

This review contains spoilers for the plot of Thor: Love & Thunder
It took me three tries to watch Thor: Love and Thunder in the waking nightmare that is the Covid/Monkeypox pandemic era. The two screenings I attempted to attend, full of people wearing Thor’s viking helmet but no masks over their noses and mouths, may very well be my villain origin story.
On opening day, I climbed the stairs to the top of Hollywood’s regal and expansive El Capitan theater in the middle of the afternoon and sat in the middle of the very last row in what felt like acres away from the sparse (but still unmasked?!!) crowd of moviegoers, and watched til the end of the credits, disappointed by the journey.
That is to say, I can relate to the movie’s villain, Gorr.
The film begins with Gorr (Christian Bale) and his young daughter, the last survivors of their people, trekking through the desert, desperate, wounded, starving. Gorr’s daughter dies on the journey and a distraught Gorr unwittingly stumbles into the valley of his people’s god. A devout worshiper despite the total annihilation of his people and his daughter, Gorr bows before his god and begs for answers for his people’s destruction. The god, gorging himself on fruit in the lap of luxury, is dismissive, even laughing at Gorr and his people’s fate. “The gods will use you but they will not help you,” Gorr learns firsthand. The Necrosword, the only weapon strong enough to kill gods, chooses Gorr for its mission, and in grasping the Necrosword and murdering his god, Gorr the God Butcher is born.
So, yeah, in a pandemic, where 6.4 million people have been disappeared by a deadly virus, due in large part to the incompetence, greed, and apathy of the people in power, I’d say Gorr the God Butcher is a villain for our times. And Bale plays the role with heartbreaking sincerity. But a successfully told story needs more than timely themes and great acting.
Co-written and directed by Taika Waititi, Thor: Love and Thunder is like watching a bunch of unrelated plot lines swirling around in a blender without enough water to make it stick. There are at least three beginnings to the film before the plot gets moving. And after slogging through recycled gags and tedious exposition via voice over narration from the Kronian warrior Korg, played by Waititi, it becomes obvious that this is a director who loves the sound of his own voice. But what he’s trying to say with all. those. words. is much less clear.
In Gorr’s first battle against Thor (Chris Hemsworth), The Mighty Thor (Natalie Portman’s Jane) and Valkyrie (Tessa Thompson), Gorr starts losing badly and decides instead to kidnap the children of New Asgard to lure Thor and his ax, Stormbreaker, into a trap. Gorr keeps the children in cages and then Thor makes a “kids in a cage” joke. Is this supposed to be some commentary on the inhumane caging of children happening at the US border? If so, what’s the joke?
In a particularly disturbing scene during the movie’s climax, Thor ventures alone into the shadow realm and imbues the kidnapped children with the powers of Thor (on a temporary basis) so they can fight off the shadow monsters while he fights Gorr. The children’s eyes glow and electricity shoots from their fingers as they kill the monsters. In a truly unhinged moment, a child screams in delight as she swings around her teddy bear (also possessed with the powers of Thor) to kill a bunch of shadow monsters. I suppose that was meant to be funny too.
Just before Thor gave those children superpowers to kill, it looked like he was praying over them, like many in America pray over their kids before sending them out into a world where they can be gunned down in school, at a parade, or by police. But instead of a forcefield or some kind of hedge of protection, Thor empowers them to kill and we in the audience are supposed to cheer at their violence.
In one of the film’s many beginnings detailing the life of Thor, we see Thor as an infant, strapped to his mother’s chest as she swan dives into the heat of battle, an exhilarated Baby Thor screaming along in delight. The film ends with the kidnapped children reunited with their families in New Asgard and happily training for their next battle. But Waititi doesn’t seem to grasp that this is a really bad thing! On the contrary, the future of New Asgard, Thor says, is now secured.
I guess, instead of ending the harm against children, the solution is to teach them to kill. For an America that sells bulletproof backpacks, refuses to ban assault weapons, and lets the military recruit for its ranks on school grounds, this is the superhero movie we deserve.
It’s not all terrible. There are a few laugh out loud moments and as many nods and winks at the existence of queerness that Disney would allow. And Portman’s Jane/The Mighty Thor and her terminal cancer journey are the compelling heart of the film, though her waning mortality seems to only be a device to speed up Thor's growth into an adult who knows how to love. But, I’mma be honest: I came to see King Valkyrie licking a sword and I blinked at the wrong time during a crucial fight scene and I missed it. In fact, King Valkyrie is MIA far too often for my taste. When she’s not on the screen, I just want to know where she is. When she is on screen, I want to know why she’s not doing, saying, being more. Show us Valkyrie's lesbian love story or at least show her meeting Africans in the Diaspora and learning what box braids are, you cowards!
Who Taught Valkyrie about box braids?? Tessa Thompson as Valkyrie in Thor: Love & ThunderMarvel / Disney
As soon as Thor arrives in New Asgard, King Valkyrie all but relinquishes control to him, deferring to his incessant need for spot-light stealing and speech-making in the wake of New Asgard’s children being stolen. For the climax battle, King Valkyrie is out of commission, bested by Gorr the God Butcher with Zeus’ lightning bolt. Instead, Jane gets the triumphant moment to save Thor, on King Valkyrie's faithful Pegasus steed, no less. After her star turn in the much better, actually revolutionary Thor: Ragnarok, (there was a revolution of the enslaved! The imperialist empire of old Asgard was destroyed!) it’s even more obvious how wasted Thompson’s talents were here to make room for Jane and Thor’s love story.
And cool, the main message is that Thor chose his love for Jane over vengeance and fighting. But the moment Jane succumbs to cancer, turns to gold dust, and floats away to Vallahar to rest with Asgard’s other dead gods, Thor just gets right back to fighting and war.
The final (pre-credits) scene is of Thor and his newly adopted goddess-preteen Love (Gorr’s resurrected daughter) diving into battle, side by side, mirroring his own introduction into battle as an infant with his mom. But in a world where even god-children can’t just be kids and grow up in peace, what is there to love?
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Featured Image by Marvel / DisneyClaudia Jordan, Demetria McKinney & Jill Marie Jones On 'Games Women Play' & Dating Over 40
What do you get when you mix unfiltered truths, high-stakes romance, and a few well-timed one-liners? You get Games Women Play—the sizzling new stage play by Je’Caryous Johnson that’s part relationship rollercoaster, part grown-woman group chat.
With a powerhouse cast that includes Claudia Jordan, Demetria McKinney, Jill Marie Jones, Carl Payne, Chico Bean, and Brian J. White, the play dives headfirst into the messy, hilarious, and heart-wrenching games people play for love, power, and peace of mind. And the women leading this story? They’re bringing their whole selves to the stage—and leaving nothing behind.
From Script to Spotlight
The road to Games Women Play started over 20 years ago—literally.
“This script was written 20 years ago,” Jill Marie Jones said with a smile. “It was originally called Men, Money & Gold Diggers, and I was in the film version. So when Je’Caryous called me to bring it to the stage, I was like, ‘Let’s go.’” Now reimagined for 2025, the play is updated with sharp dialogue and modern relationship dynamics that feel all too real.
Demetria McKinney, no stranger to Je’Caryous Johnson’s productions, jumped at the opportunity to join the cast once again. “This is my third time working with him,” she shared. “It was an opportunity to stretch. I’d never been directed by Carl Payne before, and the chance to work with talent I admire—Jill, Claudia, Chico—it was a no-brainer.”
Claudia Jordan joked that she originally saw the role as just another check. “I didn’t take it that seriously at first,” she admitted. “But this is my first full-on tour—and now I’ve got a whole new respect for how hard people work in theater. This ain’t easy.”
Modern Love, Stage Left
The play doesn’t hold back when it comes to the messier parts of love. One jaw-dropping moment comes when a live podcast proposal flips into a prenup bombshell—leaving the audience (and the characters) gasping.
Demetria broke it down with honesty. “People don’t ask the real questions when they date. Like, ‘Do you want kids? How do you feel about money?’ These convos aren’t happening, and then everyone’s confused. That moment in the play—it’s real. That happens all the time.”
Jill chimed in, noting how the play speaks to emotional disconnect. “We’re giving each other different tokens of love. Men might offer security and money. Women, we’re giving our hearts. But there’s a disconnect—and that’s where things fall apart.”
And then Claudia, of course, took it all the way there. “These men don’t even want to sign our prenups now!” she laughed. “They want to live the soft life, too. Wearing units, gloss, getting their brows done. We can’t have nothing! Y’all want to be like us? Then get a damn period and go through menopause.”
Dating Over 40: “You Better Come Correct”
When the conversation turned to real-life relationships, all three women lit up. Their experiences dating in their 40s and 50s have given them both clarity—and zero tolerance for games.
“I feel sexier than I’ve ever felt,” said Jill, who proudly turned 50 in January. “I say what I want. I mean what I say. I’m inside my woman, and I’m not apologizing for it.”
Demetria added that dating now comes with deeper self-awareness. “Anybody in my life is there because I want them there. I’ve worked hard to need nobody. But I’m open to love—as long as you keep doing what got me there in the first place.”
For Claudia, the bar is high—and the peace is priceless. “I’ve worked hard for my peace,” she said. “I’m not dating for food. I’m dating because I want to spend time with you. And honestly, if being with you isn’t better than being alone with my candles and fountains and cats? Then no thanks.”
Channeling Strength & Icon Status
Each actress brings something different to the play—but all of them deliver.
“I actually wish I could be messier on stage,” Claudia joked. “But I think about my grandmother—she was born in 1929, couldn’t even vote or buy a house without a man, and didn’t give a damn. She was fearless. That’s where my strength comes from.”
For Jill, the comparisons to her iconic Girlfriends character Toni Childs aren’t far off—but this role gave her a chance to dig deeper. “If you really understood Toni, you’d see how layered she was. And Paisley is the same—misunderstood, but strong. There’s more to her than people see at first glance.”
Demetria, who juggles singing and acting seamlessly, shared that live theater pushes her in a new way. “Every moment on stage counts. You can’t redo anything. It’s a different kind of love and discipline. You have to give the performance away—live, in the moment—and trust that it lands.”
Laughter, Lessons & Black Girl Gems
The show has plenty of laugh-out-loud moments—and the cast isn’t shy about who steals scenes.
“Chico Bean gets a lot of gasps and laughs,” Claudia said. “And Naomi Booker? Every scene she’s in—she’s hilarious.”
But the play isn’t just about humor. It leaves space for reflection—especially for Black women.
“I hope we get back to the foundation of love and communication,” said Demetria. “A lot of us are in protector mode. But that’s turned into survival mode. We’ve lost softness. We’ve lost connection.”
Claudia agreed. “We’re doing it all—but it’s not because we want to be strong all the time. It’s because we have to be. And I just want women to know: You can have peace, you can be soft. But stop bringing your old pain into new love. Don’t let past heartbreak build walls so high that the right person can’t climb over.”
Final Act: Pack the House
If there’s one thing this cast agrees on, it’s that this play isn’t just entertainment—it’s necessary.
“Atlanta is the Black entertainment hub,” Claudia said. “We need y’all to show up for this play. Support the arts. Support each other. Because when we pack the house, we make space for more stories like this.”
Games Women Play is more than a play—it’s a mirror. You’ll see yourself, your friends, your exes, and maybe even your next chapter. So get ready to laugh, reflect, and maybe even heal—because the games are on.
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Exclusive: Miss Keri, Baby Is Back & It's A Comeback Worth The Wait
It’s officially Miss Keri, Baby season again—and if you ask us, it’s been a long time coming. After 15 years away from the music scene, Keri Hilson has returned not only with a brand-new album but also a captivating new role in Lifetime’s Fame—the latest installment in The Temptations film franchise.
Between the album We Need to Talk: Love and her leading role in Fame, this isn’t just a comeback—it’s a rebirth. The Grammy-nominated singer-songwriter turned actress is letting us into her world like never before, unpacking themes of vulnerability, healing, and inner strength with grace, grit, and raw artistry.
Now streaming on Lifetime, Fame follows two superstar sisters—played by Keri and singer/actress Keshia Chanté—as they navigate the cost of stardom, sibling rivalry, and the dark side of desire. The film also stars Romeo Miller, Ecstasia Sanders, Nathan Witte, and Sophie Carriere, and is executive produced by Derrick Williams and Adriane Hopper Williams of the Seven Deadly Sins franchise.
As for the music? We Need to Talk: Love is a three-part album (Love, Drama, Redemption) that tells the story of a woman who’s been through it—and has risen from the ashes. “It was time to speak for myself,” Keri says.
We sat down with Keri to talk about her return to music, her passion for acting, the emotional depth of Fame, and how she’s learning to care for herself amidst the chaos.
From R&B Queen to Drama Star: Keri Gets Into Character
“Even though she’s famous—as am I—it was really her humanity that I wanted to portray.”
Keri plays Cherish, one half of a superstar sibling duo who must confront their fractured relationship in the wake of a traumatic robbery. For Keri, the role was more than a character—it was a psychological study.
“I enjoy departures from reality. That’s why I love acting,” she shares. “Psychology is one of my favorite things in life. I became a writer because I’m an observer of human nature, emotion, and behavior. I think I did a good job showing her humanity.”
The Fame Isn’t Always Worth the Price
“Keep the main thing the main thing.”
Keri doesn’t sugarcoat the industry. When asked about what Fame reveals about the dark side of celebrity culture, her answer is clear:
“It’s a cautionary tale. It reminds you to keep your family close and not allow anything to come between them—especially in pursuit of success. Keep the main thing the main thing. For me, that’s family, love, spirituality, and values.”
Three Chapters, One Story: Love. Drama. Redemption.
“I’ve shed the fear. It was time to tell my own story.”
Released April 18th, We Need to Talk: Love is Keri’s first album in 15 years—and a deeply personal one at that. The three-part project (Love, Drama, Redemption) represents a timeline of healing and growth.
“I’m finally in a place where I’m able and willing to open up more,” she says. “For a while, I became really guarded—shell-shocked, even—after making mistakes in the public eye. Whether it’s all your fault or not, the scrutiny takes its toll. But now, I’ve shed that fear. It’s time to tell my story.”
Cooking, Walks, and Recalibrating in the Chaos
“I’m not doing the best job—but I’m doing what I can.”
Between eight-hour rehearsals, press runs, and music releases, Hilson admits she hasn’t quite figured out the balance yet—but she’s trying. For her, the key is carving out small rituals of normalcy.
“I enjoy cooking. That’s my sanctity,” she says. “I’ll go home, take my makeup off, put on my rehearsal clothes, and cook a meal. I take walks. I run. These little things help me feel like myself again.”
Art Imitates Life (and Album Tracklists)
“Cherish goes from Love… to Drama… to Redemption.”
Asked which album chapter her Fame character would fall into, Keri doesn’t hesitate. “She fits into all three,” she says. “You see her go from love, to drama, to redemption. That arc mirrors the journey of so many women who’ve had to navigate pain and find their way back to themselves.”
No Pressure, Just Art: Keri Wants You to Feel Something
“Just enjoy the art. That’s it.”
After all the time, patience, and healing, Keri isn’t asking for much. She just wants fans to press play—and feel something.
“I just want people to enjoy what they’re seeing and hearing. Enjoy me on screen. Enjoy me through their ears. People have waited, and I feel blessed by that. That helps me keep it all pure and simple.”
As Keri Hilson steps boldly back into the spotlight, it’s clear this era is all about alignment, artistry, and authenticity. With Fame airing on Lifetime and the first chapter of We Need to Talk: Love setting the tone, we’re more than excited to see what’s next.
As she continues to unfold the album’s next two chapters—Drama and Redemption—one thing’s for sure: this isn’t just a comeback. It’s a reintroduction. And we’ll be watching, listening, and cheering her on every step of the way.
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