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The Dictatorship

‘Sinners’ gives the Mississippi Delta’s hoodoo culture the reverence it deserves

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‘Sinners’ gives the Mississippi Delta’s hoodoo culture the reverence it deserves

Sinnersis a hoodoo movie, deeply and unapologetically so. In making the film set in the 1930s Mississippi Delta, director Ryan Coogler and producer Zinzi Evans were intentional about displaying the real culture of this region I call home, and they leaned on scholars such as Yvonne Chireau to explore conjure as a sophisticated spiritual technology. For instance, we see the hoodoo in the sacred symmetry of twins Smoke and Stack, brilliantly played by Michael B. Jordan. Smoke and Stack mirror the Marassa, those divine twins in the Haitian Vodou and West African Yoruba Ife tradition who navigate the world as a singular, divided soul. They move with a grace older than the roads they travel, their every choice colored by myths finally given flesh, blood and consequence.

Here in the Black South, the speculative is more than a genre. To make a film that speaks of conjure or haints is to engage in a deep cultural reclamation.

This grounding brings a visceral magic to the screen. “Sinners,” for good reason, was nominated for a record-breaking 16 Oscars, including for best picture. (The film picked up four wins on Sunday night, including best actor honors for Michael B. Jordan, best original screenplay for Coogler and a historic win in cinematography for Autumn Durald Arkapaw. But it lost in several of the other major categories to “One Battle After Another,” which took home best director and best picture.)

Here in the Black South, the speculative is more than a genre. It is an inherited truth. To make a film that speaks of conjure or hintsas Coogler did, is to engage in a deep cultural reclamation. When “Sinners” embraces this, we see the ancient future in action: the understanding that ancestral knowledge is the key to navigating worlds yet to come. Coogler, who grew up in California,  wrote “Sinners” to honor his Mississippi ancestors, including his uncle James, who loved the Delta blues and regaled the young Coogler with stories about his home. Coogler’s vision trusts the ancestors enough to let the spirits walk alongside the living, just as they always have in our free verse and folktales.

There is a persistent, hollow noise in our cultural discourse that dismisses Black American culture as a happy accident rather than what it is: a deliberate, brilliant construction. Our traditions are too often discussed as found items rather than legacies forged in unique crucibles. Our culture was born from blood and bone, and it has produced high art forms crafted by those who turned survival into a song. Nothing about Black Americans’ spiritual and cultural traditions are accidental, no matter our geography.

But place matters. Regional specificity is the antidote to the monolith myth that wrongly renders the Black culture in the Delta and the Gullah-Geechee Sea Islands and Appalachia as one and the same. Coogler captures the authenticity of the Delta with his details, like the tamale sign in the backdrop, a quiet nod to the intersecting bloodlines — Indigenous, African and European — that created the creative genius of the Delta. Whether it’s the Chows, whose presence is an acknowledgement that Chinese families have long been embedded in the community fabric of the Deltaor the compacts made by the Choctaw leader Chayton (Nathaniel Arcand), our history is itself a crossroads. When we see sibling relationships and rituals treated with reverence, we see Coogler’s refusal to whitewash our origins.

Perhaps most significantly, Coogler’s screenplay dramatizes the 1930 Delta’s spiritual landscapes with an elegant precision, refusing the easy binary of “demonic” vs. “devout.” We see it in the bitter resentment of the Irish vampire, Remmick — portrayed with frightening intensity by Jack O’Connell — who carries the scars of a native faith forcibly stripped away. He’s a contrast to Sammie Moore, played by Miles Caton, who emerges from the sanctuary of a praying family. This foundation of faith grants him the agency to choose his own vocation, proving the film is a meditation on the varied ways we reach for the divine to stay strong.

Nothing about Black Americans’ spiritual and cultural traditions are accidental, no matter our geography.

I think of the Mississippi Delta as a living, breathing archive, a landscape where the river’s curve mimics the spine of a people who refused to be broken. In the quiet theater of our lives, we often look for mirrors, but what we truly need are portals.

One of the film’s most breathtaking movements — the jook joint musical sequence — becomes such  a portal. As the ancestors pulse alongside the living to the notes of Raphael SadiqBoo Mitchell and Rhiannon Giddensit proves the difference between a ghost and a memory: one haunts the house, the other haunts the blood.

Black American cultural contributions are among the nation’s most significant exports, but the fruit is too often severed from its roots, and we see our rituals absorbed into the mainstream without a nod to the specific communities who nurtured them. We must demand visions such as Coogler’s that understand that the spirit remembers what the map forgets.

American cinema needs more of this raw truth — stories that pulse in the blood and set spirits free. We don’t need endless remakes. We need the conjure, the haints and the original hope that comes from knowing exactly who we are. Coogler believes in the alchemy of cinema and sound, and in “Sinners,” he bottled that lightning, letting the frequency of the Delta resonate through the theater and into our hearts.

By the time the lights come up, we carry the weight of that geography. Even when the world tries to wash the records away, the river remembers. Our stories are a laying on of hands, a calling up of a frequency that resonates in the marrow. They remind us that some magic is real, rooted deep in the soil and carried on the music, waiting for the right hands to call it forth. Vision made manifest is not just about what we see on a screen; it is about the stories we have always told ourselves to stay whole.

Sheree Renée Thomas is an award-winning author, poet and editor whose work is inspired by myth and folklore, natural science and the genius of the Mississippi Delta. Her most recent book is “Mojorhythm”(Third Man Books, 2025). An Octavia E. Butler Award winner, she edited the World Fantasy Award-winning anthologies,”Dark Matter: A Century of Speculative Fiction from the Africa Diaspora,””Dark Matter: Reading the Bones,” and”Africa Risen: A New Era of Speculative Fiction.”

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The Dictatorship

What ‘The Devil Wears Prada 2’ gets right, and wrong, about media

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What ‘The Devil Wears Prada 2’ gets right, and wrong, about media

This article contains some plot spoilers for “The Devil Wears Prada 2.”

An early, pivotal scene in “The Devil Wears Prada 2” is so recognizable to anyone who works in media right now that it should come with a warning.

Anne Hathaway’s Andy Sachs, now an esteemed investigative reporter at a New York newspaper, is about to receive a prize during a journalism awards ceremony. But as the category is being announced, she and her colleagues receive text messages declaring that they’ve been fired because the newspaper is shutting down. Gobsmacked, Andy delivers an off-the-cuff acceptance speech in which she makes an impassioned plea to save journalism because it matters more than money or, you know, should.

This sequel frames itself as a journalism movie in a way that its predecessor did not. But it mostly pays lip service to the sense of desperation that pervades the media business.

Her comments go viral, which leads Irv Ravitz (Tibor Feldman), the CEO of media conglomerate Elias-Clark Publications, to ask her to return to Runway magazine, where she will lead the features department and bring some much-needed gravitas to the fashion publication. He wants to boost the mag’s credibility thanks to an error in judgment committed by none other than editor-in-chief Miranda Priestly (Meryl Streep, still sporting that swoopy silver ’do). And that’s how the key figures from 2006’s “The Devil Wears Prada” find themselves back in the same orbit.

As a longtime journalist who has gotten significant career news at extremely inopportune times, the mass firing at an awards ceremony rang, sadly, true. I once learned I had a new boss while covering a panel at San Diego Comic-Con. Another time, I got the news that the popular blog I wrote for a major newspaper’s website was being discontinued while I was being checked for head lice. (Fun fact: I had it!)

This industry is brutal and always has been. But it is at its most broken point in modern history, and the film, to its credit, understands this. Not only are crusaders for good, old-fashioned, do-gooder journalism like Andy vulnerable to job cuts, even someone as established as Miranda, the “Prada”-verse’s equivalent of Anna Wintour, fears being pushed out of the profession altogether. This sequel, also written by Aline Brosh McKenna and directed by David Frankel, frames itself as a journalism movie in a way that its predecessor did not. But it mostly pays lip service to the sense of desperation that pervades the media business, rather than depicting it.

This moment aches for a great movie about the importance of the press. “The Devil Wears Prada 2” not only isn’t that movie, it winds up reinforcing many misguided perceptions of journalism as some elite profession that caters to the well-heeled.

Anne Hathaway as Andy Sachs, Meryl Streep as Miranda Priestly, and Stanley Tucci as Nigel Kipling in
Anne Hathaway as Andy Sachs, Meryl Streep as Miranda Priestly, and Stanley Tucci as Nigel Kipling in “The Devil Wears Prada 2”. 20th Century Studios

To be clear, I did not walk into “The Devil Wears Prada 2” expecting to see “The Post.” (Although, in a way, isn’t that what I got?) As a work of popular entertainment, “The Devil Wears Prada 2” has three main responsibilities: to look great, to show off beautiful clothes and to give Stanley Tucci the chance to put exactly the right amount of sauce on every spicy comment he utters. The whole point of a sequel is to serve the audience the same decadent meal they enjoyed the first time.

But in 2026 you can’t make a movie about a media outlet without acknowledging that the media landscape is an active minefield. You also can’t make a second “Devil Wears Prada” that isn’t frothy and aggressively fabulous. Those two contrasting objectives ultimately knock each other out.

This film tries to give Andy the same level of integrity that she possessed in the 2006 movie, which ends with her interviewing for a gig at a traditional newspaper. To be fair, when she gets Ravitz’s job offer in the followup, she is torn about accepting it. But she likes the idea of getting to write some hard-hitting pieces and of hiring some recently unemployed friends. She also knows how hard it is to find a journalism job, let alone one that pays her more than she was already making.

We know that Andy is not wealthy based on her apartment, where brown water routinely spurts out of the faucet; as before, Tucci’s Nigel helps her out by loaning her outfits from Runway’s ample in-house closet. But not long after rejoining Runway, Andy moves into a much nicer building that’s been renovated by a man who soon becomes her boyfriend (and somehow manages to be even more boring than her boyfriend from the first film). Andy looks phenomenal — no surprise for a movie primarily about fashion. But it is hard to square the notion that Andy’s industry is in dire straits since her straits look pretty darn prosperous.

Anne Hathaway as Andy Sachs in
Anne Hathaway as Andy Sachs in “The Devil Wears Prada 2”. 20th Century Studios

There is one montage of Andy doing the work of journalism, which mostly consists of her looking gorgeous in meetings or while typing on her laptop. In another scene, she frantically makes work-related phone calls. But the major set pieces take place at cushy events where tons of bold-faced names — Jenna Bush Hager! Law Roach! Karl-Anthony Towns, for some reason! — gather to clink champagne glasses. As fun as it is to watch those pans through the glossy party scene, they reinforce the idea that everyone who works in media spends their time rubbing shoulders with other elites. “The Devil Wears Prada 2” is not the first piece of pop culture to do this. But at this particular moment, when so many reporters and editors are getting laid off and struggling to make ends meet, it looks particularly unsavory and inaccurate.

It’s also hard to square all of the above with the fact that Runway is losing money, so much so that it may be sold to a vapid Jeff Bezos-like figure, played by Justin Theroux. During one “sobering” meeting in which Nigel says fewer staffers are being sent to Milan for Fashion Week, he adds that those who are going can no longer take private cars and, instead, will have to Uber. In this economy, no audience will empathize with how hard it is to be a writer, or to do any job for that matter, if Ubering is your version of slumming it. (The team, including Miranda, also has to fly coach. Folks, there is no way Miranda Priestly would ever fly coach. Someone would be left behind, or their job outright eliminated, before that woman sat in anything approaching economy class.)

I did not walk into this movie expecting a nuanced portrait of the journalism industry. But if you’re going to spotlight a topic, you have to reckon with it, preferably in a way that does the subject justice.

In the first film, Andy’s friends give her a hard time when she gets caught up in her new job, accusing her of abandoning her principles. In the sequel, selling out is basically a requirement for anyone who plans to keep working in media. That discrepancy would have been really interesting to explore, but this continuation is too committed to hitting the same beats as its forerunner and landing on some version of a happy ending to go there. As in the first film, the sequel ultimately asserts that money and connections are more crucial to career survival than anything else. Which is a fascinating place to land after an opening in which a bunch of underpaid journalists get laid off and the guy who sold the paper walks away with millions.

What “The Devil Wears Prada 2” doesn’t dare to say is that the media’s reliance on the wealthiest one-percenters to keep outlets afloat is part of the reason so many people like Andy and her friends are losing their jobs: Too many of those cash-flush guys don’t care about the art or craft of journalism. (The movie does underscore that too many of those guys are actual guys.) Perhaps even more notably, it doesn’t point out that the seeds for the current media hellscape were being planted back in 2006, the year that the first movie premiered and that Twitter debuted. Rewatch the original and count the number of times anyone talks about the digital edition of Runway or even says the word internet. You’ll come up blank.

Again, I did not walk into this movie expecting a nuanced portrait of the journalism industry. But if you’re going to spotlight a topic, you have to reckon with it, preferably in a way that does the subject justice. “The Devil Wears Prada 2” takes the problems it raises and then does what Miranda did with her jackets and purses early in the first film: tosses them aside as someone else’s problem.

Jen Chaney is a freelance TV and film critic whose work has been published in The New York Times, TV Guide and other outlets.

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‘We are already cooked’: Republicans brace for a midterm reckoning

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‘We are already cooked’: Republicans brace for a midterm reckoning

Gas prices are at a four-year high. Annual inflation has jumped to a nearly three-year peak. Americans are souring on congressional Republicans, President Donald Trump’s handling of inflation and the war in Iran. And his approval rating is at the lowest point of his second term in several polls.

The message from the White House: Things are still better than they were under Joe Biden.

It is not, on its face, the stuff of a winning campaign message — a backward-looking defense at a moment when voters are asking forward-looking questions about their grocery bills, gas tanks and a war with no clear end.

And privately, even some of Trump’s aides acknowledge it.

“The vibe right now is we know we are already cooked in the midterms,” a White House official told MS NOW, who was granted anonymity to speak candidly.

The numbers help explain the gloom. For the first time since 2010, voters say they trust Democrats more than Republicans to handle the economy, 52% to 48%, according to a recent Fox News poll. Economists have largely scaled back their forecasts for the remainder of the year. Energy analysts are warning that oil prices could surge even higher. And Moody’s recession model now puts the odds of a U.S. recession in the next 12 months at nearly a coin flip.

Six months out from the November election, Democrats are favored to take the House and are increasingly rosy about their prospects for the Senate despite a difficult map.

“As of this moment, of course you have to be very concerned,” Rep. Jeff Van Drew, R-N.J., told MS NOW. “If you aren’t concerned, you’d be kind of foolish. … We are either going to win the majority by a little, lose the majority by a little, or lose it by a lot.”

Even so, more than a dozen GOP strategists, lawmakers and White House officials who spoke with MS NOW, said they remain cautiously optimistic that Republicans have enough time to at least stave off a blue wave.

But that optimism is contingent on several unpredictable factors — chiefly, whether the war in Iran comes to a speedy conclusion, and how long its economic aftershocks linger.

White House officials and their allies cautioned against writing the party’s obituary just yet. If 2024 proved anything, they argued, it is that the political environment can change dramatically in a matter of weeks, that news cycles move quickly and that voters have short memories. Internal polling circulating in the White House is not as dire as the public polling, according to one White House official. “Certainly there’s still a lot of work to be done, and that’s not a secret to anyone,” the official said. “But there’s still a lot of time left.”

Retiring Sen. Thom Tillis, R-N.C., one of the few sitting GOP lawmakers openly critical of Trump, expects Republicans to hold the Senate, and told MS NOW that House Republicans can hang on to their razor-thin majority.

“If we’re disciplined, we keep control of the Congress,” Tillis said. “If we’ve lost, on Wednesday morning, don’t blame the Democrats. Republicans, go to the nearest mirror and look in the mirror. That’s why we’ll lose. If we play team ball, if we set aside our petty differences and recognize Republicans getting elected are the most important thing — no purity test, get them elected — then they’re not playing team ball, and they’re part of the problem.”

The plan, according to two White House officials, is a familiar one: pivot to kitchen-table issues and flood battleground states with Trump and Cabinet surrogates in the coming months. Republicans, these officials insisted, have a record to run on, including a cut in taxes via the One Big Beautiful Bill efforts to reduce drug prices and beefed-up border security.

But conspicuously absent from the game plan outlined by White House officials: any expectation of message discipline from Trump himself.

What matters, the White House official told MS NOW, is “doing what we need to do out on the campaign trail — the events, the fundraising, the retail politics of actually showing up in districts.”

“President Trump is the unequivocal leader, best messenger, and unmatched motivator for the Republican party and he is committed to maintaining Republicans’ majority in Congress to continue delivering wins for the American people,” White House spokesperson Olivia Wales said in a statement to MS NOW. Trump, she added, would continue to draw “a sharp contrast” between his agenda and that of congressional Democrats, whom she said allowed “millions of illegal aliens to flow through the border, unanimously opposed the Working Families Tax Cuts, and are soft-on-crime.”

But there is bubbling frustration among Republican strategists working House and Senate races that the president and his team have been slow to focus on any of it. Trump has been consumed by the war in Iran and by the construction of a $400 million White House ballroom that has become an unlikely political liability — a gilded symbol, his critics argue, of a president more focused on monuments to himself than on voters squeezed by more everyday concerns.

Some of the major fights Trump has picked of late have only made life harder for Republican incumbents. One House Republican up for re-election in a swing district pointed to the president’s inflammatory Easter morning social media posts, his attacks on the pope and his habit of naming things after himself — episodes which, the lawmaker said, only serve to “fire up the people that want to put a check on his power, instead of taking his energy and focusing on stuff that makes their lives better at home.”

“I still think there’s a lot of members that don’t understand what we’re up against — and that includes leadership,” the House Republican said, granted anonymity in order to speak candidly. “It’s hard to tell if they truly believe the rhetoric that we’re gonna hold the House, or if they’re just saying that to make us feel like we can take some risks and take some really [bad] votes, and they’re just trying to get us to walk the plank for another piece of legislation that they feel they need.”

Several Republican strategists who spoke with MS NOW pointed to missed opportunities to tout the president’s record, and said that the window to alter the trajectory of the election is narrowing.

“If we can somehow — on a grand scale — tout our wins, get our message out and find some clearly stated wins with Iran and foreign policy, we’ll be on better footing,” said T.W. Arrighi, a Republican strategist and former spokesperson for the National Republican Senatorial Committee.” But I want to spend the summer doing that, with prices ticking down. I don’t want to be spending just two months of the fall doing it.”

Jacqueline Alemany is co-anchor of “The Weekend” and a Washington correspondent for MS NOW.

Mychael Schnell is a reporter for MS NOW.

Jake Traylor is a White House correspondent for MS NOW.

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The best response to the Supreme Court’s Callais ruling: proportional representation

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The day after the Supreme Court gutted Section 2 of the Voting Rights Act in Louisiana v. CallaisLouisiana Gov. Jeff Landry issued an executive order purporting to halt the state’s House primaries so that the elections would be conducted in redrawn districts. Already, legislatures in several southern states have begun planning to dismantle districts that have protected voters of color from racial voting discrimination for generations.

Democratic-controlled state legislatures face a question: protect voters of color and their incumbent representatives, or maximize partisan advantage with more counter-strike gerrymanders of their own?

There’s actually a clear option for voting rights policy that would guard against racial discrimination while preserving the hard-won gains of the Voting Rights Act: proportional representation.

By amending the Uniform Congressional District ActCongress could neutralize the gerrymandering arms race and restore equality of opportunity to our democratic process. We suggest amending the law to make three fundamental changes to how members of the House of Representatives are elected.

By amending the Uniform Congressional District Act, Congress could neutralize the gerrymandering arms race and restore equality of opportunity to our democratic process.

First, states with more than one seat should elect members of Congress using multi-seat districts. Second, states should use some form of list ballot structure, where voters choose either a single candidate (as happens now) or a “party list” vote (like the straight-ticket voting used in six states). Third, states should allocate seats to party lists using a fair allocation formula to ensure that votes have equal weight in determining representation.

This type of system minimizes the state’s role in selecting winners and losers. While any method of registering voter preferences requires some state administration, the current system of single-seat districts allows the government — not the voters — to determine the primary basis of representation.

Additionally, this approach would achieve better representation for voters of color. It would preserve the protections provided by the Section 2 framework of the Voting Rights Act (VRA), with additional benefits. Under a single-seat “first past the post” system, the state is forced to arbitrate competing claims for representation among various racial groups. By contrast, our proposal shifts this power to the citizens, allowing voters to identify and organize their own electoral communities.

Under a list system, candidates running for office can choose to run together on a list, and seats are allocated to lists. This allows voters to pool their voting strength, such that every vote counts toward representation: Even if one’s top candidate fails to earn enough votes to be elected on their own, a vote still counts toward the list and the election of candidates from the voter’s preferred group of candidates. Moreover, the list system ensures minority representation. In a three-seat election, any list receiving 25% of voter support is guaranteed a seat.

List systems allow voters to exercise greater agency than does our single-seat, winner-take-all system. By grouping themselves on the basis of the identity that they find salient, voters determine which groups are entitled to representation. Voters of color are free to determine which aspects of their identity matter most to them. Under the Section 2 framework, voters of color are not entitled to representation as political minorities or based on their other identities even though the framework incentivizes a politics of racial-group identity.

Electing representatives throughout the United States via multi-seat list systems, the type used in the majority of other democraciesincluding Brazil, Norway and South Africa, would also improve substantive representation. List systems facilitate the emergence of different types of coalitions, which can make for more fluid and dynamic politics. Elections are more competitivecoalitions continually shift to attract more voters and party systems are more responsive. Because list systems allow efsmaller groups to gain representation, minority coalitions that do not run on ethnic appeals are likely to emerge, moving U.S. politics away from ethno-nationalist trends. The same mechanisms that facilitate the emergence and survival of racial minority coalitions also allow for small parties running on non-ethnic appeals to gain representation, which can temper racial polarization.

List systems facilitate the emergence of different types of coalitions, which can make for more fluid and dynamic politics. Elections are more competitive, coalitions continually shift to attract more voters and party systems are more responsive.

In the wake of the high court’s Callais decision, both parties may be tempted, tit-for-tat style, to use the redistricting process as a tool for partisan retaliation. This path of mutually assured destruction would further erode voting rights and the foundations of our democracy.

As two of us warned more than a decade agothe Callais decision was predictable. Civil rights activists might be tempted to double down on the VRA’s race-based anti-discrimination approach by relying on state voting rights acts to do what the federal Voting Rights Act once did.  This would be a mistake.

Opponents of state voting rights acts would find it remarkably easy to use the Callais precedent to strike down bills that are mini-replicas of the federal VRA. The core objection of the Supreme Court’s conservatives to the Section 2 framework is that it requires the government to use race to allocate political power — a practice Chief Justice John Roberts famously dismissed years ago as the “sordid business” of “divvying us up by race.”

Reform must protect voters of color and ensure better representation for all Americans — goals that proportional representation is uniquely positioned to achieve. While amending the Uniform Congressional District Act remains the ultimate objective, progress does not have to begin in Congress.

Reformers should champion proportional representation at the local and state levels. With state legislatures reconsidering their electoral lawsthis is a perfect opportunity to consider proportional reforms.  Local governments with the capacity to innovate should also serve as laboratories for electoral democracy. Voting rights reformers are not left powerless by the Callais ruling. There is an obvious next step. We don’t have to live with political or racial inequality.

Michael Latner is director of research on democratic reform at the Charles Hamilton Houston Institute for Race and Justice and a professor of political science at California Polytechnic State University, San Luis Obispo.

Guy-Uriel E. Charles is the Charles J. Ogletree Jr. professor of law at Harvard Law School, where he also directs the Charles Hamilton Institute for Race and Justice.

Luis Fuentes-Rohwer is the Class of 1950 Herman B Wells Endowed Professor at Indiana University Maurer School of Law.

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