Killer Action Role on television, science fiction Odyssey Outlaws and Hyper-Dystopian Stories are stuffed with the movie Hannah John-Kamen as a performer with strength in her emotional performance on the screen. A 35-yr-old English actress known for her roles in movies similar to Andas, just like the television program, Likeand is ready to bring her to her because she had large roles supporting in lots of successful franchises. He represents his role Ghost (Ava Starr) in Marvel. Directed by Jake Schreier, The Asterisk within the title of the film is an actual show Way Marvel, and the filmmaker intended to be this story to be the departure of Disney franchise and resign how very different it’s from the more shiny repertoire of Marvel’s movies.

“Jake’s lens of this film was very, tonally specific”, he describes John-Kamen through the conversation. “It was like creating an independent film in the Marvel universe – Jake had a level of sensitivity and nurturing this story.” Re-reembodiment John-Kamena Ava Starr as a spirit, a killer for employment, is a key paria of the newly formed group, which was later recognized within the film as Thunderbolts, the name developed by the character of David Harbor, Aleksiej Andreovitch (Red Guardian).

The family roots of John-Kamen reach her Nigerian father and Norwegian mother, who performed significantly different works as a criminal psychologist and fashion model. With her established experience in Performance’s art, she was able to introduce her history of upbringing in a house stuffed with beauty and brains in her roles on the screen. The English contractor doesn’t stop his roles on television and film and cooperated with the maestros cinema, similar to Steven Spielberg (), and now Jake Schreier. “It’s quite difficult, because when you filter abroad, you revolve with a time difference that is easier to say than to do,” says John-Kamen. “In this world it can be a lonely lifestyle that concerns the spirit, and I grounded, taking breath and seeing my loved ones, friends and hugging my dog.”

Florence Pugh leads as Yelena Belova, a self -sighted super agent who suffers from disturbing episodes that recreate memories of the past that persecute her. The unusual childhood injury Belova led her to becoming a one who acts probably the most alone. Belova and Starr are a fortress behind Anti Hero Alliance of the Thunderbolts. They are the one women in a six -person organization who meets with controversial forces. “He, very, controls himself, his body and making decisions very much,” the John-Kamen explores. “She is Fort Knox and is a lonely wolf.”

The unusual moments of the comedy from the forged, which incorporates Sebastian Stan, Julia Louis-Dreyfus, Lewis Pullman and many others, does so related and feel more human than OR. Without having shiny superpowers, which make up lightning, they’re forced to face their reality without pursuing fandoms and public support. In the film Arch Nemesis Thunderbolt is the vengeful figure of Louis-Dreyfus, Valentina Allegra de Fountaine-infiltrating director who tries to manipulate and remove the Marvel Hero team.

During the 2 -hour journey, which makes up the history of Thunderbolt’s origin, the audience experiences the way in which these qualified warriors are still fighting for the worst problems. Ava Starr remains under the radar for many of the film because he has more sequences than words. “Her guard is very elevated,” says John-Kamen. Ava Starr appears when Yelena Belova needs her most to save the world overtaken by darkness. The character of Lewis Pullman, Robert “Bob” Reynolds, is armed against Thunderbolts, and his arch symbolizes how our minds may be as powerful because the uncomfortable villain.

Schreier’s approach to this film within the Marvel series was to enlarge greater than outside, removes all glamorous aesthetics that makes the heroes so aspirative. Even in Thunderbolts marketing, a wheat box standing in the course of the box is caught to satirize the trail of superheroes created within the Marvel cinema. Each anti -hero character stands in front of its own internal battles created by the trauma and wounded within the script by Eric Pearson. “We really laughed between shots,” Hannah warns me, talking in regards to the heavier features of the film. “I really created this beautiful family in this cast.”

In general, it is a story that follows wounded individuals who learn to treat. Along the way in which, they establish a family bond and support system. In 2025, when people can feel more disconnected, the narrative of Thunderbolts hits the home harder, watching the characters construct sufficient confidence and mental Harta to stand in themselves and their newly discovered friends. “I think that at the end of this movie I want you to hug a loved one or make sure someone feels safe and informed him that they do not have to boldly smile,” John-Kamen says.

Karen Pittman is just too accustomed to prime quality content. From, to, she built a profession playing dynamic characters at the center of an intelligent, conscious society. But in the recent Netflix Pittman series, he enters the unknown territory – each skilled and emotional. Adapted by Mara Brock Akil and the performer produced by Regina King, the concert again imagines the iconic novel by Judah Blume from 1975 through a up to date lens, concentrating black love, family and growing pains of adolescence in America Pre -Floyd. This is a type of project that usually doesn’t come – and Pittman knew about it after the jump.

“I don’t have such a thing on my work on TV,” says Essence. “I did it in the theater, but not in this way with these colleagues.” When Akil turned to her regarding the role of Dawn Edwards-Reduer with a high power and fierce protective mother-she showed that the stars were leveled. “Not very often in your career, as an actress, people will allow you to break your mold and do something else,” he says. “And Mara is known for the concentration of black women. It meant to me.”

In the series Dawn is the mother of Justin, teenagers moving in the old flame, identity and independence. It is an effort that required Pittman to make use of his mother’s own instincts – but with restraint. “Dawn and I are two very, very different mothers,” he says with amusing. “But this level of cruelty in how it protects my children? I am completely adapted with it. There is no compromise for me in this way.” While Dawn emanates what Pittman calls “Razzle Dazzle” – a type of presence that makes people sit straight when he enters the room – she can be harsh, sensitive and struggles with the terrifying transition to permit her son to enter a situation that she will be able to’t control.

The series takes place in 2018, and sometimes the Nominee Actors Guild awards as “preliminary sketch”. Before Pandemia, before he calls for racial justice, the series records quiet fears that defined so many black households. “This is an uncertain place for a mother,” he explains. “Watching your child goes to the hostile world. This program reflects where we were as a country and why Dawn is so focused on the development of the Son.”

This helps that Pittman’s stars are Wood Harris, who plays Father Justin. Two actors divide not only skilled chemistry, but a typical language that reaches their roots. “We spoke smoothly with each other,” he says. “Wood was simply an ideal star-open gentleman, accessible and full of respect for work. Our heroes love deeply, and the conflict between them concerns noble problems, not a small drama. This made the scenes rich.”

The dream team doesn’t end there. Pittman lights up, saying that he’s directed by King, whose artistic instinct and private experience have added work. “Regina grew up in Los Angeles, she was the mother of her son at this age – there was such a large synergy,” he says. “He is the director of the actor, completely commanding, but also related to the crew in a way that made the whole set feel grounded.”

But this Akil, says Pittman, who built the foundation. “Mara could write for everyone, do everything – but she decides to warm up her work around us,” he says. “She is intended in a way that I have never experienced. We saw her influence by: – ​​But this series gives us a different dimension of her vision. It is delicate. It is sharp. It is deep, deeply black.”

For Pittman, It’s greater than a brand new loan on her impressive CV – it is a type of return home. A probability to stretch, cooperation with creators that admires and tell a story that resonates at every level.

“This is one of those rare times in which work, people and message are consistent,” he says. “And when it happens, you jump.”

From boxes to turns and extensions, Track Pro and gold Olympic medalist Tara Davis-Woodhall did all this. But “many of you have never seen my natural hair,” she wrote in an Instagram post.

In a rare appearance, a floating, frame -fate of Afro Olympians occupies the front seat when he works with Dove, Rise.365 and The Crown Act to bring black hairstyles to the emoji digital universe.

“With almost 4,000 emojis there is not a single emoji representing real people with natural or protective hairstyles,” Dove wrote in one other post. “Why exists emoji, but there is no hairstyle where you can use them? The meaning of textures, protective styles and those who proudly wear them cannot be overstated.”