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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

Minnesota Star Tribune wins breaking news Pulitzer for coverage of Mass shooting

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Minnesota Star Tribune wins breaking news Pulitzer for coverage of Mass shooting

NEW YORK (AP) — The Washington Post won the Pulitzer Prize for public service for scrutinizing the Trump administration’s sweeping, choppy overhaul of federal agencies, and The Associated Press won the award Monday for international reporting about surveillance.

In a year when several prize-winning projects zoomed in on the Trump presidency, the Post’s coverage illuminated the administration’s fast-moving, sometimes opaque drive to reshape the national government and what the cuts and changes meant for individual Americans.

The Miami Herald’s Julie K. Brown was given a special citation for her reporting, nearly a decade ago, that drew attention to Jeffrey Epstein ’s abuses. The New York Times won three of the coveted prizes, the Post and Reuters each won two, and less widely known outlets ranging from The Connecticut Mirror to the podcast “Pablo Torre Finds Out” also were recognized in a challenging year for American journalism.

“This is always a day of celebration in our communities, but perhaps never more so than today as we face tremendous political and economic pressures,” prize administrator Marjorie Miller said in a livestream announcement.

In the last few months, the Post cut a third of its staff, CBS News announced it would shutter its nearly century-old radio serviceThe AP offered buyouts to over 120 journalists and some regional newspapers also publicly struggled. CBS parent Paramount’s acquisition of BLN has raised questions about what’s next for those networks. Meanwhile, President Donald Trump continued to bash, and sometimes sue, outlets whose coverage he finds objectionable.

‘Sweeping and deeply impactful reporting’

Spanning three years, thousands of pages of documents and numerous interviews, the AP project found that American companies help lay the foundations of the Chinese government’s system for monitoring and policing its citizens.

“This was sweeping and deeply impactful reporting, the kind of work that highlights the unique strengths of AP’s global, multiformat newsroom,” executive editor Julie Pace said in an email to staffers. She is among the Pulitzer Board’s new members.

Some of The Washington Post’s winning work was by reporter Hannah Natanson, whose home was searched and devices were seized in what federal authorities say was an investigation into a Pentagon contractor’s handling of classified documents. The Post says the seizure violated the First Amendment.

Two winning entries focused on Trump’s pulverizing approach to norms and constraints. Reuters, which won for national reporting, looked at how Trump has used the federal government and his supporters’ influence to expand presidential authority and target foes, the award judges noted. The Times took the investigative reporting prize for exploring the Republican president’s boundary-pushing approach to the notion of conflicts of interest.

Joseph Kahn, executive editor of the Times, said its reporters have been threatened over their work. “We have not, and will not” bow to the pressure, he said in a statement.

Reuters’ reporting on scam ads, AI chatbots and the social media giant Meta — which owns Facebook, Instagram and WhatsApp — won the beat reporting prize, last given two decades ago.

Reuters’ wins spotlighted “fearless, deeply reported, original work that holds powerful institutions to account,” editor-in-chief Alessandra Galloni said in a statement.

Independent Journalism, Powered by You.

For more than 175 years, The Associated Press has delivered fact-based, independent journalism—reporting without fear or favor through times of war, peace, change, and uncertainty.

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Visual journalism honors included a graphic novel

The prize for breaking news went to The Minnesota Star Tribune’s coverage of last year’s deadly mass shooting during Mass at a Minneapolis Catholic school. Judges praised the thoroughness and compassion of the newspaper’s reporting on a scene of carnage in its hometown.

“To me, it’s really a moment to appreciate the power of local journalism,” Kathleen Hennessey, the Star Tribune’s editor and senior vice president, said in an interview. One Tribune reporter who lives in the neighborhood heard the gunshots and called 911 before running to the scene, she noted; an editor at the paper has children who attend the school.

“It feels really gratifying to be recognized, but for this newsroom, this is also just still a really painful event,” Hennessey said.

The San Francisco Chronicle received the award for explanatory reporting, which means work that makes a complex topic comprehensible to everyday readers and viewers. The Chronicle’s series laid out how insurers, aided by algorithmic tools, undervalued and denied rebuilding claims for fire-destroyed homes, the judges said.

In visual journalism, The Times got a breaking news photography award for depicting devastation and starvation in Gaza resulting from Israel’s war in the territory. The Post won the feature photography prize, for a visual essay on a family welcoming a firstborn as the child’s father grappled with terminal cancer. The award for illustrated reporting and commentary — a category that includes editorial cartoons and more — went to Bloomberg for a graphic novel about online scams that threaten “digital arrest.”

In a statement, Bloomberg Editor-in-Chief John Micklethwait called it “deeply reported public service journalism, published in an inventive format.”

While several prizes reflected the year’s biggest news stories, others highlighted work that wasn’t pushed to everyone’s phones.

One of two local reporting awards went to The Connecticut Mirror and ProPublica for a series on how towing companies profited off Connecticut laws, at the expense of poor car owners; the state soon changed the laws. The Chicago Tribune also was honored for its coverage of the Trump administration’s intense immigration crackdown in the Windy City.

A ‘pioneering’ live podcast investigation

Texas Monthly won the feature writing award for an editor’s first-person story of flooding that killed his toddler nephew and swept his home away. Also in Texas, The Dallas Morning News’ architecture critic won the criticism award; judges praised Mark Lamster’s wit and expertise. The New York Times’ M. Gessen won the opinion writing award for essays on authoritarianism.

The audio award went to “Pablo Torre Finds Out” for probing financial arrangements between Los Angeles Clippers superstar Kawhi Leonard and an environmental startup in which the team owner invested. The judges called the project a “pioneering and entertaining form of live podcast journalism.” It’s produced by Meadowlark Media and licensed by the New York Times Co.-owned sports site The Athletic.

The Pulitzer announcement — usually followed by a dinner later in the year — came little more than a week after an armed man rushed a security checkpoint and exchanged gunfire with Secret Service agents outside another big event for U.S. journalists, the White House Correspondents’ Association dinner in Washington. The man is now charged with trying to assassinate Trumpwho was attending the event for his first time as president.

Separately, Monday’s awards also honored books, music and theater.

The prizes were established in newspaper publisher Joseph Pulitzer’s will and were first awarded in 1917. Winners receive $15,000, and the public service award carries a gold medal. Decisions are made by the Pulitzer Board, based at Columbia University in New York.

___

Associated Press writer Sarah Raza contributed from Canton, Michigan.

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The Dictatorship

A revolution in warfare is happening right now — and not in Iran

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A revolution in warfare is happening right now — and not in Iran

This is the May 5, 2026, edition of “The Tea, Spilled by Morning Joe” newsletter.Subscribe hereto get it delivered straight to your inbox Monday through Friday.

JOE’S NOTE

A revolution in warfare is happening right now — and not in Iran.

The historic shift is occurring instead on the front lines of Ukraine’s war to push back its Russian invaders.

Fifteen months ago, President Donald Trump did his best to humiliate Volodymyr Zelenskyy inside the Oval Office, pressing the freedom fighter to make a bad deal with Trump‘s ally, Vladimir Putin.

“You have no cards left to play,” Trump bellowed to Ukraine’s president.

The American president promptly slashed U.S. military aid to the Ukrainians. His vice president — who yelled at Zelenskyy in the same White House meeting — later said his proudest achievement was abandoning the Ukrainians to Putin’s evil designs. And both Trump and JD Vance worked feverishly to pressure the Ukrainians to surrender land at the negotiating table the Russians could never win on the battlefield.

A year later, Ukraine is holding all the cards, striking down waves of Russian invaders with drone technology that is rewriting the rules of modern warfare.

Retired Gen. David Petraeus said recently, “The future of warfare is happening right now in Ukraine.”

As Russia’s economy teeters on the brink of collapse, it is now the former KGB agent who has holed himself up in secure bunkers — afraid of being assassinated by Russian oligarchs or Ukrainian drones.

Meanwhile, Zelenskyy strolls freely through the streets of European capitals once aligned with Russia — not as a refugee, but as a conquering hero.

European and Canadian leaders now line up to provide his warriors with more than $100 billion in military help in their war of liberation to permanently push Putin’s Russian invaders out of his sovereign land.

And in perhaps the most surreal twist of this still-unfolding historical drama, it was Zelenskyy on social media yesterday who assured the frightened Russian defense minister that Kyiv would not attack Moscow during its annual World War II victory parades held today and tomorrow in the Russian capital.

Zelenskyy does, in fact, have many cards left to play against Putin.

And recently, through true grit and technological superiority, Ukrainians have drawn an inside straight while Trump is left dealing with a strait of another kind — one keeping U.S. troops in Iran far longer than the commander in chief anticipated.

Putin and Trump thought they would easily prevail in quick wars against overmatched opponents. What they didn’t count on was a technological revolution in asymmetric warfare that has radically shifted power dynamics on the global stage — and left Putin’s dream of military success on the ash heap of history.

QUOTE OF THE DAY

“It is time for Russian leaders to take real steps to end their war, especially since Russia’s Defense Ministry believes it cannot hold a parade in Moscow without Ukraine’s goodwill.”

— Ukrainian President Volodymyr Zelenskyyafter the Kremlin scaled back its Victory Day celebrations amid intensifying Ukrainian strikes deep inside Russia

CHART OF THE DAY

ON THIS DATE

In 1973, Secretariat won the Kentucky Derby, the first of his Triple Crown victories, in a time of 1:59.4 — a record that still stands.

Joe Dombroski/Newsday RM via Getty Images

A CONVERSATION ABOUT THE TECH RIGHT

Silicon Valley’s libertarian billionaires helped put Donald Trump back in the White House. Now, according to a sweeping new piece in The Atlantic, George Packer argues they’re running it — and selling out the president’s populist base to do it. He joined “Morning Joe” today to discuss “The Venture-Capital Populist” and whether the MAGA coalition can survive its own oligarchs.

JS: Talk about David Sacks, Elon Musk, and Peter Thiel — what do they actually believe?

GP: These men have been hardcore libertarians all their lives. Thiel famously said freedom and democracy are incompatible. But now they’ve come around to the view that government can actually be useful — as long as it serves them. As Trump’s AI and crypto adviser, Sacks worked to align government policy with the wishes of those industries, not the public interest.

JS: And what are they ultimately after?

GP: They are wielding this power to fit their financial interests and their sense that the world should be ruled by a small number of very smart, wealthy men — an oligarchy.

JS: Sacks has aligned himself with Vladimir Putin and Viktor Orbán and against liberal democracy. What’s driving that?

GP: Sacks is pretty ignorant about the history and politics of that region. But his view mimics his approach to business: There’s no moral calculation. Ukraine is a risky bet, so naturally you end up sympathizing with Putin — because morality has been replaced by a cold calculation of where your interests lie.

Claire McCaskill: A lot of powerful, wealthy people bent the knee to Donald Trump out of fear. These guys did it out of opportunity. Talk about how this romance is hurting the president with his base.

GP: Here’s an example: Just yesterday, the White House — after dismissing AI safety concerns as Biden-era wokeness — announced that AI models would have to report their safety tests to the government. Why? Because their working-class populist base is afraid of AI. The numbers make that clear: They don’t see it the way David Sacks and Peter Thiel do.

JS: These guys reject the idea of Western civilization as Winston Churchill and World War II leaders thought of it — and blame everybody in the fight for Western democracy except Vladimir Putin. Why?

GP: They use the phrase “Western civilization” as a kind of flag that they’re waving when they criticize European democracies. But what do they mean by it? That’s the real puzzle.

Because if Donald Trump — who tried to overthrow an elected government — is the embodiment of Western civilization, it doesn’t mean to them what it means to you and me.

This conversation has been condensed and edited for brevity and clarity.

0.1%

— The share of accounts on Polymarket making more than two-thirds of the platform’s profits.

ONE MORE SHOT

Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

Madonna poses at the Metropolitan Museum of Art for the 2026 Met Gala, celebrating “Costume Art” on Monday.

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The Dictatorship

2 months later, Trump’s boast about ‘stabilizing’ oil prices looks ridiculous

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Exactly two months ago, on the sixth day of the war in Iran, Donald Trump hosted a White House event intended to honor a championship soccer team, though the president took some time to comment on an issue on the minds of many.

“Yesterday, my administration announced decisive action to help keep down the oil prices,” the Republican declared. Moments later, he went on to say oil prices “have pretty much stabilized.”

It was never altogether clear what “decisive” actions the president was referring to, but two months later, it’s painfully clear that those mysterious moves failed to “pretty much stabilize” prices. MS NOW reported:

The average price for a gallon of gas in the U.S. reached $4.46 [on Monday] as the standstill in the Strait of Hormuz continues to strain global energy markets. The average price for one gallon of diesel fuel topped $5.64, according to national averages tracked by AAA.

A day later, that national average inched higher, reaching $4.48 per gallon, while the average for diesel climbed to $5.66.

Chart: Carson Elm-Picard / MS NOW; Source: AAA

An analysis published by Bloomberg News described the recent trend as the sharpest spike in pump prices in at least three decadesand while the president has continued to insist that prices will plummet after the war, the fact remains that (a) it’s far from clear when the conflict will be over; and (b) dozens of energy sites throughout the Middle East have been struck as part of the war; wells have to be reopened; and some infrastructure will have to be rebuilt, all of which will take time.

As for the politics, the White House and its allies appear to have no idea what to tell the public about this. House Majority Leader Steve Scalise appeared on CNBC last week, for example, and tried to argue that gas prices are lower now than they were in 2024.

“People will remember that two years ago, we were paying almost $6 a gallon for gas,” the Louisiana Republican said. “Right now, it’s $3.”

He was spectacularly wrong on both points.

Around the same time, Republican Sen. Tim Scott of South Carolina appeared on Fox Business and told viewers“Gas prices continue to come down,” even as gas prices continued to go up.

As for Trump, in March, he tried to pitch the public on the idea that higher prices were a good thing — a line that proves so foolish that even he didn’t repeat it — which gave way to the president saying in April that gas prices were “not very high.”

His latest line, offered on Tuesday morning, argued that higher prices at the pump are “a very small price to pay,” which is easy for him to say given he doesn’t have to worry about paying those prices.

As for the “decisive” actions he claims to have taken two months ago, that he said “pretty much stabilized” prices, Trump still hasn’t explained what in the world he was talking about, or why those undefined moves failed so badly.

Steve Benen is a producer for “The Rachel Maddow Show,” the editor of MaddowBlog and an MS NOW political contributor. He’s also the bestselling author of “Ministry of Truth: Democracy, Reality, and the Republicans’ War on the Recent Past.”

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