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FILM REVIEW: Us

NNPA NEWSWIRE — For easy-to-please horror genre fans, who don’t ask much from creepy movies, there are enough frights and shocks to satiate: Mirror-image intruders (aka The Tethered), scissors stabbing bodies, blunt force trauma, bodies falling off balconies, boating accidents, heads getting whacked with golf clubs… There are an abundance of thrills.

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By Dwight Brown NNPA Newswire Film Critic

It’s not ordinary. But certainly not extraordinary. Jordan Peele’s follow-up to the box-office-smash Get Out doesn’t expand the boundaries of the horror genre like its predecessor or A Quiet Place did. It’s almost a retreat into norms that bring to mind humorous horror flicks like Scary Movie, zombie thrillers akin to Dawn of the Dead and over-produced shockers like The Shining. Remember the small, indie feel of Get Out? It’s gone. Vanished like a ghost.

Lupita Nyong'o as Adelaide Wilson in "Us," written, produced and directed by Jordan Peele.

Lupita Nyong’o as Adelaide Wilson in “Us,” written, produced and directed by Jordan Peele.

The Wilsons, an upper-middle-class family in Northern California, have just settled into their lakeside vacation home. They have arrived, physically and symbolically. Thirtysomething-year-old dad, Gabe (Winston Duke, Black Panther), his tween daughter Zora (Shahadi Wright Joseph) and young son Jason (Evan Alex) all want to go to Santa Cruz Beach. It’s got sand, sea, a boardwalk and an amusement park. What’s not to like?

Mom, Adelaide (Lupita Nyong’o, Twelve Years a Slave), is dead set against the visit. The thought brings back debilitating PTSD. Back in 1986, when she was a kid (Madison Curry) her parents (Yahya Abdul-Mateen II and Anna Diop) brought her to that same amusement park. She wandered off, got lost in an arcade called Vision Quest, and by the time they found her she was traumatized. So distressed, she couldn’t speak and the couple sought therapy for her. A trip to Santa Cruz puts Adelaide in a cold sweat.  But her family talks her into it and life is never the same afterwards.

For easy-to-please horror genre fans, who don’t ask much from creepy movies, there are enough frights and shocks to satiate: Mirror-image intruders (aka The Tethered), scissors stabbing bodies, blunt force trauma, bodies falling off balconies, boating accidents, heads getting whacked with golf clubs… There are an abundance of thrills. The Wilson family is likable, modern, hip, African American and unapologetically class-conscious. The setting of Northern California and especially the beaches of Santa Cruz are quite inviting.

For discerning fans with a more sophisticated palate, Peele’s script is using the doppelganger monsters as a metaphor. They represent the people left behind in the shadows, those who don’t get a chance at the good life. The eerie folks from the netherworld who look like the protagonists become a weird head game that is an effective device, initially.  Credit Peele for a very creative and three-dimensional premise. The problem with his ambitious blueprint is that some viewers won’t understand what he’s after.

Gabe Wilson (Winston Duke) and Zora Wilson (Shahadi Wright Joseph) in "Us," written, produced and directed by Jordan Peele.

Gabe Wilson (Winston Duke) and Zora Wilson (Shahadi Wright Joseph) in “Us,” written, produced and directed by Jordan Peele.

The dialogue is cool, especially Gabe’s funny asides, but none of it is memorable. The main characters are likable, but not all that exceptional. Neither are their close friends the Tyler family, who act like empty-headed millennials. There is an initial shock when the Wilsons meet the family that trespasses on their property. The astonishment of them seeing themselves is icky at first, but that weird feeling subsides. Soon after, the footage drifts into very standard thriller aspects. Chase scenes, people handcuffed to furniture, combat on boats—none of it stretches the imagination.

As action occurs, the cutting back-and-forth between scenes seems a bit clumsy. Sometimes it feels like you’re watching a bunch of set pieces and not a group of bone-chilling kinetic sequences that flow with an electric energy. Peele’s direction should get tighter, more desperate and exciting as the film progresses. Instead, it remains at a moderate tempo.

Editor Nicholas Monsour has experience with humorous movies (Keanu) and comic TV shows (Cobra Kai). His lack of a background in the horror or thriller genres is evidenced by his non-rhythmic pacing. Even as the film builds to its conclusion, the speed of action and length of scenes stays the same. No sense of real urgency arrives. Nada.

There are some plot holes: If Adelaide was so traumatized by Santa Cruz Beach, why does she go back?  And if she’s going to return, and is really scared, why would she let her young son out of her sight? When you get to the end of the movie and figure out the game that is being played, her actions make even less sense. Sometimes the characters make irrational decisions and do stupid stuff.

The slow pacing leaves some dead time when the camera (Michael Gioulakis, Glass) languishes on the countryside and the musical score (Michael Abels, Get Out) blares with loud string music. That’s when the film feels like the over-stuffed The Shining, heavy on the big buildup and shoddy on the action. The real people wear contemporary costumes that are fitting (costume design by Kym Barrett, The Matrix). The faux folks are stuck in dull red jumpsuits.

The Wilson family doppelgängers (from left), Pluto (Evan

The Wilson family doppelgängers (from left), Pluto (Evan Alex), Abraham (Winston Duke), Umbrae (Shahadi Wright Jospeh) and Red (Lupita Nyong’o) in “Us,” written, produced and directed by Jordan Peele.

The film’s prologue mentions thousands of tunnels that run underground in the U.S., like there is a dingy underworld. At the hands and imagination of production designer Ruth De Jong (Manchester by the Sea) the tunnels look like porcelain bathroom walls in a spa lobby. The spaces off the halls look like poorly lit high school classrooms. Audiences expecting something dark and sinister like a decayed subway tunnel (e.g. the “L” line in New York City) won’t find one.

The Wilsons are as all-American as the family on TV’s Blackish, minus the biting humor. Racial issues are not brought up, it’s not that kind of party. Lupita Nyong’o is a vision as the two moms. Smooth skin, gorgeous lips. She’s is earnest in a very complicated role, especially as Red the demon shadow. Winston Duke is amicable as the dad who has trouble defending his family. Duke plays the father like he’s Jordan Peele’s alter ego. Elisabeth Moss and Tim Heidecker as the heads of the Tyler household don’t get a real chance to fly. The extras who play zombie-types in the tunnel couldn’t frighten a flea.

A beach bum in Santa Cruz holds a sign that reads: Jeremiah 11:11. The verse proclaims: “Therefore, this is what the LORD says: I am going to bring calamity upon them, and they will not escape. Though they beg for mercy, I will not listen to their cries.”

Us never reaches that over-the-edge crescendo into total mayhem that scares you to death and makes a good horror film a great one.

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

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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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