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On TV, the Black South is finally getting its due | CNN

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On TV, the Black South is finally getting its due | CNN



CNN
 — 

For many years, the blueprint for a Black present has hit comparable notes – a steady, center class household based mostly in New York or Los Angeles.

After all, generally the household consisted of a gaggle of mates, as seen on “Girlfriends.” And different occasions, the town was within the Midwest, as seen on “Household Issues” (Chicago) or “Martin” (Detroit).

However hardly ever did a mainstream present that includes Black individuals happen within the South. And barely did they painting struggles exterior the center class existence.

A go searching latest tv choices, although, factors to one thing new. “P-Valley” on Starz, HBO Max’s “Rap Sh!t,” FX’s “Atlanta,” and OWN’s “Queen Sugar,” the latter two of which each started their remaining seasons this month, are among the buzziest exhibits on TV.

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Their characters usually are not medical doctors or attorneys – they’re strippers, rappers, farmers, or, merely put, hustlers. And the exhibits all happen within the South.

Telling Southern tales, although, isn’t new. In some methods, tv is just following the lead of different areas in tradition, stated Aisha Durham, a professor of communication who research Black common tradition on the College of South Florida.

In music and movie, the South has been portrayed for many years with nuance and intentionality, Durham stated, referencing movies like “Eve’s Bayou” and, extra lately, “Moonlight” – each films the place the Southern setting, Louisiana and Miami respectively, play a vital function.

On the identical time, new sounds and music genres have emerged from the South, she defined, like entice. And artists like Beyoncé and Megan Thee Stallion have included Southern Black aesthetics into their trend and music movies.

“You will have new our bodies, new individuals, new experiences and I believe it invitations us to have a look at the South otherwise,” Durham stated. “I might say that TV is sort of, particularly by way of dramatic collection, just a little late.”

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The South has additionally been high of thoughts in different areas of our tradition, usually receiving nationwide consideration – as seen with this yr’s runoff votes in Georgia.

For a very long time, many individuals considered Southern tales solely within the context of the civil rights motion and segregation, Durham stated. However the South is a bedrock of each facet of American common tradition, she stated. And now, many are wanting again on the area and pondering of the opposite tales that may nonetheless be informed.

“We’re now seeing among the vividness and vibrancy that has all the time been part of the South,” Durham stated. “We’ve identified that within the South, it’s simply that everyone else is catching up.”

If there was a shift, it’s been a enterprise one, argued Tracey Salisbury, professor of ethnic research at California State College, Bakersfield.

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It’s not that perceptions of the South are altering, or have modified – however that the business has shifted locales, Salisbury stated, making Atlanta a significant hub for leisure somewhat than simply New York or Los Angeles.

Tyler Perry, whose work is polarizing to some, has based mostly his manufacturing studio in Atlanta, and has lengthy set his movie and exhibits within the South. He additionally has a partnership with the Oprah Winfrey Community, which produces “Queen Sugar.”

Nicco Annan, left, plays Uncle Clifford, the gender-nonconforming owner of the strip club, on

There are additionally merely extra Black creatives who’ve a voice in tv, Salisbury stated, which permits for the telling of latest and fascinating tales.

“These tales have been current and these tales have been beforehand pitched, I simply suppose now there’s a major expertise base and a major viewers … to drive Hollywood to help these tales,” she stated.

Nonetheless, Salisbury is hesitant to name the uptick a pattern. She pointed to Quinta Brunson, the creator of ABC’s hit present “Abbott Elementary,” about an elementary college in Philadelphia, for example. Earlier than “Abbott Elementary,” Brunson created comedy sketches on Instagram, finally transferring to BuzzFeed and YouTube, till she lastly bought a shot at a community present. Then, she knocked it out of the park, profitable an Emmy for writing earlier this week.

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Quinta Brunson created and stars in

“I believe that’s nonetheless what Black creatives should do,” Salisbury stated. “If you happen to don’t knock it out of the park, you must begin yet again.”

Prior to now, Black exhibits like “The Cosby Present” and “The Recent Prince of Bel-Air” have been made for mainstream consumption, Salisbury stated. Invoice Cosby, on the time, was thought-about “America’s Dad,” not Black America’s dad.

The distinction with these new exhibits lies within the intent: They’re made by Black individuals, for Black individuals. Uncle Clifford, the nonbinary proprietor of the strip membership in “P-Valley,” will not be America’s Uncle, Salisbury stated – however his grandmother reminds her of her personal.

If most Black exhibits previously befell exterior of the South, these new exhibits then grow to be a sort of homegoing – again to the place the place every little thing began, Salisbury stated.

In different exhibits, these Southern characters could have been used as a joke. Within the ’90s “Recent Prince,” for instance, Uncle Phil’s childhood on a farm within the Carolinas is considered as virtually a primitive existence in comparison with life in Bel-Air. However in these exhibits, the South and its characters refuse the bumpkin stereotypes and embrace all of the elements of the South.

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Salisbury used “P-Valley,” which takes place within the fictional city of Chucalissa, Mississippi, for example. From the style aesthetics of the present and its marijuana-infused wings to the very specific MemphisSsippi accents, the present is deeply rooted within the South – and even takes some hits at Black Southern non secular traditions, Salisbury stated.

However it’s carried out with respect, she famous. That’s why it really works.

J. Alphonse Nicholson, center, plays Lil Murda in

“We’re not laughing at these individuals, we’re laughing with them,” she stated.

New York Metropolis and Los Angeles are sometimes already offered as cosmopolitan, numerous areas on tv. The South, although, is usually seen as caught previously, Durham stated, an already knowable area that lacks the range of different areas.

These exhibits reject these notions.

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Durham used “Rap Sh!t” for example. (HBO Max, which streams the present, and CNN share father or mother firm Warner Bros. Discovery.) The characters within the present dwell in and across the Little Haiti neighborhood in Miami, she stated, permitting for discussions of Caribbean and Haitian tradition and of African Individuals as an ethnicity alongside different ethnic Black individuals within the South.

“There are entire methods wherein we’re having to reimagine Blackness within the South,” Durham stated.

Then there’s the query of sophistication. In earlier intervals of tv, the assumed class was all the time center. This newer crop of exhibits shows one thing completely different, Durham stated, highlighting extra economically susceptible individuals merely making an attempt to make it on the earth.

Brian Tyree Henry stars as Paper Boi in

These characters are portrayed with depth and sincerity – the strippers in “P-Valley,” as an example, usually are not merely aesthetic our bodies in a entice music video. Paper Boi from “Atlanta” and Shawna from “Rap Sh!t” usually are not merely rappers soundtracking the background. Audiences are as a substitute invited inward.

“We’re really invited to see what the experiences are of the individuals who produce the tradition,” Durham stated. “We love the tradition however do we all know these ladies and men? These exhibits give us a method to see that.”

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These exhibits, then, problem present perceptions of the South – permitting for a layered and sophisticated narrative of the area to type, Durham stated.

As these exhibits level out: There are queer communities within the South. There’s intercourse work; there’s class battle; there’s variety; there’s pleasure. There are individuals, not easy caricatures, simply making an attempt to outlive.

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Kevin Costner sticks to subject as Gayle King questions 'Yellowstone' exit: 'This isn't therapy'

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Kevin Costner sticks to subject as Gayle King questions 'Yellowstone' exit: 'This isn't therapy'

Kevin Costner is finally, albeit reluctantly, shedding light on his “Yellowstone” exit.

Costner, who portrayed Montana rancher John Dutton III in the first four and a half seasons of the Emmy-nominated drama, officially announced last week on Instagram that he would not be returning for Season 5, Part 2 of the series — more than a year after reports of his departure first dropped.

Now, as the Golden Globe-winning actor-director promotes “Horizon” — his newly released western epic over 30 years in the making — he’s being pressed about the details of his widely mourned “Yellowstone” exit. That includes whether clashes with the series’ creator and director Taylor Sheridan caused it.

“People say this about the two of you: both big egos, both very powerful, both at the top of their game, and that right now, maybe the two of you are playing a game of ‘Whose is bigger?’” “CBS Mornings” host Gayle King said to Costner on Thursday. “Do you see it that way?”

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Costner countered, saying that he “loved the show before anybody” and that, in the beginning, “It was Taylor and myself.”

But King pressed further, asking if the collaborators were on good terms. “Why can’t the two of you be able to work it out?” she said.

“Well, this isn’t therapy, Gayle. We’re not going to discuss this on the show,” Costner fired back. “I’ve conducted my life in a pretty straightforward way. I’ve never missed any obligations in my entire career.”

As for the true reason for his departure, Costner suggested that the writing on the show had ceased to move him. It was a stance he had taken in his recent People cover story: “The scripts weren’t there.”

Earlier in the “CBS Mornings” interview, Costner also disputed claims made last year by Sheridan that “Horizon” became the actor’s “priority” and that he wanted to “shift focus.”

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“I sure hope [the movie is] worth it — and that it’s a good one,” Sheridan told the Hollywood Reporter.

“‘Horizon’ didn’t cause problems for me,” Costner told King. “I wanted to work more than once a year, and it was important that I made room for ‘Yellowstone’ and made room for ‘Horizon,’ but we just — people ran through deadlines, they were busy, they had a lot to do. But ‘Horizon’ was secondary to ‘Yellowstone.’

“But it still had to line up,” he continued. “I had 400 people waiting for me, so I did things in a very limited amount of time.”

Costner added that whereas his Academy Award-winning directorial debut, “Dances With Wolves,” took 106 days, “Horizon” was shot in just 52.

“Horizon: An American Saga — Chapter 1,” the first installment in a proposed four-part film series, was released in theaters Friday. Costner has been pushing the project since 1988.

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“I thought it was good, but no one would make it,” he said on “CBS Mornings.” “I thought, well then, I’ll write four more, see how they like those.”

Costner said no one liked those either, “but I did, and I couldn’t forget [‘Horizon’]. I fell in love with it.”

During a Thursday panel discussion for Josh Horowitz’s “Happy Sad Confused podcast, Costner said, “I felt like I had a secret for you in this movie,” adding that his faith in the project has grown with the cast’s. “I turned the script over to these actors, and one by one, as they read it, they said they wanted to be a part of it.

“I knew we had something,” he said.

“Horizon” brought in just $800,000 from more than 3,000 locations Thursday, according to studio estimates — a soft start on its projected opening weekend box office take of $10 million to $12 million in the United States and Canada. Filmmakers and studios remain hopeful that Costner’s fan base will deliver over the weekend.

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“Horizon: An American Saga — Chapter 2” arrives in theaters Aug. 16.

Meanwhile, the final six episodes of “Yellowstone” are well into production and slated to air Nov. 10. The first half of “Yellowstone” Season 5 aired between November 2022 and January 2023.

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Trigger Warning Movie Review: Enjoyable action in this revenge film

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Trigger Warning Movie Review: Enjoyable action in this revenge film

Boom. Crack. Crunch. That’s the nature of Trigger Warning, starring an in-form Jessica Alba as an active-duty Special Forces commando, Parker, who comes to her hometown after her father’s demise. Alba performs throat-slashing, bone-crunching stunts in some supremely well-executed action sequences. In one scene, after saving her male friend, Spider (Tone Bell), she quips, “Sup! Damsel in distress.” There is a lot to like in this action thriller, even though it occasionally suffers from some convenient writing and perhaps has a protagonist who’s almost invincible.

Director: Mouly Surya

Cast: Jessica Alba, Anthony Michael Hall, Mark Webber, Jake Weary, Gabriel Basso

Streamer: Netflix

We first see Alba’s character, Parker, as she is in mid-combat, trying to take down terrorists. Parker, who has an espionage background, suspects that there might be foul play around her father’s death. The truth about it unravels around all the mayhem. The violence is not all about the gun. In an impactful stunt scene, after her rifle is knocked down, she coolly grabs a knife and stabs him in the heart. Soon enough, we understand where she got the knife from, and why there’s some poetic justice being dispensed as she wields it to threaten intruders, slash tyres, and more. For the first half hour, the film maintains an aura of suspense about the protagonist’s personality and motives, but once the cat gets out of the bag, the rest of the film, even if with enterprising stunt scenes, turns into a routine revenge thriller.

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Once perpetrators get identified around the halfway mark, it’s just a matter of scores being settled. It’s here that the convenient writing proves to be a bit of a dampener. We learn early on that Spider is good at cyber-hacking, but later, how this skill comes in handy isn’t exactly a great moment. A bigger issue perhaps is how Parker is invincible. Even when unarmed and handcuffed, no enemy can truly dominate her. This means that when she does slide out of tough spots, it’s not exactly a surprise.

All said, Trigger Warning does have quite a bit going for it. The writing, for instance, ensures that Parker isn’t just fighting a personal battle. Her resistance is also for the greater good of the country, resonating with her values as a soldier. So, even if it’s a film with flaws, Jessica Alba’s stunt dynamism is eye-catching. If you are considering checking this film out, just remember that it’s about a protagonist that shoots first and asks questions later. 

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Blumhouse's latest strategy to scare the hell out of you: video games

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Blumhouse's latest strategy to scare the hell out of you: video games

Over the last 15 years, Blumhouse has built a reputation for success by producing low-cost, original indie horror films. Now, the studio best known for such movies as the “Paranormal Activity” franchise and “M3gan” is looking to do the same in video games.

The Los Angeles-based film and TV production company recently announced its first slate of games, starting with an homage to ’90s teen horror films called “Fear the Spotlight,” a third-person, puzzle-solving adventure that’s expected to come out in the fall on desktop and consoles.

The studio saw an especially relevant opportunity — not only was the games industry growing, particularly among young people, but Blumhouse’s own fans frequently identified as gamers, Blumhouse President Abhijay Prakash said in an interview.

“I don’t think you can be in the entertainment space and not notice or be aware of gaming,” Prakash said. “The market is growing globally and diversifying its audience, it’s super relevant to the audience we’re already in touch with, and there was a business opportunity for us to do what we did in movies and apply it to games.”

Blumhouse is the latest studio entrant to the massive video game market. Megan Ellison’s indie firm, Annapurna, has a gaming division, as do brother David Ellison’s Skydance Media and J.J. Abrams’ Bad Robot. Warner Bros. Discovery’s gaming unit has long churned out big franchise titles, including last year’s Harry Potter-themed hit, “Hogwarts Legacy.”

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“It’s not just potential revenue,” said Danny Bilson, director of USC Games, a joint program with the university’s engineering school. “It’s culture. It’s fishing where the fish are.”

Gaming is big business. More than 190 million Americans play video games at least once a week. U.S. consumer games spending last year totaled $57.2 billion, according to the Entertainment Software Assn., an industry trade group.

Globally, revenue last year from the games industry was estimated at $183.9 billion, a slight increase compared with 2022, according to a report updated in May by Amsterdam-based gaming research firm Newzoo.

Moreover, the amount of time people spend gaming — and importantly, how much money they spend — has remained resilient through recessions. (The industry, however, has recently experienced a pullback after a pandemic-fueled boom in hiring and production, resulting in thousands of layoffs.)

“Gaming continues to be a much more interactive and exciting way to enjoy entertainment,” said Josh Chapman, co-founder and managing partner at Konvoy Ventures, a Denver-based venture capital firm that focuses on gaming investments. “It’s no surprise that Hollywood studios are looking to games as additional revenue. … It’s a way to get their IP [intellectual property] in front of a new fan base.”

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The pipeline also has run the opposite direction, sometimes to great success. Postapocalyptic video game franchise “The Last of Us” spawned the wildly popular HBO series of the same name, starring Pedro Pascal. Bethesda’s “Fallout” games became the basis of a show for Amazon’s Prime Video.

Blumhouse executives began thinking about expanding into games about three years ago. Chief Financial Officer Josh Small, who previously helped Annapurna get into gaming, was a key driver of those discussions, Prakash said.

The company hired veteran video game producer Zach Wood and former PlayStation executive Don Sechler to run the gaming division, which launched last year.

Games can be expensive to produce. But as with its low-budget horror films, Blumhouse is taking what executives describe as a “lean and mean” approach to the sector. The division is targeting indie-level budgets, mostly under $5 million per title.

Blumhouse Games, which has a handful of employees, serves as a publisher, partnering with indie developers to finance and make the games, then taking the final product to platforms like online gaming marketplace Steam, as well as Xbox, PlayStation and Switch, where consumers can pay per game.

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So far, the games slate has hewed closely to the horror content of Blumhouse’s roots.

“Fear the Spotlight,” developed by L.A.-based Cozy Game Pals, centers on two teen girls who venture into an abandoned school to conduct a seance, an undertaking that inevitably goes wrong. “Crisol: Theater of Idols,” from Madrid-based developer Vermila Studios, combines religion with horror and requires the player to use their avatar’s own blood as ammunition. The slate will include a mix of desktop and console games, as well as mobile games.

Perhaps surprisingly, one thing the current slate doesn’t include is any game related to Blumhouse movies. That means players won’t find games that expand the universe of “The Purge” or allow them to dance with M3gan. The current separation between the games and Blumhouse studio stories was intentional, said Wood, who serves as president of Blumhouse Games.

“It’s a games-first approach,” he said. Though the team knew fans would expect to see games based on Blumhouse‘s films, they wanted to focus first on originals, “similar to how Jason [Blum] built the film business,” he said.

Wood added that Blumhouse Games doesn’t evaluate pitches from developers with an eye toward film or TV partnerships. Though the games subsidiary does talk with the studio side — and the door is open to future collaborations — the focus is on “building trust with fans” to expect creative, unique horror games, he said.

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It’s a strategy similar to that of Bad Robot Games, which started as a small subsidiary and evolved into a larger game developer and publisher. Bad Robot Games now focuses on a mix of existing intellectual property and new stories, Chief Executive Anna Sweet said in a statement.

“Gameplay always comes first,” she said. “Once we find the fun, we then look at how we can build a world and story that complements it.”

Developing games based on existing movies is often a way for studios to expand a film’s popularity and increase longevity — and monetization — among fans. Netflix has expanded its mobile-only game offerings with new titles based on its hit reality shows, such as “Too Hot to Handle,” to reduce subscriber churn and increase the time viewers spend on its service. But betting on existing movies doesn’t always work.

Warner Bros. Discovery took a $200-million hit to its profit in the first fiscal quarter this year due to poor sales of its game “Suicide Squad: Kill the Justice League.” (Company Chief Executive David Zaslav called the release “disappointing” in a May call with financial analysts.)

Walt Disney Co., too, has had its ups and downs with games. After years of struggling as a game developer and publisher, the company adopted a licensing model in 2016 that allowed it to work with outside entities to make games based on Disney characters and stories.

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In February, Disney leaned harder into that strategy by announcing a $1.5-billion deal with “Fortnite” developer Epic Games for a minority stake in the company and the creation of a “games and entertainment universe” involving Disney brands.

“The best media companies in Hollywood will figure out gaming as a tool,” said Konvoy’s Chapman. “If they launch into games, opening weekend remains important but less important. It’s more about, how do you monetize this over time?”

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