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The 13 Best Lines From 'Power' Episode 403 "The Kind Of Man You Are"

"If you die by lethal injection, will Yazmine even remember you?" Angela

Things have gone from bad to worse and Ghost is visibly beginning to unravel at the seams. In Power episode 403 titled "The Kind of Man You Are," Ghost is slowly being backed into a corner where he starts to contemplate the meager options he may have left. Sensing the desperation in his client, Proctor introduces Terry Silver to act as second chair. Silver boasts an impressive winning streak when it comes to suspected murderers facing the death penalty. Yet despite working to prove Ghost’s innocence, Silver--who isn’t short on arrogance and judgment--makes it clear he thinks Ghost is guilty of the crime.

While Ghost and Silver “warm up” to one another, the weight of his predicament and potential death sentence causes Raina to become an emotional mess, while motivating Tariq--who truly only wants a father figure-- to fall further into Kanan’s rabbit hole.

Taking heed to Proctor’s instructions, Ghost keeps quiet and keeps to himself while in prison, but his good boy act comes to an end, and if he wants his secret to remain a secret he’s going to have to take yet again another L. It’s not looking good for Ghost. Check out the 13 best lines from Power, episode 403 “The Kind of Man You Are.”

"I'm not here to judge your innocence brother, I'm here to save your life." Terry Silver

Viewers are introduced to Terry Silver who will act as second chair for Ghost's defense. The arrogant but skilled attorney was called on by Proctor for his track record, specifically as it pertains to those facing the death penalty. While Silver maintains he will work for the W, he makes it crystal clear he doesn't believe Ghost is innocent.

"Look Tommy, he lies about everything. I'm pretty sure he lied about this too." Tariq

Tommy takes Ghost's request of protecting his family to heart and begins taking a more active role with the children. While driving the kids to school and saying bye to Raina, Tommy questions Tariq about his poor behavior towards his mom. Riq makes it known he doesn’t care about helping his family and believes the worst about his father. Riq also suggests Tommy do the same.

"James isn't the type of guy that would kill somebody." Dre

The feds have taken Dre, Julio, Keisha and other known associates of Ghost in for questioning. Aware that everything they say can be used against Ghost (and themselves) they all keep their cool. Sandoval attempts to get Dre to give up useful information, but instead he sings Ghost's praises.

"When did James St. Patrick move out of the marital residence?" Angela

Angela sits with Keisha in the interrogation room and is armed not only with the law, but her self-righteousness. Keisha knows Angela already has the answers to the questions she's asking, but what Keisha doesn't know is Angela is attempting to craft an argument to break spousal privilege and force Tasha to testify against Ghost.

"The kids are blameless, John. Is that our goal? To put the kids in the system?" Angela

While Angela wears her poker face in the interrogation room with Keisha, she attempts to reason with Mak and the others when it comes to Ghost's children. Angela doesn't want to put Tasha on the stand because she knows if both parents are put in jail, the children will be placed in foster care. Mak however is only concerned with winning the high-profile case and views the kids as "collateral damage."

"Riq, let go!" Raina

Ghost's arrest and news of his potential death sentence has made headlines in the press and the blogs. While in school, a bully approaches Raina about her father being an alleged cop killer, and as she begins to cry, Tariq slams him against the wall. Riq showing signs of his father’s murderous ways, keeps a tight grip on the bully. Raina screams at Tariq to let go and when he finally does, he ditches school entirely.

"Yeah after, when he pulled me over that night like I told Angela." Ghost

Silver, Proctor and Ghost sit in the prison interrogation room and try and figure out a way they can get the DNA evidence thrown out. While going over the night in question, Ghost says the only time he interacted with Knox was when he pulled him over. It then dawns on Ghost it was then Knox was able to get his DNA on him. What was more surprising was the fact that Angela knew, and didn't notify the judge.

"You know those plans I was talking about? Well it's time. Ready to do some work?" Kanan

Kanan continues to sink his teeth further into Tariq, but now he's kicking it up a notch. Instead of just filling Riq's head with lies about his father and family, he's now priming him for a life of crime, and using his private school as a means to do it.

"If you never left Greg for St. Patrick, Greg would still be alive." Agent Bailey Markham

Friend and mentor to Knox, agent Bailey Markham stops by Angela's office to accuse her of getting Knox killed. While Mak believes Knox was the mole, Markham is on a quest to clear his name and restore honor to an officer who died in a line of duty. Markham insists Knox's death is Angela's fault and claims had she never began dating St. Patrick, he'd still be alive.

"You know exactly what you were doing. You just don't want anyone to know who you are. Right, Ghost?" Teresi

After confirming his suspicions that James St. Patrick is Ghost, Teresi confronts Ghost in the common area and tells him he's aware of his little secret. Ghost tries to play it off and says he's never heard of the name, but as soon as Teresi threatens to tell Mak, Ghost acquiesces to his threat and agrees to have Tommy deliver $20,000 to his home address every week for his wife’s cancer treatment, adding yet another problem to the list of never-ending problems he already has.

"If James said the traffic stop happened, it happened!" Proctor.

Terry Silver doesn't buy what St. Patrick is selling, but wonders why Proctor is so adamant about about proving James' innocence. Had it been up to Silver, he would’ve had Ghost take a plea deal a long time ago. Before Ghost enters the interrogation room, Silver tells Proctor he wasn't able to find any record of the traffic stop on the night in question, which only adds to his belief that Ghost is guilty.. Proctor reassures Silver if James said Knox pulled him over Knox pulled him over.

"If you die by lethal injection, will Yazmine even remember you?" Angela

Surprisingly, Valdes walks into the prison interrogation room asking to speak with St. Patrick alone. Ghost denies her request and while the two talk, Valdes tries to get Ghost to take a plea deal: life in prison. Up until now, Ghost was adamant about not confessing to Knox's murder, but when Angela questions his integrity as a man and whether or not Yazmine, his youngest daughter will even remember him if dies by lethal injection, Ghost contemplates the deal on the table.

"No baby girl. Nobody can kill your daddy." Ghost

After Tariq stormed out of school Raina chased after him and began crying. Photos of her littered the newspaper, which came to Ghost’s attention when Marshall hands him the paper. Ghost phones home to hear Raina is sobbing. As Tasha comforts her, she asks if he'll die in prison. Putting on a brave front but holding back his own tears, Ghost says no, but wonders if he just lied to his baby girl.

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Issa Rae And Kumail Nanjiani Talk Their Black And Brown Dynamic In 'The Lovebirds'

As our latest op-ed points out, black romance films are having a moment, and The Lovebirds is adding a comedic twist to the matter. Ahead of the MRC/Paramount Pictures' premiere on streaming platform Netflix, VIBE correspondent Jazzie Belle sat down with the film's lead actors Issa Rae and Kumail Nanjiani to discuss the refreshing black and brown dynamic between their characters.

"I think it was just more exciting to me [to take part in a different romantic dynamic]. It was just that, and I didn't realize until later," said Rae. "Obviously with working with Kumail, it just like 'Oh, I haven't seen an on-screen pairing like this' and [I] was excited to play with him cosmetically. But yes, it's exciting to see a new and fresh dynamic in movies like this."

"When you see a portrayal of Pakistanis in American pop culture, generally, you're seeing certain lanes. You don't see us being light or funny or fun that often," said Nanjiani. "My family is very, very funny. My friends are very funny, so it wasn't even an attempt to try and show that [brown characters can be portrayed differently]. I just wanted to show how the people I know are. My mom and my dad are some of the funniest people I've ever met."

Watch the full interview above. The Lovebirds is streaming on Netflix now.

Interview's music bed provided by Gus.

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Lakeith Stanfield and Issa Rae in 'The Photograph'.
Courtesy of Universal Pictures

Opinion: Black Romance Films Are Having A Moment

It began with a kiss. Just one decade after the birth of cinema, vaudeville actors and dancers Gertie Brown and Saint Suttle gleefully embraced one another on film. They held hands and locked lips, giving the world its very first image of Black romance and intimacy on-screen. 1898's Something Good-Negro Kiss proved that love and affection was at the center of Black life. More than that, intimacy has always been essential to the survival of our people. Now, some 120 plus years later— cinema has finally reached the point where it has expanded to allow complex images of Black love, across time periods, between same-sex couples, and more recently, without being bogged down in trauma and pain.

Before Good-Negro Kiss was discovered in 2018, one of the earliest versions of Black romance in cinema was 1954's Carmen Jones starring Harry Belafonte and Dorothy Dandridge. Filmed in sweeping cinemascope, Carmen Jones follows a soldier named Joe (Belafonte) who gets so enamored with Carmen (Dandridge) that he becomes obsessive, even going AWOL to be with her. Though the film is sexy, and the tension between the actors is palpable — the romance in Carmen Jones is stilted to make white audiences comfortable. Hollywood was only willing to see Black intimacy through the lens of a renowned musical, wrapped in what ultimately becomes a tragedy. By the end of the film, Joe murders Carmen out of obsession and jealousy. Despite Belafonte and Dandridge's determination to showcase their sensuality, the material only allowed them to go so far. This sort of restraint would become the blueprint for generations of Black romance films.

Considering the utter chaos of the 1960s, it's a wonder that 1964's Nothing But A Man was ever made. A decade after Carmen Jones, Hollywood felt it was time to roll the dice on something different. Starring Ivan Dixon and Abbey Lincoln as Duff Anderson, a railroad worker, and Josie Dawson, a Birmingham school teacher, respectively, Nothing But A Man isn't packaged for white audiences like the musicals of the previous decades. However, the burdens and pains of the couple's relationship, namely Duff's flakiness about commitment and the rage he feels as a Black man living in the South, fall on Josie's shoulders. Moving into the 1970s with films like Claudine and Mahogany, and certainly, in the 1990s and early 2000s, Black romance on-screen would either be shrouded in comedic relief, or the relationships became the sole burden of the Black woman to bear. Often, both tropes were present.

Still, Black romance stories were always evolving. The 1980s sparked something new for Black sensuality in the movies. Though these were still heteronormative depictions, (aside from 1984's The Color Purple), films made significant steps forward in terms of diverse images of Black people. However, they still held on to sexist ideals. 1986's She's Gotta Have It used a Black woman's rape as a form of character development while 1988's Coming to America — billed as a comedy, rewarded its protagonist for lying to his love interest. This would become the formula for the many Black romance movies that came to fruition in the 1990s. Cheating, lies, abandonment, lack of accountability, and trauma are all very present in some of our most beloved films. Poetic Justice, Love Jones, Jason's Lyric, The Best Man, and Love & Basketball, all have some form of struggle love embedded within the narrative — typically leaving Black women wielding the shorter end of the stick.

Poetic Justice is riddled in misogyny, The Best Man has a serial cheater as a leading man, and in Love Jones, the lack of communication and accountability from both partners is dizzying. Moreover, women are often asked to overlook cheating, lying, manipulation, or being friend-zoned to present themselves as worthy of their male partner by the film's conclusion. Yet, in our quest to connect and see brown bodies sensually and romantically in cinema, we hold these films close to our hearts, overlooking many of the toxic traits of the characters.

Despite the mega success of Black films in the 1990s— following the debut of Gina Prince-Bythewood's Love & Basketball in 2000, Black stories in cinema, aside from a few here and there, were all but erased in Hollywood. Throughout this near decade-long drought, prolific director Tyler Perry was one of the only voices in the game. However, the quality of Perry's storylines, as well as the portrayal of his female characters, have proven to be problematic. These characters are often emotionally broken, angry, and at times unhinged. If and when they do find love in movies like 2005's Diary of An Angry Black Woman, 2008's The Family That Preys and 2009's I Can Do Bad All By Myself, it's after they suffer some dire consequence or horrific punishment. This was particularly jarring during a time when there were hardly any other mainstream film images of Black people on-screen.

Thankfully, as we pressed forward into the second decade of the 21st century, Black filmmakers, writers, and producers were knocking down doors in Hollywood once again. In 2012, Ava DuVernay stepped onto the scene with her stellar film, Middle of Nowhere. The film follows Ruby (Emayatzy Corinealdi) grappling with the choice to leave her incarcerated husband, Derek (Omari Hardwick), to follow her dreams and possibly find new love with a bus driver named Brian (David Oyelowo). Though this was a significant shift in the way Black intimacy, sensuality, and romance was depicted in movies, the real transformation happened in 2016, with Barry Jenkins' Academy Award-winning, Moonlight.

Loosely based on screenwriter Tarell Alvin McCraney's real life, Moonlight puts the Black male coming-of-age story center stage. However, instead of honing in on the violence and despair of the inner city, like the hood homeboy films of the 1990s — Moonlight focuses on Black love between Black men. First, there is the relationship protagonist Chiron (Alex R. Hibbert) has with his father-figure, Juan (Mahershala Ali). Later, Chiron explores his queer identity with his classmate Kevin (Jharrel Jerome). The film is a sumptuous duality of hypermasculinity against lush sensuality. With this film, Jenkins effectively shattered our expectations regarding Black intimacy on-screen, while unraveling why Black love in all of its varied prisms deserves a spotlight in cinema.

Moonlight would pave the way for 2019's Queen & Slim and 2020's The Photograph. Two vastly different films, one— a harrowing dramatic thriller, centering Queen (Joe Turner-Smith ) and Slim (Daniel Kaluuya) who are forced together by circumstance. A dull Tinder date paves the way for a standoff with a racist police officer who eventually lays dead, prompting our leads to run for their lives.

Penned by Lena Waithe and directed by Melina Matsoukas — the film is almost an antithesis of what we've seen before when it comes to Black romance in the movies. Instead of the tried and true formula of a meet-cute, conflict, and resolution, Queen & Slim unites a Black man and a Black woman through Black radicalism. They come to lean on one another, inadvertently building a foundation when there is no one else either of them can trust or turn to. The weight of their relationship rests equally on both of their shoulders, as they become each other’s ride or die.

In contrast to Queen & Slim, writer/director Stella Meghie's The Photograph, is a much-deserved presentation of soft Black romance, without the trauma or brutality. The film follows Mae (Issa Rae), an art curator grappling with the death of her estranged mother, and Michael (Lakeith Stanfield) — a journalist who crosses paths with Mae's late mother's work. The film follows the typical romance formula, but the conflict and resolution aren't gut-wrenching or emotionally tumultuous. Mae and Micheal deal with real-life issues without being battered or broken. Both parties —like the lead characters in Queen & Slim, share the weight of their missteps and miscommunication. The Photograph is a recognition of straight-forward Black sensuality and love without the heaviness of Black pain. Despite all of this, the film has garnered mixed reviews. Since there isn’t any toxicity between the main characters or much comedy in The Photograph, it appears foreign to us. As a community, we’ve been conditioned to only recognize Black Love shrouded in chaos. Presently, Black women in particular, are asking Black people to look beyond archaic examples of love that are rooted in sexism, misogynoir, and rigid gender roles. Instead, Meghie presents two grown people who must hold themselves and each other accountable to have a chance at a loving and modern relationship.

Black women are also getting the opportunity to be seen as romantic leading women, in the broader scope of cinema alongside leading men from different cultures. Following the footsteps of the 2006 film Something New, where Sanaa Lathan's leading man was Australian actor Simon Baker, Issa Rae will become a leading lady once more in Netflix's The Lovebirds. The Insecure actress stars as Leilani, opposite Pakistani-American actor Kumail Nanjiani. Rae is a woman who is grappling with her strained relationship with her boyfriend, Jibran (Nanjiani). The couple's commitment to one another is hilariously put to the test when they suddenly find themselves in the middle of a chaotic murder mystery.

Black film, and undoubtedly Black romance film, has come a long way since that very first kiss was captured on-screen in 1898. With more women filmmakers at the helm, diverse projects, and the current wave of Black cinema in Hollywood, Black romance movies have the opportunity to give the next generations more nuanced depictions of connection, sensuality, sex, and intimacy. With films like Queen & Slim, Moonlight, The Photograph, and The Lovebirds — we have witnessed Black people from all walks of life and sexualities dive into romantic relationships with love, accountability, and self-awareness, which are truly the ultimate relationship goals.

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Black Thought And Questlove Secure First-Look Deal With Universal

Amir “Questlove” Thompson and Tarik “Black Thought” Trotter landed a three-year first-look deal with Universal. According to the Hollywood Reporter, the founders of the Legendary Roots Crew will create scripted and unscripted content for Universal Television Alternative Studio and Universal TV under the duo's Two One Five Entertainment imprint.

“This deal is very important to us as we've been content producers and storytellers for our entire career,” Questlove said in a statement on Wednesday (May 13). “A significant investment from Universal Television Alternative Studio and Universal Television in our vision allows us to share these stories on a much larger scale. Tarik and I see this as the next chapter to our careers, and we are very involved in the entire process. I'm directing, Tarik is writing and we both are producing.”

The deal extends the Roots decade-long relationship with NBC, first on Jimmy Fallon’s Late Night talk show in 2009, and serving as the house band for NBC’s Tonight Show With Jimmy Fallon, which premiered in 2014. Questlove is also music director for the Tonight Show.

“Many of our initial projects have been music-centric content, and one of our goals is to become the premiere hub for music storytelling — a safe space for these stories to be shared across a variety of platforms,” added Black Thought. “Eventually we will expand outside of music with our stories. However, as we all know, every story has a rhythm and Two One Five Entertainment will harness that rhythm and create well-produced, compelling content.”

Two One Five Entertainment's roster of projects include the AMC docuseries, Hip Hop Songs that Shook America, along with Black Woodstock, chronicling the 1969 Harlem Cultural Festival. The company has also had a hand in the Broadway productions, Black No More and Soul Train the Musical.

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