When it comes to a list of Black female superheroes, Storm is at the top. Ororo Munroe began her comic career as one the first major Black female heroes and one of the first Black comic book characters. She is one of the most powerful mutants in the X-Men comics and, at one point, served as leader of the X-Men when Cyclops resigned. Storm is one of the X-Men’s most essential members; she always looks the part. From 1975 to now, Storm continues to wow and amaze with her Omega-level powers and stunning outfits. Here are a few of our favorites. Which Storm costume is your favorite? Here’s a list of Storm’s top 10 costumes from the 70s till today.

1975: Pryde of the X-Men Storm

The OG outfit! After being recruited by Professor X, Storm entered the public eye in Giant-Size X-Men 1975 #1 by writer Len Wein and penciller Dave Cockrum. The suit is a bikini-style two-piece connected at the waist by a gold ring. Paired with black thigh-high boots and a black tiara (hiding lock picks), Storm had to know she was rocking a look. She accessorizes with a gold-trimmed black cape and gold cuff bracelets. She tops it all off with a ruby broach from her mother as a clasp for her cape. This look influences many of her later looks.

(Spoiler Alert) In the episode “Lifedeath – Part 2” of X-Men ‘97 (2024), we see a powerless and struggling Storm overcome her fears and anxieties to find a cure for Forge. In doing so, Storm regains her mutant powers. In a stunning transformation, Storm creates an explosive thunderstorm while flying through the air, unveiling a new costume based on her iconic original.  

1983: Punk Rock Storm

In Uncanny X-Men #173 by writer Chris Claremont and penciller Paul Smith, we see Storm with a brand new look that is an overwhelming fan favorite. After a Brood alien caused Storm’s powers to malfunction, she adopted a punk-inspired look influenced by her friend Yukio. From classic to punk, Storm pulled off a badass mohawk with a tight, black leather bodysuit and fitted black, sleeveless leather jacket. She accessorizes with yellow lightning bolt earrings, black boots, gloves, and a black choker. Storm rocked this look throughout her time leading the X-Men and during the era in which she lost her powers.

Fans would have recently seen a version of this punk-era look in “Fire Made Flesh,”  X-Men 97 Season 1, Episode 3.

1985: Asgardian Goddess Storm

All hail the Asgardian Goddess! When Storm lost her powers, she was briefly captured by Loki who made her the Asgardian Goddess of Thunder in the New Mutants Special Edition (1985) #1 by writer Chris Claremont and penciller Arthur Adams. Ororo’s outfit included Asgardian armor with a large cape, furry boots, and chainmail plating. Her hairpiece is adorned with white wings similar to those on Thor’s helmet. As a powerful accessory, she had a weather-controlling hammer called Stormcaster. Other accessories included a lot of gold jewelry around the neck. Though Loki’s control was brief, this outfit made a statement, and she has worn variations of it on a few occasions.

1991: X-Men The Animated Series Storm

White/silver, yellow, and black: This is the Storm I grew up with from the 90’s X-Men The Animated Series. This outfit is engraved in my X-Men-loving heart. Storm began wearing her iconic white costume when the X-Men divided into blue and gold sub-teams in X-Men (1991) #1 by writer Chris Claremont and writer and penciller Jim Lee. The outfit was a white, long-sleeve bodysuit with yellow trim. Giant shoulder pads and a white (at times black) cape were attached to the outfit by a pair of black and red X badges. Accessories included a yellow belt, yellow lightning bolt earrings (she loves those earrings), and gold cuff bracelets. Look at that hair: thick and luscious. Truly iconic on every level. Mistress of the Elements, Storm has immense power at her fingertips, so when her eyes went white, you knew something was about to go down.

1996: Crop Top Storm

Post Morlock adventures, Storm went for a new look. She did a big hair chop, shortening it to chin length, with a longer strand of hair in front on each side. She wore a black, tight crop top with shoulder holes with sleeves that turned into two long ribbons that could be connected to her bracelets. The top was paired with low-rise leggings and boots. The stylish combo was presented as black and gold, but it soon switched to purple and silver. This outfit is found in X-Men Vol.2 #62 by writers Scott Lobdell, Ben Raab, and penciler Carlos Pacheco. 

1999/2007 Queen of Wakanda Storm

Ode to a classic! Found in Uncanny X-Men (1st series) #372 and part of the Reconstruction arc of Fantastic Four #548, Storm opted for a more classical look. She wore an off-the-shoulder, black bodysuit with a low neckline connected to a ruby ornament. Her ribbon-like cape was trimmed with gold and attached to gold wrist bangles. Around her waist was a gold sash connected with tiny lightning bolts at her hips. In addition, she wore a sash with little lightning bolts. The outfit appears in both purple and black/gold. 

2015: Sporty Storm

Sporty Storm! From writer Jeff Lemire and penciller Humberto Ramos comes a stylish, sporty outfit from Extraordinary X-Men #1, with a thicker mohawk than her punk-rock days. Storm gives athletic warrior vibes with the white leggings and black and white long-sleeve crop top. The look is accentuated with gold utility belts.

2021: Hellfire Gala Storm

This Hellfire Gala look is stunning! The X-Men are dressing up in high fashion for the Hellfire Gala. This is the Mutant version of the Met Gala. Designed by Russell Dauterman (Giant-Size X-Men, The Mighty Thor, War of the Realms), Storm debuted a dramatic new look. This leader rocked a long-sleeved black one-piece paired with thigh-high boots. Gold shoulder pads were accompanied by several gold necklaces with a black and red X brooch. Gold bracelets and gold trim adorn the costume. Accented by a lightning bolt headpiece and lightning bolt earrings, Storm’s hair is long and cloud-like. The white hair dramatically ombres to black like a storm is brewing behind her. You can find this outfit in S.W.O.R.D. (2020) #8.

2022: Dora Milaje Storm

Wakanda Storm! Storm got a Wakandan upgrade in this costume, and it is fabulous. Dark Ages, which introduces a dystopian future with no technology, finds Storm settled down in Wakanda with Black Panther. She is gorgeous in a new gold and silver costume with callbacks to her original outfit. With bold patterns, gold drop hoops, and Wakandan neck rings, similar to the Dora Milaje in the MCU, Storm is a true Queen in this style. Her hair is short, and she has a small ponytail that whips in the wind behind her. This outfit is seen in Dark Ages (2021) #4 by writer Tom Taylor and penciller Iban Coello.

2022: Brotherhood of Arakko Storm

Brotherhood of Arakko outfit! In X-Men Red (2022) #1 by writer Al Ewing and penciller Stefano Caselli. The outfit features a long-sleeve, black leather crop top with gold lightning bolts. The top is covered with a black leather crop jacket with gold-spike shoulder pads. She pairs the tops with black leather pants with peekaboo hip cutouts and a gold chain attachment on the front. Accessories include spiked knuckle fingerless gloves and a knife holster. It looks like a cross between her punk rock costume and Hellfire Gala costume. The cherry on top of a runway-worthy outfit is the hair! Storm’s thick, white hair is in a long, mohawk style that flows with the current of her power. She loves those lightning bolt earrings. I may just have to buy a pair of my own.

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I couldn’t help but think of my own family in South Carolina as I watched the documentary Seeds at Sundance. We aren’t farmers, but the generational traditions and connection to family were just some of the themes that resonated with me. The shots of open land and the sound of nature made me want to call my grandma and set up a trip. 

Seeds is Brittany Shyne‘s stunning directorial debut. The independent filmmaker from Dayton, Ohio, is exploring Black generational farmers in the American South in this documentary, which also highlights a 138-year-old African American centennial farm in Thomasville, Georgia. Seeds depict the complexity of everyday life by focusing on personal stories and cultural patterns of values, beliefs, and behaviors. Seamlessly Shyne weaves in bigger government issues by keeping it as close to home as possible. The film does a spectacular job weaving in frameworks of race, class, culture, identity, and family lineage. 

What makes this documentary so special is the observational techniques Shyne uses to tell the story. She doesn’t allow her voice to be picked up too often. She is listening and watching, so the audience is listening and watching, learning with her. With an intimate lens, we are immersed in the rhythms of everyday life. Another highlight if this film is the cinematography. The rich black and white cinematography is perfect for this story. I loved it during the watermelon eating scene.

Black and white imagery also gives the film another layer of conversation as we learn more about the decline of generational Black farmers and the significance of owning land in the rural south. This point is even further hit home with talk about the discrimination of Black farmers versus white farmers from the United States Department of Agriculture (USDA). One of the statistics that highlights this point is that Black farmers owned 16 million acres in 1910, but today, that number has dwindled to just a fraction of that. The farmers in this community struggle to access funding that white farmers nearby seem to secure with ease. The dream of continuing to pass their land to future generations is at stake, and Shyne’s spotlight vividly and lovingly reveals the fragility of legacy and the significance of owning land.

Something that stood out a lot during the documentary was the relationships between a grandfather or grandmother and their grandchild. The generational gap is highlighted in such a positive way. Learning from your elders in a respectful and loving way is always the goal. Building those bonds at a young age was a beautiful thing to see on screen. Multiple generations were depicted in Seeds and it was empowering to see. Teens helping out the older men in the fields as they harvested watermelons or picked out the scraps from the black eyed peas was also a warming addition to the soul of this film. Not only are these kids gaining wisdom as they talk about life and lessons, but they are also learning how to possibly take over one day when the land is passed on to them and their kids. There’s also traditions to be learned when it comes to funerals, Sunday church, or the casual, food-filled barbecue. 

There are so many traditions and cultural moments in Seeds. It is a very calming film to watch. But, there’s also a touch of sadness around it as you watch and think of the lives these older women and men have led. What they had to endure and risk to get the land they have now. There is a significant metaphor between Blacks picking cotton by hands as slaves and Black farmers picking cotton by machine by choice. The amount of things farmed and produced by the collection of voices in this film is impressive. Sometimes it’s a one man show and sometimes it’s a family affair. One thing for sure is that Seeds is about the people and the family around you.

While visually stunning, the pacing of Seeds is slow. It reflects the country living we see on screen. Like we should be sitting on our front porch, with the wind blowing in our hair. There were moments I wanted to just close my eyes and listen. Seeds highlights the south in a positive light. There’s something special about conversations from your windows on the side of the road, and leaving notes on someone’s porch because you came by to say hello but they weren’t home. But nothing hit me harder than the dream one farmer had for his kids, grandkids, and great grandkids. He mentioned wanting to have land and grass the kids could play on instead of being locked up in an apartment looking out a window. I want that for the future and for my nieces and nephews. It was a profoundly resonating experience.

I hope more people, especially the young generations, get a chance to see this film and reflect. The film is screening at Sundance and is available online for the public January 30–February 2, 2025.

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Premiering at Sundance, Sly Lives! (aka The Burden of Black Genius) examines the life and legacy of Sly & The Family Stone, the groundbreaking band led by the charismatic and enigmatic Sylvester Stewart, aka Sly Stone. The film captures the band’s rise, reign, and subsequent fadeout while shedding light on the unseen burden that can come with success for Black artists in America.

Academy Award-winning director Questlove returns to the Sundance festival with a musicly-rich and profound exploration. The use of archival video was a standout in this documentary. Audiences get a full picture of the life of Sly not only through performance footage, but with one on one interviews with the musician himself. The film immediately envelops us in band leader Sly Stone’s extraordinary musical talent while asking: What is the burden of Black genius? The film also hosts an impressive gathering of family, band members, scholars, and musicians for on-camera interviews. Noticeably missing is a current interview with the man and legend himself. Boosted by an incredible soundtrack, the film presents a powerful tribute to the visionary musical artistry of Sly & The Family Stone, while honoring and celebrating Black creativity.

Sly transcended musical boundaries. He was multitalented – producer, singer, songwriter, played a numerous instruments, and had an ear for a variety of genres. The influence and respect he garnered while still alive (currently 81 years old) has been nothing short of spectacular. It’s amazing how many musicians have been impacted by Sly and The Family Stone. For me, the most surprising one was Janet Jackson and particularly her song “Rhythm Nation.” From the mixed race and gender of the band members during the height of civil rights to the eclectic sound with tight harmoning vocals, Sly and The Family Stone’s presence and contribution to the music world did not go unnoticed. I immediately thought of their influence with Prince, and rightly so. But alas, trailblazing comes at a personal cost sometimes. Sly Lives! highlights how success can be the biggest fear of all and bring its own pain. The film focuses on drug use, mental health issues, and the dire need to self-medicate and self soothe. The film constantly reminds us that heavy is the head that wears the crown, especially for the Black artist who has to work that much harder than their non-Black counterpart to prove they belong. 

Questlove’s directorial debut, Summer of Soul (or…When the Revolution Could Not Be Televised), won the Oscar for Best Documentary Feature in 2022. While I enjoyed Sly, Lives!, I don’t think it’s Oscar worthy this go around. There’s an appreciation factor for the life and legacy of Sly and The Family Stone that deserves to be seen by all, but it does have filler moments that, if cut, would have made for a more streamlined story. There are so many great moments through performance and conversation, but the film covers so many important themes and ideas about fame and Black success, that it feels like it’s too much at times. There are too many topics. A deeper dive into a few of the higher level themes would have made it a clean cut. Trying to cover everything at once in 112 minutes made the film seem like it was longer than it was and did not hold my attention as it should have. There were some lulls, and alot of the last 20 minutes could have been incorporated earlier in the film.

My favorite parts of Sly Lives! were the breakdown of some of their most memorable songs. We learned how the songs came to be, what it was like recording them, while seeing the live performances. Some of the songs highlighted included “Everyday People,” “Stand,” Thank You,” and my personal favorite, “Dance to the Music.” I was smiling through all those scenes; even dancing a little in my seat. A sense of joy and togetherness came through the film. It was inspiring, it was cautionary, and it was an experience I hope many people get to enjoy. 

Sly Lives! (aka The Burden of Black Genius) premieres On Hulu On February 13.

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Directed and co-produced by Ridley Scott, Gladiator II follows the events of Gladiator (2000). Written by Peter Craig and David Scarpa, the film picks up years after Lucius witnessed Maximus’s death at the hands of his uncle and emperor. Lucius (Paul Mescal), the former heir to the Roman Empire and son of Maximus and Lucilla (Connie Nielsen), is living in the northern African region of Numidia when his home is invaded by the Roman army led by Marcus Acacius (Pedro Pascal). Lucius seeks revenge against Acacius and fights as a gladiator for Macrinus (Denzel Washington), a former slave who plots to overthrow the emperors Caracalla and Geta. Lucius enters the Colosseum with rage and heartache as he takes on the empire. The film stars Mescal, Pascal, Nielsen, Denzel Washington, and Derek Jacobi, with Nielsen and Jacobi reprising their roles from the first film.

One of the cool things about Gladiator II is how history and fiction collide. Scott returns audiences to ancient Rome with a blood-obsessed populace, cruel emperors, and justice through combat. This time, the action in the arena is more than just crazed men wielding weapons and the occasional tiger. “There is real history at the core of Gladiator II,” says Estelle Paranque, assistant professor of history at Northeastern University in London. “The twisted pair of emperors in the film, Caracalla and Geta, were real, along with Denzel Washington’s Macrinus, although the details of his life have been changed dramatically. Even some parts of the gladiatorial action are plucked from history.”

Some of the action in the arena, while dramatized, is so incredible to watch on the big screen. There is this excitement in knowing that they used to do a form of this in ancient Rome. Having visited the Colosseum in Rome makes it even more extraordinary to me. Movies that make you want to travel or learn more about historical accuracy are good in my book. Art inspiring life is what film is all about.

Action is one of the most popular genres in film. Throw in historical, and I’m there. Gladiator II has all the making of a fantastic action film, from the fights to the stunt work to the explosions. Now throw in semi-historically accurate costumes and a real, historical setting, and it’s love. The nerdiness really comes out when I can follow up a screening of a film with a historical deep dive. But I digress.

The action in this film is top-notch, historically accurate or not! For those that are squeamish with blood, be warned. The fight sequences are a “bloody” good time. Scott upped his game from Gladiator with the stunt work and practical effects. Not to mention the use of CGI and the A word (Artificial Intelligence). The sets really place you in the action. It’s fun to watch! “We begin the film with probably the biggest action sequence I’ve ever done,” said Scott in a recent interview. My eyes never looked away. My mouth was open in wonderment and amazement as the scenes unfolded. Breathtaking!

From the cast and acting, for whom Oscar nods are sure to follow, to the production we see on screen, Scott has created another epic worthy of the 24-year gap from its predecessor. Say what you want about Denzel’s accent or lack thereof, but that man delivered a character I didn’t know we needed. The way he works with the actors in scenes is fun to watch. Give him the Best Supporting Actor nomination now.

Everyone stepped up in front and behind the camera to make this film as special as it is. I didn’t know much about Paul Mescal before this film, apart from All of Us Strangers, but he came out the gates swinging, and I won’t forget who he is from this day forward. The pacing, the music, and the dialogue work in harmony at peak value.

Gladiator II is a real sigh of relief. I had high hopes when the film was first announced, but I was nervous about its success after seeing Napoleon (2023). Gladiator II does have its plot holes, but this is as close to perfect as it gets. I would love a director’s cut to see what could have been if there’s more on the cutting room floor, but I can’t wait to make this part of the annual Gladiator watch with my family.

Gladiator II is in theaters on November 22, 2024.

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Director Todd Phillips attempts to humanize the Joker to a larger extent in this sequel. Forget about the lack of acknowledgment and responsibility for just a moment, because he’s in love, and Arkham guards are the worst. This “jukebox musical” is a big risk that I am not sure many will appreciate. But boy, was it entertaining.

You just can’t look away. 

Joker: Folie à Deux is Warner Bros’ latest film, produced by Warner Bros Pictures and DC Studios, based on a screenplay co-written by Phillips and Scott Silver. The film stars Joaquin Phoenix, who reprises his role as Arthur Fleck/Joker, and Lady Gaga, who introduces us to her version of Harleen “Lee” Quinzel / Harley Quinn. Brendan Gleeson and Catherine Keener also star. Joker: Folie à Deux picks up two years after the events of Joker (2019). Arthur is now a patient, incarcerated at Arkham State Hospital, where he falls in love with Lee. The duo experience musical madness and it’s a chaotic, slightly romantic adventure.

In an exclusive interview with Director Todd Phillips, he assured us that Arthur will not become the “Clown Prince of Crime.” Joker: Folie à Deux is a hyper focused story that showcases the fragility and fractured state of Arthur, the man behind the growing symbolic clown paint. The audience is brought into Arkham as if we were patients/inmates there, too. The film provides a space for the audience to build empathy and sympathy for a villain/vigilante through Arthur’s encounters with others in this tight space. The film is so busy trying to make us feel sorry for or excuse Arthur’s actions from the first film, that it forgets that other characters need attention. Gotham is such a rich, complex world; it’s a shame we don’t see more of it or the development of characters within it. 

After winning the Golden Lion at the 2019 Venice Film Festival, Joker grossed over $1 billion worldwide and led the 2020 Oscars with 11 nominations. Joaquin Phoenix earned the Oscar for Best Actor for his portrayal of Arthur Fleck/Joker. His performance in Joker: Folie à Deux continues to amaze. Through the use of his physical gestures, singing, and maniacal laughter, his character has developed into something otherworldly. The physicality and emotion that Phoenix emits on screen mark him as one of the best actors out there. He continues to be scary good at his craft. 

The musical elements of the film were phenomenal. A significant risk was taken, and something masterful was achieved. As a film nerd, I appreciated the use of classic musical numbers. As a lover of musicals, I enjoyed the use of songs to highlight and move the story along. These characters didn’t break out into song for the heck of it. If anything, the addition of musical elements puts a spotlight on their mental health and how disturbed and terrifying their actions are. Gaga’s musical performance was incredible. Phoenix sounded as I would expect a patient with his state of mind to sound. The film’s score was brilliant as well. It added another layer of intensity, sinister vibes, and precise pacing. Music can either keep you in a scene or remind you that you are indeed watching a movie. The score for Joker: Folie à Deux kept me engaged, on the edge of my seat, and sometimes biting my nails.

As the only woman in my Joker: Folie à Deux screening, I felt a sense of empowerment and responsibility. But, I exited the screening feeling that it was shameful that I did not care for any of the female characters in this film. The movie is called Joker. I get it. It’s about Joker, the man. But let’s talk about Harleen “Lee” Quinzel for a second. I was not a fan of her character or the use of her character in this story. Historically, fans of this couple know that Joker and Harley’s romance is toxic, but I was given this uneasy feeling that the moral of the story is that women are the problem. There was no sympathy for his female lawyer; no sympathy for the female doctor who testified on his behalf; no sympathy for the woman who loved him and wanted to be there for him no matter what. But, by all means, let’s give sympathy to the man who killed six people and ignited a riot.

We got bits and pieces here and there of who Lee is, but the story never provides the character development needed to show how she became obsessed with Arthur. Director Todd Phillips noted how this version of the Harley character is manipulative, amoral, and “more grounded.” I can forgive the deliberate omission of the classic Harley mannerisms and style to fit into the world created in the first Joker film. But to strip her of her “flexible” morality without context made her character insufferable. There are also plot holes as to why she had so much access to Arthur inside Arkham.

Plot holes, minimal character development, and toxic masculinity aside, Joker: Folie à Deux is a complicated, intense, and entertaining film. It’s not as shocking as the first, but the Joker is still a terrifying character in this universe. 

Joker: Folie à Deux is set to have its world premiere at the 81st Venice International Film Festival on September 4, 2024, and will hit US theaters on October 4, 2024.

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Tiana’s Perfect Plan is a charming picture book that shows Princess Tiana on a never-before-seen New Orleans adventure. After traveling all winter, Tiana and Naveen are back in New Orleans in time for Mardi Gras. Tiana wants everything to be just right, putting the finishing touches on their party favors and parade float. But an unexpected letter from Naveen’s parents, the king and queen of Maldonia, arrives. They’ve decided to join the celebration!

Determined to make it the best Mardi Gras ever, Tiana sets out on a new adventure with some old friends to find the perfect ingredients for a special addition to the festivities. Soon, though, she discovers that perfection might not be the goal, and she may already have all she needs.

During a brief sitdown with BGN, Anika highlighted her book’s potential to inspire creativity and promote literacy. She also discussed her experience writing a children’s book, emphasizing the importance of making reading a fun and enjoyable experience for children. Take a look at the interview below to learn about what this princess’s journey has been like.

First, congratulations on being the youngest Disney legend. A book, a theme park ride, TV, film — did you ever in your wildest dreams think you’d be here today?

We did the movie, and there were things that I was excited about because I had heard rumblings of a restaurant, rumblings of a potential ride, and then that sort of dissipated. I never thought this was going to be part of my journey, this book, and being able to be a published author in this way, and also being able to contribute to the IP that is Princess Tiana, is hugely fulfilling and joyous to me. I love kids. I love being capable of talking to them. This whole experience has turned into so much more than I imagined it could or would be, and that is such a huge blessing and an honor.

You’re a big children’s literacy advocate. Are there any special plans for this book for that kind of work?

Well, we’re going to do a book tour. There are specific schools that I’m going to stop at, talk to, and spend time with. I am big on children and children’s literacy. I was and am an avid reader, and I think it is the way to open the world up for children and to open themselves up. So yes, is the short answer to that question. I’ve been doing research and have people on the ground in different cities doing research on organizations that I can potentially partner with, to see how we can broaden the reach. I think that somehow, particularly in our community, it is deemed uncool to be a reader. I don’t know when that happened. But I know even when I was a kid, people called me a brainiac or a nerd or whatever, and I was supposed to feel bad about that. I’m in this book because I’m happy here. 

I think that as an actor, being such a reader has assisted me as well because of the things that I can experience in a book that I would never experience in life. I don’t have time to experience all those things. But we know that it also opens synapses in the brain. It opens new pathways neurologically when you are reading and when you read to a child. So those things are very, very important. Not just to say that somebody can read, which is extremely important, but to read to a child is very, very important, and we know that now without a doubt. So there’s no reason not to have this be something joyous and fun, and to introduce it to children very early.

How was a the process of writing a children’s book for you? Did you find anything surprising? Where were you limited? How much creative input did you have?

It was all me! It was all me, which was really thrilling. So Disney Hyperion came to me and asked me if I had any interest in writing a children’s book. I had created a little show called Bedtime Stories for the Littles during the quarantine. They liked the way I told stories, through the words, but also through the page, and all of the things that were there. I said absolutely. Then they asked me how I wanted to do it and what I wanted to do. So I came up with an outline. I said, well, what if we do this, that, and the other? It was also important to me to take Tiana out of the kitchen so that I could move through the world and do other things. They let me run. I made my pitch for the idea, they loved it. 

I have an amazing editor, Britt Rubiano. She’s phenomenal. Editing is not phenomenal. But when you have an amazing editor, it is a joyous process. She’s like a gentle knife. She said, “Okay, well, we have to cut four to five pages.” That is devastating. But, she’s also somebody who’s like, “Okay,” if I say “Well, if we have to cut four to five pages, what if instead of cutting four to five pages, we find a way to split the page and keep everything that’s there? We just lose page count, but we don’t lose story or image.” That’s just because I read a lot of books and I have a lot of children’s books, so I know how they look. So I was happy to say that as an option.

I really love the process of it, once I stopped being frightened of being edited, which was scary to me. You know when you put something out there that you love, and then somebody says actually we’re going to take some of this back. Also just being a Virgo. It was scary. It stopped being scary, and I started to actually really look forward to it. I love talking to my editor. I love having a session with her. I love learning from her about the mapping out of a book because that’s what I’m not familiar with. I can tell the story all day long. The mapping is very interesting. I don’t know if I answered your question.

Yes, you did, and more. Congratulations. You’re such an inspiration, honestly, for me and I know for everyone at Black Girl Nerds. So, thank you very much.

Thank you! Thank you! It was good to see you.

The post Princess Tiana’s Voice: Anika Noni Rose Talks Children’s Literacy and ‘Tiana’s Perfect Plan’ appeared first on Black Girl Nerds.

Martha Blanding was the first full-time Black tour guide, the first Black woman in management, the first Black buyer in merchandise, the first Black female to retire from Disneyland after 50 years, and the first Black Disney Parks employee to become a Disney Legend. She was also one of the founders of PULSE (People United to Lead, Serve, & Excel), the diversity group for Black cast members and allies. 

Her journey from an entry-level position to a VIP Tour Guide at Disneyland is chronicled in her new book and highlights the importance of determination and cultural representation. In this interview with BGN, Ms. Blanding’s resilience, dedication, and determination shine through as she acknowledges the challenges faced by people of color within the company and the significance of having role models and mentors, particularly in the face of adversity.

Black Girl Nerds: What did you want to be as a kid?

A school teacher. I ended up at Disney because I was going to Cal State Fullerton, and I’m a twin. Both of us were in college at the same time. So, you can imagine how expensive it is to have one child in college, and my parents had two. Plus, I had two other brothers. So, I wanted to help my parents with my tuition, and I needed a job. I heard about getting a job at Disneyland.

So I went and applied for a job. I was initially hired as a dish-up at the Plaza. I never made it there because I was talking to someone after my interview, and someone else came over and asked me if I wanted to be a tour guide. I looked at him and said, okay, whatever, I don’t know what that is. But I knew I didn’t want to work in the kitchen because my mother and grandmother were caterers, so I knew all about the food world. So I said okay. They set up interviews with the managers and everything. I went and interviewed and got the job.

A kind of “started from the bottom, now we’re here” moment — the first Black VIP tour guide, the first Black female leader at Disneyland Resort. Not an easy feat, I imagine, given the time you started and just how big Disneyland grew during that time. But someone had to be first, right? What guided you and kept pushing you forward to climb higher, keep going, and be the best of the best? What kept you going?

Me. My mother. My Aunt Ella. My Aunt Elise. They were amazing women in my life. I felt that if I could be just half of what they were, I’d be alright. And I just love helping people. I love creating magic for the cast and our guests. I just had this determination to do more, do better, continue to do more, and be a good example for my own culture and others. I just couldn’t stop.

You’re a Disney legend. Congratulations.

Sorry, I didn’t mean to make you emotional!

That’s alright. I’m kind of a crybaby. 

You’re in a class with Angela Bassett. Harrison Ford. What has this experience been like for you? When you found out, what were you thinking?

I saw the lineup, and the only two Black people in there were the beautiful, amazing Angela Bassett, who I am a fan of. When they made the announcement, it was like Angela Bassett, Martha Blanding, and I’m like, holy shit. She’s gorgeous, okay! Then there’s me. Then Harrison Ford, I’m a fan of his also. I’m an Indiana Jones girl. It’s just amazing. I am speechless, and I’m never speechless. I always have something to say. I am trying to accept it and own it. I’ll own it, but I’ll have it by tomorrow.

After 50 years of Disney, is there anything that surprised you the most about the evolution of the company, how it’s grown over the years, and where it’s going for the future?

When we went through the COVID situation, a lot of us were laid off for a short period of time. Internally, we had some conversations with some of our executives. The first one that we had, Bob Iger spoke, and the words that he said that needed to be said, he had the guts to say them. That really struck me. But, you know what? We may not be exactly where we need to be as far as having enough Black executives or any other people of color executives, but we’re on our way.

It’s so much better than what it was when I first started working at Disneyland. Can they do better? Yes. Will they do better? Yes. Are they? Yes. And they work very hard to support Black Lives Matter, but they also support Hispanics, Asians, Black women, white women, everybody. They do a good job of support. That was such a big thing for us, and they lived up to my expectations.

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With their wristbands lit up, fans eagerly awaited news from the giant stage complete with showstopping effects and giant screens. Who was there to welcome them? The man himself: Bob Iger, who was here for D23 for the first time in five years. He celebrated with the fans, saying, “There is nothing we love more than to entertain you, thrill you, surprise you, and fill your hearts with joy and wonder, and we know that when we do all of that, we’re doing our jobs right.” Iger continued to reinforce what sets Disney apart as a leader in creativity and innovation.

The 3-hour presentation included exclusive first looks from highly anticipated releases, major casting and title announcements, and star-studded performances. Disney fans from around the world cheered along with the stories and characters they have fallen in love with over the past century.

Hosted by Yvette Nicole Brown, the event flooded the arena with nostalgia and genuine happiness. “The world needs to be entertained now more than ever before, and we take that job seriously,” said Iger. The night was “distinctly Disney” as creative leaders, including Disney Entertainment Co-Chairman Alan Bergman, Pixar Animation Studios’ Chief Creative Officer Pete Docter, Disney Animation’s Chief Creative Officer Jennifer Lee, and Marvel Studios President and producer Kevin Feige were on stage to introduce the stars and storytellers behind new and beloved titles.

Here are some of the spotlight moments from the evening:

Walt Disney Animation Studios

• Moana 2: Auli‘i Cravalho, alongside dancers and drummers from Nonosina Polynesia, kicked off with “We’re Back,” an all-new song written by Grammy-winning songwriters Abigail Barlow and Emily Bear. Dwayne Johnson arrived on stage, revealing a new trailer and poster for the first time for the first time. The big reveal — Moana is a big sister! The latest film opens only in theaters on November 27, 2024.

Dwayne Johnson and Alan Bergman revealed a new movie in the works, Monster Jam. The film is from the POV of monster trucks. Johnson will produce via his Seven Bucks Productions.

• Zootopia 2: Ginnifer Goodwin, who returns to voice Judy Hopps, greeted fans at D23 and shared a special look at the film. The film features a fugitive snake called Gary, to be voiced by Ke Huy Quan. Jason Bateman returns as the voice of Nick Wilde. The film will hit theaters in November 2025.

• Frozen 3: Disney Animation’s Jennifer Lee, who wrote and directed 2013’s Oscar-winning Frozen and its 2019 follow-up Frozen 2, shared a brief tease and gorgeous concept art for Frozen 3. The film is coming exclusively to movie theaters in 2027. She also teased the next two Frozen films will attempt to answer all the questions fans had about Elsa and Anna.

• Avatar 3: Stars Sam Worthington and Zoe Saldaña joined James Cameron on stage to reveal for the first time the title of the third film in the franchise — Avatar: Fire and Ash. “The new film is not what you expect, but it’s what you want,” exclaimed Cameron.

Pixar

• Win or Lose: Pete Docter revealed the official launch date of Pixar’s first original series, which begins streaming exclusively on Disney+ on December 6. Some fans will see the first two episodes at the D23 Backlot stage on Saturday.

• Dream Productions: Coming to Disney+ in 2025. Taking place between the adventures of Inside Out and Inside Out 2, this new series is about the studio inside Riley’s mind where dreams really do come true, thanks to acclaimed dream director Paula Persimmon (voice of Paula Pell). 

• Hoppers: Coming to theaters in 2026, is an all-new film that introduces Mabel, an animal lover who seizes an opportunity to use new technology to “hop” her consciousness into a life-like robotic animal.

• Toy Story 5: The crowd went wild for new information about the recently announced film. With a few clues to the storyline, Pixar veteran Andrew Stanton described it as a toy meets tech situation. Buzz, Woody, Jessie, and the rest of the gang have to compete with an all-new threat to playtime: technology.

• Incredibles 3: Before departing, Docter announced everyone’s favorite Super-family is heading back to the big screen. Incredibles 3 is officially in the works at Pixar Animation Studios with Oscar-winning filmmaker Brad Bird currently at the helm.

Disney on Broadway

• Celebrating its 30th anniversary, the stage in the Honda Center was filled with outstanding performances from some of Disney’s hit stage musicals including The Lion King, Aladdin, Beauty and the Beast, and the newly announced Hercules, which will open in London’s West End in summer 2025. When a Black Hercules and the Muses showed up singing “Go the Distance” and “Zero to Hero,” the crowd went wild.

The presentation also featured a performance from The Greatest Showman, which is currently in development for a stage musical adaptation. Frozen, which was filmed on stage and will premiere on Disney+ in 2025, concluded the Broadway presentation with a dazzling performance of “Let It Go” by Samantha Barks, who will star as Elsa. Snow-like confetti filled the room as fans sang along. Not everyone hit that high note at the end. We love Disney nerds.

Lucasfilm

• Director Jon Favreau and producer Dave Filoni announced Mando and Grogu are coming to the big screen. D23 fans were surprised with a special sneak peek of The Mandalorian and Grogu, the upcoming Star Wars feature film that will open in theaters on May 22, 2026.

Marvel Studios

• Agatha All Along: Stars Kathryn Hahn, Aubrey Plaza, Patti LuPone, Joe Locke, Sasheer Zamata, Ali Ahn, and Debra Jo Rupp performed a magical new song from the series, “The Ballad of the Witches Road,” written by Oscar-winning songwriters Kristen Anderson-Lopez and Robert Lopez (Frozen). The series will be available September 18, 2024.

• Captain America Brave New World: Joining Kevin Feige on stage was Anthony Mackie, who makes his big-screen debut as Captain America on February 14, 2025. Mackie talked about the film and shared footage with the D23 audience.

• Daredevil: Born Again: Launching on Disney+ in March 2025. The crowd erupted when Feige invited stars Charlie Cox, Vincent D’Onofrio, Deborah Ann Woll, Elden Henson, and Jon Bernthal to the stage to talk a little about the upcoming show before sharing footage with D23 attendees.

• Ironheart: Ryan Coogler joined Feige on stage. Stars Dominique Thorne, Anthony Ramos, Lyric Ross, Regan Aliyah, and Alden Ehrenreich arrived to finally offer some insight and a look at some footage from the new series that launches on Disney+ in 2025.

Disney Entertainment Television

• Percy Jackson and the Olympians: co-creator Rick Riordan and stars Walker Scobell (Percy Jackson), Leah Sava Jeffries (Annabeth Chase), and Aryan Simhadri (Grover Underwood) revealed an exclusive start of production tease from the upcoming second season. Season 2 is based on The Sea of Monsters, the second installment of Disney Hyperion’s best-selling Percy Jackson book series by acclaimed author Rick Riordan.

• Descendants/Zombies: Worlds Collide Tour: The stars of mega-hit franchises Descendants and Zombies will be hitting the road together for a world tour in summer 2025. Descendants: The Rise of Red star Rita Ora introduced a medley performance of hit songs from the latest film by stars Kylie Cantrall, Malia Baker, Dara Reneé, and Ruby Rose Turner.

• David Blaine: Do Not Attempt: A first look trailer was released for the series coming 2025 on National Geographic and Disney+. Blaine performed a magic trick with the audience in the Honda Center. It was the first time that more than 12,000 people have done a magic card trick together. Fans were convinced magic was real after that performance. 

Disney Live Action

• Lilo & Stitch: With a first look at a live action Stitch, the crowd got a taste of Stitch’s signature mayhem as he wreaked havoc throughout the Honda Center. Lilo & Stitch is a live-action reimagining of the animated classic. Starring Maia Kealoha, Sydney Elizebeth Agudong, Billy Magnussen, Tia Carrere, and Chris Sanders, with Courtney B. Vance and Zach Galifianakis. Comes to theaters summer 2025.

• Snow White: Stars Rachel Zegler and Gal Gadot, who portray Snow White and her stepmother, the Evil Queen, respectively, hit the stage to share a special look at the upcoming film, including a brand-new teaser trailer and poster. They also shared a first look at the film’s full song sequence for “Whistle While You Work.” Coming to theaters March 21, 2025.

• Star Wars: Skeleton Crew: Follows the journey of four kids who make a mysterious discovery on their seemingly safe home planet, then get lost in a strange and dangerous galaxy, crossing paths with the likes of Jod Na Nawood, the mysterious character played by Jude Law. Finding their way home — and meeting unlikely allies and enemies — will be a greater adventure than they ever imagined. 

• TRON Ares: Stars Jeff Bridges, Greta Lee, Evan Peters, and Jared Leto were welcomed with huge applause from the D23 audience who heard details about their characters as well as an in-room-only early look.

• Freakier Friday: We asked and we got it. Jamie Lee Curtis and Lindsay Lohan revealed to fans for the first time the sequel’s official title, Freakier Friday, which heads to theaters in 2025.

• Mufasa the Lion King: Closing the Disney showcase, Lebo M. performed the iconic “Nants’ Ingonyama” alongside a full choir. Director Barry Jenkins welcomed Mufasa songwriter Lin-Manuel Miranda in his first-ever D23 appearance. Together, they offered a special look at a sequence from the film featuring a new song, “I Always Wanted a Brother.” Fans were among the first to see the new trailer before being treated to a show-stopping finale by Lebo M. and choir, who returned to the stage to perform a new song called “Ngomso.” The film opens in theaters December 20, 2024.

The post A First Look at the D23 Disney Entertainment Showcase appeared first on Black Girl Nerds.

Young Woman and the Sea is a feel-good movie about swimming, which I hadn’t seen much before last year’s Nyad. We know the outcome, but the film is still inspiring and emotional. Disney’s Young Woman and the Sea is the extraordinary true story of Trudy Ederle, the first woman to swim the English Channel successfully. Director Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) highlights the accomplished swimmer without leaving out the heart of her family and those who helped her achieve her goals. The film is written by Jeff Nathanson and is based on the book Young Woman and the Sea: How Trudy Ederle Conquered the English Channel and Inspired the World by Glenn Stout. The film stars Daisy Ridley (Star Wars: The Rise of Skywalker) as Trudy – an actor whose smile radiates through the screen and whose charisma and perfectly timed quips make for a character you want to root for.

Born to immigrant parents, the daughter of a German butcher from Manhattan in 1905, Trudy knew she was different from the other girls at an early age. Through the steadfast support of her older sister Margaret (Tilda Cobham-Hervey), mother (Jeanette Hain), and supportive trainers, Trudy overcame adversity and the animosity of a patriarchal society to rise through the ranks of the Olympic swimming team. She was a competitive swimmer who won gold in the 1924 Olympics and completed the staggering achievement of swimming across the English Channel – a 21-mile trek from France to England.

Trudy was a force to be reckoned with. As a sick child who was supposed to die, she pulled through and found a passion for swimming, a pastime that was harmful to her Measles diagnosis. But this film not only spotlights her as a hero to her peers but also highlights the other women in her life who can also be called heroes in this story, her mother, sister, and swim coach. In a patriarchal society where men don’t want to see women succeed or go beyond their station, the women in this film highlight the best qualities and bring out the best in each other. 

Trudy’s mother, Gertrud, was adamant that her girls would not be ones to drown in a ferry crossing or scared to make a difference. When Trudy was in the middle of the English Channel crossing, tired, and felt like giving up, it was her sister Margaret who aided her in the long swim and jumped into the cold waters with her to keep her energy going. When men wanted to see her fail, it was Trudy’s swim coach who taught her the “American Crawl,” aka “freestyle” stroke and encouraged her to use it to swim the channel. The female relationships were a positive force within Young Woman and the Sea. Seeing a solid mother-daughter AND father-daughter relationship in a Disney film is rare. But, we also see a touching sisterly bond and a strong female coach and athlete relationship.

Great things were happening not only in front of the camera but behind as well. Leave it to producer Jerry Bruckheimer (Pirates of the Caribbean) to give us such a great ocean story where the water is an essential background character that adds so much to the story. There are not enough explosions for a Bruckheimer film, but I will let it slide. The cinematography was incredible – the ocean shots, the use of close-ups, and the wide shots of ocean waters, to name a few. Cinematographer Oscar Faura (The Impossible) knows his way around a good water shot.

This film is not only about athleticism at the highest caliber but also a real movement in women’s sports. It’s inspiring no matter where you are from or what you find passion in. The movie made me think about how much I love playing soccer. It will make you think about how much you love something and what you are willing to risk for it! Passion is a significant theme in Young Woman and the Sea. To have a passion and be able to execute it is one of the best feelings. With great acting and great visuals, overall, Young Woman and the Sea is a fantastic, inspiring, emotional film. In a world where everything is a dumpster fire, we are fortunate when gems like this make it to the theater.

Young Woman and the Sea will arrive in theaters on May 31, 2024.

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As technology has evolved, so have the special effects and locations. Battle scenes became bigger and grander in scope. Costumes became more elaborate with a blend of CGI and practical suits. What has stayed consistent is the powerhouse performances from some of our favorite actors.

From Jeff Burton as Dodge in the original 1968 Planet of the Apes and Michael Clark Duncan in 2001’s Planet of the Apes to David Oyelowo as Steven Jacobs in Rise of the Planet of the Apes, Jocko Sims as Werner and Peter Macon as Luca in War for the Planet of the Apes, these actors have left a lasting impact on audiences worldwide. Characters in the upcoming Kingdom of the Planet of the Apes, portrayed by Peter Macon and Eka Darville, are easy standouts and fan favorites.

These actors and the various filmmakers behind the camera have contributed to the success of the Planet of the Apes franchise, bringing memorable characters to life and captivating audiences. BGN’s ranking of the Planet of the Apes franchise starts with the best. Let us know what you think.

1. Dawn of the Planet of the Apes (2014)

Everything about this film, from the actors to the direction and the action, places it at number one on this list. A war film at heart, Dawn shows the good, the bad, and the deplorable. That civil war story, combined with the humans arming themselves with guns, led to disastrous results that audiences were invested in the entire two hours and 10 minutes. When we talk about films whose sequel was better than the first, this is one of them. Character development and drama were peak cinema. With themes of cultural animosity, hatred, and trust issues, this film still makes a statement 10 years later. 

2. Planet of the Apes (1968)

“You blew it up! Ah, damn you! God damn you all to hell!” It’s an iconic line from an iconic movie for all you trivia nerds. 1968’s Planet of the Apes is the original that wowed audiences then and now and remains a solid film with important themes with its commentary on what humanity is missing, where it falls short, and where it thrives. It is an ambitious film that succeeded in its expansion of imagination. It is a classic sci-fi adventure. It’s powerful, exciting, and frightening at the same time. 

3. Kingdom of the Planet of the Apes (2024)

The tall grass scene, reminiscent of raptors hunting humans in The Lost World: Jurassic Park, that we see in the trailer (no spoilers) immediately had my vote for one of the best films in the Planet of the Apes franchise. What’s lacking in action is made up by character development. We learn so much about this clan of apes that it becomes more character-driven than anything else. What some may deem slow and drawn out is patience and great direction in moving the story along. I recommend seeing it in IMAX for full effect. Kingdom of the Planet of the Apes comes out May 10, 2024.

4. Rise of the Planet of the Apes (2011)

It’s the start of something new! When a cure for Alzheimer’s disease results in an extremely high intelligence in a chimpanzee named Caesar, you’ve grabbed my attention. It’s exciting to see commentary on present-day advances in medicine and technology ruining the world instead of “alien” planets and distant futures. It’s more of a sci-fi horror film audiences have wanted from Planet of the Apes — fantastic tension build-up while also allowing the audience to care about Caesar and what happens to the rest of the world from the beginning. The deep dive into computer-generated simians sometimes dissolved the cinematic allusions, but audiences knew the technology would only get better.

5. War for the Planet of the Apes (2017)

With a core understanding of the franchise, War thrived on the idea that humans, not apes, would be the ones to humankind. The film relies on cinematic and biblical references that are all too familiar with several classics referenced. As the Colonel, Woody Harrelson was comical yet despicable at the same time. Overall, the film is entertaining with its cinema-changing CGI tactics and intense realism, even if it is a little too long and touches on the overdramatic.

6. Escape from the Planet of the Apes (1971)

Time Travel! The only way for apes to survive nuclear war is time travel. Picture Los Angeles in the 1970s… but with talking apes. It gives off major made-for-television vibes. The whole thing reminds me of something out of the Twilight Zone. It is entertaining and full of emotional pathos, yet at times jarring to watch. This was an encouraging addition to the franchise. Roddy McDowell as Cornelius and Kim Hunter as Dr. Zira find favor with the humans and the audience with their personalities despite their ape appearance.

7. Planet of the Apes (2001)

While some would argue this is one of the worst remakes in history, I don’t think it’s that bad. It tried too hard to be like its predecessor, down to the shared kiss between an ape and a human. Was it meant to be comical? Probably not. This isn’t Tim Burton’s best film, nor Mark Wahlberg’s. The energy isn’t there. As Captain Leo Davidson, Wahlberg has his first run-in with intelligent apes who can talk while humans are enslaved, yet he has no natural reaction. He sees this for the first time, and his response is mediocre. Even with an unsteady script and a weak main character, 2001’s Planet of the Apes is entertaining. The action makes it a fun addition to the franchise. 

8. Beneath the Planet of the Apes (1970)

The second film in the franchise is almost on par with feelings toward 2001’s Planet of the Apes. The difference is that Wahlberg gives us very little, while Charlton Heston gives us all the drama. Heston is a brilliant actor but can sometimes be over the top in these ape films. The film is entertaining, but director Ted Post had me rolling my eyes at telepathic humans who lived underground and worshipped a bomb. I couldn’t help but laugh at genuinely bizarre moments. I had no qualms with Taylor, the original movie’s hero, activating the missile and killing the planet. Goodbye. I don’t want to see that in a future installment. 

9. Conquest of the Planet of the Apes (1972)

Planet of the Apes films are riddled with social and political commentary but usually rely on audiences to interpret, consider, and reflect. Conquest misses in its blatant disregard for a film audience to think for themselves. There is a forcefulness to make the audience acknowledge society as a doomed, uncompromising enemy of everything. Dystopian future films can be fun to watch, but this one focused too hard on race and the idea of “the other” as subservient. It comes off as angry and bitter.

10. Battle for the Planet of the Apes (1973)

I recently rewatched this one and was immediately put off by the extremely low budget. For the ape characters, Caesar and his people were stuck somewhere between evolving and devolving. With a civil war occurring in Ape City and a war with apes versus post-nuclear war humans, there was too much happening. The film couldn’t decide which it wanted to dive deeper into. Ironically, this idea was done better in Dawn of the Planet of the Apes and War for the Planet of the Apes. So it wasn’t the idea but the execution, putting it at the bottom of the barrel.

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