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FILM REVIEW: Queen & Slim

NNPA NEWSWIRE — Queen & Slim is on its own path. Groundbreaking for its rich, layered storytelling (Lena Waithe, Emmy-winner TV’s Master of None), stylish direction (Melina Matsoukas, Grammy-winner Best Music Video Beyoncè: Formation), provocative contemplations on race and police abuse and two performances that will redefine how black men and women are portrayed on screen.

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Daniel Kaluuya and Jodie Turner-Smith in Queen & Slim

By Dwight Brown, NNPA Newswire Film Critic

It’s lyrical. Like an extended poem with waves of emotion, heady rumination, love proclamations and lost souls gathering around a common issue.

Some will recollect the true-life story of Bonnie and Clyde, but they gained fame for crimes and robbing banks. A closer comparison is Thelma & Louise, two feminist icons who were pushed into rebellion. Yet their story never involved an intimacy between the two that included sexual attraction and love.

Queen & Slim is on its own path. Groundbreaking for its rich, layered storytelling (Lena Waithe, Emmy-winner TV’s Master of None), stylish direction (Melina Matsoukas, Grammy-winner Best Music Video Beyoncè: Formation), provocative contemplations on race and police abuse and two performances that will redefine how black men and women are portrayed on screen.

(from left) Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in "Queen & Slim," directed by Melina Matsoukas.

(from left) Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in “Queen & Slim,” directed by Melina Matsoukas.

They meet at a diner in nowhere Ohio. She, Queen (Jodie Turner-Smith TV’s Jett), is an aloof and exacting criminal defense lawyer, with braids down her back and a disposition more sour than a lemon. He, Slim (Daniel Kaluuya, Get Out), a salesclerk, is her polar opposite. Congenial, funny, sardonic sloppy. He chews his food with his mouth open, making noises that could wake the dead. It annoys her. He’s completely oblivious. Fate didn’t bring these disparate souls together. Blame it on Tinder.

Driving home from their rendezvous, a siren flares, red and white lights flash and his porcelain-colored Honda Accord is pulled over by a very white and overly aggressive cop (Sturgill Simpson, Grammy-winner Best Country Album “A Sailor’s Guide to Earth”). The car is searched. Nothing is found.

Bokeem Woodbine as Uncle Earl in "Queen & Slim," directed by Melina Matsoukas.

Bokeem Woodbine as Uncle Earl in “Queen & Slim,” directed by Melina Matsoukas.

It’s as if the police officer is extra pissed because he can’t find drugs or alcohol. His anger grows. Slim is calm. Queen, as attorneys can be, is indignant. The situation escalates. A gun is drawn, and shots are fired. Queen and Slim go on the lam, driving down endless highways, trying to escape. He’s not sure what to do. She: “Keep running until we come up with a better plan.”

In the first five minutes the tension between the two draws you in. Contrary personalities, yet common cultural threads. Conversations about the movie Love Jones and other Black pop knowledge banter set their personae: They are hip, smart, modern African Americans. People you may have known in college, on your 9-5, from a dinner party… They’ve got urbane exteriors. Underneath they are scarred and vulnerable. You want to watch them court and spark. You want them to survive.

(from left) Uncle Earl (Bokeem Woodbine), Slim (Daniel Kaluuya) and Naomi (Melanie Kalfkenny, standing) in "Queen & Slim," directed by Melina Matsoukas.

(from left) Uncle Earl (Bokeem Woodbine), Slim (Daniel Kaluuya) and Naomi (Melanie Kalfkenny, standing) in “Queen & Slim,” directed by Melina Matsoukas.

This is the mark of brainy, sensitive and socially aware screenwriting that will likely propel Lena Waithe from TV gigs to steady feature film work. Her mixed bag of indelible characters include: an ex-con uncle (Bokeem Woodbine, Jason’s Lyric); the con’s ladyfriend (Indya Moore, TV’s Pose); a good-willed sheriff (Benito Martinez, TV’s 13 Reasons Why); and a war vet (Flea, bassist for The Red Hot Chili Peppers).

Police aggression in the black community ignites a journey that’s laced with intrigue, thrills, narrow escapes, family drama and a romance that goes from highly unlikely to sensual bliss. All of it keeps viewers guessing what’s next—right until the end. For good measure, provocative dialogue expresses the characters’ subjective attitudes. Queen: “Nothing scares a white man more than a black man on a horse.” Slim: “Why?” Queen: “Because they have to look up to them.”

Jodie Turner-Smith as Queen in "Queen & Slim," directed by Melina Matsoukas.

Jodie Turner-Smith as Queen in “Queen & Slim,” directed by Melina Matsoukas.

Taking a script that is as rich and descriptive as a Toni Morrison (Song of Solomon) or Bernice McFadden (Gathering of Waters) novel and turning it into eye-catching cinema requires the talent of a gifted director. Music video turned cable TV director Melina Matsoukas (HBO’s Insecure) is up to that challenge. Action sequences have verve. Dramatic scenes are well staged and crafted. Romantic moments duly erotic.

Between intense conversations, conflicts and deaths, Matsoukas gives the footage time to breath, with carefree moments: Queen sits on the windowsill of a gold-colored Mercedes-Benz station wagon, as it travels down a two-lane road. Sun on her face, wind in her hair. In endless sequences of supreme tension, it’s an oasis moment. The kind video directors imagine freely, when other filmmakers do not.

Daniel Kaluuya as Slim in "Queen & Slim," directed by Melina Matsoukas.

Daniel Kaluuya as Slim in “Queen & Slim,” directed by Melina Matsoukas.

The keen eye of cinematographer Tat Radcliffe (’71) frames scenes perfectly and makes chocolate skin look incandescent. The creations of production designer Karen Murphy (A Star Is Born) make a stately Georgia home and a mechanic’s shop equally impressive. An engaging playlist includes the most modern neo soul music and old gritty blues. Shiona Turini’s costumes steal the show. To her credit, Slim’s borrowed wine-colored velour track suit and Queen’s tiger-striped mini-dress and reptile skin white boots could become iconic film garb.

Daniel Kaluuya is a photographer’s gift. The camera lens loves his guy-next-door face, large eyes, full lips and dark complexion. He plays Slim completely understated, tender in the right moments, brave in others. His is a subtle performance, fueled by inner strength. Turner-Smith’s character arc shines as she takes Queen from the impervious, to the needy, to the courageous. In the beginning her long braids weigh her down, just like her cranky disposition. Later, when she’s shorn, it’s as if a duck has left and a swan arrived. Happier. Adaptive. In the mood for love. With a beauty that would shame a goddess.

It’s been a minute sense Bokeem Woodbine was in a film that properly displayed his talents. It’s as if his career has come full circle. Moore, Flea, Simpson, Colby Boothman as a convenience store clerk and Jahi Di’Allo Winston as a young martyr complete a compelling supporting cast that turns in superb ensemble acting.

More judicious cutting (editor Pete Beaudreau, Beast of No Nation) could have trimmed the 2hr 12 min. run time. Scenes at the uncle’s house could have been shorter. Chopping off a couple of road sequences might have made the film tighter. But it’s doubtful the target audience will complain about the movie’s rhythm or compass.

The mix of racial/social hot-button issues may make some squirm. Crime/drama/thriller elements will likely keep viewers engrossed. The love story and carnal scenes could inspire couples to hold hands.

These engaging qualities should attract and satiate urban audiences and romantics looking for a unique, soul-searching allegory hidden inside a crime getaway film. Queen: “I’m scared.” Slim; “I’ll be brave enough for the both of us.”

Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com and BlackPressUSA.com.

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#NNPA BlackPress

Study: Waiting Lists for Child Care Assistance Nearly Doubled

BLACKPRESS USA NEWSWIRE — “Since the expiration of tens of billions of dollars in federal child care funding in 2023 and 2024, an already fragile child care system has been pushed even closer to the brink.”
The post Study: Waiting Lists for Child Care Assistance Nearly Doubled appeared first on BlackPressUSA.

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By National Women’s Law Center

The National Women’s Law Center released its annual State Child Care Assistance Policies report, finding that the number of children placed on waiting lists for federally funded child care assistance nearly doubled between 2024 and 2025 — and that number has only continued to grow.

The report serves as a key resource for state lawmakers, advocates, and policymakers by tracking state child care assistance policies and identifying where states are strengthening support for families and early educators — or falling behind.

“This deeply troubling increase in the number of children on child care waiting lists is the result of a failure to invest in this crucial sector,” said Karen Schulman, senior director of state child care policy and author of the report. “Since the expiration of tens of billions of dollars in federal child care funding in 2023 and 2024, an already fragile child care system has been pushed even closer to the brink.”

Key findings in the report related to waiting lists for child care assistance include:

• 17 states had waiting lists or a freeze on intake for child care assistance in February 2025, up from 13 states in February 2024.

• Approximately 106,700 children nationwide were added to waiting lists between February 2024 and February 2025, bringing the total to 225,500 children in February 2025 — a 90 percent increase compared to February 2024.

• The numbers climbed even further between February 2025 and summer/fall 2025, with more than 175,000 additional children added to state waiting lists in just a few months — a 78 percent increase.

• At least seven states newly began placing families on waiting lists or freezing intake, while at least 10 additional states saw their waiting lists grow, after February 2025.

The report also includes state-by-state data on key child care assistance policies, including income eligibility limits, parent copayments, provider payment rates, and eligibility policies for parents searching for work.

Click the link to learn more: Warning Signs: State Child Care Assistance Policies 2025.

The post Study: Waiting Lists for Child Care Assistance Nearly Doubled appeared first on BlackPressUSA.

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Venus Williams Calls a Sabalenka Exit a Tragedy

ROLLING OUT — Crucially, Williams did not read the comment as a real farewell. She said she did not believe Sabalenka truly wanted to leave, calling such an outcome a loss for both the player and the sport.
The post Venus Williams Calls a Sabalenka Exit a Tragedy appeared first on BlackPressUSA.

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The seven-time major champion read frustration, not a real goodbye, in the world No. 1’s words

By David Kesiena | Rolling Out

When the world’s top-ranked player said she wanted to walk away from the sport, Venus Williams chose empathy over alarm.

Aryna Sabalenka’s blunt remark after her French Open quarterfinal collapse rattled plenty of fans, but Williams heard something different in it. The seven-time Grand Slam champion treated the comment as the raw reaction of a hurting athlete rather than a serious signal about her future.

The collapse that triggered the comment

Sabalenka looked headed for a routine win over Diana Shnaider. She took the opening set 6-3 and built a commanding lead in the second, climbing to 4-1 and later serving for the match at 5-4 while sitting just two points from victory.

Then everything unraveled. Shnaider stormed back to steal the second set 7-5 and bageled the world No. 1 in the third, with Sabalenka dropping 12 of the final 13 games in gusty conditions that reached around 26 mph. The 3-6, 7-5, 6-0 result sent Shnaider into her first Grand Slam semifinal and extended Sabalenka’s long wait for a maiden Roland Garros title.

In the aftermath, Sabalenka did not soften her feelings. She told reporters she had no thoughts and no emotions left and felt like quitting on the spot. She described being stuck in a deep, dark mental hole during the match, unable to find her way back.

What Venus Williams said about Sabalenka

Williams reacted with understanding. She admitted the moment made her sad and said she had been swept up in Sabalenka’s emotions, feeling a surge of empathy for her. She praised the Belarusian for laying everything bare on court, where every feeling shows.

Crucially, Williams did not read the comment as a real farewell. She said she did not believe Sabalenka truly wanted to leave, calling such an outcome a loss for both the player and the sport. Rather than scold her, Williams offered a gentle observation about the rhythm of professional tennis. She suggested players might benefit from a little more time to gather themselves before stepping in front of the cameras, a quiet acknowledgment that athletes are routinely asked to dissect painful defeats before the sting has faded.

Sabalenka walks it back

The story did not end on that bleak note. Within days, Sabalenka signaled she was not actually quitting, framing the press-conference outburst as heat-of-the-moment honesty rather than a plan. At the time of the loss she had also left the door open, saying she would see how she felt in a few days and hoped to get back on track mentally. The walk-back lined up with how Williams had read the situation from the start.

It is not the first time a Paris quarterfinal has pushed Sabalenka to her limit. In 2024 she exited at the same stage and skipped her press conference entirely because of illness, with the tour later releasing her quotes on her behalf. The pattern underscores how heavily this particular tournament has weighed on her despite deep runs in recent years.

For now, attention shifts to the grass. Wimbledon offers Sabalenka a quick chance to reset, and a strong showing there would turn this French Open meltdown into a footnote rather than a turning point.

Originally published by Rolling Out — https://rollingout.com

The post Venus Williams Calls a Sabalenka Exit a Tragedy appeared first on BlackPressUSA.

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COMMENTARY: Using Art, Healing, And Community to Transform Mental Health Dialogue

THE CAROLINIAN — Operating at the intersection of the arts and mental health, Darkness RISING uses music, storytelling, wellness programming, and community engagement to inspire healing while addressing barriers that have historically prevented many Black Americans from accessing mental health support.
The post COMMENTARY: Using Art, Healing, And Community to Transform Mental Health Dialogue appeared first on BlackPressUSA.

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By Judaea Ingram | Special to The Carolinian

RALEIGH, N.C. – Music filled the air as families danced through the crowd, children gathered around activity stations, and community members explored wellness resources from local organizations. Black-owned businesses lined the streets while people stopped for chair massages, conversations, and moments of connection inside the wellness suite.

At the center of the event stood a simple but powerful reminder:

“You Matter.”

For Darkness RISING, those words represent far more than a slogan. They reflect the organization’s mission to break the stigma surrounding mental health in the Black community while creating spaces centered on healing, honesty, and hope.

Operating at the intersection of the arts and mental health, Darkness RISING uses music, storytelling, wellness programming, and community engagement to inspire healing while addressing barriers that have historically prevented many Black Americans from accessing mental health support.

The organization hosts a variety of programs and events throughout the year, including block parties, wellness workshops, mixers, kickoff events, community classes, and Darkness RISING: Live — a free annual arts and wellness festival now celebrating its ninth year.

The festival combines entertainment with healing-centered resources, featuring live music, dancing, singing, food trucks, Black vendors, children’s activities, mental health resources, wellness spaces, and opportunities for open conversations about mental health.

While the events may feel celebratory on the surface, organizers say the deeper purpose is creating safe spaces where people can feel comfortable discussing mental health without fear of judgment.

Darkness RISING also provides free nationwide resources, including a Black Mental Health Resource Packet, a Black Mental Health Provider Database, and its “Find Me a Therapist” initiative, which helps connect individuals with culturally competent care.

The organization’s work is rooted in addressing longstanding inequities that continue impacting mental health access within Black communities.

Historically, segregation, redlining, racial discrimination, incarceration, poverty, and unequal healthcare access have contributed to higher rates of behavioral health challenges while simultaneously limiting access to proper treatment and support. Darkness RISING approaches those issues through what organizers describe as a transformative justice lens, focusing on healing rather than punishment and creating equitable wellness opportunities for marginalized communities.

Its REBUILD program specifically supports justice-involved and formerly incarcerated people of color through free therapy and wellness support, while the REBUILD Youth program focuses on young people impacted by Adverse Childhood Experiences, also known as ACEs.

For Rudolph, therapy became life-changing after decades of incarceration and years of rejection after returning home.

“Came home in 2015, started my own computer company, investing in real estate, did the normal thing and got some jobs here and there and was met with rejection after rejection and people telling me I am not a good person,” Rudolph shared. “Even had a rejection in church.”

He said one of the hardest battles became overcoming the mental barriers created during incarceration.

“I got in touch with a couple of friends, and they explained to me how I had to get over the mental hurdles and get rid of the way my prison mindset was in order to survive and become successful,” he said.

Rudolph later moved to North Carolina hoping for a fresh start, but the struggle continued.

“Things were looking bad,” he said. “Could not get a job. The struggle was real.”

Eventually, therapy and support through organizations like Darkness RISING helped begin his healing process. He said working alongside other justice-involved men through therapy gave him the ability to rebuild mentally while finding community with people who understood his experiences.

Stories like Rudolph’s reflect the foundation behind Darkness RISING’s mission: ensuring people feel seen, supported, and worthy of healing regardless of their background or circumstances.

Community members who attend the organization’s events often describe them as emotionally transformative.

Some participants say Darkness RISING encouraged them to seek therapy for the first time, while others say the organization gave them a safe space to openly discuss struggles they previously kept hidden.

“I have been encouraged by the beautiful, generous, brave and open individuals who come together and use their talents to create art, share personal experiences and provide hope to those who may be struggling with mental health,” one participant shared.

By combining art, wellness, education, and community outreach, Darkness RISING continues changing how mental health conversations happen within the Black community.

Not through silence.

But through healing, honesty, connection, and joy.

Originally published by The Carolinian — https://caro.news

The post COMMENTARY: Using Art, Healing, And Community to Transform Mental Health Dialogue appeared first on BlackPressUSA.

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