pwer-season-2-episode-8-starz
STARZ

"Three Moves Ahead" : The 13 Best Lines From From Last Night's 'Power'

As the walls comes crashing down, Ghost must out think all his adversaries if he's plans to stay alive.

Kanon and Lobos are both in town to collect from Ghost. Lobos wants his money and K wants his old territory and Ghost's head on a platter. In episode 208 titled "Three Moves Ahead" Special K, donning a new leather jacket and jeans, puts in place his long awaited takeover from the man he groomed who later put him behind bars. Lobos who narrowly escaped an attempt on his life, offers Ghost the keys to his empire so he can remain in control and concealed from authorities.

While Ghost thinks over Lobos' offer, Angela pieces together the final parts of her investigation against the Mexican drug lord but tries one last time to save Jamie from potentially getting caught in the crosshairs. And while K, Lobos and Angela are all strategizing against Ghost, it's Ghost who--this time around--stays three steps ahead of everyone.

In this life or death game of Chess, can Ghost outsmart his adversaries, or will he just end up being a pawn?

Check out the 13 best quotes from episode 208 "Three Moves Ahead."

1. "So Tash, I'll take the kids to dinner sometime this week. You pick the day, alright?"-- Ghost

Tasha and Ghost have grown accustomed to their new life. Easing into a rhythm of co-parenting, the two--for a brief moment--remain civil while working out a schedule for Ghost to spend time with the kids.

2."Or, you make him disappear." -- Tasha

Ghost tells Tasha Lobos has arrived to collect his money. Having grown tired of his erratic business dealings, Ghost and Tasha conjure up a plan to remove the unpredictable drug lord from the equation, in hopes no Lobos, means no Angela and no FBI on their back.

3. "Only the NSA can do that." --Tech guy

Angela retrieves a new cell which allows her to see all of Ghost's text messages. Before paying up, the tech guy tells her no refunds will be issued no matter how much information she may learn about her significant other.

READ: "You're The Only One I Can Trust" 10 Best Lines From Last Night's Power

4) "Looking over our shoulder for the cops and the competition? That's this game, Ghost." -- Tommy

Tommy isn't too keen on the idea of killing Lobos, so much so, he questions if Ghost has been dipping in the very product they're selling. When Ghost tries to persuade Tommy with thoughts of a suspicion-free life, Tommy reminds them suspicion, fear and always looking over their shoulder is the drug life.

5."I need to be invisible so I can stay invincible."-- Lobos

After an attempt on his life, Lobos realizes he's too exposed traveling to America to collect his cut. He sets up a meeting with Ghost where he propositions him with control over his major networks. Distributors in California, Texas and New York would all report to Ghost, so Lobos can remain in the shadows and out of harm's way.

6. "I don't mean any disrespect, but your attachment to him is holding you back."-- Lobos

Lobos admires Ghosts' business savvy, but does not feel the same about Tommy. Realizing Tommy doesn't think before he acts, Lobos offers Ghost the keys to his kingdom, on the condition he drops his most trusted ally.

READ: "You're Not The Man" : The 9 Best Lines From Last Night's Power

7. "Look man, I don't want to be on the corner forever."-- Dre

While Dre's loyalty may lie with Kanon, Ghost showed him there's life beyond being a low-level drug dealer. On the urging of Special K, Dre visits Ghost in hopes to gather information about the meeting with Lobos. Ghost, sensing the set up, shoo's K's young protege along, but not before seeing he maybe a bad liar, but his ambitions about getting off the corner are honest.

8. "You don't think he's trying to run away with the Fed bitch?" -- Tasha

Tasha suggested killing Lobos believing if Lobos is gone, so are all their problems. But after receiving a 911 text from Tommy, and learning Ghost wants to do away with the drug game all together, Tasha thinks Ghost wants Lobos dead so he can run off with Angela and leave her empty handed with three kids.

9. "Did I cheat? Yes. But that doesn't make me any less of a father." -- Ghost

Pissed Ghost has plans to leave her penniless and with the burden of raising their children alone, Tasha confronts him at the club. Ghost refutes her claim and says he maybe a bad husband but reminds her he's an exceptional father.

READ: EXCLUSIVE: Watch Tasha and Shawn Get Cozy In Tonight's Episode of Power

10. "What y'all been up to?" -- Keisha

While Ghost has been out of the house, Shawn and Tasha have been playing house. As Tasha gets dinner ready, Shawn sneaks a few hugs and rubs before Keisha walks through the door. The chemistry between Tasha and Shawn is obvious, but made more apparent when Keisha asks how they've been only to receive a fury of gibberish, lies, and foolishness as a response.

11. "You're looking to start a coup, and you've come to me with your plan."- The Serb

Ruiz agrees to join forces with Kanon and tries to get The Serb to do the same. In an effort to make their new alliance stronger, Ruiz comes clean and tells him it wasn't the Albanians who cleaned out their stash, but Ghost, Tommy and himself.  The honesty proves valuable and The Serb agrees to work with Kanon to eliminate Ghost and Tommy.

READ: "Like We're Any Other Couple" The 9 Best Quotes From Last Night's Power

12."Let's just go right now, straight to the airport, I don't even need clothes. I just need you." -- Angela  

Angela knows the Feds are closing in on Lobos and fears Jamie may get caught in the mix. In a last ditch effort to keep him safe, Angela suggests they leave everything behind to run off together. Unfortunately, Ghost has business to take care off, but promises Angela they'll have their day. It just won't be today.

13. "All them years we haven't been together is your Uncle G's doing. He robbed us of all that time! --" Kanon

Shawn confronts Kanon about Tommy's arrest only to learn it was Ghost who set Kanon up and sent him to prison for ten years. Filled with anger and revenge, Special K wants Ghost dead but can't get close enough to pull the trigger himself. Shawn, realizing he's the only one with access to Ghost, volunteers to eliminate the man who robbed him and his father of ten years.

From the Web

More on Vibe

TV show creator Norman Lear at home, February 27, 1984 in Los Angeles, California.
Bob Riha Jr/Getty Images

How Norman Lear’s Historic Black Sitcoms Changed American Television

On Tuesday night, May 22nd, ABC is celebrating TV creator and producer Norman Lear with  Live in Front of a Studio Audience: Norman Lear’s All in the Family and The Jeffersons, a live remake of his two most iconic shows. Lear and his partner Bud Yorkin were the primary drivers in moving television sitcoms from the idealistic representations of husbands and wives sleeping in separate twin beds in the 1960s to a realistic depiction of America in the 1970s.

One of the successful runs in sitcom history began with a show about a bigoted, curmudgeonly white man named Archie Bunker. With All in the Family, Lear built a TV world that reflected the real world - especially the ugly and uncomfortable parts – for the first time. With a laugh track, Lear’s shows were the first to address abortion, menopause, politics and anti-war sentiments. The first to prominently feature an interracial married couple, the first to feature a transsexual character, and the first to make topics of race and class – “liberal” issues – the driving storylines on TV. Most importantly, Lear was the first creator/producer to center the black family and black stories on television, giving white viewers some of their first insights into the challenges – but more importantly the normalcy – of black families.

In advance of tonight’s special, we look at the two very different black family portraits Lear created for the world, why they were important, and where they fell short.

--

Good Times (1974 - 1979)

Good Times evolved from Lear’s realization that black people needed to be visible beyond the service and sidekick roles they usually occupied on television. The producer developed a backstory for Florida Evans, the maid for Bea Arthur’s Maude, so viewers would realize she had an existence outside of her service to white folks. “You’re seeing a different side of (Florida),” Esther Rolle said to Ebony about her character’s development. “What I do in my madam’s house is a façade; what I do at home is me.”

When John Amos was introduced as Florida’s husband (then named Henry), he and Rolle were so compelling together that CBS asked Lear to give them a spin-off.

Mike Evans, the first Lionel Jefferson (aka Light Skin Lionel, aka the Lionel that can actually act, aka the fine Lionel) had expressed an interest in writing to Lear (giving cast members shots to grow outside of their roles is a recurring theme with the producer), so Lear gave Evans and writer Eric Monte (Cooley High) a crack at the series.

Monte and Evans placed the Evans family in Chicago’s infamous Cabrini-Green housing projects and along with Lear established three rules for the show: the Evans would never go on welfare; they would face the “reality of their world,” which in 1970s Chicago included gang violence, crime, financial challenges, and a pimp named Sweet Daddy; and despite anything the family faced, the Evans children would get an education.

The parameters the creators put in place were key as everyone knew they were breaking new ground: the Evans were the first black two-parent family on television.

The overprotective stay-at-home matriarch, three-job-working, strict disciplinarian patriarch, creative if flighty eldest trying to figure out his path, studious and straight-arrow daughter, and super-bright, politically aware and socially conscious youngest son weren’t unlike the make-up of any other American family, which was intentional.

But their problems were unique to any other family on TV, like trying to keep their son out of a gang in Southside Chicago.

“They were representing their entire race, who had never, ever been represented before,” Lear explained in his autobiography. “And I realized shortly into rehearsal, just from questions and conversations and body language and everything else, just how much weight was on them.”

The show, which Ebony called “…the best effort to date at showing a real slice of ghetto black life,” was a hit – and not just with black viewers. The audience was 60% white, and the pressure for positive representation was real. Lear’s unflinching commitment to real storylines produced episodes, not just about the challenges of living somewhere between working class and the working poor, like a neighbor eating dog food; but also ableism, age discrimination in the workforce, and child abuse (hi, young Janet Jackson). And conversations that are still hot topics forty years later, including racial bias in standardized testing and preventative health for black men (turns out, James was always mad because he had hypertension).

The challenges of balancing realism and comedy without playing into tropes and stereotypes kept the sitcom from reaching its full potential. That weight the adult cast felt caused tension with the creative team by the end of the first season. Rolle started pushing back on some story ideas and dialogue, including an episode where 16-year old Thelma is pressured to sleep with her older boyfriend. Rolle wouldn’t even review the script, telling Lear, “The last thing we want to deal with on this show is teenage sex… It is morally wrong, let’s not even discuss it.” Lear ultimately won that battle. Over time, the biggest conflict came from increased centering on J.J.’s “dy-no-mite”-punctuated antics and borderline buffoonery.

Amos and Rolle weren’t having it. “They chose to go for the obvious and the comedic...It started to dissipate into something I wasn’t terribly proud of.” Amos later said. He felt like the show was doing the other characters a disservice, saying, “’You guys don’t really matter. We’re more interested in seeing J.J. with a chicken hat on.’

”Rolle was more direct in her critique, “(J.J.)’s 18 and he doesn’t work, He can’t read and write. He doesn’t think,” she complained in an interview. “…they have made him more stupid and enlarged the role.”

Jimmy Walker – who wasn’t close with anyone in the cast – responded in the same interview, “I play the way I see it for the humor of it. I don’t think anybody 20 years from now is going to remember what I said.” (I guess syndication wasn’t a consideration in the ‘70s. But also, Walker’s a clown, so…)

Amos and Rolle made a pact at the beginning of the series: they would fight to preserve the integrity of the characters and the family. When they felt they weren’t representing responsibly anymore, they spoke up. Amos threatened to leave the show at one point, forcing producers to delay taping. Eventually, he was labeled a “disruptive element” on the set, and they decided to kill James off. The choice to remove the key figure that made the show so important led to its eventual demise, but Amos later told Lear he was right to fire him for the way he behaved.  Ironically, James’ death – just as he’s finally pulling his family out of the hood - produced one of the two most powerful scenes of the series, and maybe the only time we saw Rolle’s power as a stage actress.

(The second is Penny’s mama coming towards her with an iron, which I can’t even watch anymore.)

Watching now, viewers have identified Florida as a hater; she seemed to thwart every possible opportunity for the family to get even the tiniest glow up. But Florida was a manifestation of Rolle fighting with the show runners against anything she thought was gonna make us look crazy. Was some of it based in respectability? Absolutely. But considering Good Times was the only show of its kind, at least until What’s Happening!! debuted in 1976, I understand. Except for Black Jesus, that was fly. Florida was buggin’. Ebony, the most important black media outlet at the time, understood why she and Amos were fighting against foolery, too. The last black-centered sitcom before Diahann Carol’s Julia, Sanford and Son and Good Times had been Amos ‘n’ Andy, and nobody was trying to go back to that. “What seems to be called for now is a greater relevance among characters and a closer rein on a tendency to slide towards old-timey black minstrelsy. What is being revealed is a healthy awareness on the part of black performers that they are responsible for cleansing the stained image of blacks so long perpetrated on stage and screen.”

Shortly after John Amos left the show, Esther Rolle left as well, and ratings fell. Writers tried revamping J.J. as a mature head of the family, they introduced new characters and even brought Rolle back for a period, but the show was canceled in 1975.

Good Times feels now like Blaxploitation (and it was a bit) and poverty porn. But then, it was still a new version of our story told publicly. It was still a top-rated show about a black family. It was still a display of active and conscientious black parenting, including a black daddy with a job in a house, even in the ghetto.

The Jeffersons (1975 - 1985)

The Jeffersons was the longest running black family sitcom on television – longer than The Cosby Show. The show started just as the black middle class was building in the wake of the post-civil rights movement and was the first show to depict a black family that wasn’t working class. The show introduced one of the most iconic black TV characters in history. George Jefferson was the representation black folks had been waiting for; he was the hope and the dream. A black man from post-great migration Harlem who reached out with both hands to grab every part of the American Dream that he could as soon as it was available to him and would give white people his a** to kiss if they weren’t with it. It’s easy to dismiss George as mostly mouth and swagger, but that mouth and swagger were on our collective behalf.

Lear created the Jefferson family as an agitator for Archie Bunker. Lionel was a character from the beginning of the show, a smart young black man Archie considered one of the “good” ones. Then, the family moved in next door to the Bunkers  – the first black family in the all-white Queens neighborhood.

George wasn’t introduced for a couple of seasons. Sherman Hemsley was in a Broadway production, but Lear was so intent on him in the role that he found workarounds. George was the black version of Archie: stubborn, bullheaded, archaic in some of his thinking, and prejudiced towards people who he deemed other. George was sharper than Archie, though, and a fighter, which created great tension between the two characters as their families fell into a neighborly relationship. Usually at odds, one of the best scenes between the two happens in a set-up episode for the spin-off. The Jeffersons are meeting the Willises for the first time, and George and Archie are equally horrified to discover Tom and Helen Willis are an interracial couple. As they watch Tom dance with Louise at the end of the scene (I think I might have preferred this Tom…I don’t think he would have taken George’s sh*t), they toast to their shared disapproval.

George: Bunker, what is this world coming to?

Archie: Beats me, Jefferson. All I got to say is (raises glass), here’s to yesterday.

Feedback from the scratchin’ and survivin’ work of Good Times impacted how Lear developed The Jeffersons. Three Black Panther party members showed up a Lear’s production company one day to express their displeasure with Good Times. Lear recounted the story for an interview, saying, “They were pissed off that the only (black) family that existed, the (patriarch) had to hold down three jobs.” The Panthers asked why there couldn’t be an affluent black family on television, and Lear listened. Maybe George and Weezy would have stayed next door to the Bunkers, or moved to the black middle-class Queens enclave Jamaica Estates, or back uptown to Harlem for the spinoff, but that random visit sent them to a deluxe apartment in the sky in Manhattan’s Upper East Side.

The Cosbys, the Banks, and other upper middle class to upper-class TV families that came later were comfortable being comfortable. But the Jeffersons were adjusting to having finally attained the dream, being part of the early post-segregation black upper class, and the mixture of pride, guilt, and responsibility that came along with it – and so were the white people and other black people in their orbit. What happens when you’ve made it? When you jump from being a black housekeeper to hiring a black housekeeper? When your old friends from around the way come around? When you can buy your family whatever they want just because? How do you stay real in the midst of that?

The Jeffersons addressed not just race and class, but also race vs class. George wasn’t educated, but he worked hard, and expected his success to afford him respect and access - his theory was that green was more influential than black, and he was furious every time that proved to be untrue. There were plenty of puns based on George making social faux pas to impress elite white people, but there was also the very clear message – even if you’re a black millionaire: you still a ni**a.

I recently went back and watched the entire series on TV One, and the first few seasons are the blackest thing I have ever seen on television. As George and Louise are adjusting to their money and their lifestyle, the Harlem stayed jumping out. George still spoke in “jive” (the AAVE of the ‘70s), and would call somebody “ni**a” in a minute. Louise had a lot of fire early on, too. Her character became more one dimensional (and low key annoying) as the series progressed.

George was written to be abrasive and dislikable on the surface with redeeming qualities beneath, but Hemsley brought the character to life, with the walk he gave him without thinking, with Louise’s nickname, “Weezy,” with his attitude and mannerisms. Sherman was quiet, reserved in real life, and found playing George difficult. The blatant intolerance and insults, the rudeness and door slamming. It’s amazing from today’s more politically correct viewpoint that not only did this fly on primetime TV, but it was also one of the top sitcoms on air. The think pieces, Twitter hot takes and “What if this was a white character acting like this?” would be on a hundred if the show aired today. But George’s ridiculousness was the point.

At its best, the series educated viewers through George’s development, dispelling myths and stereotypes, and not just expanding the awareness of white viewers, but black ones, as well. At its funniest, the wit and wordplay were some of the best on TV. I would bet money that Martin pulled from George and Florence (a role we really don’t give Marla Gibbs enough love for) when writing Martin and Pam.

By the early ‘80s, the black professional class had grown and with the Reagan boom, plenty of families had moved on up. Now that the Jeffersons weren’t a unique story, the show was still cute but had lost its heart. CBS abruptly canceled it without a series finale.

George Jefferson endures, though. We know his walk, we know his dance, we know his door slam, we know him. We literally all know an old black man like George: ain’t gonna take no sh*t, kind of an a**, you worry he might say something extremely foul in public, but also has all the confidence and swagger.

Morehouse honored Norman Lear in 2016, and Dr. John Silvanus Wilson Jr., the university’s president, proclaimed that Lear “showed America 40 years ago that Black Lives Matter. He opened the eyes of millions of Americans when it came to civil rights, women’s rights, and gay rights, all by making us laugh about it heartily so that we can think about it differently. Norman Lear is and will always be, in TV and race relations, a pioneer.”

I know we stopped giving cookout invites, but somebody please send Norman Lear a plate.

Continue Reading
Matt Winkelmeyer

'The Chi's' Tiffany Boone Shamed Over Jason Mitchell Harassment Allegations

The Chi actress, Tiffany Boone, is being publicly shamed on social media after she accused her co-star, Jason Mitchell, of sexual harassment.

The offensive comments rang out in the comments section of her photo posts on Instagram. While we'd rather not highlight negative remarks shaming an alleged victim of sexual misconduct, it's safe to say that the comments are pretty tasteless.

Despite the negative feedback, Boone has also been swarmed by fans who are defending her. "The simple fact some people are attacking her is f**king ludicrous to me, one Instagram user wrote. "Some of y’all are asking, why did she get Jason Mitchell fired? Really? He got his own a** fired! If he would’ve conducted himself like he was supposed to, his a** would still be on the show!"

As previously reported, Boone, who plays Jerrika on the Lena Waithe-produced drama, accused Mitchell of making sexual advances toward her on set. Boone allegedly felt so "unsafe" that she asked her fiancé, actor Marque Richardson, to be on set with her when Mitchell was around, according to The Hollywood Reporter.

Boone was not the only one to complain about the star. Multiple women have come forward to speak up about similar interactions with the actor. As a result of the recent reports, Mitchell has been dropped from The Chi along with his talent agent UTA, his management team and an upcoming role in Netflix’s movie Desperados.

Continue Reading
Getty Images/Adger Cowans

The Notorious B.I.G. To Be Honored With "Christopher Wallace Way" In Brooklyn

Tuesday (May 21) marks what would’ve been the late Notorious B.I.G.’s 47th birthday, and in efforts to commemorate the legendary rapper, The Christopher Wallace Memorial Foundation revealed that the intersection where Biggie called home will be named after him, Billboard reports.

The naming will take place on June 10 at a ceremony being held for the “Juicy” rapper. Wallace’s family is expected to attend the gathering, which will be held at the intersections of Gates Avenue and St. James Place. The crossroad will reportedly be named Christopher Wallace Way in the forthcoming month.

The news arrives days after Wu-Tang Clan's Staten Island street-naming ceremony. "I'm happy that NYC officials are finally giving the city's indigenous 'hip-hop' music the respect and recognition that it deserves," culture advocate LeRoy McCarthy told Gothamist in 2018. "It took a long time and lots of hard work to advance the Christopher Wallace Way & Wu-Tang Clan District street co-naming, but ya know what, Hip Hop Don't Stop."

Biggie's upcoming ceremony will be open to the public and will start around 12 p.m. ET. His mother, Voletta Wallace, his children, and close friends will be present in his honor.

Continue Reading

Top Stories