'How to Get Away With Murder' Losing Its Thunder?

Can #HTGAWM bounce back?

How to Get Away With Murder, last part of Shondaland's Thursday lineup, is a killer mysteries and mayhem stunner. With a magnificent, inclusive cast led by Emmy winning Viola Davis, episodes frequently end on juicy, jaw-dropping cliffhangers. Yet since the clumsy finale to season two's big Hapstall case, something seemed amiss about the guilty pleasure drama. Unveiling Caleb as both snitch/murderer and Michaela's nonsensical drunken hookup with prep boy Asher while she was still technically Caleb's girlfriend were limply put together-- sadly unappetizing for a show relying heavily on shock value twists.  

The writers expect us to buy that oddly paired Asher (Matt McGorry) and Michaela (Aja Naomi King) have a romance. Nothing more than tawdry sex mentioned or shown every episode. Are we expected to believe that smart, intelligent, self-sufficient, strong Mrs. Pratt would go for a sleazy, douche-y character who back ends people with their cars? Asher, intolerable, bad-dancing, run on pun, is easily the lamest pick of the Keating 5. Michaela could do so much better.

A bland opened and closed case that left little excitement.

Season three opened with an anonymous person posting Annalise murder posters all around Middleton University's Philadelphia campus. Promos teased for an exciting revelation. The answer to this tawdry riddle, however, was nothing more than a fizzled, predictable outcome. Whereas the other mystery this season is "Who's Under the Sheet." For the first time, the series is showcasing events to the murdered victim as opposed to the events leading to why the person was murdered. So far, it holds steady interest, each episode closing with an alive person. At this point, Oliver, Bonnie, Michaela, and Asher are still breathing with under hospitalized supervision pregnant Laurel (a "Who's the Daddy" came up, but again another easy answer with red flag Meggy being the one who provided the information that Laurel had a bun in the oven).

Wes (Alfred Enoch) and Meggy (Corbin Reid) served nothing more than filler-- at least in Wes's eyes.

The introduction of good girl hospital intern Meggy as Wes's mysterious girlfriend seemed to provide the troubled man distraction away from horrendous events. He had witnessed a bullet strike his rapist father's head, learned his mother really did commit suicide, and gradually no luck came in the romance department. In finding himself a sweet, afro haired bike riding lady (a mirror to his own bike riding ways), he did refrain from being completely honest with her, using their relationship primarily as a scapegoat. Last week's breakup, which he provided all the ammunition to end things, he exhibited cold callous behavior to Meggy (despite her embarrassing "I love you" confession) and had the nerve to bed his friend Laurel seconds after.

Oliver (Conrad Ricamora) broke things off with Connor (Jack Falahee) in the first episode of season three.

Breaking up Connor and Oliver (beloved Coliver) remains to be a complete travesty.
Perhaps it's to ensure that these two characters grow on their own, separate from one another for the time being. Yet Connor has resorted back to his compulsive sex loving ways while Connor, who wanted to be alone, has started seeing someone. This is logical how?

In season three, episode 5's "It's About Frank," Bonnie (Liza Weil) and Frank (Charlie Weber) awkwardly got it on in Coalport, PA.

In the very next episode, "Is Someone Really Dead," Wes (Alfred Enoch) and Laurel (Karla Souza) take a turn between the sheets-- which just as foul as Bonnie/Frank. This results in Laurel's pregnancy. Disgustingly atrocious, but not at all surprising.

The real miss this season is that close platonic bonds have turned grossly sexual. For example, strangely incestuous quadrangle of Bonnie/Frank/Laurel/Wes is a sickening, utterly vapid story line that makes little sense. Chemistry is not something that should be forced down viewer's throats, but each passing episode promises flavorless chewing and vitriolic stomaching. The rotten icing on the cake is Officer Nate getting it on with Annalise's current nemesis, ADA Atwood. Talk about heinous.

A few people hope that Atwood (Miluana Jackson) meets an ala Emily Sinclair demise. That would look suspicious. Best keep her alive and with Annalise besting her in the courtroom time and time again. After all, there are worst things than murder, right?

Well, pushing uncomfortable revolving bed partners aside, two episodes remain before winter break. Prayers that the hugely promoted "Who's Under the Sheet" unravels to a delicious, worthwhile outcome. The other plots are messy and undesirable to watch, in fact cringeworthy is the genuine feeling here. In order to get back to the secret ice cream pint consuming binge joys of yesteryear, it's up to Pete Norwolk and his team of once gutsy writers to invent jolting catalysts that keep a viewer attentive and engaged. Let's wrap up catapulting viewers with unnecessary, baseless hookups and keep them entertained via dark mysteries and tantalizing whodunits. Please.

Memorable Glenn Rhee Moments

In memorium: Glenn Rhee (Steven Yeun) from The Walking Dead, one of the most watched television series on earth right now.

It's been a while since a hard ugly cry over a character death, a barbaric character death at that.
The grisly chill of seventh season premiere of AMC's The Walking Dead contained heartbreaking tragedy as the survival group lost one of its most imperative core members. Glenn Rhee, a major character since season one of the zombie apocalypse series, was definitely one of the highlights, an instant favorite. Sweet, affable, funny, and badass, the former pizza delivery boy matured from funny wisecracking sleuth who drove getaway vehicles to compassionate moral compass of the group (family in other words) to a expectant father with true love Maggie Greene. In the scope of six years, he came into his own, earning the respect and support of his fellow survivor friends, showing strength, vitality, even leadership.
Everybody loved him.
Here's a few reasons why he'll be forever missed:

1. The "come with me if you want to live" introduction to Rick Grimes and the start of the nickname "Dumbass."
From the day Glenn saved the horse riding Rick out of danger, Glenn became an unlikely hero. Always the first to volunteer for the food/supply run, he proved to savvy on the road and off, kicking zombie butt and getting whatever was needed.

2. His strategic capability, bravery, and resourcefulness.
Often Glenn got left in a bind (a somewhat running joke of the series). Still, he knew how to not get killed. Adept and courageous, he was always quick on his feet. Whether finding a shelf to slam into a zombie skull or ripping out bones from a dead body, he could make a weapon out of anything and escape to safety.

3. His great post-apocalyptic romance.
The moment the group found Greene's farm (a temporary sanctuary), Glenn fell for the strong, resilient Maggie Greene. Their love story, filled with triumph and tragedy, brought a deeper maturity to Glenn's character. Yes, he valiantly fought hard to rescue his family from danger, saving Rick and Co. countless times over. With Maggie, however, his heart was on the line. He wouldn't lose that for anything.
He treated Maggie with courtesy and reverence, especially demonstrated after The Governor's disgusting assault of her. Glenn regarded Maggie gently. He broached this terrifying situation carefully, this monstrous added element of surviving horrific mistreatment. This wasn't zombies, this was man. Glenn didn't turn away or revolt from Maggie. He stayed, waiting patiently for her to come to him on her own.

4. His inclusion into a third family.
Hershel Greene, although showing earlier reluctance and disapproval, grew to care about Glenn. In a rather humbling scene, the older man gives Glenn a gold pocket watch heirloom (the opening credits posts this alongside Steven's name). Hershel sees Glenn as a surrogate son, worthy of his daughter, of being an honorary Greene member. It is a passing down of respect and gratitude, thus welcoming Glenn into the cusp of another group of people who love him.

5. His forgiving nature.
Glenn liked to believe in the goodness of humanity, that not all people should die for making mistakes, which perhaps brought on his glistening tears as he murdered people in their sleep in "Not Tomorrow Yet."
Earlier on, Tara was part of The Governor's group that had Axel and Hershel killed, but Glenn (still healing from the flu outbreak and having snuck out of the bus unbeknownst to Maggie) saved lonely survivor Tara from the zombies overtaking the prison. In return, she saves Glenn countless times.
Nicholas, a resident of Alexandria Safe Zone, was a liar who got Aaron and Noah killed. He tried to murder Glenn too. Even then, Glenn didn't retaliate, instead keeping a wary eye on him.
In "Thank You," Nicholas makes the ultimate sacrifice, which in turn, kept Glenn alive.

6. His riot gear.
No other words beyond that, Ladies and Gentlemen.

7. Metaphoric meaning behind his fateful last words, "Maggie, I'll find you."
When they were separated by The Governor's minions to leaving the prison to being abandoned beneath a dumpster, Glenn found his way back to Maggie. He always found her. They always found each other.
Yet this time around, happy endings will be in dreams and afterlife.

Steven Yeun played Glenn with compelling versatility that must be applauded. The Saturn nominated actor delivered a tremendous depth in this phenomenal character journey. With upcoming roles in the animated Chew based on Rob Guillory's comic book series about a Cibopathic detective (psychic visions whenever eating) and action thriller Mayhem about a framed corporate lawyer in the middle of a virus outbreak, may Yeun continue finding more roles breaking away from Asian racial tropes.

Five Prime Reasons to Check Out Issa Rae's HBO Show "Insecure"

Sunday nights are about to be super lit.

HBO took a chance on debuting a hip hop girl empowered television comedy called Insecure.  Created by Awkward Black Girl's Issa Rae and funnyman Larry Wilmore, the modern day series follows in the path of a working black woman, Issa and her best friend, a hotshot corporate lawyer, Molly. It's pretty badass, rated R raunchy with heart, and laugh out loud funny. Plus, like Queen Sugar, inclusivity is featured behind-the-scenes as well. That's wonderful!
Here are five prime reasons to fill your Sunday nights with Insecure:

Issa Dee (Issa Rae) finds her life on display instead of the organization she represents.

1. Kids honestly can't understand our conscientiously fluid adulthood.

When Issa stands in a stuffed classroom of misbehaving, badmouthed fourth graders, embarrassment levels are up on full blast. They dis her speech, her singleness, her clothing style. She takes their offensive darts left and right, standing tough, a big golden smile on her face. Yet as questions become more invasive with cruel clapbacks, how can anyone not feel sorry for poor Issa?

Plus the haunting (albeit vexing) question “why do you talk white?” has hounded most intelligent, well-educated black women for almost our entire lives. We're taught by our own race that being articulate is a crime against ebonics. And that “why is your hair like that?” given specifically to black women with big chops and short TWA's tells us that our unique version to white girl pixie cuts are not allowed.

2. Microaggressions at the workplace are common. Find ways to cope.

Issa hates being singled out for ideas, especially the click-and-bait. She decides not to help them out by pretending she has no idea what ghetto linguistics are. It's quite hysterical.
Even if her white co-workers have the best intentions, they're delivering inflammatory remarks (often spoken in an over-saccharin dripping tone in how one asks for a cup or sugar). That should always be taken into serious context.
Issa handles their racism like a snarky, tea-sipping boss.

Out of all the lipsticks, Issa decided a clear gloss was best. That's all of us.

Nothing wrong with being your own cheerleader.

3. Love yourself 101.
When Issa preps for a night out, switching lipsticks and personalities, the scene felt like a powerful, celebratory statement. Overall honest and candid, a rare look at how black women see themselves when alone. A black woman can be anyone she chooses to be-- sweet, sexy, goth, funky, and innocent all in the bathroom mirror.
Issa's reflection was everyone's reflection.
She loves herself. And we are falling in love with her too.

No one should be resting in one place.

4. Relationships hit rough patches. Things will only worsen over time or evolve into something profound.

Each scene featuring sweats clad Lawrence, Issa's boyfriend of five years, showcases a man's potent fluency in laziness limbo. The handsome couch occupier goes from sleeping like a hibernating bear, to canceling birthday dates to “stay in,” to eating a big bowl of cereal whilst having the audacity to call out Molly's "high standard" taste in men. However, appearances are deceiving. Lawrence is looking hard for a job. Real hard.

Yet Issa is fed up. Perhaps that explains her being drawn to an old infatuation, her long time crush, Daniel (Y'lan Noel) who Facebook/text messages her constantly and ignites hilarious impulses.

Still, without distractions (and a job) causing strife, maybe Issa and Lawrence can work it out somehow.

Girls just wanna have fun. Go Molly (Yvonne Orji) and Issa (Issa Rae)!

5. Don't ditch your surrogate sis for a man. Ever.

We all have a ride-or-die best friend that we love hardcore. They're usually depicted as our long lost sibling, our better half, perhaps even our real soulmate. At the same time, we have moments of pure selfishness.
Issa and Molly have an amazing friendship, a real, genuine chemistry igniting the screen.
It was only right that Issa hilariously sang a bit of The Girlfriends theme to her. Their vibe is as fresh as a bite of peppermint gum.
Towards middle of the episode, Issa commits the ultimate friendship code wrong-- planning a “girl's night out” solely for intentions of seeing a guy-- Daniel of course. With Daniel's cheerleading, she bravely takes open mic freestyle stage and spits female empowerment song "Broken Pussy" over a slick beat. However, Molly is not celebrating Issa's bravery. She only sees it as a hurtful slap in the face.
In the end, admirable that though prospect tempted our coilly coifed protagonist, she declines a Daniel's indecent proposal. Issa instead (and rightfully so) spends the night with her bestie, bonding over junk food, slyly ensuring an allegorical promise that this half-hour comedy will become addictive guilty pleasure as the season progresses on.

The-Oh-You-Just-Go-Leave-Me-Hanging is the worst. Great save Issa! Not awkward at all.

Disney Takes a Giant Leap of Faith With "Queen of Katwe"

Queen of Katwe film poster has that The Lion King vibe.

 "This just isn't a game, it is a way out."

Queen of Katwe paints marvelous touches on desires to become bigger than improbable circumstances. On the canvas, set in Uganda, Phiona Mutesi, a young, intelligent Ugandan girl selling maize alongside her little brother to make desperate ends meet, leads this engaging biopic. Uniquely enough, showcasing continent from within, hardships and strife hold hands with love and joy, rarely seen in an African based film.

Nakku (Lupita Nyong'o) and her daughter Phiona (Madina Nalwanga).

After her brother speaks of Robert Katende, an educated happily married man, showing village children something new and exciting at the community center, Phiona comes along, immediately curious and drawn to activity of chess. She quickly picks up the challenging game, emerging from beginner to novice quite fast.  Her low-spirited shyness dissolves as building confidence takes place. Of course, Phiona's mother, Nakku is against anything that isn't helping keep a roof above their heads. Night, Nakku's other daughter, fancies moneyed boys and an "easy" way out of impoverished slums whereas always-doing-right Phiona is Nakku's most reliable girl. Chess becomes the vehicle driving emotional threads to Phiona and Nakku's close relationship, threatening to divide a mother's need for stagnant consistency and a daughter's newfound commitment to better her situation.

Robert (David Oyelowo) is impressed with Phiona's (Madina Nalwanga) skills and pushes her to continue playing.

On quest to become a Chess Master, Phiona falls into arrogant behavior.
It is understandable.
Phiona hails from a predicament where women aren't to have dreams beyond finding a financially sound man. The situation is worse still. Night's ups and downs consist of receiving monies, fine clothes, and accessories as well as being systematically dumped several times. It isn't the life Phiona wants.
Moments in which Phiona is strongly defiant, wanting to compete in every chess competition she can, are intensely moving. Sure the audience is expected to believe that she is getting carried away with her forceful motivation. Yet implanted hope grows regardless.
Phiona is deserving-- deserving of every good prospect sliding in her direction.

Nakku (Lupita Nyong'o) parting Phiona's (Madina Nalwanga) hair.

Queen of Katwe, a Disney production, celebrates not just Phiona's chess victories. This bold, powerful tale, breaking a tradition of European beauty standards and exclusive fairy tale caricatures, is a testament to young black girls that they can be anything they want to be. They don't have to desire waist length hair, light skin and light eyes, or a romance. They can be their perfect individualized selves without any alteration caused by inherent brainwashing. They can be their own Phiona-- short cropped hair, dashiki fabric, and luminous ebony skin product of pure Africa-- desiring to play chess at highest level possible.
That is an astounding accomplishment.
The "unconventional" can become the normality.

Phiona the champ with one of her guiding lights, Robert (David Oyelowo).

Another solid plus, which is usually typical Hollywood tactic, is that no white saviors assertively present themselves. Mira Nair utilizes African resources to best of knowledgeable ability. From the Katwe slums to the big city, the largely black cast has no need for outsiders. Moreover, Phiona is her own hero. Sure Robert paved the way, shared a gift with Phiona, but her intelligent mind is hers alone.

"Are you my daughter?" Nakku asks. "Yes, I am," Phiona declares.

Queen of Katwe may have a few cases of formulaic principles to amp up drama.
However, that doesn't break away from a triumphant story that will inspire female equations worldwide. Phiona, an unlikely heroine, overcomes humungous odds by besting both boys and girls, with a beaming, wide smile and tender grace. With aide of valiant Robert and once reluctant-turned proud Nakku, Phiona cannot lose. 

Director Mira Nair and Lupita are all smiles in a filming location.

Nair has performed a gracious act by taking on a narrative set in Africa.
With witty charm, comedic chops, and heartfelt sincerity, David Oyelowo is exceptional as a man who sees and honors the potential he sees in lower class pupils. Lupita Nyong'o portrays Nakku with remarkable three-dimensional tenacity. From angrily snatching her children away from Robert to making ultimate sacrifices for Phiona's happiness to utter distraught at Phiona's temporary heartbreaking decision, Nyong'o displays an incredible range of skillful performance. Awards season should knock on her door next year. As for newcomer Madina Nalwanga, she was a standout as the leading focal point. She showed extreme depth, rendering Phiona's passion, strength, and will. This may be the start of an excellent road ahead for this mesmerizing young actress.

"Are we still going to be Americanah's Ifemulu and Obinze?" Yes. Please. Lupita and David have a beautiful vibe together. Let's hope they make a few more films with each other, especially a certain treasure based on Chimamanda Adichie Ngozi's thought-provoking novel. Is it too much to want Mira Nair or another amazing filmmaker woman of color to direct them again?

Queen of Katwe is worth viewing over and over. The acting, direction, music, and cinematography is an overall celebration of the beauty of Africa and its humbled yet passionately determined people. We all know a Phiona Mutesi-- whether resting dormant inside of us or visibly depicted in another.
Also must recommend staying after film is over for poignant rolling end credits and this special music video directed by Nair with surprising cameos. Such a splendid treat all around!
Let's hope that more authentic stories based in Africa receive the Hollywood greenlight.

Goodbye Pigeonholing, Hello "Queen Sugar's" Mouthful of Honey Dripping Poetry

Queen Sugar is based on Natalie Baszile's NAACP Image Award nominated novel.

True perennial grasses-- sugar cane that is-- has yet touched the lives of the Bordelon offspring. These symbolic sweet acres will, however, become primary inheritance tying them together as deep as shared bloodline. With tantalizing twang and pleasant degree of Southern hospitality comes a story rich in fertile soils watered by Ava DuVernay's compelling flower pot.

On Oprah Winfrey's OWN Network, already renewed for a second season, Queen Sugar is a promising television series coated in profound integrity, placing nature of black family love and burden on the pedestal. Unlike most shows, this hearty drama looks to fulfill a void audiences have long since desired to view.

Nova (Rutina Wesley) is a natural, mediated leader of the three siblings.

"First Things First" is an introductory parlay of muted intimate frames set in beguiling arrangement like trembling fragile pieces desperate to fit together-- DuVernay's signature metaphoric vignette direction. Unlike Baszile's book, which features Bordelon siblings as a duo, the television series has a triad led by an invented character. Nova is an apothecary magician/contemporary medicine woman carrying on a passionate affair with a married cop; Charley is a spoiled basketball wife/mother living far from humbled Southern beginnings; and Ralph Angel, the youngest, is a troubled young man with anger outbursts often triggered underneath a vulnerable innocence that comes to light in every interaction with his impressionable young son, Blue.
Nova, Charley, and Ralph Angel cannot be anymore different than one another.

Ralph Angel (Kofi Siriboe) with Blue (Ethan Hutchison) and his gender bending Kenya doll.

This special scene embodied the great love a present black father feels for his son. Beaming Ralph Angel came out with Blue's heavily lit birthday cake (more than four years worth of celebration) and connected to Blue's proud face alone.

Three male generations on the hospital bed together is one of the finest scenes ever rendered. That stray tear coming down Ernest's cheek as he holds Blue whilst connective staring at Ralph Angel brought tremors to heart and mind.

At their father's funeral, Nova holds the hands of her brother and sister. They stand out, this united front, only ones dressed in pure, bathing white clothing. This remarkable fashion choice seems to showcase their black, marginalized bodies as earthly angels. Plus it adds an additional current of love to their father who was buried in a white casket. 

"Evergreen," episode two, is a clashing war between sisters (Nova wants to plan every step Ernest's funeral and Charley wants a role) whilst neglecting a brother's desires.

Neema Barnette's helm episode aptly titled "Inherit The Earth" opens with Ernest splitting his eight hundred acre struggling land between his three children. Nova and Charley want to sell, but Ralph Angel is desperate wish to keep their inheritance in the family. He eventually breaks down in Nova's arms in one pivotal scene, sobbing out grief and frustration after almost inflicting great violence.

The unison of Ralph Angel, Charley, and Nova Bordelon are cast perfectly.

Actors are strong and convincing.

Rutina Wesley, True Blood alum and dazzling centerpiece of Queen Sugar, breathes credible life into beautiful, wise, strong Nova. Refreshing Dawn Lyen-Gardner is a force to bear witness as Charley. That remarkable scene where she receives horrific text message video, inserts poisonous truth, and slowly yet purposefully steps on the basketball court to confront her foul husband was absolutely astounding. Kofi Siriboe inhibits layered complexities required for a multifaceted role of Ralph Angel-- a man dangling between moments of sheer blissfulness, hardened distrust, pure anger, and quiet longing.

Queen Sugar is an ethereal, Gothic visual art piece of television history in the making. Led under Winfrey's nurturing guidance and DuVernay's graceful wings, other women directors and profound musical choices by Meshell Ndegeocello present a triumphant treat. To include many feminine voices in the room is a divine privilege shining brilliantly through each scene.

Thanks to Winfrey and DuVernay, one can only hope exceptional opportunity is a catalyst to have momentous progression continue onward.

Everyone must watch Queen Sugar and become riveted by the Bordelons. They're honest, authentic, and utterly human. Yet also, they're a testament of our time.

67 Years of Funny White Women in the Lead

The 68th annual Primetime Emmy Awards aired Sunday night.

For so long, we had waited for a chance to be considered the Best Leading Actress in a Television Series. Cheers came loud and proud from Debbie Allen to Kerry Washington to sistahs in between. Last year, at last, Viola Davis shattered predominantly white glass ceiling by winning coveted Outstanding Actress in a Drama Series trophy for her layered performance as Annalise Keating on ABC's How to Get Away With Murder. It took sixty-seven years to honor a Black woman— which was a lot sooner than the thirty-two years for an Outstanding Leading Actress in a Comedy Series win.
Yet here we are, after sixty-eight years, stuck with pathetic results— one Black woman winner for lead in a drama, one Black woman winner for lead in a comedy.

Isabel Sanford (with Sherman Hensley) with her big Emmy win.

Back in 1981, sixty-four-year-old Isabel Sanford took home the golden statue after her third consecutive nomination in the category for playing Louise "Weezy" Mills-Jefferson on The Jeffersons. She was the first black woman to win Outstanding Leading Actress in a Comedy Series.

So far, she is the only.

Diahann Carroll, Isabel Sanford, Nell Carter, and Phylicia Rashad paved a way. 

On the television screens, they were warm, smart, delightful, and funny-- playing major matriarch role in a slew of uplifting black family sitcoms. Generation after generation found a "mom" to call their own, a maternal hand that playfully slapped common sense into their children's naivety. In moments of despair, attentive audiences counted on these remarkable women to make us chuckle, giggle, and chortle. Sometimes they made us cry. They even made us think, question ourselves, our identities. 

Although other intelligent shows shared comedic chops from A Different World to In Living Single to Girlfriends, not one Black woman could break into the Emmys five to six entry ballot often primarily reserved for white women.

Julia Louis-Dreyfus as Selina Meyer (Veep) for the win. Again.

With Julia Louis-Dreyfus's fifth straight victory in this category, she beats out Mary Tyler Moore and Candice Bergen for most Leading Actress in a Comedy wins. She also holds the record for most Emmy wins out of twenty-two nominations. That almost doubles the amount of total nominees black women have received altogether. Heck, adding fuel to the fire, Louis-Dreyfus, Moore, and Bergen's combined trophies beat them out as well.
TVline's Michael Ausiello's short case for why Louis-Dreyfus needs to exit the race almost seems positive. He mentioned Bergen's polite dropping out:

In 1996, shortly after winning her fifth non-consecutive Lead Actress Emmy for Murphy Brown, Candice Bergen took herself out of the running in order to give one of her peers a shot at the gold statue.

Next sentence in, Ausiello says:

In this era of #PeakTV, a Louis-Dreyfus-less Lead Actress competition would not only allow one of her overdue rivals to grab gold, but it would create a much-needed vacancy in the six-person race, paving the way for the Michaela Watkins’ and Constance Wus and Rachel Blooms of the world to sneak in.

Constance Wu is brilliant in the wickedly humorous Fresh Off the Boat. One of several key snubs robbed of an Emmy nomination this year. Like black women, Asian women are scarcely seen as being capable of delivering weekly humor, let alone seen competition in what is seemed to be known as a white woman's sport. Hence why the yearning to be freed from stereotypical burden has been the strongest initiative in campaigning for the right of television equality and inclusivity. Women of color deserve to play more than pigeonholed constructions. If they can bring out laughs whilst dismantling white supremacy at the same time, they should not be punished or ostracized.

In 1969, Diahann Carroll (Julia) was the first African American to be nominated for Outstanding Leading Actress in a Comedy Series. The role was non stereotypical.

Isabel Sanford (with Sherman Hensley) received seven nominations for Outstanding Leading Actress in a Comedy Series— the most of all for Black actresses. This total also outnumbers the combined amount of the other nominees—a dismal six.

Nell Carter has two nominations for Gimme A Break!

Phylicia Rashad also scored two nominations. She played Claire Huxtable on The Cosby Show for eight seasons.

The 68th Annual Emmy Awards hasn't been inclusive since America Ferrera won an Emmy for Ugly Betty back in 2007. Voters have to stop choosing the same leading white woman year after year. Same selected roster of names are tossed onto ballots each year, the same old finalists— meaning the same old predictable outcome.

Black women and other women of color deserve a real, fighting chance to shine.

“When one of us wins, we all win.”— Taraji P. Henson, 2015

"Southside With You" Tells of An Epic 'First Date' And Defines True Relationship Goals

Southside With You film poster.

Even if one didn't know the iconic names Barack Obama or Michelle Robinson (Obama), this wonderfully depicted story of their first "date" is a treasure for romantic enthusiasts worldwide. It has the solid makings for a sweetly authentic biopic. Man knows woman, woman knows man, but can they work together? Of course!
Honest charm and affectionate promise lace between superb dialogue and raw acting as Barack and Michelle discuss racism, feminism politics, activism, and the best of Stevie Wonder.

Michelle (Tika Sumpter) and Barack (Parker Sawyers) share their dreams.

Southside With You begins with Michelle preparing for a community meeting with Barack-- who slyly has plans of his own. Pumping out Janet Jackson, in an old car nearly falling apart, our little master manipulator pulls up to the Robinson home, with old-fashioned Southern hospitality and an effortless swagger. Michelle sees not only severely damaged vehicle, but hidden cigarettes. Her disdain is plain as day. It's the delightful albeit humorous start to several spars and hotheaded differences, a note on two determined individuals who often clash.
And their willful passionate natures is a well-rendered treat.   
At a visit to the art museum, the-not-yet-a-couple find themselves enthralled in urbanism meets Modigliani styled artworks of Ernie Barnes-- elongated black figures, moving, modestly dressed bodies, and bright, vivid colors. These two prominent entities, walking through genre paintings and sculptures of African Diaspora, discussing and analyzing what they see is one of the definite highlights. Their talks are real, honest.
Then it goes downhill with misconceptions and assumptions.
But there's nothing humble pie and chocolate ice cream can't handle.

Barack (Parker Sawyers) and Michelle (Tika Sumpter) against the world.

Tika Sumpter, who is likely to be considered for an Independent Spirit Award (and more) has come a long way since playing Layla Williamson (on-screen younger sister of recent Tony winning Renee Elise Goldsberry's Evangeline on One Life to Live). She's held her own in Sparkle and Queen Latifah's Bessie. However, Southside With You, grants audiences a taste of what an exceptional leading lady Sumpter can be. She has a refreshing screen presence that is dying to continue showcasing tremendous depth and incredible range. With beneficial aide of a dialect coach, Sumpter easily slips into the intelligent, sophisticated role of Michelle Obama, her poised body language (especially Michelle's infamous arched brow) and sharp vernacular right on par. She truly embodied black woman feminism when delivering lines on the struggles of being not just a woman, but a black woman climbing high in a white patriarchal profession.
Newcomer Parker Sawyers was a befitting choice as the young, chain-smoking president-to-be. Utterly charming, silkily smooth, and with Barack's authoritative voice to match, Sawyers was the definite answer to a challenging casting call. First of all, he mesmerizes as a powerful, compassionate orator (one of Barack's finest talents), secondly, shines as a smitten man instilled in the art of wooing (but not in a way that is creepy or  caveman), and lastly, flawed humanism of Barack's shortcomings.   

Barack takes Michelle to see Spike Lee's riveting Do The Right Thing. The direction is awkward, almost clumsy way of getting both Lee's famous work and reactions of the future President and First Lady in cinematic frames.

Their chemistry is an enduring chess match. By day's end, the inner cheerleader roots for the man to win the woman. They're evenly matched-- a winning combination.
Although Southside With You isn't a flawless masterpiece, it is a nice, irresistible treat to nibble on. Whereas most black films feature woman being named ugly names under the sun by cruel, ignorant men or women desperately pandering to masculine appeal, Richard Tanne's first directional/screenplay writing effort dismantles stereotypes and pigeonholes. Barack is a complete gentleman, very attentive, respectful, and protective of Michelle. He is a chivalrous, smart man in early throes of awe. In the meantime, Michelle, guarded, resilient, and tough, slowly starts to fall under the crackling spell of a future commander-in-chief, without losing her dignity and grace. Her dark skinned black beauty, not waxed on poetically, is something witnessed in the way she articulates a word, casts a glance, shifts her body.  And viewers are left astounded by Barack's fascinating testimony.
Southside With You is a film that will stay in heart and mind, retain a certain kind of rustic spirit, that lingers long after John Legend's song and Ernie Barnes paintings disappear from the screen.