Welcome to this week’s Wednesday Night Wars open discussion thread. This week it’s an AEW Dynamite with an AEW World Tag Team Championship match and a surprise opponent for Cody Rhodes’ TNT Championship up against an episode of NXT featuring Bayley and Sasha Banks returning to the black and yellow brand to defend the Women’s Tag Team Championship against Shotzi Blackheart and Tegan Nox.
On tonight’s cards:
AEW Dynamite
TNT Championship Match: Cody (Rhodes) (c) vs. TBA
AEW World Tag Team Championship Match: Kenny Omega and Hangman Adam Page (c) vs. The Natural Nightmares
Tag Team Number One Contender Match: Best Friends vs. Le Sex Gods
The Young Bucks vs. The SuperBad Death Squad
MJF vs. Billy Gunn
NXT
Women’s Tag Team Championship Match: Bayley and Sasha Banks (c) vs. Tegan Nox and Shotzi Blackheart
NXT Tag Team Championship Match: Imperium (c) vs. Breezango
hopefully no one being attacked in the parking lot by roving gangs of luchadores or ninja bikers
As always, +1 your favorite comments from tonight’s open thread and if we get enough comments, we’ll include 10 of the best in tomorrow’s Best and Worst of NXT and AEW reports. Make sure you flip the comments by selecting “newest” in the drop down menu under discussion, and enjoy the show!
It pains us to say this, but the airline experience is about to get a whole lot worse before it gets any better. If you were already irked by the current extended check-in process, increased security measures, and in-flight mask policies — especially when coupled with the usual problems of having to fly with jerks — then sit down because we’ve got some bad news to drop on you. CNNreports that several airlines, including American and Delta, EasyJet, KLM, and Virgin Australia are all suspending their alcoholic drink services in response to COVID-19. In addition to removing the one thing that makes flights bearable, each airline’s mandatory mask policy is about to be more strictly enforced.
The ban on alcohol is being implemented in an effort to minimize crew and passenger interactions and varies between each airline. Some airlines will limit drink services to water and soft drinks only. Delta Airlines will refrain from offering alcohol service on any domestic flight within the United States, but will still serve alcohol during international flights and American Airlines will be judging their food and drink services according to flight length and destination.
The decision by airlines to get more strict on their mask policies was announced Monday, June 15th by Airlines for America, a trade group that represents the major American airlines. While most major airlines announced face mask requirements for flights back in early May, Dallas Newsreports that the policy was not strictly enforced towards non-compliant passengers who arrived maskless. Now, many airlines have signaled that they will go as far as banning passengers who do not comply.
According to AFAR, United Airlines announced on June 18th that passengers who do not comply with their new mask policy will be placed on an internal travel restriction list and lose their travel privileges “for a duration of time to be determined pending a comprehensive incident review.” United’s policy will remain in effect for at least the next 60 days.
In a statement regarding Delta’s policy, the airline wrote: “those who choose not to comply with this or other safety requirements risk future flight privileges with Delta, which is in keeping with the face-covering enforcement policies Airlines for America recently announced.” The statement did not explicitly indicate how flight privileges would be affected. According to CNN, six other major U.S. airlines have also pledged to roll out new policies, penalties, and enforcement guidance.
As inconvenient as the new rules are, they’re not at all unwarranted. According to The Guardian, coronavirus infections are on a steep rise in Arizona, Florida, Oklahoma, Oregon, and Texas, which all reported their highest number of new coronavirus infections on Tuesday, June 16th amid statewide reopenings.
As the NBA moves ever closer to restarting the season in Orlando, with 22 teams making an 8-game run to the playoffs, there is a group of players that have spoken up to voice concerns about the league’s plan.
Those that have voiced their concerns have received some pushback from other players and fans, and on Wednesday Dwight Howard issued a statement explaining why he felt it was so important to speak out.
Lakers’ Dwight Howard in statement to @TheAthleticNBA@Stadium: “Our main objective is to raise awareness and gain transparency…Many of our fellow players are afraid to voice their concerns and are continuing to follow along with what they believe they have to.” pic.twitter.com/dfTlSPBwpV
The most interesting part of Howard’s statement is the apparent criticism of some of the NBPA leadership, as he notes, “Leaders sometimes become self serving and forget the people that they are supposed to represent. Some leaders even use fear and intimidation to make sure they serve their own agendas, while forgetting the feelings of their people.”
Given that reports over the weekend indicated that Chris Paul was on the call organized by Irving and made sure to point out to players the financial ramifications of not playing, it’s hard not to see that part as at least somewhat directed at the NBPA president. All indications are that Paul was just trying to make sure players fully understood everything that would happen should they sit out — which the league has made clear they’ll lose 1/92.6 of their salary per game missed — which is his job as president, but Howard seems to believe that some of the leaders in the union are pushing the financial losses that are possible to intimidate players into heading to Orlando when they aren’t comfortable.
The truth in all of this is that it’s a wildly complicated situation in which players and the league both have significant financial stake in playing, but every player that has pointed out concerns, whether with safety or distracting from activism, has a more than valid point. The deadline to make their decision on playing is rapidly approaching, as teams must be notified by June 24, and it remains to be seen whether the league will make their plan clear enough to satisfy player concerns and how many players will be willing to sit out.
If you’re trying to figure out what to watch next, a great place to start are the 40 best shows on Amazon Prime Video right now, and none of these titles are currently available on Netflix.
The Americans follows Russian spies (Keri Russell and Mathew Rhys) posing as a married couple living in America, and while the missions are enjoyable, and the glimpse into the early 1980s is fascinating, the real pull in this show is the relationship drama, both between the married spies — who are often pulled between their love for one another and their love of country — an FBI agent (Noah Emmerich) who is pulled between his own relationship with his family and country, and the children of the Russian spies, pulled between their family and their love of America. Well-crafted, engrossing, and hypnotic, The Americans is one of best TV shows — if not the best TV show — right now, and its phenomenal recently completed fourth season finally gained the series the Emmy recognition it so richly deserves. The series has unfortunately finally reached its end, but that means there’s no better time to start binge-watching The Americans than now.
There simply isn’t a better show to binge watch when you need a pick me up than this one. Hilarious, smart, and relentlessly sunny, Parks and Recreation is a balm to weary viewers. Amy Poehler’s Leslie Knope has joined the ranks of television icons, but the supporting cast is no less wonderful. If you’re looking for a show about good people trying to do good things while making good jokes, this will be your new-old favorite show. While the first season feels a bit too much like a riff on The Office, it finds its feet in season two and never relents. While so much of today’s comedy is mired in cynicism, Parks and Recreation will make you want to do better. It also gets better with each rewatch, so pour yourself some Snake Juice and enjoy.
Few shows have as many jokes per minute as 30 Rock. The brainchild of Tina Fey, 30 Rock shows the daily madness of an SNL-like variety show, which Fey’s Liz Lemon at the helm. As she tries (sometimes failing) to wrangle her writers and her actors (Tracy Morgan and Jane Krakowski), Lemon also attempts the ever-elusive dream of “having it all.” Her quest will feel very, very familiar to viewers, particularly women, as they try and balance, work, life, love, and even a small bit of success. With Alec Baldwin turning in his best performance to date (come at me, Glengarry Glen Ross fans) as Jack Donaghy, Lemon’s boss, mentor, and eventual friend, 30 Rock has the perfect blend of weirdness, sharp writing, and genuine laughs that will make it a favorite for years to come.
Fleabag was co-produced by Amazon and England’s BBC Three. Set in London, it stars the magnificent Phoebe Waller-Bridge (who also created the show) as “a young woman attempting to navigate modern life in London.” That description hardly does the series justice. It’s a hysterical, dirty, sexually devious and surprisingly thoughtful meditation on grief and loneliness that goes by so quickly (there are only six half-hour episodes in each season) that viewers will wish they savored it more before it ends. It’s truly one of the most distinctive, original comedies of the last several years — think Tig Notaro crossed with Broad City — and if we’re lucky, Waller-Bridge will become one of the leading creative voices of her generation.
By now, we should just know to expect great things from showrunner Amy-Sherman Palladino. The woman who gave us Gilmore Girls and Bunheads also brought a fast-paced, wit-infused drama about a 1950s housewife with a hidden talent for stand-up to Amazon, and the awards season voters ate it up. The show follows Rachel Brosnahan as she plays Midge Maisel, a Jewish housewife disillusioned with her marriage to a cheating, joke-stealing scumbag and ready to break out on her own in the comedy world.
USA Network’s Mr. Robot follows Elliot, a hacker with an acute social anxiety disorder who suffers from delusions and paranoia. During the day, he works as a computer programmer for a company that protects other companies from cyber threats. Elliot has other designs in mind, too, namely taking down one of the biggest corporations in America, E Corp, unsettling America’s financial system, and taking power away from the rich and giving it back to the people. Heavily influenced by American Psycho, Fight Club, the films of Stanley Kubrick, and Taxi Driver, among others, Sam Esmail’s Mr. Robot is an unnerving mindf*ck full of conspiracy theories and misdirections. Nothing is ever as it seems in Mr. Robot, and much of the fun is in trying — and mostly failing — to stay ahead of the twists.
From 2010-2015, you couldn’t have a conversation about favorite TV shows without someone in your friend group mentioning Downton Abbey. The British series about the inner workings of an aristocratic English family and their manner full of servants became the biggest thing to invade America from across the pond since The Beatles. Watching the crusty Crawley family navigate historic events like the sinking of the Titanic and the First World War while their servants dealt in gossip, intrigue, and scandal below stairs was as entertaining and juicy as any good British drama should be.
The U.K. version was the original cringe comedy, starring Ricky Gervais as clueless boss David Brent, whose desperate attempts at connecting with his underlings are a painful exercise in futility. Martin Freeman is also a stand-out, playing a role that John Krasinski inhabited in the American remake, but it’s the British sarcasm that really elevates this series and makes it worthy of a watch.
Tatiana Maslany plays several clones variations of the same woman in the sweeping conspiracy thriller Orphan Black, and she breathes so much life and so many distinct personalities into each clone that viewers often forget that one woman is playing all the characters (and it’s impossible not to pick a favorite). The supporting cast is mostly great, as well, and for a Canadian series, the production values are excellent. Unfortunately, Orphan Black suffers from a great first season that the rest of the series can’t quite live up to. It gets so bogged down in its own confusing mythology that it begins to run out of steam, although it picks up its momentum again in the fourth season before reaching its fifth season finish line.
Karl Urban headlines this wild, gory, vulgar ride through superhero-dom from Seth Rogen, Evan Goldberg, and showrunner Eric Kripke. Based on a Garth Ennis comic series, the show takes a darker look at those supernaturally gifted heroes we all love to fawn over. Urban’s gruff vigilante pairs up with a nobody (Jack Quaid), who has his life ruined by a group of corrupt supes. The humor is raunchy and sharp, the action is bananas, and the cast is an eclectic mix of talent who all find time to shine on on-screen.
Titus Welliver stars in this police procedural from Amazon about a renegade detective charged with solving some hauntingly grisly murders. Harry Bosch is a former military man with a healthy respect for the rules and an unquenchable thirst for the truth. Each season, he’s presented with a case that threatens his carefully molded view of the world, often leading him to uncover conspiracies, corrupt cops, and even his own mother’s murderer. The subject matter might be dark, but Welliver is clearly having fun playing the brash, give-no-f*cks badass, which is why you should give this crime series a watch.
Maybe the bleakest, grittiest cop show you’ll ever see, Luther is so intense that it may at times rattle your brain stem. It’s got the best elements of other of its ilk as it follows a genius detective who struggles to separate his personal and professional lives. But it is also pummeling great drama, and Idris Elba is a tour de force (Ruth Wilson is fantastic, too).
Fans of Suits will love The Good Wife, as it’s essentially the rich man’s version of that show, dealing with the same brand of interoffice politics while mixing in some legal procedural elements to its ongoing serialized storylines. The Good Wife also covers the conflicts that arise between work and relationships, as well as the marriage between a law firm associate and her husband, a state district attorney — and later governor — caught early on in a prostitution scandal. Having just completed its seven-season run on CBS, The Good Wife was one of few Emmy-worthy dramas remaining on the broadcast networks, and no show on television filled its guest roles better — it had 13 Emmy nominations and two wins in the guest acting categories alone. The show began to run out of steam near the end of its run, but it remained mostly entertaining throughout.
Binge watchers love their medical dramas, and you’ll be hard-pressed to find a show about the ill that’s as fun as House. Hugh Laurie plays the episodic’s anti-hero, an opioid-addicted, dry-humored, uncaring genius and doctor with a knack for solving unsolvable cases. He’s joined by a rotating team of famous faces (Olivia Wilde, Jesse Spencer, and Jennifer Morrison all starred on the show at some point) but they usually just end up getting in the way of his natural prowess with mysterious illnesses.
For the eight seasons that Psych was on the air, it entertained a kind of cult following. Fans tuned in religiously to watch this buddy-cop drama about an eccentric police detective who claimed “psychic” abilities and his reluctant, by-the-book partner. Stars James Roday and Dule Hill have incredible chemistry on the show which pushes the worn-out, fun-cop-boring-cop trope past its usual limits.
BoJack Horseman creator Raphael Bob-Waksberg and writer Kate Purdy reunite for this adult-animated series starring Rosa Salazar and Bob Odenkirk. The show follows the journey of Alma, a young woman involved in a car accident who slowly begins to lose her mind. She’s forced to question her perception of reality when her father (Odenkirk) reappears years after his death, pushing her to discover how he died and why she seems to have a newfound ability to travel through time. It’s a bit of a mindf*ck, in the best possible way, with Purdy and Waksberg employing rotoscoping, a realistic animation technique never before used on TV, to take viewers on a surreal trek through space and time, along with dark humor and musings on grief, trauma, and mental health.
Frankly, any of the Star Trek shows make a good binge watch. Star Trek: The Animated Series, Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager and, hell, even Star Trek: Enterprise are all available to stream on Prime, and they all have their merits (except for Enterprise), but the William Shatner and Leonard Nimoy-starring original series is where it all began. To admit to watching one or all of the other programs cited above, but not Star Trek: The Original Series would be a crime against yourself and the rest of sci-fi fandom. This is where Gene Roddenberry’s vision first got its start on broadcast television, after all.
This sci-fi space epic based off a series of beloved books found new life on Amazon for its fourth season after being canceled by Syfy in 2018, good news for fans who wanted more adventures for the show’s rag-tag band of anti-heroes. Set in the future when humanity has colonized the Solar System, The Expanse follows a trio of leads: United Nations Security Council member Chrisjen Avasarala, police detective Josephus Miller, and ship’s officer James Holden as they unravel a conspiracy that could break the uneasy peace. It’s full of action and thriller-like twists, but it’s the memorable, well-rounded character work that makes this a must-see.
Loosely based on the exploits of the 9th century Viking ruler and king, Ragnar Lodbrok, Vikings doesn’t match the level of complexity in Game of Thrones — the universe is smaller, there are fewer characters, and the plotting isn’t as dense — but it’s a solid, if not sometimes spectacular drama that gets progressively better over the course of the series. There’s crunching violence, lots of axe play, and frequent battles as Ragnar extends his rule over parts of Europe. Compared to Game of Thrones, it’s less about mind games and schemes, and more about brute force — and Ragnor’s victories are seldom in doubt. Nevertheless, It’s entertaining to watch the unrelenting violence unfold and revel in the demise of Ragnor’s rivals. While Travis Fimmel is excellent in the lead role and Gustaf Skarsgård’s Floki provides the often necessary comic relief, it’s Katheryn Winnick — as Lagertha — who is the show’s biggest draw.
Doctor Who companion Jenna Coleman trades in time-travel for managing a monarchy in this BBC drama that recounts the reign of Queen Victoria. Victoria’s early years were plagued with problems — she was only 18 when she took the throne and had many challengers — but the show pairs the more political machinations with the swoon-worthy tale of Victoria’s courtship with Prince Albert, who would later become her husband. If you like The Crown, you’ll like this.
The British sitcom is essentially You’re the Worst if the couple at the center of it were 10 years older. Like the FX series, it’s another anti-romcom romcom, although this one involves pregnancy, children, and culture clash (he’s an American wanker, she’s an acerbic, potty-mouthed Irish school teacher). However, the constant bickering and sexual disagreements between Rob (Rob Delaney) and Sharon (Sharon Horgan) are what makes Catastrophe so exhilarating. A more apt name for the series would be Amazon’s other series, Transparent, because the relationship between Sharon and Rob — warts and all — is the most open and honest in television, and maybe the funniest. The only downside to Catastrophe is that its three seasons are each only six half-hour episodes long, and nine hours is not enough time to spend with these characters.
J.K. Simmons stars in this sci-fi thriller which blends a whole bunch of genres as it tells the story of a clueless U.N. employee, who discovers his agency is hiding a world-altering secret. Simmons plays said employee, Howard Silk, who uncovers a parallel universe that’s engaged in a covert war with our own, and he meets his A.U. self, a top spy intent on destroying him. It’s trippy stuff.
Amazon may not stack up favorably against Netflix in the original series department, but Transparent is as good or better than most of Netflix’s original series. It sees Jeffrey Tambor decide, late in life, to transition into a woman, and we see how that decision affects her family in the most hilarious and poignant ways imaginable. It’s a light series with heavy themes, and it has racked up 28 Emmy nominations and eight wins, so far.
Bryan Fuller’s Hannibal is a perfect series to binge-watch, as the ability to watch the episodes back-to-back evens out some of the slow pacing. Hannibal is dark, macabre, and brilliantly creative, and while it has many of the same characters viewers know and appreciate from the movie/book series, it also has an entirely different and unique tone (some would even say better). The murder scenes are equally gruesome and gorgeous, the series’ long arc is as disturbing as it is engrossing, and the acting from Hugh Dancy, Mads Mikkelson, and Laurence Fishburne is superb. It’s a slow, morbidly addictive burn, and viewers must stick around for Michael Pitt’s Mason Verger in season two, if only for one of the most beautifully unsettling sequences ever seen on network television.
Goliath is an old-school legal thriller from an old-school television writer, David E. Kelley (The Practice, Boston Legal), who is still the reigning king of legal dramas. It’s a meat-and-potatoes show driven by an entertaining storyline and compelling, flawed characters led by Billy McBride, a character played Billy Bob Thornton, who won a Golden Globe for the role. McBride is an alcoholic has-been lawyer who, in typical Grisham fashion, has a case against a big tech firm fall into his lap. On the other side of the case is McBride’s former firm, his ex-wife (Maria Bello) and his old legal partner turned nemesis (William Hurt). There’s nothing new or novel about Goliath except for the fact that it doesn’t try to be new and novel: It’s an old-fashioned, well-made, well-acted and gripping television show with bad guys, morally questionable good guys and a strong supporting cast that also includes Olivia Thirlby, Kevin Weisman (Alias), Dwight Yoakum, and Harold Perrineau.
A legal drama that almost never steps inside a courtroom, Suits stars Gabriel Macht and Patrick Adams as a brash, big-league attorney and his whiz-kid protégé, who is practicing illegally without a law degree. Suits, which has a tenuous understanding of the law, deals week-to-week mostly with settling disputes with cocky threats and yellow manilla folders. It’s rounded out by a fun, USA Network-perfect cast (Sarah Rafferty, Gina Torres, Meghan Markle, and Rick Hoffman) and later seasons of the series are more serialized in nature, dealing primarily with interoffice politics and relationship drama. Nothing about Suits is altering the television landscape (in fact, every episode is the same), and the show is certainly not any threat to television’s heavier dramas. However, over the course of the series, it’s become a rock-solid show, one that was willing to break out of the typical USA Network procedural format years before Mr. Robot came along.
A short, intense series, The Fall tracks Superintendent Sarah Gibson (Gillian Anderson) as she hunts serial killer Paul Spector (Jamie Dornan). The elevator pitch of the series sounds a bit like Silence of the Lambs, but Gibson is no Clarice, and The Fall‘s focus on the nitty-gritty of building a case against someone accused of a horrendous series of crimes is contrasted with the slow, worrying turn of the screw as Paul befriends the woman who may be his next victim. The series falls apart a bit after awhile, but that first season is well worth the watch.
John Krasinski’s return to television marks a dramatic departure from his The Office days. He plays famed CIA analyst Jack Ryan in this series that explores the character’s beginnings as an up-and-coming agent whose confidence in his abilities often lead to him clashing with higher-ups like his boss, James Greer (a fantastic Wendell Pierce). Ryan infiltrates a terrorist cell with nefarious plans after uncovering how the criminal communicate with each other, but when he’s thrust into the field, things get dangerous.
Greg Daniels — the genius behind shows like The Office and Parks and Rec — serves up a darker bit of comedy with this sci-fi series about death. Well, it’s about what happens after. Robbie Amell plays a man who dies and chooses to have his consciousness upload into a digital afterlife, a serene “living facility” called Lake View. But things aren’t as idyllic has he’d hoped, and his existence becomes more complicated when he ends up falling for his living customer service rep.
Hugh Laurie and Tom Hiddleston star in this limited series from AMC. Laurie is the big bad, a criminal and arms dealer with a ruthless way of doing business. Hiddleston is the night manager of a Cairo hotel, recruited to spy on the guy and infiltrate his inner circle. He’s clearly way out of his depth and most of the edge-of-your-seat action comes from watching Hiddleston lie, cheat, and steal his way through a bogus cover and a convoluted plan hatched by higher-ups happy to sacrifice him for the greater good.
This latest mind-bending sci-fi offering from Amazon Prime Video was created by Nathaniel Halpert — one of the minds behind FX’s Legion and Netflix’s The Killing. So yeah, it’s weird. It’s also dramatically rich in ways few sci-fi series are these days. The basic premise revolves around a group of people who live in a small town built on top of “The Loop,” a machine built to unlock the mysteries of the universe. When they start experiencing strange phenomena, they’re forced to dig into the real reason the machine was created and what their role in the grander scheme of things might really be.
Blake Anderson, Adam Devine, and Anders Holm star in this office comedy about three buddies who work 9 to 5’s at a telemarketing agency and live together on their downtime. The bros clash with their boss and coworkers while getting into all kinds of shenanigans at home, mostly because they try to extend their hard-partying days into adulthood.
Created by Roman Coppola, Jason Schwartzman, and Paul Weitz, Mozart in the Jungle stars Gael García Bernal as an orchestra conductor and Lola Kirke as an oboist/protégé. The cast is rounded out with beloved actors like Malcolm McDowell and Bernadette Peters, and familiar faces like Safron Burrows. Mozart is sweet and low-key. Viewers who like Canada’s exceptional Slings and Arrows will like Mozart in the Jungle because it’s essentially Slings and Arrows with classical music instead of Shakespeare. It is frothy and fun, and an absolute pleasure to watch, even if it is not exactly essential television.
Loosely based on Phillip K. Dick’s 1962 novel of the same name (it also bears some resemblance to Philip Roth’s The Plot Against America), The Man in the High Castle is set in an alternative, dystopian world where Germany won World War II. Basically, the East Coast is occupied by the Germans, and the West Coast is occupied by the Japanese, and there’s a no-man’s land in between. Exec-produced by Ridley Scott and Frank Spotnitz (The X-Files), the series sees various characters working to form a resistance against their occupation by collecting “forbidden newsreels” that show the alternate history in which the Allies won the war in an effort to reveal a larger truth about how the world should be. A dark exploration of what it means to be American, TheMan in the High Castle is a well-acted, tense, and often violent dystopian thriller with plenty of twists and turns to keep viewers guessing.
This early aughts spy drama from JJ Abrams is responsible for putting Jennifer Garner on the map. In it, she plays Sydney Bristow, a gifted secret agent who discovers she’s been unknowingly working for the enemy. She then becomes a double agent for the CIA, working alongside her dad of all people, and along the way, she uncovers disturbing truths about her family, her past, and the people she’s chosen to trust.
“New normal.” That’s the phrase ushered in by the novel coronavirus and the devastating scourge of death from COVID-19. “New normal” is the only way we as a collective can explain our current way of life: Social distancing, face mask wearing, working and teaching from home, constantly conferencing over Zoom and scheduling telehealth appointments instead of physically seeing a doctor unless absolutely necessary.
However, not all characteristics of “normal” life are easily converted to digital expression. Specifically, giving birth.
Pre-pandemic numbers show that Black women are three to four times more likely to die during childbirth than are white women, and Black infants are twice as likely to die at birth or immediately after than are white infants.
“The thought of losing a child that didn’t even get a chance to live life is truly terrifying,” says Rebecca Merriweather, who recently gave birth to a baby girl.
Merriweather wasn’t aware of the statistics surrounding Black maternal health and infant mortality when she learned she was pregnant, but already had concerns of her own: “Preeclampsia and possible complications during labor and how to avoid them.” Preeclampsia is a pregnancy complication characterized by high blood pressure and is 60% more common in Black women compared to white women.
“Oftentimes women take very good care of themselves,” said Certified Nurse Midwife Marsha E. Jackson CNM, MSN, FACNM. “They’re often knowledgeable, they’re eating right, they’re doing all the right things, and they start running into problems with their blood pressure creeping up and things like that and it stems back to our whole healthcare system and all of the hurts we as Black people have experienced for centuries.”
To help stave off some of those complications, Dr. Chandra Adams, M.D. has had to find new ways to keep up with her patients health while also providing them the best care.
“We’re doing telehealth visits, which works pretty well, but we had to work out getting blood pressure cuffs, encouraging people to buy them, that way if they aren’t coming to the office we can keep up with their vital signs,” Dr. Adams said.
In the midst of the pandemic some Black women have been taking their birth experience into their own hands, looking for alternatives to decrease their risks and exposure to the coronavirus and any complications that could impose on their pregnancy, labor, and delivery. Those alternatives include midwifery care.
“More Black women go to the hospital to have their babies, but I think with this pandemic we have had an increase in women seeking our services,” Jackson said. Jackson is the owner, co-founder, and director of BirthCare & Women’s Health, Ltd. based in Alexandria, Virginia, a midwifery practice that caters to clients who have births in their homes or in the BirthCare birth center.
Dr. Adams, The Owner of Full Circle Jax in Jacksonville, Florida runs a private practice with doctors and midwives on staff. While she believes in the midwifery and birth center model, she cautions that it is not for everyone.
“I’m not opposed to out of hospital birth, but I don’t think any decisions about birth should be made out of fear . . . You shouldn’t run from a hospital because of a perceived danger without understanding what the risks are of delivering outside of the hospital.”
Tecoya Harris, currently pregnant with her first child, admits to having mixed feelings about giving birth.
“I feel anxious about delivery due to the fact that I can’t anticipate how it will feel,” Harris said. “At the same time, my faith is high so I have to trust that God has brought me to this moment because I am ready. Having resources, a strong partner, and a doula also helps bring down some of those anxieties.”
Dr. Adams strongly advocates for her moms to have a doula, and also encourages pregnant women to use their voice to advocate for themselves.
“I’ve been hearing women saying [about health problems] ‘I’ve never brought it up again because I was afraid of what a doctor would say to me,’ and so they just stopped talking about their problem. Don’t stop talking about your problem! Go find somebody who’s going to listen to you, and treat you like someone who respects you, and will find out what’s wrong. That’s our job. That’s literally our job!”
While that may be the job, history shows the healthcare industry has a negative track record when it comes to listening and believing Black women when they say something is wrong.
“The system has done a terrible job of listening to Black women,” Dr. Adams said.
Tennis superstar Serena Williams and Olympic-gold medal winner Allyson Felix have both been vocal about their birth experiences, the complications they faced, and how they had to fight to be heard to get well. Yet their stories, though cautionary, still end with a positive outcome. The same cannot be said for Charles Johnson IV who lost his wife Kira in 2015 when she bled to death after the birth of their second child.
“They [were] under the care of a physician, and basically they just let her die,” Jackson said, recounting hearing Charles Johnson IV tell his family’s story during the 2020 virtual conference of the American College of Nurse Midwives.
Jackson and Dr. Adams believe some of the blame for the Black maternal health crisis lies with ever expanding physician practices.
“One of the biggest problems was when hospitals started to employ physicians,” Dr. Adams said. “Physicians, before, when we started we’d hang our shingle and open solo practices. You had the personal care because in the similar fashion of the mom-and-pop shop you were responsible for the level of customer service, and that is how you kept your ‘customers’ coming back.”
Now, many physicians are employed by hospitals or large doctor groups who are more focused on productivity. Dr. Adams said that has led to a decrease in time doctors have with their patients, which can lead to a decrease in care. Because of this, Dr. Adams and Marsha Jackson both say Black women need to educate themselves in every way.
“You have to do research in the beginning. You want to find out what kind of options are available,” Jackson said.
“But you’re not going to go to medical school,” Dr. Adams added. “There’s a certain amount that you can’t just get from Googling or reading on your own . . . but if you gather enough information about people you’ll find what you’re looking for.”
This advice applied before the pandemic hit. Now, the country’s response to COVID-19 has made it all the more important for pregnant Black women to do their research, assess their risks, and have the hard conversations with their doctors.
On her birth experience, Merriweather said, “The labor and delivery ward where I had my child was very meticulous in keeping the section of the hospital cut off from the rest to protect the lives of the mother and baby from the virus. Each doctor and nurse was only allowed to work in that division of the hospital and had to be tested before being allowed in while wearing masks.”
For Harris, hearing of positive birth experiences from friends and loved ones has helped to keep her spirits up, even in the face of the pandemic and Black maternal health crises.
“Although it is scary, seeing that other women have had healthy babies and deliveries give me hope,” Harris said. “Our bodies were made to do this and we are already amazing moms with every decision we make during pregnancy.”
Pandemic or no pandemic, Dr. Adams—who has been focused on the Black maternal health crisis for over a decade—says while this discussion isn’t new, people are finally being heard and there is responsibility for doctors and Black women.
“What is unfortunate in the healthcare system is that Black women are not listened to, we are not treated with respect, and we are not believed when we present valid complaints,” she said. “[But] what is actually physically killing us is hypertension and hemorrhage. We are not dying from people not being nice to us. We are disenfranchised and we’re not receiving the appropriate amount of preventative care, and sometimes responsive care, because of that.”
In early March, U.S. Representatives Lauren Underwood, Alma S. Adams, and Senator Kamala Harris introduced the Black Maternal Health Momnibus Act of 2020. The legislation is a package of nine individual bills aimed at “comprehensively addressing every dimension of the Black maternal health crisis.” However, the package has received little exposure due to COVID. Once again, Black women, mothers, and their children are left to fend for themselves at a time when Black people are twice as likely to die from COVID than their white peers.
With the future passability of the Black Maternal Health Momnibus Act unknown, and the expected resurgence of COVID-19 in the fall (or until there is a vaccine) the onus remains on Black women to educate and advocate for themselves and their unborn children, and perhaps to seek a collaborative model of care where available.
“Cooperative care between midwives and physicians is essential,” Dr. Adams said. “You have to have a midlevel to understand what is normal. [Someone] who has been trained enough to see enough to know what is abnormal and to appropriately refer to someone to handle when something is abnormal.”
Twice a day, I walk my dog Ace around my neighborhood with one, or both, of my girls. I know that doesn’t seem noteworthy, but here’s something that I must admit:
I would be scared to death to take these walks without my girls and my dog. In fact, in the four years living in my house, I have never taken a walk around my neighborhood alone and I probably never will.
Sure, some of you may read that and think that I’m being melodramatic or that I’m “playing the race card” (I still have no clue what that means), but this is my reality.
When I’m walking down the street holding my young daughter’s hand and walking my sweet fluffy dog, I’m just a loving dad and pet owner taking a break from the joylessness of crisis homeschooling.
But without them by my side, almost instantly, I morph into a threat in the eyes of some white folks. Instead of being a loving dad to two little girls, unfortunately, all that some people can see is a 6’2″ athletically-built black man in a cloth mask who is walking around in a place where he doesn’t belong (even though, I’m still the same guy who just wants to take a walk through his neighborhood). It’s equal parts exhausting and depressing to feel like I can’t walk around outside alone, for fear of being targeted.
If you’re surprised by this, don’t be. We live in a world where there is a sizable amount of people who actually believe that racism isn’t a thing, and that White Privilege is a made-up fantasy to be politically-correct. Yes, even despite George Floyd, Christian Cooper, Ahmaud Arbery, and Breonna Taylor (and countless other examples before them, and many to come afterward), some people still don’t seem to get it.
So, let me share some common sense points:
1) Having white privilege doesn’t mean that your life isn’t difficult, it simply means that your skin color isn’t one of the things contributing to your life difficulties. Case in point, if it never crossed your mind that you could have the cops called on you (or worse, possibly killed) for simply bird watching then know that is a privilege that many black/brown people (myself included) don’t currently enjoy.
2) Responding to “Black Lives Matter” by saying “All Lives Matter” is insensitive, tone-deaf and dumb. All lives can’t matter until black lives matter.
3) Racism is very real, and please don’t delude yourself into thinking it’s limited to the fringes of the hardcore MAGA crowd. As Amy Cooper proved, it’s just as prevalent in liberal America as it is anywhere else.
4) While racism is real, reverse-racism is not. Please don’t use that term, ever.
5) In order for racism to get better, white allies are absolutely critical. If you’re white and you’ve read this far, hopefully you care enough to be one of those allies. Please continue to speak up (despite some of your friends and family rolling their eyes at you), because your voices matter to PoC now more than ever. Special shoutouts to many of my friends for doing it so well.
6) And if you’re white, and you’re still choosing to stay silent about this, then I honestly don’t know what to say. If these atrocities won’t get you to speak up, then honestly, what will? Also, it’s worth asking, why would you choose to follow me? If you aren’t willing to take a stand against actions that could get me hurt or killed, it’s hard to believe that you ever cared about me (or my mission to create a kinder world) in the first place.
As for me, I’ll continue to walk these streets holding my 8 year-old daughter’s hand, in hopes that she’ll continue to keep her daddy safe from harm.
I know that sounds backward, but that’s the world that we’re living in these days.
When I read about Amy Cooper, the woman in Central Park who called the police on a black birder because he’d asked her to leash her out-of-control dog, I was horrified.
There was no confusion about what this meant: It was a label for a white woman who had used her privilege to threaten and try to intimidate a black man by calling the police.
But this was just one way “Karen” has been deployed in recent months. There was the woman dubbed a Karen who, after being told that a waiter would bring ketchup to her table, ended up helping herself at the server’s station. And then there was the mom who was called a Karen for telling a woman wearing a bikini to cover up. Countless other variations have emerged.
At first glance, a generic name becoming infused with so much meaning seems patently absurd. Imagine if your friend groused that his boss was being “a real David,” or a sibling pointed out that mom was acting like “such a Christina.”
So how, exactly, does a name like Karen become such a powerful form of social commentary? And how does it come to mean so many different things at the same time?
The many shapes of meaning
First names tend to contain a range of social cues. An obvious one is gender. But they can convey other kinds of information too, including age, ethnicity, religion, social class and geography. The first name Karen peaked in popularity in 1965, which means that in 2020, most people named Karen are middle aged. Because roughly 80% of the U.S. population was white in the 1960s, it’s safe to assume that the proportion of people named Karen in 2020 is predominantly white.
So that’s kind of a rough foundation for what the first name Karen might signal to people. But what about the way it evolved to mean much more than simply a first name relatively common among middle-aged white women?
On the one hand, meaning can directly reference something in the world. A kitchen is, well, a kitchen. For this reason, we often assume that meanings are fixed and stable.
But meaning can also be more indirect, indicating characteristics like where a person is from, their age or their ethnicity. Whether you say “soda,” “pop” or “Coke” for a carbonated beverage can indicate where in the United States you likely grew up. In many African American communities, kitchen, in addition to being the place you cook, means “nape of the neck.”
This is how the use and understandings of words change and shift over time. It’s also how they can become vehicles for social commentary.
Karen’s origin story
It’s largely a coincidence that Karen – rather than, say, other popular baby names from the 1960s like Linda or Cynthia – is the name that became the label. Instead, it’s the repeated use of the name on social media and on the street that reinforced its status.
By tracing the origins of Karen up until the Central Park incident, you can see how two separate threads of meaning converged to make Karen the label for an officious, entitled, white woman.
The first comes from African American communities, where certain generic first names have long been a shorthand for “a white woman to be wary of because she won’t hesitate to wield privilege at the expense of others.” Around 2018, people started posting pictures of white women calling the police on the mundane activities of black people. These individuals got labeled with hashtags like #bbqbecky, #permitpatti, #golfcartgail and #cornerstonecaroline.
The goal was to call out the inherent racism and white privilege of these women using a particular kind of alliterative flair. This was the same sort of behavior that Amy Cooper engaged in when she called the police claiming to be threatened.
The second thread emerges from stand-up comedy and Reddit. In 2005, Dane Cook performed a sketch comedy piece in which Karen is “that friend nobody likes.” In the sketch, she’s described as “always a douche.” This portrayal of a “Karen” is less about her racism and contains more gender-based critiques, which might be why some continue to call the Karen meme sexist.
Then, in late 2017, Karen appeared on Reddit as a parody of a Reddit user who had ranted about his ex-wife named Karen who received custody of their children and possession of the family home. That’s likely the point at which Karen became linked to pushy behaviors like “wanting to speak to the manager.” A link that may have occurred first through parody went on to serve as an actual label for self-important, bossy people.
A Karen by many other names
The Central Park incident created the perfect moment for these two strands to come together. There’s the intersection of entitled behavior, racism and demographics.
And then there’s the way it’s being used to push for justice, with protesters of police violence holding signs like “Karens against police brutality” and “I’d like to speak to the manager of systemic racism.”
So is Karen fundamentally about white women using their racial privilege as a weapon? Is it about being an obnoxious rule follower? Or is it about being a no-fun, hysterical mom?
Karen can be and is all of those. That doesn’t weaken the critique; it simply gives it more facets and nuance.
It’s been months since any TV show or movie has been able to feature more than one actor together in the same shot (unless they’re married or quarantining together). And yet the world needs content, and doing what SNL, late night TV, and daytime talk shows have done — have everyone perched in front of their webcams — probably isn’t a long-term solution. But it turns out there is a solution for one aspect of entertainment: If you need to shoot a love scene, you can take a page from the Ryan Gosling movie Lars and the Real Girl and have one partner be a blow-up doll.
That’s what The Bold and the Beautiful is doing. Forbes spoke to Bradley Bell, head writer and executive on the longtime CBS soap, which resumed shooting on June 15, and learned that while actors will be sharing the same sets, they’ll have to keep at least eight feet apart. Alas, social distancing and soap operas are, if you will, strange bedfellows.
“We were cutting all of the kisses, and the shows weren’t the same,” said head writer and executive Bradley Bell. And so they thought way outside the box and came back, and came back with an unusual solution to keep the passion alive even when the actors can’t come close to touching: each simulated sex scene will technically be solo acts.
“We have some life-like blow-up dolls that have been sitting around here for the past 15 years, that we’ve used for various other stories — like when people were presumed dead,” Bell said. “We’re dusting off the dolls and putting new wigs and make-up on them and they’ll be featured in love scenes.”
It’s not just love scenes that will require some movie (or TV) magic: Stand-ins will also be used on certain scenes, with actors recruiting their spouses to double for their onscreen paramours. Kisses, meanwhile, will be faked using editing, which…well, which sounds like it will be awkward to shoot and also to watch, though Bell is confident that won’t be so.
“They’ll look like they’re nose to nose, in the throes of passion,” Bell said. “But they’ll be shooting scenes all by themselves.”
The Bold and the Beautiful, which films in Los Angeles, halted production on March 13, a week before Governor Gavin Newsom issued stay-at-home orders statewide. By the end of the month, and for the first time since it premiered in 1987, the show was airing re-runs, having burned through fresh episodes.
The soap isn’t the only production that’s resumed filming, despite the fact that the pandemic still rages. The Avatar sequels resumed filming this week as well, and though they’re working in miraculously COVID-free New Zealand, perhaps James Cameron will take note and start investing in giant blue blow-up dolls.
Over two-and-a-half years after Netflix fired Danny Masterson from The Ranch over the sexual assault allegations against him (following the legal cases stalling out in the court system), the actor has been formally charged with three counts of rape by force or fear by the Los Angeles District Attorney’s office. As Variety reports, he faces up to 45 years behind bars if convicted, and he awaits arraignment on September 18.
KTLA reports some specifics on the cases that led to these charges:
Masterson allegedly raped a 23-year-old woman between January and December 2001, according to a criminal complained filed against him. He is also accused of raping a 28-year-old woman in April 2003. Sometime between October and December of that year, he allegedly raped a 23-year-old woman who he invited to his home.
Variety notes that the DA declined to pursue charges in two other cases, one of which faced a statute of limitations expiration and the other due to a lack of sufficient evidence.
The Huffington Post’s Yashar Ali tweeted a statement from Masterson’s attorney, Tom Mesereau:
“Mr. Masterson is innocent, and we’re confident that he will be exonerated when all the evidence finally comes to light and witnesses have the opportunity to testify.
“Obviously, Mr. Masterson and his wife are in complete shock considering that these nearly 20-year-old allegations are suddenly resulting in charges being filed, but they and their family are confored knowing that ultimately the truth will come out. The people who know Mr. Masterson know his character and now the allegations to be false.”
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(@yashar)