DC’s very first African-American lead superhero, Black Lightning only got 11 issues from 1977 -1978 before DC cut many new titles. Black Lightning got another reboot in the 2000s and has been and out of several continuities since. In 2018, as part of it’s television franchise on the CW network, Black Lightning once again received a new starring role. And, frankly, I think this is a truly excellent television series.

I started watching the series on the CW, but life and a wonky DVR left me playing catch up all the time. Now that Black Lightning is on Netflix, I’ve finally had a chance to become current…and it’s still a really excellent series.

The DCU on CW is embedded in the gritty hyperrealism that I’ve never much loved about modern American comics but, in the way that it feels very like the long shadows of Tim Burton and Frank Miller in Batwoman, it works for Black Lightning.

High school Principal Jefferson Pierce has retired as the superhero Black Lightning as the story begins. What starts as a drug war, becomes a war against an oppressive government. Along the way, we’re introduced to enemies and allies, of course. Among the allies are Pierce’s daughters, Anissa and Jennifer, who also develop super powers.  It is Anissa, Thunder, I want to focus on here.

Anissa Pierce is a lesbian when the series begins, She has a girlfriend. She’s out to her family. That’s it. She’s out and as the story goes on, her sexuality is never once a point of contention (except for in on an alternate Earth, but this is DC and they can’t help themselves.) When Anissa is no longer with her girlfriend, she meets other women, sometimes sleeps with one. Eventually she ends up with another woman, Grace. And please understand that to write this paragraph I had to avoid about a dozen spoilers absolutely NONE of which had to do with Anissa’s sexuality. It’s simply a non-issue.

So, what is an issue? Nothing. It’s a great series that touches on all the buttons that make white people uncomfortable that it can possibly touch in a way that I really appreciate. It’s like a pokefest of “did THIS make you uncomfortable? NO? How about THIS?” and it’s fairly constant which is the fucking point of this particular form of addressing issues, isn’t it. The less this series is “for me,” the more I like it. The cast is almost wholly black, with a few folks who are Asian. There is one white ally guy is always in a support role.  The white people who show up are, with that one exception, cringe-making. Good. We can be all the stereotypes, from confederate flag-waving racists, to Parking Lot Peggy calling the cops on a black woman standing near her vehicle.

Cress Williams and Christine Adams do a bang-up job of playing Pierce and his scientist wife, Lynne, but for me the joy of watching is Nafessa Williams as Anissa/Thunder and my hero, China Anne McClain as Jennifer Pierce/ Lightning. It’s kind of a pun to say she’s incandescent, but seriously, she’s breathtaking. The relationship between the sisters is entirely realistic, as well. Overall superlative writing. I found this interview of Nafessa Williams by Cortney Williams for The Grio, about her role, in which she discusses being able to play an out black women in a loving family. It’s worth the read.

Ratings:

Cinematography – 7
Story – 8
Characters – 9
LGBTQ – 10

Overall – 9

The things that hurt are supposed to hurt. The things that work best are supposed to work just like that. When there’s love, it’s lovely.

I grew up with Marvel and as I’ve admitted openly, DC has never been my boom, but I have to tell ya, with Batwoman, Thunder and Lightning on their television roster (and yes, I know about Supergirl, just haven’t watched any of it ,) I’m almost tempted to say I like the DCU on CW. ^_^; At least I can say, I like Black Lightning.

This past week, Céline Sciamma’s Portrait of a Lady on Fire premiered on streaming platform Hulu. This has been on my to-watch list since last autumn and now that I have watched it, I can say without reservation that it has some of the most superb acting I have ever seen.

From Hulu: “In 18th century France a young painter, Marianne (Noémie Merlant), is commissioned to do the wedding portrait of Héloïse (Adèle Haenel). Day by day, the two women become closer as they share Héloïse’s last moments of freedom before the impending wedding.”  None of this is inaccurate, but it comes nowhere near to what the movie is actually about.

Marianne, a painter whose father is also an acclaimed painter, is brought in by Héloïse’s mother to paint her portrait. This is after Héloïse’s has already broken another painter by refusing to so much as show her face. Marianne is to paint her portrait without admitting she is doing so, or asking Héloïse to pose. As she acts as a companion, the two do become close.

When it becomes untenable for Marianne to continue to lie, she admits the truth and Héloïse begins to pose. And, as they both watch each other intently, they fall in love. The acting is the plot. A dark look from Héloïse that causes Marianne (and me) to flinch away, was the climax of that scene. Héloïse making the point that she is watching Marianne as intently as she is being watched was as intense as any seduction.

I hadn’t realized how traumatized I had been by Blue is the Warmest Color (La Vie  Adele), until Héloïse and Marianne kissed the first time. I cringed away from looking at the screen, fearing that this would become the same kind of invasive camerawork. Instead, this movie ultimately backed away. There is nudity, and some sex, but with very few exceptions, Héloïse and Marianne are left to themselves without us voyeuring at them when they make love.  We do spend time watching them be intimate, but not time watching them have sex. A more understanding and sympathetic gaze, rather than the intrusive one of Blue or, as Drew Gregory wrote on Auostraddle, a lesbian gaze.

When Héloïse’s mother leaves, Marianne, Héloïse and their maid Sophie – who is a fantastic character – spend a week together in a world in which the rules simply do not apply to them. If you watch this movie, I hope you enjoy these scenes as much as I did.  Ultimately the idyll has to end, of course. The epilogue is terse, tense and the final scene so sublimely acted I don’t have any words for it. Adèle Haenel deserves praise for that, if nothing else.

On IMDB, a reviewer notes that the entire movie is ASMR, and I had noticed that it was very calming and serene to listen to. But what really struck me most was that the movie was itself much like a painting, shifting over time, being built up of small things, and little touches like brushtrokes.

Ratings:

Cinematography – 8
Characters – 10
Story – 8
Lesbian – 10, but not LGBTQ in any way
Service – 4 Nudity, Sexual situations

Overall – 10

It was an exceptional movie. I certainly would recommend it to anyone who wished for a beautiful, finely-drawn historical lesbian romance.

There has been a veritable explosion of BL in Japanese Live-Action Drama recently, by which I mean a handful of series. Otouto no Otto has been followed by Kinou Nani Tabeta? , and Ossan Rabu, which was being advertised everywhere in Ikebukuro when I was there in September. I haven’t had any time to watch the latter two, although I expect I will, eventually. More interesting to me was the announcement of a summer 2019 Yuri live-action on Fuji TV. It did play on the terrestrial station and then was sent to FujiTV on Demand (FoD) where it now lives. In 2016, Fuji TV had run a lesbian romance called Transit Girls, but has not has a lesbian series since. Unsurprisingly, folks were both excited and ambivalent about this news.

Yuridano Kandano is…not bad. It is also not good. It was incredibly complicated, with many layers of positive and negative and details I wish I had someone to talk to about for like, 3 hours. And because in this series the devil is in both the superficiality and the details, a summary will not suffice. Nonetheless, I will attempt to summarize fully, aware that I will fail to capture the essence of this series.

Yuri (played by former gravure idol Baba Fumika, which made it really hard to find queer reviews of this series, since most of the reviews were fans of hers) is a young woman who is being harassed by a stalker. Her boyfriend Yuuji is unsympathetic. Her friends might be sympathetic, but she has not confided in them. One day Yuri is surprised to meet an old friend from elementary school, Kaeri, played brilliantly by Kojima Fujiko. Kaeri is a realtor and helps Yuri find an (admittedly adorable) new apartment, but then, a little oddly turns out to be Yuri’s next door neighbor.

Kaeri is exceedingly clever, and funny and generous and obviously (to us) is a predatory lesbian with her eyes set on Yuri. Is she the stalker? Kaeri inserts herself neatly into Yuri’s life, and proceeds to alienate Yuri’s friends. It’s uncomfortable until Kaeri is able to prove that Yuri’s best friends and her boyfriend have been fooling around. Ultimately, Yuri is able to re-establish her former friendships, but ends up being “shinyuu” with Kaeri over her older friends. She is also able to continue to work with jerky boyfriend Shuuji, and still be friends.

Nothing Kaeri does is okay. Everything she does is awkward and intrusive. When she first meets Yuri, she runs up to her and thrusts her face into Yuri’s chest in a way that no one would ever do…certainly not a lesbian.  And yet, she sees the truth faster than anyone else and says what she sees. Kaeri figures out who the stalker is (I mean, so did I, it wasn’t hard, there’s like 8 characters in this drama) and confronts them. In every situation she comes off as selfish, but ends up maybe being right? Kaeri’s own stories which are obviously manipulation and bullshit turn out to be real, and Yuri finds herself growing stronger to help and protect Kaeri. Then the story starts to speed up, as the stalker escalates their behavior. Kaeri breaks boundaries, hurts Yuri, turns out to be right, tells outrageous lies that turn out to be true…over and over.

The end of the series is not romantic, as the two promise to be best friends, almost immediately after which Kaeri breaks another boundary. …

It was a fascinating and complicated series. Kaeri is a horrible person and a good person. Yuri is weak and strong. They make a terrible couple but are good together. The stalker is not a bad person but does appalling things. Every single one of the 8 episodes gripped my attention, made me squirm with discomfort, and occasionally shake my head in wonder.

Even aside from the drama itself there are a few notable things about the series. At one point, Yuri and Kaeri are having a discussion about the word “Yuri” being used for lesbian things. Yuri wonders why and Kaeri tells her about Yurizoku originating in Barazoku magazine. There was Kaeri just casually giving the correct history of the word Yuri on a Fuji Television drama.  It was amazing.

Then that conversation continued, Yuri asks Kaeri “Are you L?”, a moment which was caught on an advertisement on the Yamanote subway in Japan. (If you do click this link, please be aware that this is a complete stranger’s Twitter feed. Don’t be weird at them. Thanks.) So that was also very interesting.

Much like Transit Girls, it’s hard to call this series LGBTQ. In both series, the lesbian character acts in a way that makes “lesbian” people look bizarre. And in both the word “lesbian” is not something the character identifies as, Kaeri here talks about herself as having a “broken” sexuality. Which brings me to the title. The phrase “nandano kandano” comes up in translation as “whatever” but I’d translate it more as “It is what it is.” Yuridano Kandano” kept coming up as “Is it a Lily?” which I thought was not correct, but it is pretty apt. Yuridano Kandano might not be LGBTQ, but it’s definitely Yuri.

Ratings:

Acting – 8 Honestly, if either Kaeri or Yuri had not been well-acted, this series would have unraveled completely. Both were excellent.
Story – Oh gods, I have no idea. It was good, and awful and amazing and terrible. 8?!? 3?!? I don’t know!
Characters – Same as above
Cinematography – 4 Can we ban close up kissing forever? Please?
Song – 8 Sung Si Kyung singing “Hachimitsu” was weirdly romantic for what really was not a romantic show, but it was pleasant

Overall – 7 because it’s not dire and not amazing, but it has both dire and amazing moments.

Also, like Transit Girls, the kissing is super closeup and dreadful. Japanese drama kissing is the absolute worst. Takarazuka absurdly fake stage kisses are better than this. For a romantic comedy, it was neither romantic nor comedic, but it was interesting!

You can check out the trailer on Yudano Kandano‘s FOD page. Ignore the kissing.