Black Mirror Review

The topic for this season of Black Mirror seems to be White Supremacy, and I guess somebody, (I won’t name names, but I will point in the general direction of my co-worker, Chad) feels some type of way about that.

“Racial issues” was the general theme of three key episodes of this season. The plot usually  involved some form of technology that had  gone horribly wrong, or gets badly misused because of the philosophy of a Toxic White person, and then some marginalized person catches some shit for it.

Yeah, I can see people feeling salty enough to give bad reviews, especially if the theme for this season seems to be  “White people fucking up, y’all!” If things were reversed, and the theme was “Them Colored folk is fucking up the future!”, I’d be inclined to dislike it, too.

I watched all of the episodes, except Hang the DJ, because I’m not particularly interested in shows about young people falling in love.

 

USS Callister

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My favorite episode was USS Callister. The story is blatantly feminist but that’s okay, because it was very entertaining, as a Star Trek parody that takes place entirely in one man’s head. At first I thought this was a straight up parody about the original Star Trek, and a critique of how the original got feminism wrong, but it turned out to be something very different.

An entitled and awkward game maker, who doesn’t feel appreciated enough in the real world, creates simulated versions of his co-workers in a virtual game, and I just thought it would be a comedy, but  what elevates this above a parody is that he is White,  he treats the other characters appallingly, and most of his simulated co-workers are women, and people of color, whose job it is to worship and praise him as the Captain of the USS Callister. Those who are not sufficiently worshipful are punished.

One of the few White male characters (his company partner in the real world) is punished, over and over again, is by having a simulation of his son murdered in front of him, and the lone Black woman gets transformed into an alien monster as punishment for the activities of the white female lead , trying  to free them. The lone black male character is forced to speak in vernacular and wear an Afro. The point of all of this is that all of these characters must live in stereotyped versions of themselves, and kowtow to the captain, while he uses the game to take out his real life racial and sexual resentments on these self aware, virtual, clones, who are  powerless. When you couple all that with the sexlessness of the clones (none of them possess genitalia), it all adds up to some very deeply unhealthy ideas about sex.

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The simulations are not real people, but they are aware that they are trapped in a game called Infinity. They spend most of the episode trying to escape the simulation. The Captain also has access to their real world DNA, so they can never really die, as he can resurrect them anytime.

This particular episode is an indictment of  toxic White masculinity in the gaming industry. Its also a commentary on Incels, the Alt-right, and gamergate.

http://collider.com/black-mirror-uss-callister-explained/

What’s brilliant about “USS Callister” is how it serves up its headfake in the first act. We think we’re about to see a story of a mild mannered genius who gets no respect, and the episode uses our assumptions against us. We’ve seen that story time and again, where the quiet nice guy is the hero, but the story this episode tells is one that rings true to the world we live in today. 

 

Crocodile

Of all the episodes of Black Mirror, I think this one was the most hated, and I think it’s because a lot of critics didn’t understand what it was actually about. (Or maybe they did understand and it offended them.) There was also a certain contingent of people who simply couldn’t get past the deaths of the Muslim family in the episode, not quite understanding, that was the point, and  could not have been made otherwise.

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I’ve read several reviews of this episode, and when I speak on  ‘critical diversity’ issues, the fact that none of the reviews I’ve read mention race as a factor to the narrative, is exactly the sort of thing I’m talking about.

Most of the episode takes place in an Icelandic landscape, and is about a White woman, who goes on a killing spree, based on a killing she committed many years ago. Now she does kill another person in the narrative, but what many reviewers refuse to mention is that she also, coldbloodedly, murders a Muslim couple, and their baby.

Several years ago, Mia was present at the killing of a homeless man, via hit and run. Her boyfriend was the one who committed the deed, and years later, wracked with guilt,  he comes back to tell her he’s going to confess. She kills him. During this meeting another man is hit by a car outside the hotel where Mia and her old boyfriend have met, and Mia is called in as  witness by a young Muslim woman named Shazia. Shazia has a device that can probe a person’s recent memories ,and uses it on Mia, who cannot disguise the reason she was at the hotel, and that she killed her old boyfriend, at that time.

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Mia ties Shazia up, and using the memory device on Shazia, finds out that Shazia’s husband knew where she was going. She kills Shazia, and then goes to her home, and kills her husband, and their baby, just in case the device can be used on him. There is a guinea pig in the room, but Mia doesn’t kill it, and the device apparently works on animals, because Mia gets arrested while at her son’s recital that evening.

croc·o·dile tears
noun
 tears or expressions of sorrow that are insincere.
 
 https://broadly.vice.com/en_us/article/vbyp3b/in-black-mirror-white-mothers-are-the-coldest-villains

The title is a reference to the Crocodile Tears that Mia cries throughout the entire episode. Mia is always crying. She cries after she kills the homeless man. She cries after she kills her old boyfriend. She cries after killing Shazia, and her family. But all these tears do not stop her from being cold-bloooded (ie. reptilian) enough to kill a mother, her husband, and her baby to serve her own needs. Mia’s tears are meaningless, and are ultimately only about her own discomfort, and the possible loss of her lifestyle, with a new husband and career, and have nothing to do with the horrors she’s enacting. It is telling that Mia is cold enough to kill a baby, but cares enough not to kill the guinea pigs sitting on the table in the baby’s room.

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To me, a lot of these episodes are an indictment of White women who devalue the lives of women of color, and prioritize Whiteness. What Mia is doing, willingly taking the lives of marginalized others to save her own, while supposedly feeling sorry about it, is a definite reference to White feminism, the kind of feminism that is willing to throw other women (and even their children) under the bus to preserve itself, and can be directly attributed to the 53% of White female voters who put Donald Trump in the White House. I think this episode speaks directly to the hypocrisy of such women, as Mia considered the life of the family guinea pigs to be worth more than the life of the human baby she murders, and next to The Black Museum, this is the second most powerful episode in the season.

Throughout the entire episode, Mia keeps telling herself she has no choice but to do these things, and what’s worst , she tries to convince Shazia of this as well. Of all the choices she doesn’t consider, giving up her privileged, upper class lifestyle, is never one of them. At every step along the way, Mia could have stopped, but she is too cowardly, and self involved, to consider doing that, and cries because SHE is the one in pain.  Mia is a monster in every sense of the term.

Its interesting to me that reviewers can easily see that the USS Callister episode was about male entitlement, and sexism, but when it comes to the events of Crocodile, reviewers conveniently fail to “get it”, never mentioning that three of the people Mia kills are a dark skinned Muslim family. In some cases, the critics walk right up to the issue, and then neatly sidestep as if the  subject of  White racism is the least important (or most banal) part of the episode ,and they simply cannot be bothered with such a topic.

Crocodile Tears: The Violence of White Womanhood in Netflix’s ‘Black Mirror’ Episode “Crocodile”

by Talynn Kel (On Medium. Com/ for Members Only)

 

Black Museum

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I spoke about this particular episode in an earlier post on why we need more Black critics. of the three episodes i talk about here, this one was the stand out.

https://tvgeekingout.wordpress.com/2018/01/10/black-mirror-and-critical-diversity/

 

*On the subject of the critical reception of this season, I want to list The Verge, for getting every single one of its hot takes of this season wrong. In every episode that approaches race, the critics of The Verge manage to totally not “get it”. (In one case, a critic ignores the message of Black Museum entirely, to focus their attention on the White male villain of the episode.) Now there isn’t anything wrong, in particular, with the individual critiques but when coupled with the all the others that never mention any of the blatantly racial aspects of  the episodes, I’m inclined to give the critics of this website (and The Vulture) a confirmed side eye.

 

That said:

http://feministing.com/2016/09/21/film-critics-talk-racism-in-the-movie-industry/

 

Crocodile Tears: The Violence of White Womanhood in Netflix’s ‘Black Mirror’ Episode “Crocodile” — Part One (SPOILERS AHEAD FOLKS SO STRAP IN)

                                                                                    —– Medium.com

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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.

@

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.

Why Star Wars Fans Are The Worse Fans Ever…

Its not just Star Wars fandoms, though. We spend a lot of time on Tumblr shaking our damn heads over how shitty some of these fandoms behave towards characters they claim to like, and explaining why its not a good idea for people to do and say racist shit about them.

“Do they even know how to Fan?”

The Star Wars Fandom is, on occasion, a complete shitstorm of every awful racist behavior seen in every fandom ever. This is not to condemn those legitimate fans who genuinely love the franchise, and are not engaging in any of these shenanigans, let me make that clear. Hell, I’m a Star Wars fan! Been one since the first movie. But what I do not want to do, is  have anything do with the Star Wars fandom, in general, whose behavior, from the time of the announcement of Finn as a lead character, has been universally awful, racist, and thoroughly nasty, not just towards other fans, but towards the characters, the actors, and even the show’s creators.

As a general rule I do not engage in shipping of various characters. Not because I don’t think it’s a legitimate activity. It’s just that I almost never think about it, and when I do,  I rarely ever go beyond whatever canon pairing is present. Its simply not my priority when consuming media.  Some of the fans, however,  have taken shipping Rey and Kylo to such a  delusional level of behavior, you wouldn’t believe it.  From death threats to the creators, to cropping characters out of cast photos and posting them online, and harassing the actors on Twitter.

I was in the Supernatural fandom when the Destiel shipping started to ramp up, (it has since died down somewhat, thanks to the show no longer queerbaiting the characters), and saw every one of these behaviors  listed here, , within that fandom.

https://www.thewrap.com/12-times-fandom-has-gone-horribly-wrong-from-one-direction-to-dragon-age-photos/

Star Wars fandom is not the only one engaging in harassment of the actors and other fans. This happens in all the largest fandoms. A lot of the problem seems to be a toxic combination of celebrity worship, racism, and entitlement to the stories being consumed, and people not knowing how to be fans, along with internet anonymity. Somewhere along the way, people forgot that fandom involves loving and respecting the characters, and actors, and that this is supposed to be fun.

http://epicstream.com/features/8-Times-Internet-Fandom-Crossed-The-Line-With-Creators-and-Actors

This behavior tends to have  the worst repercussions for fans of color. Fandom becomes a “safe space” for White fans, at our expense. Part of the problem is the use and writing of meta. You have a lot of people writing so-called, think-pieces about these shows. Unfortunately, a lot  of these are written by people who have seen meta,  think they know what it is, and how to do it, but  have never had an analytical thought in their life.

This is not something exclusive to White male fans either. There are plenty of White women out there writing slavefic about Black Panther, cropping Finn out of photos with Rey, writing racist meta on why Michonne, and Uhura, and Iris West should die, or  remain unloved and alone, and harassing Candice Patton with pornographic, and racist memes on Twitter.

meta

1. Meta means about the thing itself. It’s seeing the thing from a higher perspective instead of from within the thing, like being self-aware.

The Reylo faction of the Star Wars fandom  regularly engages in every single one of the behaviors listed in the above articles. How is this fandom? How does this show a person’s love for a show, or character, or even an actor? Fandom has become so toxic in some places that even the mainstream news media have gotten wind of it, and they’re usually oblivious to such things. (We won’t get into how mainstream media has  aided and abetted the  racist, sexist, and homophobic attitudes that make toxic fandom possible.)

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The Reylo fandom are those people whose priority is shipping Rey and Kylo Ren from the Star Wars movies. Although many people are opposed to this relationship because it’s seen as romanticizing abuse, and as an erasure of Finn from his own narrative, its the behavior surrounding the ship, that seems to be causing the most consternation among fans of color. My general attitude is like whatever ships you like, but don’t delude yourself that it’s going to happen. Don’t delude yourself about what type of character you’re stanning for, and for fuck’s sake, stop make up bullshit excuses for what you’re doing because you feel some type of way about liking the villain.

JUST OWN IT!!!

 

A List of Things Reylos Have Done

rootbeergoddess

 Okay, this will be the last Reylo post I make today but since they want to act like they’re innocent, I’m just going to make a short list of the things they have done.
  • Harassed Daisy Ridley for posting a picture of Finn and Rey holding hands
  • Spammed unrelated Star Wars tags with Reylo content
  • Sent racist messages to various Finn fans
  • Erase Poe to make Kylo part of the new trio
  • Cropped Dev Patel and John Boyega out of pictures only to replace them with Adam Driver
  • Made racist Native American AUs and a racist Black Lives Matter story
  • Made a really gross and disturbing mental patient AU
  • Have tried time and time again to erase the relationship Finn has with Rey
  • Have posted Reylo content in the Beauty and the Beast tags as well as the Dark Crystal tags
  • Crosstag on a daily basis
  • Made Rose’s line about the things we love about Rey and Kylo
  • Made a Handmaid’s AU

This list will surely get longer.

 

 reylo-more-like-reyno
 Adding to this:
  • Organized, promoted, and held a “Cousin Ben Week” dedicated to creating content where Rey and Kylo were cousins in a romantic relationship, purely for the fetishization of incestuous relationships.
  • When some Reylos came forward with concerns about “Cousin Ben Week” they were silenced by other Reylos and told to get out of the fandom if they were bothered
  • Harassed antis after antis posted stories about being bullied by shippers before becoming antis, called many antis “victim-blamers” for sharing such stories
  • Bullied antis after antis posted selfies to spread positivity in the anti community
  • Made up a fake Crepe story to shit on antis
  • Harassed Pablo Hidalgo about if Kylo is a virgin or not
  • Have called Finn/John Boyega racial slurs including “coal boy” and said he looks 40.
  • Have sexually harassed a Kylo Ren actor at a Disney theme park.
  • There are scattered incidents of Kylo Ren and Rey cosplayers being harassed bt Reylos as well.

xprincessrey

 Also adding made Orient Express about their ship when it came out with Daisy as one of the leads ( where character was half of a interracial couple )

And recently Made the song “Rewrite The Stars ” a song about interracial couple facing racist miscegenation in the 1800s sing how they can rewrite the stars so they don’t have to deal with the racism

 

hanorganaas

 Posted a story where Leia died and Han married Rey only to have Kylo steal his father’s bride from his own dad.

 

nutheadgee

 Used the Holocaust experience as a sob story to try and mine sympathy and got mad when actual Jewish people told to not do that because anti semetism.

Called myself and other black fans nazis, KKK equivalents and racists because I said they don’t experience racism and should STFU about anti blackness.

Sent some select black finnreys pictures of black people being hanged and/or lynched.

Claim to “call out racism” in their little circlejerk echo chamber and in the same breath turn around and say how us blackies are mean and racist when we tell them how nasty they are.

Shit talk on our posts all day while blocking us because they are too pussy to have us respond to them directly.

heartlessbrujx

-Told other reylos to reblog an anti minors post because they expressed being triggered by reylo blogger interaction

-Weaponized cope shipping reylos against anti survivors

-Made a sexual assault reylo video

-Sent porn to underage antis simply for not liking the pairing

-Compared me, a Mexican, to Trump for not liking their pairing

-suicide baiting antis for calling Adam Driver ugly

-Said islamophobia wasn’t real and Muslims uncomfortable with Adam were the “real racists”

-Drawn Finn with wide lips and black skin

-Take FinnRey lines to promo their mayo pairing

-Called FinnRey shippers the “real racists” for not shipping FinnRose

-Reduce Poe to a sexy player and refuse to admit the racist undertones in that stereotype

-Demonize Finn as a black man for taking Rey’s hand “against her will” yet praise Kylo for kidnapping and torturing her simply because Kylo is white

 

angelsaxis

 -sexually harassed me in the comments of a fic I wrote and then claimed that I was the one doing the harrassing just for responding

-made an entire theory on how every instance of Kylo/the FO being violent and angry was ACTUALLY super romantic and about Rey losing her virginity

-compare Adam being called ugly to anti blackness and other forms of racism

 

inkstorrn

  • Harassed a minor for “””doxxing”” them when said minor hadn’t actually done anything wrong
  • Continuously harassed various antis about their ship being canon starting in January 2016 when there was not even a hint of that being true
  • Constantly call antis “scum” and insinuate that we’re all a hivemind and/or 12 years old and “just don’t know better”
  • Instead of informing antis about a rapist in the community, turned it into an antis vs shippers situation, and spread misinfo about a popular blogger
  • Continuously jump onto properly tagged posts to gang up on the op
  • Insinuate that antis tell people to die and/or harass shippers without providing any proof

badships

 Gonna add to this too
  • Wrote gross incest stories on anti posts
  • Used that stupid “anne” insult and then used the “it’s a meme” line on trans/nb antis who said it made them uncomfortable/dysphoric (im one of those trans people)
  • Compared black people to purple aliens when called out on a whitewashed finnrey edit
  • Compared finnrey/finnrey shippers to hitler
  • White shippers continue to speak over POC about what is and isn’t racist
  • Said I have no right to speak on racism because I’m not fully black
  • Refered to my race as a “half breed”
  • Sent themselves racial slurs on anon and then tried to accuse me and a few other antis, wouldn’t provide proof that it was me or said antis

 

@@

My question about this one is, what are White women in fandom supposed to do when The Becky Sue is the example they get from the source material? White racial resentment is  a factor in how fans respond to the media they consume. In one episode of The Walking Dead, a White character named Enid dressed down a WoC on the show. (In  a more recent episode, she tried to do this again to Michonne.) Some fans objected to this, seeing  in this scene, the writers taking the opportunity to express their own real life racial resentment through a white character.

I didn’t see that particular scene, so I can’t say, but I have noticed a trend, in genre media, of White writers putting their own racially coded words into the mouths of Black characters, too many PoC characters being abused and/or  mistreated in the narrative by White female characters, or writing Black characters (especially Black women) to be virulent (allegorical) racists, and xenophobes.

As far as what Tumblr thinks:

 On White Prioritization

 

The dominant ideas in any culture will reflect the ideas of the most powerful, those who control the means of disseminating those ideas for if there is to be social order the less powerful must come to accept the ideas of the most powerful as the correct and right ideas. This is effected via a process of ideological indoctrination. The principal institutions responsible for the spread of the dominant ideology are the media, the educational system, the religious institutions and ordinary popular cultural fare such as movies, music, jokes and seemingly innocent play.

The dominant culture of the US was formed to give preference to and propagate the white supremacist cis-heteropatriarchy, a sociopolitical system in which cisgender, heterosexual white men hold social dominance at the expense of subordinating racial minorities, transgender individuals, non-heterosexual sexual orientations, and women.”

Part and parcel to these interconnected systems of oppression are racist cultural messages that present whites as whole human beings while pathologizing blackness and regarding non-whites as inferior. These ideas become entrenched in our subconscious and infiltrate our social attitudes developed through the socialization process.

 White-centeredness is a deeply-rooted aspect of U.S. culture. White-centeredness denotes the centrality of white representation that permeates every facet of our dominant culture. It upholds as “normal” and “expected” the ubiquity of language, ideas, prejudices, preferences, values, social mores, and worldviews established by the white perspective.

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 The Becky Sue

This is a bit of a rant, sorry for any gratuitous swearing.

I know there’s the term ‘Mary Sue’, but I feel like there should be a ‘Becky Sue’, because both in fiction and life, white women are made out to always be the one who is right, the one who needs protecting, etc. There’s white privilege, and I feel that when a white woman against a PoC is involved, the privilege is taken to an even higher level because white women are always seen as the innocent ones.

I feel that the worst kind of Becky Sue in fandom and fiction are the ones that write stories where PoC only exist to fucking bow down to them and be there only to accomplish whatever goal they have. Like a PoC man sees a white woman at the beginning of a fic and is like–

‘Omg, it’s a white woman and she’s the prettiest most precious woman I’ve ever seen and I know absolutely nothing about her, but this is love at first sight and I’m going to marry her as soon as possible. Nothing else matters. Not my family or my identity, nothing. I’m just here to please/worship the ground of Becky Sue.’

It’s fucking nauseating. Then they have the Becky Sue writers who make their Becky Sue characters complete disgusting bitches to PoC, and when they get called out for it, they’ll be like: ‘Oh em gee, you’re misguided, you’re a drama queen. Like, just don’t read my story and let me have my fantasy of shitting all over PoC in peace.’

And then there’s the Becky Sue writers who write kind, intelligent PoC out-of-character (because if there’s a kind PoC character, white people have to knock them down a few pegs though shitty writing, jokes, or white-washing) then when this is pointed out they’ll be like, ‘Omg, not everyone sees everything the way you do. I don’t care about the source material, I just want to treat PoC like trash.’

Then, there’s the Becky Sues that will make up excuses for their racism and microaggressions with fake (or real) excuses like: ‘Oh em gee. I have depression let me write whatever I want.’ Or, ‘Oh em gee. I have Stigmata and a hang nail so you can’t criticize me.’ Or, when all else fails, just resort to name calling and flipping the situation around (white women’s favorite tactic) to where they say the big bad PoC is being a ‘troll’ or ‘mean’, or a dick, asshole, etc. And they’re the victim of harassment.

Or, another Becky Sue will come along and be like, ‘Omg, your Becky Sue character and her shitty treatment of PoC is the best thing I’ve ever read! This is better than any novel I’ve ever read! You’re the greatest writer ever! Like, your Becky Sue is SOOO down to earth!’

Or, they’ll be like: ‘Oh em gee, pointing out my racism is a personal attack. Becky Sues unite! Take down the big bad PoC!’

Just because you have depression or whatever, that doesn’t give you the right to be a fucking racist, and to treat PoC characters like trash. It doesn’t exempt you from being called out or criticized either. If you can’t write (or draw) PoC without being gross, racist garbage. STOP – FUCKING – WRITING – ABOUT THEM, if you’re that fragile to criticism. (I guess white women compare themselves to porcelain because they’re fragile and crack at the tiniest thing–I guess their evil ways is also one thing that makes their looks crack at an earlier age too. *pettyTM*)

I think that white people who are adamant about writing PoC like that are TRYING to antagonize PoC. And may karma just kick them in the fucking ass, please.

Plenty of PoC deal with both depression and OPPRESSION on a daily basis. And do most white people care? Here’s a tiny hint…HELL, FUCKING, NO.

Representation and the things you write do have an effect on others. Don’t try to make excuses or pretend that it doesn’t.

Can PoC writer’s/fanfic writers and artist start tagging their work as ‘PoC writer’, ‘PoC artist’? Or ‘Black writer,’ etc., etc.

I’m so drained of navigating through klandom’s filth, and having to handle white people (many who claim to be “progressive”) with kid gloves for every little thing because they can’t take discussions about anything that isn’t about glorifying everything they do, or anything that takes the focus off their white world.

submitted by  anon on FANDOMS HATE PEOPLE OF COLOR

 

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Image result for white feminism

On White Feminism in Fandom Spaces

*(This is what happened in the Agent Carter and Wonder Woman  fandoms.)

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

http://time.com/4599585/hollywood-female-action-heroes/

RANT: Video Game Fandoms and White Women

FANDOMS HATE PEOPLE OF COLOR

For me, nothing is worse than having to sift through content in video game fandoms and forums that have predominantly white womenEspecially when those fandoms have PoC characters. At least when white men are racist they, most of the time, don’t try to hide it, so you can know what to avoid better.

It’s so easy for white women to get away with microaggressions, colorism, and covert racism because it is extremely rare, that another white woman will care enough to call them out. (Or, the white women that docare, will just get treated like shit by the white women that don’t.)

And it’s pretty pointless for PoC to call them out because on a forum controlled by white women, you’ll just easily get banned, topic will get locked, or they’ll gang up and gaslight the PoC player most likely saying: ‘such-and-such is just a fictional character or pixels’, ‘it’s just a video game’, etc.

They don’t care how PoC are treated in entertainment, or fictional worlds, nor the real world.

Only the comfort of the white woman matters, in fiction, or the real world.

These quotes from MLK Jr. and Malcolm X below could not be more TRUE. (And either though they’re talking about Black Americans, the same can be said of just about any PoC living in the USA):

MLK Jr.

I have almost reached the regrettable conclusion that the Negro’s great stumbling block in the stride toward freedom is not the White Citizen’s Council-er or the Ku Klux Klanner, but the white moderate who is more devoted to “order” than to justice; who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice; who constantly says “I agree with you in the goal you seek, but I can’t agree with your methods of direct action;” who paternalistically feels he can set the timetable for another man’s freedom; who lives by the myth of time and who constantly advises the Negro to wait until a “more convenient season.”

Malcolm X

The white liberal differs from the white conservative only in one way: the liberal is more deceitful than the conservative. The liberal is more hypocritical than the conservative. Both want power, but the white liberal is the one who has perfected the art of posing as the Negro’s friend and benefactor; and by winning the friendship, allegiance, and support of the Negro, the white liberal is able to use the Negro as a pawn or tool in this political “football game” that is constantly raging between the white liberals and white conservatives.

The white conservatives aren’t friends of the Negro either, but they at least don’t try to hide it. They are like wolves; they show their teeth in a snarl that keeps the Negro always aware of where he stands with them. But the white liberals are foxes, who also show their teeth to the Negro but pretend that they are smiling. The white liberals are more dangerous than the conservatives; they lure the Negro, and as the Negro runs from the growling wolf, he flees into the open jaws of the “smiling” fox.

@@

From: FANDOMS HATE PEOPLE OF COLOR

I mainly wanted to rant about the white women that swear they love a PoC character, yet they do the following:

  1. They will not shut up about how they don’t think the PoC character is physically attractive. I’ve seen this a lot with dark brown-skinned PoC. Like they could be the most gorgeous PoC character, but because they don’t fit these white women’swhite supremacist beauty standards, they’re not “attractive”. (Definition of white supremacy: ‘the belief that white people are superior to those of all other races…’ that includes beauty standards.) Of course, they’ll hide their covert racism and colorism with vague statements like, ‘Oh, this [PoC] character has ‘less interesting looks’ than everyone else, or ‘isn’t flashy’. I think they’re just mad that brown and black people can still look like this when they are almost 60-years-old.
  2. Because they don’t like how a PoC has dark brown skin, they useany white-washed fan art they can find to use on the forums they frequent. And might make up some completely asinine excuse as to why they use it. Like, ‘I like how this art brings out their personality’. Why don’t you just use the OFFICIAL fucking artwork instead then? The OFFICIAL artwork doesn’t “bring out their personality” enough?
  3. They refuse to acknowledge the character’s existence and identity as a PoC. Because in white people land‘Everybody is treated equal.’
  4. When you call them out–as always…as fucking always–no matter how friendly… no matter how saccharinely kind, no matter how much you fucking bend over in politeness and sensitivity… They play the fucking victim. 9 times out of 10 this shit happens. Call them out even for the SIMPLEST of remedial things like NOT SUPPORTING white-washing, and suddenly they have every fucking physical and mental ailment in the world, and they can’t be held accountable for their words/actions. Then, they’ll virtue signal the fuck out of any PoC character saying ‘Oh, isn’t so-and-so beautiful, I mean, I DON’T LIKE THEM, but man! Isn’t that other PoC character that doesn’t have dark skin beautiful all of a sudden?’

Then, they go back to supporting white-washed art and doing and saying all the fucked up shit they’ve been doing. Because they do not give a single fuck about PoC. PoC are just an entertainment and distraction to them, both in the fictional world and real world.

Virtue-signalling white women that don’t like PoC, especially the dark brown-skinned ones. Just stop. Go find a white character to “obsess” and “fave” over and call it a day. Find a white character that fits your definition of what a ‘total package’ (great looks and personality) should be, and leave PoC characters the fuck alone.

Fuck your feigning innocence and ignorance. And fuck your superiority complex, microaggressions, and your shallow, vapid, privileged white mind. Dark-skinned PoC characters, and people, are out of this fucking universe, ethereal, and beyond gorgeous to the highest degree possible in this existence. Fuck you.

Furthermore, the white women that do the things mentioned above, you don’t “love” any PoC character if you do these things. You wouldn’t know what love, respect, and treating a dark-skinned PoC character with humanity and dignity was if it bit you in the ass. For you, these characters are your flavor of the month/year distraction and entertainment.  *Where you can gleefully unload all your microaggressions and racism onto them that you wish you could do to PoC face-to-face in the real world. 

(*Boldened by me.)

For PoC fans who experience this shit in real life–to have to put up with racism in the realms of books, video games, and other media too, where they’re just trying to get away from the world FOR A SECOND, but they can’t because of white supremacy, it’s PERSONAL.

Fuck you if you do these things. You’re utterly disgusting at how smug you are, knowing you won’t get criticized for your covert racism in your white dominated and controlled forums. And no one is impressed by your virtue-signalling. Doing that, and then continuing to do racist, disrespectful shit, is beyond nauseating. You’re only earning PoC’s contempt, not our respect. (Not that you care, because we’re below you, right?!) We’re not stupid, or less intelligent than white people, like you gaslight yourselves to believe.

White people know EXACTLY what they’re doing. The majority just don’t care. And will NEVER care. All PoC fans can do, I think: is love, support, and respect PoC characters (in anyway you wish through, art, writing, posts, etc.) and hope that in the future, that REAL love is what will override all the hatred, ignorance, and bigotry of a white supremacist society. I hope karma is real.

When it comes to fandom, or anything else, practically the entire world is white people’s ‘safe space’.

@@

Image result for fandom

 

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On Finn And Sacrifice

http://www.syfy.com/syfywire/the-last-jedis-message-to-people-of-color-you-dont-have-to-be-the-sacrifice

stitchmediamix

“I really like Finn, but I thought him sacrificing himself would be a really touching end to his character arc.”

A) You’re wrong. So wrong.

B) If you claim to like a character, but then you’re all for him making an absolutely pointless self sacrifice… You don’t like that character nearly as much as you think you do

 

adeptarcanist

Okay hang on, I’m all with you on A, but you *can* like a character and still think that them having a heartbreaking death scene would be awesome.

 

stitchmediamix

Perhaps I should have been clearer about the fact that this is really about how fandom treats Finn BECAUSE he’s a black character in my original post.

Because fandom has, historically, been full of people who swear they love black characters but can only see them getting an honorable death or making a sacrifice (primarily for white characters).

Fandom doesn’t look at white male characters and decide that they should totally have a sweet send off after sacrificing themselves. They don’t.

That dubious honor is largely only bestowed upon characters of color – predominantly Black characters when they’re present.

(I’m on my way out the door and on mobile so I can’t be handy dandy with links, but if you’re not getting where I’m coming from about Finn’s treatment and why wanting him to sacrifice himself is a negative sign, please go through my “fandom racism” and my “the star wars discourse” for how he’s been treated in fandom.)

 

mikeymagee

^This entire phenomenon is examined at length in Toni Morrison’s Playing In the Dark. In which she pretty much states that in the American literary consciousness, Black people are used (while also denied agency) and once their usefulness has ended, they’re discarded with no forethought/consideration for the Black person/character.

According to Morrison, this is basically the building block of the American literary identity (which has strong parallels to slavery, and the modern prison industrial complex).

“These images of impenetrable whiteness need contextualizing to explain their extraordinary power, pattern, and consistency. Because they appear almost always in conjunction with representations of black or Africanist people who are dead, impotent, or under complete control, these images of blinding whiteness seem to function as both antidote for and meditation on the shadow that is companion to this whiteness –a dark and abiding presence that moves the hearts and texts if American literature with fear and longing. This haunting, a darkness from which our early literature seemed unable to extricate itself, suggests the complex and contradictory situation in which American writers found themselves during the formative years of the nation’s literature” (Morrison 33).

Basically Blackness is alright, as long as it serves whiteness. Anything outside of that is pushing the boundaries. Which is why so much of fandom’s treatment of Finn is him either making Rey  and Kyle look better by comparison, or having Finn “die nobly” so Rey/Kyle/everyone else can save the galaxy.

And it doesn’t just stop at Star Wars, it’s pretty much present in all forms of media. I mean, there’s a reason we have a “Black guy dies first”  trope.

Morrison also noted elsewhere in her book that the entire white literary identity (and by extension the cinematic identity) is dependent on Black subjugation. If Black people aren’t subordinate to the White identity, then where does that leave White people? There was a reason people were more pissed about John’s face being in the TFA trailer for five seconds, far more than anyone else’s, including Rey’s.

@@

On Iris West and Fandom

Candice Patton, who has played the role of Iris West on The Flash for the past four seasons, has had to deal with racist idiots complaining that she has the audacity to not be a white, red-haired woman. Sorry Karen Gillan was busy.

https://www.themarysue.com/candice-patton-racist-trolls/

@@

And finally:

On The Fandom Community

lj-writes

Carrying the fandom load

It does get tiring at times staying conscious of bigoted tropes in fandom, deciding not to support racist art, wondering if a quote is appropriative of Jewish experiences, discarding a homophobic fanwork idea, and more.

So as a Fandom Old I can see why some fans long for the “good old days.” Back then anything went! Total creative freedom! We were wild and unfettered! None of these long-winded discussions, we just went and did it and did not give a single fuck!

Except freedom wasn’t for everyone, was it? You only had that total freedom if you were unaffected by fandom’s racism, homophobia, transphobia, antisemitism, ableism, and a host of other bigotries that are a reflection of the world we live in.

Fandom was never the carefree, escapist enterprise some of us like to think it was. It’s just that minority fans were bearing the load of others’ freedom in silence. Too often, fans who were marginalized in real life could not escape to fandom because fandom would uncritically celebrate their oppression and trauma. And if they dared to speak about it they were bullied and shouted down into silence, into leaving.

I speak in the past tense but this is still ongoing, obviously. Fans of marginalized identities are a little more vocal now, but are facing a sustained and vicious backlash that accuses them of being “bullies” and starting “discourse” and “drama” and of “virtue signalling.”

It’s not about discourse or virtue, though. It’s about fans being told that they are not welcome unless they bite their tongues, grin, and go along with a thousand stings and slaps in the very spaces they go to have fun. It’s about fans having to watch characters who look like them be constantly erased and demonized. It’s about fans having to spend endless amounts of time and energy educating other fans about their oppression when all they’d like to do is unwind after a long day made longer by those very issues.

It’s not about virtue. It’s about people.

The thing is, fans who criticize minority fans and their allies for “discourse” aren’t angry about the fact that fandom puts these psychological burdens on minority fans. They’re mad about having to share a tiny little part of the burden minority fans, most visibly Black women, have been carrying for too long. In the minds of these “discourse”-critical fans the burden of considering the impact of fandom and fanworks is not theirs to bear. It is the lot of fans who are not them, “others,” to pay the cost for the majority’s creative freedom. The very suggestion that the load exists, and worse, that all of fandom should share in it so marginalized fans don’t carry it so disproportionately, is enough to make a lot of fans uncomfortable. I know, because I feel that discomfort at times, too.

The thing is, the load of thinking about marginalization in fandom spaces was always mine to bear. It’s every fan’s responsibility to be conscious of how they create and consume fanwork so that they don’t hurt other fans, so fandom can be inclusive and fun for everyone.

No, it’s not pleasant. It’s not fun to always watch yourself and second guess your choices, to fall short anyway and be called out and confront the fact that you have so many unconscious biases and have hurt others. I get it. I do. I want to think of myself as a good person. I don’t like admitting to wrongdoing. I hate challenging myself. I don’t want to think about this hard stuff. I just want to have fun!

But think about how much LESS fun it is when it’s your own humanity on the line. Many marginalized fans don’t have the luxury of just letting go and having fun, not when they always have to brace themselves for the next psychological assault.

These fans have been carrying this fandom burden and are punished for saying it’s too heavy. If you’re feeling a little less feather light in fannish activities than you used to, that’s a good sign! It means you’re starting to carry, in a very small measure, the fandom load of consciousness. It’s something you should be carrying as part of a community, and chances are it’s still not nearly as heavy a load as many marginalized fans are still made to bear.

A community joins together, watches out for its members, shares in the good and the bad. If some members are asked to bear the costs of others’ fun and either stay silent about it or leave, then the promise of community rings pretty hollow, doesn’t it? Sometimes discomfort is a good thing, and if my small discomfort means I am sharing in a tiny measure of my rightful load in fandom spaces, then it is a very good thing indeed.

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.

@@

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.

@@

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 Shape of Water (2017]

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I am a huge fan of Guillermo Del Toro. I’ve seen every one of his films, and loved  all of them, with the exception of Crimson Peak, which wasn’t a bad movie , (merely unequal to his other films.)

Guillermo is the kind of director whose films all have meaning. Every image, every line of dialogue, even the costumes and color choices,  have  a  personal meaning for the director,  or propel  the narrative, or examine a character, and he always has something interesting to say, a point he wishes to make, a message to impart to his audience. He makes fantasies that parallel and contrast the real world.

In many of his films, he chronicles how the world of fantasy impacts the real world. In Hellboy 1 & 2, there’s a discussion of real world reactions to the existence of supernatural creatures, and what place someone like Hellboy can make for himself in it. Blade 2, despite all its fantastical elements, takes place entirely in the real world, with the same technology, music, and culture. The vampires in that world have adapted very well to human ingenuity, and in Pan’s Labyrinth, a young girl’s horrifying  real world life, under fascism, is juxtaposed against a fantasy world, in which she actually holds power, and importance, and agency.

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I’ve read many reviews of this film, and not  one of them has mentioned how the fantasy elements of this movie contrast, and impact, the real world, of the sixties Civil Rights environment, in which it takes place. This movie is rich with social commentary that I’m not seeing reflected in any of its reviews. Most of the reviewers focus on the romance between  Eliza and her Fishman paramour, or the set design, or the special effects,  never bothering to go deeper, into what the film actually means for Eliza’s character, or the villain’s motivations. No one has discussed the time period in which it takes place either, which I find frustrating, because the villain’s motivations arise precisely out of the Jim Crow era in which the movie takes place, and informs how Eliza and the Fishman are treated, and the decisions Eliza makes.

The movie sits smack in the middle of the Civil Rights movement, and  although it isn’t something explicitlyshown,  this is a statement, not just about what’s happening with the characters, but a message to us today. As in all his films, Guillermo is telling us something about ourselves right now.  Guillermo says that he chose that particular time period because it’s a direct reflection of what’s happening in the US today, from the re-emergent Cold War, to the various social rights movements like BLM, and the casual racism, sexism, and homophobia, which has reared its ugly head again.

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Just as in the sixties, there is a clash of ideologies, which is often brought about, and exacerbated by, emergent technologies. The internet has allowed marginalized groups to push-back against, and challenge, the narratives of White supremacy, in ways they couldn’t before. Social Media allows marginalized groups to organize, and protest with an immediacy that was once lacking, and online communities allow them to disseminate news and information in real time, as with NoDAPL. In the sixties, it was the handheld camera, that brought the Civil Rights movement, the Korean War, and  the Vietnam War right into people’s livingrooms. It was the Space Program that heated up the cold war between Russia and the United States.

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Michael Shannon, as Strickland, is the physical embodiment of “White male rage, and entitlement”, existing at a period in time in which his cultural supremacy is being called into question by external forces,  that his oppression helped to create. He doesn’t just take his rage out on the amphibian captive, on whom he liberally uses a cattle prod, (his captive does push back against his rage and violence) but takes his hatred and contempt out on both Eliza, and Octavia Spencer’s character, Zelda, questioning her, in a smugly racist tone, why she doesn’t have any siblings (because that’s not common for HER people), which forces Zelda to reveal the tragic loss of her mother when she was born. At the same meeting he loudly asks if Eliza can hear him.

He has the best kind of life there is, with a  loving wife and children, a brand new model car, and a house in the suburbs, yet seems to resent all of it, showing no affection towards his wife and children, even though they dote on him, and he appears to be in a rage at even his “happiest” moments.  This is a man who can’t even find joy in fucking his beautiful, blonde,  trophy wife. The only time we ever see Strickland smile, in the movie, is when he’s contemplating, or bringing harm,  to someone else. Strickland also  lives in a world that is beginning to change, and he can see a future in which he can no longer express his rage and fear at those he deems as less than himself. Just like today, those “people” are talking back to him, and need to be put back in their place of not questioning his supremacy, and again, like today’s form of bigot,  all he has at his disposal is violence. He leads a miserable and rage fueled life.

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Eliza’s neighbor, Giles, is an older gay man who loves musicals, dancing and key lime pie. One of the first musicals we see in the movie is The Little Colonel, starring Shirley Temple, and Bojangles, and is an example of the time period romanticized by the White people of the sixties, just as the early sixties are heavily romanticized today. At one point, Giles entreats Eliza to turn away from the images of civil rights rioting on his TV, to a happier image of  Bojangles,  smiling, and dancing, and happy. Directly after that scene, Eliza and Giles do a little tap dance, while sitting on the couch, and maybe this is Guillermo’s way of pointing out how oppressed people have always tried to maximize what little joy they can find, in the face of so much misery. Eliza and Giles are both single, they don’t own a fancy home or car. In society, she and Giles have nothing, and are nothing. Now contrast Eliza and Giles simple pleasures of pie, movies, and dancing,  with Strickland’s joyless existence.

Dancing is also Eliza’s escape. There’s a surreal daydream about her and the Amphibian dancing in a musical. Guillermo’s message here is about the power of imagination, and how the oppressed find power and happiness. This is something clearly expressed in his movie Pan’s Labyrinth, where the little girl, Ofelia, dreams of escaping her brutal existence, as a Queen of the Fairies,  through the use of her imagination. This is also a statement about Del Toro’s  personal life. He grew up poor and  escaped poverty  through film, through dreams

 

. Eliza wants to escape the circumstances of her life too, and at the end of the movie, she is more than happy to do so. (Although, I must point out, that though Eliza has managed to escape, and Strickland is gone, Giles, and Zelda are left behind to pick up the pieces.)

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https://www.hollywoodreporter.com/features/guillermo-del-toro-confronting-childhood-demons-surviving-a-real-life-horror-story-1053205

There are several interactions between marginalized people that speak to the lack of unity of that time period. Giles is white and male, but every bit as powerless as Zelda, and Eliza, especially after people find out about his private life. Earlier, Giles is emphatic about not watching racial unpleasantness on his TV, but later, he attempts to defend a black couple who try to eat in the diner he frequents, but get kicked out by the counterman. Giles cares enough to come to their defense, but not in the moment, and we realize just how powerless he is afterwards, when he makes a pass at the waiter, and is kicked out of the diner was well.  Note that Giles is all alone when he does this. Guillermo quietly  illustrates how all these different  outsiders are trying to make it on their own. The message here is that unless  they all unite to stand against their oppressors they can accomplish nothing.

My biggest issue is the lone Black man in the movie, Zelda’s husband David. He is perhaps the weakest character in the movie. He is of no use to Zelda, (who speaks of him often and seems to love him), and he does not come to Zelda’s aid when Strickland bursts into their home and bullies them for Eliza’s whereabouts. He also does not aid in the Fishman’s escape from the lab, tries to talk Zelda out of getting involved, and is so cowed by his environment, that he rats her out to Strickland.

My overall impression is that David gave up fighting long ago, and  that he doesn’t really love Zelda, since he was not only  completely unwilling to fight for her but gave up Eliza as well. I have mixed feelings about this character, and I don’t think Del Toro thought him through very well, or took into account how this would look to any Black men watching this film, who would be infuriated at the depiction. On the one hand, it wasn’t necessary to have the only Black man, in the entire movie, be an example of  what the system of Jim Crow was meant to do, which is drain all the fighting spirit out of Black men, keeping them terrified, and submissive. On the other hand, if he were not those things, it would’ve become a very different type of movie. I feel he could have been eliminated from the plot altogether and the film would largely be left intact.

Strickland wants to destroy the Amphibian, a creature of the natural world that he often refers to as an abomination. He tortures and abuses the creature, to no purpose, but his own petty enmity. When the Fishman is slated for an autopsy table, Eliza teams up with Zelda, a German researcher, and Giles to thwart Strickland. In the end, they all come together to take down Strickland, and I feel like the message here was that only through the unity of  outsiders, can such an overwhelmingly oppressive force, like him, be overcome.

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In all of Guillermo’s films, you have a villain who attempts to destroy the natural world for vengeance, greed, entitlement, and/or short sightedness. In Blade 2, the natural order of the world is disrupted by a quest for power, and the  destruction of humanity is averted by the hero fighting with the very beings he’d made a profession of killing. In Hellboy, the villain wishes to disrupt the order of the world by calling down The Old Gods of Lovecraftian mythology, and in Hellboy II: The Golden Army, faded fairy nobility wants to avenge the destruction of the natural world by human greed. And in The Shape of Water, Strickland is destroyed by the the very sort of people he most hates and fears.

The message of the outsider being more noble, more self sacrificing, and more compassionate is woven throughout many of Guillermo’s films. Since Del Toro himself is a Mexican immigrant, he has always felt himself to be one of the outsiders, and most of his films are seen through such a lens, recognizing the power of those who stand outside the mainstream. All of Del Toro’s protagonists are pieces of himself. Unlike most fantasy film directors, he is willing to address social issues in his films, and reviewers need to give the man his proper respect for doing that, and acknowledge that in their reviews.

 

 

Quick question:What is Guillermo Del Toro’s fascination with Germans? Every one of his films has a German character in it. Can you spot them?

*Note: My second review of this movie will be a discussion of sex and disability.

 

Black Panther Selected Readings 3

*Since this movie blew up the theaters there have been a metric ton of think-pieces and examinations about it. I’ve tried to collect as many of these as I thought were interesting, leaving out all the contrarian negative stuff. I know I promised to write a review, but there’s nothing I would say in it that isn’t already covered by the three lists of think pieces I’ve collected. (Maybe later, I’ll jot something down about my feelings for the various characters or something.)

*But first up, I thought this essay was related to the idea of Wakanda having never been colonized, versus how we are all taught by popular media to think of the continent of Africa. You can read this first ,and then play a drinking game of how many times the writers do these things in the following articles:

Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans.

Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress.

—-   https://granta.com/how-to-write-about-africa/

 

Politics:

Black Panther has a lot to say about politics:

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https://www.vox.com/culture/2018/2/27/17029730/black-panther-marvel-killmonger-ir

https://www.theatlantic.com/entertainment/archive/2018/02/the-provocation-and-power-of-black-panther/553226/

https://www.newyorker.com/news/daily-comment/black-panther-and-the-invention-of-africa?

https://www.theatlantic.com/entertainment/archive/2018/02/black-panther-review/553508/

https://www.vox.com/culture/2018/2/26/17029572/black-panther-marvel-politics

https://www.newyorker.com/culture/richard-brody/the-passionate-politics-of-black-panther

The Revolutionary Power of Black Panther

https://www.theroot.com/when-wakanda-was-real-1822745590

https://www.theroot.com/america-wakanda-for-white-people-1823224399

https://www.esquire.com/entertainment/movies/a18241993/black-panther-review-politics-killmonger/

*I didn’t agree with this review but I’m including it here because some of you will find it interesting, and the author does make other salient points. I have to admit, I was a bit taken aback by the depiction of the lone African American in the movie. I was deeply saddened by Killmonger, while agreeing with much of his philosophy. I get why he was angry. I was also saddened by the fate of the only African American woman in the entire film, and I wish the director had put more thought into it. I get the point he’s trying to make, but it still felt pretty bad to watch that point being made.

http://bostonreview.net/race/christopher-lebron-black-panther

 

View story at Medium.com

5 Lessons from Black Panther That Can Save Our Lives — and Transform Black Politics – Medium.com

Dear Fellow White People: Go See “Black Panther” – Medium.com

Here are six reasons. Do it this weekend. Seriously, just go.

 

*This article is about people who are trolling the movie. As the movie began to take off last weekend, there were a number of alt-right trolls who posted fake tweets demonising the movie’s fans, and claiming that white people had been beaten up at theaters. 

I put this here to point out the utter futility of their efforts in trying to disparage and destroy this movie. Their efforts will always meet with failure, not because they’re awful, (because yeah,  they are) but because, by the time they are resorting to  efforts to sabotage these movies, it’s already too late. These acts are purely defensive, and only illustrate how little control such people have over mainstream media.

All they have in their arsenal to combat progress is more of the same lies and vitriol against black people that they’ve always espoused. Their messages are not new, and not effective.

https://www.weforum.org/agenda/2018/02/black-panther-loved-by-the-world-hated-by-trolls/

 

Psychology:

*Not all of these essays were written by Black reviewers, but even so, I thought the reviewer, regardless of race, had interesting things to say about the philosophies of, and psychology behind, the film’s characters. Just becasue White reviewers can’t (or won’t) talk about race,  doesn’t mean they have nothing worthwhile to say on other topics.

https://www.theroot.com/on-the-duality-and-double-consciousness-of-black-panthe-1823260321

https://www.theatlantic.com/entertainment/archive/2018/02/black-panther-erik-killmonger/553805/

https://www.theroot.com/killmonger-was-wrong-and-ya-ll-know-it-1823134207

https://www.aljazeera.com/amp/indepth/opinion/black-panther-pilgrimage-180218151402202.html

https://io9.gizmodo.com/director-ryan-coogler-explains-the-identity-issues-at-t-1822937410

https://melmagazine.com/what-black-panther-teaches-us-about-when-fathers-lie-to-their-sons-183113d95520

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

One Tribe: Black Panther’s Altruism

 

The Women:

Let’s face it, women are the backbone of this movie, holding it down and keeping it 100. I was surprised to find that my favorite female character was Nakia. (I thought it would be Okoye.)

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I was watching and after Okoye was called the general a boy next to me said : “I didn’t know girls can be generals!”
That’s why representation matters

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One of the best things about was definitely the women. Shuri, our princess is cheeky, charming and a fcking genius. Okoye could kill me and I’d gladly thank her. If I have even an ounce of Nakia’s compassion, I would be a better woman that I am now.

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https://www.vanityfair.com/hollywood/2018/02/black-panther-who-plays-shuri-letitia-wright-profile

https://verysmartbrothas.theroot.com/another-reason-why-shuri-is-the-greatest-disney-princes-1823136306

https://io9.gizmodo.com/black-women-are-black-panthers-mightiest-heroes-1823205912

http://blacknerdproblems.com/blackpanther-movie-review/

https://io9.gizmodo.com/wakandas-indomitable-culture-is-why-the-women-of-black-1822923859

 

From Tumblr:

 

The Making of:

*Everyone wants to know everything about the making of Wakanda, and Ruth Carter’s  major influences on her designs for the film.

Ruth Carter is a Hollywood costume designer who grew up in Springfield. Her career spans a long list of major motion pictures, and she is best known for her work on Spike Lee’s “Malcolm X” and Steven Spielberg’s “Amistad,” receiving Academy Award nominations for both films. Carter’s most recent work can be seen in “Selma,” a film about the trio of marches from Selma to Montgomery, Alabama, in 1965.

Image result for ruth carter

Marvel’s ‘Black Panther’ is a broad mix of African cultures—here are some of them

https://pitchfork.com/thepitch/how-black-panther-composer-ludwig-goransson-found-the-sound-of-wakanda-interview/

 

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 darkdamiaknight

“The PanAfrican flag is red, black and green, so when you see Okoye, T’Challa and Nakia in their covert looks, you’re seeing the PanAfrican flag.” – Ryan Coogler, director of Black Panther.

 

 

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Oh, yeah. The hair thing:

 

The Fans:

*This essay was originally written as a response to Beyonce’s Lemonade but many of the writer’s arguments can be equally applied to any media that is made by, and speaks to, a Black audience, including Black Panther.

Beyoncé’s Lemonade: A Lesson on Appreciating Art That Wasn’t Made for You

 

*This is what Tumblr fans are saying about representation:

*Took my african dad to see Black Panther

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.

Source: theghostwasblue
*Hollywood needs to start getting itself together:

*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.

 

*The Alnur African Drum and Dance Troupe as The Dora Milaje

The Fans

 

In Africa:

I loved the African reaction to this movie:

 

*And the windup:

https://bidoun.org/articles/how-to-write-about-africa-ii

 

 

From the Halls of Tumblr

I stumbled across this website that rates movies according to diversity and inclusion. I’m not entirely sure I agree with some of the grades. I think this website is a lot stricter in its qualifications than I am, but I found it interesting:
 https://www.mediaversityreviews.com/tv-reviews

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I laughed at this waaay harder than I should have. I’m still laughing at it!

 

 vulcandroid

i will never be over the fact that during first contact a human offered their hand to a vulcan and the vulcan was just like “wow humans are fucking wild” and took it

 

roachpatrol

Humanity’s first contact with Vulcans was some guy going “I’m down to fuck.”

Vulcans’ first contact with Humans was an emphatic “Sure.”

 

star-lord

#iiiiiiiiiiiiii mean vulcans had been watching humans for a long time#they knew the significance of a handshake but still#they had to find some fast and loose ambassador#willing to fuckin make out with a human for the sake of not offending them on first contact#lmao#star trek

give me the story of this fast and loose vulcan

 

moonsofavalon

“sir…these…these humans…they greet each other by…” *glances around before furtively whispering* “byclasping hands…”

*prolonged silence* “oh my…”

“sir…sir how will we make first contact with them? surely we…we cannot refuse this handclasping ritual, they will take it as an insult, but what vulcan would agree to such a distasteful and uncomfortable ritual??”

*several pensive moments later* “contact the vulcan high command and tell them to send us kuvak. i once saw that crazy son of a bitch arm wrestle a klingon, he’ll put his hands on anything”

 

evilminji

Elsewhere, w/ kuvak: “….my day has come.”

 

lierdumoa

The vulcan who made first contact with humans is named Solkar guys. Y’all just be makin’ up names for characters that already have names.

Bonus: here’s a screencap of Solkar doing the “my body is ready” pose right before he shakes Zefram Cochrane’s hand:

adreadfulidea

I swear Vulcans only come in two types and they are “distant xenophobes” or “horny on main for humanity”. Also apparently this guy is Spock’s great-grandfather and frankly that explains everything.

 

Source: lycanthropiste st

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For some reason, this was totally a thing about a week ago on Twitter. I have no idea how this got started or why. It’s said that J. K. Rowling thoroughly enjoyed it though.

I think it was the “Sortin’ Du-rag” tweet that  had me cough-spittin’ at work!

Black Hogwarts

Related image

http://www.seventeen.com/celebrity/a15070314/black-hogwarts-twitter/

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lj-writes  what that fandom lifestyle is SUPPOSED to be about, and how fans who consider themselves allies, Do The Work:

Carrying the fandom load

It does get tiring at times staying conscious of bigoted tropes in fandom, deciding not to support racist art, wondering if a quote is appropriative of Jewish experiences, discarding a homophobic fanwork idea, and more.

So as a Fandom Old I can see why some fans long for the “good old days.” Back then anything went! Total creative freedom! We were wild and unfettered! None of these long-winded discussions, we just went and did it and did not give a single fuck!

Except freedom wasn’t for everyone, was it? You only had that total freedom if you were unaffected by fandom’s racism, homophobia, transphobia, antisemitism, ableism, and a host of other bigotries that are a reflection of the world we live in.

Fandom was never the carefree, escapist enterprise some of us like to think it was. It’s just that minority fans were bearing the load of others’ freedom in silence. Too often, fans who were marginalized in real life could not escape to fandom because fandom would uncritically celebrate their oppression and trauma. And if they dared to speak about it they were bullied and shouted down into silence, into leaving.

I speak in the past tense but this is still ongoing, obviously. Fans of marginalized identities are a little more vocal now, but are facing a sustained and vicious backlash that accuses them of being “bullies” and starting “discourse” and “drama” and of “virtue signalling.”

It’s not about discourse or virtue, though. It’s about fans being told that they are not welcome unless they bite their tongues, grin, and go along with a thousand stings and slaps in the very spaces they go to have fun. It’s about fans having to watch characters who look like them be constantly erased and demonized. It’s about fans having to spend endless amounts of time and energy educating other fans about their oppression when all they’d like to do is unwind after a long day made longer by those very issues.

It’s not about virtue. It’s about people.

The thing is, fans who criticize minority fans and their allies for “discourse” aren’t angry about the fact that fandom puts these psychological burdens on minority fans. They’re mad about having to share a tiny little part of the burden minority fans, most visibly Black women, have been carrying for too long. In the minds of these “discourse”-critical fans the burden of considering the impact of fandom and fanworks is not theirs to bear. It is the lot of fans who are not them, “others,” to pay the cost for the majority’s creative freedom. The very suggestion that the load exists, and worse, that all of fandom should share in it so marginalized fans don’t carry it so disproportionately, is enough to make a lot of fans uncomfortable. I know, because I feel that discomfort at times, too.

The thing is, the load of thinking about marginalization in fandom spaces was always mine to bear. It’s every fan’s responsibility to be conscious of how they create and consume fanwork so that they don’t hurt other fans, so fandom can be inclusive and fun for everyone.

No, it’s not pleasant. It’s not fun to always watch yourself and second guess your choices, to fall short anyway and be called out and confront the fact that you have so many unconscious biases and have hurt others. I get it. I do. I want to think of myself as a good person. I don’t like admitting to wrongdoing. I hate challenging myself. I don’t want to think about this hard stuff. I just want to have fun!

But think about how much LESS fun it is when it’s your own humanity on the line. Many marginalized fans don’t have the luxury of just letting go and having fun, not when they always have to brace themselves for the next psychological assault.

These fans have been carrying this fandom burden and are punished for saying it’s too heavy. If you’re feeling a little less feather light in fannish activities than you used to, that’s a good sign! It means you’re starting to carry, in a very small measure, the fandom load of consciousness. It’s something you should be carrying as part of a community, and chances are it’s still not nearly as heavy a load as many marginalized fans are still made to bear.

A community joins together, watches out for its members, shares in the good and the bad. If some members are asked to bear the costs of others’ fun and either stay silent about it or leave, then the promise of community rings pretty hollow, doesn’t it? Sometimes discomfort is a good thing, and if my small discomfort means I am sharing in a tiny measure of my rightful load in fandom spaces, then it is a very good thing indeed.

 

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I’m not a huge advocate for violence, but some of the racist wankery that various fandoms get up to,  just makes me want to give some people a very sharp pinch, with tweezers,  Sometimes several. I mean seriously! I didn’t even know this was a thing. You have got waaay too much time on your hands, and a massive hate-boner, if you are cutting PoC out of their own photos, to prop up your non-canon,  white male ship.

 stitchmediamix

So I’m writing something about how characters and actors of color are literally cut out of images in order to center white characters/actors (usually for shipping purposes) and I’d like to be able to actually link to examples of instances where that’s happened.

I’ve got an image of John and Daisy where John has been replaced by Driver (courtesy of @xprincessrey ’s recent post in the fandom racism tag) and SEVERAL images where Iris West has been erased and replaced by Caitlin that I referenced in my presentation on the misogynoir directed towards her.

I need more examples though and I honestly don’t know how to find what I’m looking for. And… I’m really bad at finding images on the internet.

So if you have collected any receipts on this particular fandom phenomenon where fans cut out characters/actors of color from images in order to focus on a white character or ship, please let me know. I’ll link to your post on the subject if you’ve made one and give you credit for finding the images that I use if you want it.

I need examples of:

  • Anthony Mackie being cut out of press images for either Winter Soldier or Civil War
  • Scott/Tyler Posey being cut out of Teen Wolf press images or scenes in the show
  • Photo manips where Finn/John Boyega has been replaced by Kylo/Adam
  • Any other fandom that cut characters of color out in this way!

I’m writing a thing and I’m working on the header image already but I’d like more examples because man… People need to know that this is a thing that happens and pictures help drive the whole thing in.

(Also, unfortunately I have no idea how y’all  can submit straight up images to me because I don’t use tumblr submit for several reasons, BUT you can always DM me images on twitter or use Tumblr IM if you don’t have links  to images, but want to send them to me anyway.)

If you can share this with your followers, that’d be awesome.

 

elandrialore

R3ylo manips

Original photoshoot with John and Daisy

St3r3k manip

Original promo image

St3r3k manip

Original image of Tyler Posey, Crystal Reed, and Tyler Hoechlin

St3r3k manip

Original image of Tyler Posey and Dylan O’Brien

St3r3k manip

Original image with Tyler Posey and Dylan O’Brien

kyberfox

 

@stitchmediamix

Here’s a video of Finn getting cut out not just of his own confession scene – a character defining moment for him – and Kylo being inserted, he’s also replaced in the hug he and Rey shares. xx

The OP of that then made a gif set of some of the scene they’d cut where they replace Finn with Kylo because they were so proud of their work. x

And here Kylo is edited in instead of Finn in the scene where Rey gives Finn a “wow he looks good” look at Jakku. x

uprisingofcolor

 

@stitchmediamix

Here’s an entire gif set of Jake Pentecost getting cut out of his own trailer to center his white co star.

Oh, and here’s OP’s Response to @kyberfox calling them out (X), they take it about as well as you’d expect. This happened a day or so(?) after the trailer dropped, just for a frame of reference.

 

diversehighfantasy

The Doctor Who series 3 “Fix It”:

Here, they didn’t erase Martha Jones entirely, they made her a third wheel in a series the fandom felt Rose was rightfully entitled to. IMO this is as much of an in-your-face “fuck you” to Martha as pretending she didn’t exist.

Britchell. This is a more obscure ship, but it relentlessly erased, sidelined and minimized one of my favorite characters, Annie Sawyer of Being Human (UK) for being romantically involved with Mitchell, played by Aidan Turner, who also played Kili in The Hobbit. Britchell was a crossover between Mitchell and another character played by the actor who played Kili’s brother Fili in The Hobbit. Anyway. Britchell is the biggest ship in the Being Human fandom to this day.

Annie x Mitchell: http://reyesbidal.tumblr.com/post/53885860951

Britchell (in a nutchell):

 

nerdsagainstfandomracism

 

In Shadowhunters Jalec and Clalec shippers always use Malec scenes for their manips in order to erase Magnus. Here’s an example of a Clalec manip (x). I stay away from their tags and blacklist Jalecs and Clalecs on sight, but pretty sure Google has plenty of more examples. Luke is constantly excluded from the group fanarts, fan videos, etc.

Also, Rickylers in TWD always try to erase Michonne from her own narrative.

 

Source: stitchmediamix fandom racismracism in fandom Erasure ShippingLong Post white prioritization ReblogMod P.

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Here’s a review of Black Lightning, written from another perspective.

Image result for black lightning

This week, the new CW show Black Lightning will introduce another Black superhero — rather, Black superheroes — who will thankfully diversify the current ranks of primarily white TV and movie heroes, but it also raises the question: How will the show address its blackness?

With Black Lightning and Black Panther on the way, we’re finally seeing Black heroes represented on both the small screen and the big screen, and with the amount of publicity they deserve. But for Black people around America — and perhaps around the world — these heroes represent more than just the newest installment of a money-making machine built on franchises. These heroes bring familiar faces — faces that resemble their own — to a universe full of magic, superpowers, superhuman feats and abilities.

Blackness in the Media

But how, exactly, do these heroes represent “blackness”? And what, exactly, is “blackness”? This question is never asked of TV shows, movies, or books that feature white heroes. In writing programs or conferences, you’ll encounter panels and workshops in which people discuss how one may write characters of color with sensitivity. In other words, “How can I make it clear that this character is Black without being offensive?” But it’s more than just an issue of figuring out how to avoid your run-of-the-mill racist language. It’s determining if a character of color needs to be defined by their race.

Because whiteness is our country’s default racial lens, if race isn’t mentioned in a story’s narrative, most people will assume a character is white (take, for example, the “Black Hermione” internet debate). White characters are never characterized by their whiteness unless it serves the plot. So many times, however, Black characters or characters of color are defined by their race. “Black” isn’t a character type, nor is it a personality. And yet, because blackness falls so outside of the norm in common thought, it becomes the defining characteristic of a protagonist.

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I could not resist putting definitions next to some of these. (Mine are in bold type.)

Image result for smiling black people

anonymous asked:

so you’re jamaican and not regular black?

What the hell is regular black?

 

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I did not know that Satan had his own Twitter feed:

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X-Men Joins the MCU!

With fans mounting rising questions about the fate of the Marvel Cinematic Universe after Disney’s acquisition of Fox, Disney CEO Bob Iger has confirmed that the X-Men, the Fantastic Four, and Deadpool will all be joining the MCU. According to Deadline, Iger told Disney investors: “We have the opportunity to expand iconic franchises for new […]

via Bob Iger Confirms X-Men, Deadpool, Fantastic Four for the MCU — WE ARE GEEKS OF COLOR

I’m cautiously excited about this, but only because it means Disney owns even more stuff. But the key word is that i am excited If we pressure them really hard, maybe we can get a Black Panther 2, (and eventually a Storm solo movie.)

I don’t like what Fox did with the X-Men, and I especially didn’t like the way Storm was treated, and I hope that Disney (the MCU) will show her the respect she deserves (with the proper actress).

To that end, my fancast of the next X-Men movie is based on the characters from the first one:

 

KRISTOFER HIVJU as Wolverine

I love this character from Game of Thrones, and he just seems very Wolvie to me. Yes, I can see him with muttonchops,  Black hair, and giant claws. He’d also be a great sub for Sabretooth.

Image result for kristofer hivju

 

RUTINA WESLEY as Storm

Everytime I see fancasts of Storm, she’s always cast as the lightest skinned Black actresses they can google Well,No, No, and again with the No! I want an actress with gorgeous dark skin, to play the goddess, and I would love to have a Black female director to do the solo movie, if at all possible, although I will settle for any director that knows and respects this character. (We need more female directors anyway because Ava Duvernay can’t be everywhere.)

Lupita Nyongo seems like a really popular fancast for this character, too, possibly because she’s the only Black actress most comic book fans seem to know the name of. Angela Basset would be great but she’s already starring in Black Panther as his mother, Raimonda.

Rutina impressed me with her toughness, and fierce intelligence, in the show True Blood, and she was steely, yet  vulnerable in Hannibal, and Queen Sugar. (She also kinda looks like one of my little sisters, so I’m biased.)

 

Image result for rutina wesley as storm

 

LANCE REDDICK as Professor Xavier

I just love this guy’s face, and I wanted to choose someone firmly outside of the box for this character. Plus, Lance just looks as if he might be reading your mind, right now.

Image result for lance reddick

 

 

GINA RODRIGUEZ as Rogue

I like Gina for America Chavez too, but I’d love to see her play Rogue, who is supposed to be young and tough, and traumatized. I think Gina could do that.

Image result for gina rodriguez

 

 

SOFIA BOUTELLA as Mystique

It’s just boring to me that people always pick the same 25 White actresses for a role where they’ll be covered in makeup the entire time. Besides, Sofia is gorgeous, and the makeup would only enhance her looks.

Image result for sofia boutella

 

 

EVA MENDEZ as Jean Grey

In the comic books, Storm and Jean have been friends for decades, and I want to see that onscreen. I want to see the X-Women interacting with one another, getting along, and supporting each other, something that has never been shown in the movies, as those have always seemed to focus on the “important” activities of the men.

I like Eva’s sassy sense of humor, which would also make her perfect for Mystique.

Image result for eva mendez

 

TIMOTHY DALTON as Magneto

I was impressed by his gravity in Penny Dreadful, and I think he could pull it off. (or they could actually pick a Jewish actor, like Sacha Baron Cohen, or Daniel Day Lewis, two names not usually associated with superhero movies, so I’d be there for it.

Image result for timothy dalton with beard

 

TRIPLE H as Sabretooth

Yeah, he just seems sort of Sabretoothy to me.

Image result for triple h with long hair

MATT BOMER as Cyclops

Cyclops has to be really handsome, and yet kinda dull. In the comic books, he’s like a really po’ man’s version of Steve Rogers.

Image result for matt bomer

 

TROY SIVAN as Iceman

Troy Sivan would be perfect for Iceman, and is actually as gay as the character he’d be portraying. He starred as the young James Howlett, in the Wolverine movie, and has a popular Youtube channel.

Image result for troye sivan

 

Or if we really want to think outside, then Ryan Potter would look great as Iceman (He’s already been cast as Beastboy in the Titans tv series, though.)

Image result for Ryan Potter

Let me know what you think in the comments.

Tumblr Weekend Reading

Its been a whole minute since I made a Tumblr post, so here, have some interesting thoughts, memes, and photos, that came across my  dashboard:

Yes, I am lactose intolerant, although I am to understand that I have a fairly mild case. I can eat some dairy items like yogurt, ice cream, and cheese, without  wishing I would die, but a glass of chocolate milk would probably send me to the hospital, with excruciating abdominal pain.  But for real though, most cases of lactose intolerance just end in lots of farting.

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This is funny because this was sort of my thoughts while watching this movie. Earth, and the aliens, are basically a bunch of drama queens.

dragon-in-a-fez

I know we’re always talking about how Pacific Rim embraces the ridiculousness of the human race because “just build a giant robot to punch them in the face” is probably the most full-on human bullshit response we could have thought of to an invasion of giant aliens, but can we pause and also consider that the aliens are basically doing the same thing

like they wanted to invade us and their first thought about how to do so was “let’s genetically engineer giant fucking monsters that will crawl out of the depths of the ocean and trample cities”

Pacific Rim is just the story of two species that on a scale from 1 to 10 respond to every problem with a 17

 

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The mildly annoying fighting styles of female action characters. I think Charlize Theron, and a couple of others, are leading this charge to make female fight scenes more realistic to how a woman might actually kick some ass. Most filmmakers try to give women pretty, ballet -like, fighting styles, and I don’t mind that a whole lot, but they need to know it’s okay to show women getting down and dirty, when they fight, too. This is why I loved the movie Kill Bill, because it showcased a variety of women vs. women fighting styles.

rainbow-femme

So whenever i would watch movies and see The Badass Female Character fighting in various ways, something about it always bugged me. I just assumed it was internalized misogyny that made me dislike characters like black widow and Tauriel and tried to make myself like them.

Then I was rewatching Mad Max Fury Road the other day and I noticed that nothing bothered me about watching Furiosa fight and I realized the problem wasn’t watching women fight in movies that got on my nerves.

Watching the stereotypical Badass Female Character she always has these effortless moves and a cocky, sexy smirk on her face as everything is easy. Watching Furiosa, she grunted and bared her teeth. Her fighting was hard and it took effort and it hurt like fighting is supposed to. For once her fighting style wasn’t supposed to seduce the audience it was to be effective.

I wasn’t disliking these characters because they were women I was disliking that their fighting was meant to remind me they were women. High heels and shapely outfits and not showing effort or discomfort because it’s more attractive to effortlessly lift a long leather clad leg over your head rather than rugby tackle someone.

It’s the same with the Wonder Woman movie too. Fighting is hard and it takes effort, blocking bombs and bullets with a shield makes her grimace and bare her teeth with the effort it takes. She’s not flip kicking bombs she’s yelling and straining, not because she’s weak or bad at fighting but because that’s what it would be like.

I really hope we’re moving into an era of women having fighting styles designed for realism and not how hot it looks for the men in the audience.

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Image result for serena williams gif

I’d say the answer to this is yes. America has long been obsessed with the Black female body, while trying to pretend it’s not, and here’s why:

Is Society Fascinated with Black Women’s Body Types?

blackfeminisms

Colonialism introduced Europe as the cultural/aesthetic authority on values including beauty. While doctors in ancient times warned against obesity, diet culture began in the 1800s. Weight turned into a cultural status marker that considered fat to be negative. Whiteness as the epitome of beauty imposes a standard that devalues body types by race, gender, shape, size, and color. Society teaches women to deal with fatness through exercise. Nevertheless, Black feminists see Blackness as the site of resistance to the standards.

Society interprets Blackness as indicative of moral, sexual, and racial pollution. For example, a society threatened by Black women’s reproductive capabilities, 19th century Europe likened Black women to prostitutes through the controlling image of the Black Venus, which characterized her as the perpetual prostitute. Society discouraged coupling between Black women and White men through “blood discourses”  that projected the fear of Blackness onto mixed-race children. Some sociologists remarked on this phenomena with  Meghan Markle.

Society treats Black women’s bodies as a danger to social order. On the one hand, they might displace white women as the archetypical love and sex object. On the other, they threatened the patriarchal order of worker by having the status of worker and woman.

Society robs fat Black women of their sexual agency 

Image result for mammy stereotype gifs

Sociologist Shirley Anne Tatediscusses how we can read the iconic Venus statue as a fat Black woman. This perspective reveals which Black women’s’ bodies society reads as fat and how they represent them. Tate embraces an ‘alter/native’ view of Black women to highlight the multiplicity of body politics around Black womanhood. Society treats Black women’s bodies as other to white women’s and does so by making their forms hypervisible. This process simultaneously renders the whiteness of other women’s bodies invisible. As a result, Shirley Anne Tate argues this perspective: “enable[s] us to see that there is a corporeality of white class (Bourdieu, 1988) and gender with thinness as its epitome” (Tate 2015: 80).

The Mammy portrays Black women as undesirable sexually and desirable for service work. The Mammy symbolizes the status of a domestic servant to a white woman through her girth and dark skin. This controlling image reinforces the perception that white women were superior.  For example, Hattie McDaniel played a Mammy figure in Gone With the Wind. The UK has a similar portrayal Black women as “Big Mama. Fat Black women live in a society that paints them as undesirable and worthy of disgust. These beliefs divided fat Black women into domestic and care workers and thin white women into the domestic and care overseers.

Society ridicules Black women for their fatness

In the UK racist humor often revolves around fat Black women. In the 19th century White men dressed in drag to mimic Black women for racist ridicule, making fun of the notion of a desire for this body through minstrelsy. Far from being just a joke, racist humor has more sinister implications:

“Humour is not a harmless or benign form of communication. Rather, ‘racist humour, jokes may act as a type of coping mechanism for the racist, in the form of a palliative because the effects of joking allow for the expression, reinforcement and denial of racism’ (Weaver, 2011: 12). “ (Tate 2015: 91).

Additionally, Some White women performed minstrels too. Originally, minstrels arose from white racial fear of Black men. Minstrelsy thus demonstrates simultaneous racial aversion and desire.  Fatness and Blackness place Black women outside of beauty.Rhetoric in the U.S. frames Black women in terms of discipline, relegation, marginalization, imprisonment, and segregation away from white life, comfort, embodiment, and being. Treating Black women’s body as inferior meant colonial labor and gender roles placed Black women in the lowest rung of the social order.

Society treats muscular Black women with dark skin with fear

Whenever the former First Lady chose to wear a sleeveless outfit, some members of White society reacted to Michelle Obama’s muscular arms:

The struggle over Michelle Obama’s ‘right to (bear) bare arms’ shows that the USA is far from being post-race as the respectable femininity of the First Lady is judged by white, middle/upper-class privilege which insists on lack of musculature on women (Tate 2012:93).

Shirley Anne Tate argues Michelle Obama’s body defines norms of white upper/middle-class respectability. Her very presence creates a space of resistance that represents a deviation from the somatic norms of the U.S. First Lady. As a result, she endured a constant surveillance of her body, viewed as an outsider. Therefore, this fascination transforms her into the Black First Lady.

Why do people fetishize muscular Black women?

Image result for serena williams gif

Black women’s muscle as a spectacle dates back to racist pseudoscience of the 18th/19th  century. Shirley Anne Tate describes Black women’s bodies as a site of fascination.  A person compares themselves and others to a norm. As a viewer, a person extends their own bodies through their gaze. They interpret others through points on their body like their face, muscles, or skin. Comparison of one’s body parts to another leads a person to determine how close or different one’s body is to others:

Inassimilability or extension into the other does not mean that fasci- nation ceases. Fascination continues in the desire to find out the why of assimilation and the untranslatability of the body. Why can’t I be like her? Why do I want to be like her? What have I become? Is my becoming accompanied by fear, disgust, contempt? Fascination makes us look at ourselves first and foremost, at our very lives, to find out why we are fascinated by bodies/body parts. It is in the exchange between bodies, in the matching and untranslatability that we can begin to know ourselves, begin to understand our fascination as a pull to knowing the other, to get behind the façade that is the skin to ‘the real them’ beneath (Tate 2012: 94).

Fascination leads to a desire to find out why a woman’s body does not conform to the norm. However, narcissism motivates this fascination. Hence, people recenter themselves as they gaze upon others’ bodies to construct a sense of self. Therefore, the incorporeality of fascination makes it a fluid, simultaneous process of becoming and unbecoming through comparison to others.

How does fascination with Black women turn into fear?

Fascination is a multisensory experience that has varying degrees of effect and affect, motivated thus making the gaze a result of both desire and disgust. Therefore, fascination compels a response on the part of a viewer as it occurs not only through the senses but also through imaginings.

As a result, people pursue a means to satisfy their fascination. For example, this fascination extends to dark-skinned Black women who have muscular bodies. This affects interpersonal interactions across racial lines. Stereotypes about Black women motivate people to approach them with a feeling of insecurity or a desire to avoid her at all costs. So when Black woman’s bodies get policed in this manner, they are cast as evil and transgressive to indicate they fall outside the norms of appropriate ways of life.

Tate writes that “once it is set outside the norm it remains as it is cast, an unknowable hyper-known, knowledge of which remains within the colonial stereotype.”  White people project their fear of getting displaced in society’s racial hierarchy onto Black women through a racialization process that involves creating zones of containment by labeling her a source of fear.

How is fearing Black women racist?

Groups use fear to maintain racial regimes through the restriction of the movement of others’ bodies. Additionally, they expand their own movement. However, this involves a “racial regime of visible whiteness [that] must be kept in place to ensure that the borders of whiteness are kept firm.”Furthermore, this produces a fear of racial mixing. Rather than mix interracial, they develop resemblances through what Tate names racialized aesthetic profiling:

So expert surveillance is set up of Black women’s bodies, noses, lips, hair, skin colour, breasts, bottoms and muscles so as to mark difference and develop racialized aesthetic profiling. Racialized aesthetic profiling means that fear can be materialized in all Black women’s bodies irre- spective of who they are. This ensures the continuation, circulation and amplification of fear of the Black woman’s body as she begins to move outside of the borders established through the phenotype and stereotype (Tate 2012: 98).

One such Black woman who suffers this fascination is Serena Williams.  Serena, in particular, embraced a “girly” sports aesthetic, which contradicted social norms about appropriate muscularity for women. Yet, society characterizes women with darker skin as undesirable. Serena faces derogatory comments for posing as feminine. Nevertheless, muscular Black women experience fetishization just as fat and slim women experience hypersexualization.

Race and the sociology of emotions

The white affective matrix confers and questions womanhood as the view Black women’s bodies with varying degrees of adoration and disgust. As a result, Black women experience different treatment based on their body type.

The post Is Society Fascinated with Black Women’s Body Types?appeared first on Blackfeminisms.com.
from Is Society Fascinated with Black Women’s Body Types?

 

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These affirmations of allyship are exactly my sentiments too. I want LGBTQ people, Non-Black PoC, people with disabilities, everyone to experience all the same emotions I experience when I think of the movie Black Panther. I am deeply, and profoundly happy for Jewish female representation in Wonder Woman, Black gay men in Moonlight, Queer Latinas in Brooklyn 99, and Asians in Crazy Rich Asians, even though I’m none of those things. Everyone deserves to see themselves beautifully represented on a movie screen.

 deadletterpoets

Maybe I’m not the right person to say this as a black man but,

I hope the success of Wonder Woman doesn’t just mean more women are directing superhero movies, but are given the chance to direct/write movies from the many other franchises that exist like Mission Impossible, Transformers, Star Wars, Anything in this Dark Universe Universal is doing, a big budget Monster movie with Godzilla and King Kong, James Bond, I heard they are rebooting Resident Evil let’s let a talent woman director like Jennifer Kent with her horror background tackle that, Terminator (cause they just won’t ever let that go), Alien, Fast and Furious, and so many other I can’t even name them all. Or you know give them a big budget to adapt a popular book like Ava DuVernay is currently doing with A Wrinkle in Time, or let them have their own stories we need more original voices, or let them build their own unique franchises. And if they fail, let them try again cause lord knows even the best male directors and writers fail at times and they are still given multiple chances. We all should celebrate Wonder Woman’s success, but know it’s not the end of a long journey to true equality for women in Hollywood.

yumearashi

Maybe I’m not the right person to say this as a white woman but,

I hope that Black Panther is a *smashing* success and that it leads to not only more POC directing superhero movies, but also being given the chance to direct/write movies from the many other existing franchises and adaptations.  Plus, let them have their own stories and build their own unique franchises, we need their voices. And if they fail, let them try again cause lord knows even the best white directors and writers fail at times and they are still given multiple chances. Hopefully we’ll all be able to celebrate Black Panther’s success, but even if it breaks every box office record, it won’t be the end of a long journey to true equality for POC in Hollywood.

@deadletterpoets – thank you for being an amazing ally)

 

daughter-of-rowan

Maybe I’m not the right person to say this as a black woman, but

I hope that Crazy, Rich Asians is a roaring success. I hope it leads to doing away with the whitewashing of Asians in Asian properties (I’m talking to you, Netflix: White Light in Death Note? NO!). I would love to see Asians being able to break out of the “smart Asian friend” and “inspiring immigrant story” roles. I want to see Asian representation in CBMs. I want to see more than Japanese, Chinese, and Indian people as doctors, lawyers, shop owners, and financiers on the way up. And while we’re at it: Pacific Islanders are not replacements for Asians, and they don’t just play football and dance. Representation matters, and it has to be more than what makes Hollywood comfortable.

 

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From the comments on this one, I’d say the answer is a resounding YES!!!! Yes, White people, do indeed, get tired of looking at White people onscreen sometimes, and are just as hungry for new perspectives on old stories, as PoC.

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This pretty much was the permanent oven setting in our house. Hell, it was a major source of anxiety for me to turn the oven to 375 degrees, that first time.

luvyourmane: “The perfect temperature for everything! 🤣😂 .. . . . #sundaydinner #cooking #blackpeople #baking ”

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This conversation started out talking about how terrifying angels are, and then went in the direction of the  running commentary, on Tumblr, about how murderously dangerous is the wildlife in Australia.

Anonymous asked:

What do angels actually look like per the bible?

revelation19 answered:

Well, according to Ezekiel 1 they might look something like this…

According to Daniel 10 something like this…

According to Isaiah 6…

In Ezekiel 10…

Again in Ezekiel 10…

 

Basically, when the people writing Scripture tried to describe what they saw when they saw an angel… they run into the end of their imagination… they can never quite seem to fully explain it because they had trouble even comprehending what they saw, let alone being able to describe it to someone else.

 

musiqchild007

revelation19

Yeah, that’s usually how people responded to seeing them in the Bible…

 

the-unreadable-book

There’s a good reason why angels’ standard greeting is ‘Do not be afraid’.

 

glitterbomb-goblinking

I used to listen to this radio show and one thing I remember because it was so funny was a Christmas special where an angel showed up to tell the shepherds about the birth of Christ.  The conversations went:

Angel: “FEAR NOT.”

Shepherds: *screaming*

Angel: “I SAID FEAR NOT.”

Shepherds: *screaming LOUDER*

Angel: “WHAT PART OF FEAR NOT ARE YOU NOT UNDERSTANDING?”

 

 cameoamalthea

So demons are fallen angels but they don’t look scary because they’re fallen, that’s just what all angels look like…

Maybe that’s why so many Christians see visions of Saints or the Virgin Mary instead…like Jesus is all…no, no see being human made me realize sending Angels might not be the best idea. I don’t know if humans can handle this. So I’m gonna just send mom

 

mathblr

I’M GONNA JUST SEND MOM

 

veronica-rich

God: The humans are scared.

Mary: Fine. I’m on it.

 

 upallnightogetloki

Jesus: It’s either Mom or the thousand eyed flaming wheel, Dad, do you really think the humans are gonna be chill with that when they’re terrified of spiders already?

God: Hey now, some of those spiders eat birds.

Jesus: …Dad…

God: …To be fair, Australian wildlife was my dark creation phase.

 

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Image result for funny cartoon  nazi gifs

I touched on this in an earlier post, about Hollywood treating Nazis like a story prompt for the past fifty years, in everything from comedies, to action movies, has led to Americans seriously diminishing their influence, obscuring their crimes, and complacency, with their ideas. 

 kendrasaunders

never forget that narratives that follow “what if the nazis won” are never for those of us who faced their terror- they are for tourists to our suffering, people who wish to be saviors. no jew every gets to succeed alone in a story where nazis win- we, rromas, lgbt people, and disabled people are shunted to the sidelines, in an eternal genocide from which we cannot escape. they forget the persecution that we still face- to them, to the tourists, this is clever. to them, we are helpless. we cannot fight nazis, that’s why they won.

this is a false retelling of history, and YES, in ALL CASES, it is a glorification of nazis. they DIDN’T win because they COULDN’T. and to my jewish, rroma, lgbt, and disabled followers, they lost because WE FOUGHT. We closed camps with our riots. We killed nazis. We scalped them. Our stories aren’t told because every tourist wants to act like they would Stop The Nazis- WE were doing it LONG before anyone came to our aid.

Don’t let people fool you into thinking you are helpless. Don’t let narratives that put white, straight, able-bodied and able-minded characters at the forefront make you think you need them.

Superman was originally created as a gollum- A character of jewish magic who protects us. He is not Christ, he is not Goy, he is not Theirs. We are our own protectors. We are a community, a family, and a riot.  You don’t not have to accept the idea that the Nazis could’ve won. Because the only thing Nazis are good at is dying. And the only thing a person who writes this storyline is good at is violence.

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A call out post on fandoms faux-progressivism. I think I wrote about how fandom isn’t nearly as imaginative, in its treatment of characters, as they like to believe they are, and that the vast majority merely reproduce the same racist and stereotypical narratives they’ve seen in popular media, since its inception. They just don’t have enough imagination to create anything outside of the boxes that have been created for them to play in.

Many of them are in the business of upholding the status quo, too. And far too many think being progressive is just writing about two white men, having sex, or holding hands, and that’s as far as they need to go to be considered woke. Anytime fandom ignores canon gay relationships of PoC, in a show or movie,  my argument is that their insistence on slashing every white man who merely wanders into the orbit of another for longer than a minute or two, amounts to nothing more than a straight girl fetish, which parallels the straight male  obsession with lesbians.

We are supposed to be the most progressive and transformative community in pop-culture.

We who…

  • Hyper-focus on white, male characters
  • Contort these male characters into heteronormativity
  • Marginalize and erase characters of color
  • Write out women and replace them with men, especially in shipping
  • Attack women for “getting in the way” of our preferred ships
  • Hold female characters to higher standards than male characters
  • Hold characters of color to higher standards than white characters
  • Latch onto any single excuse to marginalize female characters
  • Utilize any single excuse to demonize characters of color
  • Put women on pedestals and act as if we’re doing them a favor
  • Justify white and male abuses or dismiss them as “mistakes”
  • Use actual mistakes to denigrate female and non-white characters
  • Romanticize white, male pain and mental illness
  • Expect female characters to perform all the emotional labor
  • Expect characters of color to be perfectly mentally healthy forever
  • Expect everyone to subsume their own mental health for the white males’
  • Dismiss the traumas and experiences of characters of color
  • Minimize the achievements of female characters

And then we wonder why mainstream media is so regressive, especially compared to us. We all talk as if mainstream media creators are behind the times.

They’re not.

Fandom likes to imagine itself as being progressive because of all the slash – a mechanism of progress which conveniently boils down to extra attention on overwhelmingly male (and overwhelmingly white) characters. This form of progress is one which takes a minor deviation from the social norm (homosexuality), only to end up ultimately supporting or even amplifying the status quo, by virtue of over-focusing on male characters (and over-representing white ones in the process).

Strip back that gay window dressing, though, and you’ll see that at best, fandom is just as socially stagnant as mainstream media and mainstream culture – or even worse, by virtue of engaging in media that overwhelmingly sidelines several other marginalized groups in order to prop up one.

Professional women have long known the old adage, “Whatever women do they must do twice as well as men to be thought of half as good.” What no one seems to realize is that fandom is still doing exactly the same thing.

We expect female characters to be twice as good for half the acclaim, we expect characters of color to be three times as good for a third of the acclaim, and we let white, male characters be only a quarter as good for four times the acclaim.

Mainstream media is keeping up with the times and with social progress just fine, it’s us who’ve deluded ourselves into believing that we, as a community, are more progressive than we actually are.

It’s been a while, but since this post just got a bunch of notes recently, I figure this is as good a time as any to add on some more thoughts.

Comparative Progressivism

Historically speaking, fandom has been progressive when compared to mainstream media. What most people don’t realize is just how little that’s really saying. When mainstream media is built on white male heteronormative power fantasy, it’s easy for any “alternative” depiction to come off as progressive.

A world where most of the women are fag-hags is certainly progressive compared to a world where most of the women are walking sex toys. That does not mean we should settle for this as a good depiction of women, or the marginalization of female characters.

Same goes for race. A character of color who is not a stereotype while supporting a white character is certainly better than a world where characters of color are stereotypes who are subsumed by white characters. That does not mean we should accept these as good representation of POC, or settle for their marginalization – or ignore their demonization as racism rears its ugly head, anew, in fandom.

And quite frankly, for a community where the overwhelming majority of our stories are based on mlm relationships, it speaks a lot to our internal attitudes and beliefs that we still, even after decades of existence, continue to write gay relationships as straight relationships with different genitals. The subtle heteronormativity that permeates the gay relationship tropes of fandom are astounding, and sometimes reek of internalized misogyny.

We Are All Joss Whedon

Joss Whedon was once considered tremendously feminist, and hailed as a paragon and idol of feminism in mainstream media. But contemporary analysis of his works shows that feminism was often a shroud covering some serious fetishization and occasional bursts of downright misogyny – and somewhat more disconcerting is the fact that more and more, his current works demonstrate that he hasn’t progressed forward from this much, if at all.

Fandom is the same.

We have long prided ourselves upon a history of progressivism and being transformative. It certainly was, back in era of Star Trek slash in an era where homosexuality was still illegal in many parts of America and the world. Fandom was truly transgressive when it wrote content that challenged such a deeply entrenched status quo. Even the most misogynistic and heteronormative portrayal of a gay relationship was transgressive against the staunch heteronormativity of mid-20th century mainstream media.

“Was.”

Because we’re still writing a lot of our fics on that model. Take a look at how many people debate hotly on who in a gay pairing is “the top” and “the bottom”. They are rarely ever discussing the hypotheticals of which male finds a certain sex position/act physically pleasurable. They’re asking, which one is the penetrative and active partner, and which is the receptive and passive partner. They’re asking which one is the “dominant” and which one is the “submissive” partner (with terms like ‘power bottom’ still relying on those baselines). They’re asking, “which one is the man and which one is the woman”. *( And often engaging in racialized transphobia and homophobia, by casting any people of color in inter-racial relationships, as the “top”, who is often described as bigger, and more muscular looking, than their slighter, more feminine/ effeminate same sex partner. This goes for both mlm, and wlw, relationships.

Meanwhile, actual female characters are rarely more than props to the men’s emotional health and personal narrative. A lot of them are written as little more than a fag hag or a “Straight BFF”.

We’ve gone from characters of color being walking stereotypes in the white characters’ narrative, to characters of color being either obstacles or non-existent in the white characters’ narratives. We don’t expect characters of color to literally serve the white characters while saying “yes, massa” all the time, now – but we still expect characters of color to to subsume themselves to white characters, with white characters’ feelings coming ahead of their own mental and physical health, their safety, and sometimes even their lives. Characters of color who have the audacity to act with a fraction of the self-absorption that is routine for white characters are castigated for being irresponsible and selfish.

This is if they’re even included at all. Ranging from marginalization to outright demonization, fandom constantly sidelines characters of color. Some fandoms have the unique anti-honor of being more racist – more sociall conservative, more prejudiced, and sometimes even more bigoted – than the mainstream media source material. Think about that for a minute. Mainstream media is finally moving forward and fandom is staying right where it is.

Fandom Wants the 1960s Back

Fandom can talk about feminism and progressivism all it wants. The reality of the true desires of fandom as a collective and as a community are expressed in its fanworks – not only in what is created in the first place, but which works become popular and get attention…and which ones don’t.

Fandom wants a world where white men are still front and center of everyone’s attention, where women are kickass but their stories aren’t that interesting, and where POC don’t need any care or attention.

Peel back the white mlm fetishization, and fandom hasn’t budged more than an inch since the first slashy Star Trek zines. Joss Whedon’s got nothing on us.

Hannibal Kills

Image result for hannibal  gifs

I was asked recently, by one of my readers, (The Laughable Cheese) to elaborate on my thoughts  about the whys and wherefores of Hannibal’s murderous motivations on the show. Now, I’m no psychologist, so what I’m about to write is sheer speculation on my part, based mainly on my thoughts about the series version of Hannibal.

Throughout the series we’ve seen him kill to aid Will Graham, out of spite and anger, to satisfy his curiosity, out of a sense of whimsy, to protect himself from being captured, or manipulate others, but it is not until season two that we get any deeper reason for his murders.

Acc­ording to Holmes typology, serial killers can be act-focused (who kill quickly), or process-focused (who kill slowly). For act-focused killers, killing is simply about the act itself. Within this group, there are two different types: the visionary and the missionary. The visionary murders because he hears voices or has visions that direct him to do so. The missionary murders because he believes that he is meant to get rid of a particular group of people.

Process-focused serial killers get enjoyment from torture and the slow death of their victims. These include three different types of hedonists — lust, thrill and gain — and power-seeking killers. Lust killers derive sexual pleasure from killing. Thrill killers get a “kick” from it. Gain killers murder because they believe they will profit in some way. Power killers wish to “play God” or be in charge of life and death.

— http://people.howstuffworks.com/serial-killer1.htm

I think Hannibal kills for a multitude of reasons, but seems to fit the model of being a process killer. The act is drawn often a long drawn out event, which has a lot of meaning for him. We can see that in his killing and eating of Abel Gideon, in season two and three.

A lot of fans speculate that Hannibal kills because he can, and that’s as good a reason as any other, but I don’t feel that goes deep enough. Hannibal’s reasons are complex. Why does he feel he can? Because Hannibal likens himself to God. Why does he want to assert himself as God’s equal? For the same reason that many others seek to assert their power. Because, on some level,  he knows how it feels to be powerless.

In season one, Hannibal mostly kills the rude (for food), or to protect his identity. He kills Georgia Madchen because he believes she saw him killing Will’s doctor. He killed Will’s doctor because that man knew too much about his unethical manipulations of Will Graham, and could blackmail him for it.

Image result for will and hannibal eating  gifs

The first time we encounter one of Hannibal’s kills,  is when the body of Cassie Boyle is found in an open field. Hannibal has impaled her on a rack of antlers, (and removed her lungs, so that he can eat them.) Crawford and his forensic team discover her body after Will is confounded  about  the murder  of another young woman, named Elise.

Hannibal kills Cassie to provide what Will calls “a negative” to the body of Elise. Will thinks Cassie Boyle was killed to aid him in his search for Elise’s killer, and he’s not wrong. That is one of Hannibal’s motivations for killing the young woman, but another motivation, and this is just my speculation, is that he was also inspired by Elise’s killer, to create a more elaborate death. The way Cassie Boyle was killed was simply a way he hadn’t tried before.

In fact, no mention is made of how the Chesapeake Ripper (also Hannibal) killed or displayed his victims prior to the show’s opening, although the Chesapeake Ripper is mentioned as someone Jack has been hunting for many years. His killing and display of Cassie Boyle is the first mention of what Will calls “Field Kabuki”, which stands in direct contrast to how Elise was killed by Garret Jacob Hobbes. That contrast is what helps Will develop a picture of Hobbes, but also has the side effect of  bringing Hannibal to Will’s attention.

Now remember at this point, Hannibal has only  just met Will, after being given the task by Jack Crawford, of being the caretaker of Will’s sanity, while Will helps the FBI catch serial killers. Already we can see that he is fascinated by Will, and wants to get closer to him. He wants to be friends. So he was willing to take that risk to aid Will. He would get to see how Will’s mind works and better understand him. So one could argue that Cassie’s death was an overture of friendship to Will (although Will does not know that.).

Image result for hannibal series gifs

The very first meal that Will and Hannibal eat together is Cassie’s breakfast scramble. Prior to that we are shown Hannibal eating this alone in his house. He doesn’t appear to have any friends until he meets Will. After feeding Cassie to Will, he seems to have developed a sense of satisfaction from feeding the remains of his victims to his acquaintances, because he continues to do this throughout the entire series run, feeding his victims to Jack, Will, Alana Bloom, and various dinner guests. In the movies, Hannibal is shown feeding his victims to dinner guests, so there is precedent for it, but that’s  only shown in the TV show once, and only after he meets Will Graham. After that he mostly feeds his victims to his “friends”.

Hannibal kills for multiple reasons in season two. He also manipulates people into attempting to kill others. He manipulates Abel Gideon into  killing Alana Bloom, so that Will Graham will be forced to kill Abel to protect her. He does the same to Miriam Lass, using her PTSD against her, to get her to kill Frederick Chilton, who he has framed as the Chesapeake Ripper. He and Will attempt to orchestrate the killing of Mason Verger, and Lecter  successfully manipulates Will Graham into killing Randall Tier, by sending Tier after him at his home.

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Hannibal kills others for  a dinner party. One is a doctor who was rude to him, and Sheldon Isley, a land dealer who opposed the salvage of some wetlands. Lecter kills him out of spite and plants his body within a tree. It is the clues from Sheldon’s body that lead to the discovery that Miriam Lass, (a detective whose disappearance had been attributed to The Chesapeake Ripper), is actually alive.

However, his most notable and memorable killing, in season two, is the judge in Will’s case. Having framed Will as The Chesapeake Ripper in season one, Lecter now regrets his actions, and misses Will. The judge dismissed the testimony he gave in his attempt to free Will. In a fit of spite, Lecter simply removes the judge, which has the added side benefit of freeing Will, as his case gets thrown out.

Most of his reasons for killing in season three are pragmatic.  In season three he kills to protect his identity, as when he kills Reynaldo Pazzi, a detective who recognizes him from a previous case, and Anthony Dimmond, a man who tried to blackmail him. He kills to establish a new identity when he kills and eats Roman Fell and his wife.

But the most notable killing in season three are the flashbacks to the  killing and eating of Abel Gideon, the man who tried to steal his name and reputation as the Chespaeake Ripper, and knew too much about his manipulations of Will Graham. It’s especially horrifying as he spends most of that time talking with Gideon about what he’s doing to him, and forcing Gideon to partake of his own flesh.

Image result for hannibal series gifs

Note that what Hannibal does with his victims bodies afterwards is not the reason he kills them. He is not necessarily killing them to help Will, or send messages, or be artistic. He is making art out of something he already feels compelled to do. For example, he didn’t kill Dimmond to make the origami heart for Will. He just took advantage of a death he caused to leave Will a message. He killed Dimmond to protect his identity as Norman Fell.

Lecter has also talked, at length, about ethical killing, claiming to Bella Crawford that he employs an ethical butcher, who doesn’t make the food suffer before killing and eating it, and in season two he chides Will for terrifying Freddie Lounds too much before killing her, saying that it makes her flesh taste acidic. What he is saying is that the method (the process) by which he kills is important to him.

Miriam Lass, in her testimony to the FBI, also claimed that the Ripper never tried to cause unnecessary pain, informed her of his actions beforehand, and taking care to see that she didn’t experience undo anguish. So one could make the argument that Hannibal is definitely a “Process” type killer.

One of the theories for why Hannibal kills goes back to his childhood and the loss of his little sister Mischa. In the book version of his back story, (Hannibal Rising) he lost his sister during the war, when a group of enemy soldiers took his family prisoner, killed his family, and ate his sister, which he witnessed. Subsequently he hunted, killed,  and ate each of  them in turn, and this is a habit he simply developed and continued. Killing and eating people he thinks were rude to him.

In the show, this has been changed to;  witnessing his sister’s death, and then eating her himself, after he had pledged to always protect her. But Hannibal’s motivations on the show parallels his motivations from the books. He says to both Will Graham, and Margot Verger, that killing bad people feels good. Of course Hannibal’s criteria for “bad” is fairly loose, in that almost everyone can meet it. Hannibal likens their behavior to disrespecting God (himself).

Of course Will is allowed to be as rude to Hannibal as he likes. His motivation for trying to kill and eat Will, in season three, is not because Will is rude, but because Bedelia suggested it to him, as the only way to relieve his heartache over Will.

Image result for hannibal series gifs

Because Hannibal doesn’t see his victims as people, he sees them as creatures far beneath him (a theme that will more heavily come into play late in the second season, after Mason Verger is introduced). A much truer version of his thoughts is heard in season two when he says that God kills with impunity, and so should he. When killing the “Eye of God” killer, he explains that he is God’s equal and uses that argument to persuade the Eye of God killer to sacrifice himself for his art.

This thirst for power over people, to be godlike in his killing of them, may have derived from the vigilante killing of his sister’s killers. Having helplessly stood by and watched her be killed would be excellent motivation for taking back his power by killing her killers. In a sense, Hannibal is a kind of vigilante killer, only killing and eating those people who his cellkeeper Barney, in the movie Hannibal, referred to as  “Free Range Rude”. And what may have started as a form of vigilantism, to avenge his sister’s death, or to right the wrongs of the world, has simply evolved into a lust for power. Put all these reasons together and Hannibal definitely comes across as a Power type of Killer.

 

Interesting Tumblr Posts

Here, have some trailers:
*I did enjoy The Punisher parts of Daredevil’s second season, so I was interested when it was announced that he’d be receiving his own show. This looks worth a watch. Hopefully the show will be coherent and consistent.
*I have never been a Tomb Raider fan. I’ve always thought of her as just a sexier version of Indiana Jones, and I’m not a particular fan of him either, although I’ve watched all the films. I don’t hate either of them. I’m largely indifferent to them, so fan would be a strong word.  I didn’t play the games, or watch the movies.
This looks interesting because it doesn’t actually appear to be about tomb raiding, but about putting something back in a tomb, and it also stars Daniel Wu, from Into the Badlands as the seeming voice of reason.

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* I love Galaxy Quest, and this person is right. I do just sort of lump this show in with the  rest of Star Trek. Its such a faithful parody of the original source material that ‘s not mean or demeaning to it, and its genuinely funny, too. Of course Guy is a big reason for that. He says exactly the kind of shit we’d say if we were in these situations:
I love the way that Star Trek fans just accept that Galaxy Quest is part of the film franchise.

Galaxy Quest is what i imagine people would be like if star trek suddenly became real tomorrow.

Galaxy Quest was voted the 7th best Star Trek movie out of 13

 

“Intelligence is knowing that Galaxy Quest is not a Star Trek movie.
Wisdom is knowing Galaxy Quest is the best Star Trek movie.”

And I think that says a lot about the Star Trek fandom, really.

 

Source:

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*I love these posts on Fantasy armor for female characters. Often the armor is just the dumbest, most ludicrous looking shit one could possibly imagine. Most of it is just metal lingerie, and in some cases just metal pasties. I mean, nobody’s fucking shoulders, or knees, needs that much protection. I often want to inform the creators that a) women’s boobs just don’t work like that, b) those need protection too, because they’re a delicate part of a woman’s anatomy, and if something hits them, they hurt like a muthafucka,  and c) what the fuck!!!

Another thing I hate when men draw women, in any kind of uniform, is what I like to call boob-socks. Just special pockets on an outfit that are specially fitted for a woman’s boobs. This is especially prevalent in comic books.

If you want to see more of this type of critique visit Bikini Armor Battle Damage’s website, where they also discuss media that gets women’s armor right.

brb shaking my head forever

 

Time to bring this back, with a few examples proving that this parody is NOT a gross over-exaggeration of actual stuff we see in pop media:

 

The Boobplate

[x] [x] [x]

The ‘Boobplate+’ (A.K.A. boob window): 

[x] [x] [x]

The ‘What’s the Fucking Point’

[x] [x] [x]

It truly is impossible to properly satirize female sexualization. How do you even ridicule pure ridiculousness?

And that’s without even touching “warrior woman” costumes that bear no pretense of resembling armor of any kind.

~Ozzie

Source:

*This is something rarely discussed in fandom. How older characters of color are desexualized and “mammified” in fandom narratives, and sometimes made to seem older than they actually are, to keep from having to ship them with their White faves of the same age range. So older White male characters get the sexy older man treatment, but never with the nearest man of color who is anywhere close to their age. As for shipping them with a younger man of color, you can forget about it. At least some of this has to do with White women’s fetish for older men, just not if they happen to be Black.

I think its interesting that Coulson is being shipped with a woman of color, though. Although that could have something to do with the idea that fandom likes to think of Daisy as White, rather than half Chinese as the actress herself identifies. I find it interesting because one of the easiest relationships to ship in the CW is Stein and Jax, but I just don’t see it in the numbers.

For the record, I totally shipped Rupert Giles with Joyce Summers, and Rupert Giles with Ethan Rayne, when I watched Buffy. Later, I liked to ship him with Spike, but found shipping him with Xander or Willow kinda icky. When it comes to Shadowhunters, I love the combo of Luke Garroway and Magnus Bane, though.

Racialized ageism and fandom

The age of the white male character is never the problem for shipping in fandoms. The age of the white actor is never the stopping point for him being viewed as “sexy” and “desirable”. The white guys in their 60s are seen as “hot” and “shipworthy”. The age gap between the older white guy and the character he’s shipped with at the moment is never the issue.

Look all over the fandoms: Clark Gregg (62), Peter Capaldi (59), Norman Reedus (48), Colin Firth (57), Rory McCann (48)… etc. etc. are in their late 40s – early 60s. Yet their characters are seen as sexually desirable and worthy of shipping not only with the characters, who are within their own age frame, but also with much younger characters:

Fandoms are not caging these older white male characters within the frames of a “desexualized parental figure” trope. In fact, “an older white guy x younger [usually also white] character” is a hugely popular shipping trope.

Yet, things differ drastically when the male character isn’t white (or seen as white – eg. Wentworth Miller’s Captain Cold), especially when the male character is dark-skinned. These male characters of color, who are over their 40s, are almost always invisible for fandom shipping.

For example – Joe West from The Flash. Jesse L. Martin is 48. He’s the same age as Norman Reedus, Rory McCann, he’s about a decade younger than Clark Gregg, Peter Capaldi or Colin Firth. And yet, he’s mostly seen as an “unshippable parental figure”.

Samuel L. Jackson has prominent roles in numerous popular franchises, that have big presence in fandoms with rich shipping content – Star Wars, MCU, Kingsman… Yet, his characters are always left out of the shipping pool in these fandoms – Mace Windu is ignored; Nick Fury is seen as the “dad” figure of the avengers; and Valentine is seen as nothing more than a funny villain, even though, fandoms do love white male villains. SLJ was 51 when Mace Windu first appeared on screen, he was in his early 60s when the MCU franchise started out, SLJ is only few years older than Clark Gregg.

Or take Stacker Pentecost from Pacific Rim, played by Idris Elba. Idris Elba. Idris was 41 when PR came out. And yet, the fandom had collectively decided that the only ship suitable for a “parental figure” like Stacker is Herc Hansen. Max Martini is two years older than Idris, and yet:

Worth noting that the incest father/son ship with Hansens is more popular than Hercules Hansen/Stacker Pentecost, which only has 288 works in total. Raleigh had more on-screen connection with Stacker than he had with Herc; Chuck and Stacker died together while trying to save the world. Together in Death is a hugely popular shipping trope all across fandoms, for example Enjolras/Grantaire from Les Misérables had 3 seconds of total screen time together in the movie, and they have ~9k of fics on AO3 alone…

Another one is Luke Garroway from the Shadowhunters, played by Isaiah Mustafa (43). Have you seen Isaiah? Yeah, I know. And yet, he is also seen almost as some “grandpa” figure of the group. Often people use his age as an excuse of excluding him from most fanon activities involving the main group of characters – shipping, group fanvids, group edits etc. The only ships involving Luke that are accepted and supported by the fandom are with Jocelyn and Maryse. And I often see people in tags saying that any other ships with Luke are “creepy” and “uncomfortable” because he’s the “dad” of the group. I agree about the creepy factor with, say Clary and Simon… but others? – Not so much.

And, yeah, I would’ve agreed with this fandom “activism” if it wasn’t so hypocritical. Remember Rupert Giles from BTVS? Who also was the “father figure” of the Scooby Gang? Anthony Head was 43 at the start of the show and 49 when it ended. And yet, I don’t remember BTVS fandom excluding Giles at every turn because of his age:

Compare to Luke’s ships:

Speaking of Shadowhunters, people also often try to put Magnus in the same “father figure” frames – anti-Malec (J@lecs, Cl@lecs etc.) people, who ship Alec with everything white that moves, always try to insinuate that Magnus is borderline a pedophile because he’s dating Alec. Regularly I see posts in Magnus’ tags saying that shipping Magnus with Clary, Jace, Simon or Maia is “creepy” because he’s basically their “dad”. Magnus is not their dad and (so far) never considered himself to be their parental figure. I guess he did say something like that about Clary in the books, but the show had an AU storyline in 1×10, where Magnus first met Clary in that episode, and didn’t have any kind of connection to her prior. AU!Jace even thought that Clary was cheating on him with AU!Magnus. So, even with Clary there are canon possibilities of avoiding the “unhealthy” factor for the ship within fanon.

After all, I don’t see the Torcwood fandom acting as if Jack Harkness (an immortal who lived through ages and generations) is some unshippable “dad” figure, who can’t be shipped with other members of the team. I haven’t seen people there saying that Jack is a “creep” for dating Ianto (just for the record: the age gap between John and Gareth is 14 years vs. 5 years between Matt and Harry).

I’m not suggesting that people need to start shipping Luke or Magnus with the younger characters, what I am saying is that, had Luke and Magnus been portrayed by white actors, people wouldn’t have been putting them in the frames of “parental figures” of the group as much. And yeah, I love the dad!Luke and dad!Magnus headcanons as much as the next person, but let’s also be honest that we’re not living in a vacuum, the race can’t be taken out of the equation.

These are just a few examples, but this is happening all across fandoms. And not just with MoC – take Shirley Bennett from Community. Yvette Nicole Brown is of the same age as is Joel McHale – they’re both 45 now and were in their late 30s when the show first aired. And yet, both the show and the fandom treated Shirley as if she was some “grandma” and Chevy Chase’ peer (who was in his late 60s back then).

 

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*I haven’t been watching this Fear the Walking Dead ,despite its diversity of characters, because one Walking Dead show is enough for me, but I liked this particular meta.

‘Fear the Walking Dead: Passage’ Did What No Thriller Could: Empower Two Lead WoC

As some of you may know by now, I am a fan of The Walking Dead. Unpopular opinion, but I think Fear the Walking Dead is one of the greatest things to come from it (I can hear the gasps already). I can’t stress it enough, but unlike TWD, its racial inclusiveness was something that had me hooked and reeled from the very beginning. My wishes were fulfilled when FTWD premiered because for the first time, I was able to look at a popular franchise with a Native lead and Latinx main characters. It’s partially one of the reasons I’m surprised when advocates for diversity prefer the original. Other characters of color were introduced, but I still felt something was missing—what I really wanted was a Black girl. As I mentioned before, when I began to realize the absence of black women in certain genres I wanted them everywhere as a challenge for writers, especially with all the sacrificial negresses going around. At this point, we were into the second season and I still hadn’t seen one, so I promised to remain patient until it did. Finally, Fear the Walking Dead: Passage happened.

If you’d like to watch Passage, a 13 minute web series before reading, click here.

Keep reading

 

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*Okay, I’m definitely going to be watching The Exorcist show in October. I left off watching it because it wasn’t holding my attention as tightly as I wanted. But I like John Cho, and he is right in that its highly unusual to see an Asian American character in this type of venue. I’ve watched a lot of Asian horror movies, so why are they absent absent from American horror movies, and shows.

 

The Exorcist: How John Cho is changing American horror

[John Cho will] do whatever he can to help the push for Asian-American representation. It’s one reason he joined the second season of The Exorcist… “I had not seen Asian faces in American horror, and it kind of tickled me to want to change that visual vocabulary a bit,” he says. “I thought it would be, I don’t know, intrusive to have my face in it…”

“What I’ve been thinking about lately is how to tell stories that are specifically Asian-American but aren’t necessarily about being Asian-American as much,” he explains. “I’m looking at the totality of things.”(x)

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*I find Haka fascinating and terrifying, but I think that’s the point.. I would watch these all day. I’m glad Maori culture is getting some international recognition through these different sports groups, too. Even Beyonce got one when she visited new Zealand, which just made my heart hurt, I was so proud. 

https://youtu.be/xI6TRTBZUMM

2nd 1st Farewell Their Fallen Comrades With A Huge Haka

Haka is used throughout New Zealand by many, not only Māori, to demonstrate their collective thoughts. There is a haka for each of the Services, as well as the Defence Force. Units with the NZ Army have their own haka. This video shows the soldiers of 2/1 RNZIR Battalion performing their Unit haka, powerfully acknowledging the lives and feats of their fallen comrades as they come onto the Unit’s parade ground. It is also an emotive farewell for they will leave via the waharoa (the carved entrance way) for the very last time.

Haka –sometimes termed a posture dance could also be described as a chant with actions. There are various forms of haka; some with weapons some without, some have set actions others may be ‘free style.’ Haka is used by Māori (indigenous people of New Zealand) for a myriad of reasons; to challenge or express defiance or contempt, to demonstrate approval or appreciation, to encourage or to discourage, to acknowledge feats and achievements, to welcome, to farewell, as an expression of pride, happiness or sorrow. There is almost no inappropriate occasion for haka; it is an outward display of inner thoughts and emotions. Within the context of an occasion it is abundantly clear which emotion is being expressed.

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*I was always under the impression that women couldn’t do the Haka, or that they had their own special ones or something. But watching this gave me life:

Women’s Haka

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*Its officially Latinx/Hispanic Celebration Month and I came across this post on Latina in Superhero shows. There are a lot more than this is the SciFi genre but I think this is just for superheroes:

Latinx Heritage Month

↪ Characters in DC Shows’ Main Cast

✪ Lynda Carter as Diana Prince / Wonder Woman (Wonder Woman S1-3) 

✪ Angélica Celaya as Zed Martin (Constantine S1)

✪ Victoria Cartagena as Renee Montoya (Gotham S1) 

✪ Zabryna Guevara as Sarah Essen (Gotham S1-2) 

✪ Aimee Garcia as Ella Lopez (Lucifer S2-)

Honorable Mention – Recurring Characters:

– Michelle Veintimilla & Camila Perez as Bridgit Pike / Firefly (Gotham S2-3)
– Briana Venskus as Agent Vasquez (Supergirl S1-2)
– Jessica Camacho as Cindy Reynolds (The Flash S3)
– Odette Annable as Samantha March / Reign (Supergirl S3)

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*Yes, this clown vs. mime discussion has been sorely needed. People keep confusing the two, and really, mimes are just waaay, waay creepier than clowns, imo.

Okay, I’ve had it

I see people posting videos of clown-mime and clown-jester hybrids and cooing about how “pretty” and “cool” they are, but this is NOT HEALTHY OR SAFE CLOWN HUSBANDRY! In fact, it’s downright dangerous for both you and your clown!

Clowns, Mimes and Jesters may be related, yes, but their genetics are quite different and mixing their genes together have an adverse effect on your clown when they come at odds with one another, causing a host of genetic health problems like giganticism, heart problems, higher rates of cancer, organ failure, bone degradation and neurological defects.

They’re also more aggressive, territorial, unfriendly and destructive than non clown hybrids. You’re super cool clown x mime hybrid is gonna more satisfied with attacking you than making invisible balloon animals.

Not to mention the process of making a clown hybrid in the first place, considering that Clowns, Mimes and Jesters are natural enemies of each other! Your clowns/mimes/jesters are more likely to maul each other than fuck each other!

 

People only breed clown hybrids because they are seen as “cool” and “exotic” and cost a lot of money, they’re a status symbol with unique patterns, and the clowns suffer for it.

If you still have your heart set on a clown-hybrid, there are actually some breeds out there, like the Venetian Diamondcheek Juggler and the Parish Mockfool, that are bred specifically for their mime and jesteresque markings and are perfectly healthy, perfectly happy clowns.

Clowns shouldn’t suffer for human aestheticism.

Source:
 *So October is almost here, and I will be forgoing my little pop culture essays to concentrate on reviews, reviews, and more reviews. Halloween is coming and I have a list of movies I want to review, like The Mist, and Let the Right One In vs. it’s American counterpart. Its also the real start of pilot season, so I’m going to be busy with a few of those, and I want to round that out with a series of posts/reviews of Hannibal the series.
Yes, I did watch the first two episodes of Star Trek Discovery and I’ll let you know what I think by the end of the week. I know a lot of you guys either don’t have cable, or don’t want to sign up for a streaming channel just to watch one show, but I’m a die-hard Star Trek fan who  managed to sit through the mess that was Enterprise. I don’t know if I’ll keep paying for it. The show would have to be very, very compelling (which it was) to get me to keep paying to see it, at basically 5.99 per episode.

ETA: I just unsubscribed to CBS. I can always wait for the release of the dvd.

Weekend Linkspam: Television

Here, have some more interesting article links.

On Hannibal: The Series

 

I loved this mashup video of all the different iterations of this specific scene in Hannibal.

 

 

http://www.vulture.com/2013/06/seitz-on-hannibal-its-a-dream-and-it-hurts.html

https://www.firstthings.com/web-exclusives/2015/10/the-moral-universe-of-hannibal

http://www.vulture.com/2015/08/hannibal-redefined-how-we-tell-stories-on-tv.html

 

 

On Whitewashing and Other Concerns

The Seven Strategies for Defending Your Problematic TV Show or Movie—and Why They Don’t Work

http://www.slate.com/blogs/browbeat/2017/03/24/filmmakers_and_actors_keep_defending_casting_controversies_but_here_s_why.html

 

On American Gods:

 

https://blackgirlnerds.com/american-gods-realities-race/

 

On Popular Media and Racism Vs. Historical Accuracy

https://eidolon.pub/how-to-be-a-good-classicist-under-a-bad-emperor-6b848df6e54a

https://sarahemilybond.com/2017/09/10/hold-my-mead-a-bibliography-for-historians-hitting-back-at-white-supremacy/amp/

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

 

On The White Savior Trope

Oh Come All Ye White Saviors

http://www.salon.com/2013/02/21/oscar_loves_a_white_savior/

 

 On Daredevil and the Yellow Peril Trope

Black Mask, Yellow Peril: Anti-Asianism in Netflix’s Otherwise Brilliant <i>Daredevil</i>

https://io9.gizmodo.com/marvel-s-got-an-asian-problem-and-it-s-not-getting-any-1781448797

 

On Furiosa and  Disability in Film

Cover Photo: Frock Flicks

https://catapult.co/stories/love-disability-and-movies

http://www.popmatters.com/feature/194573-power-and-disability-in-mad-max-fury-road1/

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

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

https://www.bitchmedia.org/article/more-our-machines/aesthetics-and-prosthetics-science-fiction

Weekend Linkspam: Film

Just a collection of interesting articles and posts for the weekend. Pick a topic. Enjoy!

On Race and  Film

Image result for FILM RACISM

 

http://splinternews.com/theres-a-huge-divide-between-how-black-and-white-critic-1797478105

https://the-artifice.com/miscegenation-on-screen/

https://www.wired.com/2016/02/geeks-guide-diversity-destroy-scifi/

https://www.thoughtco.com/dismantling-race-based-stereotypes-and-myths-2834983

https://www.thoughtco.com/common-black-stereotypes-in-tv-film-2834653

https://www.theatlantic.com/entertainment/archive/2014/03/-em-star-wars-em-and-the-4-ways-science-fiction-handles-race/359507/

https://mic.com/articles/184292/mike-hanlon-the-black-kid-in-stephen-kings-it-has-a-really-good-backstory-the-movie-erased-it#.vpeyQFX0G

http://www.blackenterprise.com/lifestyle/the-power-of-black-women-in-fandom/

http://www.blackenterprise.com/lifestyle/does-racism-impact-the-way-reviewers-rate-tv-shows/

http://blackyouthproject.com/girl-gifts-black-girls-destroying-world-save/

http://www.racebending.com/v4/blog/aliens-looking-white-extraterrestrial-skin-color-in-sci-fi/

https://www.pastemagazine.com/articles/2017/09/bias-does-not-come-out-with-the-whitewash.html

 

Image result for yellow peril no escape movie

The Yellow Peril Trope

 

https://www.bitchmedia.org/article/yellow-peril-in-the-defenders

http://thestake.org/2015/08/27/no-escape-southeast-asia-and-the-failure-of-cinematic-empathy/

http://www.scmp.com/lifestyle/film-tv/article/1854131/film-review-no-escape-owen-wilson-racist-thriller

https://www.bitchmedia.org/article/asian-women-abuse-in-science-fiction

http://www.screenspy.com/articles/tv/shadowhunters-malec-burden-representation/

https://www.thoughtco.com/asian-american-stereotypes-in-t-film-2834652

 

Scifi Film Analysis

https://pionic.org/everything-i-needed-to-know-in-life-i-learned-watching-star-trek

http://www.plotpedant.com/the-purge/

https://narrativefirst.com/articles/meaningful-storytelling-an-analysis-of-inception

 

Get Out:

Image result for get out

http://racebaitr.com/2017/03/07/listen-ancestors-run-get-zombification-pathologizing-escape-plantation/#

https://harpers.org/archive/2017/07/getting-in-and-out/

https://www.theringer.com/2017/2/27/16039722/get-out-and-the-villain-next-door-ffbbd4c84058

https://www.theatlantic.com/entertainment/archive/2017/03/in-get-out-the-eyes-have-it/518370/

https://www.vox.com/culture/2017/3/7/14759756/get-out-benevolent-racism-white-feminism

 

 Logan:

Image result for logan

https://film.avclub.com/a-cross-on-its-side-logan-gets-religion-1798258715

https://www.newyorker.com/magazine/2017/03/06/get-out-and-logan

http://www.rogerebert.com/mzs/all-things-must-pass-the-emotional-reality-of-logan

http://www.btchflcks.com/2017/03/logan-on-death-and-dying-and-mutants.html#.WcKB1rKGMnR

https://www.theverge.com/2017/3/6/14829768/logan-movie-wolverine-hugh-jackman-patrick-stewart-discussion-highs-lows

http://www.rollingstone.com/movies/news/why-we-needed-logan-to-kill-the-modern-superhero-movie-w470501

https://www.theringer.com/2017/3/6/16040020/logan-and-conquering-pessimism-through-fatherhood-86d377ae85b9

http://birthmoviesdeath.com/2017/03/05/logan-the-things-we-leave-behind

 

Alien Series:

Image result for alien movies

http://www.slate.com/articles/arts/culturebox/2012/06/prometheus_why_are_academics_so_obsessed_with_ridley_scott_s_alien_and_its_sequels_.html

https://cinephiliabeyond.org/ridley-scotts-masterpiece-alien-nothing-terrifying-fear-unknown/

http://hellotailor.blogspot.com/2012/03/movie-costumes-i-have-loved-alien-part.html

http://hellotailor.blogspot.com/2012/03/aliens-james-cameron-says-put-gun-on-it.html

 

 

On Gender and Sexuality

http://www.signature-reads.com/2017/08/the-monster-that-lgbtq-readers-see-in-stephen-kings-it/

https://www.top10films.co.uk/1600-top10films-analysis-alien-feminism/

Horror is the only film genre where women appear and speak as often as men

http://www.rogerebert.com/balder-and-dash/the-trouble-with-carrie

Fight Club

 

http://thefederalist.com/2017/03/30/why-fight-club-still-matters/

http://www.huffingtonpost.com/entry/fight-club-2-chuck-palahniuk_us_5845c35ae4b028b32338a632

https://www.theguardian.com/books/booksblog/2016/dec/13/fight-clubs-dark-fantasies-reality-chuck-palahniuk

Tumblr Discussions on Race

Just putting these numbers out here. Actually, I think this is may be from 2014, but really, it doesn’t make much difference. Hollywood talks a good game but is really, really slow to change. I think it takes so long because Hollywood is this big unwieldy ocean liner, and most of the power players on it consider themselves to be above using social media, and interacting  with the public. I think most of them consider that to be the actor’s job, and disdain listening to the public themselves. I think if the ones calling the shots in Hollywood do hear about social issues regarding their movies, it’s probably  second hand/hearsay. (and the ones who do hear about it, just make excuses for their laziness.)

“You’ve just very bravely cast a white person in a role and people are being very critical of it. Here’s how to handle that backlash as poorly as possible.”

http://www.gq.com/story/the-whitewashing-playbook

I’ve noticed that the television creators are much more likely to interact with audiences at Cons, and on social media, than the film/casting directors, and money lenders of Hollywood. The creators of television are just much more intertwined with their audiences, and can know what their audiences think about their product, almost in real time.

For example, the creators of Arrow were on social media that first season, probably just gauging reactions to the show. But I noticed a marked change in the show from the beginning to the end of that first season. The show improved tremendously, and I think many of those improvements were based on the critiques they saw in social media. That’s how fast the creators were able to react to audience reactions. Unlike with movies, the creators for TV don’t have to wait until a show’s run is over before finding out what an audience thinks about it.

I’m not saying that television content creators don’t fuck up, (HBO we’re looking at you!) or that there isn’t an element of racism involved in Hollywood’s decision making process. Just that, in Hollywood, change takes a hell of a lot longer to be implemented because so many of these factors seem to work well enough together to delay progress. To the rest of us it just looks like a truculent inability to move forward.

From the Tumblr: 

Hollywood sticks to the script: Films aren’t more inclusive, despite a decade of advocacy 

The report “Inequality in 900 Popular Films,” released today, from Smith and the Media, Diversity & Social Change (MDSC) Initiative at USC Annenberg, reveals how little top movies have changed when it comes to the on-screen prevalence and portrayal of females, underrepresented racial/ethnic groups, the LGBT community and individuals with disabilities.

“The deficits we see on screen are worse behind the camera,” said Smith. Out of the 1,006 directors hired on the 900 films studied, just 4.1% were females. Only 5.6% of the directors were Black or African American and 3% were Asian or Asian American. Three Black or African-American women and two Asian women worked as directors across the 900 movies. “When we look intersectionally at directors, that’s where we see just how exclusionary Hollywood is when it comes to the hiring process,” said Smith. “The image of a female director seems to be that of a White woman.”

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And riding on the point of that last essay, there’s this one,  in response to  another essay/rant that, basically, blames identity politics, and call-out- culture, for why certain TV shows fail.  Essentially, that person was trying to blame the fans of color for the failure of certain shows. Yeah, that’s not it!

This essay sure sounds like it’s making a lot of sense, but it’s predicated on a bunch of false presumptions.

I agree that hypercritical dogpiling call-out culture is bad. It makes fandom a toxic environment.

Here’s where I find fault in this argument:

Violent fandom backlash/hypercriticism/dogpiling does not actually get shows cancelled, nor does it discourage the creation of future diverse media.

Lord, sometimes I wish it got shows cancelled.

But in reality, when you run the numbers, angry scary fans have a negligible effect on the success or failure of a diverse show.

Shows with a ton of discourse are usually quite successful. Supernatural’s been embroiled in fandom backlash/outcry its entire run and I’ve lost count of how many seasons it has.

Okay but SPN’s not especially diverse, so let’s go to my next example. Speaking of shows I can’t believe are still on the air, Teen Wolf (a show with a non-white lead and numerous LGBT characters) is SIX MOTHERFUCKING SEASONS LONG and fans have been ranting and raving about how shitty and problematic it is since the beginning of season 3 (I myself was one of its loudest and most savage critics back in the day).

Sleepy Hollow was a diverse show that suffered a lot of fandom backlash prior to cancellation. I suppose one might argue that the cancellation was a result of the backlash.

But consider – Sleepy Hollow’s fridged it’s black female lead, Abbie Mills, at the end of its 2nd season, shortly after, The 100 fridged it’s wlw female lead’s primary love interest mid season 3.

There was a shitte tonne of *intense* fandom drama surrounding Lexa’s fridging in season 3 of The 100. Every vaguely liberal entertainment news outlet had something to say about “Hollywood’s dead lesbian problem.” A lot of wlw fans wrote scathing rants and swore off the show.

In comparison, fandom was downright quiet about Abby’s fridging. In fact, the very small handful of posts I read criticizing the writers of Sleepy Hollow made a point of also criticizing fandom’s white feminists for their ‘deafening silence’ with regard to Abbie’s death.

Consequently The 100 just got renewed for season 5. Meanwhile,  Sleepy Hollow is as dead as a doornail.

Seems to me that silence does a better job of killing shows than any amount of screaming and ranting.

.

Here’s what actually causes diverse shows to fail:

1) Old white men in power.

@temporaldecay you want to talk revenue? Perhaps you’d be surprised to learn capitalism is not the be all/end all of a tv show/film’s success as people often assume.

For example, we know that movies with diverse casts are more lucrative, yet the industry continues to churn out all-white media. Why? Nepotism. White execs bring in white producers who find white directors to tell white stories and cast white actors.

They keep doing this, even though financially speaking, it’s self-sabotage.

Teen Titans was the most popular show on Cartoon Network when it was canceled because it appealed to an audience (of girls) that wasn’t the intended target audience (boys) and the marketing team didn’t like how this messed up their gendered merchandising strategy. You can read all the details [here]

Which brings me to the next item on the list:

2) Bad marketing (combined with the aforementioned institutionalized bigotry)

There’s a great essay called Shut The Fuck up Marvel that explains in detail the problematic economics of the comics industry – TL&DR, diverse comics are failing not because of fickle and hypercritical fans, but rather because Marvel’s entire marketing strategy is so flawed that fans don’t even find out about diverse comics until they’ve already been axed.

The same is true of a lot of diverse television.

Wonder Woman got hardly any marketing. I didn’t see trailers for the movie. It managed to go viral anyway through word of mouth, and through the inherent publicity of being the first big blockbuster superhero film revolving around a female lead, but it’s the exception that proves the rule.

Still Star-Crossed, a Shondaland period romance/drama based on pro-fanfiction for Shakespeare’s Romeo & Juliet was recently canceled due to low viewership. The show got next to no marketing. The few people who managed to hear about it from tumblr couldn’t even figure out when it was airing due to the network changing the time slot twice within the first 4 episodes.

Similarly, Sense8 season 2 was under-marketed, as was The Get Down. I must have seen about 8 million ads for that garbage suicide apologia show Netflix has been hawking.

Networks don’t want to market diverse shows. They assume diverse shows will magically sell themselves, and then blame fans when they don’t.

3) Appealing to too small of a niche – Novelty vs. Variety

Consider Agent Carter – this show catered to a niche within a niche within a niche – a period noir drama, that was also a science fiction. Lack of POC meant it had trouble attracting POC as audience members. Lack of LGBTQ rep (queerbaiting doesn’t count) meant it had trouble holding on to LGBTQ fans.

The only audience Agent Carter seemed to want to actively market itself to was ‘straight white feminist-identifying women who like retro noir sci-fi’ – that’s so specific. Too niche of an audience to attract the kind of audience a network like ABC expects for its prime time shows.

Compare that to How to Get Away With Murder – which has a little something for everyone. Ensemble cast, multiple sexual orientations, multiple cultural backgrounds and ethnicities, people from diverse socioeconomic backgrounds – Shonda Rhimes knows how to cast a big net.

Or Brooklyn 99 – similar kinda deal.

Having a one member of a marginalized demographic in a lead role is a novelty. And novelty’s good for getting people to watch your pilot, but it wears off quickly. People come for novelty, but they stay for representation. I don’t mean representation as an abstract concept. I mean people continue watching a show when they find a character that they personally identify with and relate to. The more character variety, the greater the number of audience members who feel consistently well-represented.

.

Discourse is not killing diversity.

This is a lie networks and showrunners tell fans to scare us into silence. They sabotage their own shows and then blame fans for being “too critical” or “too entitled.”

And we buy this bullshit. We buy it and we sell it to other fans. We write big long essays telling fellow fans to count their blessings and stfu.

Fuck that noise.

 

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This one is about how Blade began this whole superhero movie nonsense, that we all love so much. Yes, I blame Blade too. Frankly, even though I was a big Marvel Comic book reader, I had never even heard of this character before the movie was released, but I’m always gonna stan for that first movie, which still holds up very well to this day, and despite that Wesley Snipes is something of an asshole.

I personally consider Blade, and The Crow, to be two of the Blackest superhero movies of the 90s. (I will fight ‘chu!)

And that’s the real difference between Blade and the superhero franchises that have followed. Blade was never a big-name character in the first place. So there wasn’t a whole lot of retro-geek enthusiasm associated with the character. But more than that, Blade, the film, simply isn’t backwards-looking.

There’s none of the Greatest Generation boosterism that clings to the Captain America franchise, for example. Nor do we get from Blade the home front 50s stay-at-home mom-with-kids meme that pops up incongruously in Age of Ultron when we get to meet Hawkeye’s secret, perfect family.

Instead, Blade is deliberately, defiantly hip. Motherhood isn’t idealized; on the contrary, one of the queasier moments of the film involves Blade ruthlessly offing his feral, incestuously sexual, evil vampire mom. If there is nostalgia, it’s for blaxploitation’s up-to-the-minute cool.

The movie’s first grinding, sweaty, sex-and-blood drenched night club scene hasn’t dated at all. Nor has the Afrocentric incense store where Blade buys his formula fix, nor the black, brotherhood embrace between that store’s owner and the hero. There’s a notable lack of cell phones, of course, and the computer graphics prophesying the coming of the blood god look rather dated. But there’s little question that, as much as it’s able, the film is looking forward not back.

And part of the reason it’s looking forward, I think, is race. Blade—unlike most superhero films—is set in a meaningfully integrated world. That Afrocentric shop suggests, quietly but definitely, that Blade is part of a black community and that that community matters to him. One of his two crime-fighting companions Dr. Karen Jenson (N’Bushe Wright), is also black.

The diverse cast, and the acknowledgement of diverse communities, is part of why the film still feels and looks relevant. Here, after all, is a narrative that was fulfilling the call for more diverse superhero movies before superhero movies were even a thing.

But beyond that, Blade makes clear the extent to which nostalgia and whiteness are inextricably bound together in so much of the superhero genre. Retooling old, old pop-culture heroes[1] means, inevitably, dreaming about white saviors and about a time when white people were the only ones who were allowed to be heroes.

THE WHITE SUPERHERO FAD STARTED, CRAZY ENOUGH, WITH BLADE

[1]

A lot of us have talked a lot about how Blade started the current superhero domination in Hollywood and how current films forget that; and though it’s important to ask what kinds of behind-the-scenes decisions have caused that, I like this analysis about how Blade is fundamentally different from what we’re getting today and how that film is, in many ways, incompatible with today’s Ant-Men and Men of Steel.

 

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Another argument for why HBO’s new idea for a show, Confederate, (about an alternative world in which the South won the Civil War), is a truly bad idea:

blackfemalescientist

I’ve been thinking a lot about Confederate, the upcoming project by the creators of game of thrones. I’m not alone in actively hating the idea for this, but it took me a while to figure out why the idea for this show bothers me so much. Part of it is the current political climate, part of it is the idea being not nearly as new or interesting as the creators think it is (sci fi and fantasy is full of stories about chattel slavery in more modern/technologically advanced societies), and part of it is just me not trusting these two guys with this kind of story.

But what it really comes down to for me is this: even if I could buy that the south won the war, I do not buy that black people, in a majority black country, would be content to live in the only slave-holding society in the world for another 150 years. And the fact that the creators of this show can imagine that says a lot about how they feel about black people and their agency.

Like to put that idea in perspective, black people waged a successful national campaign to end jim crow in a majority white country and it didn’t take them 150 years. Haiti rebelled in 1804, and while we can talk current economic conditions (and how frace is primarily to blame for that), what you can’t say is that chattel slavery exists there now. Like what world are you living in where black people aren’t resourceful, smart or motivated enough to end chattel slavery 150 years after the entire world decided that maybe chattel slavery was doing too much.

The entire premise doesn’t work as alternative history because its not an alternate world, its a complete fantasy – a fantasy where black people are not only subjugated but incapable of taking steps to end that subjugation. And that leads to all the “who is this for” and “why would you do this” questions that smarter people than me have talked a lot about.

 

And here’s my man, Ta Nehisi Coates, laying it out, in his own very eloquent way, why the writers of Game of Thrones, and HBO, need to catch some hands:

HBO’s Confederate takes as its premise an ugly truth that black Americans are forced to live every day: What if the Confederacy wasn’t wholly defeated?

https://www.theatlantic.com/entertainment/archive/2017/08/no-confederate/535512/

Of course, any time Black people hold discourse on a subject that directly affects our lives, you’ve got those white people crawling out from under the baseboards, to defend this wtf*ery, because for them Black life is  no more than an intellectual exercise, and we should  get over it, because it’s messing up their ability to be entertained by our misery.

 

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This is one of the most cogent arguments I’ve ever read against financial inequality. I also had no idea of the history of the game of Monopoly.

We played this game all the time in our house. My Mom was, naturally, the Banker, and we always played it Socialist style,  I guess, with everyone getting the same amount of money, and being treated the same, following the same rules. Of course she always won, up until we were teenagers, and started learning more about how to handle money,  like how to plan ahead, and how to delay gratification. 

Monopoly isn’t maybe the best way to learn about money, but it does teach you something about how financial systems work.

So let me get this straight, in Monopoly if you give one player more money to start out it’s “unfair” but if you do it in real life it’s “capitalism”?

 

You know what, I’m going to tell you guys a story.

In my Sociology class a few semesters ago, our prof had us break off into groups and, much to our naive joy, began distributing Monopoly boards! We had no idea what was going on but yay! Games! Of course, once our group, and a number of others, got the board we began to work at setting up and distributing the money…

until suddenly our prof told us to put the money down and pick up the dice.

“Roll the dice and sort yourselves from highest to lowest,” our teacher commanded.  “Now, the highest number is the upper class. The next one is upper middle class.  The next two or three are middle class. The last person is in poverty.“

Well, as the person who rolled a two this was startling and not wholly welcome news.

From that point the game changed entirely. We had to hand out the money so that the “upper class” had this fucking mountain, and then less for upper middle, even less for middle, and I didn’t get any triple digit bills. We would all collect different amounts from passing go as well.

The biggest change though? Going to jail. Upper class didn’t. Period. Upper middle class could go but they only had to stay for one turn or they could immediately pay their way out. Middle class had some pretty easy guidelines for when they could pay to get out. As lower class, it was really easy for me to wind up in jail and REALLY hard to get out. But since I was working with so little money when everyone else had so much I was in jail all the time because there was no “game over”.  If I couldn’t pay I had to go to jail for a certain period of time. I had to take out loans with interest I could never pay back just to get out only to wind up back in it again, rolling dice turn after turn hoping to be able to get out.

It was simultaneously the most enlightening and most awful game I had ever played. I was bored and frustrated and a little terrified about it all. And it wasn’t only me. I would never win, I sort of accepted this, but it was amazing how the middle classes reacted as well.  They were stressed. Because they were always that close to either being able to one-up the upper class or from crashing into poverty with me. They had to fight constantly just to stay in the middle.

(I should also mention that the upper class player in one group felt so bad for the lower income players that they ended up overhauling their entire game and creating a “socialist” society instead. I’m not sure how our teacher felt about that one.)

 

Worth stressing this is entirely in the spirit of the original designer’s aims for Monopoly.

Monopoly’s  original form of The Landlord Game which was explicitly designed to teach people about the unfairness of rent systems. To quote from the wikipedia entry, just as it’s the easiest source to hand…

Magie designed the game to be a “practical demonstration of the present system of land grabbing with all its usual outcomes and consequences”.[2]She based the game on the economic principles of Georgism, a system proposed byHenry George, with the object of demonstrating how rents enrich property owners and impoverish tenants. She knew that some people could find it hard to understand why this happened and what might be done about it, and she thought that if Georgist ideas were put into the concrete form of a game, they might be easier to demonstrate.

When the usual suspects start making “don’t bring politics into games” noises, I roll my eyes pretty hard. They have no idea of the history of the form.

 

 

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This final topic speaks to the idea of accurate Representation from a Historical perspective. One of my biggest pet peeves is the bigoted argument against diversity and inclusion, in Fantasy media, coupled with the erasure of PoC from  Historical narratives, and not just because such an argument is irrelevant to a discussion of Fantasy based world-building. 

As an amateur Historian, I’m sick and  tired of seeing the argument about Historical accuracy, from the mouths of lazy, sometimes bigoted, individuals, who have done no research, who have only ever gotten their ideas about what History was like, from various movies and TV shows, trying to uphold the pop culture status quo, by saying we don’t belong in Fantasy environments.

I have found that even the  most well intentioned people are deeply, deeply, ignorant of History, having gotten most of their ideas about it, from whitewashed movies, television shows, and History classes, in which the contributions (sometimes even the presence) of PoC  are erased. When you consider that the vast majority of the world is made up of PoC (Chinese, for example) and that those who are most definitely considered to be “White”  Europeans (whatever that may mean) made up only about 11% of the world’s population in 2010, and by 2060 are set to become less than 10% of the world’s population, I find it more than a little hinky that such  people would argue for Historical accuracy. 

And now we have the Alt-Right attempting to lay claim to this same argument  in an attempt to bolster their racist  beliefs that PoC contributed nothing to Historical narratives, and that all of the humanity’s  major contributions to Literature, Science, and Art, were only done by White men.

Part of the problem is that Historians need to make clear that PoC were History. We were everywhere, not just invented in certain eras, and trotted out when White men needed to conquer somebody. History is far more nuanced and complicated than most people know.

Medievalists, Recoiling From White Supremacy, Try to Diversify the Field

By J. Clara Chan

—-The criticisms of the conference’s diversity stems from problems in medieval studies for decades — that it is still too Eurocentric, male-dominated, and resistant to change. But as the medieval era has become increasingly prevalent in rhetoric used by white supremacists to advocate for a return to racial, ethnic, and religious purity, many nonwhite medievalists are feeling a new urgency to combat the stereotypes that accompany the field.

http://www.chronicle.com/article/Medievalists-Recoiling-From/240666/

 

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And on Historical Anti-Semitism in Art:

thegetty

Dialogue: Exposing the Rhetoric of Exclusion through Medieval Manuscripts

By Kristen Collins and Bryan Keene, originally published on the Getty Iris

We invite your thoughts on an exhibition-in-progress at the Getty that addresses the persistence of prejudice as seen through lingering stereotypes from the Middle Ages.

As curators in the Getty Museum’s department of medieval and Renaissance manuscripts, we are interested in how books, and museum collections more broadly, can spark dialogues about inclusivity and diversity. Our manuscripts collection at the Getty consists primarily of objects from Western Europe, which can present challenges when trying to connect with a multicultural and increasingly international audience.

We are striving to make connections between the Middle Ages and the contemporary world—connections that may not be immediately evident, but are powerful nonetheless. Museums are inherently political organizations, in terms of the ways that collections are assembled, displayed, and interpreted. This year’s meeting of the Association of Art Museum Curators addressed how institutional narratives and implicit bias can skew ideas of history and culture in ways that exclude minorities and gloss over the shameful aspects of our past. Groups such as the Medievalists of Color, the Society for the Study of Disability in the Middle Ages, the Society for Medieval Feminist Scholarship, and the Society for the Study of Homosexuality in the Middle Ages, among others, are applying similar lines of inquiry, seeking to decolonize and diversify the field of medieval studies. We stand with these groups.

We were also inspired by Holland Cotter’s call to arms, as he exhorted museums to tell the truth about art, “about who made objects, and how they work in the world, and how they got to the museum, and what they mean, what values they advertise, good and bad. Go for truth (which, like the telling of history, is always changing), and connect art to life.”

Here is our description of the exhibition, still in draft form:

Medieval manuscripts preserve stories of romance, faith, and knowledge, but their luxurious illuminations can reveal more sinister narratives as well. Typically created for the privileged classes, such books nevertheless provide glimpses of the marginalized and powerless and reflect their tenuous places in society. Attitudes toward Jews and Muslims, the poor, those perceived as sexual or gender deviants, and the foreign peoples beyond European borders can be discerned through caricature and polemical imagery, as well as through marks of erasure and censorship.

As repositories of history and memory, museums reveal much about our shared past, but all too often the stories told from luxury art objects focus on the elite. Through case studies of objects in the Getty’s collection, this exhibition examines the “out groups” living within western Europe. Medieval society was far more diverse than is commonly understood, but diversity did not necessarily engender tolerance. Life contained significant obstacles for those who were not fully abled, wealthy, Caucasian, Christian, heterosexual, cisgendered males. For today’s viewer, the vivid images and pervasive narratives in illuminated manuscripts can serve as a stark reminder of the power of rhetoric and the danger of prejudice.

 

“If you don’t know you have a history, it can be hard to believe you have a future.” —-National Museum of Stockholm

James Baldwin: “Not everything that is faced can be changed; but nothing can be changed until it is faced.” 

 

Tumblr Weekend Reading #210

I spend waaay too much time scrolling through Tumblr, but I just can’t help it. The things that come across my dash are a reflection of America in microcosm. Some of the most virulently anti-logic, and vapidly ignorant human beings, clashing with some of the smartest, articulate, and astute people on the internet. (There are people on the internet who are so dumb, it makes me wonder how they found the internet, and why whoever told them about it, didn’t receive a knock to the head, with a Lego block.)

But I digress. Some of the more recent interesting discussions are from Mikki Kendall, whose rebuke, to the Fireside Fiction Publishers and Readers, is about the lack of PoC being published in the Speculative Fiction Genre. This is her response to their response:

http://firesidefiction.com/a-note-from-the-editor-of-the-blackspecfic-responses

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Okay, I still don’t think people are realizing just how incredibly groundbreaking this is, not just for television, but for SciFi, in general. You have two…count ’em two, WoC, who are headlining a Science Fiction show, with one of them as the Captain of a Starship (White women had Janeway), and the other is the show’s lead character. The last time a Woc played a prominent character on a Star Trek show, (Voyager), was  B’elanna Torres, played by Roxanne Dawson who is Hispanic. The last time a Black woman played a prominent Star Trek character was Nichelle Nichols. (I don’t count Whoopi Goldberg because she was only a (semi)-recurring character, not a regular.)

This is very possibly one of the most diverse Star Trek casts ever assembled! And we just learned that the Medical Officer, for the ship Discovery, is Wilson Cruz who is from Puerto Rico. (I totally stan for Latinoooos in Spaaaaace!)

I’m also gratified to see Asians included in the cast, because outside of Sulu,  that’s also rare, although DS9 was very inclusive, too. Shazad Latif is from London and is English and Pakistani. Michelle Yeoh is of Malaysian descent. (Wooo! I’m excited for you guys, too!)

And let’s not forget:

Star Trek: Discovery’ Will Actually Have an Openly Gay Character

https://www.inverse.com/article/34758-star-trek-discovery-gay-beyond-anthony-rapp-stamets

 

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📷: Matthias Clamer for EW📷: Matthias Clamer for EW📷: Matthias Clamer for EW

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And all these images tie back to the idea of representation, most especially for little girls, as stated by 

You know what? I really wish people were as hyped about Sonequa Martin-Green being the first Black woman to lead in a Star Trek series as they are about the D*ctor Wh* casting. But then again, most feminists don’t care about non-White women so it’s to be expected that most of you guys don’t care about the fact that she’s making history too. And when you factor in Michelle Yeoh, you get it doubly so. Last time I checked, this is a pretty big deal for the sci-fi genre too.

What’s strange, to me, is people thinking that the D*ctor Wh* casting gives hope to all little girls when we know that’s not true. This issue is just so very layered and complex, but there is something particularly troubling about the fact that people think a White woman should be the symbol all little girls should look up to, regardless of their race. It’s so very arrogant to believe that little non-White girls will be represented by this woman that looks nothing like them. It’s very arrogant to think that little non-White girls should look up to the new Doctor as their new hero, especially knowing this casting is only a win for White women and White women only.

*Don’t get me wrong, Woc aren’t unhappy about Wonder Woman, or the new Doctor Who, but White women need to recognize that they are not universal. They don’t represent us or our view of hte world, and need to quit acting like they are. One ofhte biggest divides between White women, and Woc, is their complete disregard for the things that affect WoC.

Little girls of color may like and admire these characters, but they’re not going to look to them as role models. I know I didn’t when I was little. There were White actresses and characters I cared about and admired, like Linda Carter, and Ellen Ripley, but I didnt look to be like them. I did not use them as examples for how to live in the world as a woman, and certainly wasn’t looking to those women to teach me how to be a Black woman, even if I did like them. My role models were the handful of Black women, (and non-Black WoC), who made it into TV shows and movies, like Nichelle Nichols, Diane Carrol, Pam Grier, and yes, even Michelle Yeoh.

I plan on watching the new Doctor because I’m curious, I like the actress, (who  starred in Attack the Block, with John Boyega), and I liked Missy on the show this season. I’m not enthused about  the Wonder Woman movie, but I plan to watch it, at some point, and I’m looking forawrd to watching the Justice League.

Bt I’m a Black woman, and I wish White women would keep in mind that those women are not our idols, nor are they idols for other WoC. Even if we really like, and admire them, they don’t do anything to further our representation, but Sonequa, Michelle, Danai, and others  do. 

 

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In the new Star trek show we’ve heard that Sonequa’s character, Michael Burnham is Spock’s adopted sister. Now the timeline, assuming she and Spock are near the same age at ten years before the Enterprise, would mean that the two of them grew up together, and she lived with his family. She could also be a relative of Amanda’s as well, which is how she came to live with Sarek’s family.

 Now this has messed with a lot of people’s heads, because they claim that it messes with canon, which I can understand why someone would say that, but there’s a very good rebuttal I’ve seen to that argument, and that rebuttal is Spock himself, who was prone to dropping bombshells about his family’s  status, when given half an opportunity::

Adding to canon is not the same thing as

destroying canon

From the mind of : tomfooleryprime

At San Diego Comic Con, we learned that Sonequa Martin-Green’s character, Michael Burnham, is Sarek’s adoptive daughter. The second I heard the news, all I could think was, “Let the hate begin.” And boy, did it ever.

I understand the disappointment, particularly with fan fic writers who invested a lot of time and effort into crafting stories that fit neatly into canon. Amazing how one sound bite can bulldoze right through decades of widely accepted fanon, huh?

Let’s be real, those little behind the scenes moments are almost the entire point of fan fiction: some of us like something so much, we like to imagine all the things the writers didn’t tell us, but now Michael Burnham has come along like a square peg in a round hole, rendering countless stories AU that previously adhered perfectly to canon. Some of mine included.

But fanon isn’t canon. One might say, “How come we’re just hearing about this now?” Surely Spock would have mentioned having an adoptive sister? But would he? Would he though?

No one had any idea he was engaged to T’Pring until the Enterprise showed up to Vulcan on Spock’s impromptu wedding day in the TOS episode, “Amok Time.” What was it he said when Lieutenant Uhura asked who the lovely woman on the viewscreen was?

If you watch closely enough and get creative with your interpretation, I swear Christine Chapel mouths the word, “bullshit.”

And no one knew that Spock had a strained relationship with his father until that time dear old Sarek hopped on Enterprise for the Coridan admission debate in the TOS episode, “Journey to Babel.” Kirk urged Spock to go down to the planet and visit his family before they left orbit, and what was Spock’s reply?

I can’t think of a better example of where Spock made Kirk look like a total asshole.

And then there’s the fact that Kirk had known Spock for decadesbefore finding out he had a half-brother named Sybok in Star Trek V: The Final Frontier.

You would think Kirk would be used to Spock family bombshells by now.

So if anything, the idea that Spock had a secret adoptive sister actually feels more in keeping with canon than going against it. Given the weight of the evidence, I wouldn’t be all that shocked to discover he had three step mothers and a whole nest of secret love children drifting around out there.

The other thing is, as viewers, we tend to get into the habit of thinking that if a character doesn’t specifically address something on screen in front of other characters, other characters are in the dark along with the viewers. Like if a character didn’t explicitly announce some detail about their personal life to the world, not only did it never happen, it never could have happened. And that’s just silly. Think about this: Kirk, Spock, and the rest of the crew spent five years together on that mission, and we only got to view a little less than 66 hours of it. So imagine all the conversations in the mess hall we as viewers missed out on. Not only that, many of those details would be fairly trivial anyway.

Going back and adding to canon is not the same thing as destroying canon. Star Trek, particularly The Original Series, was always more focused on exploring the galaxy and meeting new civilizations – its primary purpose wasn’t to flesh out complicated life stories for each of the main characters. When you think about it, there’s so much we don’t know about Sarek, Amanda, or Spock’s upbringing. Almost everything we do know about this family comes from two episodes – “Journey to Babel” in The Original Series and “Yesteryear” in The Animated Series.

I think because we spent more than five decades without any concrete ideas of how Sarek and Amanda met, what Spock’s formative years were really like, or how their family dynamics worked, we just filled in the blanks for ourselves. But fifty years is a long time for the lines between canon and fanon to start getting blurred.

So I’m actually tickled pink at the thought that Spock had an adoptive sister, not furious that they’re corrupting more than fifty years of canon. It would be tampering with canon to claim that Starship Troopers is actually some kind of prequel to Kirk and the starship EnterpriseThat would be destroying canon, but writing in a sister for Spock where one previously didn’t exist isn’t quite the same thing.

Would you like to know more?

The writers of the show are just doing what we as fan fic writers do all the time – filling in the gaps. You’re definitely allowed to feel however you want to feel about it. And I do understand a lot of the dismay and shock. It really sucks to pour your heart and soul into something, polishing it for months or even years until it’s perfect, and then have Michael Burnham thrown into the mix and it almost feels like a bad Photoshop job over your favorite family portrait, ruining your origins fics for Sarek/Amanda or Spuhura or Spirk or Spones or Spotty? (Is that actually what the Spock/Scotty ship is called?). It’s perfectly acceptable to say that Michael Burnham’s existence has ruined your perception of canon, but I don’t think it should be confused with ruining actual canon.

During the Comic Con panel, producer Alex Kurtzman insisted they have a good canon explanation for why Spock never mentions Michael. He was quoted as saying, “We’re aware [of the situation]. You’ll see where it’s going, but we are staying consistent with canon.” So I’m inclined to keep an open mind and see where they take it before dismissing it outright for being “too ludicrous.” Weirder things have actually happened within the Trek universe, so try not to let this revelation get you down.

 

And from  alightinside

Considering the fact that Spock’s family has to be literally in the same room as him before he even mentions they existent, having adopted sibs he just never talked about is the most canon compliant thing they could have possibly added.

 

*I might also add that Buffy the Vampire Slayer managed to throw in a sister for Buffy, that destroyed four years of watching the show, until it was carefully explained to the viewers why she was there. We haven’t seen Discovery yet, so we don’t have any explanation for why Michael is Spock’s adopted sister, but the creators say there’s a perfectly good explanation for it, and one of those creators is Bryan Fuller, who never puts anything that big into any of his shows by accident. 

 

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And While we’re here,  there’s been some discussion of the marked lack of excitement towards the new Star Trek, from  White feminists, who claim to be progressive, and want diversity. There’s been more excitement from them about the new Dr. Who , then there has been about the groundbreaking diversity on Discovery, with a Black female lead, and an Asian Captain. 

As I said before, I don’t have a problem with White women being excited about stuff that affects them. I’m happy they’re happy. I don’t even have a problem with them being more excited about Dr. Who then about Star Trek, but what  I do object to, is their insistence that white female characters, in leading science fiction roles, are somehow groundbreaking, and role models for little girls all over the world. 

I need them to keep some perspective, in their excitement,  and that perspective is that white women’s stories are not universal, and they are not often role models for little girls of color.

From the mind of  abigailmills: 

You know what? I really wish people were as hyped about Sonequa Martin-Green being the first Black woman to lead in a Star Trek series as they are about the D*ctor Wh* casting. But then again, most feminists don’t care about non-White women so it’s to be expected that most of you guys don’t care about the fact that she’s making history too. And when you factor in Michelle Yeoh, you get it doubly so. Last time I checked, this is a pretty big deal for the sci-fi genre too.

What’s strange, to me, is people thinking that the D*ctor Wh* casting gives hope to all little girls when we know that’s not true. This issue is just so very layered and complex, but there is something particularly troubling about the fact that people think a White woman should be the symbol all little girls should look up to, regardless of their race. It’s so very arrogant to believe that little non-White girls will be represented by this woman that looks nothing like them. It’s very arrogant to think that little non-White girls should look up to the new Doctor as their new hero, especially knowing this casting is only a win for White women and White women only.

 

And my response: lkeke35

I have noticed the chirping silence coming from that particular contingent!

I think that’s one of the biggest divides between White feminists and women of color, is White women’s complete and utter disregard for the fact that WoC  see the world differently than them. They really do think we’re supposed to look up to them as role models. That they are universal.

When I was a little girl, there was precous little diversity on TV, but what diversity there was, I gravitated to. As a young Black woman I never chose White women as my role models, even if I admired a few of them , like Linda Carter as Wonder Woman, or Sigourney Weaver as Ellen Ripley.

I modeled who I wanted to be after women like Eartha Kiit,  Nichelle Nichols, Diane Carroll, and Pam Grier. They were smart, tough, beautiful, graceful women. And yes, I was a Michelle Yeoh fan, and I loved her because she was all those things I just listed (and she still is).

Its not that I didn’t like and admire White actresses. I did. But I also knew, on some level, that no matter how admirably I (or they) behaved,  that as a Black woman, I wasn’t ever going to be accorded the status of a White woman, so I did not use them as  my role models. I didn’t try to be like any of them, and didn’t want to be like them. (This was a lesson I learned very, very early.)

I think its an incredible era we are living in, that my 12 year old niece is growing up with so many role models to choose from, in Pop Culture. I’m going to watch Star Trek Discovery with her and explain the significance to her. I’m going to watch The Walking Dead, and talk about how important Michonne is, and I’m going to take her to see The Black Panther with its gorgeous, and badass women, and yeah, I’m going to go see Proud Mary with her (and my Mom), and we’re all gonna geek out about it afterwards.

I wish White women cared enough to care about, and talk about, WoC in Pop culture, (and think of us as women too) but I don’t need White women’s validation to find and love those characters.

 

And from diversehighfantasy

Nicely said.

I’m also really bothered by the relatively subdued positive reaction to Sonequa leading the new Trek vs Doctor Who. I realized how little it mattered even to white women who are into sci-fi and fantasy when that gifset was going around celebrating all these recent genre leading women (The Doctor, Wonder Woman, Rey etc) all white or perceived as white, and when people started asking where were the Black women/WOC, they added May from Agents of Shield. That’s how off the radar Sonequa leading the new Star Trek (STAR TREK!!) is even for a lot of fandom people.

Now I’m wondering if people on Tumblr even talked about it much outside the Walking Dead fandom. (I know a bunch of people on Twitter acted like ass about “forced diversity,” I mean Tumblr fandom people).

Anyway. Yeah, the difference is very noticeable. I mean, I get the big deal about Jodie, The Doctor has specifically always been a man while Sonequa is playing a new character, and, I guess, to white feminists the barrier was already broken by Janeway. Still, I can’t shake the feeling that if a white woman was leading ST Discovery, we’d be seeing Star Trek/Doctor Who edits everywhere.

 

**

Interlude:

Image result for furious knitting gif

 Just like you shouldn’t drive while angry, you should never knit while you’re mad! That’s just wrong.

**

 

Okay Here’s something I’d never given any thought to, as an able -minded Black woman. I don’t suffer from mental illness (now), although I’ve had bouts of it in the past, and I’ve never been on Schizoid-Spectrum. But what do you do when you are Black and suffer from many of the symptoms of schizophrenia, and some of the things you actually believe are true, but will forever be invalidated by the White people around you. The very White people who refuse to acknowledge the existence of the racism that makes some of your beliefs true.

I’m still going to urge any of my PoC readers to look for therapists who are also PoC, if at all possible,  as there are some  unique issues, when you are a person of color on the spectrum, or suffering from mental illness. This is not because White people are incompetent but because they are not aware of the many issues surrounding your circumstances, if you’re a PoC.

Their reluctance to address the existence of racism, in the day to day lives of their patients, and to accommodate for the stress of that, as well as the stress of mental illness, and the different dynamics that exist in communities of color regarding such illnesses, will end up ultimately being of no help to you.

 

From Tumblr User Questingqueer:

questingqueer

I was sitting in the group room at my intensive outpatient program. I had just finished recounting an incident where I believed a security officer had been following me, but the person with me at the time had disagreed and said we weren’t being followed.

The head psychologist said “Your goal this week should be letting in alternative theories to your paranoia. It isn’t likely anyone is following you.” I said “What do you mean? How can I trust someone else’s perspective over my own, especially when that someone is white?” Another person spoke up, suggested increasing my anti-psychotics.

I looked around the room at the other patients and the professionals in group with me. I was the only Black person there.

I’m mentally ill, and sometimes I’m paranoid, and sometimes I’m delusional.

I’m Black, and I’m more likely to be followed around by security, or have negative interactions with the police. The racism in this world is real, and it can affect me.

I’m mentally ill, and sometimes I have persecutory delusions, and there wasn’t any drugs in my orange juice or bugs living in my arms even though I was convinced there were.

I’m Black, and I’m mentally ill. And that intersection has never been acknowledged online or in therapy. That intersection makes us more vulnerable to abuse, domestic violence, and police brutality. 

Black schizo-spec people face challenges that others don’t. We are more likely to be be labeled as dangerous and violent and be disbelieved when we share about how racism has impacted our lives, among many other things. That makes it harder for me to trust others- not to mention that difficulty trusting others is a symptom.

Was I being followed that day? I wish I had an answer, but I don’t know. Maybe I was, maybe I wasn’t. But that isn’t the point.

A simple search will tell you that schizophrenia is more readily diagnosed in Black patients than in white (source), and some say it is overdiagnosed.

But where are the positivity posts for Black people with stigmatizing disorders?

Where is the positivity for the Black schizo-spec people trying to figure out what level of fear and suspicion towards the police is reasonable and what is a symptom? Where is the positivity for Black schizo-spec people who have everything blamed on their diagnosis while their other mental health problems get ignored? Where’s the positivity for Black schizo-spec people who distrust the medical professionals they deal with, who have ugly symptoms, who are pigeonholed as dangerous?

We have died because we are Black and schizo-spec. Remember those of us who have been murdered or attacked.

And? Don’t forget to include us in your activism while we are living. 

**

 

In Canada, Target seems to have the same rep as Walmart does in America.

TARGET STORE GOTHIC:

strongermonster

it’s so weird hearing americans talk about Target© as some kind of semi-religious holy space of reasonably priced goods and services, bc in it’s short, fever-dream existence up here in the frozen north it was… Not Good.

in my experience with the three (3) i went to in the surrounding area it was. uh. you know when you step into a place and there’s nothing immediately noticeably wrong but you can just Feel that this is a Bad Space? like the kind of space where if you catch a glimpse of your mother walking down an aisle and turning a corner you know it’s a demonic trick and if you follow her it’ll lead you down a path to a dark space you can’t return from?

or you go in with your friend who’s right next to you but you get a text from them saying “hey i’m in the shoe aisle, you should come here” and you know it’s a trap from the devil? like other things:

  • only half of the dim, washed out, often flickering fluorescent lights were lit at any given time, usually only every-other set, leaving these valleys of darkness that made entire aisles inaccessible for fear of shadow people latching on to your soul like a dark passenger.
  • entire sections were just Empty. empty shelves with no product, never any employees filling them up, no boxes waiting to be unpacked, no signs saying what should be there.
  • no employees at all actually? wandering around the store even though the parking lots were full and you walked in with a group of 20 or so felt so lonely. you could walk the whole place and it was dead silent and the only other “people” around always were several aisles away with their back turned, unmoving. there was always only one cashier and there was never anyone in her line.
  • there was never any music on or announcements played? another place that does this are all the dollar trees in my area and it gives me anxiety. i feel like i’m being hunted, like i have to hold my breath and listen for the footsteps of beasts in other aisles.
  • the fitting rooms had a strange, dark energy to them. it felt like if you ever used them, whatever universe you closed the door on would not be the same one you stepped out into when you were done. the washrooms also contained this same dark energy.
  • passing the employees-only doors felt like wandering too close to a bears den. the glass windows never showed anything going on back there, no racks of product, no employees milling around. it was just pitch black, complete darkness. a hungry void.
  • leaving a target was the same disorienting feeling as leaving a dark theatre and exiting into the light. sound and colour and feeling rush back in. you feel like you can breathe again. a weight is lifted from your shoulders. you can’t remember any of the time you spent inside the target.

it is my sincere belief that the targets in canada never existed. the storefronts were put up, yes, but the stores themselves were vast empty caverns filled with dark dreams and sinister interlopers. passing through the automatic doors was meant to teleport us to the nearest american location, but something went wrong and we entered an unnatural zone halfway between the upside down and whatever it was that happened in the langoliers.

i believe the balls outside target are carefully crafted and powerfully attuned magical artifacts that keep up the illusion known as Target©, but were incorrectly spaced in canada due to a mixup between the metric and imperial systems of measurement, and that is why the brief twilight zone episode that was canadian target collapsed virtually overnight.

 

Source: strongermonster
**
From the Tumblr:  writingwithcolor
This is a nice, long essay on the trope of the color black representing evil, and the color white representing goodness:

Black and White Symbolism: A Look into the Trope

We’ve noticed a volume of questions on the topic of Black and White symbolism in works. Light and white symbolizes good and pure. Dark and black is bad and evil. It’s an age-old trope deeply engraved throughout Western society, language, and cultures.

She’s having a “black day.”  He’s the “Black sheep” in the family. The evils of “Black magic.”  They’re “Black as one is painted.”

On the other hand…

They told an innocent “white lie.” He’s “whiter than white.” Good ole “White-collar” jobs.

These were just a few phrases found in the dictionary. The most frequently used dictionaries were written by racist old white men, so most of the language has been shaped by them.

If you flip further back you find entries like these:

imageNow, this guide comes from a western particularly American lens of the view of Black and White and its connotations. We recognize that B&W color symbolism and meaning varies across cultures.

However, western society imports its racist views across the globe, strengthening the Black as Evil and Good as White association within its “conquest” of mass media.

The Trope Incorporated into our Media

This trope is so normalized in Western culture that it is often unconsciously used and incorporated throughout many aspects of culture. It can easily be found in media, such as our TV-series, movies and literature:

  • The black, darkly-dressed or featured characters are often the villains or antagonists,
  • The white or light-featured characters are often the heroes, dispelling the world of the dark Others.

Also note that usually when good guys wear black, they’re more anti-heroes than full-heroes.

image

Tolkien really let himself go with this trope in Lord of the Rings and has the pure white race of elves be ethereal, wise, super good and natural *angelic singing*. Then there’s the orcs on the other side who are barbaric, unintelligent, violent and disgustingly ugly. Their language is black speech by the way.

“The Black Speech, also known as the Dark Tongue of Mordor, was the official language of Mordor. Sauron created the Black Speech to be the unifying language of all the servants of Mordor, used along with different varieties of Orkish and other languages used by his servants.”

“It is notable that the letter “e” is totally absent from the Black Speech. It was omitted on purpose for being a favourite letter of the Elves, and for forming a smile when uttering it.”

“In real life, J. R. R. Tolkien created this language with the intention of making it harsh and ugly…” then later on in the same piece is written: “…the forces of good refuse to utter it.” and “Tolkien designed it to be unpleasant in his own mind…”

With these quotes you can see the link between calling it “Black speech” and the unpleasant, evil and anti-social aspects of the named. Quotes are taken from here.

Many epic fantasy writers mimic Tolkien in his use of fantasy races and themes and such, so they unconsciously also mimic this trope.

Game of Thrones also plays with the good vs evil but switches up the color code with the Kingsguard wearing white and the Night’s Watch wearing black. This posts speaks of the symbolism pertaining to the white cloaks of the Kingsguard.

Attracted to gray characters instead of orcs and angels, Martin regards the hero as the villain on the other side. The Wall’s Night’s Watch, whom Martin described as “criminal scum [who] are also heroes and they wear black”, was a deliberate twist on fantasy stereotypes. Furthermore, the use of black as the identifying colour for the essentially good Night’s Watch and the use of white for the much corrupted Kingsguard is another example of Martin subverting traditional fantasy which tends to link light colours with good and darker ones with evil. From here.

Then there’s Disney that’s notorious for their ingrained racism

This is easily seen in their visuals when portraying villains. When you look at the heroes vs villains, the villains are often portrayed as darker, more “ethnic” (see: Mother Gothel, Jafar) and sometimes queer-coded (like Ratcliff and Dr. Facilier).

Another example: the shadowy,dark huns in Disney’s Mulan. They have greyish, dark skin with strange eye coloring, and they all look the same.

imageOn the left: a hun as portrayed by Disney in Mulan. 

Furthermore, Disney typically depicts baddies as “less beautiful” with some exceptions of very beautiful and vain evil ladies (they have a trope with two types of beauty where one is pure and wholesome while the other is vain and egocentric. The second is also usually an older individual).

The Oz film was pretty visual, colorful, and magical until the evil witch and her black monkey minions come and then everything is dark suddenly. Oh, but there’s the “good” monkey, depicted in bright and lighter coloring.

image

Angels and Demons

There is also the trend where angels are always white and demons black/dark in fantasy. This doesn’t have to be and is a biased way to depict them, at least from a non-religious point of view, and as far as I know I never found a mention of white wings if wings at all when angels were mentioned. Exceptions go to the angels in higher orders, but still no white mentioned. Fallen angels suddenly have black wings, when they still have them.

The Harms of the Trope

Why is the B/W – Good vs Evil- trope harmful? Well, look at how the colors are associated. Dark as bad, evil. White as good, pure. But then you group a whole people as Dark + “Black” and the other as Light and “White” and you’ve set these people in opposition of each other.

There are Black people in the world. There are white people in the world. “Black” as a word is literally viewed as synonymous with darkness and evil. “White” is literally viewed as synonymous with goodness and purity. There’s an intentional pattern here.

Malcolm X’s discussion regarding how Black is used to describe a people adds clarify to this.

Read about it here.

Martin Luther King Jr. also discussed the association of Black to Evil and White to Good.

Somebody told a lie one day. They couched it in language. They made everything Black ugly and evil. Look in your dictionaries and see the synonyms of the word Black. It’s always something degrading and low and sinister. Look at the word White, it’s always something pure, high and clean. Well I want to get the language right tonight.

I want to get the language so right that everyone here will cry out: ‘Yes, I’m Black, I’m proud of it. I’m Black and I’m beautiful!

Check out the clip from this speechhere.

Another notable example of the result of these engraved associations and aversion to Blackness is how racist fans reacted to the Rue character from the Hunger Games being (rightfully) portrayed as a Black girl in the movies.

A lot of these reactions can be found online. Like this one.

image

The trope is deeply ingrained into people’s minds and reinforced by the media that combined with systematic racism Black people and even Black children cannot be seen as pure and innocent. These traits incorporated in the Black and White Symbolism is enforced on Black people (and white people to some extent). The symbolism has been influenced further with racism and that is why it can be harmful.

What to do with the trope

Now, we don’t believe people should stop using Black and white in relation to people; running away from the word, even given its history, would only reinforce Black as a badge of shame when that’s simply a lie. We think the better solution is to built up a new dictionary. To stop using black to mean all things sinister and evil and white as all things blameless and good.

Black & White in our Writing

While it’d be difficult to deconstruct these associations overnight, it’s definitely not impossible to be more conscious of how one might be perpetuating the B&W trope within their works.

Pay attention to your writing and the color symbolism there.

  1. Where do you find Black & White imagery? How is it being used?
  2. Are you using shadows and night skies to foreshadow bad things to come?
  3. Morning light and white gowns to symbolize purity and hopefulness?

Now even these aren’t inherent pitfalls.

The following are some ways to make sure of that:

Defy the Trope

I was watching the first season of Sleepy Hollow, when there was an episode with a playful little girl running in the forest in a white dress. A little Black girl. While I don’t recall if she were meant to symbolize good or evil so neatly, but simply featuring this young child in white, both common emblems of “innocence” felt like a deviation from the typical white or pale girl to play such a part.

Even when using typically good and white symbolism, including Black and brown people to take part in these roles is a better option that shunning them out of such roles and thus the associated symbolism. How many dark-skinned angels do you see in media? How often are characters of color associated with beings that typically represent purity and goodness?

It’s like with heroes and villains. It’s more preferable to have a diverse mix of characters who play positive roles as opposed to making all your Characters of Color villains or antagonists.

Another example of deviating from the trope can be found with George R. R. Martin’s Game of Thrones series as mentioned further up this post.

Subvert the Trope

Suppose Black represented good. Suppose Black represented life, innocence, and good things to come.

Now suppose White symbolized evil. Suppose White represented death, immorality and ominous things on the horizon.

Subverting the B&W trope is another way to handle it in your writing. If your story is one based on a non-western or even fantasy culture, it’d be easier to sell the idea that this is simply a world that doesn’t treat Black as evil but of neutral or good (and here’s how & why). Attempting to pass this off in a more westernized culture might get confusion or skepticism from readers, though.

One idea is to subtly apply the symbolism. Death always or often occurs under bright, white lighting or sky. The dark, black forest protects the character who is being pursued by evil. A Black cat brings hope and good news.

And before you say this is enforcing “reverse racism!” Nah. Just like if you felt like having all white villains, there is no engraved association with whiteness that exists today that could actually reverse society’s overarching association of white to good and black to bad.

Not All Evil

Say you do have some negative imagery in connection to darkness. First, evaluate how heavily you’re enforcing Black as bad and consider if a change would be good.

You could also avoid reinforcing the message of dark as only/always evil if you were to balance out your associations of darkness by also including positive or neutral connections to darkness.

New B&W Meanings

Black & White don’t have to mean good or evil at all, as in not the case in every society anyhow. There are other associations with the colors you could emphasize in your writing. Take some of these examples below:

Black Associated Meanings:

  • Beautiful
  • Bold
  • Calmness/Comfort
  • Elegant
  • Health/Fertility
  • Heat/Warmth
  • Hidden
  • Life
  • Magical*
  • Mysterious
  • Protection
  • Seduction
  • Strength/Power*
  • Wealth
  • Wholeness

*Additional Notes:

  • Avoid strong = Black people tropes
  • The term “Black magic” is rooted in racism. Read about this and for alternatives to “Black magic” here.
  • See here for more associations with Black

White Associated Meanings:

  • Cold
  • Confusion
  • Death
  • Distance/aloofness
  • Emptiness/Absence
  • Fairness/Balance
  • Isolation
  • Opportunity
  • Order
  • Organized
  • Peace/Calm
  • Plain
  • Protection
  • Sterile

Additional Notes:

  • The point with the White list is to provide more symbolism besides the typical good – pure – innocent therefore some of the images are less neutral and positive than that of the Black list.
  • See here for more associations with white.

Construct New Images

  • Black & White aren’t the only colors that can oppose each other.
  • What about contrasting colors? Primary colors, secondary colors, tertiary colors? Earthy colors/oceanic colors?
  • You could even use bright and dimness as a means of symbolism, as discussed in this post.

There’s so much more you can do with the Black vs. White trope. Getting away from the Black/Evil – White/Good overarching symbolism can add something fresh to your writing.

We hope this inspires you to at least be more conscious of the color symbolism in your writing. More discussion on Black & White can be found in our color symbolism tag!

–Mods Colette and Alice

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