notes on: YEAR IN REVIEW [film]

MEDIUM: Film  

MOVIES: 12

YEAR: 2022

At the beginning of 2022 I pledged to watch 365 movies. It was a formidable task and an intimidating number but at the same time I thought, a movie a day? That’s so easy. I was wrong as hell. Life got in the way, I fell in love with some TV shows, some books, with music, and writing and there all of a sudden just wasn’t enough hours in the day. It wasn’t easy at all but I made it to my goal just at the finish, with 64 movies in December, 4 of them coming on New Year’s Eve. Of the 365 different films I watched in 2022, 52 of them were released in 2022. Here are a few moments in those movies that I wanted to share with you. 

Watching movies has been a communal action since the inception of cinema so I wanted to bring in an additional voice on what movies looked and felt like in 2022. Nicky is a film aficionado and enthusiast (especially not a critic) with a strong taste palette. She runs a movie page on Instagram (@nickycinema) that seeks to express her love for film and expand her interests throughout her found community online. Nicky introduced me to one of my favorite movies, The Royal Tenenbaums (2001), nearly a decade ago so it means a lot to me that she’s sharing some of her experiences with the big screen with an audience largely curated by me. 

No further ado, here’s 2022 in film: 

-

Everything, Everywhere, All At Once by Daniel Kwan & Daniel Scheinert (2022) 

I first saw the trailer for Everything, Everywhere, All At Once when I went to go see The Coen brothers’ Tragedy of Macbeth in December 2021. It immediately became my most anticipated film of 2022 and I was not disappointed. I saw it for the first time on IMAX at Lincoln Center on opening night and after the showing, the directors emerged from the crowd and answered a few questions from the audience. I can’t remember a single word they said, my mind was still blown and elsewhere. Holy shit, this may be my favorite movie of all time. The dialogue, story, acting, plot, comedy, direction, choreography, cinematography, special effects, and action were all being executed to the highest degree. This movie, about an aging Asian mother trying to save her laundromat from the IRS and her daughter from the nihilism of everything spoke to me more than any other movie I have ever seen. I cried three different times every time I saw this movie. It’s a special moment and changed my life forever. I’ve looked at life a lot differently since I watched it for the first time. Michelle Yeoh was fantastic, Ke Huy Quan was fantastic, Stephanie Hsu was fantastic. This movie had some legs on it too, as the weeks passed I saw how the brilliance of the film was passed on through word of mouth. It touched a lot of people in a real way, something that’s uncommon in cinema today. I’m running out of superlatives but this movie felt like me in the best possible way. [Najee] 

FAVORITE LINE: So, even though you have broken my heart yet again, I wanted to say… in another life, I would have really liked doing laundry and taxes with you. 

View this post on Instagram

A post shared by 📽🎞📹🎥📼 (@nickycinema)

Banshees of Inisherin by Martin McDonagh (2022) 

Martin McDonagh, writer and director of Banshees of Inisherin, rose to prominence as a playwright and his penchant for dialogue and grounded yet groundbreaking narratives is on full display here. And even then, the film lacks no scale. It’s beautiful and takes full advantage of the beautiful backdrop that his story is told against. Two men are lifelong friends and one day, one friend wakes up and no longer wants to be friends with the other. At first the premise seems silly.  The film’s story begins immediately but as these very human characters examine their very human relationships and face even more human consequences, you’ll find yourself looking inwardly very soon. I didn’t cry but I didn’t not want to. I felt heavy after a while watching this, immobilized by something. I didn’t move for a few minutes. Amazing acting from all of the leads and the writing is beyond top notch. I promise you have no idea where this film is going from beginning to end. There’s no slowburn, just everything then nothing. Some relationships are like that, forever or flames. [Najee]

FAVORITE LINE: Or did you never used to be? Oh god, maybe you never used to be. 

View this post on Instagram

A post shared by 📽🎞📹🎥📼 (@nickycinema)

Decision to Leave by Park Chan-Wook (2022) 

Decision to Leave is a psychological thriller from Park Chan-Wook of Korea about Hae-Joon, an insomniac veteran detective who was tasked with investigating the death of a man who fell from a mountaintop. The main suspect is the man’s younger wife, Seo-rae, who admits to having married him for his wealth rather than her love for him. The death appears to be a suicidal accident but some of Hae-Joon’s coworkers are not as certain as him. By the middle of his investigation, Hae-Joon isn't sure what he thinks and leads with his heart, not good for a detective. Hae-Joon falls in love with the Seo-rae and winds up following her down a road with unforeseen consequences. [Najee] 

FAVORITE SCENE: I don’t necessarily have a favorite line but I love the scene when Seo-rae lures Hae-Joon to the top of the mountain. I don’t want to spoil anything, but it has haunted me for quite some time. 

NOPE by Jordan Peele (2022) 

NOPE was a lot of fun and it was beautiful. Peele is a master of suspense, like a modern-day Alfred Hitchcock (maybe a bit too early to say this but I don’t care). All of the performances were great but KeKe Palmer stole the show. Peele’s usual mix of sci-fi and horror elements with social commentary hits on some of the same levels as his previous two offerings but he also brings some of his points into new arenas. What are we supposed to see? What forces can we control? How far are we willing to go to capture spectacle? Can we tame nature? Shit goes absolutely bonkers in the third act in the best possible way. Come to mystery and chimpanzees, stay for KeKe Palmer doing an Akira slide. [Najee] 

FAVORITE LINE: What’s a bad miracle? 

BARDO, False Chronicle of a Handful of Truths by Alejandro González Iñárritu (2022): 

The moment my little sister finished this movie she called me to tell me about it. She didn't want to provide too much context, only that it was the perfect movie for me and that I'd love it. It didn't take more than 10 minutes into the movie for me to realize she was right. The movie follows a renowned Mexican journalist and filmmaker who returns to Mexico before accepting a prestigious award in the states. Throughout the film, he has several existential crises and interpersonal battles dealing with family, death, loss, and as IMDb describes, "a folly of his memories". This movie is directed by Alejandro González Iñárritu who is also famously known for Birdman or (The Unexpected Virtue of Ignorance) and The Revenant. As we watched the movie, my friends and I wondered whether or not the film was autobiographical and representative of his own life and hardships. Alejandro was also born and raised in Mexico, where the film takes place. Regardless of whether or not it was taken from his own life, the film altogether felt very personal. It's extremely meta and intricately layered with Mexican culture and history. It kind of reminded me of "Everything Everywhere All At Once", mainly because it left me with that full "all-encompassing" feeling. The word "bardo" apparently originated from Buddhist teachings and describes an intermediate state between death and rebirth and the way they capture this in-between is so beautiful! Absolutely in my top 10 for the year and definitely deserves at least 2 watches - the first watch is enough, but 2nd for good measure. [Nicky] 

View this post on Instagram

A post shared by 📽🎞📹🎥📼 (@nickycinema)

Glass Onion by Rian Johnson (2022) 

Rian Johnson’s much-anticipated followup to Knives Out lived up to expectations and was a helluva lot of fun. Johnson has a knack for upending troupes within any genre he engages with, something that enraged a lot of fans when he tackled Star Wars: The Last Jedi, but it’s completely at home in the mystery genre. The cast of characters and archetypes are once again fully fleshed out and Daniel Craig’s performance at Benoit Blanc remains captivating. In a year of long-awaited original screenplay sequels, Avatar: The Way of The Water and Top Gun: Maverick, I think Glass Onion was the best one. [Najee] 

FAVORITE LINE: It’s a dangerous thing to mistake speaking without thought with speaking the truth.

Wakanda Forever by Ryan Coogler (2022) 

Wakanda Forever was the best superhero movie of 2022 and this was done despite all odds. After losing Chadwick Boseman, who portrayed the titular character in the Black Panther franchise, Coogler was tasked with finding where the world he built in 2018 would go next. He went with what felt real, the grief. He showed it on screen in many ways that broke me in the theater. The action was great, the story was great, and the movie has the best acting in Marvel movie history. Angela Bassett truly deserves an Oscar for her performance as Queen Ramonda. Tenoch Huerta’s portrayal of Namor is brilliant as well. Leticia Wright rose to the occasion in the most difficult circumstances. Everything in this movie felt earned. Healing isn't linear. This movie helped me find that clarity. RIP Chadwick Boseman. [Najee] 

FAVORITE LINE: I am queen of the most powerful nation in the world and my entire family is gone! Have I not given everything!? 

Pearl & X by Ti West (2022) 

2022 was a strong year for horror films: Scream, Barbarian, Bones and All, Werewolf by Night, Fresh, Smile, etc. but I think these are arguably the two best. 

A24, Mia Goth, and Ti West teamed up to put out two different sexual horror thrillers in 2022 with the third installment coming soon. X follows 70s porn stars trying to make a film on a remote farm while dealing with elderly serial killers while Pearl tells the origin of one of those serial killers. X seems to be more about the spectacle of murder and sex while Pearl is more of a character study. Mia Goth really shines in Pearl as Pearl, both in Pearl’s long monologue towards the end of the film and the painful tearful smile during the closing credits. I am most grateful that X didn’t film a sex scene between Kid Cudi and Jenna Ortega.  [Najee] 

FAVORITE LINE: No, I’m a star!

View this post on Instagram

A post shared by 📽🎞📹🎥📼 (@nickycinema)

The Menu by Mark Mylod (2022) 

I recommended this film for our family outing over Thanksgiving weekend and after we watched it, most of my family absolutely hated it. I on the other hand was completely enthralled by it. I’ve always loved narratives with elements of cooking imbued in it. The pacing is interesting and the plot structure being based on the menu shown in the film wasn’t predictable. The movie was funny and oddly terrifying at points. The drama and scale bubbled with each passing moment and it was gorgeous even in its violence. I didn’t feel like this movie was made by me but for me. [Najee] 

FAVORITE LINE: You will eat less than you desire but more than you deserve.  

Puss In Boots: The Last Wish by Joel Crawford (2022) 

I was a big fan of most of the major animation projects that came out this year: Turning Red, The Bad Guys, Entergalactic, Guillermo del Toro’s Pinocchio, Strange World, Lightyear, Chip N’ Dale Rescue Rangers, The Bob’s Burgers Movie, and Wendell & Wild. But I was absolutely taken by surprise with how much I loved Puss In Boots: The Last Wish. It was hilarious, nostalgic, had great animation, a great art style, interesting characters, and intense action set pieces. 

Puss In Boots coming to terms with his own mortality and overcoming fear when he had something to lose rather than nothing at all was an intensely personal story for me. All of the new characters were fun, especially Goldilocks and the Three Bears crime family. 

FAVORITE SCENE: When Puss In Boots finally faces Death rather than running away had me ready to jump out of my seat.  

Triangle of Sadness by Ruben Östlund: (2022) 

This is one of the best movies I've watched this year. It's a harsh social commentary on the wealthy, youth, social media, attention, fashion, clout, aging, etc. The acting here is phenomenal, specifically, a scene with Woody Harrelson and Zlatko going back and forth discussing communism, capitalism, and socialism while reading some of their favorite quotes drunk on a multimillion-dollar boat. This movie is filled with several plot twists and redirects quite a few times, it felt like multiple acts to a play. I absolutely love the chemistry and character interactions throughout this movie. Everything felt extremely intentional yet so casually representative of society and our lives now. In addition to all the relatable shit and content, it's also genuinely hilarious with true LOL moments from start to finish in my opinion. On another, much sadder note, one of the main characters, Charlbi Dean Kirk actually died right before the movie was released. She was a huge highlight of the film for me so it was really sad to see her pass before what would have definitely been her big break. Truly a one-of-one film and worth watching. [Nicky]

View this post on Instagram

A post shared by 📽🎞📹🎥📼 (@nickycinema)

Babylon by Damien Chazelle (2022)  

Babylon is arguably the second best film made about loving  and celebrating films released in 2022 (The Fabelmans by Steven Spielberg) but it was big as hell. And neither audiences nor critics were big fans of the film, it flopped critically and commercially. But I was a huge fan of it. The runtime is over three hours long but we are subjected to the rise and fall (and more falling) of many people as they try to adapt the integration of sound into motion pictures. The way time moves through the film is amazing and holy shit were the ~ 45 minutes of partying before the opening title card both engaging and disorienting. 

The biggest issue of Babylon is that if you give over three hours of your life to a single film trying to make a single point, you better feel as though that point changed you in some way at its end. And I’m not sure many viewers got that feeling. As far as myself, I found myself writing in my notebook, Fuck I love movies, about an hour in. And yeah I do. I love movies. [Najee] 

notes on: YEAR IN REVIEW [music]

MEDIUM: Music 

TRACKS: 30

YEAR: 2022

I often say that I could enjoy a stroll through hell if I was given the right soundtrack and that sounds like an apt description of my 2022. Even though I dealt with a steady stream of trials and tribulations, great music illuminated some shitty times and smoothed them over and over again until the memory was more music than moment. Music is an experience for me that transcends any real type of description. It always bleeds into abstractions and emotions and other stuff that I can’t quantify yet. This piece is an expression of three key ideas: I love music, I love music, I love music. 

I painstakingly raked through the thousands of songs I listened to this year with a fine tooth comb and selected 30 songs, limiting it to one per artist, that dropped in 2022 that were exceedingly important to me. Obviously I’m leaving off a ton of songs, here is a short list of honorable mentions: “Walkin” by Denzel Curry, “Blow Me” by Rico Nasty, “God Did” by Jay Z, “Dreamin Of The Past” by Pusha T, “How does it feel” by S.U.R.F. & Z6Saint, “Metro Spider'' by Metro Boomin, “Heatwave” by Raury, “Persuasive” by Doechii, “2010” by Earl Sweatshirt, “Higher” by Ravyn Lenae, “Down In Atlanta” by Pharell Williams & Travis Scott, “Danger” by Lil Baby, “Home (Remix)” by Mike Dimes featuring JID, “No Woman No Cry” by Tems, “History” by 070 Shake, and many more. 

Make sure you take the time to check out the full project of all these projects listed. With no further ado, here is the year in review. 

-

 FREE YSL: “Missing Me” by Gunna [DS4EVER] 

The fourth and final installment in Gunna’s “Drip Season” dropped at the top of the year and it completely took over my 2022 Spotify Wrapped with 3 of my top 5 songs of the year being from DS4EVER. Surprisingly though, “Missing Me,”  was not one of those 3 songs. “Missing Me” is a melodic recollection of days long gone and bonds we can’t get back. Gunna mourns a relationship that went by the wayside while celebrating the celebrity, wealth, and status that took its place. There’s an emptiness in his celebration though. He says he hopes she noticed him but he really hopes she’s missing him too. 

After the wrongful incarceration of Sergio Kitchens (not Gunna) for a large chunk of this year, it felt right that this would be the song, because music missed him. 

A Nostalgic Future: “Is There Someone Else” by The Weeknd [Dawn FM]

The Weeknd has allowed himself to be completely consumed by his personas in recent years and his newest offering, Dawn FM, was no different. The persona this time was a grizzled old man, living in the future but nostalgic of the past and sonically, the project was no different. Dawn FM is nostalgic of 80s tech synth radio while afrofuturistic at the same time. The Weeknd’s usual haunting and melancholic vocals found a home with this sound.  “Is There Someone Else” is where all those elements come together most perfectly on the album for me. To be corny, this song is like if “Who Is He (And What Is He to You)?” by Bill Withers grew up on the planet Lovetron instead of Earth. 

Floating in the Sky: “A Simpler Time” by Saba feat. Mereba [Few Good Things] 

Few Good Things is a beautiful album about coming to terms with what you have and recognizing the beauty in it. Saba and Mereba look back at their life in “A Simpler Time” and they see that the happiness they were searching for was always there, even in the little moments. There is both a dichotomy and a unity in their use of trains and planes as images. Happiness lives on both, whether you’re in the sky or earthbound. The melody is seraphic, the slow bubbling beat paired with their soft vocals feels like floating.  

I dream of Megan: “Plan B” by Megan Thee Stallion [Traumazine] 

This rambunctious ass track feels like the exact lane Megan Thee Stallion should be in. If I had a dream of a meg song, this would be it. Her flow is steady, the punchline laden bars hit hard, her cadence is cool, and the beat supports the power in her voice perfectly. “Plan B” has a 90s vibe to it, partially due to its sample of Jodeci’s “Freek ‘N You.” I just feel like she had some shit to get off her chest on this song and she’s talking that shit it to the highest degree. She’s raucous, tough, sexy, profane, confident, funny, sultry, and even vulnerable here. No bra, tight tees, slickback ponytail, feeling like I’m Ice-T. 

Long Found Love: Give You The World by Steve Lacy [Gemini Rights]

Steve Lacy blew the fuck up this year with the release of Gemini Rights and the explosion of “Bad Habit” on social media. I’ve watched Steve Lacy grow up, or I guess I should say I grew up with him over the past near-decade. He dropped a no-skipper and choosing just one song was one of the hardest things I had to do for this project but I feel like the last track was the right decision. “Give You The World” makes me smile, cry, fall, and fly every time I hear it. He slows the tempo down several notches from the rest of the project and as far as sequencing, it follows a voice saying “This, this, this is Love! I finally found it!” at the end of “Sunshine.” “Give You The World” feels like an expression of long found love. I’m not anxious, I’ll tell the truth. 

Building a world: “EAST POINT PRAYER” by Vince Staples feat. Lil Baby [Ramona Park Broke My Heart] 

Location tracks always feel like the creation of a world rather than just a song and I’m biased to anything that’s recreating Atlanta and putting it on a worldwide platform. On a project that’s largely a love letter to Vince Staples’ native Long Beach, “East Point Prayer” is one of the slower offerings. This causes an interesting dynamic with Lil Baby who usually raps over faster beats. Lil Baby rarely misses in my book but I love that he was provided an opportunity to showcase his versatility and he did it well.  

cold: “Spread Thin” by Mariah The Scientist [The Intermission] 

The first note on “Spread Thin” should raise the hair on the back of neck to the roof and send a shiver down your spine, and if it doesn’t, you need to get your pulse checked. The track features Mariah The Scientist’s usual blend of talking and singing coupled with her immaculate lyricism but it’s done perfectly here. More than anything else, it’s a complete earworm. It gets nestled in there and it can’t get out. So you just have chills all damn day. When The Intermission dropped I was pulling an all-nighter because I had an early morning flight back to Atlanta. I cried alone on the train to the airport to this song. The other three songs on the EP were almost equally strong but “Spread Thin” gets the nod for me off the strength of that alone. The song went on to achieve some virality due to a not-so-good TikTok trend. 

feeling like a winner: “PUFFIN ON ZOOTIEZ” by Future [I NEVER LIKED YOU] 

The magic of Future is that most songs feel like a victory lap and he tells you about it in such a decadent and detailed manner that you feel like you’re winning with him. I really just like how much of a winner this song makes me feel like.

Succinct and Distinct: “Do You Miss Me” by PinkPatheress [Take Me Home] 

Soft and fun but somehow painful at the same time? I feel like PinkPantheress has a strong grasp on herself, her fanbase, and her art. The music is succinct and distinct, I can’t wait to see where her sound continues to go from here. 

Maybe The Greatest Song I’ve Ever Heard?: “VIRGO’S GROOVE” by Beyoncé [Renaissance] 

When Beyoncé first dropped Renaissance, I got a few messages asking me to dissect the album and share some of my thoughts about it. While I thought the album was a complete triumph and a sonic beauty, I didn’t feel like I was informed enough on her influences on the project to do it justice in my analysis. It was so far reaching, real, and energetic in its execution that I was a bit intimidated by it. And I still don’t think I am fluent enough in the right language to correctly capture what Renaissance accomplished. But as far as feeling? Around the 4:45 mark of “VIRGO’S GROOVE,” at that moment, I always think this may be the greatest song I’ve ever heard in my entire life. That’s worth more than any technical analysis I can give. And it might not be the greatest song I’ve ever heard but that feeling can bear the weight of whatever the reality may be. 

wrong and don’t wanna fix it: “BAD FRUIT*” by Jean Dawson feat. Earl Sweatshirt [CHAOS NOW*]

Jean Dawson is a new artist to me, he hadn’t been revealed to me until earlier this year. The music though, holy shit. The different instruments on this track combined with the way he and Earl Sweatshirt surf over it gives me new life. The lyrics speak to the part of me that feels wrong that I still don’t want to change or fix. Give his whole album a listen, if you haven’t gotten an opportunity to do so yet. 

On Loss: “Gone Girl” by SZA [SOS]

Gone Girl is familiar. It’s only been released for a few weeks but I feel like I’ve been experiencing it my whole life. And believe me, I have been catching up on lost time. Gone Girl, Gone Girl has left my lips at some point in the day everyday for the past few weeks. I gravitate towards songs dealing with loss. The art of losing isn't hard to master and I feel like I can lose anything. I have lost myself more than anything. “Gone Girl” understands the feeling. Can a song understand a person? I’m not sure. But I felt seen by it. And I felt like it was speaking to me. It was a message I needed to hear, I’ve been trying to hold some things too tight and that’s a way to lose as well. SZA’s lyrics are always amazing and I feel like her vocals are at their best when paired with simpler musical elements. I need your touch, not your scrutiny. More on SOS on the way. 

Fate: “Impala” by Young Nudy [EA Monster]

The week EA Monster dropped, Young Nudy hosted a free concert in NYC and the first 200 people got in. I was literally the 200th person in line. I probably listened to “Impala” 200 times that day, call it fate. 

multiversal madness: “Cash In Cash Out” by Pharell Williams feat. Tyler, The Creator & 21 Savage [single]

“Cash In Cash Out” felt like a multiversal crossover event like Crisis On Infinite Earths or Secret Wars or some shit. 21 Savage and Tyler, The Creator are both professional beat walkers and this is a top tier beat by Pharell. Tyler, The Creator has a superhuman ability to normally have the best verse on whatever song he’s on no matter who else is on the track. In the middle of my first listen during 21 Savage’s verse, I was thinking “man, how the fuck is Tyler gonna top this?” By the middle of Tyler’s verse I was thinking, “holy fucking shit, he topped it.” This is a future classic and it was lowkey slept on. I can’t wait for hip hop heads being born right now to discover this track in 2035. 

Now & Later: “Curtains” by Smino [Luv 4 Rent] 

Smino is the closest thing to a jazz musician we have in rap today. Even when he’s speaking English, it feels like scat singing sometimes. This was on display to the highest extent on this 6-minute opus. It’s layered sonically, it jumps from sound to sound. The song breathes and he is a master of tempo.The outro after the skit pulls me from this life into the next and in that life I’m just a cloud lucky enough to be on my through the most beautiful stretch of Earth there is. I also think “shawty jawbone so strong I can give her a Now & Later she’ll blow a bubble” deserves a Pulitzer Prize. “Curtains” is the type of song I’m constantly hoping for and constantly thankful for. 

Experience: “Boy Bye” by Ari Lennox feat. Lucky Daye 

This felt like an old-school duet. “Boy Bye” is the perfect song to sit alone in a dimly lit room with some smoldering scented candles and close your eyes and bob your head to. Or have sex to it, if you’re into that sort of thing. Ari Lennox’s voice is like being in your lover’s arms. Her voice is like a hug for your ears. I never want to talk while this song is playing. I always want to experience it. Always. 

next in neo-soul: “complexities” by Kapwani [NAKÚPENDA] 

I had the pleasure to interview Kapwani earlier this year before the release of her latest project and she’s a breath of fresh air in music today. Real vocals, real lyrics, real emotional, raw feeling. On first listen, you hear an Erykah Badu-esque sound but the more you listen, you can hear that she’s in a lane completely her own that still manages to honor the groundwork of others in the neo-soul genre. She’s next up and “complexities” is the perfect track to find that truth.

 World Heavyweight Champion: “Kody Blu 31” by JID [The Forever Story]

If rap was wrestling and the title of “best rapper in the world” was passed around like a title belt, JID would’ve held the strap for 2022. He was amazing in all of his features(Home Remix by Mike Dimes blows my mind), was MVP of Dreamville’s collab album, and dropped an impeccable solo album. “Kody Blu 31” is probably the most versatile of all of JID’s work this year and possibly his best as well. The gospel-influenced track does feel like a prayer, a wish, and a rallying cry. It lifts me up. Keep on swinging champ. 

Bad fun?: Spin Bout U by Drake & 21 Savage [Her Loss] 

Her Loss was toxic as fuck and childish and corny at time and Drake has shown no emotional growth whatsoever over the past 15 years of his career but holy fuck was it fun. From the many random subliminals and sneak disses to the bizarre faux marketing scheme. I hate to say it, but I may be a Drake enabler. Most of us are, to a certain extent. Drake walked a lot of beats on this project but this track is possibly 21 Savage’s best performance of the album. “Spin Bout U”’s sample of Oobie’s “”Give Me Your Love” is hypnotic. Good work, good fun. 

Classy: “Come Outside” by Flo Milli [You Still Here, Ho?]

I love fight anthems but in usual Flo Milli fashion, “Come Outside” manages to remain classy and above the fight somehow(even as she provokes any detractors). Flo Milli makes every song feel like a moment. I got a bit more of a bop in my step when I listen to her. Flo Milli’s sound is still in its infancy and I think that’s exciting because she has so many places she could go with it. She has a great flow (lol) and her voice perhaps even better. The sky is not the limit. 

Real: “PRICE OF FAME” by Brent Faiyaz [WASTELAND]

 I was conflicted on whether or not to put “PRICE OF FAME” as Brent Faiyaz’s song (“Angel” being my second choice) because this song leaked on Soundcloud a long time ago. But I stuck to my guns, this is the best song he officially put out in a long time. It’s long, it’s layered, and it lingers but it doesn’t stick… much like the reality of fame that he’s depicting in the lyrics. I was disappointed in some ways by the direction of Wasteland, I felt as though he was writing to expectations rather than to his reality (I know his music is for the bitches and my opinion doesn't matter) but “PRICE OF FAME” was as real as it gets. 

Poetry: “My Good Ghosts” by MAVI [Laughing so Hard, it Hurts] 

I can’t be sure but MAVI’s music feels like he fell in love with poetry far before he thought to pick up the microphone and rap anything. It’s always raw and honest and rooted in something that the rest of the world could connect with. He’s intelligent and thoughtful with his words. I feel like he took his music to another level of his newest project and I have no doubt in my mind that he will continue to do so.  

empty together: “moscato” by Fana Hues [flora + fana] 

Everyone wants to find themselves but what if you find yourself in the wrong place and in the wrong place? I realized earlier this year that getting everything you want in the wrong way is a form of destruction as well. “moscato” sounds like a beautiful and painful recollection of self-destruction. Fana Hues keeps it simple and leaves enough space for us to feel empty with her, rather than just feel empty alone. Being empty together is always better. 

“Element”’s Brother: “Rich Spirit” by Kendrick Lamar [Mr.Morale & The Big Steppers] 

I wrote in-depth about Mr.Morale & The Big Steppers earlier this year and while other songs on this project may hold more artistic merit, I find myself coming back to “Rich Spirit” more than anything else. It feels like the spiritual sibling of “Element” from DAMN. When the project first dropped “Rich Spirit” was like crack in my ears. Bitch, I’m attractive is a powerful parable. 

black boys with guitars making love songs: “Come Over” by Casper Sage [Casper Sage] 

I love the trend of black boys with guitars making love songs. There wasn’t enough of this ten years ago and I wish there was because “Come Over” is a real fucking gem. I needed to grow up with this song and I wish this song was everything in the world to me when I was 16 years old. Casper Sage carries wisdom in his music but the emotions matter more than anything else, as they always do. 

the youth is in good hands: “Shoulder” by Redveil feat. Mekdelawit & Renaissance Mic [learn 2 swim]

Redveil was born in 2004 (or 2003, idk) and he’s making music this fucking good. He hails from PG County, Maryland and it seems the area has aged his taste and talent to be on par with a man twice his age. Redveil could be one of the biggest rappers on the planet in five years time. Everytime I listen to one of his songs, the phrase “the youth is in good hands” soars to the top of my mind. Can’t wait to watch this kid blow up. 

haunted: “meta angel” by FKA Twigs [CAPRISONGS] 

“meta angel” by FKA Twigs is an introspective masterpiece that poses questions about love, pain, and the power of intention. I’ve got voices in my head. The vocals are haunting, the voice inflections stuck with me for hours after I listened for the first time. I swore I started seeing her voice peeking around the corner ready to pop out and scare the shit out of me. 

Not Afraid: “Long Division” by AG Club [Impostor Syndrome]

AG Club is one of the most fun rap acts to debut over the last few years. They aren’t afraid to be delicate and soft and emotional and they aren’t afraid to party and be on some real rap shit. This song is a strong mix of both of those elements and it’s the perfect length for someone to live in a moment. And it’s such a moment. 

drowning and healing: “Lift Me Up” by Rihanna [single]

Rihanna’s return to music in the form of a power ballad in honor of the late (and great) Chadwick Boseman was not something I would have been able to predict in 2019. I enjoyed the song but after viewing Wakanda Forever for the first time, it took my experience with the song to another level. The humming at the beginning is precursor of the pain to come later on. But this wasn’t pain for pain’s sake, mainly I was healing to this song. I healed to this song. That has to be worth something. Chadwick’s death for me, in that year of 2020 has always been conflated for me with that of Kobe’s and with my Grandpa’s. I cried, many times over. I drowned. Then I kept on living and healing. 

Kerry James Marshall: “i’m fine” by Fousheé [softCore] 

I once read in the writings of the esteemed Kerry James Marshall that it is the role of the artist to force relationships between forms that seem incompatible. Isolate, recontextualize, shift scale, shift material, invert. Synthesize! Synthesize! Synthesize! “i’m fine” by Fousheé wholeheartedly captures those ideals to me. She begins with a soft folksy tune and explodes until short bursts of punk-metal expressions that share the truth of her emotions despite what she’s saying in her soft voice. The sounds shouldn’t work together as well as they do but it’s fluid and fluent in the language of the human spirit. “i’m fine” is softcore and an examination of a person trying to keep it all together despite it all.

-

So many of my favorite songs are not listed here and I am sure that’s true of all of you as well. I don’t mean to prioritize any song above another, I just wanted to express what went through my mind in my world of music this year. Music has a power over me, it can hold me together and it can break me apart. When I die, I hope God can leave me my ears just so I can hear all these tunes just one more time.

I love music. 

published December 28, 2022

notes on: Atlanta S3 [part one]

MEDIUM: Television 

GENRE: Comedy/Drama 

STUDIO: FX 

EPISODES: 10 

FAVORITE EPISODES: “The Big Payback” “Old Man And The Tree” “Cancer Attack” “New Jazz”  

LEAST FAVORITE EPISODES: n/a

Release Year: 2022

[part one] 

Season 2 of Atlanta ended in May 2018. At the end, Earn (played by Donald Glover aka Childish Gambino), Paper Boi (played by Brian Tyree Henry), and Darius (played by Lakeith Stanfield) board a flight to Europe to open up for Clark County on tour. The main characters have clarity and defined purpose moving forward because all of the anxieties that persisted throughout the second season had been resolved. The primary tension of season 2 was the viability of Earn as Paper Boi’s long term manager and Paper Boi coming to terms with his rising star while trying to retain his authenticity that propelled him into fame in the first place. Both conflicts coalesced into Earn attempting to frame Clark County with a gun charge. Paper Boi appreciated Earn’s grit and decided to keep his cousin on as his manager, cementing his foundation as a family-oriented operation. Season 3 of Atlanta picks up nowhere near any of this. 

Four years have passed in real life between season 2 and season 3 and it was made clear season 2 occurred very shortly after season 1, so it would have been a big ask to expect Atlanta to remain in the same cultural space that the world was in nearly 7 years ago when the show debuted on FX. The main characters still spend the season in Europe but this is Paper Boi’s second European tour, not his first one. And he’s the headliner this time. Earn is good at his job now. No more selling drugs. There is no more anxiety about money. There has been a glow-up in every sense and as a result, most of the antagonism is found internally and the majority of the external strife has been washed in a zanier light, at least in regards to the main characters. 

At SXSW’s 2022 Atlanta Q&A, Donald Glover said, “we just wanted to make a black fairy tale.” And it definitely feels that way. The afro-surrealist nature of the show exhibited in the first two seasons remains an anchor of their storytelling dynamic. The magical realism is subdued, the real life pastiches and eccentric characters are believable. I think it is an important note that even as the world they built got crazier and crazier, the people in that world stayed as bound as ever to human emotions, motives, and expectations. 

The primary motif explored in season 3 is the “curse of whiteness.” Donald Glover said he and his team of writers heard someone complain about the burden of being white and their team really dedicated themselves to finding out exactly what that means and I think by the end of the season they added many worthwhile ideas to the conversation. A lot of the imagery behind these ideas were grounded in horror, with fear and comedy being closely related. A lot of words could be used to describe this season. Gothic, futuristic, evangelical, poststructuralist, folkloric, ghetto, postmodern, fantastical, romantic… Atlanta is somehow all of this.  

The final and most interesting idea I kept an eye on throughout the duration of season 3 of Atlanta is the value of Atlanta as a point of view rather than a place. I am of the school that any place is really a people and a culture and that Atlanta would be Atlanta literally anywhere in the world. But Donald Glover said he and his brother, Stephen, simply wanted to showcase their viewpoint of the world and how the way they grew up influenced that. I think this approach is how Atlanta remained Atlanta while taking the primary characters away from the titular city for the entirety of the season. What is Atlanta, as a lens? 

Season 3 is 10 episodes, split in two parts: 4 anthology style episodes with world building stories and 6 episodes centered on the core four characters (Earn, Paper Boi, Darius, and Van). The team behind Atlanta began the season away from the core four after already spending four years away from us. This contrarian mindset informed the entirety of the season. 

-

EPISODE I: “three slaps” 

Directed by Hiro Murai, Written by Stephen Glover 

-

song one: “Midnight” by Porter Wagoner   

At rise, Atlanta is a dark expanse with a white man and a black man sitting on a dinghy fishing boat. A single light emanates from the base of their boat. The darkness of the sky is mirrored by the black of the water. A bridge is overhead. The white fisherman and the black fisherman toss back beers. The black fisherman suggests they should go home as “Midnight” by Porter Wagoner plays faintly on the radio. The black fisherman says the river always gave him the “heebie-jeebies,” that it’s murky, and he recalls a time he almost died in it. The black fisherman thinks back to the near-drowning and says that it felt as though hands were dragging him to the base of the river. His cousin had to save him. The white fisherman does not think this is an accident. 

The white fisherman answers that it’s “shit water” due to a drowned self-governed black town being buried beneath the river. This folk tale is reminiscent of, and likely inspired by, the fables surrounding Georgia’s famed Lake Lanier where people often die in the water (over 200 people have died at Lake Lanier since 1994). The white fisherman says the town was intentionally flooded by white people in a racist attack against the black people for nearly achieving independent sustainability and equity. The white fisherman suggests that the river is haunted and that they were almost “white.” This is where Atlanta first re-defines an already widely known term. 

For the most part, whiteness is seen as the state of being caucasian, having European heritage, or a close proximity to it. Due to many sociological and historical factors, whiteness is closely tied to privilege and prestige. “Whiteness” is not something we are supposed to be able to achieve, we either are or we aren’t. But Atlanta argues otherwise. The white fisherman says that white is not a real thing but a social circumstance paid for by blood and money. He says that white is where and when you are. And that whiteness is a blinding, chilling, hypothermia-inducing curse. He says that a white person is incapable of differentiating between their own blood and the blood of a black person. As the white fisherman drones on about whiteness and the spatial ignorance that comes along with it, his voice begins to fade away along with the music. The lights dim and the white fisherman loses his eyes. He screeches, “we’re cursed too!” at the black fisherman as oodles of black hands swarm the black fisherman and drag him into the shit water. Screen goes to black, we jump to a sleeping black teenage boy. 

The white fisherman is an important character for the overall story arc of season 3 and his monologue to the black fisherman can serve as the hypothesis for the entire season. The scene is not just a prologue for episode one, but a clear and concise explanation for the overall argument Atlanta is working towards. What does it mean to become white? How does one ascertain the cause of whiteness? Who has the benefit of choosing whiteness? What do you lose when you choose it? Who are you without your whiteness? How do you break the curse? 

The sleeping black teenage boy is Locquareeous Reed. His name is emphatic and dramatic and it does feel like a name from a black fairy tale. He wakes up in class and begins to dance after the teacher announces to the class that they’re taking a field trip to watch “the new Black Panther 2.” Locquareeous’s dance moves reference a viral video from 2018 when students from Ron Clark Academy in Atlanta, GA broke into celebratory dance after hearing about a field trip to the initial Black Panther release. This is the first direct reference to viral content in the season. 

Locquareeous gets in trouble for dancing his mother and grandpa have to come up to the school and get him from the principal’s office. In an all too familiar way, Locquareeous’s mother and grandpa are not receptive to the message from the principal or guidance counselor and decide to punish him in their own way, via public humiliation which comes in the form two other viral internet videos: slapping him three times in a single motion and forcing him to dance with tears in his eyes. Both videos were well circulated on the internet. Following the three slaps from his grandpa, the school advisor promises to take him away from his family and put him into a safer living environment. Locquareeous seems confused by her shock, the abuse is commonplace and hardly registers on his psyche. 

song two: “Precious Memories” by Rosetta Thorpe 

We follow Locquareeous to his home and we see a single parent-single child living situation. His mother runs everything on the basis of fear and controls him with the threat of her own omnipotence and violence. She is honest and aggressive and takes all resistance to be a show of ingratitude or disrespect. There is a familiarity to her. She is the worst of all of our mothers. I imagine her life is hard and Locquareeous, with his small issues, makes it harder. I want to hate her, but I have empathy for her. Locquareeous eats his mother’s spaghetti, a black American staple, while watching American Dad before a social case worker shows up. Locquareeous does not want to leave but the sight of the social case worker enrages his mother and she pushes him out of her house and into the arms of the system. 

Locquareeous has been given to two lesbian white women. They’re progressive and notably “anti-racist.” They’re the gentrifiers, the type of white plague Jordan Peele warned against in 2018’s smash-hit Get Out. The first white woman is Amber, she says to call her mom. The second white woman is Gayle, she says to call her Gayle. They already have adopted three black kids by the time Locquareeous is brought to the house: Lanre, Yves, and Fatima. They have a small annoying dog named Cornpop. 

The other children are quiet and seem sick and numb to the ways that Amber and Gayle are inadequate, at least in respect to their reactions. The house stinks, they’re broke, they microwave the fried chicken, they feed the dog human food, they don’t own any wash cloths, they’re living in a bando, and Locquareeous has slave-like chores where they want him sing hymns (he sings “Make No Sense” by Youngboy Never Broke Again). Locquareeous is very unhappy and that is constantly communicated both to the audience and to his caregivers, who write him off as ungrateful just as his real mother did. It feels different from the lesbian moms because they are pose real danger to him and write off his unhappiness as ignorance rather than spite. Locquareeous cannot eat the food they try to feed him. They make no effort to understand him. Gayle even renames Locquareeous as “Larry.” 

View this post on Instagram

A post shared by Atlanta (@atlantafx)

I realize the additional layer to Locquareeous and the single story in a scene where Locquareeous has to wear a “free hugs” sign and a fedora to the co-op. The image is a direct reference to Devonte Hart, a black boy who went viral for shedding tears while hugging a police officer in 2014. The inspiration becomes crystal clear when Locquareeous hugs a police officer with tears in his eyes, begging him to take him away from his new white women mothers. Of course, the police officer does nothing. 

The story takes a dark turn into a dramatic irony from this point forward. Devonte Hart and his adopted siblings were murdered when his white women mothers drove them off a California cliff in a misguided group suicide attempt that the children obviously did not consent to. All signs point to this being Locquareeous’s fate as well. The episode starts to feel like a ticking clock, marching towards tragedy. Ain’t shit funny for real. 

Time goes on and Locquareeous starts having nightmares that meld the terrors from his new life with the ones from his old life (Cornpop-grandpa lol). A new black social case worker comes and notices the bad living situation for the children. She pledges to get them out of there after Locquareeous expresses his hunger to her. Gayle takes the new black social case worker to the side and it is insinutated that Gayle murders her before the whole family goes on the run. Her clipboard is strewn about the trash. They drive off, the Hart family fate awaits Locquareeous. 

song three: “The Dream is Still Alive” by Wilson Phillips 

The funniest bit in a rather heavy episode comes when Locquareeous, Yves, Fatima, and Lanre partake in a bit of black telepathy amidst their fear and anxiety about the final destination of Amber and Gayle’s journey. 

These white women are gonna kill us. 

Yeah nigga, we know!

Sweet release. 

My hair hurts. 

Amber and Gayle are not privy to this silent conversation but they stop at a rest stop and express doubts over their decision to end all of their lives. They decide they are doing the right thing but will spare Cornpop’s life. The most important moment here is when Amber asks, “why didn’t anyone stop us?” I feel as though this is Donald Glover asking the audience and America on the behalf of Devonte Hart and his siblings. The answer is white privilege, but more specifically the curse of whiteness inflicted upon them as explained by the white fisherman. Amber and Gayle collect themselves and get back in the van to kill their whole household. 

song four: “Back Baby” by Jessica Pratt 

As they near their final destination (the bridge over the shit water river from the beginning of the episode), Amber and Gayle lock hands and accept their fate. It’s a dark moment and I don’t feel an ounce of sympathy for them. They turn around and expect to see their four black children in the back, thrust into death untimely, but they see Cornpop’s face instead. Locquareeous rolls from the trunk and safely onto the street just as van goes over the cliff and into the river at the base of the ravine. 

There is an air of triumph and relief as Locquareeous rolls in the opposite direction of the evils he was subjected to throughout the episode. A lot of this relief comes from the anticipation of his story ending in the same way as Devonte Hart, but Atlanta used its powers to create a new reality in which his life and his story could continue. This is akin to how Quentin Tarantino re-imagined new endings to historical events in Inglourious Basterds (World War II) and Once Upon A Time In Hollywood (the murder of Sharon Tate). The ability to remake the world as we want it to be is among the most important things a storyteller can do. Locquareeous is Devonte Hart but he is also thousands of other black boys, he is a single story but he’s not the single story. Amber asked why no one stopped them and someone should have. I wish someone stopped Jennifer and Sarah Hart. 

The way they take real “minor” events in black culture and re-create them on screen definitely resembles the satirical brilliance of Aaron McGruder’s The Boondocks, one of the highest compliments I can give. 

song five: “When It’s Time To Go” by Buddy Fo and His Group 

Locquareeous walked all the way back home. He grabs the key from under the mat and lets himself in. He washes the dishes she told him to wash before he was taken away. He slides back into his old life as if nothing happened. His real mother only says, “so you finally decided to come home, huh?” when she catches him in the kitchen. She scoffs. No hug. No grand re-entry or apology. Nothing is said. A lot has been learned. Locquareeous asks, “some spaghetti in there?” but he means I love you. And his mother responds, “yeah, it’s spaghetti in there” but she means I love you too. 

Lanre, Yves, and Fatima were found on the side of the road according to the news before Locquareeous turned the TV to American Dad. He sits and eats the leftover spaghetti as the camera creeps over his shoulder, slowly moving in. Then the camera just stops and watches him. It’s time to go… It’s time to go… It’s time to go.. It’s time…

Locquareeous turns and we awaken on Earn’s face, for the first time this season. At first you can’t see anything except part of his face in an extreme close-up shot, but it cuts out and we can see Earn is waking up in a nice hotel room with some white woman. The blinds are shut all the way down but light is swimming into the room. There are open champagne glasses on the table. The white woman is still asleep. Earn doesn’t seem to know her. He sighs and drops his head.

song six: “Brown Rice” by Don Cherry 

It is unclear if Locquareeous is supposed to be from a dream of Earn’s or not. The Inception-like effect of a dream inside of a dream works, especially given what transpires later on in the season. The white fisherman and black fisherman are buried deep within Earn’s subconscious and we know he easily could have been Locquareeous given a different set of circumstances. The single story has been brought home to the main storyline. The biggest question these “dreams” arise in my mind is this: what do the dreams  communicate about Earn’s current mindset, desires, and anxieties?    

EPISODE II: “sinterklass is coming to town” 

Directed by Hiro Murai, Written by Janine Nabers 

-

Episode 2 picks up exactly where episode 1 left off. Earn awakes in a hotel bed with the strange white woman after a night of sex. He goes to the bathroom to take a piss and his phone is blowing up. Swiss Air texts him that he’s late for his flight to Amsterdam. Alfred (Paper Boi) needs 20k. Van needs pickup from the airport. Darius is telling him about a persimmon that tasted like an avocado. He’s in Copenhagen, Denmark. 

In under a minute of screen time, we understand where Earn is in life. He’s still engaging in frivolous and unfulfilling activities while his responsibilities continue to stack up as well. There is a sense of routine and unexceptionalism to the way Alfred asks for 20k. Money is no longer a big hurdle for them. He is still involved with Van in some way. He’s still running late for everything. And Darius is still eccentric. 

song seven: “Shakara” by Fela Kuti 

Earn leaves the hotel room in a rush after failing to communicate with the white girl because she doesn't even speak english. He leaves without his underwear or belt. Even in his elevated state (comparatively to Seasons 1 and 2) we see that he still finds ways to destroy himself. His responsibilities, his baby momma and the artist he manages, both need his help and he is not in a position to help either. Van has no ride from the airport. Alfred is in jail and does not have the money for bail.

 Before dropping his pants at the airport security checkpoint, Earn asks Darius to pick up Van from the airport. From this point forward there are dual storylines for the episode. The first is centered on Earn and Alfred while the second centers on Darius and Van. We’ll call Earn and Alfred “storyline A” and Darius and Van “storyline B.”  

song eight: “Maiysha” by Miles Davis 

It’s awkward when Darius first picks up Van. The airline lost Van’s luggage and she needs a coat. It’s winter in Europe. Darius offers his coat but she declines and they decide to go buy one. They have a driver, Darius attributes it to “tour clout.” Darius is a naturally unconventional conversationalist and Van is often reserved so it was interesting to see them interact without Earn as a buffer. Earn is the only reason they have any type of relationship and aside from the “Champagne Papi” episode in Season 2, I don’t recall having seen them connect. It reminds me of the classic episode of Seinfeld when George and Elaine realize that they can’t hang out without Jerry unless Jerry was centered in their conversation. Darius even asks Van about Earn, in which Van replies that she has a boyfriend. Van seems uncomfortable talking about Earn at all but distracted more than anything else. 

Darius and Van finally have a breakthrough in their conversation when Van tells Darius to ask her something real and he inquires why she abandoned Atlanta to visit her baby daddy on a European tour when they aren’t even together. She admits to being in a rut and trying to figure herself out and Darius appears to dedicate himself to helping her get out of it. 

song nine: “Oceanic Feeling” by Molly Lewis 

Concurrently, Earn lands in Amsterdam. He races over to the venue of the concert that is slated to be later that night. It is immediately clear that he is now pretty good at his job. He looks clean. His face doesn’t have the same starved desperation as the prior seasons, but he looks tired and he’s sick. He meets the host, Dirk, at the venue and gets a 20k advance for the show and forces Dirk to pay for his taxi from the airport as well as his taxi to the jail. He tells Dirk that this is their second European tour and at least one year has passed since their tour with Clark County. He doesn’t even blink when he asks for the money and also does not panic when he realizes he left the music for the show in Copenhagen. Earn puts in an order to get his laptop delivered via organ transport. 

In storyline B, they go to a consignment store and Van buys a used coat. The coat has a note in its pocket with an address on it. Darius insists that the note is a sign and she needs to pursue whatever journey is at the end of that address in order to break free from her rut. 

When we are introduced to Paper Boi for the first time in Season 3, he is lying in a prison bed, but he does not look uncomfortable. The prison guard is super kind and subservient to Paper Boi’s will. He orders a bean soup and decides to take a nap in prison before his meal even after his bail is posted. His imprisonment is played for jokes and it’s funny as hell. There is a small mob cheering behind a flimsy barricade. The whole punishment seems optional rather than carceral. On first watch, the situation seems to mirror the Swiss imprisonment of ASAP Rocky from 2019 but Atlanta contributor, Ibra Ake, insisted on Instagram that they wrote and imagined that scene before ASAP Rocky was infamously jailed. 

Earn sits in the police station and waits for Paper Boi to finish his nap and his lunch. He gives Paper Boi the leftover money from bail and Paper Boi tosses it to his crowd of supporters outside of the station. Money is truly no longer an obstacle. No more selling drugs. No more pandering to studio executives. Paper Boi is Europe wearing designer clothes. 

song ten: “Jansport” by Steve G. Lover III (Stephen Glover) 

Van and Darius arrive at the house from the address on the pocket and they’re immediately hounded back into the car and scolded for being late by a group of anonymous white people. They continue to go along with the journey, eager to find a sense of completion, especially for the sake of Van. 

As Earn and Paper Boi encounter a little white Swiss baby in blackface on their way to their driver. When they ask the driver, he is bewildered at their shock and maintains that it’s not racist and they aren’t supposed to be black people. He says they’re dressed as a Swiss sinterklaas character named “Zwarte Piet” which means Black Peter. They’re black from soot from falling down the chimney while helping Santa Claus. Neither Earn nor Paper Boi buy his story but say that they respect the rebrand. Cosplaying as Zwarte Piet is a Dutch real blackface tradition. The character was first introduced in 1850. The character is often shown with big red lips, an afro wig, and gold jewelry. 

View this post on Instagram

A post shared by Atlanta (@atlantafx)

Darius and Van arrive at their second location and receive white shawls. There is some type of party going on and there is a dying body at the center of it. The dying man is black but most of the guests are white and dressed in white. He’s wrapped in white garb and laid out across a bed. There’s a cult-like exhibitionism to the formality of the event. The vibe of the party is reminiscent of the bingo scene of Get Out and the “Juneteenth” episode towards the end of Season 1. Darius identifies the dying body as Tupac and says that “he felt the thug spirit” when they entered. Everyone speaks in hushed tones around the dying man. There is a death doula who is tasked with helping the dying man navigate a clear path to the afterlife. 

Back in storyline A, Earn and Paper Boi come back to a completely trashed hotel room and we learn the reason why he was in jail in the first place. He was trying to have a threesome with a black woman and a white woman and the white woman said something in celebration of sinterklaas which escalated to a fight between the two. The white woman notably called Rihanna a “niggabitch” multiple times. Their ensuing fight swallowed the room and they destroyed everything. Neither Paper Boi or Earn are worried about the financial ramifications, moreso annoyed about the inconvenience of having to switch rooms and get out of jail, yet another sign that the status quo has changed. 

The climax of storyline B comes after the death doula explains to Van that she’s exactly where she needs to be. The death doula asks Van to say a few words to the dying man (Tupac). Van tells him, “It’s okay.” It is a sincere and tender moment but because this is Atlanta, it does not last long. A contraption releases a latex sheet from overhead the bed and suffocates the dying man (Tupac). It is hard to watch, the death looks painful. The understanding is that this was an act of kindness, a demented euthanasia. Everyone cries as Darius and Van look on in complete and utter shock, the only guests who did not know what was coming. 

song eleven: “Hail Mary” by Tupac 

Darius joins Earn and Paper at the concert venue later that evening. The music gets to the show on time but Paper Boi refuses to perform because the entire crowd is dressed like Zwarte Piet. 

song twelve: “Jingle Bells” by Smokey Robinson and The Miracles 

Earn does not argue with him and goes to tell Dirk the bad news. He cops out of the truth and asserts that Paper Boi is sick. Earn has been sick all episode, people have been saying “gesundheit” to him as a running gag. Earn tells Dirk that Paper Boi caught whatever he’s got. Dirk gets angry and begins to chase Earn through the theater. In what’s the funniest moment of the episode to me, Dirk is unable to differentiate between Earn and a concertgoer dressed as Zwarte Piet. Dirk beats the shit out of a random guy while Earn watches on. It was a hysterical comment on “colorblindness” and racist dehumanization. 

Van runs into Earn in the hallway when Earn, Darius, and Paper Boi get back to the hotel that night. They have a brief yet awkward exchange. I can tell that Earn is worried about Van but I can also tell that Van does not care very much. Earn’s care is not Van’s burden. But maybe it should be. You good? No. She’s not. Earn goes to bed, exhausted from the day where a lot was done for nothing to happen. I guess that’s the job. Earn’s phone goes off one final time, Paper Boi is hungry. I guess the job never ends. 

song thirteen: “At The Hotel” by Eunice Collins 

The primary function of this episode was to establish the new status quo amongst the central four characters. We have been away from the characters for quite some time, even in-universe. The character who has undergone the most radical transformation is definitely Earn. He was broke, inconsistent, panicky, and unreliable throughout the first two seasons but he has his shit together now. Even when he fucks up, he keeps his cool and finds a logical course of action. Paper Boi seems a lot less stressed. He isn't as angry and even seems a bit more cultured, less street. He isn't as prone to violence and seems to understand and accept his star much better than he did initially.  Darius appears to be exactly the same. Happy-go-lucky and loyal. We left Van in a confused state and she got even worse in our absence. She is directionless and over the course of the season, we can tell that she will move in ways to reinvent and redefine herself. The stage is set for the remainder of the season. 

EPISODE III: “old man and the tree” 

Directed by Hiro Murai, Written by Taofik Kolade 

-

The four core characters walk down a residential London street on the way to a party. It’s Fernando’s party. He’s a billionaire and a friend of Will’s, who’s an acquaintance of Earn’s. Earn tells Paper Boi that it’s good to get to know people in high places now so they can take advantage of their resources. Fernando is not just a billionaire, but he’s old money. Fernando’s family gave out the first loan. Paper Boi isn't really taking any of this seriously. He and Darius jokingly pitch their “Bud of The Month” idea to prospective billionaire investors in splendiferous white voices. Earn tries to join in on the fun but they say he always sounds like he’s talking white. This is a consistent othering that happens to Earn throughout the series, he often struggles with performing blackness or just does not come to as naturally as it comes to others. This is likely inspired by Donald Glover’s real life; his lack of affinity to cultural blackness compared to other black people is a constant theme in the music he releases as Childish Gambino. Van is quiet for most of their banter but she inserts herself and half-heartedly sticks up for Earn. It’s pretty funny. 

song fourteen: “Tension” by Central Cee 

They pull up to a shity crackhouse and a woman with a thick British accent answers the door. No one understands anything she’s saying and they’re unsure if they’re at the right place initially. Will comes to the door and leads them through the crackhouse and there’s a funny bit where he asks them if they know any UK rappers before giving 21 Savage that distinction and humming “Runnin” to himself. It was infamously revealed in 2019 that 21 Savage was born in the UK and not East Atlanta when ICE arrested and detained him. 

The shitty crackhouse is a cover up and there’s a secret door on the top floor that leads to a sprawling opulent home. It’s palatial and classy and well lit and a lot of high end looking people are sprinkled throughout. Fernando’s home has a Nando’s, a fast food restaurant chain that specializes in peri-peri style chicken. Will explains to Earn that he has a rising young artist from Tooting that he wants him to meet. Will rents a studio space in Fernando’s home for the artist. Van and Earn go to meet Will’s artist while Paper Boi and Darius go to get some Nando’s. 

While they’re eating the free Nando’s, Fernando, the billionaire walks up to them and strikes up a conversation. Darius slips away from the conversation to find something to drink and “the bathroom he doesn’t want him to use,” leaving Paper Boi alone with Fernando. Fernando is the old man from the title of the episode. He asks Paper Boi if he likes trees and Paper Boi excitedly says yes because he thinks he’s asking him about weed but he was being literal. He shows Paper Boi a tree, the oldest tree in London. He built the compound around the tree. It appears to be Fernando’s prized possession. Paper Boi is bored and unimpressed by the tree. Fernando invites him to go smoke weed and play poker with his friends and Paper Boi accepts because those activities are more his speed. Paper Boi sits down and they tell him the buy-in for the poker game is 20k. I paused when they told him that number because that wasn’t the type of money he had in the first two seasons but he pulled it out with little hesitation. It’s a new day and 20k is now nothing at all.  

Meanwhile, Darius is getting a drink. He asks MK, an Asian woman standing next to the table with the alcohol, to pass him the gin but she mistakenly thinks he is hitting on her because he is black and black men love Asian women (in her experience from living in LA). She declines Darius and reveals that she is engaged before Darius could explain his intentions. Darius laughs it off as a “good cultural exchange” and she passes him the gin before walking away. After MK walks away, a white guy named Socks comes and is appalled, having overheard the conversation. He wears a beanie and has an “intense” hairline. Darius isn't necessarily offended by what MK had to say but Socks is carrying the torch for him. 

At this same time, Earn and Van are meeting the artist from Tooting, a young black guy named TJ. TJ is a pretentious hack with shitty, non-engaging and uninspired art that has enough references and subversions on more popular art to trick Will into patronage. He rides around his studio on rollerskates. He rips off different artists from Jackon Pollock to Jean-Michel Basquiat. I feel as though most of us know artists like him, with some type of talent but absolutely no vision and no discernible creative imprint to really put on the world. His primary artistic contribution he showed Earn was a photograph of an old white man wearing Supreme and holding his dick. 

Will wants Earn to give him a second opinion on TJ and it’s pretty apparent that Earn is not a fan of TJ’s work. Will has already poured 500k into TJ’s career. TJ wants to make an “influencer incubator” on Will’s dime and Will is considering the investment. It isn't clear how Will would get the money back but TJ is making content rather than art and I think that’s the best distinction I could give his work. Earn initially begins to shoot down the idea as expensive before TJ (who was eavesdropping) interjects and implicitly tells Earn, “nigga come on” with further nonspecific details about his plan. Earn says he has to make sure Doja Cat is not doing something similar and declines to give an answer at that moment. Will says okay and decides to give him time. What is Earn’s responsibility to TJ as a black person? 

At this point, the episode has splintered into three different storylines. One is of Paper Boi and Fernando and their poker game. One is of Darius, Socks, and MK and Darius’s brush with racism. And the final is of Earn, Van, Will, and TJ and the legitimacy of TJ’s burgeoning art career. 

Paper Boi is having a good time at the poker game. Most of the banter is brash locker room talk but Fernando elevates it to something more metaphysical when he begins to opine about spirits and ghosts. Fernando tells the story of a wet, ashy, naked, skinny black man who broke into his house. He says this man was a ghost. Paper Boi clowns him and does not believe him. When Paper Boi asks him what he did, Fernando says he did what any man in his position would do. “He fucked it,” his friend inserts before laughing. Everyone at the table makes fun of him but Fernando holds his perspective. He says the connection was more than physical and that by the end, he awoke covered in ectoplasm and the spirit was gone. At that point, I think Paper Boi said the funniest joke of the episode. 

The spirit came on you, my nigga! That’s a bust-and-run where I’m from.

Paper Boi does not believe Fernando’s story, not one bit. Fernando deepens the conversation even more by extending it to the Devil and God, equating them to good and evil spirits. He says the Devil is just as powerful as God and the reason why there’s so much killing in the world and the reason why he has so much money. He calls the tension between the Devil and God as a call from balance. Paper Boi ain’t hearing none of that shit. Paper Boi wins at poker and Fernando gets up and leaves without settling his debt. The vibe shifts into something awkward and Paper Boi is left in the room alone and unpaid. Paper Boi looks powerless. 

Darius is downstairs drinking on the coach and surviving a conversation with Socks who plugs himself in as a famous adjacent groupie type. He tells everyone who will listen about Darius’s bout with racism and they are all angrier than Darius is. The story begins to draw a crowd and every time Socks tells the story, it gets more and more dramatic. 

Van disappeared from TJ’s studio while they were explaining his “influencer incubator” plan. Earn is walking around looking for her while thinking about his dilemma with Will and TJ. He runs into Paper Boi who just got his hat stolen by a random white girl. He’s sitting down and fuming mad because Fernando did not pay him. He feels like he can’t act within his character and do what he would normally do in Atlanta when he gets tried. He’s out of his element and as a result, he’s powerless in this new arena. 

Earn and Paper Boi vent to each other about their problems. Earn thinks that if he helps TJ, he will end up hurting real artists with something to say in the long run. Paper Boi tells Earn to help TJ be a successful mediocre artist because white people get away with mediocrity all the time. He says that TikTok is just white people scamming. TJ comes around and thanks Earn for clearing the way for him and his future endeavors. 

“If this fool wants to pay for the culture, let him.” 

After Paper Boi tells TJ about the Fernando-Poker situation, TJ tells him that he’s not getting his money. Paper Boi storms away and TJ skates away, leaving Earn alone with his thoughts. He sees Van standing by the pool, washed in cerulean light. Earn and Van lock eyes and he seems like he’s locked into a trance. 

song fifteen: “A Certain Sadness” by Astrud Gilberto & Walter Wanderley 

Van pushes a waiter into the water. Earn expresses worry about her. She tells him that’s all he does and that he’s not her manager. He says okay and accepts that she has to find herself, by herself. She gets up and pushes someone else into the water while Earn goes to find Will and give him his decision on TJ. 

The climax of the Darius and Socks storyline comes to a head when the crowd around Darius has grown exponentially in size. Their story of the racism Darius endured continues to get uglier and more abrasive with each re-telling. MK walks over to the group to introduce Darius to her fiance, unaware they were angry at her. They mob her and attack her. Darius watches on helplessly. 

Indian-English musician, Jai Paul, sits down next to Darius. He attributes their overreaction to MK’s words as white guilt. Darius says he didn’t know racism was out of America and that he thought most of their discrimination was class based, which is strange to me because the British damn near invented racism. Jai Paul explains how racism, capitalism, and classism all go hand-in-hand. He finishes by saying that there’s racism anywhere you can buy a coke, which is damn near another way of saying everywhere. 

Paper Boi goes up to Fernando’s bedroom and demands his money, but Fernando lies in bed with his back to Paper Boi and pretends to be asleep. 

When Earn is on his way back to Will, he sees a picture of Fernando’s ancestors giving away the first loan hanging up on the wall. In the background, he sees an African slave. He decides to help TJ scam Will and even inserts his fingers into the pot to make some money for himself as TJ’s manager as well. Will is pleased with Earn’s decision. 

Just before they get the opportunity to celebrate, Alfred begins to chainsaw Fernando’s tree in an effort to get his decision. This is the middle ground between acting as who was and who he currently is. Earn gathers Paper Boi and Darius as Paper Boi steals shit and goes on a profanity-laced tirade. In all of the madness, Will walks up to Darius and reveals that he is MK’s fiance and that he was calling off the marriage because she’s racist. They race out of the sumptuous house through the shitty house and into the sprinter. And then they all start laughing, the four of them: Earn, Darius, Paper Boi… and Socks? Van is gone. Nowhere to be found and Socks has attached himself to them like a leech. They spot MK crying on the curb before they leave. 

View this post on Instagram

A post shared by FX Networks (@fxnetworks)

song sixteen: “Tire Loma de Nighbein” by Monomono & Joni Haastrup 

Van sits alone at an Indian cuisine restaurant, drinking an orange Fanta. Earn calls her, she ignores his call. She’s on her own path now. 

song seventeen: “The World Might Fall Over” by Monomono 

Episode III, “the old man and the tree,” continues Atlanta’s desire to explore whiteness and the ways in which they reconcile their actions. The first storyline with Fernando and Paper Boi was representative of old money vs new money and how they are two completely different power dynamics. Fernando paid for his money with blood and in a sense, his family is rooted to those demons. No matter how much money Paper Boi makes, he can’t hold the power over Fernando because Fernando controls the source (the tree). Fernando thinks his excess brings balance to the world while Paper Boi is just beginning to navigate what excess really is. He’s out of his depth. 

The second storyline with Darius, Socks, and MK is mainly about white guilt and the ways in which their curse of whiteness makes them over-extend their performances against racism. They know they did wrong but they don’t know what to do about it, so every small thing becomes the end of the world so they don’t have to get to the real source of racial problems, which is often inequity as Jai Paul points out. 

The third storyline asks us to consider white mediocrity vs black excellence. TJ is a hack but it doesn't really matter. A byproduct of the curse of whiteness is that no one really ever tells you the truth or what you need to hear. And this is a curse they’ve earned through not being able to handle the truth whenever it is given to them. Earn lies to Will because that’s what a black person has to do with white people. He’s earned those lies and it’s high time that TJ was allowed the space to be mediocre rather than excellent as well. Call it reparations. 

The biggest question “the old man and the tree” asks us to examine is this: how do we bring balance to evils presented by whiteness while maintaining the sincerity and authenticity of blackness? How do we level the playing field without becoming white ourselves? 

Atlanta, Season 3 - every episode a jewel. Screenplay, structure, acting, staging. Just watch it.

— Guillermo del Toro (@RealGDT) April 23, 2022

[end of part one]