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The House They Built - Part I - The Hawkins (on Wattpad) https://my.w.tt/K2VP0yDVt1 

 "Judge a home not by its exterior but what lies within its walls" 

Wise words, and ones that accurately describe Abbey and Christian Hawkins. On the outside, their quiet Long Island home is one many dream of but rarely obtain. However, within its four walls lies a dark secret - one that can remain dormant no longer. 

The Hawkins are forced to confront the evil that has transpired beneath the seemingly idyllic home. In the process they must come to terms with the choices they've made and the consequences that will soon befall them.

Check out part one of this suspense thriller from Malik Gay. Part two coming soon!   

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The Best Seasons of HBO’s The Wire (Ranked)

Written By Malik G. 

Introduction

What can I say about HBO’s The Wire that hasn’t already been said? Arguably one of the greatest TV shows ever made, The Wire provided audiences with an in-depth look into the city of Baltimore through its various institutions, establishments, and citizens. On the surface, The Wire is a simple story about police officers vs drug dealers but on another level, it’s an analysis of how people come together and interact when placed in a densely populated area.

The Wire could’ve easily taken place in New York, Philly, or Chicago but given how familiarized the creators David Simon and Ed Burns were with Baltimore – one being a Baltimore Sun journalist, the other being a homicide detective – there was no better backdrop. What separated The Wire from other police procedurals like NYPD Blue and Law & Order was its serialized nature. Each episode wasn’t its own case but rather a chapter in the overarching story that is the war on drugs.

Throughout the series, we examined the great American city through the eyes of cops, lawyers, politicians, drug dealers, and even the working class as each season introduced us to a new institution and how it either combats or perpetuates criminality. I could literally go on about The Wire forever (just ask my friends and family). However, I’m here to talk about its five seasons and which had the greatest impact on me as well storytelling and entertainment overall.

Check out where I ranked each season of HBO’s The Wire

Number 5: Season 2 (AKA The One That Left Everyone Confused)

On the first watch, I hated everything about season two of The Wire, mostly due to my lingering questions. Why were we focusing on a bunch of stevedores? What’s with this mysterious Greek character? Is McNulty going to be on marine patrol the entire time? What does any of this have to do with the Barksdale organization? By the time season two had ended, it had garnered my attention but I was still happy to be moving on.

Many distinguish the second season of The Wire as the weakest, mostly because of its 180° shift in terms of focus and narrative. The Major Crimes Unit has been disbanded, McNulty is riding the boat, Stringer Bell is in charge of the Barksdale organization while Avon and Deangelo are locked up, and something fishy is going on at the docks. As unnecessary as many people view season two, in retrospect, it might just be the most significant. While I feel we could’ve done without the mystery of the dead container girls, it was important to know just where the drugs were coming from.

Even though the Avon and Deangelo storyline got pushed back to the second tier, it did provide us with one of the show’s most heartbreaking deaths. Season two might’ve felt like a chore to slog through but on second and third watch, it proves that it belongs right next to the others in regards to character development and storytelling. Also, it gave us the Omar Little vs Lawyer courtroom scene, which is a must-see for anybody that questions how the legal system truly operates.

Number 4: Season 5 (AKA The One That Ended It All)

The series finale of The Wire is probably my all-time favorite next to Breaking Bad. It showed that even though the show was coming to an end, the so-called Game never stops. Drug lord Marlo Stanfield was forced into retirement, McNulty and Freamon were fired from the police force, and Michael and Dukie fit into their roles as the new Omar and Bubbles respectively.

However, season five wasn’t about giving its characters the send off they deserved but rather showing us how the cycle always finds a way to reset itself. The war on drugs could never be won because no one really understands how it operates or where it originated. There will always be another drug lord, cop, and politician to ensure that the drug trade has its highs and lows.

But, onto the season as a whole. The Wire has received critical acclaim for its immense level of realism. That being said, imagine my disappointment when I discovered the primary storyline for the final season. It would revolve around McNulty creating a fake serial killer so that the mayor would grant funds to the police department that McNulty would then funnel into a terminated drug case.

Now, don’t get me wrong. Season five was highly entertaining and superbly written but its premise was just too far-fetched for me to get behind. Also the most action-packed, season five gave us a Marlo vs Omar showdown, which seemed promising only to end rather anticlimactically. I love the final season for wrapping up the series in the most creative way possible but unfortunately, its semi-unbelievable concept forces me to place it at the number four spot.  

Number 3: Season 1 (AKA The One That Started It All)

I still remember the first time watching The Wire. I had just finished binge watching Breaking Bad and was in need of something equally as captivating. Searching through my HBO Go, I came across The Wire and the rest was history. Despite initially finding it boring and convoluted, I quickly became invested in its characters and overall narrative.

Similar to Game of Thrones, I didn’t know what was going on but I was eager to discover what was going to happen next. What really captured my attention was the amount of time that the show dedicated to developing both sides of the conflict. This might sound crazy but season one showed us that there are such things as bad cops and good criminals because, at the end of the day, we’re all people.

The Wire’s freshman season also presented us with so many memorable moments like Kima getting shot, the death of Wallace, and Deangelo’s change of heart. Season one also did a wonderful job at telling a self-contained story so if they weren’t renewed, the audience would be given with an appropriate amount of closure. The Wire provided the perfect template for how a premiere season should be developed with many shows following the formula to this day. 

Number 2: Season 3 (AKA The One That Shocked And Awed)

If season two took a detour through the docks and lives of the working class in Baltimore then season three was a delightful return to form. We found ourselves back on the Westside corners and wow was it mesmerizing. Avon, Stringer, and the Barksdale organization were back in business and this time they were going up against newcomer Marlo Stanfield.

Season three gave us a turf war that proved no matter who wins, the city always loses. In addition to this, police Major Bunny Colvin conducts an experiment that attempts to regulate the drug trade rather than fight it – something quite similar to the dispute regarding prohibition. The Major Crimes unit was up and running in full force and Stringer Bell was the true target again.

Season three is great because it continued to give us more of what we loved while introducing a new institution in the form of local government. It presented us with the grim reality of politics and that everything, including the war on drugs, is fought with the goal of further an agenda.

Arguably the most daring of the five, season three was not afraid to make some risky decisions, killing off fan favorites and leaving viewers with a “what now” attitude. It was in season three where The Wire really found its footing and established itself as a mainstay in pop culture. I couldn’t get enough.  

Number 1: Season 4 (AKA The One That Changed Everything)

Wow. Just wow. That was my reaction when finishing the fourth season of The Wire. I am going to go ahead and say that season four is the greatest season of television…Ever. After the events of the previous season, I was left wondering where the writers could possibly take the story next. Stringer Bell was dead, Avon was back in prison, McNulty had quit the Major Crimes unit to become a beat cop, and Marlo had become the new king of the streets.

Well, The Wire decided to pull another 180 and this time it was executed to glorious effect. We were introduced to the corner boys and their equally diverse and magnetic personalities. Namond, Randy, Michael, and Dukie – Season four showed us the Baltimore drug trade through their eyes and how it trickles down into the school system and their ability to receive an education. If season two showed audiences where the drugs came from, then season four revealed how the modern drug dealer is created.

It’s here where we discover where the Stringer Bells and Avon Barksdales of the world are made. There’s honestly just too much to talk about when it comes to season four. It’s easily the most tragic, enthralling, and introspective season of the series. When we weren’t watching the four main kids combat the struggles of life on the Westside, we got a glimpse of a happy McNulty, a ruthless and murderous Marlo Stanfield (Chris & Snoop = scariest henchmen ever), and how politicians are just as much of a problem as they are a possible solution.

I once spoke with a teacher who said she couldn’t finish the season because of how real and heartbreaking its depiction of education in a lower-class neighborhood was – yeah, it’s that serious. If you never watch another season of TV, watch season four of The Wire aka the one that changed everything.

Conclusion

There’s just so much more to talk about but feel I like I’ve overstayed my welcome. The Wire is a seminal piece of television that is being taught and studied almost a decade after its initial run. The definition of re-watchable, each time you enter the world of The Wire, there will always be something new to pick apart and analyze. If you haven’t yet seen The Wire, sorry for the spoilers but go watch it immediately. For everyone else, let me know how you felt about the popular HBO series in the comments below.  

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Award Season 2016-17: A Win for Black Culture

Written By Malik G.

With the Oscars airing a little over 2 weeks ago, it’s officially the end of award season. Despite my issues with the Academy Awards and Grammys in the past, I must say, this was a satisfying year to tune in. Not only did I get to witness some of my favorite artists like Donald Glover and Chance the Rapper win coveted awards but people of color were appropriately recognized in a year that was dominated by black entertainment.

Chance the Rapper’s mixtape Coloring Book made history as it was the first musical project to be nominated for a Grammy without selling any physical copies. On the television front, Donald Glover’s critically acclaimed series Atlanta took audiences through a surreal journey of the city that made him the creative genius he is, also earning him a Golden Globe in the process. Millions of viewers tuned into The People v. OJ Simpson like they were watching the trial it was based on while Moonlight became the first predominately black casted film to score the award for Best Picture at the Oscars. It’s safe to say that it was a good year for black culture.

The wonderful thing about these string of achievements is that none of them felt handed out or just given away to satisfy the opinions of fans. Each nominee was stacked against immeasurable odds. Who really expected Moonlight to trump La La Land, which was nominated for a record-breaking 19 Academy Awards? Chance the Rapper won Best Rap Album over proven winners like Kanye West and Drake, not to mention Best New Artist over The Chainsmokers. Viola Davis had one hell of an award season as she took home both an Oscar and Golden Globe for Best-Supporting Actress for her role in Fences, adding them to her Emmy. Considering the fact that she was going against Nicole Kidman and Michelle Williams, who both gave spectacular performances, this is an accomplishment that warrants recognition.

What also makes these various victories feel authentic is how uncompromising each project felt. None of these projects or artists would particularly be defined as “safe” or welcoming to commercial audiences. FX’s Atlanta wasn’t afraid to touch on the grittiness of life in the city while also addressing issues such as race, police brutality, self-image, and existentialism albeit in a comedic fashion. The Denzel Washington-directed Fences did not hesitate to utilize the same single-setting location as the play and rely on the performances of its cast to emotionally move audiences.

Meanwhile, Chance the Rapper took listeners on a trip through his hometown of Chicago with his mixtape Coloring Book, showing us that there is a beauty behind all the crime and controversy the city is known for. Believe it or not but combing Rap, Gospel, and Soul can be considered risky in today’s age of hip hop. Nevertheless, Chance accomplished this effortlessly and showed us that music doesn’t need to be sold in order to be appreciated.

Not only was black culture recognized in 2016 but it was displayed accurately and honestly. Despite the sensitive subject matter surrounding the OJ Simpson murder case, American Crime Story expertly showed us that there are always two sides to every story. Also, even if it was only for 10 episodes, we got the return of the Cuba Gooding Jr. we once knew and loved. Black culture’s association with drugs is nothing new but Moonlight’s spin provided audiences with a fresh take thanks to its added theme of sexuality; something most African-American-based projects are reluctant to tackle.

None of these projects felt over the top, exaggerated, or created for shock value. It showed mainstream audiences that there’s more to black entertainment than trap music, reality shows, and melodramatic soap operas like Empire (no offense). Even BET scored their first real win in a while as their New Edition mini-series drew in approximately 29 million viewers during its three-night TV event. Hopefully, this amazing feat means they’ll see some Emmy nominations come this fall.

For those that believed that black people were cheated out of a 2015 award season that saw films like Creed and Straight Outta Compton get snubbed, this year almost felt like an apology. Not only was there an increase in award recognition for artists of color but also in their overall quality. From Atlanta, The People v. OJ Simpson, and HBO’s Insecure to Coloring Book and Beyonce’s Lemonade to Moonlight, Hidden Figures, and Fences, black entertainment has really set the bar high for what comes next.

In a year that has unfortunately brought us the end of Obama’s presidency and Donald Trump being sworn in as our commander in chief, it’s comforting to know that black entertainment is still progressing and reaching a larger audience. Thanks to the recent recognition provided by the Grammys, Emmys, Golden Globes, and Academy Awards, more individuals are beginning to take notice of the importance of black culture and its positive effects on pop culture as a whole.

I can’t believe I’m saying this but nice job academy and keep up the good work.

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Speed Drawing of the first Haitian superhero, Djatawo. For more info on this hero and the creator himself Anthony Louis-Jeune please click this link www.djatawo.com

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Album Review: Anderson .Paak - Malibu

Of all the artist on the 2016 Freshman XXL list, who I’ve listened to, Anderson .Paak in my opinion deserved his name on that list. This brotha’ have modern SOUL. He reminds me of Kendrick Lamar just more R&B, he is also co-signed by the Doc (Dr. Dre). Malibu is heavily influenced by hip hop, r&b, and soul. The production is great, the songs are great, great choice of features with the help of band choirs. The album starts off w/ a soulful track called The Birds which he sings about his upbringing. Other notable tracks, personal favorites, to give a listen to is Without You, Parking Lot, Room in Here, Come Down, Celebrate, and The Dreamer. Its a great album can't stress that enough, there are other sleeper tracks, but I’ll let the audience run through it themselves. 8.5/10 for this brotha’

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TV Review: Atlanta - Series Premiere

Written By Malik G

I’ve been out of commission for while but seeing as this was one of my most highly anticipated shows of the year, I felt there was no better time to return than now. After watching the first two episodes of FX’s new series, I must admit that despite not being what I expected in terms of story and tone, it still served as a pretty damn entertaining hour of TV. 

Atlanta stars series creator and rapper Donald Glover as Earn; the semi-homeless and down on his luck protagonist looking to change his circumstances. If you’ve watched any of Donald Glover’s short films or listened to his music than this role will feel right at home for you. Serving as the everyman of the story, he acts the beacon that connects the audience to the characters and world that’s been established. Almost feeling like a narrator of sorts, Glover’s Earn is someone who is definitely on the outside looking in, interacting and responding with those around him as if he knows he’s in a TV show. There were even a few times where I thought he was going to turn and break the fourth wall but was still endearing nevertheless. Somber at times and witty at others, Glover does a great job at playing a character who’s as multi-layered as his recent works. Rounding out the cast of characters, at least for the first two episodes, are his up and coming rapper cousin Paper Boi and his best friend/drug dealer Darius; the latter of which has a few funny moments due to some spontaneous dialogue. 

Off the bat is show is attempting to establish that this a character focused plot. If you were expecting edge of your seat antics or slide splitting laughter, you may be surprised at how slow and subtle the show can be. There are many quiet moments throughout, with characters just sitting around indulging in casual conversation, and not because the story hasn’t decided to progress but because that’s what real people do. Despite feeling self-referential at times, this also a very grounded story. There are no drawn out dramatic monologues or jokes with a steady buildup before the hilarious punchline. Characters act, there’s a reaction, and then we move on. As the title states, this is a look into life living in Atlanta, where southern accents prevail and the preferred word of choice is the N-word. While the show does define itself as a comedy, it has already proven that it is prepared to enter some dark territory as it moves forward, with themes of existentialism and nature vs nurture at forefront of the premiere. 

Anyone looking for the film ATL in TV form may be disappointed but if you’re interested in viewing southern urban life from new perspective, then you might want to give this a try. In a post-wire world it’s a treat that we’re finally being treated to a predominately African American casted show that’s not filled with melodrama and things that just happen to get people talking (I.E. Empire and every reality show in existence). Atlanta may be unorthodox in its subtle tone and execution but that’s what makes it unique, and definitely worth checking out when you have the chance.

Catch Atlanta on Tuesdays at 10pm on FX 

Grade: B                    

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The Hills

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Will time travel ruin Game of Thrones?

Written by Malik G.

Warning: Contains spoilers for Game of Thrones season 6 

It’s safe to say that season six of Game of Thrones is off to a great start, with last week’s episode “The Door” ranking among the series’ best and most heartbreaking. This season truly feels like the show is entering its endgame with the creators stating that there are only 13 episodes left once this one has finished. The Starks are beginning to reunite, long awaited questions are being answered, and the white walkers are nearly at the wall. Despite my excitement to see this show each its epic conclusion, there is one newly introduced aspect that has me worried that it could all come crashing down in its final stretch; time travel. While I have loved the way time travel is being utilized to push the story forward and provide insight on events that we have only been able to speculate about, via Bran’s visions, last week’s episode changed the way we look at time travel in the Game of Thrones mythos. For those that missed the appropriately titled episode “The Door”, while being attacked by the white walkers, and most notably The Knight King, Bran tragically discovers that he created a time paradox by warging into Hodor in both the past and present. This causes a young Hodor to seizure and constantly repeat “hold the door”, until the only thing he can recite is Hodor, a shorten form of the phrase, thus giving him his name. This was one of the show’s most expertly developed moments, fleshing out a character’s origins and demise simultaneously that left me teary eyed and craving for the next chapter. 

Despite this, Bran’s newfound ability has raised many questions regarding the extent of his power, with many fan theories suggesting that this is only the first of many events that has transpired due to his time traveling influence. From theories stating that the Mad King was actually hearing Bran’s voice when he lost his mind and screaming “burn them all” to one’s that speculate Bran instigated the affair between Lyanna Stark and Rhegar Targaryen, thus bringing about the birth of Jon Snow, the conspiracies are now running more rampant than ever. There even is speculation stating that Bran is actually Bran the builder; the man that built the wall to keep out the white walkers thousands of years ago. While there is a strong possibility that these may be true, I hope not for the show’s sake, especially as it reaches its grand finale. What makes Game of Thrones such a great work of fiction above everything else is its in-depth level of storytelling and how it parallels to real world politics and society. Throughout history there have been countless rulers and empires that have risen and fallen due to poor political maneuvering, extreme hubris, loss of morality, and even love; all things that are depicted in George RR Martin’s show and novels, giving them a sense of realism despite the dragons and ice zombies. However, chucking up everything that has happened so far to time travel and one boy’s meddling feels a little bit cheap. The reason Game of Throne works so well is because its characters are three dimensional in the way that they think and behave. I don’t believe its necessary to reveal that the Mad King went insane because of Bran time traveling or that Lyanna and Rhegar fell in love due to some form of outside influence, because in reality people go mad, fall in love, and act against their better interest all the time. 

The time travel aspect of the show has been great so far because of its utilization as a vehicle to show previous events, that we the audience have yet witnessed, and push the story forward as we approach its conclusion. Stating that everything that has transpired is because of one person, in my opinion, would constitute as lazy storytelling and mean that every decision that has ever been made in the show’s history meant nothing in the grand scheme of things. So for the sake of Game of Thrones; Bran continue to travel back in time, but please no meddling. But what do you think? Do you think time travel is going to help or hurt the show’s narrative moving forward?                   

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In honor of the Better Call Saul Season finale.

Goodman v. White: Who’s the better Protagonist?

By Malik G. 

Warning: Contains spoilers for the first season of “Better call Saul” and all five seasons of “Breaking Bad” 

Now I’m not going to lie, I completely missed the Breaking Bad train when it was at the height of it’s popularity. The first episode I ever watched was actually the series finale “Felina”. I remember a group of kids watching it on the TV in my dormitory lobby including one of my close friends. Not knowing what was going on my attention quickly strayed onto other things. But then suddenly my friend began crying as the episode drew to a close and my focus was again on the television just in time to see main protagonist Walter White meet his demise. At that moment I realized anything that could evoke that type of emotion was worth watching from the beginning. And so began my binge of Breaking Bad and in no time I was feeling those same emotions my friend had felt a couple weeks prior.

In my opinion Breaking Bad is one of the greatest television show ever crafted mainly in part to it’s excellent storytelling and near perfect character development of series’ protagonists Walter White and Jesse Pinkman. Both characters are sent on a journey filled with tragedy, violence, and betrayal and come out completely different people by the show’s end with most viewers unable to pinpoint the moment that these two began to shift from regular every-men to hardened criminals.

After finishing Breaking Bad, Walter White had became my favorite TV character of all-time due to showing that even the most mild-mannered, kind-hearted person can delve into the darkness when their back is put against the wall, a philosophy I had always believed but had never witnessed. And while I have never been diagnosed with cancer (God-forbid) or cooked crystal meth I related with and sympathized with Walter White. I constantly rooted for him and wanted him to win, even when he was at his most darkness moments ( i.e letting Jesse’s girlfriend die and poisoning a 10-year old, watch the show for further details). Maybe it was Bryan Cranston’s terrific performance or the show writers’ talented script but I never believed that Walter White was the monster that the show depicted him to be. When it ended I thought there would never be a more beautiful and tragic transformation on television than that of Walter White. 

That was until I watched Better Call Saul. Those who are fans of Breaking Bad know Saul Goodman as Walt and Jesse’s sleazy money-hungry lawyer. Now while Saul ended up becoming one of my favorite characters on Breaking Bad I always saw him as a one-dimensional source of comic relief only good for a witty remark or sarcastic quip. So image my skepticism when I heard the news that he was receiving his own spin-off based on his origins as a struggling lawyer. How was a character with such little backstory or relatable qualities going to be able to carry an entire series on his own? Well according to the creators of Breaking Bad by bringing that character down to our level and crafting an origin season that can rival that of a superhero movie. 

After watching the first season of Better Call Saul, Saul Goodman, formally known as Jimmy “James” McGill quickly became the most likable character I had ever sympathized with on television. Unlike Walter White, Jimmy does not immediately turn to crime the second he is presented with an unfortunate situation. It’s even safe to say that Jimmy doesn’t even commit a real crime during the ten episode run (for the exception of accepting a bribe, which he quickly returns). Jimmy’s story is not one of crime and murder like Walter’s but instead one of simple ethics and deceit, something that most people are faced with everyday. Jimmy is a man trying to change his life for the better in a world that will not allow him to forget who he once was. Both James and the audience quickly find out that most nice guys end up with the short end of the stick and never end up accomplishing what they initially wanted to. Looking back at it James is actually put through more tragedy in one season than Walter was in all five. While discovering he had cancer and the death of his DEA brother-in-law Hank were great tragic moments for Walter, nothing hurt more than seeing James denied from his own brother’s law firm after passing the bar, being forced to return the money for his law firm space, and finding out his brother will never see him as a real lawyer. All these moments felt real and personal and made me pray that it all ends well for him despite knowing how he ends up. 

Better call Saul greatly exceeded my expectations when it came to offering a main character whose situation feels very down to earth and relatable. Better Call Saul is definitely living up to Breaking Bad’s legacy and thanks to a relatable and tragic hero along with an excellent supporting cast, it looks like it may have a leg up on one of the greatest tv shows of all time. 

Who do you think is the better protagonist or is it too soon to tell?                             

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The Art of the Anti-Hero: Why we root for the “bad guys”

By Malik G.

After coming off of season 2 of daredevil I found myself being drawn to murderous vigilante The Punisher, even more so than the titular hero, and I got to thinking. Why am I rooting for someone that is clearly insane and constantly causing trouble for the good guys? But then it dawned on me that today’s generation is in love with the idea of being the bad guy. Not someone that is entirely villainous, but instead a character with a moral grey area, who is willing to cross that line when necessary, something the contemporary hero is afraid to do. 

After watching shows like Breaking Bad and The Sopranos, it’s easy to see why audiences loved their respective protagonists, despite the two committing some horrible acts over the course of their show lives. Walter White, a meth cook and distributor poisoned a child, blew up an old folks home, and watched his partner’s girlfriend die even though he had the ability to save her. Tony on the other hand has orchestrated the deaths of countless people, including the murder of his own cousin and best friend. Both characters are terrible people in their own right, but some reason we returned week to week to watch them avoid capture, and rooted for them to fight another episode. And that’s because they both possess something the average villain does not…compassion. Despite all of Walter White’s greed and need to be king of the castle, he has an undying love for his family and was even willing to sacrifice everything he had worked for to save his DEA brother-in-law. Meanwhile Tony’s misgivings are forgiven thanks to the love of his children, his admiration of animals, and every now and then his ability to make an unselfish decision like help his sister buy a house and taking care of his cynical mother.

It’s not just their compassion that attracts us to anti-hero but also their actions, even the heinous ones. Day after day, we as everyday people take shit from our bosses, police officers, parents, and other authority figures. So badly that we wish that we can break free from the constrains of society and let loose. I can’t even tell you how many times in a day I wish I could viciously beat whoever pisses me off with a bat or blow up the car of the asshole who cut me off in traffic. Watching our anti-hero do what we can’t grants us a feeling of escapism without the risk of consequences. We don’t hate Tony Soprano because we secretly wish we could be Tony Soprano, someone that has complete control over their life and doesn’t take shit from anyone. 

The last reason we love to root for anti-heroes is because they always find themselves pitted against someone much worse. Remember, an anti-hero is neither good nor evil, leaving room for a true villain to enter the fold. For all the evil that Walter had done, he was nothing compared to the truly frightening Gustavo Fring or Jack and his band of neo-nazi killers. Tony Soprano had plenty of blood on his hands but had nothing on his fellow mobster Ralph Ciffareto, who went as far as beating his pregnant girlfriend to death. The two shows did a great job of showing that evil and morality are measured to scale and that there’s always someone much worse and irredeemable waiting around the corner.

Whether we’d like to admit it or not we idolize these anti-heroes, not because they’re evil and not because they have the potential to do good, but because they’re human like you and me. Thoughts of violence and disobedience run through our heads just as much as peace, love, and harmony. They may be morally ambiguous but so is the average human being, and that’s something that will always make for a compelling protagonist.                          

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Must-see martial art movies on Netflix

By Stefan C.

So, lately i’ve been on my martial arts binge all through Netflix and seen some bad ass movies that I need to bring to the light for those looking for a successful Netflix and Chill night. In the order from least to greatest (GIF is from the raid 2.)

Kung Fu Killer

Dope movie featuring Donnie Yen who starred in the Ip-Man trilogy (also available on Netflix), who is convicted for homicide, but released only to help aid police in stopping a mystery martial artist from taking out/killing all the other grandmasters taking them on by using their known fighting style, hence the title Kung Fu Killer. Its straight to the point and entertaining. (IMDb rate 6.5/10)

The Man from Nowhere

Already watched this movie twice. You see some crazy shit watching these Asian gangsters take kids and harvest their organs once they’re fully developed for a major come up. Then you have this ice cold ex-special agent on some John Wick shit with a heart broken past on the hunt to save a little girl who happens to be his neighbor. It gets really heart-warming toward the end, almost made me shed a tear =‘(. (IMDb rate 7.9/10)

I Saw the Devil

The ultimate revenge movie, interesting from beginning to end. Basically a serial killer choosing the wrong target to fuck mess with. He placed himself in the crosshair of a secret agent who plans to make his life a living hell in a brilliant way, this is Dexter times 3. Now even though torture is not cool, you're actually for it after seeing what this piece of shit did. (IMDb rate 7.8/10)

Old Boy

Man... Where do I start? being held captive for 15 years can make you do some crazy shit, especially when you don't know the reason behind you being held captive. After being freed this guy goes on a rampage through the city trying to find who did this to him and why and... Its just a messed up movie through the end in a good way messed up, but the good way as in its a great story, watch it if you haven't seen it. (IMDb rate 8.4/10)

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TV Review: Daredevil Season 2

By Malik G. 

Bang. There’s no better way to describe the second season of Marvel’s hit Netflix series than The Punisher’s first word in the premiere. Daredevil is back and bloodier than ever with more characters, more ass kicking, and an even darker plot, surpassing season one in almost every way. For anyone that believes that superhero shows need to be lighthearted in order to be fun and engaging certainly hasn’t caught onto Marvel’s Netflix format, as they continue to delve into truly brutal territory, especially with the introduction of Jon Bernthal’s The Punisher. 

Now before I get into his performance as the iconic anti-hero, I just wanted to state that he is hands down the greatest aspect of season 2, with his origins being expertly woven into the story without feeling shoehorned in. Challenging Daredevil in ways that Kingpin could not, The Punisher is an excellent adversary, not only showing what can happen when you take the law into your own hands, but also what can come from taking a life. So many shows and movies (including other Marvel properties) gloss over the idea of killing criminals, but Daredevil displays its repercussions, and the mayhem that can come from doing the right thing with the wrong methods. Let’s get one thing straight, Punisher is not the good guy, but he’s not the bad guy either. Season 2 is about grey areas and no one displays this better than Frank Castle. The first four episodes, which are the most Punisher-centric, are without a doubt the best of the season, thanks to Jon Bernthal’s superb performance and sheer brutality. Cutting down criminals with machine guns, hanging them from meat hooks, violently stabbing them through the neck, this new Punisher is an absolute powerhouse of murderous rage. However unlike his previous on-screen incarnations, his actions aren’t glorified as he strikes fear into innocents and turns Hell’s Kitchen into a literal war zone. This is a man whose methods make you constantly question his morality and may even have you agree with the idea that he deserves to be locked way with the criminals he’s sworn to put down. This is the first time I’ve ever felt this way about a vigilante but nevertheless was rooting for him all the way. Matt’s relationship with Kingpin wasn’t something that was really explored in season one and I’m glad that it was the focus when it came to him and Frank, with episode three being the highlight of just how different these rival “heroes” really are. 

Ok enough Punisher talk and onto the rest of the season. 

Like I said Punisher’s arc only runs for about four episodes before it transitions into the background and Electra’s storyline kicks in. It felt kinda weird just how abruptly Frank’s story was shoved aside for another one when initially watching it, but looking back actually makes sense in terms of the overall story. He’s still there but the rivalry between him and Daredevil peaks pretty early on. Don’t worry though as Electra serves the perfect replacement. Where the Punisher forced Matt to question his own moral code, Electra forces him to question the relationships with those closest to him, as well as his job as a do-good lawyer. The twos’ past relationship as lovers gives them an extra level of character depth that despite ninjas and magic feels very real and down to earth. The definition of a toxic relationship, Matt and Electra are two people who just shouldn’t be together but thanks to their tragic backgrounds, find themselves drawn to each other in more ways than one. Acting in the role of an old fashioned femme fatale, Electra is just as deadly as she is sexy, fully willing to slit someone’s neck at a moment’s notice. This show is quickly beginning to establish that it’s not about Daredevil but rather the people around him and if balancing a hero’s life with a normal one is even possible. Like Punisher, Electra can neither be perceived as a hero nor villain, constantly questioning her loyalties and if her mission is one worth fighting. 

Along with Electra, comes the mysterious organization The Hand, who was hinted at in the first season but has since decided to step out of the shadows, serving as the primary antagonists. Season one was praised for its action sequences and season two has upped the ante, with scenes rivaling those of a summer blockbuster. S2 provides yet another one-shot hallway sequence, surpassing that of the first season. As stated earlier, this season is absolutely gruesome, having all of the qualities of a rated R movie for the exception of the F word. Just when I thought Marvel has pushed its limits with last year’s Jessica Jones, Daredevil S2 takes things even further, immersing itself in that dark world that I felt the former had created. Where most of season one’s violence was off-screen, season two leaves nothing to the imagination as characters find themselves covered in blood and truly showing what happens when knives and bullets hit flesh. 

Once again Daredevil is not alone, as his trusty legal team is here to both back him up and complicate his fight against evil. Foggy truly comes into his own this season, taking lead in a large criminal case and proving that he is just as good a lawyer as Matt, maybe even better. Karen Page continues to find herself in the crosshairs of whoever she’s investigating, though I must say that it’s kind of getting annoying considering she’s just an assistant. At this point she’s just becoming a Lois Lane, someone who pushes their luck far too much for far too little just to be saved by the hero. Despite this she does have a pretty cool dynamic with Punisher, pushing his story arc along and keeping it interesting, even after it gets moved to second tier. Claire Temple returns as the Agent Coulson of the Netflix universe, giving the show a human element and displaying the mayhem from an outside perspective. S2 also sees the return of Kingpin, someone I didn’t expect to appear, to taunt Matt and The Punisher in some pretty frightening scenes. It’s good to know that he hasn’t lost his touch and I look forward to seeing more of him in season three as he is due for a big comeback. Even though most of S1′s cast is back, this season feels very self contained, allowing viewers to jump into the year’s story arc without having to be entirely caught up.

There wasn’t a doubt in my mind that season two of Daredevil would be great, but then it found a way of exceeding all of the elements that made season one so spectacular. The additions of The Punisher and Electra proved that it doesn’t always have to be about the titular hero, and that Marvel is fully invested in this dark corner of the MCU they’ve created. With Luke Cage coming this fall, let’s see if Marvel and Netflix can three peat. From the action, to the characters and story, Daredevil excels and shows just how bloody and fun superhero shows can be. 

Grade: A+              

[itsthe4ground]

Why I’m Team Iron Man for Captain America: Civil War

By Malik G. 

After the release of the latest Captain America: Civil War trailer there’s been so much talk about the appearance of Spider-man that there’s been a lack of focus on the real issue, and that’s whose side should you take, Captain America or Iron Man? While the obvious answer may be Cap simply because its his movie and he’s the protagonist, I’m actually putting my money on Tony Stark to kick Steve Roger’s ass. 

Now despite the fact that I do find Iron Man a cooler character than Captain America, this is not the reason I’m voting on him to win. My support goes to Tony due to the sole fact that I believe his ideologies are more rational and justified than Cap’s, based on what we’ve seen so far in the MCU. While I don’t yet know the details of what goes on in the film, we do know that in the comics the two heroes feud over something called “ The Superhero Registration Act”, known in the film as “The Sokovia Accords”, which requires all superhumans to register with the government and relinquish their secret identities after an explosion leads to the death of innocent people. Iron Man is all for the act while Captain America opposes it and lines are drawn, with many heroes in the Marvel universe taking sides, including Spider-man. 

For the sake of argument I’m going to base my opinion off the upcoming film, and not the famous comic it’s based off. From a logical standpoint Iron Man is in the right. After the events of Age of Ultron, Tony feels responsible for every life lost and all of the destruction caused, especially due to the fact that he created Ultron himself. He created Ultron as a peacekeeping program, so that the Avengers no longer had to risk their lives and world could remain safe from impending threats, but instead created a murderous AI that was hellbent on human extinction. It was in this moment of irony that he realized that no good deed goes unpunished and failsafes have to be put in place to prevent things from going south. This is exactly what the so-called “Sokovia Accords” would ensure, that no hero goes off the grid and causes harm, even if it’s being done with good intentions. Due to Tony’s first hand experience as an arms dealer and conceiver of a psychotic robot, he knows the consequences of running around unregulated, even if you’re goal is to make the world a better place.

From the trailers it’s apparent that most of Cap’s actions stem from his loyalty to his friend Bucky, aka The Winter Soldier. If this is the case, allow me to tell you why this is boarder-line idiotic. Up to this point Captain America has been portrayed as god’s righteous man, the quintessential good guy, and always being able to distinguish between right and wrong. If this is true then he would be going against all of his values by defending Bucky’s actions and going against the Sokovia Accords, something that’s being instated for the greater good, as far as we know. Despite Tony being seen as an egomaniac, Steve is just as ego typical, using his moral code as justification that he is always right, no matter what evidence is laid out in front of him. Mind control or not, Bucky should face the consequences for crimes, and even if he shouldn’t Cap does not have the right to fight back with physical force. Steve has always believed that he is above Tony, which is just not the case, and maybe a good punch to the teeth will remind him of that.

Another thing that should be considered in this argument is their respective backgrounds. The trailer clearly specifies the number of casualties during the events of The Avengers, The Winter Soldier, and Age of Ultron. While I’m not saying that Captain America is a heartless bastard that doesn’t care about innocent people dying, he is a War veteran, meaning that he has conditioned himself to the fact that people will die, something that he clearly states in the trailer. Tony on the other hand, while never seeing war personally, has been the instrument of it, giving him more motivation to do whatever it takes to prevent further bloodshed. Death and destruction isn’t something that just happens according to Tony, which is someone that the average person can relate to. 

The world needs regulations and rules to continue running, and that’s something that Captain America, due to his loyalty to Bucky, has forgotten. As the date to Captain America: Civil War draws closer and more details are released, my opinion may change. But as of now I believe that Iron Man has every right to face off with the Red, White, and Blue Boy Scout in a potential battle to the death. With Marvel fans and heroes taking sides alike, which side do you choose?     

[itsthe4ground]

Album Review: Kanye West- The Life of Pablo

By Malik G.

Have you wondered what gospel, trap, and soul music would sound like mashed together? Well look no further than The Life of Pablo, Kanye West’s most recent LP. After almost two and half years of constant title changes, track-list adjustments, and a short twitter feud with Wiz Khalifa, Kanye has released his seventh studio album to much hype and anticipation. For someone that has made a name for themselves by basically reinventing the wheel over and over, it’s actually surprising that the Chicago native doesn’t really bring anything new to the table, while still managing deliver an entertaining and sonically diverse album. 

The album opens with the gospel filled “Ultralight Beam”, which is undoubtedly my favorite track off the entire album, thanks to some soulful vocals from Kelly Price, a standout verse from Chance The Rapper, and a quick sermon from the king of gospel himself Kirk Franklin. Despite being a personal favorite, I did find it as a strange choice for an opener, considering it’s doesn’t really set the tone for the rest of the album and is much more optimistic and positive than the remainder of the tracks. From there we move on to “Father Stretch My Hands” parts 1 & 2, which blends trap and gospel in a way that only Kanye could formulate. Though it lacks strong lyrical content, with an awkward line about bleaching anuses that I’d rather not go into detail about, the bass knocks enough to get your head knocking, with Kid Cudi offering some much welcomed back up vocals. My only wonder is why Kanye decided to separate the tracks with both only being approximately two minutes apiece. 

The next song “Famous” featuring Rihanna and Swizz Beats, finds Kanye making some pretty brass and bold statements, claiming to had made Taylor Swift famous and insinuating that they should have sex. Swizz’s signature bouncy style of production gives the track a very concert venue feel, which I would love to hear live. Unfortunately the awesome beat is cut short by an unnecessary beat switch. Despite it not being one of my favorites, it’s always entertaining to hear Kanye just talk trash and prove that he’s not scared to say what’s on his mind. Kanye keeps up with the braggadocios lyrics on “Feedback”, which for some reason has a very Stanley Kubrick’s 2001: A Space Odyssey feel to it, thanks to it’s distorted, spacey synthesizers. Though this song basically contains the same content as the former, Kanye’s flow just feels more in tuned with the beat, with his line about him being Steve Jobs mixed with Steve Austin just putting the song over the top. The next track “Low lights “ acts more as a skit, which would’ve been a perfect intro for “Ultralight Beam” thanks to its similar themes of religion. “Highlights”, sees Kanye bringing up the friendship with Ray J that could’ve been as well as some playful lyrics about his family’s status behind another bouncy instrumental, giving the song an appropriate party-time feel.

I’m probably a fool for thinking that “Freestyle 4″ would actually be a freestyle, though it is saved thanks its sinister sounding production and a horror themed orchestral score. For just 44 seconds Kanye gives us the fun-loving Kanye we know and love with “I love Kanye”, providing self referential humor, and poking fun at all the fans that say they miss the old Kanye. From there we move on to “Waves” and “FML”, both utilizing two of R&B’s biggest artists. The two tracks are polar opposites with “Waves” featuring Chris Brown, being more up tempo and hopeful and “FML” featuring The Weeknd, being more darker in tone and subject matter. The Weeknd’s vocals on the latter help with bringing out the track’s ominous vibe, making it feel even more personal as Kanye speaks on the difficulties of balancing a celebrity and private life at the same time. 

Kanye continues to offer us insight on his personal life with the Good Friday song “Real Friends”. Thanks to some soulful autotune vocals from Ty Dollar Sign and some introspective lyrics about broken family ties from Mr. West, this song is one of the album’s best and serves as a nice contrast to “Family Business”, a song from Kanye’s first album that spoke on the importance of family, something I wish Kanye would do more of. After “Real Friends” comes “Wolves” which proved to us that Frank Ocean is still alive and kicking and is just screwing us around when it comes to releasing his own album (we’re still waiting Frank). The album could’ve actually ended with “Wolves” and I wouldn’t have complained but it goes on with a Max B skit that I personally found unnecessary but hey, it never hurts to pay homage. Staying with the dark vibes of the last couples of tracks, “30 hours” is another standout, showing that Kanye can still be the lyrical powerhouse he once was. Keeping up the momentum with “No more parties in LA” Kanye and Kendrick trade bars on a 6 minute tour de force about life in LA as a celebrity, without the song ever overstaying its welcome. The next song “Facts” just feels like a carbon copy of Drake and Future’s “Jumpman” using the same flow and production style. While not bad it could’ve definitely been left off the album or added as a bonus track. Kanye once again does not disappoint when it comes to closing tracks with the electric “Fade”. Feeling as if it was handpicked straight out of the 80′s, “Fade” is an appropriate closer, leaving me with a bittersweet feeling as the album comes to a close. 

While not one of Kanye’s best, it’s definitely a step above 2013′s Yeezus. Neither progressing nor regressing Kanye instead remains stagnant, taking what works in today’s industry and putting his own twist on it. Decisions like preferring to harmonize more than rap and utilize auto-tune more prominently than his regular voice are things that make Kanye the creative being that he is, but are also things that hold this album back from being as great as it could’ve been. Overstaying it’s welcome by 3 or 4 songs and a lack of substance prevents The Life of Pablo from joining Kanye’s catalog of great albums, but still remains an entertaining LP that deserves a listen, not just by hip-hop fans, but by fans of music in general.

Favorite Tracks: Ultralight Beam, Real Friends, FML, 30 hours, Fade, No More Parties in LA

Could do without: Facts, Freestyle 4, Silver Silver Intermission, 

Grade: C+ 

[itsthe4ground]

“He told us of his dreams, but what of his nightmares? How far have we descended in our attempt to claim what was once ours?”

Photography by Stefan C.

[itsthe4ground]

“The revolution will be televised”

Photography by Stefan C. 

[itsthe4ground]

“The end of the world seems so far until you’re standing at the end of it”

Photography by Stefan C.