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COMMENTARY: Why ‘The Woman King’ Is Revolutionary

CHICAGO DEFENDER — Women characters becoming sword slashing or shotgun-toting badasses (i.e., Kill Bill and Foxy Brown) or rebels against their prescribed roles (i.e. Thelma & Louise) have often still registered as objects of the traditional gaze, rendered more exotic or erotic because they take on expected tropes of masculine toughness or step out of their domestic roles and temporarily seize the day. Women wielding weapons as well as or better than men can too easily be deemed as radical representations of women with little attention to context or the problematic association of violent toughness with heroic maleness on screen.
The post COMMENTARY: Why ‘The Woman King’ Is Revolutionary first appeared on BlackPressUSA.

Published

4 years ago

September 19, 2022

Chicago Defender Staff

By: Dr. Stephane Dunn and Dr. Beverly Guy-Sheftal | Chicago Defender

Back in a 1974 review of the Bond-like Cleopatra Jones movie starring Tamara Dobson, Feminist and former Ms. Magazine editor Margaret Sloan spoke volumes about Black female spectatorial desire. Damn, that felt good she wrote. After viewing The Woman King, we know exactly what she meant.

Cleopatra, a beautiful, kick-ass Black woman empowered by the U.S. government but grounded in her commitment to the Black community, was a Black Power era fantasy character. Over 40 years later, Marvel’s Afrofuturist Black Panther teased us with the cinematic possibilities of Wakanda’s supporting characters, a squad of royal Black women soldiers. The Woman King brings such women to the center and importantly marks both the evolution and realization of this on-screen representation of Black women and the cinematic evolution of its director, Gina Prince-Bythewood.

Directed by Gina Prince-Bythewood with screenwriter Dana Stevens, The Woman King is inspired by the real-life Dahomey female warriors, the Agojie, who were formed in the 1700s and became legendary fighters. Viola Davis, who plays the fictional character General Nanisca – arguably a composite nod to various African warriors like Nzinga and Yaa Asantewaa, and an emerging young Agojie, Nawi (Thuso Mbedu), lead an extraordinary cast including, Lashana Lynch as the enthralling Izogie and John Boyega as young King Ghezo.

The Woman King is not a biography or intended to be a neat history lesson on African women warriors and as such takes full creative license to reimagine the Agojie, threading together the historical realities of slavery, racial, gender, and class violence to fashion a world in which women have not only a female-centered, controlled safe space to live but literal physical and socio-political choice, voice, and visibility within the patriarchal structure of their immediate community and beyond.

Women characters becoming sword slashing or shotgun-toting badasses (i.e., Kill Bill and Foxy Brown) or rebels against their prescribed roles (i.e. Thelma & Louise) have often still registered as objects of the traditional gaze, rendered more exotic or erotic because they take on expected tropes of masculine toughness or step out of their domestic roles and temporarily seize the day. Women wielding weapons as well as or better than men can too easily be deemed as radical representations of women with little attention to context or the problematic association of violent toughness with heroic maleness on screen.

The Woman King has a copious amount of violence and blood; brutal warring between different African nations and between the Africans and Europeans involved in turbulent at turns reciprocal slave trafficking is one of the unfortunate realistic historical threads exploited in the film’s unapologetic anti-Atlantic slave trade and African involvement sentiment.

However, the spectacle of physical violence is in service to the dominant and most important critical representation in the film – women whose reaffirming collective sisterhood is a formidable force against patriarchal oppression and to an extent racial and class oppression. The women the Agojie rescue or take captive after the battle are given the power to choose a rare life and identity for themselves whereas men do not generally dictate their daily movements or can willfully them to be subservient wives, daughters, or servants that they can rape and beat at will.

To become Agojie is to fight for their male king and Dahomey, but as they remind each other, they fight for themselves and each other in service to their own double-edged quest for freedom and power as women and Dahomey people. This is not pretty work, women soldiering in battle with and against men. This is why the rare movie depiction of Black women in the community within the Agojie compound registers so magnificently.

Here neither men’s gaze nor presence is allowed. Here women dance, train, and braid each other’s hair, tend tenderly to one another’s wounds, strategize, debate respectfully, learn to transcend ethnic differences, and grow their sense of individual and collective empowerment.

The French slavers call them “Amazons” but this dismissive historical tag holds no weight in The Woman King. The women in the film hold the controlling narrative point of view and declare themselves, “Agojie” and “sisters” and there is the possibility of a ‘Woman King’.

Gina Price-Bythewood’s Black romantic classic, Love and Basketball (2000) marked the debut of its promising director. Two Black leads (portrayed by Sanaa Lathan and Omar Epps) come to bond over their passion for playing basketball and later fall in love. We loved Prince-Bythewood’s exploration of a Black woman’s uneasy navigation of her professional ambition and the social gender expectations as her traditional mother’s daughter and boyfriend’s girl. And yet, it settled uneasily. Her passion and ambition for basketball rises, falls and rises again with the twists and turns of her romantic relationship until she’s happily settled in domestic life and in the WNBA.

Later, in Price-Bythewood’s under-rated Beyond the Lights (2014), the exploration of women’s difficulties choosing and defining their paths and self-identity continues with a young pop singer (Gugu Mbatha-raw) struggling to navigate the expectations of her manager mother and pop stardom; a romance with a regular good guy (Nate Parker) helps her to ultimately step into the music and self-representation she truly desires.

In real life, the Agojie were devastated by Dahomey’s ongoing conflicts – wars with other African nations and participation in and against the slave trade with the Europeans – becoming an exhibition for the Western gaze and historical record.

But The Woman King, thank you very much, is a movie. Gina Prince-Bythewood directs her fullest, most satisfying representation of Black women’s quest for autonomy and actualization. The Woman King boldly unsettles the traditional spectacle of patriarchy and not because the women fight with such dazzling physical might and skill with their bodies or rope and machete in hand, but because the most radical thing is that the love, intimacy, and sisterhood between women, the collective power of this, sits boldly at the center of The Woman King. In American popular film, this is revolutionary.

Words by: Dr. Stephane Dunn and Dr. Beverly Guy-Sheftal

Dr. Stephane Dunn, PhD, MA, MFA is a writer, filmmaker, professor, and cultural critic and author of Baad Bitches & Sassy Supermamas: Black Power Action Films (2008), Chicago ’66 (2020) Finish Line/Tirota Social Impact Screenplay winner) & the novel Snitchers (2022). She is chair of the Morehouse Cinema, Television & Emerging Media Studies (CTEMS) department. Her work has appeared in a number of publications including, The Atlantic, Vogue, Ms. magazine, Chronicle of Higher Education, and TheRoot.com, among others

@DrStephaneDunn

stephanedunn_writes

Dr. Beverly Guy-Sheftal is Anna Julia Cooper Professor of Women’s Studies and the Founder and Director of the Women’s Research and Resource Center, at Spelman College. Sheftall published the first anthology on Black women’s literature, Sturdy Black Bridges: Visions of Black Women in Literature (Doubleday, 1979), with Roseann P. Bell and Bettye Parker Smith; Words of Fire: An Anthology of African American Feminist Thought (New Press, 1995); Traps: African American Men on Gender and Sexuality (Indiana University Press, 2001) and (with Johnnetta Betsch Cole Gender Talk: The Struggle for Equality in African American Communities,
@DrGuySheftall

The post Why ‘The Woman King’ Is Revolutionary appeared first on Chicago Defender.

The post COMMENTARY: Why ‘The Woman King’ Is Revolutionary first appeared on BlackPressUSA.

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Published

2 weeks ago

May 3, 2026

Oakland Post

The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.

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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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2 weeks ago

May 3, 2026

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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2 weeks ago

May 3, 2026

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

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