthfully representing talent that reflects the current needs for the industry, and to remain a permanent fixture within the industry that continues to grow stronger. I want the industry to understand I’ve created this environment specifically for the Queer community. I’m happy & honored to be the first Agency that represents this community in this way,” Kallinteris said.

Last week, PKA, whose clients include, Justin Jedlica (TV personality), Steven James Tingus (President George W. Bush’s lead for disability research and policy for eight years), Kate Linder (The Young and the Restless), Albert Lawrence (IMDB Host), Deric Battiste aka DJ D-Wrek (MTV’s Wild ‘N Out), and Leslie Stratton (The Swing of Things, Truth or Dare), announced the launch of the Queer Division in a video.

WATCH:

Continue Reading

a&e features

Julia Scotti, the movie, is just Funny That Way

Life is funny that way—not working out quite the way we thought it would. And that is ultimately the point

Published

on

Graphic courtesy of Susan Sandler

WHITING, NJ. – “You are a piece of work, Julia!” Simon Cowell blurted during her landmark America’s Got Talent debut.  Julia Scotti had just completed her audition for the show that ended not only with a standing ovation, but with the revelation that she had once upon a time been a stand-up comedian named Rick. As that news crossed the faces of the four judges, their collective jaws dropped. “I mean like you come out as the nice little granny school teacher all sweet and then you go into your routine and like WHOA. Talk about surprises – they are never ending with you, are they?” Cowell finished.

With Julia Scotti, the surprises never end.

Her latest surprise for the public is a gem of a film, Julia Scotti: Funny That Way.  It is a documentary of her journey from the days of Rick, the up and coming comic who performed on bills with Chris Rock and Jerry Seinfeld to Julia, who is wowing millions.

Of her transition, Julia has remarked. “It is NEVER an easy process whether you’re a public figure or not. You are essentially killing your old self and ending your old life. And with that comes the history you’ve built with friends and family. Some are very accepting, but most are not. That is why the suicide attempt rate for Trans  folk is still at 41%.”

Funny That Way does not spare us the heart-breaking fallout from the virtual “death’ of Rick Scotti.  Filmmaker Susan Sandler weaves Julia’s story, the losses and damage, to her rebirth, healing and the reuniting with her kids after a 15-year estrangement.

Julia and Susan sat down with us on the podcast Rated LGBT Radio to talk about the film.  “This is a story and like all stories, there is a beginning and a middle and an end. In the end, I want the audience to know there is HOPE. It is bumpy at times, joyous at times.  It is not just isolated to my life. You can have that in your life when you walk through that door of your own truth and come out the other side and when you look back on all you went through, you go ‘what the hell was I so afraid of?’ Look how happy I am.” Julia explains.

Susan had never directed a documentary before, but as one of Hollywood’s master story tellers, and a Golden Globe nominee, she was unfazed.  “The impetus behind this film was falling in love with Julia, her, then and now.  If you are working from a really rich, complex, compelling character –which is Julia—that is the GIFT. All of my nerve endings, my story telling, told me this was dynamic documentary, and that’s the form in which I wanted to tell it.”

Susan took five years to research, document and interact with Julia’s past.  She went through old footage of Rick Scotti’s stage acts and restored many of them so they could be used in the film. She brought on composer Matt Hutchinson for a beautiful score, and animator Sam Roth for whimsical cartoons that tie the story together.

Before the filming started, Julia had just re-connected with her son Dan, and daughter Emma.  A decade and a half ago, when Julia announced to her then spouse that she was in fact a woman transitioning, her then-wife retaliated by taking their kids away.  Dan and Emma spent their whole adolescence not knowing Julia at all. The story of that pain is told in Funny That Way.  Susan wanted to show the relationships real-time in the film as they came to reconnect with Julia. “We were just at the beginning stages of reconciling,” recounts Julia. “I did not want them feeling like I was just reconnecting with them because I wanted them in this film. I did not want to distance them even more.”

Dan and Emma were onboard, however.  Also on board, albeit only by phone, was Kate. Kate was  Julia’s last wife, described as Julia’s “love of her life”. Kate supported Julia emotionally and spiritually through out the entire transition process.  One of the most poignant moments in the film was Julia hearing Kate describe the end of their relationship.  Kate’s support was significant, but once Julia became fully Julia, it was evident to both that their relationship had changed and they had to let it go.

Susan captured many live moments of Julia’s evolving life.  She caught the very first time that son Dan ever called Julia “his mother” and the effect was pronounced.  Also caught in the film was a moment when Julia and Dan are watching Rick’s old stand up routines.  One such performance  takes Julia by surprise—it was a routine that she had not remembered ever doing.  It was a set where then Rick expressed his revulsion to transgender women in no uncertain terms.  Julia sat shocked.

“My sensibilities have been ‘woked’, I think that is the term for it.” She told me about that experience. ”Thinking back, I was going through issues and aware that something was not right internally. It frightened me to no end.  Looking at that clip, I am totally ashamed of what I did. It embarrassed me.”

“I knew it was me. I knew I was there. But I don’t feel a connection with that person.  That is the truth.”

The film does not dwell long on the past shames and regrets.  It arcs to the present where an adult daughter gets to see her parent’s comedy routine for the very first time.

Some of the greatest joy in the film is witnessing the growing relationship between Julia and son Dan. Dan is sweet and compassionate, and they both have a deep love of comedy.  Through their discussions and collaboration on things funny, we witness something decidedly not funny, the deep re-kindling love they have for each other.

The film will make you laugh, and cry, and laugh again.  New clips of Julia’s now famous turn on America’s Got Talent shows her more personal reflective moments over a life changing triumph.

The only regret director Sandler has about the film is how it will be brought to the public. “I am happy to be brining the film now for the people who have an appetite for it. For the truth, the humor, the complete emotional honesty.  But I mourn. I mourn the moments not being able to sit with you in a theater. And experiencing the film with you. It was supposed to be seen by audiences, and then give them the opportunity to go down the street and see Julia live at a club.”  But, life is funny that way—not working out quite the way we thought it would.   And that is ultimately the point.

Editor’s Note: The film was originally slated for theatrical release which was delayed then put off by the coronavirus pandemic.

Julia Scotti: Funny That Way is available now on digital platforms! That means you can rent or buy it online, at places like iTunes, Apple TV, Amazon, Google Play and more.

Here’s the full list of where you can find it. 

DIGITAL

iTunes
Amazon
Google Play
Xbox
VUDU
FandangoNow
Vimeo On Demand

CABLE / SATELLITE

iN Demand Movies
Verizon
AT&T
Vubiquity
DirecTV
Dish
Telus

Continue Reading

a&e features

Greyson Chance: A Butterfly’s Journey from Holy to Hell and Back

A decade ago there was a boy made famous by a pop song and a viral video. Today, there is an artistic, powerful singer song writer

Published

on

Greyson Chance (Photo Credit: Broderick Bauman)

HOLLYWOOD – Many want to saddle singer Greyson Chance with the label “comeback” or having a “return from retirement.”  It is an understandable mistake as the “fame to disaster” narrative IS there. The real story is about one of the most exciting new artists of today.  One that speaks to not only the LGBTQ youth of today, but of their entire generation.

Over a decade ago, there was a boy.  The boy was very gifted at the piano, and at singing. He entered a talent contest and belted out a well known pop song by one of the trendiest artists of the day.  Of course, there was a video.  Social media was itself an infant, and as such, started launching like videos into the stratosphere.  His video was one of the first to be seen gazillion of millions of times.  Then there was the Ellen show, then the record contracts and a music video where he was Ariana Grande’s love interest.

Life would never be the same again.  It would not be the same as Greyson Chance would be forever entwined with Lady Gaga and Paparazzi.  It would not be the same as when his voice changed and it all came crashing down. “The second that the momentum stopped, you know, I truly was just sort of thrown to the curb when I was 15. I, all in the same day,  got dropped by my record label, my management, my publicist, and my agent.  It was the ultimate for me, as a child musician.” Greyson told me.

The real story however, is of a fantastic singer/songwriter who hit the industry in a big way with a debut album of his own work in 2019. He emerged then as a honed artist who had already been educated on the workings of the industry, and as a professional who knew how to walk in with his own vision and make it happen.

“It is a machine and, when I when I came on the scene originally, I had this huge viral video and with that, a lot of money coming around, and big players kind of involved in the industry,” he says.  He made music their way.  He did the songs they wrote, and played the part of the person they wanted him to be.

(Photo Credit: Broderick Bauman)

He learned how to be the kind of artist he did not want to be.  The young artist went back to Oklahoma and enveloped himself in the cocoon of normalcy.  He incubated there, fell in love, and had his heart broken by someone he thought he was going to hold onto forever.  At that point, he emerged from the cocoon, with a full self-written album in hand, a musical butterfly spreading his wings.

“I’m 23 years old right now. And I started off with my first record deal when I was 12 years old. There was so much of my adolescence, in my childhood in music, where I wasn’t given the chance to not only make music that I really wanted to do, but also to be writing. I was being forced to do records,  I didn’t have a huge artistic involvement in anything I was doing. So when I came back into music, I really wanted to finally show the world that I was a songwriter, that I had a unique voice. That I had some unique things to say.   I really emphasize authenticity. These are stories that are coming from the heart. These are things that are coming from my own life. It’s not even really a choice that I have anymore.  It is honest, from a place that’s true and genuine,” Greyson states.

Greyson represented not only with a new thematic “voice”, but an actual new physical voice as well.  “It was interesting, what I went through, they always tell you that when your voice changes, it’s going to be sort of a tough go and that is such an understatement. It was so hard for me for a few years to really kind of find comfortability in my physical voice again. I mean, I really struggled through my voice change. But ultimately, I learned as a kid when I was on the road that in a way, when you’re a touring musician, you’re sort of like an athlete. My muscle is, is my voice.”  Greyson’s new voice is far superior to his belting-out-broadway boy voice.  He has a harmonic high register, and a sultry deep one. It copies no one else’s, this voice is uniquely his own.

In 2019, Greyson came out with his launch album “Portraits”.  The stories of the album gave vision to the various personas he saw of himself as he navigated an ill fated romance.  One week,  he was looking at engagement rings, the next week, out of the blue, “the man of his dreams” left him without explanation.  Greyson works each personal portrait into the prism of a beautiful, musically shiny diamond. “Portraits for me was truly my reinvention piece. And what I mean by that is, at the time before I put out that album, you know, I couldn’t even get a meeting in LA with anybody. You know, no one wanted to touch me, no one wanted to be involved in in my project and involved in my music. So I told myself, You know what, I’m going to write a record, and I’m going to write a full album. I’m going to give this one last shot, and see, see what happens. And, fortunately, it went over very, very well.”

In 2019 he filled 109 venues performing the songs from Portraits.  He publicly came out as gay in response to a fan during a conversation about living authentically.  He has also been transparent about his personal challenges, including his on-going battle with anorexia.  “It was truly very, very difficult to diagnose it. I had come off of this really bad breakup that I wrote my album Portraits about, and I was developing habits of not eating and not taking care of myself. I blamed it on the sadness I was feeling at the time. Then, as things became a little more normal, and I became a bit more stable, I noticed that I still had had this issue and things that were going on. For me, I had to work through a lot of therapy,   to get a grasp on it. I brought it public because it was so stigmatized, and still is.   I like to think that I have my life together. But here’s  the deep issue that I struggle with, and I go through. I’m  on a road to recovery, it’s never ending when you are battling with an eating disorder, but I’m doing very, very well right now. I’m staying on top of it. Through my disclosure, there was such an amazing and beautiful dialogue that keeps happening, people reaching out to me and sort of sharing their own struggles and battles with it as well.   I’m working on trying to be the best version of myself that I can be.”

(Photo Credit: Broderick Bauman)

After a forced lockdown during the pandemic of 2020, Greyson is ready to move into the next phase of his butterfly trajectory.  He has released two singles off his next EP, Trophies, and he is in love again.  The songs on the EP will be in a thematic composition.  The two first released create a spiritual arc from the heavenly rich ballad-like Holy Feeling to the high-pop danceable hedonistic Hell Boy. 

He says of the new material, “My boyfriend and I just celebrated our one year anniversary yesterday.   Trophies, is really expressing the fear of now losing love, and sort of that fear that was created in the old relationships that I’ve had. It is the desire for my fans and queer people around the world to know what  truly being in love is. We’re constantly told as, as queer people that, our relationships are always going to be rocky, they’re never going to be sort of American Dream type relationships. Because we’re different, these relationships are going to be different, because we’re inherently different. That is just absolutely BS.   Regardless of how you identify who you love, you can totally have all of this stereotypical white picket fence, you know, dog in the backyard green grass type of thing. It is so within your wheelhouse. It’s not out of reach. This record is emotionally going through all those those things, and talking about them in the music.”

A decade ago there was a boy made famous by a pop song and a viral video.  Today, there is an artistic, powerful singer song writer who sings the authenticity of his generation.  The rush you feel is the wind from rainbow colored butterfly wings taking flight, and the knowledge that the most famous Greyson Chance is the one yet to come.

Continue Reading
Advertisement
Advertisement

Follow Us @LosAngelesBlade

Sign Up for Blade eBlasts

Popular