On This Issue:

The Issue

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Why Is This Happening?

https://www.vox.com/2018/6/20/17475232/children-separation-border-immigration-families-belong-together

https://www.theatlantic.com/politics/archive/2018/06/stephen-miller-family-separation/563132/

 

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You Can Help!

Resources to help child immigrants & fight family separation

via Today.com (How to Help Immigrant Children)

  • Together Rising Love Flash Mob. Organized by best-selling author and blogger Glennon Doyle through her non-profit organization, the fundraising effort will go to provide bilingual legal and advocacy assistance for 60 children, aged 12 months to 10 years, currently separated from their parents in an Arizona detention center. Their first priority will be to establish and maintain contact between children and their parents, with the ultimate goal of reunification and safety and rehabilitation for the children.
  • The Florence Project and Refugee Rights Project. This organization provides legal assistance and social services to detained immigrants in Arizona.
  • The Young Center for Immigrant Children’s Rights. This organization works for the rights of children in immigration proceedings.
  • Kids In Need Of Defense (KIND). This organization works to ensure that no child appears in immigration court alone without representation.
  • Asylum Seeker Advocacy Project. They work to prevent the deportation of asylum-seeking families fleeing violence.

via slate.com (How you can fight family separation)

• The ACLU is litigating this policy in California.

• If you’re an immigration lawyer, the American Immigration Lawyers Associationwill be sending around a volunteer list for you to help represent the women and men with their asylum screening, bond hearings, ongoing asylum representation, etc. Please sign up.

• Al Otro Lado is a binational organization that works to offer legal services to deportees and migrants in Tijuana, Mexico, including deportee parents whose children remain in the U.S.

• CARA—a consortium of the Catholic Legal Immigration Network, the American Immigration Council, the Refugee and Immigrant Center for Education and Legal Services, and the American Immigration Lawyers Association—provides legal services at family detention centers.

• The Florence Project is an Arizona project offering free legal services to men, women, and unaccompanied children in immigration custody.

• Human Rights First is a national organization with roots in Houston that needs help from lawyers too.

• Kids in Need of Defense works to ensure that kids do not appear in immigration court without representation, and to lobby for policies that advocate for children’s legal interests. Donate here.

• The Legal Aid Justice Center is a Virginia-based center providing unaccompanied minors legal services and representation.

• Pueblo Sin Fronteras is an organization that provides humanitarian aid and shelter to migrants on their way to the U.S.

• RAICES is the largest immigration nonprofit in Texas offering free and low-cost legal services to immigrant children and families. Donate here and sign up as a volunteer here.

• The Texas Civil Rights Project is seeking “volunteers who speak Spanish, Mam, Q’eqchi’ or K’iche’ and have paralegal or legal assistant experience.”

• Together Rising is another Virginia-based organization that’s helping provide legal assistance for 60 migrant children who were separated from their parents and are currently detained in Arizona.

• The Urban Justice Center’s Asylum Seeker Advocacy Project is working to keep families together.

• Women’s Refugee Commission advocates for the rights and protection of women, children, and youth fleeing violence and persecution.

• Finally, ActBlue has aggregated many of these groups under a single button.

This list isn’t comprehensive, so let us know what else is happening. And please call your elected officials, stay tuned for demonstrations, hug your children, and be grateful if you are not currently dependent on the basic humanity of U.S. policy.

 

Las Americas Immigration Advocacy Center

http://las-americas.org

Annunciation House

https://annunciationhouse.org

Border Network for Human Rights

http://bnhr.org

 

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People Are Reacting!

The United Methodist Building is the only non-governmental building on Capitol Hill in Washington, D.C. Adjacent to the U.S. Capitol and the Supreme Court, it had the perfect message on its reader board this week.

Let those with ears hear, and eyes see.

And may none of us remain silent.

 

https://www.cbsnews.com/news/governors-withdraw-national-guard-troops-over-family-separation-policy/

The governors of multiple East Coast states have announced that they will not deploy National Guard resources near the U.S.-Mexico border, a largely symbolic but politically significant rejection of the Trump administration’s “zero-tolerance” immigration policy that has resulted in children being separated from their families.

 

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This Is Not Over!

http://www.sandiegouniontribune.com/opinion/letters-to-the-editor/sd-le-family-separation-policy-reversed-trump-border-utak-20180620-story.html

As good Americans were reacting in horror, the president is reported to have come to and reversed the process just in time. But not in time to reverse the inevitable snarls about to happen reuniting those families, or the psychological damage to the young ones who were snatched by strangers off to strange places. I don’t care how clean and neat the facilities were. There should be reparations.

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Westworld Season Two: Kiksuya

This episode is about one of the more mysterious characters we have seen skirting the edges of the narrative, Akecheta, and his tribe Ghost Nation. This lends some insight into the tribes creation and motivation ,and their connection, from the beginning to Maeve’s story.

I thought Akane No Mai was going to be my favorite episodes of the season, but I think this episode has overtaken that one as being my most favorite..

A lot of people have reviewed this episode, broadly considered to be one of the most beautiful episodes aired this season. Rather than review it myself, I’m going to leave these here.

Note some major points: The word Kiksuya means : Remember. The episode is subtitled, with Akecheta speaking the  Lakota Sioux language. Akecheta’s entire story is being told to Maeve through her daughter. The Deathbringer is none other than Dolores. (What if it turns out that Dolores is the villain of this series?)

 

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https://www.avclub.com/a-symbol-tells-his-story-on-a-heartbreaking-westworld-1826709787

For the first time, Akecheta gets to tell his story, relating his life’s journey to Maeve’s (still unnamed, I think?) daughter as William lies bleeding out on the dirt nearby. It’s a wonderfully focused hour that builds to an actual conclusion—and while I’m not sure we learn much here that we didn’t already know or suspect, it’s still emotionally satisfying to spend this much time with a single character, getting to see how they came to be and what drives them.

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https://www.vox.com/culture/2018/6/10/17442310/westworld-season-2-episode-8-recap-kiksuya

All told, it’s a little languid and could have lost 10 minutes without too much trouble. (There are a lot of gigantic landscape shots, which eventually grew repetitive.) But “Kiksuya” has the visceral emotion that the series often lacks, and McClarnon is a terrific leading man. This is probably my favorite episode of the season so far, which I would not have expected going in.

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https://www.vanityfair.com/hollywood/2018/06/westworld-kiksuya-what-is-the-door-ending-explained-maeve-akechetah-zahn-mclarnon

*In the episode, Akecheta ‘s story parallels Maeve’s story. When he comes to his realization that the world he lives in is false, he stages his own death (as she did), and when he wakes up underground, takes a tour of of the facility, and finds his way to the cold storage room, where he finds all the family and friends he remembered had simply gone missing, and been replaced with new and unknown faces.

The scene where Akecheta returns to the world above, and tells his friend’s mother that he saw her son in the underworld, (a son who has since been replaced with a man she knows is not him), and gives her a lock of his hair, is very probably the one of the most tearful moments in the entire series.

But Westworld is also, clearly, making a bit of incisive commentary on a character like Dolores assuming she’s either the first or most important child of Ford when, all along, the Native cultures were making their way towards enlightenment. This explains why, in Season 1, a young member of Ghost Nation dropped a carving of one of the Delos employees in the dusty streets of Sweetwater. This tribe has long known what was up.

But the show also reaches much further back, to ancient myths about lost loves and the land of the dead. Fans of Greek mythology might recognize shades of Orpheus and Eurydice—the story of the legendary musician who traveled to the Underworld to find his dead bride and try to bring her back to the land of the living. Akecheta and Kohana travel that same path. But as you might expect, there’s a reflection of that very same myth in Native culture. An Algonquin legend, “The Spirit Bride,” tells an almost identical story. “The Worm Pipe” tells a similar tale, but with a happier ending than either Orpheus or Akecheta manage to find.

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https://heavy.com/entertainment/2018/06/westworld-kiksuya-meaning-translation/

The title of the episode, Kiksuya, means “Remember” in Lakota. In fact, nearly the entire episode is going to be about the back story of the Ghost Nation, with much of the episode containing subtitles. Yes, much of the episode will be spoken in Lakota. If you recall, the subtitles in Episode 3 showed Hector speaking Lakota to the Ghost Nation natives.

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https://www.theatlantic.com/entertainment/archive/2018/06/westworld-season-2-episode-8-kiksuya-roundtable/562451/

When Ghost Nation were introduced in the first season, they were faceless villains, made up in white and black paint (marked with bloody handprints), targets for hosts and guests alike to fight off. They were the backbone of Lee Sizemore’s gross, rejected new narrative centered on cannibalism, a garish attempt to jack up the stakes in a park already centered around murder and assault. In Season 2, there have been hints that they’re not the villains they appear to be.

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https://www.rollingstone.com/tv/recaps/westworld-recap-season-two-episode-8-kiksuya-w521170

It took one of its most underutilized cast members, placed him at the center of a storyline that directly addressed the series’ sci-fi conceit but combined it with real mythmaking power and then let him run. The warrior Akecheta may not save Ghost Nation and its many human captives, but he just might have saved this show.

 

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Weekend Reading: The Fandoms Ain’t Alright

This has definitely caught me in my feels this week as I learned that Kelly Marie Tran was, very possibly, driven from the only social media site she has engaged with, Instagram, since being cast as Rose Tico in the latest Star Wars film. She received so much racist and sexist hate, that she deleted all her posts, and shut down her page. I’m saddened by this, because I was really enjoying following   her actor’s journey on Tumblr, and she seemed incredibly happy to be a part of the franchise. Joining the Star Wars franchise, as a principle player, was supposed to be a happy, and momentous, occasion for her, and a bunch of assholes spoiled it! She seemed like such a positive person, so bubbly, and pleasant,and she just wanted to share some of her happiness. I was interested in her journey to stardom, and planned to follow her career.

Image result for kelly marie tran

https://www.thedailybeast.com/the-persecution-of-kelly-marie-tran-how-star-wars-fandom-became-overrun-by-alt-right-trolls

So how did a breakout role in an incredibly influential film end in fear and self-censorship? For anyone who’s been following recent trends within the Star Wars fandom, this outcome would actually be fairly predictable; in fact, given the racism, misogyny, and general toxicity that’s built up around the franchise, it’s impressive that Tran was able to last this long. Like so many other assholes, bigoted Star Wars fans have recently become emboldened, emerging from the chrysalises of racist Reddit threads as ubiquitous, bullshit-spouting butterflies. 

And now, like Leslie Jones, and Daisy Ridley before her, she’s decided she has simply had enough of the constant racist abuse, and  the Star Wars fandom is just too toxic for her. This is what “fandom “has come to, people harassing and abusing the creators of the content they claim to love. This goes against the very definition of what “fandom” is.

https://en.wikipedia.org/wiki/Fandom

Fandom is a subculture composed of fans characterized by a feeling of empathy and camaraderie with others who share a common interest. Fans typically are interested in even minor details of the object(s) of their fandom and spend a significant portion of their time and energy involved with their interest, often as a part of a social network with particular practices (a fandom); this is what differentiates “fannish” (fandom-affiliated) fans from those with only a casual interest.

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This isn’t just about criticizing Star Wars, or disliking her character. No matter how much certain media sites try to play it down by mentioning that other Star Wars actors have been harassed out of acting altogether (Jake Lloyd, Hayden Christensen ), they must acknowledge that her harassment included the triple vectors of  racism, sexism, and fat shaming. This wasn’t about calling her being a bad actress and is  the  the exact same thing that happened to Leslie Jones for daring to appear in a movie.

https://www.nbcnews.com/news/us-news/why-was-leslie-jones-targeted-trolls-n638291

And no, this isn’t just the Star Wars fandom. This is a much larger issue than Kelly Marie Tran and its about time the mainstream media looked closely at it. Every type of fandom has this same toxic element within, from books (check out the Goodreads bullies from the early 2000’s, and the SadPuppy Brigade in Science fiction), movies (Leslie Jones’ retreat from Twitter, and the  attempted tanking of Black Panther on Rotten Tomatoes), games (see Gamergate, and the term “Swatting”, which has already cost the life of one man), and television (see the racist harassment of Candace Patton of The Flash,  the erasure of characters of color, in media in which they are the primary characters, like Teen Wolf, and there was The Rick and Morty Schezuan Sauce Debacle last year).

The common denominator of all this toxicity is primarily straight, White, and male. White male geeks are showing their whole ass, in every sphere of geekdom, as they always have, but now this news has finally made its way into mainstream media, which has long ignored what goes on in fandom circles. How did things go so terribly wrong? Did this happen because being a geek has gone mainstream and attracted unsavory elements? Was geekdom always like this? And if not, what caused the behavior change? People are   thinking about this now  because this is a larger issue beyond Kelly Marie Tran, and The Guardian pulls no punches when it comes to naming exactly what this issue is:

https://www.theguardian.com/film/2018/jun/07/kelly-marie-tran-rose-why-are-some-star-wars-fans-so-toxic

These males – and it is males – feel they have ownership over a piece of entertainment: that geekdom is their safe space, theirs alone, and the newfound mass popularity of the genre is bringing a lot of casuals into their hitherto predominantly straight, white, male dojo. Diversity isn’t what some of them want. Which is bizarre, considering the benefits of diversity are what quite a lot of sci-fi is actually about. But it’s not what these people believe they paid for, and therefore see themselves of having part-ownership of. The sense of entitlement is staggering.

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I can’t even say its just White fanboys who are responsible because there is just as significant a contingent of White women, who are as toxic, “misogynoiristic”, racist, and  delusional in their fandom, as the White fanboys, who insist that these creations are ruining their childhoods, by being inclusive of gender and race. For example, check out the ‘shipping behavior surrounding Reylo, JohnLock, and Destiel.

White female fans have  attacked Candace Patton, the women of the MCU, the actress wives of the stars of Supernatural and Sherlock. Why? Because they believe these real life women stand in the way of their OTP (One true pairing.) These are the same women who think they’re being progressive because they ‘ship two White male characters, while ignoring the half dozen actually canon, gay characters of color, in movies like Moonlight, and TV shows like Teen Wolf, and Shadowhunters.

Female fans were so incensed at the character, Sharon, from Captain America: The Winter Soldier, that they harassed, and attacked the actress, and started a Twitter campaign insisting that Captain America have a boyfriend. (Never mind that Steve Rogers has NEVER  even been hinted at as being gay, anywhere in the comics, or the MCU.) (For the record, I’m not against gay characters. I  don’t want canon straight characters being changed to gay in the source material, although I will headcanon them as gay in fanfiction. I would prefer creating media with actual  gay characters, of which there are plenty, that I’d love to see in movies.)

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White male fanboys have even attacked Star Trek, for having too much  diversity, and social justice messages! They claim that is not what they’ve watched the show for and  I have to question whether they’ve EVER watched the show, because diversity, and social issues was the entire foundation around which the franchise was created. What the Hell have they been watching?!!!

I’ve tried to figure why these fandoms have become more toxic, and there are several articles that point to things like, the anonymity of the internet, and the feelings of entitlement that fans may have towards the source material, the actors, and characters. All of that is true, but those are just a couple of  elements in  the toxic stew that so many fandoms have become.

Not all toxic fandom has a racial component, because those fandoms without a significant portion of marginalized members can be just as toxic as the ones that do. But it cannot be denied that when there’s a significant number of PoC, and women, in the source material, there’s also a definite racial component to the backlash. I fear this will only get worse, as people who were previously marginalized as creators, actors, and fans, keep making significant inroads into Pop culture. I see that I’m going to have to pull out Samuel R. Delany’s essay again:

http://www.nyrsf.com/racism-and-science-fiction-.html

As long as there are only one, two, or a handful of us, however, I presume in a field such as science fiction, where many of its writers come out of the liberal-Jewish tradition, prejudice will most likely remain a slight force—until, say, black writers start to number thirteen, fifteen, twenty percent of the total. At that point, where the competition might be perceived as having some economic heft, chances are we will have as much racism and prejudice here as in any other field.                                                           ——Samuel R. Delaney

And I believe that this is what’s happening here. White fanboys are having a full on meltdown, as the Pop culture they use to claim entirely for themselves, has begun  broadening  its fanbase, by appealing to women and minorities. Not only that, but a significant portion of fandom has been infiltrated by people who are not actually fans at all. The loose coalition of the Alt-Right, and White Nationalists, for example, who see all this as yet another opportunity to harass women, and PoC, are simply jumping on the bandwagon.

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And yes, I think this behavior in fandom is directly tied to the behavior of White men behaving badly in the rest of the culture, from mass shootings, to car attacks, to violent marches. They have caused controversy in every field, including the fields of  History, and Science, as they attempt to change historical, and scientific narratives to fit their White racial agenda. There is an all out attack on every part of American culture.

https://www.publicmedievalist.com/race-racism-middle-ages-toc/

https://www.nationalgeographic.com/magazine/2018/04/race-rising-anxiety-white-america/

But I generally believe there is more racism in fandom, not because there are more racists in fandom, but because there are more races in fandom. Not because the business of entertainment cares so much about these groups, but because we have all been exceptionally clear about letting them know we will no longer be giving them our money for products that refuse to include us, (and they’ve also seen they can make serious  bank by appealing to us, i.e. Black Panther,  The Fast and The Furious, Star Wars.) Even some White fans have claimed to be tired of only seeing White men onscreen, and have been clamoring for more diversity.

https://io9.gizmodo.com/fantasy-writer-n-k-jemisin-explains-why-theres-more-ra-1586220859

She begins by explaining that racism has become a bigger issue in fandom lately, partly because people of color are becoming more powerful as creators in the publishing industry. And that means the backlash is going to be stronger.

But ultimately, it doesn’t matter how many temper tantrums, and meltdowns White men have, though. Once “fans” start reacting this badly, they’ve already lost whatever war they think they are a part of. The business of entertainment has made so much money from appealing to people like me, that I don’t think they have any plans to go back to the way things once were, of only appealing to the demographic of: White men ages 18-35. (There’s also the side effect of fans and creators watching this behavior, and doubling down in their fight against racism, homophobia, and sexism, as they don’t want to be associated with such rabid behavior.)

Further Reading:

https://www.huffingtonpost.com/entry/doctor-who-backlash-exposed-the-irony-of-men-who-dont-want-women-in-fandom_us_596f642ce4b0000eb1978720

http://minervamag.com/2016/01/when-fandom-goes-wrong/

https://splinternews.com/fandom-isn-t-broken-it-s-just-not-only-for-white-dudes-1793857254

Racism, Misogyny & Death Threats: How Star Wars Fans Turned to the Dark Side

https://www.theverge.com/2018/1/2/16840170/swatting-death-call-duty-toxic-fandom

https://filmschoolrejects.com/star-wars-fandom-is-broken/

http://talynnkel.com/blog/2017/10/9/your-fandom-is-racist

Racism, Misogyny & Death Threats: How Star Wars Fans Turned to the Dark Side

https://www.theodysseyonline.com/star-wars-fandom-toxicity-problem

https://birthmoviesdeath.com/2016/05/30/fandom-is-broken

http://www.syfy.com/syfywire/star-wars-has-a-white-male-fandom-problem

https://www.inverse.com/article/31867-star-trek-discovery-racism-sexism-reddit-youtube-trailer

*Twitter Reactions

It seems I wasn’t the only person who felt some type of way about what happened to Kelly. A lot of people came out in support of her, including her co-stars and the director.

 

*And yeah, I’m not leaving White women out of this either. There are a ton of white women writing fanfiction, and meta essays, that seek to erase, and diminish, characters of color  from their own narratives.

 

*And Finally

When it comes to WoC in fandom:

(link to twitter thread)

https://newrepublic.com/article/137489/women-color-price-fandom-can-high

 If you’ve been involved in the dedicated fandoms of comics, science fiction, and fantasy as a black woman for any length of time you’ve undoubtedly had to face a degree of racism and sexism that such tweets are rooted in. It doesn’t matter if you’re an actress or a journalist, a screenwriter or a director, the price of visibility for black women in geek properties feels too high.

Weekend Reading List (The Pocket Files)

Guys! I’ve been horribly slack with the postings this week, but that doesn’t mean I’m not working on stuff. (Actually, I have not been doing anything, really.) I’ve been on a sort of vacay all week, but I’ll be back with more ramblings in June, starting Monday.

Here’s some of the lighter stuff that’s been sitting in my Pocket list for a while. Some of these are not new, but they’re new for me.

I loved this piece from BNP/Facebook writer, Stephanee Killen, about one of my favorite episodes of Star Trek, The Enemy Within. I must have unknowingly taken the episode to heart because I’ve always thought of my less attractive qualities as useful, positive things. Or at the very least tried to turn them into useful things.

Like a lot of people I suffer from anxiety. I don’t take medication for this, but I manage it very well. One of the ways I manage it is by turning it into something useful, like the ability to plan ahead. Making plans within plans is one of the ways I manage anxiety about things other people would probably consider trivial, like driving to new locations. When I have anxiety about something specific, I usually research the hell out of it, and the knowledge helps to alleviate some of the problem. Turning anxiety into knowledge is one of my ways of using a negative quality for good.

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In this particular episode, Kirk gets split into halves, a  passive, lighter side, and a darker, more negative side. The argument, illustrated beautifully in the show, is that Kirk needs his darker half to function competently as a Commander. 

I think the philosophy I most disagree with in Star Wars is the concept that light and dark are two separate things, and that one of them is undesirable. Star Trek’s more nuanced argument is that both these qualities are needed to form a whole, and that taken singularly, they’re both useless.

McCoy tells him, we’re all brutal animals. We all have our dark side. It’s human. The dark side holds strength. The light side holds caring, love, and courage. Spock, who understands duality better than most, indicates that what enables him to survive the differences between his two often-contrary halves is his intellect. Scotty eventually fixes the transporter. Kirk 1 and 2 get put back together, and the question of whether half a man can live is answered: No, he cannot—but thankfully, that’s not required.

http://blacknerdproblems.com/nerd-lessons-star-trek-the-dark-side/

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I am loving this newest season of Into the Badlands, and will have some opinions about that  next week. What I’m finding a hell of a lot of fun is the character of Nathaniel Moon. He’s an important part of the show, with his own story-line, and agenda, and even a love interest. 

I’ve seen this actor there and about, from time to time, but never gave him much attention. I’m gonna fix that right now, cuz Lawd, is he foine!

And do it he has. Since his first film role in the movie Colors (1988), Sherman hasn’t stopped sharpening his craft. With a career spanning over thirty years, he says that the characters, themes, setting and coworkers on Into the Badlands continue to inspire and motivate him.

http://blacknerdproblems.com/sherman-augustus-badlands-talks-film-football-acting-black/

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Here! Have some more Donald Glover think-pieces. It seems that every couple of months there’s some new artistic piece from a Black artist. We just sat through Black Panther, and then came Beychella (which I watched online), and the release of Glover’s video was a nice addition, marking 2018 as one of the “Blackest” years ever.

Jim Crow began as mere pop culture entertainment at the expense of America’s freed slaves and became the means of their oppression. The term “Jim Crow” became so pejorative this country’s apartheid separating Africans and their descendants from white Americans its name. pic.twitter.com/IEwLwfB2i4

http://www.indiewire.com/2018/05/justin-simien-analyzes-donald-glover-this-is-america-1201961450/

http://www.thisisinsider.com/this-is-america-music-video-meaning-references-childish-gambino-donald-glover-2018-5

https://thegrio.com/2018/05/07/this-is-america-5-powerful-messages-that-will-stay-with-you-long-after-your-donald-glover-hangover/

http://time.com/5267890/childish-gambino-this-is-america-meaning/

https://www.theatlantic.com/entertainment/archive/2018/05/this-is-america-childish-gambino-donald-glover-kinesthetic-empathy-dance/559928/

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Here’s an incredible review of Kaufmann’s 1978 remake of  Albert Finney’s Invasion of the Bodysnatchers. This is one of my all time favorite alien invasion movies, and although I did a film comparison of all the Invasion movies, I have yet to do a complete analysis/review of this one. I got some thoughts, ya’know! 

Like the remake of The Thing, it is a near perfect example of Science Fiction Horror. There’s not one wrong note of dialogue in it, the acting is superb, and the setting is perfect for its message. 

In a more thrilling flourish, Kaufman channels Alfred Hitchcock by cutting back-and-forth between pod people following Matthew and Elizabeth on a city street; as the two speed up, their clacking exaggerated for effect, we see the feet of their pursuers speeding up in unison, until both reach a sprint. 

https://deepfocusreview.com/definitives/invasion-of-the-body-snatchers/

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This has been sitting in my Pocket page just waiting to be deployed. The whole thing just tickled the hell out of me.

Animals That Look Like They’re About To Drop The Hottest Albums Ever

Obviously this is Country music (The chicken, tho’!)

The Up-And-Coming Music Legends

 

He ’bout to drop that hot new Mixtape

 

 

I swear to gob, these two look like Hall &Oates

 

That hot new Norwegian Emo Band, or The Verve. Pick One!

 

This is that new Rock band with the twin guitarists

The Band With The Twin Guitarists

 

 

There’s a whole bunch of these gothic looking pet pictures all over the internet. I’m still finding these deeply hilarious…

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 I actually love the Marvel Cinematic Universe, despite all my bitching. It is an unquestionably visually stunning place to visit, and even the worse movies in the MCU look gorgeous. They also look all of a piece, as if they really all belonged in the same world.

I grew up reading Marvel Comics. In fact, those were the first comic books I read (starting with Conan and Red Sonja.) I wasn’t thrilled when Marvel started pumping out these movies, but only because I hadn’t read any of the individual character’s books, and wasn’t particularly interested in their standalone movies. I was not a Captain America, Iron man, Ant Man, or Black Widow fan. I knew all these characters because they were in The Avengers, and I read all of those books. I dutifully watched the first few movies, not especially enthused, but cautiously interested. I didn’t get excited until the first Captain America movie, which turned out to be surprisingly good, and The Avengers movie clinched it. 

I still haven’t watched all the movies. I skipped the first two Thor movies, and the first Iron Man. I never cared about Ant Man, and never will, I’m betting, although I am a big fan of  The Wasp (from the comic books), so I might see that movie.

Here are some of the better MCU music videos on Youtube. This was one of the first ones I saw. Not all of them are this good, but the editing on this one, was astounding.

 

I liked this one because it includes everything in the MCU, including all of The Defenders, all except Blade (which really should have been included, along with the X-Men and Wolverine films, even though they’re not part of the MCU. Yet!)

 

 

I skipped the first two Thor movies. I watched maybe the first thirty minutes of the second one before I fell asleep. I did enjoy this last one because I knew the director, Taika Waititi, from What We Do in the Shadows, and I trusted his film making skills.

 

 

This video was pretty good too. The editor of this one was nice enough to include  action parallels from the different films, something which helps to reinforce the idea that these movies all take place in the same cinematic world. I do object to the music of this one. I just dislike the song, and  would’ve chosen something more energetic.

Weekend Holiday Reading

Just in case you find yourself with nothing in particular to do this Memorial Day, here are some articles I found interesting this week. They don’t actually have anything to do with Memorial Day but I liked them, anyway. This also doesn’t mean they were published this week, just that they were new for me. (For those of you who are not US citizens, Memorial Day is one of those martial holidays that America celebrates by taking off from work, to burn various meats, over open flames, in our backyards.)

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*This is a song I’m going to keep singing until people memorize the lyrics. I’ve noticed this is a trend throughout a lot of science fiction, where White people, for those are the ones primarily writing these futures, are oppressed or terrorized in the same manner that they have historically oppressed others.

I read somewhere that the reason why the opioid crisis happened the way it did in the US, is because White people cannot envision any future in which they do not maintain primacy. They can only imagine the future as a dystopia for themselves, whereas marginalized people are hopeful about the future because we’ve already experienced the worst.

https://www.theatlantic.com/entertainment/archive/2014/04/why-sci-fi-keeps-imagining-the-enslavement-of-white-people/361173/

In Terminator, as well, the fact that the robots are treating us as inhumanly as we treated them doesn’t exactly create any sympathy. Instead, the paranoid fear of servants overthrowing masters just becomes a spur to uberviolence (as shown in Linda Hamilton’s transformation from naïve good girl to paramilitary extremist). The one heroic reprogrammed Terminator, who must do everything John Connor tells him even unto hopping on one leg, doesn’t inspire a broader sympathy for SkyNet. Instead, Schwarzenegger is good because he identifies with the humans totally, sacrificing himself to destroy his own people. Terminator II is, in a lot of ways, a retelling of Gunga Din.

 

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*I really enjoyed this post discussing why the lack of racial diversity in the Bladerunner movies, is so troubling. The only show I can think of that comes close to getting it right is the BBC series titled Humans. It has a diverse cast of robots, and deals with the same things, but as is usual, for shows written from a White person’s point of view, it falls short of discussing the racial implications. (Of course Britain has a different relationship with racial slavery, having abolished it much earlier than America did.)

https://www.thestranger.com/slog/2017/10/06/25457531/race-and-blade-runner-2049

BLADE RUNNER 2049: White Appropriation of Black Oppression

White audiences watching a white character being subjugated to sci-fi racism can invest safely. We’re obviously now in the land of make believe if anyone is randomly pulling over Ryan Reynolds. Moviegoers can pick and choose what parts of the African-American experience they want. They cheer the underdog, they hiss at the police force, but once the movie’s over, they will go home, and post #blacklivesmatter from a distance.

 

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*I wanted to write this long piece about how the lyrics of Donald Glover’s This is America cannot be divorced from the visuals, without losing their meaning. For example, most of the lyrics are about the usual gangsta rap subject matter, with the same lyrics being repeated over and over. Get your money! Get your money! Get your money! But these typical admonishments from rap music take on new meaning when being joyously sung by the church choir in the video. Just as there is the veneration of guns in the video, that scene represents  the veneration of money and capitalism as well. The Church of the Holy Dollar! This makes the video  not just an indictment of America’s gun culture, but a critique  of the capitalist system which fuels it. This article is about how Black Americans sell their pain to get money. Black pain, and trauma, is the only currency we have, and it’s what sells.

https://www.rollingstone.com/donald-glover-childish-gambino-this-is-america-video-visual-w519895

A child is the one to handle Glover’s weapon after each shooting, and it’s children who sit in the rafters above, recording the bedlam with their phones. Our normalization of racist violence has come at the cost of not only black lives, but black innocence.

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*Genius breaks it down a little bit more, although it still doesn’t touch on the  the very first lyrics, “We just wanna party, just for you”. I think this is really telling, because these are your usual “let’s party” rap lyrics, which are then contrasted with the violence. We want to party FOR you, not with you, is important in this context. Even Black violence is entertainment for a White audience. 

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*This article is about how creators of fantasy and scifi seem to   have no problem approaching the topic of sexism, but cannot seem to approach the topic of race, with any depth. 

White people like to reimagine history as a peaceful time in which they never had to think about race, hence the nostalgia for times past. But really what they like about the past was the  unobstructed dominance of White supremacy. Nostalgia for the past and fear of the future seems to make up the bulk of  White people’s imaginings in speculative fiction. 

http://www.vulture.com/2017/08/why-dont-dystopias-know-how-to-talk-about-race.html

 

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*This article touches on all the points I made in my review of this film, and I’m glad I found it. I was irked because critics were so focused on the romantic relationship, that they were neglecting to see the wider social messages of the film. It’s nice to know that someone else got it, while tying these themes to the movie’s broader critique of capitalism, colonialism, and imperialism, which I didn’t see.

http://msenscene.com/2018/04/04/the-shape-of-waters-strickland-as-the-ur-american/

The reproduction of consumer capitalist values is taught to all Americans; you simply can’t not participate in capitalism (unless you want to starve, of course). But the film goes further than just a surface-level critique. We get to see how marginalized people assimilate to cultivate respectability at the expense of their peers. 

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*I realized this while I was watching the movie. Ronan’s motivational speeches about what a genius he is, and how he is unappreciated, basically boils down to, “The world didn’t kiss my ass like I wanted, so now everyone must die.”  Its one of the reasons online fanboys hated this movie, because Ronan  is a direct indictment of them.

https://www.bustle.com/articles/172212-the-ghostbusters-villain-is-basically-an-internet-troll-its-a-brilliant-way-to-silence-the

Most of Rowan’s dialogue reflects a feeling of entitlement and that of someone seeking out revenge for some past hardship. But much like the supposed oppression that trolls and MRAs feel, Rowan’s hardship doesn’t actually exist, at least to the extreme he makes it seem like it does. Rowan may have been bullied, of course, but that, nor being a janitor or not having a girlfriend isn’t warranted cause to unleash havoc on the public or cause harm in order to get “revenge.”

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*I was a huge fan of the HBO show Oz. Its been off the air for some time now, but during its time, it was groundbreaking, for its depiction of a homosexual relationship between two men, Tobias Beecher, and Chris Keller. What I found most fascinating about the relationship is Beecher’s psychology in falling for Keller. Here was a man who probably had always thought of himself as being straight, and was, due to circumstances, in a relationship with a known killer.

View story at Medium.com

http://www.newnownext.com/oz-ten-years-later/07/2007/

Being set in prison, however, the show also dealt frankly with the sexuality of prisoners who did not consider themselves gay, yet were driven into same-sex relations either through loneliness or through rape. One of the primary ways these themes were explored was through the character of Tobias Beecher. Beecher was a wealthy, middle-class lawyer, husband and father, who found himself in Oz (the nickname for the Oswald State Correctional Facility) after accidentally killing a girl while driving drunk.

Weekend Reading LinkSpam

Wypipo Behaving Badly

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*Here’s a selection of articles I read this week. A lot happened this week, but mostly it consisted of  a spate of stories about White people, most specifically White women, behaving badly towards random Black people, by calling the police on them for engaging in such innocuous activities as napping,  leaving an AirBnb, inspecting some real estate, sitting in a coffee shop, barbecuing in a park, and walking with a baby in a stroller.These are just the most heavily publicized stories, though, because ~

This kind of thing is not new, nor is it happening more often. White people in America have always done this, only this time it’s all been captured on camera, and in videos. The callers almost always claim to be nervous or suspicious. Sometimes they lie and claim the person tried to harm them. This is about Black people existing in public spaces that White people like to believe belongs to them. Unfortunately, White people think everything belongs to them, including our bodies, our hair, and even our possessions. One woman had a public meltdown because she was told not to touch some Black woman’s dog. We have had to make memes, and videogames, about not touching our hair. 

And this goes for all privileged people. Yes, I said All! Men and women! A white woman petting my hair without permission, and then throwing a temper tantrum because I told her to stop, has the same  proprietary attitude of a man who pinches a woman’s buttocks, or a woman who calls the police because a Black person dismissed their power to tell them what to do, in a space they think they own. In their minds, everything is theirs, including  Black people’s  bodies. They are claiming something they don’t own, feel entitled to handle without permission, and can’t stand being denied. Black people have reached a point where we will dismiss any individual White person’s power over us, and White people are  using the police to reassert that power.

This is about White people policing Black  and Brown bodies in public spaces, something that has been traditional in this country since its inception. For these people, public spaces belong to them, and Black people are uninvited guests.

 

https://www.theroot.com/white-caller-crime-the-worst-wypipo-police-calls-of-1826023382

https://www.vox.com/first-person/2018/5/17/17362100/starbucks-racial-profiling-yale-airbnb-911

https://www.npr.org/2018/05/15/611389765/why-white-americans-call-the-police-on-black-people-in-public-spaces

https://www.motherjones.com/crime-justice/2018/05/its-time-we-had-a-little-talk-about-white-people-calling-the-cops-on-black-people/

https://www.theroot.com/from-starbucks-to-hashtags-we-need-to-talk-about-why-w-1825284087

 

*But hey, we got solutions for this, some serious, some funny:

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http://www.aaronxrose.com/blog/alternatives-to-police

https://www.theroot.com/read-this-before-calling-the-police-for-wypipo-who-hav-1826090898

*Every time I hear one of these stories, I’m reminded of a scene from Todd Haynes movie, Far From Heaven, starring Julianne Moore, Dennis Haysbert. There’s a scene where Julianne’s and Dennis’ characters, are walking down a city sidewalk. When his character reaches out to lightly grasp her arm, the immediate response of the White man, who happens to be walking past them, is for him to yell that that BOY better quit touching that White woman. 

I don’t know why I’m always reminded of that movie and that scene except its the first time I realized that random White people, especially during the Jim Crow Era, had gotten very used to telling Black people what they could and could not do in public. I think a lot of the discourse of that era doesn’t take into account that a lot of White people went along with all of that, because they loved having that level of power over random citizens.

 

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*I’ve been reading a bunch of posts about White people behaving badly, and why:

*Earlier this week, a video surfaced, of a well dressed White dudebro, losing his shit in a restaurant, because some of the workers were speaking to each other in Spanish. I won’t link to the video because it’s vile, (and sure to produce anxiety just by watching it.) But the good news is Black Twitter CSI was immediately on the case, and got the digits. Here’s what happened:

https://nypost.com/2018/05/17/racist-lawyer-kicked-out-of-his-office-space/

*I make no mistake in believing that these businesses care about social justice, homophobia, bigotry, or the  Latine employees at the local restaurant. These people are losing their jobs because no real business wants its name to be associated with a bigoted, employee. It makes them look bad. They lose money, and their good reputation, when that happens.

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*I loved this little rant in The Wonkette. so now there’s this thing called the Intellectual Dark Web. A cabal of White people (yes, some are women, or I would’ve just said White men), who think they’re being daring, critical, and  because of that, oppressed because they are no longer allowed  to define the lived reality of marginalized people anymore, without serious pushback.

https://wonkette.com/633645/how-long-do-we-have-to-listen-to-white-dudes-whine-before-they-are-officially-uncensored

— this “facts over feelings” nonsense — has become an incredibly popular saying these last few years among white men who believe their opinions and beliefs are facts and that no one is allowed to question them. 

 

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*Here is a deeply disturbing study about why police shoot Black people: 

 

https://www.salon.com/2018/04/27/why-cops-kill-black-people-research-suggests-a-troubling-pattern-of-retaliatory-violence/

The killing of Diante Yarber and so many other black and brown men, women and children by America’s police are individual tragedies. But these killings should also be understood as representing a much larger systemic problem in America, where justice is has never been colorblind and where certain groups are advantaged and others disadvantaged. This is not an aberration or defect; in many respects it is America’s legal system working as designed.

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*There is now a Lynching Memorial in Alabama. I could not get through these without tears. There’s no graphic imagery but this topic is sensitive for me. There were so many men being  lynched, that my grandmother feared one of her six sons might be killed, and is one of the primary reasons my family fled Mississippi in the fifties, while my Mom was just a child.

I don’t know that I’d visit such a memorial, without having some sort of emotional breakdown, (I know plenty about the subject), but its interesting to me that it was built at all, and ironically, its  a very beautiful structure.

http://www.latimes.com/opinion/readersreact/la-ol-le-lynching-memorial-business-20180428-story.html

https://www.theguardian.com/us-news/2018/apr/26/lynchings-memorial-us-south-montgomery-alabama

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LinkSpam For This Is America: Childish Gambino

This is Childish Gambino’s (Donald Glover from the show, Atlanta) music video for the song This is America. There are a lot of thinkpieces being written, analyzing, and in some cases, over-analyzing, the meaning of this video. For me, its just an emotional very effective statement about how Black people have always lived in this country.

Its interesting to note, in the past few years, (at least since the inception of BLM,) how many popular Black entertainers have decided to put socially relevant commentary in their music, from Beyonce, to Solange, to Gambino., although music has always been at the forefront of social progress.

<Warning for gun violence.>

Outside of the violence being shockingly unexpected, I thought the video was sad, and  interesting. I liked the dancing, and yes, I do realize that it was just a distraction from everything  going on in the background. The background imagery is being interpreted in a lot of different ways, along with the types of dances being performed. I’d also like to point out that our nine days wonder about this video is also a distraction from the daily horrors of American life.

My mom has this old phrase she used to say, “laughing to keep from crying”. This is what black people in America have always done, and I thought the video was a neat summation of our lives in this country, dancing and singing, to counteract the horror of daily life. The running was a fitting ending to the video, especially if you contrast that with the joyousness of the dancing at the beginning. Black people have been running in terror since we got here. There’s also a deeper message in this for White people, (embodied in his Jim Crow dance move) who have been highly entertained, and distracted, by our reactions to the misery they helped to inflict.

But here are some more takes on this video:

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https://www.huffingtonpost.com/entry/childish-gambino-this-is-america_us_5af05c12e4b041fd2d28d8e9

From Jim Crow to Gwara Gwara, there are a lot of references you might’ve missed.

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https://www.newyorker.com/culture/culture-desk/the-carnage-and-chaos-of-childish-gambinos-this-is-america

Among black people, he became the subject of skepticism: Can you trust the black artist who is so fluent in the tastes of a white society that seems genuinely to love him? Is his suaveness some cover for self-loathing?

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https://www.theatlantic.com/entertainment/archive/2018/05/donald-glover-this-is-america-childish-gambino/559805/

America is a place where black people are chased and gunned down, and it is a place where black people dance and sing to distract—themselves, maybe, but also the country at large—from that carnage. America is a room in which violence and celebration happen together, and the question of which one draws the eye is one of framing, and of what the viewer wants to see.

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This post is about the meaning of the dancing in the video, especially when contrasted against the violence. A lot of people got bogged down in the surface meaning of the erasure of Whiteness from the violence in the video, but sometimes you have to go deeper than that. Note the scene where Glover points his “empty” hands like a gun and everybody runs. He’s unarmed, but they’re afraid, anyway. oh, and the links in the article, feel free to read those, as some of the commentary is gorgeous.

https://www.theatlantic.com/entertainment/archive/2018/05/this-is-america-childish-gambino-donald-glover-kinesthetic-empathy-dance/559928/

If you watch “This Is America” on YouTube, you might stumble on videos of people who recorded their own reactions to it. Many of these viewers sway along with Glover at first, rolling their own shoulders, nodding to the afro folk–inspired melody as the musician twists his bare torso, revealing his own musculature and contorting his body in ways both alluring and disturbing. But the benign nature of that contagion is shattered when the first gunshot rings out 53 seconds in, and with the jarring transition of the melody to dark, pulsing trap. In the reaction videos, mouths fall open, and people are stunned into paralysis. The shooting itself is shocking, but so is that fact that Glover carries on dancing as if nothing happened.

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https://www.rollingstone.com/donald-glover-childish-gambino-this-is-america-video-visual-w519895

Like several other notable works of black American art in recent years, “This Is America” is about absorption. Onscreen and in real life, the black body gets exposed to so much terror and injustice and keeps going. How does the black body endure, and in what ways or spaces is it allowed to live out its emotions?

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https://www.thedailybeast.com/how-childish-gambinos-this-is-america-indicts-and-challenges-its-audience

The controversial new music video by Donald Glover and Hiro Murai has amassed millions of YouTube views while exposing viewers to the horrors of the black experience in America.

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https://www.huffingtonpost.com/entry/donald-glover-this-is-america-jim-crow-history_us_5af31588e4b00a3224efcc40

“Every now and again, a racial incident or an expression of art makes us pause and reflect, but we soon return to dancing.”

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http://time.com/5267890/childish-gambino-this-is-america-meaning/

“The central message is about guns and violence in America and the fact that we deal with them and consume them as part of entertainment on one hand, and on the other hand, is a part of our national conversation,” Ramsey tells TIME. “You’re not supposed to feel as if this is the standard fare opulence of the music industry. It’s about a counter-narrative and it really leaves you with chills.”

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You would think this video is no laughing matter, but this post would not be complete without the addition of Black silliness. What I’ve discovered over the years is that Black people can find humor in even the darkest subject matter. Unlike White fratboys,  who just want to shock their audience,  it doesn’t come from trying to be edgy, but from trying to control and make sense of narratives we have no control over. 

https://www.theroot.com/donald-glovers-this-is-america-explained-by-2-people-wh-1825858343

I think the true distraction is Gambino’s dancing. He dances like someone who thinks he can dance because he only dances when he’s around white people. Gambino is showing all his white friends that if he’s invited to their wedding, he will lead them in all the line dances they don’t understand.

Note: At the time of this post, someone has made gifs of the gun violence  depicted in the video. I have not the capacity ot be disappointed or shocked by that.

What is an Incel?

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This post contains links to some seriously toxic  bullshit. Read through the links with caution.

 

Maybe have several drinks first!

“Incel” is a word you have probably been hearing a bit more often in the media. In fact it was one of the trending words on Google in the wake of the pedestrian van attack that happened in Toronto last week, that killed and injured some 25 individuals.

This first post talks about the pop cultural foundation of “Incels”. The foundation of their ideas is not so widely divergent from the foundation of most  misogyny. Only with Incels it has been  taken to extremes, and becomes an actual personal identity.

These are the kinds of men who have fully, and completely, bought the pop cultural brainwashing, from endless movies, books, and TV shows, that tells them (and White men in particular, although Men of color are not immune) that their reward for being a man, is a beautiful woman.

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Incel, the misogynist ideology that inspired the deadly Toronto attack, explained

 

Some self-identified incels, as they call themselves, have developed an elaborate sociopolitical explanation for their sexual failures, one that centers on the idea that women are shallow, vicious, and only attracted to hyper-muscular men. They see this as a profound injustice against men like them, who suffer an inherent genetic disadvantage through no fault of their own. A small radical fringe believes that violence, especially against women, is an appropriate response — that an “Incel Rebellion” or “Beta [Male] Uprising” will eventually overturn the sexual status quo.

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And from Sociology:

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Incels – Subcultures and Sociology

http://haenfler.sites.grinnell.edu/subcultures-and-scenes/incels/

The Manosphere’s boundaries and composition are vague and ever-shifting. There are many subgroups: pickup artists, Men Going Their Own Way (MGTOW, or straight men refusing to be involved with women), “red pillers” (a The Matrix reference in which the “red pill” is knowing that women rule over men), “incels” (involuntary celibates who believe women are shallow and do not date “ugly” men), traditional MRAs, and more. 

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*This is an excerpt from an article from Crack’d which I won’t link to, because  the comments are  a hot trash fire. I don’t agree with all of the article, but that doesn’t necessarily mean its wrong . It is perhaps, another, more facetious way of saying that men are socialized by pop cultural stereotypes to think of women in a certain way.

They have received the message, loud and clear, that women owe them sex.These are the kinds of men who have fully, and completely, bought the pop cultural brainwashing, from endless movies, books, and TV shows, that tells them (White men in particular, although Men of color are not immune, since they live here too) that their reward for being a man, is a beautiful woman.

We Were Told That Society Owed Us a Hot Girl

Photos.com

Does it seem like men feel kind of entitled to sex? Does it seem like we react to rejection with the maturity of a child being denied a toy?

 

 

And then we have Star Wars, where Luke starts out getting Princess Leia (in The Empire Strikes Back), but then as Han Solo became a fan favorite, George Lucas realized he had to award her to him instead (forcing him to write the “She’s secretly Luke’s sister” thing into Return of the Jedi, even though it meant adding the weird incest vibe to Empire). With Harry Potter, J.K. Rowling played with the convention by having the beautiful girl get awarded to the sidekick character Ron, but she made it a central conflict in the story that Ron is constantly worried that, since Harry is the main character, Hermione will be awarded to him instead.

In each case, the woman has no say in this — compatibility doesn’t matter, prior relationships don’t matter, nothing else factors in. If the hero accomplishes his goals, he is awarded his favorite female. Yes, there will be dialogue that maybe makes it sound like the woman is having doubts, and she will make noises like she is making the decision on her own. But we, as the audience, know that in the end the hero will “get the girl,” just as we know that at the end of the month we’re going to “get our paycheck.” Failure to award either is breaking a societal contract. The girl can say what she wants, but we all know that at the end, she will wind up with the hero, whether she knows it or not.

And now you see the problem. From birth we’re taught that we’re owed a beautiful girl. We all think of ourselves as the hero of our own story, and we all (whether we admit it or not) think we’re heroes for just getting through our day.

So it’s very frustrating, and I mean frustrating to the point of violence, when we don’t get what we’re owed. A contract has been broken. These women, by exercising their own choices, are denying it to us. It’s why every Nice Guy is shocked to find that buying gifts for a girl and doing her favors won’t win him sex. It’s why we go to “slut” and “whore” as our default insults — we’re not mad that women enjoy sex. We’re mad that women are distributing to other people the sex that they owed us.

Yes, the women in these stories are being portrayed as wonderful and beautiful and perfect. But remember, there are two ways to dehumanize someone: by dismissing them, and by idolizing them.

 

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It cannot be said that these are men who care about other men. They are not activists for anything beyond the degradation of women, specifically White women, (because WoC don’t enter into their calculations). They’ve been socialized to believe only White women are worth having sex with, yet such women  are considered subhuman , and worthless. They even have their own vocabulary to discuss this.

There’s absolutely nothing a woman can do that would ever appease any of  them, not even sleeping with them, as these are men who so hate themselves, that they would also hate anyone who claimed to love them, or gave them what they so badly desired. 

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https://www.racked.com/2018/4/28/17290256/incel-chad-stacy-becky

…If certain discussions on these forums are any indication, there are only two types of women in the world of incel, both of whom are white, thin, and attractive. But while incels seem to believe that the untouchable (and seemingly nonexistent) Stacy will never sleep with them, they feel as though they are owed attention and sex from Becky.

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Sadly, and contrary to popular belief there are quite a number of men of color who are “Incels”. Eliot Rogers was half Taiwanese, and the mass killer of fourteen women at Ecole Polytechnique in Montreal in 1989, was of Algerian descent. But don’t be fooled. Incels, as a rule, are just as racist, homophobic, and transphobic as the “Chads” they like to demean. They don’t care about the situations of other men, only their own personal hells, and the only time they champion these men of color is after they are dead, after having committed mass murder.

https://www.psychologytoday.com/us/blog/minority-report/201804/the-incel-movement

What I find intriguing and unifying is that in all four of these separate tragedies, the perpetrator was an ethnic minority living amidst a predominantly Caucasian majority culture.  Ethnic minorities face immeasurable challenges in assimilating to a society other than their own and the sense of being a “perpetual foreigner” can pervade even the most assimilated individual when racist or invalidating comments are made.

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Our first instinct is to laugh at such wild ideas and beliefs, but make no mistake, men like this are dangerous. This article from The Independent discusses just how violent and dangerous  Incels can be:

https://www.independent.co.uk/voices/incels-alek-minassian-mra-mens-rights-terrorism-toronto-van-attack-a8323166.html#commentsDiv

Blackpill ideology leaves no room for hope or change. Instead, they either have to live out their lives in misery, or take action and attempt to tear down the whole system. In their more explicit posts, some incels dream of enslaving women and forcing them to have sex with them, and murdering the Chads who have been on top for far too long. It’s unsurprising that another of their number has committed mass murder before attempting to make the police shoot him. With an ideology that sees violent ends as the only alternative to lifelong torment, it’s unlikely he’ll be the last.

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The above beliefs about women are responsible for much of the violence towards them, especially if they refuse sexual activity. The website When Women Refuse chronicles what happens to women who refuse sex with men. (I have to caution that some of the stories are about sexual assault, rape, and other violent acts.)

woman.https://thinkprogress.org/chilling-new-website-documents-what-happens-to-women-who-reject-mens-sexual-advances-1922cfb67922/

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Incels and the MRA are not activists. They do not champion,  march, or even protest to protect men from sexual assault, suicide, police brutality, or any of the evils that men subject other men to.

They do not care about the Rights of men.

These men are not activists. They’re idea of activism  consists of little more than  terrorizing women.

They care about removing and destroying the Rights of women, and spend much time fantasizing, among themselves,  about situations in which the sexual enslavement of women would be approved. They often fantasize about worlds in which no woman would ever have the right to refuse sexual attention from any man that wanted them. This is a horrible backlash against Feminist progress of the last forty years.

(Never mind the fact that WoC have lived in that particular version of America for some 300 years.) Incels, and MRAs wish to do to White women what they have been engaged in with WoC for the past three centuries. They fantasize often about a world where EVERY woman  is little more than slaves and broodmares, who would be required to give them sex.

And if they can’t enslave them, then…

https://www.elle.com/culture/career-politics/a20060379/involuntary-celibates-want-you-to-think-theyre-victims-theyre-anything-but/

The world got its first look at the incel subculture in 2014, when Rodger murdered six people in what he saw as an act of “retribution” against the women of the world for rejecting him. Rodger, who ended his murder spree by killing himself, left behind a hundred page autobiography-cum-manifesto in which he detailed what he called his “twisted life” and set forth the rationale behind his murder spree, which could be reduced to a simple proposition: if others were getting laid and he wasn’t, they deserved to die.

An example from the Incel Reddit itself, written by one of its members:

People make is sound as if the “Incel Rebellion” is a laughing matter and that people don’t understand problem.

The incels are not the problem, but rather they are a symptom that something is very wrong in our society — and unless their legitimate grievances are addressed this could very soon spiral out of control just like what happened in Iraq, Libya and Syria when their respective governments refused to address and deal with the legitimate grievances a portion of their popolation had.

Calling the Incels a bunch of virgins and “frustrated losers with communication skills equal to that of an autistic potato” is oversimplifying the problem yes they are all that but why are they frustrated virgins?

The real issue is that with the advancement of makeup, healthy at any size bullshit, feminism and through social engineering a lot of women have become detached from reality. The reason these Incels arn’t getting laid is because women with a sexual market value equal to theirs use makeup to go from a 3/10 – 7/10 (false marketing in my opinion and should be a punishable offense) to fuck with men above their league.

So I propose that rather than making Incels look bad we look at the reasons they’ve become this way and what steps we can take to deconflict and reverse things because, let’s be real calling them names, labeling them a terrorist organization etc isn’t going to make the problem go away.

There are several ways I propose we do this:

1) Women are no longer allowed to wear makeup, ie falsely advertise their beauty and hence stop them from banging guys above their league.

2) Women are only allowed to date men with equal sexual market value to them. State-mandated tests should be made and everyone get a sexual-market value card ranging from 1/10 to 10/10, like an ID card.

3) Every time a woman sleeps with a new man she lose one 1 rank on her sexual-market value card until she reach the lowest rank 1/10.

4) There’s no way to rise through the ranks other than through excercise

5) Women with more than 9 sexual partners and single moms should be forced by the state to date and have sex with incels that can’t get any women despite the above changes.

This would deal with the problem not the symptom and is the ay we deal with everything from counter-piracy to counter- terrorism. The incel threat is real and should be treated the same way.

 

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The beliefs of Incels are entirely contradictory, and are a perfect illustration of the Fable of The Fox and the Grapes:

Image result for fox and grapes gif

 The Fox and the Grapes
ONE hot summer’s day a Fox was strolling through an orchard till he came to a bunch of Grapes just ripening on a vine which had been trained over a lofty branch. “Just the things to quench my thirst,” quoth he. Drawing back a few paces, he took a run and a jump, and just missed the bunch. Turning round again with a One, Two, Three, he jumped up, but with no greater success. Again and again he tried after the tempting morsel, but at last had to give it up, and walked away with his nose in the air, saying: “I am sure they are sour.”

 “IT IS EASY TO DESPISE WHAT YOU CANNOT GET.”

 

Like most of the organizations formed as a backlash against the social progress of the past fifty years, they also  like to steal the language of social justice, to use for their own ends, in an attempt to make themselves seem innocuous.

They borrow a lot of language from the equality/civil rights agenda – society “treats single men like trash, and it has to stop. The people in power, women, can change this, but they refuse to. They have blood on their hands,” read one post the morning after the Toronto attack. Basically, their virginity is a discrimination or apartheid issue, and only a state-distributed girlfriend programme, outlawing multiple partners, can rectify this grand injustice. Yet at the same time, they hate victims, snowflakes, liberals, those who campaign for any actual equality.

https://www.theguardian.com/world/2018/apr/25/raw-hatred-why-incel-movement-targets-terrorises-women

Their landscape is strewn with completely unsquarable contradiction: “They’ll say how terrible it is that the left has won the culture wars and we should return to traditional hierarchies, but then they’ll use terms like ‘banging sluts’, which doesn’t make any sense, right?” Nagle continues. “Because you have to pick one. They want sexual availability and yet, at the same time, they express this disgust at promiscuity.

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And finally: What is the Manosphere? Incels (involuntary Celibate) do not make up the bulk of what is called The Manosphere.

https://www.splcenter.org/fighting-hate/intelligence-report/2012/misogyny-sites

The so-called “manosphere” is peopled with hundreds of websites, blogs and forums dedicated to savaging feminists in particular and women, very typically American women, in general. Although some of the sites make an attempt at civility and try to back their arguments with facts, they are almost all thick with misogynistic attacks that can be astounding for the guttural hatred they express. What follows are brief descriptions of a dozen of these sites. Another resource is the Man Boobz website (manboobz.com), a humorous pro-feminist blog (its tagline is “Misogyny: I Mock It”) that keeps a close eye on these and many other woman-hating sites.

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And here’s the link to Manboobz, as it used to be called, but its new title is: We Hunted the Mammoth. This website tracks the, so-called, discussions going on in the Manosphere. I would never have known any of this existed were it not for the work that David Futrelle does on his website. He wades through all this shit, so we don’t have to.

http://www.wehuntedthemammoth.com/

Weekend Reading: Pop Culture Edition

On Gender:

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I still have not gotten over how the Ghostbusters was so badly treated by the public, and how we will now never get a sequel. The “feminists ” who are forever talking about how they love these types of movies, where women get treated like people, totally slept on this one. To be fair, the trailer did suck, but a trailer is not a movie, and I’m still a firm believer that most trailers are designed to make you hate a movie before its release. Some of them are successful at that, some less so.

http://www.unleashthefanboy.com/movies/analyzing-10-common-criticisms-of-ghostbusters-2016/140340

http://www.indiewire.com/2016/07/ghostbusters-reboot-backlash-1201705555/

 

My biggest criticism of the movie was this though:

https://www.polygon.com/2016/7/21/12239704/ghostbusters-is-still-haunted-by-negative-racial-tropes

https://www.salon.com/2016/03/04/the_new_ghostbusters_and_race_why_it_matters_that_leslie_jones_isnt_playing_one_of_the_scientists/

Image result for ghostbusters remake  gif/patty

But despite my strong misgivings, I did like the movie, and  Leslie Jones, who endured so much abuse about her character, Patty Tolan, has a great defense for the criticism of her character. MTA workers apparently get paid more than college scientists, and she’s a regular person who helps save the world, and there’s nothing wrong with that.

https://www.theguardian.com/film/2016/mar/07/ghostbusters-leslie-jones-defends-remake-racial-stereotyping-criticis

Incidentally the scene above is one of my favorite one-liners in the entire movie. Patty gets some of the best lines in the movie, despite the fact that the trailer made it seem like she got the worst ones. in the director’s cut Holtzman answers that by calling her mouthy, and I’m really glad they left that line out of the movie.

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I thought this was an interesting read about how the  Coen Brothers movie, Fargo, is really a discussion about toxic masculinity:

https://www.bitchmedia.org/article/how-fargo-captures-sad-realities-toxic-masculinity

 

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I liked this article about how WoC never get to have happy endings, as the friends and sidekicks of their White co-stars. It seems like we always have to suffer (I’m looking at you Handmaid’s Tale.)

1201705555/https://www.harpersbazaar.com/culture/film-tv/a12022020/how-women-of-color-portrayed-tv-film/

 

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I skipped the second season of Jessica Jones, because I hated the first season so much, I couldn’t even finish it. To give you some indication of how important that is, I watched all of Iron Fist, after I talked a lot of shit about that show.  That I’ve said almost nothing at all about Jessica Jones, says a lot about my attitude towards the show.

http://www.anathemamag.com/jessica-jones-doesnt-care-about-men-of-colour/

 

On Dystopia:

For some reason dystopias where regular, middle-class,  pretty, White people get treated the way they’ve always historically treated marginalized people, seems to be a popular sci fi trope. So popular in fact that even MadTV had a skit related to it:

 

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When I was a teenager, I used to theorize that White people liked to sit around watching a problem fully and completely develop, and then, instead of fixing the problem,  fix the blame. This also brings the to mind the idea that Black people don’t envision dystopia as an exciting future, because we’ve already been there. We have nowhere to go but forward, and nothing to have but hope. Dystopia is a White people thing.

http://blackyouthproject.com/white-liberals-stay-predicting-dystopias-caused-by-whiteness-without-doing-anything-about-it/

In a recent discussion, my friend Preston Anderston posited that white people “can understand the destruction of the planet before the destruction of the white world,” and perhaps nothing exemplifies this better than their dystopian imaginings. To them, there is no world without whiteness, so even if they acknowledge the hell whiteness necessarily brings, there is no other future possible than that hell.

 

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Image result for dystopia gif

I found this post by the writer, Cory Doctorow, really interesting. Why does there need to be a dystopia at all? We’ve seen plenty of instances where crises  didn’t end in some kind of Mad Max free for all, and we need more stories that reinforce the idea that we can get through a disaster with our humanity still intact.

https://www.wired.com/2017/04/cory-doctorow-walkaway/

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 On Disability:

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I found a series of articles about how Hollywood approaches the topic of disability in film and TV. 

https://byrslf.co/its-time-for-hollywood-to-rethink-disability-e1dfc4142c9b

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https://www.seattletimes.com/entertainment/tv/at-the-heart-of-hannibal-respectful-treatment-of-mental-illness/

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http://womenwriteaboutcomics.com/2015/05/28/disability-in-the-dystopian-future-of-mad-max-fury-road/

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https://www.inverse.com/article/15806-one-year-later-fury-road-resonates-on-disability-sexuality-and-the-end-of-days

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https://serfbazaar.wordpress.com/2015/05/22/furiosa-disability-representation-and-empowerment/

 

On Fandom:

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The discussion of Fandom misbehavior continues tonight on:  Tumblr Calls Shit Out

There a a lot of fans who change, misrepresent, or just straight lie about the source material to justify White prioritization of the characters. As I’ve said before, most White audiences have no other template, and in many cases will do these things to  reproduce a dynamic with which they’ve always been  comfortable: Poc as side narratives that support the White character’s primary story.

princeescaluswords answered:

Because the disregard or misrepresentation of canon is frequently used as a foundation of fandom racism.  We live in a time of change, where Hollywood is oh-so-slowly beginning to understand that primary stories and primary characters don’t always have to be entitled white males.  This stands contrary to seventy years of television history, which has taught the audience that the only thing that matters are the emotions and interests of those same white males.   Unfortunately, the viewing audience has learned the old lesson well and so expects the canon to support their predisposition.  When it doesn’t meet their expectations, when the emotions and interests of characters of color are given priority, their need to see white men on top can be met by getting rid of the canon.

Take the most popular ship in my fandom (This is not an attack against shipping. Shipping does not have to be inherently racist or inherently demeaning.   Early in my fandom days, I thought so, but I do not any more).  This ship and its fandom which put together two white males whose purpose on the show was to serve as the main character of color’s foils. The ship itself is not in question for me.  What is in question is the way that the fandom demanded that this ship become the center point of the show, and when it became clear that no matter how many nods that the powers that be were going to give to the ship, the show wasn’t going to make it canon, canon was discarded in the most hostile and negative way imaginable.   This wasn’t just in my (or others’) imaginations.  When the star of the show and the executive producer have to comment on the impact of this canon erasure, it’s pretty serious.

Canon misrepresentation doesn’t stop with just shipping.  Attacks on the importance of characters of color and their role in the show are frequently aided by simply pretending parts of canon don’t exist. For example, in my fandom, Scott is frequently vilified for a single act of perceived hostility towards Derek (the famous Gerard-neck-grab-bite), and it is used as a way to delegitimize him as a main character, ignoring the fact that not only was it a necessary evil to save Derek and those he cared about by disabling the enemy, it was a direct parallel to the very actions that Derek took against Scott previously. For fandom, those actions are dismissed as “yeah, Derek was an asshole, but it was for Scott’s own good” but that same excuse is not sufficient. Or, when the idea that Scott ditched Stiles for Allison continually is used to delegitimize the central relationship of the show, when ditching never happened in the show, but is treated by fandom as if it did.    If you ignore or manipulate canon in order to keep a character of color from being the focus of the show, why shouldn’t I add the tag?

People get rid of canon as a way of dealing with the fact that their white characters are not the center of the story, even though their favorites have important roles.  It’s easier to just get rid of canon rather than let a character of color share the spotlight.  It’s easier to dismiss writing as a ‘trainwreck’ even when that writing gives you the characters you enjoy, and thus delegitimize the whole story because that focuses on a character of color.

I must admit that I have considered that maybe this is all my own perception. Maybe Teen Wolf’s canon is so bad that they have every right to ignore the parts that don’t favor their white faves.

But then, I take a look at other fandoms.  I look at the Star Wars fandom, where the canon has been Death Star-ed as hard as Alderaan in order to celebrate genocidal white fascist man-children.  I look at the Shadowhunters fandom.  I look at the Flash fandom.  I look at the Supergirl fandom.  And another fandom. And another fandom.   And another fandom.

In the words of my favorite show, “three times is a pattern.”  What do you call too many times to count?

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I feel like I have to specify that when I say I hate Reylo I don’t mean people shouldn’t be able to ship whatever the hell they want, because I honestly could not care less. When I say that I hate Reylo what I mean is that there is an extremely vocal and offputting majority in the Reylo fandom that consistently puts forward meta-analysis of Star Wars–and more succinctly, Kylo Ren–that I find abhorrent, disgusting, delusional, and at worst regressive. I also mean, when I say I hate Reylo, that I hate the idea of Reylo being canon, because it would be shitty, stupid, regressive writing if it does.

Ship whatever you want and anyone who’s on you for it probably needs to get a life. But if you start openly advocating for abusive actions to be considered “romantic,” handwaving real critique of the source material, and posting “meta analysis” that’s deeply problematic you should probably be prepared for some backlash.

I do not care what you ship. Go, be free, write your beautiful fic and draw your beautiful fanart. But you can’t tell me not to care about toxicity in fandom and regressive writing in canon.

 

It’s also a sector of fandom that mimics one of the worst traits that fandom can have – the “big name” Reylo bloggers are the arbiters of all info that gets through to their followers about Star Wars, to the point where the Reylo fandom en masse believe things are canon that were literally just made-up fanon, but the BNFs who made it up dig in their heels because admitting that they aren’t all-knowing, or that their “analysis” of SW is insanely biased, would give their followers cause to doubt them and start thinking for themselves, looking at and listening to outside sources.

Reylo, like some other toxic ship fandoms – many of which aren’t even about ships that are themselves toxic! Reylo is, but like, there are toxic ship fandoms based on perfectly benign ships, too – is more about the shippers being venerated than the characters they claim to love. (Their complete disregard for Rey as a human person and protagonist is p much proof of that, but that’s not even the point here.) It isn’t a coincidence that almost every Bad Reylo Meta either was OP by, or based on a meta by, a handful of “in crowd” bloggers, and it DEFINITELY is not a coincidence that Reylos are obsessed with the idea of Being Right and the idea of Casting Out the Other, more than they are about actual fucking Star Wars.

There is a huge aspect of Reylo fandom that, like their OTP, is based on manipulation and gaslighting more than anything to do with actual content, and that’s 100% wrong and also deserves to be called out whenever it’s seen. 

Like, part of why combating Bad Reylo Meta is a thing that needs to be done is not for the characters’ sake, but for the sake of younger and/or more vulnerable fangirls who worship the Big Reylo Bloggers and think that they’re genuinely smarter/more enlightened/“the only ones who really understand.” It’s absolutely fine to make up fanon about your ship. It’s absolutely normal when ships have cliques. I can even understand the normalcy of ship wars, even if I think they’re dumb as soup. But the way that Big Name Reylos rewrite the entire schema of the franchise and twist both SW canon and actual reality wrt the behavior of Kylo Ren – an INTENTIONALLY WRITTEN NEO-NAZI METAPHOR WHOSE FIRST INTERACTION WITH REY WAS STATED BY THE DIRECTOR TO BE A RAPE METAPHOR – is not normal.

It is not normal to care more about “Proving Antis Wrong” than just liking the thing you like. It’s not normal to be so virulently fearful and aggressive towards people who just don’t agree with your fave blogger’s bad meta made up based on nothing. And it’s not normal for a handful of bloggers to have such a stranglehold on not only their followers, but public discussion of the entire fandom.

Almost none of the SWST has actually unfolded, in canon, the way a handful of Big Name Reylos told their fans it did, but their version has spread like flat earth theory. And that’s not a coincidence, either. Batshit conspiracy theory and charismatic leaders who willfully mislead their followers go hand-in-hand.

Make that your Shitty Snoke Theory™. (Who, by the fucking by, DID NOT BRAINWASH KYLE FROM THE WOMB. THAT’S FANON.)

 

Yup. All it took was a couple BNF reylos to say that TLJ made the ship canon (contradicting the movie and everyone else who had seen the movie, even those who thought the force skype stuff was “sexy”), and a disturbingly large number of fans carved it into stone. There are fan spaces not meant to be dedicated reylo shippers spaces where you can not even have a conversation about Star Wars that isn’t centered on Reylo, because so many fans are 100% convinced that the entire trilogy is Kylo’s story and Kylo’s story ONLY, with Rey as an object belonging to him, whose purpose is to redeem him and fuck him. They 100% believe this is how it’s written, and any conversation about the ST that isn’t about Kylo/reylo or anything that can be used to prop it up is irrelevant and off-topic. Which is why talking about Rey’s relationship with Finn is seen as irrelevant to the story (contradicting the canon), but so is talking about Finn as an individual, developed character or speculating about his story independent of Rey.

More to the point, the fandom hyperfocuses on Kylo because he’s the one they can empathize with, even though he’s awful and has done shitty thing after shitty thing to Rey. The intensity of that empathy only spotlights their blatant lack of empathy for Finn, who the fandom by and large aggressively believes is only in the series as a comic relief (not true, even in TLJ, where the clear comic relief was Hux) and general buffoon. That empathy gap is a facet of systemic racism, so I don’t know why fans often hesitate to criticize Kylo Ren’s disproportionate popularity, not as a villain, but as the “real protagonist.”

It’s not only harmful, it drains a lot of the fun of the SW movie fandom, which was never about one character. Fans used to talk about every creature in the Cantina and Jabba’s Palace, every member of the Jedi Council. You could go on about Kit Fisto (a personal favorite from the prequels), and no one would get pissed that you weren’t paying attention to Anakin and Obi-Wan. This isn’t nostalgia, it’s noting the difference in the fandom’s behavior when the films were predominantly white and there was no need to aggressively insist that a white guy was at the center.

@

Honestly? i’m pretty sure nazis have infiltrated this fandom. Just straight up.
given all the behaviours and the way they line up I feel this goes way, WAY beyond white prioritization, as disgusting as that behaviour alone is.

 

Nazis haven’t infiltrated the fandom. These are very mainstream attitudes that can be found in every fandom, as well as in irl communities, businesses  and schools. It lets too many people off the hook to imply otherwise.

 

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In my last post on forthcoming films, I forgot to add Crazy Rich Asians. I’m almost as excited about this film as I was about Black Panther because I know how much Asian Americans have been looking forward to this. This is notable because its a  film with a primarily Asian cast,that isn’t about the martial arts, or nerds.

 It looks really cute, but the plot isn’t something to my taste, as I generally dislike romantic comedies, but I probably will watch this at some later date. Ultimately this film  isn’t aimed at me, but I hope everyone likes it. if it does well, we may get more of this type of movie.

 

 

 

 

 

Weekend Reading (On Gender And Race)

Here’s a roundup of some of the articles I’ve been  reading about gender related issues regarding Race and Intersectionality. 

*The first one is about how oppressed people are required to do the emotional labor of teaching their oppressors what oppression is, and  how not to do that.

Image result for debate

https://www.harpersbazaar.com/culture/politics/a19480416/women-changing-mens-minds-feminism-steven-crowder/

Audre Lorde perhaps put this best when she wrote, “Black and Third World people are expected to educate white people as to our humanity. Women are expected to educate men. Lesbians and gay men are expected to educate the heterosexual world. The oppressors maintain their position and evade their responsibility for their own actions. There is a constant drain of energy which might be better used in redefining ourselves and devising realistic scenarios for altering the present and constructing the future.”

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*On how movies about Black pain are only viewed by White audiences as a substitute for the actual work of eliminating White Supremacy, and how Black lives would be better served, if we stopped using up all our energy on appealing to White people to actually care about their fellow human beings.

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http://blackyouthproject.com/the-stories-of-our-struggles-are-not-for-white-people-to-consume-in-an-effort-to-do-better/

Think of all the possibilities that exist should we invest in one another and divest entirely from the practice of curating white “empathy”

-@arielle_newton

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  *Feminism is not about liking other women, and supporting  their bullshit, no matter what. That’s not the definition. If you call yourself a feminist and you hold some shitty non-intersectional views, or are just a moron, you’re going to get called on it.
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Because feminism does not dictate that you are required to like every stupid woman you encounter. Feminism isn’t a hot air balloon designed to lift already privileged ladies to new joyful heights. Those women are thinking of “girl power” or “bootyliciousness” or “domestic feminism”—some other term that was intended to act as a milquetoast substitute for actual feminism.

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*In this review of Get Out, the author discuses Black people’s reactions to  danger in movies, vs White people’s reactions to the danger.

 

Well, Too Bad We Can’t Stay

As I write this review, it has been five years since the horrific and cold-blooded murder of Trayvon Martin. When a car ominously pulls up alongside André and stops, we — people of color and horror fans — collectively hold our breath because we recognize the signal for danger. But for white audiences, that frisson is the delicious fear of the unknown. For POC, it’s precisely the opposite — the threat we see is all too well-known. It’s for that reason that Andre’s abrupt turnaround with a “No. Not today. You know how they be doing motherfuckers out here!” is so satisfying.

 

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*Til this point, I have largely been ignoring The Purge films ,because the first movie was such a poorly executed idea, that I couldn’t get past that. But now, the movies are starting to explicitly address the gender, class, and racial issues that I found dis-satisfyingly absent from that first movie.

In The First Purge we are given the racialialized backstory of the first three movies. The Purge movies turn out to be  not so much about purging society’s urge to commit evil, as it is about rich White people purging society of  marginalized  people.

Here, in this review of The Purge Anarchy, some of the details of this world are fleshed out a bit more, and they are, quite frankly, horrifying.

http://efbresearch.blogspot.com/2014/08/race-and-class-in-purge-anarchy.html

Both of these scenes highlight for me the interrelationship between class and race and the exploitative powers of a system that only reifies the lasting order and undervalues the lives of poor and minority bodies. In this film, both the rich and the government specifically target and kill blacks, the homeless, deviants, and youth in an attempt to eradicate and “purge” the society of perceived evils. This movie asks us all to reflect on who is in power, what oppressive acts are they committing, and who does society really serve. Both the murderers and the white families who can afford to lock up and hide are complicit in the exploitation and eradication of people deemed unworthy of life… Who gets to define who is worthy of life? Who gets to define how punishment is laid out? Who is in control of our streets, our livelihoods, our identities as targets or as civilians?

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  *The abuse of Asian women in popular media continues. I really enjoyed Guardians of the Galaxy 2 , a lot, but what I couldn’t get behind, was the treatment of Mantis. It was just wrong. I know the writers thought it was funny, but that’s how I know there were no Asian people in the writing room, because they would have pointed out what the constant abuse, of this stereotypically submissive Asian woman, looked like. for the record,  I loved the character, because she’s just really sweet, but her treatment by the other characters made me very, very, uncomfortable.  
Image result for asian women stereotype
 There are also other issues with how Asians are portrayed in media. First, if seen at all, Asian characters are almost either Chinese, Japanese, Korean, or Indian. There are forty-eight different countries in Asia, so it is unfair and inaccurate to assume that all Asians are east Asians or Indian. Next, as Thai-American actor Pun Bandhu stated about Asian characters portrayed, “We’re the information givers. We’re the geeks. We’re the prostitutes. We’re so sick and tired of seeing ourselves in those roles.” Asians are associated with certain roles, so as a result, it is very hard to see change in the roles Asians play.
Image result for mantis movie character gif
There is no nuanced relationship between Ego and Mantis — just a master who demands his servant ease his pain of loneliness by helping him fall asleep. She dutifully does as she’s asked, because she does not know that there is another way of life.
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Mantis’s journey to joining the Guardians can be credited mostly to her “friendship” with a character who takes advantage of her innocence. Although Drax protects her from physical harm and Mantis helps Drax to access his buried pain about his lost wife and children, it isn’t enough to lessen the impact of his verbal abuse. Mantis’s past is a blank slate: She is an orphan, possibly the last survivor of her race, trained to be the companion and servant of Ego…Ego’s evil “expansion” plan is imperialistic, only adding to the subtext that Mantis is a colonized figure and one of his first casualties. She is educated by him, molded into, as she puts it, “a flea with a purpose.” Much of her character in the film is centered around her subordination; even though part of her storyline is breaking free from Ego’s control, that her friendship with Drax—the relationship that incites her rebellion against Ego—is built upon him insulting her isn’t much healthier.

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*Another invisible thing in movies, is how different types of characters talk, and what they talk about, based on race. I thought this article was fascinating, and I’m surprised that someone tracked this, because it never occurred to me that characters of different races talk about different things, and that what they talk about adheres so closely to stereotypes about that race!

Image result for women talking together gif

They found that the language used by female characters tended to be more positive, emotional and related to family values, while the language used by male characters was more closely linked to achievement. African-American characters were more likely to use swear words, and Latino characters were more apt to use words related to sexuality. Older characters, meanwhile, were more likely to discuss religion.

Image result for the power/book

*I’m a little dubious about reading this book because I don’t know if WoC will be characters, and how they’ll be treated. Since this book is written by a White woman, I’m  pretty sure that the treatment of men of color, by White women, who now have the power to harm them, is not going to be addressed, and for some reason that makes me very nervous about reading it.

White authors have a very long history of not addressing White racial resentment, or including it as a factor, in  fantasy and science fiction narratives. White feminists generally never mention it at all. This book references male oppression but White feminism refuse to acknowledge that men of color are not the ones oppressing White women, and in fact it is White women who already hold the power in that dynamic. I’m also certain that the point of view of Black women (who actually are oppressed by men of color) won’t be addressed either.

From the many reviews I’ve read, the book does address power imbalances, and how the women who are now in potions of power, simply replicate the old power dynamics that men created, bullying, torturing, and killing others. It is not mentioned if the women fight among themselves, since women are not a monolith, and even now, there are women who will fight to uphold  patriarchal systems. I do not know if transgender women, (or people who identify as non-binary) are taken into account in the story.

http://www.nybooks.com/daily/2018/02/26/imagining-violence-the-power-of-feminist-fantasy/

Rage and the desire for revenge against male oppressors, however, has emerged in women’s dystopian writing during periods of feminist protest and uprising. We can see it during the first wave of the suffrage movement. Inez Haynes Gillmore, an American writer and suffragist, wrote, “When the first militant in England threw the first brick my heart flew with it. Thereafter I was a firm believer in militant tactics.” In principle, Gillmore believed, militant women should use the actions that had always worked for men: “rebellion and violence.” Yet she was also thinking about suicide as a suffragist tactic in practice:

Image result for white feminism movies

http://blackyouthproject.com/feminist-triumph-action-thrillers-always-white-women/

Here we are now, in the wake of Wonder Woman, and we find ourselves amidst these familiar conversations once again, and once again we are reminded that feminist realizations in major U.S. action films thus far have largely been for and about white women…

…And the ease with which Wonder Woman fans are able to ignore healthy critiques of the film and its star reflects how mainstream feminism and feminist solidarity have always been for and about white women.

\Image result for token person of color

*I’m a big fan of Kim Coles, both as an actress and a comedian, and it was a lot of fun to read this interview, so many years after her star turn in the show Living Single.

https://theundefeated.com/features/90s-token-black-actors-phil-morris-bianca-lawson-kim-coles/

… in the 1990s, the wealth of black representation on television could lull you into thinking (if you turned the channel from Rodney King taking more than 50 blows from Los Angeles Police Department batons) that black lives actually did matter. But almost all of these shows were, in varying ways, an extension of segregated America. It’s there in the memories of the stars below: There were “black shows” and there were “white shows.” If you were a black actor appearing on a white show, you were usually alone.

Image result for woc stereotypes in film

https://www.harpersbazaar.com/culture/film-tv/a12022020/how-women-of-color-portrayed-tv-film/

A diverse writers’ rooms matter as much as the show’s cast. It is imperative that we continue to critique both the shows and movies we love until they properly reflect the world we are living in—and the people who live in this world. The fictional characters I love shouldn’t have to eclipse their sun to shine.

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*The styles of oppression and stereotype faced by White and Black women are just different. so we require different ways of addressing them.

https://thenerdsofcolor.org/2016/09/26/why-it-matters-when-women-of-color-play-love-interests/

Women of color have emphatically not been flooded with images of being treated as princesses and beloved love interests. The emotionally resilient, invulnerable, no-nonsense woman is all we are often allowed to be in media. We’re used to seeing roles where the women of color are expected to stare death and torment in the face with nary a single tear shed. We’re used to being expected to shoulder some great burden with no complaint. We often see ourselves play stoic bodyguards, hardened leaders, and calculating assassins who will do whatever it takes to survive. Rarely do women of color — particularly Black women — get to see themselves portrayed as precious, beautiful, and in need of protection. Rarely do we see films where we aren’t automatically expected to save ourselves.

Image result for black women in scifi

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*Michael Burnham, of Star Trek Discovery, has become my new favorite hero.

https://mediadiversified.org/2018/03/06/normalising-black-women-as-heroes-star-trek-discovery-as-groundbreaking/

Discovery normalizes a black female hero in space. Evading the extremes of paragon and pariah, the show gives us a nuanced figure and places her at the very centre of the story. Few SF shows have ever tried to do this. The only example that comes to mind is the short-lived Extant, which also aired on CBS. But Extant was never really a space show and it never gained traction with audiences. So until Discovery came along, the primary model for black women in space (even empowered black women) was a sidekick. Shows like Doctor Who, Firefly, and Battlestar Galactica include wonderful black female characters but always as secondary players. By casting a black woman as the lead, Discovery is unprecedented in the Star Trek franchise and extraordinary for SF television.

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*An interview with the Author of Where No Black Woman Has Gone Before, discussing how WoC are treated in science fiction media.

As an associate professor of English at Denison University, Diana Adesola Mafe makes her stride in the resistance where she teaches courses in postcolonial, gender, and Black studies. Her newest published endeavor is described to include “in-depth explorations of six contemporary American and British films and shows, this pioneering volume spotlights Black female characters who play central, subversive roles in science fiction, fantasy, and horror.” We were able to steal her away for a moment from her busy schedule where she is currently teaching a few classes to pick her brain about Where No Black Woman Has Gone Before and how it came to be.

Black Nerd Problems: Diana, thank you so much for making time in your busy schedule for us! First things first, presentation is everything. I love the book cover art and the title! The cover features a Black woman in a sci-fi type setting, centered in the middle of it all. I’m a visual learner so this image speaks to me before I even read a single page. Centering a Black woman is a very deliberate step in analyzing different collective portrayals of Black women especially when we are subjected to not being a leading lady in many mainstream projects. And it doesn’t go over my head that she’s a beautiful dark skinned Black woman, as European beauty standards have really amped up colorism. What input did you have on your cover and why was imperative to have imagery that aligns with who you are and your book’s content?

Diana Mafe: I’m so glad you mention the book cover! Despite the old adage about not judging books by their covers, book covers are an entry point to a text (much like titles) and they can send a powerful message even before you flip to the first page. I’m pleased to say that I had considerable input on the cover, which speaks to the flexibility of the University of Texas Press. I chose the image and filled out a questionnaire that allowed me to weigh in on things like design and color.

I remember spending several afternoons and evenings combing through online images in an attempt to find something that captured the spirit of the book. This meant doing keyword searches by combining terms like “Black women,” “science fiction,” “space,” “superhero,” “Afrofuturism,” and so on. Eventually, I happened upon a photograph of a black female Iron Man as portrayed by the Liberian model Deddeh Howard. As soon as I saw it, I thought, that’s it—that’s the cover. Having a Black woman literally front and center is important because that, in many ways, is the point of the book. To do otherwise would (ironically) perpetuate the very erasure of black women that I’m trying to interrogate.

BNP: I’m also very much in my fangirl feels because I’m assuming your title, “Where No Black Woman Has Gone Before” is a nod to Star Trek’s “Where No Man Has Gone Before”. Granted your introduction is titled, “To Boldly Go” and you mention Nichelle Nichol’s pioneering Lt. Uhura as one of few early gateway representations of Black women.

I think this is totally appropriate as stunningly revolutionary as her presence was (and how rightfully she is an icon), I love how you also dig in deeper critically and mention the shortcomings of Star Trek to her character. In your final chapter, you dutifully return to Uhura’s more recent portrayal in the rebooted Star Trekfilms. I really like how you come back to speaking about the male gaze regarding Uhura, especially in her newer portrayal. How do you think this critique can serve as food for thought for Uhura’s next portrayal in the future whenever that happens?

 

DM: Your assumption about the title is correct—a definite nod to Star Trek. The same goes for subtitles like “To Boldly Go” and “Final Frontiers.” Because Nichelle Nichols’s Uhura is such a pioneering figure, the first Black female science fiction icon, it was appropriate to begin and end the book with her character. And since she has been rebooted in the new millennium, her character offers some insight into how far we have come in terms of black female representation onscreen.

But as I discuss in the book’s conclusion, the “new” Uhura (Zoe Saldana) is not especially radical. The Eurocentrism and phallocentrism of the original show carries over into the reboots. Of course, there are understandable limits to rebooting classic science fiction television and cinema—if you change the original too much, it becomes unrecognizable and thus defeats the point. So along with returning to and revamping classic narratives that we love, we also need to continue imagining entirely new narratives in which old molds are not merely stretched but broken.

For Uhura, that means more screen time, more dialogue, and more agency. The key is to preserve this beloved Black female character without also preserving her constraints. At the same time, it’s vital that shows like Star Trek create fresh characters. Here, the franchise has made a “giant leap for Black womankind” (I couldn’t resist one last space cliché) by debuting Star Trek: Discovery, which gives us Michael Burnham (Sonequa Martin-Green), the first Black female lead in Star Trek history.

Read on here[x]

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And just because these are hella cute! Shuri would definitely be Bubbles, while Okoye would be Buttercup.

Tumblr Discussions #167

 *Sometimes you get some interesting discussions to eavesdrop on over at Tumblr. This one is about how the western ideas of approaching the rest of the world  always seem to depend on conquering and collecting other countries, and simply stealing the resources, rather than relying on trade.
People often forget that some five hundred years of history, after the fall of Rome, seemed to have consisted of endless warfare between the various city-states, that came into existence afterwards, and when they finished warring among themselves, they began to compete with each other for who could gather up most of the rest of the world and own it.
It almost seems like colonization, genocide, slavery, and conquest were the hideous byproducts of various European nations competing among themselves, to prove who was the  more superior group of White people.
What’s  galling is, while engaging in this behavior ,Europeans managed to displace their barbarity onto the backs of the people they conquered and destroyed, as a reason for conquering and destroying them. (Sounds familiar doesn’t it?)
What’s sad about this is that most White Westerners cannot conceive of any other way of approaching the rest of the world, except through  dominance and submission. It is a philosophy that finds its way into everything from entertainment to politics.
  doublehamburgerjack
It’s really hard for people to understand that everyone had boats, exploration, and trade interactions without the same level of murder, colonization, and violence that the Europeans did. It’s really hard for people to get that.

 ami-angelwings
This is important for the knowledge/history aspect, but also because of what was said above, that exploration/seafaring/technological advancement does not automatically mean conquest, colonization, and genocide.  It’s one of those myths that an annoyingly large amount of people pass around to justify white supremacy: that everybody wants to conquer and wipe out everybody else, and that white people just got the technology and exploration level up first to do it.  They like this myth for several reasons: 1) it frames genocide, slavery, conquest, etc, as natural results of human development, SOMEBODY would have eventually done it regardless 2) it frames evil acts as “human nature”, it implies that the victims of those acts would have done them if they could, and that the people doing it were only acting on “nature” 3) it implies that because white people did these things therefore white people must have had the highest technological level and 4) because white people had the highest technological level therefore white people deserved their place in the world as conquerers and colonizers and enslavers.

Of course none of this is true, but it’s something our society likes to believe and the narrative is distributed through “common knowledge” and through our media, where non-white cultures in “historical” dramas are framed as “primitive” or warlike or both, and all the various dystopia fiction where “the oppressed become the oppressors” and what not (i.e. everybody wants to conquer everybody else, so SOMEBODY has to be on top).

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*I want to get rid of the argument about “Historical Accuracy” when it comes to defending lack of diversity in fantasy worlds. That concept needs to be taken out back, and killed with fire, because I no longer want to hear that PoC did not contribute  to the European historical record, and that  somehow has relevance for their existence in fantasy worlds, that are based on particular European time periods.

“To put it yet another way, in my country where Dukes are actually a thing, there are a grand total of 30 (6 members of the Royal family, 24 others), and while the amount of Duchies in the Kingdom has varied a bit over the years, this number has remained relatively stable.  By contrast, although I don’t have access to hard census data for the 19thcentury, Google reliably informs me that there were 2,651,939 people in London in 1851. And, if we take the extremely conservative estimate that only 0.1% of them were people of colour, that means that in the mid-19th century there were 2650 POCs in London compared to about 30 Dukes in the whole country.

So, from a certain perspective, a historical romance about a person of colour set in England in the mid-19th century is 88.3 times more plausible than one about a Duke. But because we’re used to seeing stories about Dukes in the 19th century and we aren’t used to seeing stories about people who aren’t white or heterosexual in the 19th century,  stories about the absolutely tiny number of high ranking members of the landed aristocracy seem natural and normal to us while stories about the proportionally much larger number of marginalised people living in England at the time feel implausible or disorientating, even though they’re actually more reflective of the lives of real people.”

-Alexis Hall, Obligatory RITA post (with added mu

 

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*This is about the devaluation of art done by women, and the prioritization of female nude art, created by, and for, a male audience. Bet you never gave this one much thought before, have you? Hell, I studied art for two decades, and it never occurred to me that the value of certain types of art is biased in favor of the male gaze.

http://anewdomain.net/paint-naked-women-male/

Could the reason for 83 percent of the New York Metropolitan Museum’s nudes being female have anything to do with it being run predominately by men? And who collects art?  Rich people, right? And who is rich enough to collect art?

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*This particular discussion highlights how  fashion does not exist in a vacuum. Clothing is just as political as any other part of our culture from hairstyles to music. This also ties into something discussed in an earlier post, about how, before the Civil Rights Movement, juvenile delinquency was coded as being White, (before that it was Italian and Latino) was heavily romanticized, and was almost never associated with Black teenagers. After the Civil Rights Act was passed, juvenile delinquency (and violence) became associated with Black and Brown youth exclusively, (reaching new heights during the nineties, with the invention of the Super-Predator.)

Greaser was a derogatory term for a Mexican in what is now the U.S. Southwest in the 19th century. The slur likely derived from what was considered one of the lowliest occupations typically held by Mexicans, the greasing of the axles of wagons; they also greased animal hides that were taken to California where Mexicans loaded them onto clipper ships (a greaser). It was in common usage among U.S. troops during the Mexican-American War.

why are greaser aesthetics still used to depict “bad boys” in art and media, when it hasn’t been that way since the 50s. this is a real mystery, i’m a serious scientist.

And the response:

 

it’s a so frustrating because greasers were originally  Mexicans or other latinxs, or Italians – either by subculture reclaiming, or slur. “Greasers” started out as the object of white fear.

Ethnically, original greasers were mostly composed of mostly Italian Americans in the Northeastern United States and Chicanos in the Southwest. Since both of these peoples were mostly olive-skinned, the “greaser” label assumed a quasi-racial status that implied an urban lower class masculinity and delinquency. This development led to an ambiguity in the racial distinction between poor Italian Americans and Puerto Ricans in New York City in the 1950s and 1960s.[6] Greasers were also perceived as being predisposed to perpetrating sexual violence, stoking fear among middle class males and arousal among middle class females.[8]

What most people remember is NOT the actual era of the greasers, but instead the 60′s and 70′s “sanitization” of who they were, why they were stereotyped against, and why they were used as villains.

Hell, before greaser was ever recognized as a “subculture” it was explicitly used as a derogatory term against mexicans. (That link references The Greaser Act, and lots of Hollywood movies which used the word.)

so before the 40′s-50′s, greaser was heavily used to portray a racist stereotype of a Mexican/Chicano man as violent/aggressive. (at least in media). This term also got used against some other latinxs in general, as well as Italians and sometimes Greeks. At least in hollywood this “greaser” type promoted mexicans as bad/dangerous and while also promoting latin lover stereotypes:

The Mexican Government soon objected to Hollywood’s portrayal of its citizens as “bandits and sneaks” and threatened to ban all films produced by companies which offended its people. This 1922 threat caused screenwriters to treat their neighbors to the south with more care. The “greaser” swiftly lost his Mexican nationality in the attempt to diffuse potential complaints, but his ghost still haunted new screenplays which concerned Hispanic characters.

Clever subterfuges often placed an unnamed “greaser” in a new locale. Rather than use the name of an actual country and risk offending its inhabitants, screenwriters began to create mythical cities and nations. “The Dove” (1928) provided an obvious example. The film concerned Don Jose Maria y Sandoval (Noah Beery), who considered himself “the bes’ damn caballero in Costa Roja.” Costa Roja, as the title cards explained, was situated in the Mediterranean!

The flimsy guise fooled scarcely anyone. The Times critic commented: “Taken by and large, Jose is perhaps a screen character to which the Mexican government might have objected, for he is greedy, sensuous, boastful, cold-blooded, irritable, and quite a wine-bibber, but he does dress well. He hates to have his luncheon spoiled by the noisy victim of a firing squad.”

(movie image, and its sound remake)

those images don’t look super like what you’d think of as “greaser” subculture, but…when you go forwards a decade or two, and then look at the actual people:

Zoot Suit(er) after arrest during the 1943 Zoot Suit Riots in LA. The Anglo police officer is inspecting his hair.

Wikipedia mentions that the Mexican American community was then…investigated to see if they had ties to the Nazis. (Yeah.)

On June 21, 1943, the State Un-American Activities Committee, under state senator Jack Tenney, arrived in Los Angeles with orders to “determine whether the present Zoot Suit Riots were sponsored by Nazi agencies attempting to spread disunity between the United States and Latin-American countries.” Although Tenney claimed he had evidence the riots were “[A]xis-sponsored”, no evidence was ever presented to support this claim. […] In late 1944, ignoring the findings of the McGucken committee and the unanimous reversal of the convictions by the appeals court in the Sleepy Lagoon case on October 4, the Tenney Committee announced that the National Lawyers Guild was an “effective communist front.”[15][27]

so that 1940′s look becomes this over time:

three Cholos showing off their outfits (1950′s). why? because zoot suits were deemed horrifically unamerican and “wasteful” during WWII.

but then ofc bitch ass racist white boys and motorcyles co-opted the look, add in a little bit of Travolta white washing of the radical pushback against racism in the origins of this stuff, and now we’re here.

 

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I have been wondering about the depiction of Tony Stark in the MCU vs. the comic books. The comic book version of Tony has at least some redeeming qualities, much like the version in the Iron Man Trilogy. He’s not a great character in the trilogy, but he’s less awful than in  The Avengers movies, for example.

When Tony is depicted in other movies in the MCU, besides his own, he’s often written as a callous, misogynist, asshole, who is thoroughly unlikable. For example, I got the impression that the Russo Brothers deeply dislike Tony Stark, because he doesn’t come off looking good in Civil War, at all, and even manages to look  several degrees worse in Spiderman: Homecoming.

https://wordpress.com/posts/my/tvgeekingout.wordpress.com?s=captain

A lot of what this guy says about Tony’s lack of moral center, I already talked about, in an earlier post, comparing him to Steve Rogers.  In that post I expressed some doubts about my assessment of Tony’s character, and  its nice to know I wasn’t the only person getting that take.

 

This was something I specifically stated in my post:

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*I have always wondered about this narrative, being put forth by the media, that these killers deserve sympathy because they were victims of a society that didn’t understand them. It turns out that they are, just as I suspected, mediocre, entitled ,white boys, who go on killing sprees because the world refuses to worship them for being the special snowflakes they believe themselves to be.

I like how she ties this into the racial aspect, where white men receive sympathy for killing others, (and the benefit of the doubt), but Black men who kill…don’t. 

Also read up on the topic of “Wound Collectors, which is a fascinationg insight into how some mass killer’s minds work. Just about every mass killer, according to many of the writings they have left behind, seem to fit this dynamic.

These individuals use these wrongs, slights, or wounds, to then justify their beliefs or behaviors, or to help them deal with their own psychological or social distress. What is the definition of a wound collector or wound collecting?            
Wound collecting is the conscious and systematic collection and preservation of transgressions, violations, social wrongs, grievances, injustice, unfair treatment, or slights of self and others, for the purpose of  nourishing, fortifying, or justifying a malignant ideology, furthering hatred, satisfying a pathology, or for exacting revenge
Apr 7, 2013

 

More on the point about Columbine: Eric Harris was actually a relatively popular kid.  Not with the “popular kids” but, when it came to the more obscure cliques in the school, Harris was actually relatively well liked even for a kid who was, as was stated, an ACTUAL psychopath.  Dylan Klebold was less popular, but only because he was more of a follower who mostly just wanted to hang around Harris.

Neither one of the Columbine shooters was bullied.  They literally WERE the bullies.

 

Klebold’s own mother has been vocally debunking the narrative that they were bullied and “the real victims” for years. Her book, “A Mother’s Reckoning” is worth reading. It counters everything in the media. Kid was well off, wanted for nothing, wasn’t abused, neglected or bullied. What he was was radicalized by Harris, a neo-Nazi.

And just as “Walk Up” types don’t suggest showing compassion for poor Black or brown kid at risk of joining a gang, they don’t acknowldge that white radicalization is the root of a lot of America’s problems, more so than non-Westen radicalization that is readily accepted as dangerous.

Telling kids they should be kinder to the creepy kid who does Nazi salutes in the hallway is in fact making them more susceptible to radicalization. “Walk Up” is not only misguided, racist, misogynist and ableist, it makes things worse. Painting the Columbine shooters as the real victims set off the era of school shootings, and the more people call for more empathy toward angry white men who fit the profile (and again, in many cases these kids are actual neo-Nazis), the worse it gets.

 

Do your research properly or don’t have an opinion.

“According to Lee (2013), there are two leading causes of school shootings: bullying (87%), as well as both non-compliance and side effects from psychiatric drugs (12%). Most school shooters claimed or left evidence behind indicating that they were victims of severe and long-term bullying. The majority of bullying victims experienced feelings of humiliation, which resulted in thoughts of suicide or revenge (Lee, 2013). Additionally, of those school shooters who had been prescribed psychiatric medications, 10% displayed medication non-compliance (failed to take drugs prescribed). Many school shooters who were taking psychiatric drugs for their disorder experienced side effects of the drugs prior to carrying out a violent act (Lee, 2013). In fact, there have been 22 drug regulatory warnings on psychiatric drugs citing effects of mania, hostility, violence, and even homicidal ideations (Lee, 2013). There have been at least 27 school Ideas and Research You Can Use: VISTAS 2015 4 shootings committed by those taking or withdrawing from psychiatric drugs, which has resulted in 162 wounded and 72 students and/or faculty killed (Lee, 2013). However, there has yet to be a federal investigation in the United States on the link between psychiatric drugs and acts of school shooting.“

American Counseling Association

 

That 2013 data completely ignores the rise of white radicalism over the past five years. I read through the link, they didn’t even include rates of known white supremacy or radicalization. 76% of the attackers were white (with a 8% gap where race isn’t specified) according to their data, 99% were male and many left “cryptic messages,” a detail typical of neo Nazi mass killers like Eric Harris and Dylan Roof. That they didn’t analyze possible radicalization was a pretty major oversight.

Angry young white men believe they are the most persecuted, it’s not a surprise that attackers frame themselves as bullying victims. There’s a more a accurate term for it that hadn’t yet been coined in ‘13: wound-collectors.

In essence these are individuals who go out of their way to collect social slights, historical grievances, injustices, unfair or disparate treatment, or wrongs—whether real or imagined (Dangerous Personalities (link is external) 2014 Rodale Publishing)

At some point, we’re gonna have to stop pretending they’re “fighting back.” (X)

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Hellotailor (who I love btw! Please check out their website where they discuss the meaning of clothes and fashion in various movie franchises.), caught a lot of shit for writing this about Ready Player One. I don’t dislike the movie (it looks hella fun, and it is Spielberg!), but that doesn’t  mean they’re wrong.

Ready Player One could be the most hated movie of 2018. Considering the fact that it’s a Spielberg film with relatively respectable reviews, that’s quite an achievement. But like Fifty Shades of Grey, it’s based on a bestselling book that lends itself well to embarrassing viral quotes. Ready Player One has come to represent a certain kind of toxic fanboy mentality, and no amount of positive reviews can change that now.

At this point, the film’s quality is almost irrelevant to the backlash. Opponents are going after Ready Player One’s basic concept, because it’s such a perfect illustration of Big Bang Theory-style geek culture and its obsession with masturbatory trivia.

It simultaneously caters to the idea that white male nerds are underdog heroes, while proving that they’re actually a dominant force in Hollywood.

[READ MORE]

Black Panther Humor

I think you heard about those attempts to get White people to NOT go see the Black Panther movie, by posting false images of White people who’d gotten beat-downs for showing up at the theaters. It seems the template  these assholes were working from, came from the 80s, when a couple of movie theaters in California had riots at a showing of Spike Lee’s Do The Right Thing. For the past thirty years White bigots (and the news media, but really, what’s the difference) have been desperately hoping that something like would happen again.

Now you know,  once Black Twitter got wind of this, it was all bets are off. They really should’ve known better than to come for BP with that nonsense. 

— All these tweets were instantly and easily debunkedreverse image lookup toolsmake it easy to trace how the pictures of the bleeding “victims” were taken from stock-footage sites, TV shows, or legitimate news stories about domestic assault or other real attacks. Twitter users begin rapidly vetting each new false assault claim, responding to the posters by revealing their image sources. Twitter has suspended some of the accounts posting false assault claims.

https://www.theverge.com/2018/2/19/17029742/black-panther-fake-assault-stories-twitter-response-mockery-humor

But the  tweet to end  all other tweets, was this magnificent response, that for some reason, made me picture John Boyega in one of the lead roles. Brace yourself for  the funniest true life story on the internetz, involving a robot, time travel, babadooks,  and the monster from It Follows. This needs to be a movie now.

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Black Nerd Problems had to get in on this post by discussing, in humorous detail, how each member of the writing  staff was getting ready for The Ascension:

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Passport To Wakanda: How To Get Your Black Ass Ready For An Audience With The King

— To get back to my birthright, I’ve changed my name to something with a Z and an apostrophe in it. I have taken to wearing hoods everywhere I go, so I can look mysterious. When it is cold, I also wear a cape. I open my corporate emails with “To the People,” and close them with “For Wakanda”. My boss is too scared to ask me why. I bought a staff and a spear, which I practice with in the backyard. Well, maybe not “practice”. Ok, I *have* a staff and a spear. Actual practice would tire me out before the movie comes. I thought about using them to go out and solve crimes—I love Black Detective Twitter and NCIS: Los Angeles (the one with LL Cool J) but this ain’t Wakanda yet. This place won’t let me be great, but one day, one day soon… – Leslie

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In the new trailer for Infinity War, Okoye got jokes:

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People are getting funny on Youtube:

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Sometimes y’all just mean:

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We got memes:

When life imitates art.

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And there’s even a Black Panther Dance Challenge:

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On a more serious note, have more essays:

https://www.peoplesworld.org/article/black-panther-villain-killmonger-is-a-symbol-of-black-pain/

https://rollingout.com/2018/02/22/black-panthers-killmonger-character-offers-painful-reflection-black-america/

https://www.rollingstone.com/movies/features/black-panther-chadwick-boseman-ryan-coogler-cover-story-w516853

On The Table: Items For Discussion

On Race and Gender

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*One of the things most invisible to us as film goers is, through whose gaze are we viewing the world around us. The statistics are pretty clear, from television, to movies, to books, the point of view is that of cis-gender, straight, white men, who control nearly the entirety of all three industries. They are the ones who determine which stories are important enough to get told,  and how those stories get told. 

One of the more interesting aspects in film and TV, is how none of the  White characters in any of these narratives ever question their race in relation to PoC characters.  Most of the White people in movies do not think about their race, their race is never mentioned, and they never think about the existence of  PoC, just like the creators of these films. Racism doesn’t exist in these all White worlds, and no one ever has to think about it, or deal with it, unless its a story specifically about it. For example, you can have a story with an all White cast that may be specifically about a Native American issue, but White people’s complicity in that issue  is never mentioned in the narrative.

I think I mentioned in another post, how the subject of race is the boogeyman that White creators (and critics) dare not look at directly. Race is the sun around which their entire psyche revolves, but which they refuse to acknowledge exists, as even the stories they tell, that do not explicitly mention race, still say much about how they think (or don’t think) about the subject.

This post discusses the output of three different white male directors who have not included PoC, in any of their films, in prominent roles: Martin Scorcese, Tim Burton, and the Coen Brothers. I have thoroughly enjoyed the collected works of all these directors, but it even took me a moment to realize that this is true. I basically study this subject, but the fact that a number of film directors I truly enjoy, have never employed any PoC in their films, (outside of a couple of villains), was still largely invisible to me, and that’s the point.

https://theestablishment.co/how-to-make-white-movies-5b9b83c61c53

… films with all, or mostly, white casts are not inherently harmful (some are great), but they do create for themselves a unique problem. Because even as the overwhelming whiteness on screen goes unquestioned, unremarked upon, it remains up there for us all to see — and it thus necessarily conveys some meaning.

…Films starring white people, or featuring zero people of color, don’t have the same impact. They must contend with an inherent dilemma, which is that without any commentary, their casting reinforces the status quo. White remains the default, and this itself is a kind of unspoken celebration. Ignoring this reality as a filmmaker is like ignoring a boom mic which falls into the frame. We will see it, even if the director somehow missed it.

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Why Cinematography May Be the Most Gender-Biased Job in Hollywood

A cinematographer — also known as a DP, for director of photography — dictates the movement and gaze of a camera, hugely influencing a movie’s feel. For years, women have been shut out of having that influence. Men vastly dominate its ranks, meaning that movies have been quite literally subject to the male gaze in a way audience members may not even be aware. (This article may have a paywall.)

https://www.washingtonpost.com/news/business/wp/2018/03/06/why-cinematography-may-be-the-most-gender-biased-job-in-hollywood/?utm_term=.0519c70ed87d

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*This interview with the show runner of Jessica Jones is a perfect example of the above topic, and shows that its an attitude not limited to White men. In fact, she is a textbook practioner of “White Feminism” (this is not a reference to the person’s race, but the name of the type of  feminism being espoused by that person, which does not take into account the lives of marginalized women ). It is the type of feminism that considers WoC to be an afterthought, at best, and non-existent, at worst.

You know how I can tell there are no WoC (or marginalized women) in the writer’s room of that show? In season one of Jessica Jones, there is the Angry Black woman stereotype in the first episode, Jheri is The Evil Lesbian who tries to have her ex-GF killed, her ex-GF is The Hysterical Female, loud, and irrational, and then there’s the Black female victim of the show’s lead. Not one of the show’s writers stopped to think how it would look, that Jessica kills Luke Cage’s wife (conveniently getting her out of the way) and then sleeps with him, while never mentioning to him what she did, (after she discovers that was his wife.)

I made a point to skip the new season, but I am not heartened by the news that the situation has not changed for WoC (or queer women) on that show, and I’m not going to give a third season a chance either. I’m done with the show. What I find even more galling, is that the showrunner makes it sound like the choices they made, regarding the roles of marginalized women on the show, were just some sort of “accident”, that no one had any control over.

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Fumbling to accurately portray both race and gender onscreen is hardly a problem exclusive to Jessica Jones. Shows like The Handmaid’s Tale and Law & Order: SVU, among others, center on transforming our ideas of what a “strong female character” looks like, but fail to decentralize whiteness. By refusing to do so, intentionally or not, these shows continue to present race as a hindrance rather than a very real part of their characters’ identities and a factor in their experiences. 

https://www.bitchmedia.org/article/reviews/jessica-jones-leaves-black-women-behind

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*The Twitter thread on this topic was brutal and hilarious. Mainstream publishing is another industry where female characters  are seen through a White male gaze, and no one ever seems to question this. When the writer is great, this isn’t quite so much of a problem, but when theyre mediocre though, its absolutely cringeworthy.

https://electricliterature.com/describe-yourself-like-a-male-author-would-is-the-most-savage-twitter-thread-in-ages-60d145d638d6

Whitney Reynolds

@whitneyarner

new twitter challenge: describe yourself like a male author would

Lilly Beth Chung@LillyBethChungx

[insert something about being mixed race and how that makes me petite and inherently submissive but juxtapose it with the idea of me being adorably aggressive and will stand up for myself. But make it sound endearing. ]

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*This post is about how women’s stories, in movies and television, are devalued by men. Essentially the test is, take a man’s story that has gotten widespread approval,  replace all or most of the characters with women, and watch the ratings for that story plummet.

https://www.theguardian.com/news/2018/mar/06/the-male-glance-how-we-fail-to-take-womens-stories-seriously

Male art is epic, universal, and profoundly meaningful. Women’s creations are domestic, emotional and trivial. How did we learn to misread stories so badly?

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*This same dynamic is at work in the idea of White prioritization. A perfect example of that is the TV show Friends, from the 90’s. There was a Black show called Living Single, on which Friends was entirely based. It is Friends that is remembered, and  got  revived for more episodes, after its cancellation. Living Single was simply forgotten. This is a great article on the difference between these two shows, and why those differences mattered in the remembrance of one, but not the other.. 

https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/

Patronizing a Central Perk-style coffee shop in the ‘90s meant you had enough income to spend on a marked-up cup of coffee. It meant that you had the luxury of time to hang out in a cafe for hours with your friends because you weren’t working two or three jobs to get by. When free internet became a basic feature, you went there because you could afford a laptop—which were then well out of the price range for many working-class people. Chances were good that your cafe was mostly populated by a bunch of people who shared your privileges and skin color.

Now, for the record, I was a Living Single fan and I pretty much hated and dismissed Friends. I watched pretty much every Black sitcom that came out in the 80s and early 90s, from Sister, Sister, to Family Matters. But just in case you want to get on me for hating Friends, I watched a lot of sitcoms that had nothing but Whites in them like The Drew Carey Show, Perfect Strangers, and Bosom Buddies, as well.

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Recently  the idea of White prioritization  was turned on its head by the movie Girl’s Trip. It was expected that Rough Night, a similar movie about young White women on a road trip, would have been the movie to capture public interest, while Girl’s Trip was ignored. But that was not what happened:

https://www.thewrap.com/how-did-girls-trip-succeed-where-rough-night-and-other-adult-comedies-failed

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*And when White writers do write about race, they don’t do  their homework. They almost always get the depiction of it wrong. Its as if they know racism is bad, they just don’t seem to have quite processed why that’s so. I think I mentioned this before that most depictions are wrong because the bigots actually have legitimate reasons to be afraid of the beings they’re oppressing. Otherworldly creatures, and superpowered beings, (who are almost always White) are bad stand ins for marginalized people in allegories about bigotry, because real PoC, DO NOT have superspeed, superstrength, or  laser eyebeams.

Its also interesting to me that audiences can empathize with these oppressed characters in movies and TV, but in the real world, oppressed people are often admonished against being angry about their situations. Its not a coincidence that such admonishments often come from the ones engaged in the oppressing, and who are most likely to be on the receiving end of that anger.

https://www.themarysue.com/jessica-jones-race-gender-superpowers/

 And in every one, it ends up being people of color versus white vampires, aliens, or whatever a show would rather have stand in for POC than actual POC. It’s often exhausting, and not just because watching a white actor preach about bigotry and racism to a brown actor is irritating. What I find more upsetting is that the characters who are mutants, aliens, super-powered, or whatever, get to be more militant and angry than characters of color.

 

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On the Female Gaze

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To read more on this topic, and the responses, become a member of Medium.com, where you can also follow me, read my responses to articles, and read posts I’ve recommended.

I posted about this earlier, on the fetishization of White, gay men by White women writers.

Why Are So Many Gay Romance Novels Written By Straight Women?

https://electricliterature.com/why-are-so-many-gay-romance-novels-written-by-straight-women-e1ad2ad2f5c8

And in the responses:

I know the perspective you’re talking about here all too well from my experience in fandom, and it’s disheartening as hell. It’s disheartening as hell to come to queer (and queered) media looking for that kind of representation and complex engagement and see it overrun with the worst kinds of Kinsey 0–2 women fetishizing queer relationships. If I never see another who tops/who bottoms “debate” in my life, it will be too soon. If I never see another piece of fanart reblogged on Tumblr to the tune of hundreds of thousands of notes putting stereotypically slender, able-bodied, attractive young white men in crop tops and flower crowns, it will be too soon. If I never am around another Kinsey 0–2 woman acting like pretty boys are just so much prettier if they’re making out with bruises and bloody patches on their faces after being physically abused/physically abusing each other for reasons related to homophobia, it will be too soon. If I am never exposed to the “woke up magically one morning with breasts because of a supernatural plot ….—Kate (Medium.com)

View story at Medium.com

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On Cultural Appropriation

There’s been some huge discussion of how Wes Anderson’s Isle of Dogs (a play on the words I love dogs) is actually appropriating Asian culture. Is this appropriation?

https://www.themarysue.com/cultural-appropriation-poc-isle/

http://www.latimes.com/entertainment/movies/la-et-mn-isle-of-dogs-review-20180321-story.html

https://mashable.com/2018/03/23/isle-of-dogs-japanese-culture/#uoZ_BFMcqZqD

*For the record, I had never made plans to see this movie even though I have a dog (Hi Sarge!), and love dogs, because I  thought the dogs looked kind of terrifying, and everyone in the trailer spoke in depressing monotones. (I know I don’t talk about Sarge often, but really he doesn’t do much of note, beyond shedding copiously, and watching me expectantly in case  “walkies”  occur.)

 

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On Harassment Activism

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*A warning for reading these articles, some of them contain some really nasty shit against women and PoC, so read with a certain amount of caution, (or just have a few drinks first.) This seems to be the Right’s go to response to everything they dislike: harassing it out of the public sphere. This is about more than just controlling public forums like Twitter, this is about shutting up the people who are no longer listening to, or supporting, the received wisdom of White men. White men are fed up with so many people talking back, and refuting, the things they’ve been told, or espoused themselves. 

https://www.thedailybeast.com/comicsgate-how-an-anti-diversity-harassment-campaign-in-comics-got-uglyand-profitable?via=newsletter&source=DDAfternoon

https://www.inverse.com/article/41132-comicsgate-explained-bigots-milkshake-marvel-dc-gamergate

 

*And even academics aren’t immune from this “activism”, if they start saying things White men don’t like.

https://www.aaup.org/article/new-reality-far-rights-use-cyberharassment-against-academics#.WsejGfnwb0N

—Their plans became darker and more elaborate. One commenter suggested that their remote attacks on me be expanded to include my family. Another suggested that they take images they had found of my wife and Photoshop them in profane ways. They began to draft letters to send to administrators at my university and provided suggestions for editing to incriminate me. One commenter suggested they alter a screenshot they had created to make it appear as though I had used the term n****r. Another suggested that they accuse me of anti-Semitism. Their stated goal was to see that I was fired. This, apparently, was the type of opportunity they relished: find a person to harass, maybe by drawing him or her into a politi­cal argument, locate any information they could find online, and then coordinate attacks in an attempt to damage the person as much as possible.

 

 

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*This was an interesting article about the response of white people to diverse television, and movies, and their nostalgia about, and retreat to,  past eras of pop culture, like the eighties, when there was less diversity in the media.  We’re going to be seeing more reboots and remakes of TV shows that are not being remembered for their diversity, at the time.

This isn’t just the problem of RPO, but just about every show that is an nostalgic homage to that  time period erases the fact that Black people were having a serious impression on American culture at that time.

The problem with RPO is that the only pop culture of the eighties that’s mentioned in the movie, are things White guys would’ve loved. There’s no mention of the burgeoning hip hop scene, no Beastie Boys, or Run DMC, no Black fashions. In show after show, that’s all just conveniently erased from the history of that era.

https://www.theroot.com/ready-player-one-and-the-unbearable-whiteness-of-80-s-n-1824212737

Where is the Ghostbusters’ Winston Zeddmore? Jazz from The Transformers? Panthro from Thundercats (c’mon, we all know he was black), or even prominent women like Rainbow Brite, Strawberry Shortcake and She-Ra?

Writ large, Ready Player One, with its frothy retelling of the ’80s, is no different from decades of Western films with no black cowboys, rock ’n’ roll retrospectives that eliminate the black roots of the music, and commercials that appropriate our past while removing us from it. Today’s Gap commercials would lead you to believe that white people invented breakdancing and pop-locking.

 

I usually post in the mornings, but I was a little late with this one today.

Black Panther On Tumblr

As per usual, the fans on Tumblr got jokes, memes, and asides. There have been surprisingly few meta and  essays though, with most fans settling for oddball humor:

redemption-interlude

“I’m tired of you talking about Black Panther. Shut up about it.”

 

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zeusbcrn:
“ kingjaffejoffer:
“ This was the most swagged out nigga in the movie and he only had like two lines.
he always looked annoyed that he had to waste his time attending
”
nakia’s dad did not come out here to play with y’all. he’s serving you...

 kingjaffejoffer

This was the most swagged out nigga in the movie and he only had like two lines.

he always looked annoyed that he had to waste his time attending

zeusbcrn

nakia’s dad did not come out here to play with y’all. he’s serving you tribal elder realness with a dash of high level black fashion. that suit cost more than ya rent. givenchy who? gucci who? he don’t know them, he only wearing top tier wakandan designers. t’challa ain’t even got this shit. you see the way he matched the lip plate and gauges to the suit??? y’all keep thinking it’s a game if you want to.

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juniorvarsityjackets

Imagine just being a regular Wakandan during that 2 month period of Civil War and Black Panther

You just reading your Kimoyo bead feed every day like wtf?

Sent aid workers to Nigeria, they get killed in an explosion, your king killed in a terrorist attack, the prince becomes king, like a day or two later, some random outsider comes on, now HE’S king, then a day or two later there’s a big fight in the capital and then the old prince is king again? And then he reveals your nation to the world?

Like that’s not encouraging

 

honeybruh

on the Wakanda Wide Web message boards like “this never happened with T’Chaka, smh”

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potofsoup

I’m lying here awake because I’m thinking about Shuri, throwing herself into her inventions and designing 2 new Panther suits in a week because the old one couldn’t be worn under a western-style suit and if her father had been wearing the Black Panther suit underneath he wouldn’t have…  the explosion wouldn’t have…

Shuri makes notes that the suit needs better ways to absorb impact.

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vibraniumvibes:
“ theworldaccordingtodee:
“ ashermajestywishes:
“ ashermajestywishes:
“ bury-me-in-the-ocean:
“ violet-ines:
“ bury-me-in-the-ocean:
“ vibraniumvibes:
“The movie is brilliant. They didn’t leave a stone unturned.
”
Ok not only that!...

 bury-me-in-the-ocean

Ok not only that! but! I’m feeling like the reason why N’jobu wasn’t in Wakanda in the ancestral plane is because 1. he wasn’t buried the right way, (if you remember several times throughout the movie, the burial process is mentioned to be extremely sacred and important), and 2. because N’jobu hadn’t died in Wakanda.

This was another reason to point out what Erik and his father were talking about being lost and away from their home. Because N’jobu would never go home, in his former life and the next, he’d always be trapped, forever lost from finding his home

 

violet-ines

^^this gave me chills.

I also thought it could be relationship to how black men in America encouraged to not show emotions, not cry or hug, as they make it seem to show a since of weakness.

When N’jobu asked Erik,” No tears for me?” You could see how Erik was holding back tears and just left it as,” the world is hard, men don’t have the chance to cry” in so many words.

I really almost cried because he could finally see his father and they didn’t share a tender embrace as T’Chaka and T’Challa..

 

ashermajestywishes

They didn’t hug because Killmonger’s father was disappointed, both in himself and in his son. And yes because toxic masculinity defines our society.

T’Chaka was proud of his son because T’Challa was a good man despite T’Chaka’s mistakes. N’jobu failed his son utterly and completely. He was estranged from Wakanda and so, in turn, was his son.

It was a beautiful scene, full of regret and the ways in which the mistakes of the past can be visited on present generations. The scene was supposed to be our clue that Killmonger was not going to be king. He was not a product of Wakanda. He was a product of that sad, angry room with both the guns and the history hidden behind a painting on the wall.

He was a product of a hidden history and a violent society. So that is where he went, and that is where he met his father forever trapped by the mistakes of men who could not see beyond their own needs. T’Chaka, his need to protect his vision of himself and Wakanda and N’jobu, his need to heal the world by defying his King and country.

The thread running through Black Panther is estrangement. It is the stylised story of a people whose history has been hidden for far too long. It is the story of a people estranged from themselves and their history. It is the story of the Diaspora. It is also a story of choice. We, the Diaspora, choose every day and in every minute our response to that estrangement. Are we defined by the wrongs visited upon us as a people? Do we hold the anger in? Do we explode? Do we make people pay for the hurt, the pain, the indignities? Will we be Killmongers?

Will we meet our ancestors in the sad, dark places of our pain?

That was one of the points of that scene. Erik Killmonger met his father in the sad, dark place of his pain.

I hope that the original cut has another scene. One in which Erik Killmonger joins his ancestors in Wakanda, because in the moments before his death he got it. He finally became a child of Wakanda. He would have freed himself and his father from those chains.

 

ashermajestywishes

I mean look at how that scene began. Erik learned his history by finding it in the hidden place. His father wanted him to find it, but that is not how you teach children their history. You hold them in your lap and say this is who we are. You tell them stories. You take them home.

Ryan Coogler is trying to show us in a few scenes what estrangement means. What being cutoff from your history means. You are not supposed to find it in a cutout behind a painting sitting next to the guns. And that wasn’t his fault. Other people made bad choices. A society made bad choices and he paid for their bad choices with his soul.

But then there comes a point when you choose who you will be, despite the bad choices that formed you. Killmonger made the correct choice in the end, or at least the only choice he could have made.

His story is heartbreaking. It is Shakespearean. He is the first beautiful villain in the MCU, and I adore his story.

 

theworldaccordingtodee

Black Panther is such and complex and compelling story with such rich text and undertones and themes that I’m thoroughly convinced that we’ll be discussing its meaning for, possibly years to come.

 

vibraniumvibes

Another thing I love that I’ve probably already mentioned on here is how T’Challa woke up the second time with his back turned on his ancestors symbolizing he was turning his back on their old ways. The symbolism running through the entire movie is intense.

 

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myinkandtrees

I loved this scene so much. T’challa is about to tell a black kid from Oakland who he is.

Like..that means a lot. And t’challa knows that. he knows that what he’s about to tell this kid is about to rock his world.

It’s basically representation matters summed up. I think it’s really important to take this scene for what it is. Black youth don’t get this kind of representation, they don’t always get these kind of role models, leasts of all not a king of the most technological advanced, richest nation in the world.

Movie wise, hes telling a kid who’s most likely had oppurtunites denied to him that he can be anything, that black people can be anything.

rl wise, i feel like this part is reaching out to the audience, black youth specifically.

If t’challa can do it, then so can they. ANd t’challa knows this, he knows that he’s about to inspire this kid to do great things, and sorry if i rambled but i just LOVED THIS PART.

No other marvel movie has had this much, real life, relevant social commentary in relation to this day and age.

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The Alnur African Drum and Dance Troupe as The Dora Milaje

SOURCE:  wearewakanda

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https://www.topteny.com/top-10-biggest-cities-in-africa/

 

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This needs to be said…

After Black Panther, and Coco, and all the other great films that have come out and boasted great representation (and great Box Office returns) I hope all movie studios are aware that nothing can every go back to the way it used to be.

Like, you know how when you’ve had something high quality, and you just can’t go back to the bargain brand again because you know what this product is supposed to be?

Well, Black Panther and Coco just introduced an entire generation of people (young and old alike) what positive representation is supposed to feel like.

People aren’t going to stand for “This character couldn’t be X because it’s a stereotype.”

People aren’t going to stand for “This character had a small role but it’s fine because X”

People ain’t gonna stand for “Finn can’t be written well because there’s no place for his story to go”

People aren’t going to stand for “Iron Fist couldn’t be Asian-American because it perpetuates a stereotype.

People aren’t going to stand for “We couldn’t find the right type of actor so we just went with a white person.”

People aren’t going to stand for “Let’s make the black woman a frog for the entire movie.”

People aren’t going to stand for “There weren’t any people of color in this era. It wouldn’t be historically accurate.”

People aren’t going to stand for “Well…it’s close enough, isn’t it? Why’re you complaining?”

Movie studios  thought it was bad before? Honey. Buckle up.

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 theghostwasblue

*no spoilers*

He does not like superhero movies and normally he falls asleep in the cinema. But not this time, he was on the edge of his seat and he said that he didn’t wanna miss a single moment. He absolutely loved the movie, the first thing he did when we got home was to call his african friend, yelling at him to go watch it as soon as possible. The second thing he did was ask me when the sequel will be out.

I asked my dad what he liked about the movie and he said everything. He loved that almost everyone was black and that they spoke Xhosa. He was so happy that they captured what life is actually like in many african cities in those scenes when they were walking around in wakanda. Seeing the people sit in cafes, buying food from food stands, kids running around with school bags, just people living their everyday life all the while being unapologetically african. He said he felt as if he was back home. And he was so happy that there finally was a movie where africans weren’t starving, or warlords, or dealing drugs. He told me that this is the kind of movie he has wanted to see for years, not alluding to the superhero stuff but the fact that they portray africans the same way that most if not all movies portray white people and not criminalize or dehumanize them but uplifting them. He loved every single character and especially M’Baku but his absolute favourite was the Queen mother Ramonda because she was so calm and collected while simultaneously being this strong queen. My dad, coming from a culture that really uplifts and value mothers and holds them above all, felt like the movie really captured that in Ramonda and that’s why he loved her.

He loved the soundtrack and how they mixed in djembe drums and traditional african singing with modern western music and he loved the costumes because a lot of the clothes look like the things people are wearing at all the african parties we go to.

The only complaint my dad had was that the sound was to high, which was his own fault for insisting that he sit at the end of the row right next to one of the speakers.

So yeah, representation do matter. I’ve never in my life seen him so happy about a movie. And he wanted to talk about it after it had ended which never happens normally. We joked around with the idea of him being a wakandan wardog stationed here and we did Shuris and T’Challas little handshake saying that is the only way we will now greet other africans. This movie gave my dad pure joy and happiness and it gave us a bonding opportunity because we finally have something that we both could geek out about.

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The Wakanda Reader

Here are two full length lists of all the think pieces written about Black Panther. Its been five weeks and the movie is still going strong and breaking records. I’m going to try to bring you interested parties as much reading material on the movie as possible. This also explains why I have been remiss in my review of this movie. There’s not much point in reiterating what better, more eloquent, writers have said about it.

 

The Collection

http://www.latimes.com/entertainment/arts/miranda/la-et-cam-pantherpedia-black-panther-essays-20180308-htmlstory.html

 

Image result for black panther gifs

If you haven’t seen the Marvel superhero movie Black Panther yet, you must be at least a tiny bit mystified about all of the chatter and story-sharing happening on your timelines, particularly the ones about something called “Wakanda.” If you have seen Black Panther, perhaps the only thing that mystifies you about Wakanda is why we don’t have anything like it today.

https://www.citylab.com/equity/2018/02/the-wakanda-reader/553865/

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And for you dedicated enthusiasts here’s a Google Doc of nearly every think piece written about Black Panther in the past three weeks. Just look under the terms Black Panther Reader to find nearly 16 pages of goodness. (Are you kidding me,? I haven’t  finished the list myself.) Many of these are written by PoC, but there are some surprisingly eloquent pieces written by White writers, and I was actually glad to read those, (despite my badmouthing of White journalists) because they approached the movie from a perspective no one else did, and those writers understood that.

https://docs.google.com/document/d/167vHXdc6fNXTJY-Id3UgRqPeE-c58q2ZHYyYRAaNcGY/edit

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But no matter how much money or how many awards films like “Black Panther” and “A Wrinkle in Time” amass, our research strongly suggests another reason they’re important: Children need a diverse universe of media images. And for the most part, they haven’t had one.

https://www.salon.com/2018/03/10/why-it-is-so-important-for-kids-to-see-diverse-tv-and-movie-characters_partner/

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This is an essay I especially enjoyed because it was written by a White woman. White feminists have been largely silent about the feminism of Black Panther, although last year they were lauding the feminism of Wonder Woman, as being of benefit to ALL women, and  for being so groundbreaking. This essay breaks down how Black Panther gets it right, and where WW went wrong, on this particular issue. 

There are far to many White women, who don’t see WoC as women, forget we exist when it comes to issues involving feminism, believe  their experiences as women are universal to ALL women, that we all want the same things, and that Pop cultural media is going to affect us all the same way. They don’t ever seem to remember that we are not White, refuse to take into account that our priorities may be wholly different from theirs, and that representation for one group of women IS NOT representation for all women.

 

Black Panther is a more feminist film than Wonder Woman. And I’m going to show you how.

The Feminism of Black Panther vs. Wonder Woman

 

In spite of their lack of superpowers, Nakia and Okoye more than hold their own, using their adept fighting skills (not to mention resourcefulness with a wig and a high heel) to fend off Klaue’s men. When they follow him into the streets, they get a helpful assist from T’Challa’s sister, Shuri, who drives a high-powered car remotely from her Wakandan tech lab. Ultimately, they fail to bring Klaue to justice—T’Challa allows CIA agent Everett Ross (Martin Freeman) to take him into custody—but the staging of the showdown, with all four working together as a cohesive unit, subtly illuminates how groundbreaking the movie is within the Marvel universe. Black Panther confidently performs the tricky balancing act of writing fully realized women characters into a traditionally male-centered narrative by wholeheartedly believing that they are integral to the storytelling.

https://slate.com/culture/2018/02/black-panthers-feminism-is-more-progressive-than-wonder-womans.html

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Black Panther is a more feminist film than Wonder Woman. And I’m going to show you how.

The Feminism of Black Panther vs. Wonder Woman

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In the Intercept piece, one group of Afro-Brazilians coordinated a rolezinho to watch Black Panther at one of Rio de Janeiro’s most exclusive high-end shopping malls, Leblon. As the writer notes, Leblon is couched in one of the most affluent areas in Brazil and is also a predominantly white space in a country where the majority of the population now identifies as black or mixed race.

https://thegrapevine.theroot.com/black-panther-inspires-black-brazilians-to-occupy-white-1823524868

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It is uncomfortable for many institutions to even broach the subject of the museum’s complicated relationship with audiences of color, but Black Panther has created an impeccable opportunity for institutions to begin a dialogue with their community. So many people will see this film; the scene may only reinforce their conception of museums, or it may open their eyes to the realities of the complicated relationship between the universal museum and colonialism, and museums need to be prepared to actively engage with this topic rather than avoiding the uncomfortable truths that are now out in the open on cinema screens.

Why museum professionals need to talk about Black Panther

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That unflinching eye is what makes Ryan Coogler’s first two feature films, Fruitvale Station and Creed, such deeply resonant and truthful evocations of the Black experience in America. His protagonists, a drug dealer and a boxer, respectively, are foundational archetypal figures in 20th and 21st century America’s perception of blackness.

http://birthmoviesdeath.com/2018/02/13/the-fleshing-out-of-black-masculine-archetypes-in-ryan-cooglers-films

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I began to recognize that white people and institutions writ large had never fully recovered from the lies they told themselves to put black people on par with the footstools and sets of china they bequeathed to their children. In college, I was growing into a consciousness I did not yet have words for, so I simply wore my pink and green T-shirt that proclaimed “Black to the Future” on a plane while wearing microbraids, listening to Eric B. and Rakim on my Walkman and making Don’t even try it! eyes with the people in first class. This was pre-internet and I didn’t realize there was a nascent movement that captured exactly how I was feeling.

https://theundefeated.com/features/watching-black-panther-commentary-sharing-wakanda-guarding-against-cultural-appropriation/

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The Characters

https://blavity.com/eric-killmonger-is-not-a-super-villain-he-is-a-super-victim-of-systemic-oppression

http://www.vulture.com/2018/02/how-black-panther-crafted-erik-killmongers-compelling-arc.html

https://www.hollywoodreporter.com/heat-vision/black-panther-how-tchalla-avoids-toxic-masculinity-1085741

https://www.newyorker.com/culture/culture-desk/on-killmonger-black-panther-s-american-villain

https://www.theringer.com/movies/2018/2/20/17032166/tchalla-killmonger-black-panther-debate-wakanda-politics

Editorial: You Love Killmonger At The Expense Of Black Women

https://www.washingtonpost.com/news/global-opinions/wp/2018/03/01/forget-the-abusive-killmonger-wakandas-women-are-black-panthers-true-black-liberators/?utm_term=.40a4a0cd6a8d

https://www.theringer.com/movies/2018/2/20/17033330/winston-duke-mbaku-black-panther-breakout

https://blavity.com/eric-killmonger-is-not-a-super-villain-he-is-a-super-victim-of-systemic-oppression

 

 

The Politics

)ne of the more interesting dialogues I’ve seen come out of viewing this movie is the response from immigrants, especially first generation ones African and Asian immigrants, who seem to have found some type of resonance in Killmonger’s character, outside of his revolutionary ideas, (not that people haven’t had a lot to say about that too.

https://www.tor.com/2018/02/28/building-bridges-black-panther-and-the-difference-between-rage-and-revolution/

https://www.dissentmagazine.org/online_articles/marvel-black-panther-review-race-empire-tragic-heroes

http://progressivearmy.com/2018/02/18/important-moment-black-panther/

https://www.gq.com/story/black-panther-and-the-search-for-home

http://africasacountry.com/2018/02/i-have-a-problem-with-black-panther/

https://thebaffler.com/latest/black-comic-universe-philo

How Black Panther Asks Us to Examine Who We Are To One Another

https://www.theringer.com/movies/2018/2/16/17020582/black-panther-marvel-mcu-history-iron-man-captain-america

https://www.vox.com/conversations/2018/2/26/17040674/black-panther-afrofuturism-get-out

 

The Look

http://www.nybooks.com/daily/2018/02/22/black-panther-choose-your-weapons/

http://www.vulture.com/2018/02/black-panther-costume-designer-ruth-e-carter-on-8-looks.html

https://www.theatlantic.com/entertainment/archive/2018/02/why-fashion-is-key-to-understanding-the-world-of-black-panther/553157/

 

 

 

 

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