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Jordan Peele did the damn thing with ‘Nope’

By MAGRIRA

Special to the AmNews

Daniel Kaluuya in Jordan Peele’s “Nope” (Courtesy photos) Keke Palmer costars in “Nope”

I don’t want to hear anyone say “I don’t like horror movies” when thinking about sliding into a cool movie theater to experience (yes, experience) Jordan Peele’s newest masterpiece “Nope,” which can be accurately described as wonderfully creepy and a clever mashup of modern sci-fi, which is also a stone-cold thriller.

The interesting thing about jumping into horror is that we, the collective we, seem to enjoy tapping into our fears. And the closer to the “truth” the experience, it seems, the better the scare. So, it’s safe to say that most of us are afraid of UFOs, with a large section of the global population believing that they have been “hiding in plain sight” for millions of years, if not longer.

Some critics have mentioned how Peele’s been influenced by Steven Spielberg’s “Close Encounters of the Third Kind” but it’s been so long since I’ve watched the film, I can’t say that I agree with my esteemed colleagues.

“Nope” stands on its own and with strong actors like Daniel Kaluuya bringing his character Otis Haywood Jr., nicknamed OJ, to life, you already know the film is on the right track. Early on, he reunites with his spirited, chatterbox sister, Emerald (Keke Palmer), on the California horse ranch they inherited from their father, Otis Sr. (Keith David), who dies during a mysterious shower of inanimate debris.

This has been a family business for generations, making their money renting out horses to the entertainment industry, with the Haywoods serving as on-set wranglers and horse whisperers. But OJ isn’t interested in keeping the family business alive and wants to sell it.

But we all know how life goes and before he can get the opportunity, he’s forced to chase a horse that has leapt the fence of its training arena. Remember, animals always know when something evil is brewing.

What OJ witnesses, in the distance, is an unusually big and active crowd that’s lit by floodlights, giving that creepy feeling of an assembled outer-space cult.

More signs appear with each one growing weirder: a cloud that doesn’t move and has not budged in weeks; winds that act like devastating, fast-moving tornados; and, finally, a dark object that glides and moves through the air like nothing we’ve seen on this earth.

Now, we all know how we feel when witnessing something we just don’t want to deal with— offering the strong statement “NOPE”—and this is cleverly and amusingly laced throughout the film.

We all know that many cultures maintain that their origins are from the stars, so the belief that we are not alone in this universe is as old as time itself with UFOs holding a special place in our hearts. When I read that officials continue to maintain there is “no evidence” to prove it, I understand just how deep the conspiracy is to hide the truth from the world.

Now, what makes “Nope,” Peele’s third feature, such a stand-out film: to begin, it sets (and maintains) a seductive mood that makes you feel a sense of unease and unrest, with the gifted director luring us into the quirky lives of OJ and Emerald and highlighting the fact that their business, Haywood’s Hollywood Horses, is a source of racial pride. And it’s those small details that he brings to the film that adds that depth, like suggesting that the African American jockey that appears for a few seconds was actually the greatgreat-grandfather of Otis Sr.

To really appreciate the value of a strong actor, look at the body language; Mr. Kaluuya is skilled in this mode of communication. Just remember his intense gaze. And Palmer puts her DNA (cell-by-cell) into her character, making her so lovable you forgive her need to talk non-stop.

It would not be a Peele masterpiece if interesting characters weren’t also introduced, like Ricky “Jupe” Park (Steven Yeun), a former child star who now owns and operates a Wild West theme park called Jupiter’s Claim, and Angel Torres (Brandon Perea), a skilled techie and salesman at Fry’s Electronics who assists the Haywoods in setting up their surveillance system to record the alien spaceship that appears to have parked itself on their property.

What’s humorous is that the flying saucer looks like a big sand dollar, with a hungry intention. Naturally, OJ and Emerald decide to photograph it and sell this evidence to the highest media buyer possible, even toying with adding Oprah to the list. But their plan needs help, and they engage cinematographer Antlers Holst (Michael Wincott) to help capture everything happening on their property.

Now, it’s not unusual for the brother and sister to mistrust white media. I offer that it’s one of their smartest moves. But the challenge looms—how do they get the visual evidence to the world and not get any authorities involved?

The spaceship is almost like its own character, and if you look directly into it, well, you will get sucked into its membrane hole; and because this machine is “hungry” as previously mentioned, it sucks things inside even if they don’t look directly at it.

There’s a lot that I could share but they would border on spoiling the film, which I will not do. That being said, there are some very disturbing scenes that would qualify this film as a horror, without question. One such in the film occurs in a flashback to Ricky’s ’90s cable sitcom, which turned into a horror set when the lovable chimp, Gordy, went on a bloody rampage. When the ship finally declares itself…we are all waiting and here’s where I will leave this review.

“Nope” will go down in cinematic history as one of Jordan Peele’s best works. This is a creative mind that loves to bring that level of chaos that forces internal and external conversation.

Steven Yeun in “Nope”

By LINDA ARMSTRONG Special to the AmNews

Every year I look forward to BroadwayCon, and this year was especially marvelous. BroadwayCon 2022, which took place at the Manhattan Center and the New Yorker Hotel on 34th Street, was definitely the place to be for everything theater, including amazing panels, merchandise, and an opportunity to grab a microphone and let some Broadway show tunes rip at the Marketplace in the Manhattan Center. There was definitely something for everyone, including panels on dance, lighting, set design, stage management, and music direction, among others. There were cos-plays galore and those are always fun, along with autograph sessions with Anthony Rapp from “Rent,” who is also a co-creator of BroadwayCon, along with Melissa Anelli and talent contests with judges including Fredi WalkerBrowne, an original cast member of “Rent” on Broadway.

On the opening day the Manhattan Center was full of happy theater-lovers. Last year, the event had to be virtual, but thank goodness this year we were all in-person. There is something almost spiritual about being surrounded by fellow theater lovers. Everyone was excited, full of cheers and screams. And BroadwayCon 2022 started its first day with some heavy hitters. What do you think about Secretary of State Hillary Rodham Clinton moderating a panel? I’m serious. They say that BroadwayCon is for the fans and she is definitely a huge fan. She hosted a panel called “Here’s to the Ladies” with four First Ladies of the Broadway stage: LaChanze, Vanessa Williams, Donna Murphy and Julie White. It was thrilling to sit in the completely full, enormous auditorium and hear these ladies introduced, see them take the stage, sit down and just have a conversation about their lives, careers and personal hardships. It was incredible to see Clinton interview these ladies, with whom she obviously has relationships, as she asked them to share some of the tragedies, challenges and triumphs in their lives and they did so without hesitation. It was moving to hear these ladies, such as LaChanze and Murphy talk about their husbands both dying, the unique circumstances con-

Cast and creatives of A Strange Loop in a BroadwayCon 2022 panel. (Linda Armstrong photo)

LaChanze talks about her life at BroadwayCon 2022. (Linda Armstrong photo)

Thoughts on Thoughts of a Colored Man panel (l-r) Esau Pritchett, Linda Armstrong and Keenan Scott II. (Jasmine Armstrong photo)

Black Lives Matter on Broadway panel (l-r) T. Oliver Reid, Linda Armstrong, Michael Dinwiddie and Lillias White. (Jasmine Armstrong photo)

nected to their deaths and what life was like to raise their children without their partners while figuring out their careers. This panel went into great depth about these phenomenal women and their struggles, but also their creative process and their passion and love of their craft. It was inspiring to hear them share and Clinton was an exceptional moderator.

Another panel focused on the Tony Award winning musical “A Strange Loop.” Moderated by Ayanna Prescod, it featured several people from “A Strange Loop,” including L Morgan Lee, Mars Rucker, Antwayn Hopper, Jason Veasey, John-Andrew Morrison, Jon-Michael Reese, Charlie Rosen and Cherie B. Tay. The panel covered the importance of a musical like this on Broadway, a musical that talks about the struggles of a fat, Black gay man. The cast was proud of what this musical means to the LGBTQIA community and how many are feeling seen. Many casts recalled how people come up to them after the show in tears and say thank you. How people tell them that they are telling their stories. They shared how they are hearing people’s personal stories. And of course, they talked about the steadfastness of Michael R. Jackson, the musical’s creator. It was wonderful to feel the power that this musical is having in people’s lives.

Throughout the weekend, panels focused on many amazing Broadway productions including “Beetlejuice,” “Harry Potter and the Cursed Child,” “Chicago,” “SIX,” “POTUS,” “Dear Evan Hansen,” “The Kite Runner,” and there were panels on Disney princesses and singalongs for “Spongebob Squarepants The Broadway Musical.”

I also had an incredible time as I moderated two of my own panels: “Black Lives Matter on Broadway” and “Thoughts on Thoughts of a Colored Man.” At the “Black Lives Matter on Broadway” panel I had Tony Award winner Lillias White who represents Black Theatre United as one of its founding members; T. Oliver Reid, co-founder of Black Theatre Coalition; and Michael Dinwiddie, a founding member of Black Theatre Network. They talked about why these organizations are around and what they are doing to make life more equitable, accessible and fair to Blacks. Black Theatre United created the New Deal which clearly lays out the changes that have to happen with all aspects of Broadway productions to make them more accessible to Blacks and it was agreed on by all the movers and shakers in the theater industry. Each panelist let the audience know what issues their organizations focus on and let people know how they could join and what are some of the programs that they currently offer to members.

During the “Thoughts on Thoughts of a Colored Man” panel I had playwright Keenan Scott II and actor Esau Pritchett who played Wisdom, talk about the production, which meant so much to me when it was on Broadway—though COVID made its time short-lived. This was without a doubt one of the most powerful productions I have seen on Broadway, which showed the many beautiful layers that Black men have, and Scott wrote it with love and respect. He has a great respect for the Black man and Black woman and I wanted everyone to know this play existed. Scott talked about why he wrote the play, his process and how it was a labor of love for over 16 years. Pritchett reflected on how important it was for him to be part of the Broadway show and the workshops for the play prior to it coming to Broadway. He talked about the characteristics of his character Wisdom. During the panel Scott talked about his biggest reason for creating the play, which was to have people walk out with more empathy for Black men than they had when they first walked in. Scott created this environment through having his seven characters named after emotions, speak in dialogues, monologues and poems and even sing beautiful songs. Talking about the future of the play, Scott shared that there is talk of it becoming a television series. One thing he was proud to share is that Lincoln Center Performing Arts Library came in and videotaped the production and it is in the Library with the original Broadway cast. That was great news to hear for those who didn’t get to experience it and even for those who did.

BroadwayCon 2022 was nothing less than fantastic! I can’t wait until 2023. This theater-lovers’ dream event is produced by Mischief Management.

Kevin Liles, Rev. Al Sharpton talk success, politics, longevity in Black music

By JORDANNAH ELIZABETH

Special to the AmNews

Kevin Liles and the Rev. Al Sharpton (@hijo_elconquistador photo)

The Rev. Al Sharpton and music executive Kevin Liles recently came together for a fireside chat entitled “A New Day.” Both men set out to have a conversation surrounding Juneteenth, Black Music Month and Black culture going forward. A select group of Black creatives attended the chat in the NASDAQ building in New York City.

Liles, the founder of the successful record label 300 Entertainment, which supports the careers of Young Thug, Megan Thee Stallion, Fetty Wap and Mary J. Blige, was also celebrating an incredible merger between 300 Entertainment and Elektra Records. Warner Music Group made the decisive choice to combine their most successful labels to create a major label supergroup that still held the spirit of an indie record label. Liles and Sharpton shared their wisdom and stories with one another and the ambitious and successful young Black group of creatives who listened intently.

The Amsterdam News was in attendance and excited to share excerpts from the momentous conversation between two Black cultural icons, including their insight on the political effects on Black people individually, our careers and as an interconnected community. Sharpton also spoke about his early beginning and James Brown’s powerful impact on his life and Black music.

Kevin Liles: We all got shocked with Roe v. Wade getting turned over today. When you saw it Rev., what did it say to you, how did you feel about it and what are the steps we should be taking to avoid the mistakes that we made, to even HAVE this get here?

Reverend Al Sharpton: Well, I think the first thing is, it is going to disproportionately impact our community, the Black community. Because we are the ones who can least afford to find other ways to deal, if we decide to not have a child. I think that it is definitely a slap in the face of people’s right to choose. I don’t understand how we can, in one breath, say that we want to make sure that all children are born but then once they’re born we cut off all the services for the children. You cut off childcare; you cut off daycare; you cut off things [for] public education. So you love me in the womb but when I come out the womb you try to kill me…it’s all politics.

Which is why we should never underestimate voting. You’ve been very instrumental in the hiphop community [advocating for] voting. The reason why they did us in with Roe v. Wade is [because] Donald Trump put three people on the Supreme Court. If Donald Trump had not been president he couldn’t have done that.

At the end of the day you tell me “Rev., I’m not into politics”—yes you are. The clothes we wear— the apparel people in government said, “You can sell that.” The food we eat—the FDA [Food Drug Administration] said, “That’s all right to sell.” The shoes you wear…all that was a political decision [from] all the people that were elected. The most ignorant thing in the world is we still end up with government-approved clothes, eating government-approved food, walking in government-approved shoes saying you’re not into politics. You just don’t recognize that you are—and letting them run it. We have enough strength to run it ourselves and we just need to wake up and do it.

Liles: Politics, civil rights and music. I’m going to go all the way back to your relationship with James Brown. He was the first African American artist to clearly come to a place where he was going to risk everything for our people. So tell us a story.

Sharpton: In the early ’70s a guy came up to me—I had [the] National Youth Movement, my civil rights group (I was 16)—and a guy came up to New York, wanting to go to Columbia [University] Law School. His name was Teddy. Seven, eight months later he got killed in a car accident. His father was James Brown. Hank Spann, the biggest disc jockey [WWRL] in New York, told James Brown if [he] wanted to do something for his son, build a memorial, there’s this teenaged preacher your son liked. You should do the memorial and give some of the money to [Sharpton and his movement]. [Brown] said, “Have the boy preacher come on out there.” So I went out there, in the dressing room, with James Brown—I thought I met God. We grew up under James Brown, “Say it Out: I’m Black and I’m Proud,” all of that. He told me, “Son, you do what I tell ya, I’mma do the show and give y’all the money. But you gotta promote it the way I tell ya.” We did everything he said.

Two weeks later he has his manager call me and say, “Meet Mr. Brown in California. We got a first-class ticket for you.” So now I’m going to California. Next thing I know I’m on “Soul Train,” giving him an award. And slowly we became close. My father left when I was 10; James became the father I didn’t have. James Brown gave me a validation as a man that I didn’t get from my father. My father never asked me to do anything. So this was a bond between a man and a son. He said, “I want you to promise me one thing: don’t be one of the boys.” He said, “You got to make the thing go forward. You got to be able to do it different.” He said, “When I did my music I stopped on the half-beat and did the ONE-THREE; everybody else was on the TWO-FOUR. They told me my music was wrong. I did not go mainstream—I made mainstream come back.”

The best teachers are the best students.

Liles: Yeah. And so [Russell Simmons] single-handedly told me, “You’re here to serve. You’re here to give back. With success comes responsibility.” I’m still listening and learning.