The show follows our heroine through a succession of peaks and valleys, some professional, all eye-openingly personal.
Early in the series, a verbal assault prompts an anonymous crusade to reassert control; Nola begins to secretly post street art—with messages like “My Name Isn’t Boo” and “My Name Isn’t Bitch”—all throughout the city (Tatyana Fazlalizadeh’s “Stop Telling Women To Smile” art series, which began in Brooklyn in 2012, was a sure inspiration).
She acknowledges having “messed up,” but refuses to linger over past mistakes. “What kind of lady,” begins Greer, the most immodest of her lovers—but Nola cuts him off, ironclad and unapologetic, leveraging control: “... ”The series, much like Lee’s original film was 30 years ago, is a seductive case study in power dynamics, masked as a savvy rom-com.
The crux of Nola’s story, the symbolism that is to be mined from her impassioned travails, is really about the redistribution of authority, and the reimagining of female desire as something more entangled, impulsive, and ideologically liberated.
The R&B icon and "" rapper scored five nominations apiece on Monday, when the nominees were announced by the civil-rights organization. Years ago, a guy De Wanda Wise was dating gave her a DVD of “She’s Gotta Have It,” the debut feature by Spike Lee.
The film’s heroine, Nola Darling, a confident young Brooklyn artist who boldly eschews monogamy, the boyfriend said, reminded him of her. SERIES NCIS Gibbs (Mark Harmon) launches an investigation into an accusation that the team framed a man for murder and orders another autopsy performed by Ducky (David Mc Callum).
Up until this point, they’d yet to cross paths, and only vaguely knew of each other through Nola’s mention of dating other men.
All season the show had been building to this juncture, and its occurrence is all the more surprising because it’s Nola who methodically gathers her trio of lovers in one place, the refuge of her Brooklyn apartment.“What’s the real purpose of inviting all three of us here?
A proud nonconformist, she never commits to just one suitor, upturning the false virtue that allows men to juggle multiple relationships without being harassed or slandered, without being labeled a “ho,” a “slut,” or worse.
One of its least effective components is the writing itself, which erupts in patchy sequences; scenes suddenly cut short or unexpectedly accelerate without having earned the right to.
The show, however, comes alive in other strokes of mastery: its stellar score, the periodically breathtaking cinematography, and the fire of Wise and Ramos, two alluring talents.
, the attentive Netflix series that modernizes Spike Lee’s 1986 debut feature of the same name, first requires one address its final episode.
It’s Thanksgiving night and Nola Darling (De Wanda Wise), a Brooklyn painter and self-identified “polyamorous pansexual” with hypnotic charm, has summoned her three suitors to dinner.