Are we tired yet?
Because I am. Bone-tired. Spiritually exhausted. Every single day with this administration feels like a new exercise in rewriting reality in real time. From the White House posting a digitally altered image of the arrest of social justice activist Nekima Levy Armstrong on X to the killing of Renee Good in Minnesota, every day it feels like it’s something with this administration. And don’t even get me started on the latest killing of a man in Minnesota, an incident many of us watched unfold with our own eyes, followed almost immediately by a reframing that labeled him an “armed terrorist.” Never mind that he held a legal concealed handgun license. Never mind context, nuance, video, or facts. The narrative machine kicked into gear, and once again, we were expected to accept a version of events that didn’t match what we saw.
This is the pattern now. Every day it’s something else. Children used as political bait. Immigration enforcement turned into a spectacle, with undertrained agents and former extremist group members positioned as enforcers. Fear dressed up as policy. Chaos sold as strength. I’m still waiting on the Make America Great Again part, because for a whole lot of people, this moment feels smaller, meaner, and more dangerous than ever. And the exhaustion isn’t apathy, it’s the fatigue that comes from having to stay alert at all times just to separate truth from spin.
Meanwhile, Black cinema is having a moment they can’t ignore.
While politics keeps testing our collective blood pressure, Black filmmakers are out here doing the work, and the Academy finally had to acknowledge it. Over the past year, films like “Sinners” and “One Battle After Another” didn’t just generate buzz; they dominated the Oscar conversation. When nominations were announced, both films led the pack, with “Sinners” making history as the most nominated film ever with 16 nominations. Ever-ever. Let that sit.
This is especially sweet considering how some entertainment pundits tried to undersell “Sinners” early on, questioning its reach and impact. Turns out, excellence doesn’t need permission. In the Best Supporting Actress category, first-time nominees Teyana Taylor and Wunmi Mosaku earned well-deserved recognition. And in a moment that feels both celebratory and long overdue, acting legend Delroy Lindo received his first-ever Oscar nomination for his role as Delta Slim, a veteran blues musician. Lindo has delivered masterclass performances for decades, so watching the industry finally say his name feels like a small correction to a very old oversight. Here’s hoping this season ends with him taking home the gold.
Carnival goes to Africa
This week, Carnival Cruise Line announced major plans for the 2027/2028 season aboard the Carnival Sunshine, including first-ever visits to African ports. The new itineraries will include stops in Italy, France, Spain, and Montenegro, as well as in Northern African destinations like Tangier and La Goulette. On paper, it’s a bold expansion for the 3,000-passenger ship and a sign that Carnival is leaning further into destination-focused cruising for a growing, adventurous customer base.
From a business standpoint, it makes sense. These sailings feel like a natural extension of Carnival’s Journeys program, longer, more immersive trips designed for travelers who want more than the standard cruise loop. Africa is rich, historic, and complex, and there’s no question these ports carry cultural weight and global appeal.
But personally? It’s a hard pass for me. Maybe it’s the political climate. Maybe it’s historical memory that doesn’t turn off just because the itinerary looks pretty. All I can picture is us stepping off the boat and ICE standing there saying, “Welcome home!” Humor aside, there’s a real unease many Black travelers feel right now about borders, documentation, and how easily narratives can shift once you’re no longer on U.S. soil. Protecting your peace sometimes means knowing when to stay docked.
