Growing up in a very BLACK household my palate for culture was always very tasteful and plentiful. Being very young and maybe over my head I remember the 1986 Spike Lee Joint “She’s Gotta Have It.”
If anything I remember my mother calling out to me to cover my eyes every time, there was a sex scene (which was just about the entire film) Girlfriend was having so much sex.
Netflix launched a new promo for She’s Gotta Have It The Series coming to Netflix Thanksgiving Day.
This year I will be leaving the dinner table early and connecting the laptop to the flat screen, seated in my favorite place on the couch, and grabbing plenty of leftovers between episodes as I engage in this brilliance.
Spike Lee without any doubt has always been a writer who has brought social issues right to the front in every film, something we are seeing more of in today’s writing of new popular black shows like Black-ish, Insecure, and Dear White People, just to name a few. We were pleased to learn that Spike didn’t do all the writing for this reinvent of his debut classic, but he called in for help from a few BLACK Girls who rock Eisa Davis, and Radha Black. Spike only wrote the season premiere and finale, with six of the 10 episodes written by accomplished black women talent. This infusion of predominantly black female voices catalyzed the series’ venture into topics hardly ever discussed on TV. Gentrification in Brooklyn, butt injections, and body shaming are just a few of the issues explored in the Netflix series that expands the original film’s scope while maintaining its core examination of the Black experience. The soul of the Netflix series is still the film’s dramatic discourse, but now it has a quicker, comedic heartbeat. Lee directed all 10 episodes of the first season, and each feels like a mini-movie.
The interview-based examination of Nola Darling – a young Fort Green artist who works a number of odd jobs to make ends meet. Is this not every young black artist that currently lives in NYC (inserts heavy sigh.) Spike conveys a potent love for black artists and intellectuals from all corners of the spectrum, and is not timid in his celebration.— Nola is now played by DeWanda Wise, who is able to balance sass, humility, goofiness, intellect, and sexual allure — sometimes all in the same scene — to mesmerizing results. It’s difficult to assess if the series has a plot at all outside of the misadventures and day-to-day life of Nola. Lee’s original film centered on Nola and her three male suitors, and that does account for much of what happens in the series. Jamie Overstreet – Nola’s most business-minded suitor, (Lyriq Bent), then there’s Greer Childs (Cleo Anthony), a vain, self-obsessed photographer, and
Mars (Anthony Ramos), a wise-cracking bike messenger who was played by Lee himself in his debut film. Each man reflects a unique kind of attraction for Nola — Mars is the funny one, Greer is a perfect physical specimen, and Jamie is the intellectual and the most familiarly mature of the bunch. Thanks both to the high-caliber of performers that inhabit these roles and the uniformly brilliant writing, none of them are simply defined by what Nola finds attractive about them. They each come off as a complex being with arrays of talents and hang-ups that become increasingly hard to ditch.Spike looks toward the future and is embracing it — but doesn’t pretend like there isn’t still a long way to go. She’s Gotta Have It could be the catapult Lee needs to take more of his films to different places. Lee was quoted in a recent interview
“My next thing, it’s not going to be any movies, but I have to find time to do School Daze on Broadway.” The trendsetting director, who directed a film of the Broadway play Passing Strange in 2009, has had a School Daze sequel script for years. I say keep the sequel and give us the two-hour and fifteen minuet Broadway Show we have been waiting for.
For Bring it Black
- Frederick Alphonso
Social Media @frederickalphonso