Independent filmmaker Kinnedy “ScribeCash” Storay continues her momentum following Different With Me an official selection of the Pan African Film Festival that later premiered on AspireTV with the release of her latest thriller, “Home Invasion,” now streaming on Tubi.

The contained psychological thriller stars Darrin Henson, Brely Evans, Apryl Jones, and Fredro Starr, with Storay serving as writer, director, producer, editor, and composer of the film’s original music.

Set almost entirely within a single home, Home Invasion follows a break-in that spirals into a tense psychological standoff where buried secrets, shifting power dynamics, and survival instincts collide.

The release marks another step forward for Storay, who has built a reputation for producing commercially driven independent films through partnering with veteran and merging talent l. Often referred to as “Scribe,” Storay has emerged as a multi-hyphenate filmmaker, overseeing nearly every aspect of production while continuing to expand her on-screen presence.

“I wanted to create a thriller that felt intense, grounded, and emotionally unpredictable,” said Storay. “With Home Invasion, we focused on strong performances, contained tension, and telling a story that keeps audiences engaged from beginning to end.”

The film blends recognizable talent with Storay’s fast-paced independent filmmaking approach, continuing her focus on character-driven thrillers designed for the streaming audience.

WATCH 'HOME INVASION' NOW

It’s official! ‘Swapped,’ the exciting new animated feature starring Michael B. Jordan and Juno Temple, has arrived.

Get a first look at the film’s vibrant world, then check out Michael B. Jordan’s behind-the-scenes voiceover footage as he brings the story to life.

Follow the whirlwind adventure of two majestic birds racing to undo a life-changing body swap.

‘Swapped’ is now streaming on Netflix.

–Dominique Young // @heyyydommm

This movie is about kicking ass, taking names, and raising hell all wrapped up in one very stylish horror-action ride.

I saw They Will Kill You at 10 AM on a Saturday morning, which may not have been my best personal viewing strategy. I was awake, but barely. Still, even at that hour, I could tell what I was about to watch, I was going to enjoy.

This is the kind of horror-action-comedy that may feel very familiar, but it is also very fun. It’s stylish, bloody, and completely committed to its own madness. It has a highly charged lead performance from Zazie Beetz, a strong emotional setup with her sister, dynamic fight choreography, and a deliciously strange Patricia Arquette.

Spoilers ahead.

There is also some outrageous pig-headed demon final boss battles!

The movie is alive. It has energy. It has visual confidence. It has humor. It has emotional stakes. And most importantly, it knows exactly what kind of movie it wants to be.

The story follows Asia Reaves, played by Zazie Beetz, an ex-convict who takes a live-in housekeeping job at The Virgil, a mysterious luxury high-rise in New York City. But she is not really there for the job. She is there because her younger sister Maria disappeared while working in that same building years earlier.

That setup works because the movie does not start with the building. It starts with the sisters… in the rain. Everything happens in the rain by the way!

We meet Asia and Maria ten years earlier, running from their abusive father. They are desperate, scared, and trying to survive. The scene is confusing in the best way because you do not immediately know what kind of danger they are in. Is he their father? A trafficker? A bounty hunter? The movie drops you into the threat before it explains it. Asia ends up shooting him, but not killing him. She runs off to escape the cops, leaving Maria behind, and still gets caught by the police. She goes to prison. This is where she learned to fight.

That is the emotional engine of the movie.

Asia is not just trying to survive a haunted building. She is trying to make up for the fact that she abandoned her sister once. That guilt is what keeps her moving. That is what makes the violence matter. She is not just fighting cultists, monsters, and rich people who refuse to die. She is fighting her way back to Maria.

And once she gets to The Virgil, the movie really starts to play with our expectations.

The building itself is dark and moody, like something out of an American Horror Story. It’s colorful and Art Deco. Fantastic. It feels like a trap from the second Asia walks in. The doors lock with that heavy, terrifying clang clang clang.

She meets a few of the residence. Typical weirdos for this type of film, nothing too strange to see here. Yet.

Patricia Arquette shows her around and take her to her room. She is so peculiar as Lilith, the building manager. She is creepy, funny, elegant, and completely committed. She understands the movie she is in. So does Heather Graham. So does Tom Felton. Everyone is operating in the same heightened, sinister, slightly ridiculous universe, which is why the tone works. It is campy without becoming sloppy. It is funny without becoming unserious.

The movie reminded me of a lot of things without feeling like a copy of any one thing. There is a little Kill Bill in the color and movement. A little John Wick in the impossible physicality. A little Cabin in the Woods in the sense that the space itself has been designed to trap people. And yes, there is a Dante’s Inferno feeling to the whole thing, with the floors functioning like levels of hell.

But They Will Kill You has its own weird flavor.

The first major attack in Asia’s room is where the movie shows you what it is really doing. A cultist comes through the air duck and the refrigerator. Asia fights back, and suddenly we are in full action mode. The fight choreography is physical and frenetic. Zazie Beetz is completely believable in the physicality of the role, even when the movie itself is heightened and ridiculous. She is fast, tough, smart, and relentless.

I loved watching her fight.

What I also appreciated is that the movie gives us a reason for her skill. Through flashbacks, we see that Asia learned how to survive violence long before she ever entered The Virgil. She fought because she had to. She fought in prison. She fought because pain was part of her life before this supernatural nightmare ever began.

That matters because Asia is never treated like a damsel. She is not waiting to be saved. She is not confused for long. She is scared, yes. Hurt, yes. Overwhelmed, yes. But she is not helpless. Once the movie puts a machete in her hand, it is off to the races.

And then the movie reveals the big rule: the people in this building cannot die.

That is where it gets really fun.

Limbs grow back. Heads reattach. Bodies regenerate. Someone loses an eyeball, and the eyeball keeps moving through the building like a deranged little cartoon spy. It should not work, but it does because the movie fully commits to it. There is a scene where the eyeball has to get up through the ducts, and it literally bounces its way up. It is absurd. It is disgusting. It is clever. I loved it.

This is also where the movie avoids one of my biggest horror pet peeves.

In so many slashers now, people get stabbed, gutted, thrown, beaten, and somehow continue like they have a mild cramp. That drives me crazy when the movie wants us to believe these are regular human beings. Here, the movie gives us a rule. These people are immortal because of the ritual. They can be hurt, but they regenerate. That means the over-the-top violence has logic behind it. You are not sitting there wondering why no one is dying. You are sitting there wondering how Asia is ever going to win.

That is a much better problem.

The cult itself is made up of ultra-wealthy residents who sacrifice staff to maintain their immortality. That is not subtle, and it does not need to be. The rich literally feeding on workers to live forever is a pretty clear metaphor, but the movie is smart enough to wrap it in blood, comedy, and action instead of stopping to lecture you.

The Virgil is not just a building. It is a luxury death machine.

And the movie has great production design. The rooms, the ducts, the kitchen, the ballroom, the cold floor, all of it feels considered. The kitchen sequence alone made me think someone in the art department had a very good time. That stove was serious. The whole place feels expensive, dangerous, and rotten underneath the surface.

The action keeps shifting, which helps. It is not just fight, run, fight, run. Asia fights in the room. She crawls through ducts. She moves through hidden spaces. She ends up in kitchens, elevator shafts, back rooms, and finally the frozen upper floor where the real ritual is happening. The geography of the building keeps the movie moving.

And then we get to Maria.

The reunion between Asia and Maria gives the movie its emotional weight. Maria is not just waiting to be rescued. She is angry. She feels abandoned. She has been living inside this nightmare for years, and she has made her own choices. That makes the sister dynamic more interesting. Asia wants to save her. Maria is not sure she wants to be saved.

That is a good conflict.

It would have been easy to make Maria purely innocent, purely grateful, or purely villainous. Instead, the movie gives her resentment. She knows Asia left her behind, even if Asia had reasons, even if Asia was a child herself, even if the situation was impossible. Maria’s anger makes sense. Asia’s guilt makes sense. Their relationship gives the movie something real underneath all the blood and flames.

By the time they are fighting together, it feels earned.

The final stretch goes completely insane, in the best way.

The top floor is freezing, the cult is gathered, and Satan is basically represented through a severed pig’s head. The image is ridiculous and creepy at the same time. There is fog, cold air, ritualistic nonsense, names written on skin, and Patricia Arquette going full final boss.

I know some people may bump up against the pig head. I did not. Once a movie gives me immortal rich cultists, regenerating limbs, a sentient eyeball, and a high-rise portal to hell, I am willing to go with the pig.

The rules of the ritual are actually very clever. The cultists maintain immortality through names written on the pig’s skin. When a name is removed or erased, they lose that protection. So when Maria is told she has to kill Asia to become immortal, the movie sets us up to think she is going to betray her sister.

And then the twist lands.

Maria writes Asia’s name instead and sacrifices herself, making Asia immortal.

That got me.

I did not see it coming, and I love when a movie can still surprise me inside a genre structure I understand. For a second, you are trying to catch up emotionally. Why did Maria do that? What did she write? What just happened? And then Asia does not die. She starts fighting back with immortality on her side, and suddenly the whole movie flips.

Now the people who could not die have a problem.

Asia figures out how the ritual works, destroys the pig head, burns the names, and all the immortal residents finally die. It is satisfying because the movie sets up the rule clearly enough for the ending to feel earned. It is not random. It is not magic for magic’s sake. It pays off.

And then the final resurrection beat with Maria is great.

Asia escapes with Maria’s body, gets outside, and uses the piece of pig skin with her own name on it to change it to Maria’s name. Maria comes back. The poor man driving the car is understandably confused. And the sisters ride away.

It is clever, emotional, and funny. That is a hard combination to pull off.

What I liked most about They Will Kill You is that it never forgets to be entertaining. It is about guilt, family, survival, revenge, atonement, class, exploitation, and women refusing to be victims. But it is also about Zazie Beetz fighting immortal cult members with a flaming axe.

That balance matters.

It is very easy for horror with ideas to become too self-serious. It is also easy for horror-comedy to become weightless. This movie finds a lane in the middle. It has real stakes, but it also lets itself be gross, funny, and absurd.

Zazie Beetz is the reason it holds together. She is fantastic. She gives Asia toughness without turning her into a machine. You can see the exhaustion. You can see the pain. You can see the guilt. You can see the “I am not stopping” energy in her body. She is not invincible until the story literally makes her invincible, and even then, the emotion stays grounded.

Myha’la is also strong as Maria. She brings the anger and hurt that the sister relationship needs. Patricia Arquette is having a ball. Heather Graham is weird and funny. The whole supporting cast understands the assignment.

The design is gorgeous. The fight choreography is beautiful. The makeup and special effects are great. The regeneration effects are disgusting in the right way. The pig at the end is unbelievable. The movie looks rich, slick, bloody, and playful.

I do think this is the kind of movie that can suffer if people do not know what they are walking into. It needs attention. It needs conversation. It needs the right audience to understand that it is not trying to be straight horror, straight action, or straight comedy. It is all of those things at once.

And that brings me back to the bigger point.

Sometimes a good movie does not get your attention because the marketing does not break through. A trailer and a few posters are not always enough anymore. A movie like this needs people saying, “No, seriously, go see this.” It needs word of mouth. It needs people who love genre films to grab it and push it into the conversation.

Because They Will Kill You is good.

It is not perfect. There are moments where the action gets so heightened that you may have to decide whether you are going with the movie or not. There were a few times, especially watching at 10 AM, when I felt myself getting a little tired by the chaos. But that is not really the movie’s fault. That is me choosing a Saturday morning screening before my brain fully joined my body.

The movie itself is working.

It is fresh, fun, stylish, and surprisingly emotional. It gives us a Black woman lead who is messy, guilty, damaged, brave, and impossible to stop. It gives us a sister story inside a demonic high-rise bloodbath. It gives us rich people literally sacrificing workers to live forever. It gives us Patricia Arquette, a flaming axe, a bouncing eyeball, and a pig head from hell.

That is cinema.

Final verdict: I enjoyed They Will Kill You. It feels familiar in the way a lot of action-horror movies do now, with the trapped building, the impossible fights, the bodies that will not stay down, and the video-game-style levels of survival. But familiar is not always a bad thing when the movie is this much fun. Zazie Beetz is fantastic, the action works, the design is gorgeous, Patricia Arquette is having a ball, and the sister story gives the bloodbath an emotional reason to exist. It is violent, funny, stylish, ridiculous, and fully committed to its own madness. Sometimes that is exactly what I want from a genre movie.

Now that They Will Kill You has dropped on VOD, this is the perfect time to catch it. Stream it, enjoy the madness, and let it be exactly what it is: a familiar but very fun genre ride that kicks ass and takes names.

- \ @victoriabnyc

Don’t stop ’til you get enough! That’s the energy surrounding ‘Michael,’ the history-making biopic that pulled in a whopping $218.8 million worldwide opening at the box office.

Following the film’s massive debut, Lionsgate film chair Adam Fogelson confirmed yesterday on The Town podcast with Matthew Belloni that a sequel is already in development.

Fogelson says, “There is a massive amount of music, some of his greatest music, and life experiences…that would fill more than a second movie on its own. Continuing to get a deeper understanding of who Michael was, I think there are any number of ways the filmmakers will be able pull that off. And over the next couple of weeks when we all sit down and talk about their full and complete vision for what this movie will be, I’ll be in a better position to [speak to the direction of a second film].”

With more of Michael Jackson’s story still to be explored, anticipation is already building for what’s next.

Are y’all ready for a sequel?

–Dominique Young // @heyyydommm

The wait is over! ‘Man on Fire,’ starring Yahya Abdul-Mateen II, has officially arrived.

Catch Special Forces veteran John Creasy (Abdul-Mateen II) in action as he’s forced out of retirement to protect a teenage girl on the deadly streets of Rio de Janeiro.

‘Man on Fire’ is now streaming on Netflix.

–Dominique Young // @heyyydommm

Michael is a moving, imperfect, and deeply watchable film that reminded me why Michael Jackson’s music still reaches across generations.

Directed by Antoine Fuqua and starring Jaafar Jackson as Michael Jackson, with Colman Domingo, Nia Long, Miles Teller, Laura Harrier, Kat Graham, Larenz Tate, Jessica Sula, KeiLyn Durrel Jones, and Kendrick Sampson, Michael is a film wrestling with genius, family, trauma, spectacle, and the impossible task of telling a story about a complicated life.

Before I get into Michael, let me say this: I am not here to hand down final verdicts. I am here as one person who loves movies, has studied them, worked around them, and talked about them for decades.

I write about culture, marketing, and media on my Substack, Let’s Talk About It. I co-host a film and streaming podcast, The Watchers, with Kevin Marable, the founder of TheBlkScript Network. Now I’m adding even more to the conversation by writing reviews here on Blkscript.com.

I’m not into star ratings, grades, or even Rotten Tomatoes “math.” I’m thinking of giving my flash reviews as follows:

Mind Blown
Loved It
Enjoyed It
I’m Torn
Didn’t Work for Me
Change My Mind

Please also feel free to share your perspective in the comments. It’s okay to have different feelings about movies.

Another note: if I watch it, I am always rooting for it to win, for it to work.

Now that all that is out of the way, let’s talk about Michael.

I watched Michael at an AMC theater on 42nd Street in Manhattan. Before the movie started, during the Odyssey trailer, the trailer suddenly stopped playing. The crowd erupted because everyone thought the projector had broken. Then the lights came on, and folks started to yell. I mean, this is NYC. I actually started to get upset because I thought, “Oh my God, I’m never going to get another ticket for a week to see this film.”

Then Colman Domingo walked in.

The crowd erupted.

He thanked us for seeing the movie, for being fans, and told us to sing and dance. He asked us to tweet, write, and text about it, then quickly left.

It was a vibe that continued throughout the whole movie. People were singing, dancing, clapping, and I mean mid-movie. At the end, there was a genuine joy emanating from the seats.

Here is why I enjoyed it.

It was good but not perfect. I enjoyed it because the team wanted to make a fun, sing-along, dance-along movie, and they did just that for his fans. It was not a documentary. It was not a trial or a news report. It was a film about a period in an artist’s life, told through the director’s lens, which took me to a different place and time.

Michael comes in hot with “Wanna Be Startin’ Somethin’” from the Thriller album. You are immediately transported back to 1982.

I had a poster of Michael Jackson on my wall when I was a little girl. I adored him. I remember each record drop. I bought each album as it came out. My friends and I would go to Tower Records, buy vinyl records, and wear them out, listening to them over and over and over.

The music and his songs are beautifully represented, but I was never really worried that the music would be the problem. I was more concerned about how they would tell the story of his life. Would it feel like a trial, an explanation, or a condemnation? Maybe some people wanted that. I did not.

The musical numbers really show you something about Michael’s talent. Of course, we already knew he was talented. That is not new. But the movie shows his creativity in a different light. It shows how much he wanted to push music beyond one lane and make it multi-layered storytelling, a real spectacle, and a movement all at once.

Thriller was my favorite musical sequence because it showed that creative ambition so clearly. It reminded you that Michael was not only performing songs. He was building worlds around them.

The film could have gone deeper into his creative process, songwriting, the music industry, his creative choices, and how he ran his concerts, sessions, or rehearsals. Did he become the taskmaster? I would have loved to see more of his process. Instead, it was montages. Beautiful ones, all the same.

I also would have loved a more realistic portrayal of the music industry. As A Tribe Called Quest famously said, “Rule 4080, record company people are shady.” That would have been interesting to dig into more. Instead, the record executives were some of his biggest champions.

The movie went more down the lane of music, performance, family trauma, and Michael’s rise to stardom amid dysfunction.

His abuse, his hoarding of animals, his obsession with Peter Pan, and his desire to stay childlike are told pretty simplistically. Quite matter-of-factly. I wanted more depth there, but I also understand that this movie is not trying to become a full psychological excavation of Michael Jackson. It gives us pieces. Some of them work better than others.

The portrayals of the family left me in real discomfort.

In my opinion, the movie sets up both his parents as villains.

Colman Domingo’s Joe Jackson is complex, disturbing, and difficult to watch. He is an abusive father with a serious intent to make his children more than he was. Abusive, yes. But also, in the film’s portrayal, someone who never has a come-to-Jesus moment. Someone who possibly thought he was protecting his sons by pushing them into success. That is what makes it so uncomfortable.

We have seen versions of this kind of character, a Black father figure, before, like King Richard. A parent who sees something in a child pushes the child toward greatness, and here, the father crosses the line. He is a terror. It is hard to watch.

Domingo’s Joe Jackson is a complex, deeply flawed, violent, and angry man, only slightly presenting ambition and drive through the mask of lifting his children out of poverty. But right underneath are the narcissism, jealousy, and hate.

The film shows that Joe’s wrath was focused on Michael. But we don’t know if that’s true. We do not fully know from this movie whether he abused the other children in the same way, but we definitely see that Michael becomes the target of his cruelty. On the whole, Joe Jackson gets the closest thing to a villain arc, a consequence for his actions. He pushes them to success, and then he is pushed out.

Nia Long’s portrayal of Katherine Jackson was layered. She was an unsympathetic character to me because I could not understand how a mother watches her husband beat her children and does nothing. That is hard for me.

The film bounces between showing her as this strong mother who eventually stands up for Michael, but it felt a little too late. You don’t see any apparent reason she ignores the abuse. Are we supposed to believe that is just what Black mothers do? No. I needed to know her reasons for not protecting Michael or leaving Joe. And when she finally steps in and protects Michael, it feels like a third-act action as opposed to something driven by character. Nia does give the character depth. I could see the fear, the faith, the survival, the denial, and the limitation of her fortitude and strength. I think I understood what the film wanted me to feel. I just could not fully get past what she allowed.

The movie is a bit top-heavy: a lot of setup, a wide story, and not enough depth.

For example, I wanted more of the brothers. I wanted more of LaToya. I wanted more of Janet. I understand Janet did not want to be a part of it. That is unfortunate because more dynamics between the family members would have given us more heart and more understanding.

Jaafar Jackson’s performance is transcendent. There were times when I forgot I was not watching the real person, and that is what a movie is supposed to do. It is supposed to take you somewhere. It is supposed to suspend your disbelief.

He captures the movement, the posture, the voice, the softness, the stage presence, and the way Michael seemed to exist in his own weather system.

We witnessed the results of his trauma. We saw many times that even after being rich enough to leave, Michael stayed. The movie assumed we would understand that the repercussions of his abuse would be a trauma bond that mixed love, guilt, and hate.

You really get a sense of Michael’s isolation as a result of being famous from such a young age. He was surrounded by people, but still alone, left to play with his pets to replace real friendships.

Another aspect that would have been interesting to see more of was the celebrities and the high-net-worth world around him. We did not see Prince. We did not see Donna Summer. We did not get the folks who would have been in his orbit. We saw a few, Quincy Jones and Don King, but really, that larger world was missing. It would have been exciting to show the world he was moving through, not just the stages he performed on.

I also would have liked to see more of his personal life. Let’s say, for example, Brooke Shields. They had a real friendship. It would have been interesting to see that brought to life. Some glimpse of real friendships. Some sense of who he was when he was not performing or creating, not with family, and not in business mode.

The supporting characters they focused on were a mixed bag. The actors were very good. For example, Miles Teller played his attorney and manager, John Branca, and he did strong work.

Billy Bray, his head of security and bodyguard, played by KeiLyn Durrel Jones, was underdeveloped as a character. I would have liked to see more of him. I understand it is hard to know what really transpired between the two of them, but the movie sets him up in a way that made me want a stronger payoff. Joe Jackson hires him and says, “Protect my son,” and then Billy protects Michael from his own father. Nice. But I would have liked to have gone deeper in the middle. That felt like a missed opportunity.

The directing was grand and big. I saw it on an IMAX screen, and this kind of story was built for that kind of scale. Montages were the main way the film moved through time, with slates indicating the year. Sometimes that worked. Sometimes it made the film feel like a string of music videos with narrative scenes in between, which affected the intimacy.

I love scenes that create private reflection, when characters are alone and obviously unaware we are watching. We get to glimpse behind the veil and see human behavior. In this movie, Michael often felt as if someone were watching. Maybe that was intentional. Maybe that is part of who Michael was, a person who had been watched since childhood and never fully knew how to stop performing. But it also kept me at a distance from him.

Let me say it again. Jaafar Jackson was brilliant. Michael was obviously channeling creativity, so much so that it feels miraculous. Jaafar captured an inspired artist in the flow. He embodied that character’s spirit so perfectly. But was there any room for complexity?

I saw Myles Frost play Michael Jackson on Broadway, and he was brilliant, too. It might have been interesting to see someone who is not related to him, someone who is not attached to a particular family legacy, play him in the film. Someone more objective might have brought a different edge, maybe a darker or messier note.

That is not a knock on Jaafar. He is extraordinary. But because he is so connected to Michael, there may be places the performance cannot go, or chooses not to go.

The Pepsi commercial accident was very hard to watch. I remember when that happened, but I do not think I ever really understood how serious it was. Watching it unfold close up again was scary.

Now, about the scandal.

This is a review of a movie about a really complicated human being. And to tell a person’s story before the major scandal of their life, it has to be told from the perspective that we do not yet know about the scandal. That is the linear aspect of being alive. People wanting the film to address it directly is complicated because, for most of the movie’s timeline, that part of the story has not happened yet.

I think the film chooses to celebrate the music and give us Michael before the public dismantling of his image. Some people will reject that choice. I understand that. But I also understand why this movie exists in the frame it chooses.

The ending of the movie was an odd choice; I did not quite understand it. It ends with a slate that says more story is coming. Okay, that was a bit of a letdown.

I had an alternative idea. What if he finishes a concert, goes into a dressing room by himself, and then looks at himself in the mirror?

Cue “Man in the Mirror” underneath.

Fade to black.

That may not be perfect either, but it’s better than just a slate. It would have given us reflection. It would have let us sit with him. It would have connected the public performance to the private human being. I would have liked that.

Final thoughts: this movie allowed me to hear and experience his music again, this time with a crowd. I was happy. That made it worth every minute. I think people are going to go see this movie because, as the character says, music crosses boundaries and lines.

The movie is flawed. It is top-heavy. It skips things I wanted to see. It leaves some relationships underdeveloped. It gives us spectacle when I sometimes wanted intimacy. It gives us genius when I sometimes wanted more humanity. It gives us the music industry, but not enough of it. It gives us family pain, but not always enough family texture. It peaks at Neverland. It shows isolation, animals, Peter Pan, and the desire to stay childlike, but does not fully unpack those threads.

But the musical numbers lift the film past many of its flaws.

I was reminded of what it felt like to love his music before the world around the music became more complicated.

That is the movie’s power.

Rating: Enjoyed It

Keke Palmer, Naomi Ackie, Taylour Paige, and LaKeith Stanfield stun in newly released character posters for Boots Riley’s highly anticipated crime comedy ‘I Love Boosters.’

Get a first look at them in action here. ‘I Love Boosters’ arrives in theaters May 22.

–Dominique Young // @heyyydommm

Tessa Thompson, Ebon Moss-Bachrach, and Owen Cooper set to lead Foxfinder, a psychological thriller from director Aoife McArdle, known for her work on Severance.

The film, adapted from Dawn King’s stage play, is scheduled to begin filming this summer in Bavaria, Germany. McArdle co-wrote the screenplay alongside King, bringing the unsettling story to the screen.

Foxfinder centers on Jude and Sam, a couple grappling with loss while trying to maintain their fragile way of life. Their world is thrown into chaos when a government-appointed investigator arrives at their farm, tasked with hunting a supposed threat. As rigid rules intensify and fear takes hold, trust begins to erode, blurring the line between reality and suspicion.

The project is backed by a coalition of production companies including Film4 and the British Film Institute, with international sales set to launch at the Cannes Film Festival. U.S. distribution rights are being jointly handled by multiple partners, while global financing includes support from several European film funds.

McArdle, who made her feature debut with Kissing Candice, continues to build momentum following her directing work on Severance. With a strong cast and timely themes exploring control, fear, and societal division, Foxfinder is shaping up to be a compelling addition to the psychological thriller space.

The new independent drama series Sundays After Church steps directly into that tension, delivering a sharp, character-driven look at the power, pressure, and politics operating just beneath the surface of a modern Black church.

Produced by Cinnamon Brown Entertainment, the six-episode first season doesn’t ease its way in. It opens the door and lets the audience sit in the discomfort—where loyalty is complicated, leadership is questioned, and every decision carries consequence.

At the center is First Lady Sandra Clayton, a woman deeply rooted in her faith and her role, who begins to recognize that the institution she’s devoted her life to may not be what it claims to be. What unfolds is not a story about religion—it’s a story about people. And people, under pressure, don’t always choose honesty.

The series is anchored by a commanding performance from acting legend Clifton Powell, whose presence brings immediate weight and credibility to the world of the show. Powell doesn’t just appear—he settles into the fabric of the story with a level of control and nuance that reminds audiences exactly why he remains one of the most respected actors working today. His performance alone positions Sundays After Church as a project worth paying attention to.

Around him is a cast that understands the assignment. The performances feel lived-in, not performed—grounded, specific, and emotionally precise. The series doesn’t rely on spectacle. It relies on tension. On silence. On the moments between the dialogue.

This is not a sanitized portrayal of faith. It doesn’t aim to critique belief—it examines the systems built around it, and the people navigating those systems in real time. The result is a series that feels immediate, culturally aware, and unafraid to ask questions many avoid out loud.

Season one of Sundays After Church is now available, positioning itself as a standout in the independent drama space and signaling a creative team with a clear voice and something to say.

Where to Watch

Sundays After Church is now streaming.

Viewers can watch the full first season by visiting the official site at:

https://www.cinnamonbrownentertainment.com

WATCH THE FULL SEASON

Academy Award winner Michael B. Jordan was all smiles on April 26 as he hit the carpet for the premiere of his new animated Netflix film ‘Swapped’ held at the Netflix Tudum Theater in Los Angeles.

He was joined by his mother, Donna Jordan; sister, Jamila Jordan-Theus; brother, Khalid Jordan; brother-in-law, Reggie Theus; and his niece and nephew, Zorah and Lenox Theus—who also helped him introduce the film’s official trailer to fans earlier this month.

Now, fans can get ready to experience the film for themselves. Catch the adventure when ‘Swapped’ premieres on Netflix May 1.

Photo Credit: Getty Entertainment

–Dominique Young // @heyyydommm

Krys Marshall (Apple TV+’s For All Mankind, Hulu’s Paradise) will appear in filmmaker Latavia Young’s upcoming narrative short film, ‘Peeling’. The casting marks a full-circle professional reunion for the two and adds a significant layer of authenticity to the Miami-set production. This comes as Marshall’s star continues to rise, with Deadline recently confirming her casting in Pixar’s Toy Story 5.

Marshall, who also serves as a Producer on the film, and Young first worked together during the production of For All Mankind: The Official Podcast, which expanded on the making of the series. Their shared dedication to the craft of storytelling laid the groundwork for this creative partnership. For Marshall, joining the cast and creative leadership of ‘Peeling’ also marks a meaningful return to her Miami roots, bringing her world-class talent back to a community that shaped her.

Peeling is a deeply personal exploration of girlhood, trauma, and resilience, set against the vibrant but often overlooked backdrop of Liberty City, Miami. Shot on 16mm film, the project follows 10-year-old Kendra as she navigates fragmented memories and comes to understand her blossoming vulnerabilities. The film is a retrospective on girlhood amidst socio-economic challenges, bodily tresspass, and affection in formative years.

“Krys brings an incredible depth to Peeling,” says Young. “Meeting Krys was a pivotal moment in my career so now having her inhabit a story about growing up in Miami is so validating considering the path I’ve taken since stepping into my own voice. She came in, wrapped her arms around the project, and has been a major cheerleader making sure this project keeps moving forward in every way.

The film’s cast and crew includes Florida-natives Hattie Estime-Haskins (“NCIS”, “THEM”), Amaya Rodriguez in her narrative debut, and Krys Marshall (“Paradise”, “For All Mankind”) as well as Miami-born DP Diana Matos (“Supa Girlz”, “Neon”, “Miguel Wants to Fight”). The film is edited by Jamie Kennedy (“On My Block”, “The Summer I Turned Pretty”, “Weird: The Al Yankovic Story”).

The “Peeling” Kickstarter campaign is currently in its final push to raise finishing funds. These resources are critical for wrapping production, completing post-production, and festival submissions. The campaign is active through May 10, 2026.

About Krys Marshall

Krys Marshall is a dynamic and versatile actress whose current portrayal of Special Agent Nicole Robinson in Hulu’s political thriller “Paradise” has garnered her critical acclaim. Prior to Paradise, Marshall captivated audiences as Danielle Poole in Apple TV+’s acclaimed series For All Mankind, where she portrayed NASA’s first ever black astronaut. Called “One of the best shows of 2021” by Rolling Stone, Krys along with her cast, was nominated for a Critic’s Choice Award for Best Drama. Her various television credits also include: Supergirl, This Is Us, Shameless and NCIS, showcasing her range across genres. Originally from the South, Marshall is a graduate of the classical conservatory program at the University of North Carolina School of the Arts. Beyond her on-screen work, she is an advocate for underprivileged children, and is a mentor with the Young Storytellers Foundation, whose mission is to “inspire young people to discover the power of their own voice.” With her compelling performances and dedication to meaningful storytelling, Krys Marshall continues to be a rising force in Hollywood.

About Latavia Young

Latavia Young (b. Miami, FL) is a filmmaker who is inclined toward the intersections of race, sexuality, coming-of-age, poverty, and memories. Her previously directed film work includes “The Burden of Context”, a documentary short film exploring the living legacy of racism and segregation in Miami, FL, and “My Fierce Aunt Bianca”, a documentary short film investigating the life and legacy of the trans-starlette featured on the cover of Blood Orange’s “Coastal Grooves” album which premiered at the Inside Out Toronto 2SLGBTQ+ Film Festival, was screened at Warner Brother’s New York Latino Film Festival, and exhibited at the Museum of Modern Art New York, the Museum of Contemporary Diasporan Arts, and the Leslie Lohman Museum. Latavia produced “The (Dis)United States” which premiered at the Oaxaca Film Festival, “Playing with Fire” which premiered at Aesthetica Film Festival, and “Grace” which premiered at Sundance Film Festival. A background in film and television development, Latavia was a part of the creative development for series such as “Everyone Else Burns” (Ch4, CW) and “A Black Lady Sketch Show” S3 and S4 (HBO).

Production on Season 1 of the A Different World sequel series has officially wrapped filming in Atlanta, marking a major milestone for the highly anticipated reboot at Netflix.

Led by showrunner Felicia Pride, the new single-camera comedy will consist of 10 half-hour episodes and features a fresh ensemble cast including Maleah Joi Moon, Alijah Kai, Chibuikem Uche, Cornell Young IV, Jordan Aaron Hall, and Kennedi Reece. Three of the episodes are directed by Debbie Allen.

Returning cast includes Jasmine Guy (Whitley), Kadeem Hardison (Dwayne), Darryl M. Bell (Ron), Cree Summer (Freddie), Jada Pinkett Smith (Lena James), Karen Malina White (Charmaine), and Ajai Sanders (Gina).

The series centers on Deborah Wayne, the rebellious daughter of Whitley and Dwayne, as she starts her freshman year at their alma mater, Hillman College.

‘Michael’ opened with a global theatrical release to excited fans who packed theaters, donning the King of Pop’s most iconic outfits while celebrating his life and legacy. This excitement quickly translated into box office success, as the film debuted with $97M domestically and $217M worldwide, marking the biggest opening for a biopic of all time.

–Dominique Young // @heyyydommm

Academy Award–winning director Spike Lee is bringing HBCU pride to Chocolate City on May 1 with a special screening of his classic film ‘School Daze’ at the historic Lincoln Theatre.

Be there when the doors open; this is one night in D.C. you won’t want to miss. Secure your tickets now.

–Dominique Young // @heyyydommm

The cast of the scorching, genre-defying film ‘Is God Is’—featuring Vivica A. Fox, Kara Young, Mallori Johnson, Sterling K. Brown, Erika Alexander, and more—is turning up the heat ahead of its highly anticipated release next month.

In an exclusive sit-down, the stars discuss the film’s gripping story and its themes of vengeance and survival.

Feel the heat when ‘Is God Is’ hits theaters May 15.

–Dominique Young // @heyyydommm

It takes courage to be an artist. Take me, for example. My name is Savanna Mai Rust or simply, Savanna Mai. I am a mixed-media artist and filmmaker from South Kingstown, Rhode Island. I am the oldest daughter of four, a lover of Basquiat, a Nicola Yoon enthusiast and of course, a member of the Jordan Peele fan club. Although one might gain an understanding of who I am through these artists, my voice stands on its own. With that being said, my story’s relevancy is not confined to a singular medium. The shift in artistic form is dependent on my growth as a creative.

However, it is due to the resources, learned experiences, and mentors that I have been able to grow as a filmmaker. For many creatives like myself, we rely on scholarships to financially support our goals. Over my gap year post-grad, I have spent time applying to a multitude of scholarships geared towards Black filmmakers, Black women, and graduate film students. Here is a categorized list of scholarships I found helpful for my own path as an incoming USC School of Cinematic Arts MFA student:

Women-Led Scholarships:

1. Alliance for Women in Media

Active: 2026 AWM Foundation and Hallmark Media “Make Her Mark” Scholarship Application

Previous:

• The 2025 AWM Foundation & NCTA Scholarship

• AWMF Scholarship in Honor of Barbara Walters

• The ESPN Scholarship

• Loreen Arbus Foundation & AWMF Scholarship

• Ford Emerging Voices Scholarship

• Ford Empowering America Scholarship

2. Alpha Kappa Alpha Educational Advancement Fund

Note: These scholarships are open to high school, undergraduate, and graduate students who are members or non-members of the sorority.

Active:

• Alice S. Marriott Scholarship

• Community Assistance Award Application

• Endowment Application

• Fellowship Application

• Graduate Financial Need Scholarship*

• Graduate Merit Scholarship*

• Katessa M. Charles—Theta Mu Omega Legal Legacy

• SER Pathway to Power

• Soaring Leaders Fund

• S.T.A.R.S. Scholarship

Previous:

• Undergraduate Financial Need Scholarship

• Undergraduate Launch Scholarship

• Undergraduate Merit Scholarship

• Undergraduate Thrive Scholarship

• Youth PAC Scholarship

• Youth PAC Service Award

3. New York Women in Film & Television

Previous: Nancy Mysel Preservation Scholarship

University of Southern California-Based Scholarships:

4. USC School of Cinematic Arts General Scholarship Program

• Jack Nicholson Scholarship (Screenwriting)

• Alfred P. Sloan Grant

• George Lucas Family Foundation Endowed Student Scholarship for Diversity

5. University of Southern California Black Alumni Association Scholarship

Film, Media, & Arts Industry Scholarships:

1. Academy Nicholl Fellowship (Screenwriting)

2. Princess Grace Foundation Film Awards (passed)

3. National Academy of Television Arts & Sciences Scholarship

4. The Awesome Foundation

Black Women & BIPOC Filmmaker Scholarships:

1. Black Women Film Network Scholarship (passed)

NAACP Scholarships

• Agnes Jones Jackson Scholarship

• Dr. Eliza and Dr. Richard Grier Scholarship

• The Edmund and John H. Kelly Scholarship

• Emanuel and T. Thomas Fortune Scholarship

• Hubertus W. V. Willems Scholarship

• NAACP X Society Awards Scholarship

3. Women in Film Fellowship (passed)

4. Black Women in TV

5. United Negro College Fund, Inc.

6. Amplifier Fellowship - Film Independent (passed)

7. Grants — BLACK FILM SPACE (stay-up-to-date)

*At the end of the day, these are only a few of the scholarships and grants that have benefited me—before and after my application process. By sharing these, we can create an enriching dialogue and discussion about opportunities that uplift BIPOC and female filmmakers. Please feel free in the comments and substack to share scholarships, grants, and resources that add to this list—on a regional, nation-wide, or international scale.

—Savanna Mai / @savanna_rust7

Universal Pictures is officially bringing Miami Vice back to the big screen with a bold new take titled Miami Vice ’85. The film is confirmed to star Michael B. Jordan and Austin Butler, who are set to take on the iconic roles of Tubbs and Crockett.

Directed by Joseph Kosinski, the film is being designed as a large-scale theatrical experience, with production specifically tailored for IMAX screens ahead of its August 6, 2027 release. Set against the backdrop of mid-1980s Miami, the story will explore the city’s mix of excess and corruption, pulling inspiration from the original series’ pilot and first season—an era that helped redefine style and tone across television and film.

Behind the scenes, the project brings together a strong creative team. Dan Gilroy, known for his Oscar-nominated work on Nightcrawler, is penning the script based on characters created by Anthony Yerkovich, with an earlier draft written by Eric Warren Singer. The film is being produced by Dylan Clark alongside Kosinski, with Universal executives Sara Scott and Christina Hoffrogge overseeing development.

The film’s momentum comes after its budget was recently approved, allowing deals for both Jordan and Butler to close as production gears up for a planned fall 2026 start.

Both leads arrive at the project with significant career momentum. Jordan is coming off the massive success of Sinners, which marked a major cultural and box office moment, and is also preparing to direct and star in The Thomas Crown Affair, slated for release in 2027. Butler continues to build on his acclaimed performance as Elvis Presley, which earned him an Academy Award nomination, along with standout roles in Dune: Part Two, The Bikeriders, and Masters of the Air, with more high-profile projects on the horizon.

OTTera, a global leader in OTT streaming infrastructure, today announced a strategic equity investment in In The Black Network (ITBN), the fast-growing AVOD/TVOD streaming platform founded by veteran media executive James DuBose. As part of the partnership, DuBose has been named President of OTTera Media Group, a newly formed entertainment division focused on building and scaling culturally-driven media brands worldwide.

This strategic alignment positions ITBN to operate on OTTera’s fully established global infrastructure, unlocking expanded distribution, advanced monetization capabilities, and institutional-grade operational support across FAST, AVOD, and OTT ecosystems.

As part of the transaction, the parties will establish OTTera Media Group, a dedicated entertainment division that will serve as the centralized hub for OTTera’s owned and operated media brands. The division will include:

• In The Black Network (ITBN)
• Afroland TV
• Additional OTTera-owned and operated channels
• Original content development and studio partnerships
• A broader intellectual property and franchise strategy

DuBose will oversee the division’s day-to-day leadership, creative direction, growth strategy, partnership development, and operational execution.

“I’ve always believed the goal isn’t just to be in the business; it’s to build the business,” said DuBose. “With OTTera, we now have the infrastructure to match the vision. We’re bringing content, distribution, and ownership under one roof, and that’s when real scale begins.”

OTTera, recognized as one of the largest OTT technology providers in the industry, delivers end-to-end streaming solutions including distribution, ad-tech integration, financial reporting, and global channel operations. Through this partnership, ITBN will leverage OTTera’s platform to accelerate growth while eliminating the need to build backend infrastructure independently. Central to this ecosystem is Culture Hub, a proprietary discovery feature that expands audience reach across OTTera’s network by making partner services discoverable within each other’s native application. This approach significantly increases visibility and engagement by unlocking shared audience access across the platform.

“We see a clear shift toward vertically integrated media ecosystems,” said Stephen L. Hodge, Chairman and CEO of OTTera. “This partnership puts us at the center of that shift; where content, technology, and culture move as one.”

At the center of the partnership is a shared vision: building a globally inclusive content ecosystem rooted in culture, while designed to connect with audiences across all backgrounds and markets. ITBN will continue to operate as a flagship brand within the OTTera Media Group portfolio, with an emphasis on premium storytelling, nostalgia-driven programming, and original content that resonates across generations.

The partnership reflects a broader industry shift toward vertically integrated streaming models that combine content ownership, platform infrastructure, and direct audience relationships. By aligning ITBN’s brand and programming strategy with OTTera’s technology and monetization engine, the companies are positioned to capitalize on a rapidly evolving digital media landscape.

About OTTera

OTTera is a leading global OTT technology and streaming solutions provider, powering hundreds of FAST channels and OTT platforms worldwide. With a fully integrated ecosystem spanning distribution, monetization, ad-tech, and analytics, OTTera enables media companies to launch, scale, and optimize streaming businesses across connected TV and digital platforms.

About In The Black Network (ITBN)

In The Black Network is a multi-platform streaming service offering a diverse slate of content across AVOD and TVOD models, including original programming, live channels, and premium titles. Focused on culture, nostalgia, and storytelling, ITBN delivers content that resonates across generations and audiences worldwide.

It was announced roughly nine months ago that Naomi Ackie (Whitney Houston: I Wanna Dance With Somebody, Blink Twice, I Love Boosters) was cast in DC Studios upcoming film, Clayface. Ackie is set to play Caitlin Corr opposite of Tom Rhys who stars as Matt Hagen, also known as Clayface.

The teaser trailer was released today and the film is set to hit theaters October 23rd.

‘The Night Agent’ is expanding its Season 4 cast, with Trevante Rhodes, Li Jun Li, Titus Welliver, and Elizabeth Lail joining the series opposite Gabriel Basso.

The political thriller centers on Peter Sutherland (Basso), a low-level FBI agent assigned to monitor a rarely used emergency line for undercover operatives in the White House basement. When it finally rings, Peter is pulled into a high-stakes conspiracy that reaches the highest levels of government, including the Oval Office.

While official character details have yet to be confirmed, reports indicate Welliver is expected to play Duval, a special DOJ prosecutor. Rhodes will portray Dom, Peter’s new partner, with Li set to play Dom’s wife, Min. In a long-awaited reveal for fans, Lail will take on the role of Zoe, Peter’s ex-fiancée.

‘The Night Agent’ is gearing up for a high-stakes return to Netflix in Season 4.

–Dominique Young // @heyyydommm