“What if a white guy played Black Panther?: The Fake Concern of Fake Geek Guys — Stitch’s Media Mix

Whenever I talk about racebending as a concept when it comes to comics and comics-related properties, smartasses always show up to say something snarky like “what if Black Panther or some other Black hero were a white guy”. They crowd into my mentions or any comment field they can get a hold of, trying to […]

via “What if a white guy played Black Panther?: The Fake Concern of Fake Geek Guys — Stitch’s Media Mix

 

**And for further reading, the distinction is that Whitewashing is bad and Racebending is okay, and here is why:

Dear Comic Fans: We Get it. You’re racist and racebending scares you.

The Incomparable Differences between Whitewashing and Racebending

Whitewashing vs. Racebending: Yes, There is a Difference

https://moviepilot.com/p/how-whitewashing-does-and-doesnt-affect-movies/4112605

https://www.theodysseyonline.com/whitewashing-racebending

 

**And further readings on Race and Media for the weekend include a description of harassment in the Art world,  for speaking the truth, which is important to me because I’m an artist.

This ties into America’s general belief that History was all White, and that PoC played no part in European History at all. As Dr. Who said, “History has been whitewashed!” And yes, I blame Hollywood, and America’s  general historical ignorance. It’s this ignorance of the part PoC played throughout every era of human history that leads to cries of “Historical Accuracy” every time a Black person wanders into the orbit of, not just historical films, but any Fantasy films that have a foundation in European folklore.

https://hyperallergic.com/383776/why-we-need-to-start-seeing-the-classical-world-in-color/

https://www.artforum.com/news/id=68963

 

**And on Race and Fandom Wankery…Stop It! Fandom is every bit as racist as non-geek culture, but Klandom thinks it’s better at disguising it. There has also been some confusion about patterns of implicit racism vs calling individuals racist.

Thinking that you are personally being called out on your racism is basically the Racism 101 approach to this topic,  because we’re not talking about individual people, although individuals may be used as examples of what were drawing attention to.

The discussion that PoC and LGBT people are having is from the 401 Class, and seems to be over quite a few people’s heads. We’re discussing patterns of behavior across multiple platforms. We’re not talking about a handful of bigots, writing stories we don’t like, but  about hundreds of people across fandom engaging in the same behavior, and then making the exact same excuses for their behavior, over and over again.

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

nyxelestia

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.

 

 

And Danae Guriria lays it out:


**And on Hollywood Erasure. This topic is especially interesting to me becasue I know there were Black cowboys. When Slavery ended, a lot of Black people fled West, rather than North, which is how and why there are so many black people in places like Minnesota, Oklahoma, California and a huge Black population in Texas. I know there were Black Cowboys (and many many Mexican ones) but this is something most Americans don’t no about due once again to Hollywood Whitewashing. The remake of the Magnificent Seven is a lot more historically  accurate than the original.

Although the reception of that movie proves one more thing to me, that Denzel Washington can make whatever the Hell movie he wants, and no one will criticize him for historical accuracy. Apparently, he belongs in any era he wants.

 

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The LIT History Series is for the Legends, Innovators and Trailblazers that have shaped our culture.

It is widely believed that the “Lone Ranger”, the famous cowboy of the TV show and the movie, was inspired by a Black man named Bass Reeves.

Reeves was born a slave, but he escaped to the West where he eventually became a Deputy U.S. Marshal, an expert marksman, and a master of disguise with his Native American sidekick. Blacks were a huge part of the Western frontier despite what’s told to us in pop culture or taught to us in the classroom. “The kids who are learning history in our schools are not being told the truth about the way the West was,” says Jim Austin, founder of the National Multicultural Heritage Museum. “I bet you nine out of 10 people in this country think that cowboys were all white – as I did.” (x)

Cherokee Bill, born Crawford Goldsby, was a notorious outlaw whose father was a Buffalo Soldier. His reputation and career as an outlaw rivals the reputation of Billy the Kid. Bill Picket was a “famous” Black cowboy who toured the U.S., Canada, Mexico, South America, and England, and he was inducted into the National Rodeo Hall of Fame 40 years after his death. (x)

And black cowboys are still here, they do exist.

That’s a huge part of history that was also erased from the history of America. We need to bring attention to this, because it’s unfair that black people along with other people of color have been erased from this narrative.

Source

 

Tumblr Started It

Here!

Have some laughs for the week!

*You know how there’s always that one Hotep whose always giving advice about what black people coulda and shoulda done:

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*I feel like this probably describes maybe half the white girls I met in college, though. Seriously, y’all need to be watching Bob’s Burgers. My niece swears  its hilarious, altho’ she still has not explained the bunny ears.

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prokopetz

What “Fratricide” Actually Means: murder of one’s sibling

What “Fratricide” Sounds Like It Should Mean: “Oh my god, they killed Chad!”

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*More Introvert humor:

introvertunites: “ If you’re an introvert, follow @introvertunites​​​. ”

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*Me at 3AM and I know I gotta get my ass up at 7.

 

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I have done this thing where I avoided doing something I was supposed to do because I thought the person standing near my goal looked like a talker.

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introvertunites:
“  If you’re an introvert, follow @introvertunites​.
”

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I feel like there should be an entire industry of people who hire themselves out to be dads, grandmas, and aunties, to single people without families, people disenfranchised from their families, or just people who are separated. These people would act in stereotypical grandma, dad, and auntie manner and shit. Like calling you different types of patries and daddy’s best girl, fixing a meal,  telling you to clean your room, asking when you getting married, and being kind of lovingly annoying, like real family.

Tumblr Weekend Shenanigans

Okay, not all of these came from Tumblr but a few of them did. I hope some of these images give you a laugh this weekend.

 

I know I said I wouldn’t publish any images of THAT ONE on my blog, but this was just too good to pass up.  #45 visited Saudi Arabia and laid hands on a glowing orb. Actually, it was just a kind of light switch for some type of political display/museum, but the internet had a lot of fun with it anyway:

Funny-donald-trump-the-orb-tweet-reactionsTrump Orb

Funny-donald-trump-the-orb-tweet-reactionsFunny-donald-trump-the-orb-tweet-reactionsFunny-donald-trump-the-orb-tweet-reactionsFunny-donald-trump-the-orb-tweet-reactionsTrump Orb

Trump Orb

Visit the rest of these images at: http://www.boredpanda.com/funny-donald-trump-the-orb-tweet-reactions/?page_numb=2

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I don’t have a cat but if I did this would be a very different type of blog. Cats are just hella funny, and these photos just cry out for captions. My favorites are The Foretold Kitty, and The Chosen Cat.

 Yeah, you’re gonna have to talk him down!
Hail Kitten!

Nope!
And he’s been watching you look for him for two hours!
I’m pretty sure cats don’t understand cats either.

Best Cat Tweets Of 2016

Via Bored Panda

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 The Four Stages of Captain Holt. I suspect this is how I appear to people most of the time.

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Here’s a video from vlogger, Lilly Singh at Superwoman. If you haven’t discovered her  yet, she’s on YouTube. She has a whole series, and they’re hilarious! Reblogging this for the epic clapback.

 
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Agreed! Coleslaw is the Devil’s Salad. I do not condone it!
watuare

eve

Boys who like coleslaw you are valid

chessys

no ur not

 

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This deserves a caption!You must use the words “Queen” or “Slay”.

bagoftryx: “ enemacklemore: “when you have to kill off an entire crew on a spaceship at 7 and be at the met gala at 7:30 ” I have finally found my aesthetic ”

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YouTube videos are what I get up to in my free time. Ha! What free time? Anyway, does anyone remember Hurricane Gaston,  last year?

 

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Okja stars Steven Yeun from The Walking Dead fame, and Tilda Swinton, from Dr. Strange, so its kind of a trade-off, I guess. Anyway this looks very intriguing. I will definitely check it out if I have the time.

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 And here is author R. Frater to sing the praises of Roberta Warren from Z Nation. I’ve only watched the show in scattered bits, and enjoyed what little I saw, but I hope this Summer, to actually sit down and binge the first two seasons.  Check out Ms. Frater’s own zombie series, As the World Dies, which has two great female leads. 

Roberta Warren is why you should watch Z Nation.

rhiannonfrater

Roberta Warren (Kellita Smith) is the woman in charge of Team Bite Mark, the group dedicated to getting Murphy, the only known survivor of a zombie bite, to the CDC.

For the first part of season 1 she’s the second in command and her input is always valued by the leader. Once she takes over, both the group and outsiders defer to her authority without question.

Once a member of the National Guard, she has all the training needed to guide the team on their mission, but she’s more than just a warrior in the guise of a beautiful woman.

She has all the hallmarks of a kick ass leader.

She’s Tough

She can make any possible weapon work for her, but she’s usually wielding her machete or a pistol.

She’s Compassionate

She’s cautious, but she gives strangers a chance to prove themselves. When she sees those in needs, she will step in to help out.

She’s a Strategist 

She knows the strength and weaknesses of her group. She takes in all the information needed to make the right, yet sometimes very tough decisions. Though she’ll listen to the input from her group, she makes the final call. She always makes sure there is a plan to keep everyone as safe as possible.

She’s No Nonsense

Warren doesn’t suffer fools. She is dedicated to the mission and isn’t about to let herself get bogged down. When dealing with Murphy, this is not always easy.

She’s Honest

Warren understands how hard it is to keep going sometimes, and she’ll encourage her team the best she can. Even Murphy. They’ve all suffered losses and she understands that, but in the end of the day they’re trying to save humanity. She may be compassionate, but she’s also honest. She’s not going to lie about the tribulations on the road ahead.

She’s Human

Warren is not a super-human emotionless killing machine. She’s not the sidekick or love interest female propping up a male hero. She’s a fully realized character. Roberta feels the pain of loss just like everyone else. Even at her darkest moment, when she closed herself off in despair, she found a way to push through the pain and keep going with the help of her friends.

Huge kudos to the writers for avoiding the strong black woman trope that would have denied her humanity.

She’s Sexy

Roberta is a beautiful, sexy woman and she owns it completely. Lately she’s been sharing smoldering looks with Vasquez. This doesn’t diminish her role as the leader. She keeps things in perspective, but that doesn’t prevent her from being attracted to someone.

She’s Loved 

Roberta has found love in the apocalypse before. She will again. It’s obvious that she’s attractive and men are drawn to her. Though the mission is what’s important, she’s had moments where she was truly loved.

She’s a Friend

Even when things are tough, she enjoys the good moments in life with her friends. She sincerely cares about those she’s on the mission with and let’s them know it.

Her 2nd In Command is another woman

Addy and Warren have suffered similar losses and have a strong understanding of each others strengths and weaknesses. Roberta depends on Addy to help with the complications of restoring tech for communication with Citizen Z.

On several recent lists of television shows with women of color in the leads, Roberta Warren (Kellita Smith) has been left off. This is such a shame because she’s one of the best representations of female leadership on television in a very long time.

She’s one of the many reasons you should watch Z Nation.

Source: rhiannonfrater

 

 

 

 

Representation Matters (Pt. 2)

*It’s not enough for PoC to be included in the narrative. They also have to have character, not just be a character. Also, the more people of color in the narrative the less likely the writers (who are almost always NOT PoC) will resort to stereotypes, or rather the number of PoC in the narrative will help to ameliorate any stereotypes that are present.

It’s also important for PoC to be behind the scenes. It’s hard to create action stars  when there aren’t enough PoC as stunt doubles. It’s difficult to have authentic environments of PoC when seen through the lens of white male writers who are too lazy to do the proper research (We’re looking at you Scott Buck!), and even if they did, would never be able to capture all the details and nuances of being a recent Chinese immigrant, a transgender Latina, or a gay Black man. I’m not saying that white people can’t write these characters, but a lot  of them either don’t know, or care enough, to get their shit right.

When white women began writing more movies and TV shows, we started to getting more nuanced,  authentic, portrayals of white women in movies, and the same thing happens when PoC write and star in their own stories. For example, what makes the Luke Cage series stand out as an iconic depiction of Black life, is that the creators are Black themselves, and are aware of all the tiny details, of Black life, that would be missed by white writers, to whom none of those details would even occur.

One of the reasons Into the Badlands looks as rich as it does is because Asian men are the showrunners and the stunt crew. Now compare this show to Iron Fist, where the white writers didn’t seem to kgive a damn that a show (and character) so steeped in Orientalist culture, about a white man who learns Kung Fu, doesn’t actually feature the Kung Fu very well, or any of the Asian culture on which the character is based, and a showrunner who  seemed indifferent to what fight scenes there were. Scott Buck cared  so little about the show’s action scenes, that he didn’t give  his star, Finn Jones, enough time to practice so he could shine in those scenes. If you have a Martial Arts character named Iron Fist, and you don’t showcase the action, youre gonna get booed. I’m just sayin’.

Even White people ( as much as we hear about the racist ones who seem to hate diversity in media) actually crave different types of stories. I’ve come across the occasional essay by White people lamenting  the lack of variety in movies, and TV shows. They want something different from the “bland white guy gets the call to adventure” type of  story. They too want to see stories like Hidden Figures, and Moonlight, rather than yet another story of a white man’s growing pains in the Midwest, or another romantic comedy where the spunky, young, white actress of the moment, eventually hooks up with the bland, white guy, she initially hated.

We understand that Hollywood is a business and will keep trying  to give us the same product they have successfully sold us many times, but with the studios bottom lines beginning to suffer, it’s time for them to be less conservative, and much more daring. Yes, movies cost a lot of money, and people are loathe to risk not getting a return on their investment, but they’re losing money now, and need to try some new things.

Well, they could at least try making the same old movies, just without the same twenty five White actors we’ve been seeing.

 

reblogged

Insanity is doing the same thing over and over, but expecting different results…

I’m not celebrating or sad.  This is emblematic of a huge shift in entertainment media that will progress with or without those who stubbornly adhere to old myopic ways.

They happened upon that wave early and let it wash past them instead of surfing it out of pure hubris, color-blindness, and stubbornness.

Sleepy Hollow came before Hamilton, Queen Sugar, Underground, Insecure, Atlanta, American Gods, Luke Cage, Get Out, Moonlight, and the upcoming, A Wrinkle in Time…  Black people and other marginalized groups are increasingly occupying genres and spaces they’ve rare-to-never been leads in, where they are having their perspectives and feelings served, instead of serving a white man’s story, as so many fans have been starved to see.

Such is business that if there is a need that will make money, it will eventually be filled by someone(s) if you choose not to.

That’s what I got out of this debacle.

That and, when you cater to a singular perspective for a long, long, time, no matter how new or “fresh” a spin you think you have on it, it’s probably been done and is trite, boring, and even offensive in its refusal to treat anyone who isn’t a white guy like they matter.

In other words, the exclusion of the other being central to these narratives for so long created this condition where those very narrow white boy dreams are getting staler and staler to audiences.

They aren’t the first white male writers and producers left dumbstruck and scratching their heads wondering what the hell happened after treating everything who isn’t the central white dude like shit and they won’t be the last.

You either evolve or get left behind.

(The show being referenced above is Sleepy Hollow, a show which had been lauded in its first and second seasons, but has just been canceled after its fourth season, after fans learned how the showrunners had been mistreating its female lead, and then unceremoniously, and without  warning, killed off her character. All I have left  to say about that is: They gon’ learn!)

 

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13 Times Hollywood Made Totally Racist Casting Decisions

In the 2015 box office bomb, Stone’s character Captian Allison Ng is written as being one quarter Chinese and one quarter Hawaiian. Many viewers of the film accused the filmmakers of whitewashing the cast, as Stone doesn’t belong to either heritage. The director of the film, Cameron Crowe, released the following as a statement: “I have heard your words and your disappointment, and I offer you …
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*I laughed at this waaay too hard:
Chris Pine’s SNL monologue reminds us how bad Hollywood’s superhero diversity problem is:
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Alright, this was just hilarious for me:
What diversity actually is:
How Hollywood sees diversity:
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*That’s it! The next time I see some fan whinging about Historical accuracy, in a movie that casts any POC, I’m gonna have to (digitally) punch ’em in the side of the neck. 
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  • White actors cast as ancient Egyptian kings: “I know they weren’t white but it doesn’t have to be historically accurate to be a good movie. They should just hire the best person for the job!”
  • Black actor suggested to play fictional white character:“James Bond has always been white! I don’t care how good of an actor he is, you can’t just change history!!!”
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*I think I mentioned this one on somebody’s comments section, that the vast media machine that exists in the US is pretty much geared towards one group of people and that is middle-class, White, cis-gender, and straight, but without any religious connotations. I really only noticed this while watching TV commercials. 
Now remember, the reason why we have television shows at all, is to make us watch ads for the sponsors of those shows. Television can exist without ads (otherwise there’s be no HBO, or Netflix) but you have to pay for it out of your own pocket (subscriptions). The companies that sponsor these showsaim their ads specifically at White middle class people because that’s who, or so they believe, has all the money. Its pretty much been like this since the invvention of the TV. Middle class people were the only ones who could afford TVs anyway. In order to catch those White, middle-class, eyeballs, they created shows geared towards reflecting their lifestyles, which is why the vast majority of television shows feature White, middle-class, often urban professionals. Those are the people that advertisers want, have always wanted.
Several things not taken into account; as TVs became more affordable to the working class, and then the poor, people who are not members of the prevailing socio-economic class would see those lifestyles as something they wanted to attain. Advertisers were quick to grasp that idea and started sponsoring shows geared towards working class whites, but only a few, and mostly comedies. The vast majority of shows featured White men, in some lucrative, but  unspecified city job (Quick! What did Leave it Beaver’s Dad do for a living?), doctors, lawyers, and the occasional detective. The shows reflected the lifestyles people lived, were trying to attain, or power fantasy stories for White men, like Westerns and Police stories. 
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Case in point!
Since the eighties though, television programmers decided that the most lucrative dollar to chase, was the White male, aged 18-35. Just about every form of media, outside of magazines, in the eighties and well into the nineties, was geared towards this specific demographic. Most, if not all of TV, movies, and most forms of music, was aimed at getting these young, white men to spend their money. These young men liked sex and violence, or so it was determined by programmers, so they made movies, and TV shows, about people having sex, and committing acts of violence. Just look at any of the comedies that were released during the eighties. Anybody else who happened to be ewatching these programs were mostly disregarded. (This was not a hard and fast rule.  
There were some things geared towards non-White people, whenever White programmers and Ad-men remembered that  the rest of us had money, they would sponsor a comedy, or made for TV movie, which explains Roots and The Jeffersons.) When it was discovered that these same young white men liked Rap music, advertisers began sponsoring more shows and movies with those themes, although initially, these things were aimed at Black people, (which is how we ended up with movies like Friday, and Boyz in the Hood.)
This is not to say that nothing was aimed at non-Whites. There were a few shows and movies aimed at women, Blacks, and the occasional Latinx,  but they were rare. Occasionally some “Actor of Color” would blow up in the media and manage to get a film career out of it, which explains Richard Pryor and Eddie Murphy. And the entire time, everyone of every color, was inundated with racist stereotypes of everyone who wasn’t White, sexist lies and tropes about women, and lots and lots of jokes, at gay and transgender people’s expense. 
*And in a not-unrelated post on the racial dynamics of Hollywood movies, Teej lays it all bare, but without my polite indoor voice.

It’s time to kill the idea of white women as leads in movies as “baby steps! :)” toward inclusion of women of color and that WoC and PoC generally need to pay to see these films otherwise Hollywood will never include WoC/more PoC because “Hollywood only listens to money.”

People proffering this argument are either gullible, not paying attention, have no understanding of how racism works in Hollywood, or all three.

Hollywood knows that Black movies and shows make money (I’m focusing on Blackness because it’s what I know and antiblackness exists in all communities). Straight Out of Compton made money, Selma made money, 12 Years a Slave made money, Tyler Perry’s movies make money (much to my chagrin), and those are just some recent ones. There is a history of Black cinema and films that made money. Empire, Scandal, How to Get Away With Murder are led by Black women and Empire has a predominately Black cast, and they’re wildly popular shows.

Black people and other PoC have money and we have and will continue to spend it in theaters to see films that feature us. HOLLYWOOD IS WELL AWARE OF THIS. Stop believing and proliferating their tired excuses and lies.

The issue is that Hollywood only cares about a specific type of money: white money.  

When Hollywood refuses to put Black women and men and other PoC in lead roles in upcoming Blockbusters it’s because they don’t think white people will relate to or be comfortable with the idea of PoC as heroes. It’s not just about money (because Black people and other PoC will definitely spend money to see those films), it’s about whiteness. It’s the WHITE DOLLAR and the white audience that these studios are after and are worried about losing. They know that white people have difficulty empathizing with Black people and other PoC. They know that white people only find Black led films palatable if there’s a BLATANT NEED OR REASON that the lead/cast is Black.

That is why, due to white racism, Hollywood is only comfortable telling one kind of story of Blackness (and stereotypical stories about other PoC). So they’ll acknowledge films about slavery (usually as long as there’s one white savior), they’ll allow comedic films about Black folks, they’ll allow films about Black sports legends, etc. because they know that these kinds of images are largely palatable to white people. Occasionally, when a Black actor like Will Smith reaches mainstream appeal (read: white people no longer see them as “just Black”),  they’ll let him be the hero in a Blockbuster or two (Independence Day, Men in Black, etc) as long as he’s accompanied by enough white people to make the white audience feel comfortable.

White women have lead movies in all genres because they are white, not because Hollywood is taking “baby steps! :)” to becoming more racially inclusive. It is in furtherance of whiteness and white supremacy that white women are chosen to lead instead of PoC. Implicit in the argument that white women “need to go first” is the reality that whiteness is privileged. Continuing to privilege that whiteness is never going to lead to acceptance of PoC, especially not WoC, because widening the scope of which white people can access the privileges usually afforded to cishet white men will never lead to inclusion of WoC, least of all, Black women. Hierarchies need someone at the bottom.

This is especially obvious when white women are given roles based on characters or real women who are not white (Katniss, Tiger Lily, Angelina Jolie in blackface as Mariane Pearl in A Mighty Heart, etc).

Hollywood is built on continuing to sell white people the fantasy of them being heroic protagonists with sidekicks of color, and if they can’t be the protagonist, they must be the white savior. These stories are the ones white people time and time again will pay to see.

When you understand all of this, it is clear that progress isn’t going to come because Black people and other PoC support white lady led films. That idea is frankly laughable. Hollywood has been making lily white films since the dawn of film without any concern as to whether Black people and other PoC will pay to see them.

Change will only come when white folks show that they will support films led by WoC and other PoC as more than tokens following/supporting the white dude/lady protagonist. And these WoC need to visibly be of color–these white passing women getting leading roles are just further example of how whiteness is what is truly at work here, not just money.

There’s a reason why Black folks have a whole host of Black led movies we can reference and laugh about together that we saw in theaters and that made money that white people don’t know the first thing about: because white people by and large do not support films with black/other poc leads/casts.

So, instead of all these White Feminists ™ telling Black women and other WoC that we need to hand over our cash to support yet another white lady lead in hopes that we might one day get a WoC lead, white people need to demonstrate that they will support a WoC lead.  Get on Twitter and Facebook and ask these studios why they cast yet another white lady. Spend your white money on a film with a Black/other PoC lead/cast. Stop spending your money on these typical white male hero movies. Stop patting Hollywood on the back for doing the most basic shit and stop praising them for only spotlighting white women as if it’s opening the door for anything other than more white women.

In short, Black women and other PoC not supporting white lady led films is not the problem. The problem is white people not supporting WoC and other PoC led films. We are not the problem. You are.

Yeah, this is all bumming me out, so I know its probably bumming you out too. So here, have a Spidercat!
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Tumblr Introvert Memes

 

Here! Have some memes about introverts from the IntrovertUnites Tumblr. Please visit.

http://introvertunites.tumblr.com/

I have a variety of skills but I have mastered these particular ones. I can daydream for the Olympics, and pissing people off was something I mastered early, with little effort:

introvertunites: “ If you’re an introvert, follow @introvertunites​. ”

 

I thought this was the funniest one. Basically, just don’t call! I tell my family members, all the time, that they better not call me, unless WW3 breaks out, or they are personally on fire.

introvertunites: “ If you’re an introvert, follow @introvertunites​. ”

 

This is me after an especially vigorous day at work, or any family get-together:

introvertunites: “ If you’re an introvert, follow @introvertunites​. ”

 

Quiet!!!

introvertunites: “If you relate to being an introvert, follow me @introvertunites. ”

This sounds about right, except I won’t socialize for one day, let alone five.

whyy0umadth0ugh:
“ introvertunites:
“ If you’re an introvert, follow @introvertunites​.
”
Pretty much
”

 

 Tag me! I’m that dancin’ fool in the pink jacket! Heeey!

introvertunites:
“ If you’re an introvert, follow @introvertunites​.
”

 

But which gods, though? I’m just asking for a friend!
introvertunites: “ If you’re an introvert, follow @introvertunites​. ”

 

I did this all the time when I was younger. As soon as I finished any conversation, I would just walk off. Note: People do not like that shit!

introvertunites:
“ If you’re an introvert, follow @introvertunites​.
”

 

This does present something of a dilemma because…People!

introvertunites:
“ If you’re an introvert, follow @introvertunites​.
”

Not So United Airlines

If you live in the US you’ve probably heard much about what happened on United Airlines earlier this week, when an Asian man was forcibly removed from one of their planes.

I dont normally link to social justice issues here but I felt this was relevant in light of what happened with Ghost in the Shell, and the fact that Asian American History month starts in May. I’m an African American woman and I know a racial incident when I see one. I refuse to be gaslighted on this, and neither will Asian people. China has already responded to  this incident by calling for a boycott of United, and the CEO of United has issued a less than satisfactory apology, and gone so far as to blame the victim.

There are numerous videos of the event and I have to admit I was just a little bit surprised at my reaction to this incident myself. I wasn’t expecting to be as strongly affected by this, as I am by videos of Black Americans being brutalized on film. I saw the photos and I just couldn’t bring myself to watch any of the videos. I wont link to them here.

What I thought I’d do, to alleviate some of my own distress, is signal boost the voices of Asian Americans who are speaking out on this, and provide some  links to think-pieces that are  relevant to this case.

I think, now more than ever before, its time for PoC to set aside our complaints, with one another, and join together to fight against what we see happening in Trump’s America. I hear complaints about anti-Black racism from other PoC, when I think we should keep in mind, that this is America, and absolutely no one is immune to anti-Black racism, not even Black people. Also not every group of marginalized people is going to be in the same place in the racial game as we are, with the same level of experience and awareness.

We need to keep in mind, that no one will be immune to this kind terrorism in a corporate state. We can stand together, or be destroyed separately. (When the dust settles, we’ll all still be here, and  can go back to petty infighting later.)

People have thoughts:

http://verysmartbrothas.com/the-chinese-doctor-dragged-off-a-united-airlines-flight-is-the-blackest-thing-that-ever-happened-this-week/

PR Has Been Grounded (Sorry, “Re-Accommodated”)

The Defenses Of United Airlines’ Behavior Reveal Some Uncomfortable Truths

https://www.theatlantic.com/business/archive/2017/04/united-video-scandal-law/522552/

https://www.pastemagazine.com/articles/2017/04/youre-not-mad-at-united-airlines-youre-mad-at-amer.html

 

The trolling of United:

Now other airlines are brutally trolling United Airlines, and it’s hilarious

“A lack of planning on your part does not constitute an emergency on mine.”

 

Tumblr had some choice words too:

Vietnamese doctor gets roughed up and hauled out of a plane by cops at United: I’m Vietnamese-American myself and naturally my community’s in an uproar over this. But where was this outrage for the brutality against black people? They’ve been suffering this kind of treatment for years. The general attitude I perceive in my community, especially among the older 1st gen immigrants, is judgment, victim blaming, or indifference. All of a sudden we care because “one of our own” got attacked. I’m sick of the double standards we’re perpetrating. The Asian diaspora population has maintained a content and compliant attitude, so when something like the United incident happens, it jolts us out of our happy little bubble and scares us to the core, and it should. We’re scared because the model minority myth does not exempt or protect us (that’s exactly what it is: a myth, not a fact, and it hurts us more than it helps us). We need to stop assuming that we’re an exception. That is very dangerous thinking. We need to hold ourselves accountable and do better.

It Came From Tumblr

*Some things said on Tumblr this week:

This roundup of some of the best clapbacks on Pepsi’s  new ad.  Pepsi released a new ad targeting Millennials by using protest imagery. Consequently, everyone involved in that debacle had their asses handed to them, on social media. 

violaslayvis: “I’m going to bed ”

@

resistdrumpf:
“Pepsi may have pulled the ad but the damage is done.
”

@

nabyss: “loubeesarmy: “ andinthemeantimeconsultabook: “The Best of Twitter dragging Pepsi™ and Kendall Jenner’s ignorant ass for that horrendous new ad they just released. ” How y'all gonna defend her ass? “She is just doing her job” “She has no...

@

nabyss: “loubeesarmy: “ andinthemeantimeconsultabook: “The Best of Twitter dragging Pepsi™ and Kendall Jenner’s ignorant ass for that horrendous new ad they just released. ” How y'all gonna defend her ass? “She is just doing her job” “She has no...nabyss: “loubeesarmy: “ andinthemeantimeconsultabook: “The Best of Twitter dragging Pepsi™ and Kendall Jenner’s ignorant ass for that horrendous new ad they just released. ” How y'all gonna defend her ass? “She is just doing her job” “She has no...

@

If only Daddy would have known about the power of .

@nabyss: “loubeesarmy: “ andinthemeantimeconsultabook: “The Best of Twitter dragging Pepsi™ and Kendall Jenner’s ignorant ass for that horrendous new ad they just released. ” How y'all gonna defend her ass? “She is just doing her job” “She has no...

@
@

*And for all the people asking why no one tried to stop them from making or releasing this ad, Mikki Kendall lays it out for you:

 

@

@

Think about this for a minute:

@

@

Yeah, I feel ya’. I hate those cheap Rose Art crayons, too.

 

@

@

Introvert PSAs

@

@

Some people do this, just as a matter of course.

Today’s lesson kids. #motivation #moveryourass http://ift.tt/2kO34RV

@

This explains a lot in my house, really.

just-shower-thoughts:

I’m 100% convinced that every time a sock goes missing in the dryer, it comes back as an extra tupperware lid.

 

@

Actually, its both!

introvertunites:
“If you relate to being an introvert, follow me @introvertunites.
”

@

Everybody named Chad gets a shock, just on principle,  cuz you just know, at some point, he gon’ fuck up!

We have a twitter here too: https://twitter.com/IntrovertUnite. See some of you there?

Ghost in the Shell Reviews Are In

*So far, the consensus seems to be that Ghost in the Shell is  a merely okay film. I haven’t seen it and had no plans to do so, not because of the Whitewashing, although that’s a big issue, but because I’m more than a little tired of looking at Scarlett Johansson.

There’s quite a lot of spectacle but yeah, there’s the little issue of Whitewashing, not just of the film itself, but actually referenced in the plot, where the identity of an Asian character, Motoko, is erased and placed in the body of a White woman. 

According to the critics, it is possible to watch this movie and not care about any of the social issues involved, but this movie is never gonna be a classic, and doesn’t have the depth of the original anime. It’s never going to be Bladerunner, or The Matrix either, no matter how much it apes those movies aesthetics. According to the critics, it’s a gorgeous film that lacks warmth. It’s at about 51% on Rotten Tomatoes and Metacritic. The reception of the movie, even by audiences,  has been rather lukewarm.

There are a handful of reviews giving it a rousing endorsement, like Variety, Entertainment Weekly, The Telegraph and The Chicago Tribune (Roger Eberts old employer). But the critics who panned it, come from more Geek oriented online sites, that skew much younger than the ones mentioned above, with a millennial audience who grew up watching the original movies and series, and I guess they’re unimpressed by the story.

http://www.salon.com/2017/03/29/scarlett-johansson-and-the-perils-of-white-feminism/

http://www.avclub.com/review/beguiling-ghost-shell-more-replicant-remake-252941

http://www.theverge.com/2017/3/29/15114902/ghost-in-the-shell-review-scarlett-johansson

https://www.dailydot.com/parsec/ghost-shell-review-remake-2017-johansson/?tu=gav

http://www.gq.com/story/ghost-in-the-shell-review

http://www.ign.com/articles/2017/03/30/ghost-in-the-shell-review

http://www.polygon.com/2017/3/30/15121524/review-ghost-in-the-shell

http://www.businessinsider.com/ghost-in-the-shell-review-2017-3

 

*And because apparently I’m just not finished bashing Iron Fist for what we could have had vs. what we got:

http://io9.gizmodo.com/heres-the-important-stuff-that-happens-in-iron-fist-so-1793445273

http://www.theverge.com/2017/3/21/14980216/iron-fist-problems-marvel-netflix-writing-villains-optics

http://www.polygon.com/2017/3/17/14958828/finn-jones-and-iron-fist-have-one-thing-in-common

*Bottom line: if your character’s backstory features him punching a gobdamn dragon, to obtain his superpowers of being able to punch shit, and you don’t show that shit on screen, you need your entire ass thoroughly kicked. So far, we’re stuck with Finn Jones as Danny Rand but this can be fixed. He’s never going to look good as a martial artist until he gets some serious training. Put him in some intense stunt training, so that he can at least look as competent as the actors from The Matrix. Get a brand new showrunner. And this time find someone who gives a shit about Danny’s Rand being Iron Fist,  cares about his martial abilities, and is willing to do the research to make it look good.

 

*Just to cheer us all up, here are some Logan reviews. I loved this ugly, bittersweet movie, so much.

http://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://theringer.com/logan-and-conquering-pessimism-through-fatherhood-86d377ae85b9

Tumblr Funnies

*Tumblr is great for story prompts about alien contact, and hair dye:

lady-of-greenwood:

patternofdefiance:

just-a-kind-of-magic:

Imagine being a human in an alien crew in space and leaving with bright blue or pink hair and the color fades and everybody on board wonders WHY you are losing your colors??? Is it the lack of greens? Are you sad? Angry? They just don’t know??

“Human-Kelly may we have a moment of your time?”

Kelly pauses in her inventorying of the photo-synth plates she’ll be installing after today’s cycle ends. “It’s just Kelly, hellot-Halzar, you don’t have to acknowledge my species every time we talk.” She smiles. “That’s not considered rude for us.”

“Very well hu—Kelly. Erm. May we have a moment of your time?” Many eyes blink earnestly at her.

“Sure. What’s up?”

hellot-Halzar considers. “May we discuss the structural nature of the ship interior and gravity-derived reference values at a later date? At this moment we would like to inquire as to the nature of your corporeal change.”

“Yeah sure—wait my what?”

“There is a mess hall wager.”

“About my –?”

“Concerning your strands,” hellot-Halzar says, gesturing.

“My….hair.” Kelly runs a hand through it. It’s purple as of two ship days ago. “Ok?”

“We wish to know whether the colour change signifies mood, nutritional intake variance, or ….erm….whether your mating season status has changed.”

“My mating season status, huh?” Kelly lifts an eyebrow.

“Yes.”

“Did Jerry put you up to this?”

“Human-Jerry refused to answer our questions about your strands, citing some phenomenon known to your homeworld as ‘famine in missed eek’.”

Kelly snorted. “Tell Jerry he can shove his archaic ideas about ‘feminine mystique’ where M-series stars don’t shine. As for your bet: sorry, it’s none of the above. I changed my hair because my last box of dye was about to expire and because I felt like it.”

hellot-Halzar considers. “chinret-Zer wins then, by technicality: that reason falls within acceptable parameters for ‘mood’.”

“I suppose it does.” Kelly pauses. “Who bet on the ‘mating season’ one?”

“Hmm?” hellot-Halzar had already turned to go and deliver the verdict. They turn one set of eyes back. “Oh that would be Drannuc. He said he smelled a difference in you.”

“Delightful,” Kelly says, instead of explaining menstruation and how that can affect mood, diet, and that technically it correlates to what most of the species on the ship would consider a mating season.
“Next time, instead of betting, maybe just ask questions? And not Jerry. He’s a jerk.”

“Reclassifying human-Jerry as jerk-Jerry. We will approach you with all human queries from now on,” hellot-Halzar says and then continues on their way.

Probably for the best, she thinks with a lopsided grin, and then continues sorting the photo-synth plates to install on her space walk tomorrow.

“Reclassifying human-Jerry as jerk-Jerry”

Pure. There is no other word.

Source: just-a-kind-of-magic

@
@

*Tumblr is great for story prompts about ghostly roommates:

tygermama:

agwitow:

just-shower-thoughts:

If a ghost can open cupboards and break things, why not just take a pencil, find paper, write exactly why it’s unhappy, and tape the message on the fridge.

It just became second nature to close all the cupboards first thing in the morning (even though they’d been closed the night before). Which was when things escalated from banging cupboard doors to actually breaking things.

Faucets, door handles, curtain rods ripped from the wall… all the repairs started to add up.

“Look, I didn’t mind having an ethereal roommate, but I can’t afford to keep fixing all this shit. Here’s a pencil and some paper. Just write what’s bothering you–I doubt you could put anything that would be more expensive than having a plumber come out to replace all the faucets again.”

The next morning there’s a scrawl line at the top of the page that devolved into an angry scribbling mess that tore through the page. Two cupboard doors were entirely ripped off.

“I don’t want to get someone in to banish you, but this is ridiculous. Just tell me what you want.”

The second piece of paper is ripped into shreds and several knives are embedded in the wall.

A careful examination of the paper scraps show that it had the same scribbles as the first piece.

A quick trip to the library and a stop at a store later, there are kindergarten workbooks on learning to write spread across the counter.

“Look, I don’t know if you’re just being difficult, but I hope not. So I got an audiobook on learning to read and write, and here are some workbooks for kids–don’t get mad–to teach them their letters. Just press play on the stereo, and work through the books at your own pace. I’ll get more when you finish.”

The first workbook is half-completed before being ripped to pieces, but at least there was no other damage. Replacing it is significantly cheaper than replacing cupboard doors.

It takes awhile, but eventually the workbooks progress to a fifth grade level. These ones are starting to be more costly (they’re bigger, for one thing), but it’s not even the money anymore. Little notes scrawled in a shaky hand appear on the steamy bathroom mirror

Have A gooD dy

Or written in ketchup on the counter (that was a frightening sight the first time)

You R out of MLK

And then one day there’s a message taped to the fridge. The spelling and penmanship isn’t the best, but it’s legible and even signed.

Dear Occupente,

I have haunted this spot for ovr three huner hudre 300 years. My bones are dust and I am fergotN. I do not have wants to trap me. I am here 4 ever.

I am bord. Lonly.

I am sorrY 4 breaking things.

We be frends?

Syncerly Eloise

I love you, Eloise

@
@

*I feel like this may be  Paul Ryan’s life goal:

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@

*Dog refuses to stay on pillow, is about how I’d describe the people in my life right now. Annoying but lovable inconveniences:

IF YOUR DOG SLEEPS WITH YOU THEN YOU UNDERSTAND THE STRUGGLE

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*Someone needs to invent this:

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*This pretty much sums up America’s politics at this time, yeah:

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*Other than just a general reason to be happy, I’m posting this here, because some troll in the comments, got his ass handed to him, when he stated that these weren’t the best actors.

wisdomandlogicareking:

Angela Basset: Academy Award nominee and Golden Globe winner, with enough award nominations/wins to necessitate her own wikipedia page for awards alone.
Lupita Nyong’o: Academy Award winner.
Chadwick Boseman: Joseph Jefferson Award nominee; already showed his stripes as Black Panther in Captain America: Civil War.
Sterling K. Brown: Emmy Award Winner for The People Vs. OJ Simpson and actor in the Golden Globe nominated television show This Is Us
Florence Kasumba: Already had a bit part in Captain America: Civil War; was praised by many critics for her one scene being a scene-stealer
Forest Whitaker:  Academy Award for Best Actor
African-American Film Critics Association Award for Best Actor
BAFTA Award for Best Actor in a Leading Role
BET Award for Best Actor
Black Reel Award for Best Actor
Boston Society of Film Critics Award for Best Actor
Broadcast Film Critics Association Award for Best Actor
Chicago Film Critics Association Award for Best Actor
Dallas–Fort Worth Film Critics Association Award for Best Actor
Florida Film Critics Circle Award for Best Actor
Golden Globe Award for Best Actor in a Motion Picture – Drama
Hollywood Film Award for Actor of the Year
Kansas City Film Critics Circle Award for Best Actor
Las Vegas Film Critics Society Award for Best Actor
London Film Critics’ Circle Award for Actor of the Year
Los Angeles Film Critics Association Award for Best Actor
NAACP Image Award for Outstanding Actor in a Motion Picture
National Board of Review Award for Best Actor
National Society of Film Critics Award for Best Actor
New York Film Critics Circle Award for Best Actor
Online Film Critics Society Award for Best Actor
Phoenix Film Critics Society Award for Best Actor
Satellite Award for Best Actor – Motion Picture
Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Leading Role
Southeastern Film Critics Association Award for Best Actor
Vancouver Film Critics Circle Award for Best Actor
Washington D.C. Area Film Critics Association for Best Actor
Nominated – BIFA Award for Best Performance by an Actor in a British Independent Film
Nominated – Toronto Film Critics Association Award for Best Actor
2nd Place – Awards Circuit Community Award for Best Actor in a Leading Role

^ that’s all from a single movie.
Danai Gurira: Tony-award winning writer, plays Michonne on The Walking Dead, one of the most popular series out there today
Michael J. Jordan: Featured actor in popular shows like Friday Night Lights, The Wire, and Parenthood in addition to frequent appearances on film.
Daniel Kaluuya: The star of Get Out, which currently boasts a 99% rating on Rotten Tomatoes, and has been in the press pretty much constantly upon release.  He was also featured in an episode of the acclaimed series Black Mirror.
John Kani: An actor, playwright and director; while he hasn’t had as much work in America, he’s prolific enough to have a theatre in Newtown Johannesberg named after him.

Winston Duke and Letitia Wright have fewer credits to their names (the former has a consistent role in the well-received Person of Interest; the latter has been cast in Black Panther and Ready Player One in what is hopefully the beginnings of a bright career), but I don’t mean to belittle their successes by leaving them out, and those who aren’t as well known SHOULD be given a chance by big franchises.  Lesser known names tend to get big after starring in Marvel movies.  I sure as hell didn’t know who Chris Evans or Chris Hemsworth were prior to their flagship titles.

But even putting aside how important it is that this film is led by black creators, just because you don’t know these people doesn’t mean that they’re not critically acclaimed in their field, who haven’t put in the work.  They have, and they’ve been recognized for it.  Consider checking out some of their work before you decide whether or not only two of them are great actors.

@

blckrapunzel

I sure your feelings are hurt and you’re a little confused by a movie that’s not made with several boxes of assorted crackers and a token black guy 😂😂😂😂😂

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cloama

1. I love this post and seeing this person get flamed and have their activity page all fucked up because of it makes me so happy. 2. This is where non-black people misunderstand anti-black microagression. This person was willing to trade their sense of logic just to shit on Black people because to them, it’s worth it. That’s a big part of how y’all talk about us. Watch yourself.3. That person forgot that every black actor in Hollywood has to have twice as much classical training and work…

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problematticusfinch

Hm, gee, I wonder which 2 are meant as the great actors. Which two…. which two stand out for the person hung up on the small number of white people… hmmm…..

@

Imagine being that racist that you think only white actors can be awesome…Imagine being that racist that you look at the black ones and just go “who?” despite their loooooong list of accomplishments and popularity…

Imagine being so racist, that people are excited for a cast of actors, and you are just itching to tell them not to be excited because the cast happens to be black (and you dont like that)….but a white cast, sure you can be excited.

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@wisdomandlogicareking

I never heard of Chris Hemsworth, Tom Hiddleston, Mark Ruffalo, or Chris Evans before their debut in a Marvel film…But unlike some cocks on here, I am not so self centered as to believe that MY personal history of viewing an actor dictates whom is good or not….I also bet similar racists (ppl like wisdomandlogicareking) never said shit about the announced cast of relatively unknown actors of Thor or Cap America, or future films like wtf is the new guy playing young Han Solo?…but just gotta put their two cents in on Black Panther…..because “reason

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*Oh, and introducing the Land of Introverts!

 

Miscellanea LinkSpam

*I know I said I wasnt going to say anything more about Iron Fist but hey! I’m not saying all of  this! Someone else is saying it so…

Basically Iron Fist was always a problem, and always gonna be a problem, even in the comic books. I love the character that was created in the comics but that doesn’t preclude me from acknowledging that its still the Mighty Whitey Trope. So are a host of other characters I love, from Dr. Strange, to Tarzan, to The Last Samurai. But just because I really like these characters doesn’t make them right, or that we should keep doing it. There are other stories to be told that don’t feature White men in the middle of them. And if you do use the Mighty Whitey trope, you need to at least acknowledge it or say something new about it.

http://www.refinery29.com/2017/03/145908/iron-fist-netflix-danny-white-male-privilege

https://www.theguardian.com/tv-and-radio/2017/mar/27/iron-fist-netflix-show-finn-jones-marvel-danny-rand

http://www.avclub.com/tvclub/iron-fist-gets-better-once-it-admits-danny-rand-wo-252719

https://theringer.com/iron-fist-marvel-netflix-review-485aaabd959c#.p4ymg0c0p

https://www.wired.com/2017/03/iron-fist-canon-versus-culture/

*And from Tumbr:

sanssouciavecmoi

Ir0n F*st: Eh, what? (with background Asian count)

Spoilers follow:

Episode 1: Enter the White Dude

Hi, I am Singaporean Chinese. Yes, Netflix is available here and yes, they are trying to sell this to us.

Secondly: I do read comics, but the whole “he was white in the comics” thing does not fly–see article for context. This is 2017, not 1974. 

Thirdly: the creators of Iron Fist were fetishising the heck out of kung-fu movies when they wrote the comic back in 1974. And they are crusty old relics that use the word “Orientals” even though it’s 2017 and they know it’s not the right word (but use it anyway in interviews).

Fourthly: Iron Fist is not one person–it’s a power that is passed onto people that subsequently bear the title. Only two of them have been white. However this is is not important, because they changed almost everything about Danny Rand (and 90% of his backstory and even what the Iron Fist is for) except the bit about him being white. So the less deliberately obtuse understand that this was the most important thing to the writers, directors and producers. Lewis Tan also auditioned for the same role, so most people know that they did not pick the best actor for the job–unless you think white actor = default best lead actor.

Fifth point: this show had awful writing. And that’s even without the Orientalism and pseudo Buddhism. However, this dissection will be focused on this point.

Warning(s): Death, drug overdose, needles, guns, violence (kinda slow violence but still), Orientalism, lazy writing, car crashes, mangling of Mandarin, drugging someone against their will, forced institutionalisation, ableism, plane crashes.

Opening is … eh, kung fu in slow-mo. On a mountain top. With stuff like black ink. Like Chinese calligraphy. Only without any calligraphy. Just the vague aesthetics of calligraphy. *sighs* This is going to be painful.

In the first bit, Danny Rand returns to New York and tries to get into his parents’ company’s building. It goes as well as expected. His ex-childhood buddies treat him like shit. (He doesn’t get shot for assaulting security officers–this article explains why.) He also does not know that people think he’s dead–after 15 years, who would have thought, eh? Action scene was kinda slow. His ex-childhood buddies are also greedy cynical capitalists, so they have no reason to believe him.

I have to stop to ask: Can someone please tell me why this guy is barefoot? Other than bad writing (bad characterisation and bad worldbuilding)? Shoes were invented a long time ago and while a lot of Asians take shoes off when they enter a dwelling, we understand the need to wear shoes outdoors. Someone will no doubt write a fic where Danny gives his shoes up to some other homeless person. But there is no reason why he should be barefoot in that scene.

(How did this guy get to New York anyway?)

Back to Danny Rand, trying to get back into his old place. Ah, his other skill is animal communications or something??? His ex-childhood buddy Ward was a douche way back when. Still is. It gets creepy because Joy lives in this house now, so DR looks like a stalker.

Homeless in the park with DR. Time for him to use his iPod and read a book written in … I can’t make out what language that is but I know what they want me to think it is. (Stereotyping: your mind fills in the blanks with pre-existing scripts. Lazy writing.) Unless someone can tell me that this book is significant in some way later on, I’m going to call it unnecessary window dressing for that “Asian flavour”.

image

Translation: the original comic creators were crusty old relics that wanked over the aesthetics of 70s kung fu movies and the producers and writers of this show are not much better. I kid–it could be line of poop emojis and we would never know.

In a scene that would have been much nicer without the extra window dressing, DR makes a friend. Big Al shows him Google search on an iPhone so that DR knows that people think he’s dead. His uncle is also apparently dead. The only person to be nice to him the whole day is another homeless person. Maybe we can focus on the plight of the–nope, not going that way.

The next morning, DR is very persistent. Joy feels (rightfully) harassed and calls people. That car-jumping scene was … um. Really extra. Let me try to articulate this, okay? This is 2017, people have access to decades of martial arts movies. (The Matrix was 18 years ago.) The action sequences in this show will compare very badly to those movies. So even people watching this for fight scenes will not be entertained.

First meeting with Colleen Wing, she gives him money and he mangles Mandarin without subtitles (for subtitles please look at gif set exhibit A under the link: white man polices biracial woman’s identity) and she says she hasn’t spoken it since she was a kid (rather than punching him for that). Man, if you wanted a job, you could have said so in English. Why do you suppose Colleen would know how to speak Mandarin?

image

This is so uncomfortable on so many levels. If magical K’un Lun is not of this world, then why would they speak Mandarin? If it was truly isolated in another dimension, then K’un Lun would have its own distinct dialect, like most regions in China and most countries. So DR speaking (mangling) Mandarin is also BS. (Not even talking about the yoga-like poses in the park.) This would mean so much more if it was Chinese American DR, who was never very good in Mandarin class, and Colleen Wing, who might be able to relate.

Back to the more douchy sibling and DR. Apparently DNA tests cannot be done because Danny has no living relatives. (That’s BS too, btw.) Way to be ableist, Ward. (The only thing I like is that major douches in MCU are named Ward.) However, Danny is not as peaceful as his initial appearance suggests. We get it, he’s traumatised by the deaths of his parents–why does it get expressed as him being rather violent in a car? Apparently he’s not out of touch enough to not know how guns work (or maybe all kids know how to use guns in the US or K’un Lun–I dunno).

More job-hunting in vain. It’s not like it isn’t obvious that a) she practices a totally different school of martial arts in her dojo and b) she doesn’t have the money to pay another instructor. Yes, kick him out, Colleen. That’s what he gets for trying to police a biracial woman’s identity–is he trying to flirt with her? Ew. (Colleen Wing obviously cannot afford to pay DR–her dojo is sharing space with AA meetings. But she gives him shoes. It’s almost as if everyone who is nice to DR in this show are not very well off and–yeah, it’s very unsubtle.)

Then DR gets attacked and chased into Chinatown (while Colleen Wing watches from above). Where a parade is happening. With lion dancers, dragon dancers and fire crackers and everything. But why? Is it Chinese New Year? What is the context for this? Can someone tell me why this is necessary? Or is this a way to claim that this show is diverse because there were something like 100 Asian extras in that scene? Way to endanger the lives of all the people in the parade, DR. Fight scenes are a yawn. Even though the mask DR is wearing in no way hides his curly mop of blond hair in this parade of Asian people–who do not notice the fighting at all.

image

(I feel that this scene is a metaphor for the whole show.)

On one hand, I hope the extras were paid a reasonable rate and had a good experience. On the other hand, I have a feeling that when it comes to telling the kids about how Mum/Dad/Second Aunt/your Cousin were extras on this show, it would come with the caveat that they shouldn’t try to be actors–because they’ll probably wind up as extras in a show (with not very good fight scenes) that needed a parade of Asian faces for reasons unknown. Representation matters.

(Story time: there were Chinese actors from my tiny state that tried to make it to Hollywood. Shanghai Knights was back in 2003 and Fann Wong is still mostly known as a local actress. Lau in The Dark Knight might still be Ng Chin Han’s biggest role to date in a major movie right after Captain America: The Winter Soldier. Currently, he’s got a part in Gh0st in the *hell–not sure if he gets more or less lines than in Captain America. Most parents here still don’t encourage kids to become actors because there’s so little room for them.)

Back to Ward, the more evil sibling who sends people to assassinate homeless dudes–he has reasons for being a terrible person. Reason number one being his dad (supposedly dead but still alive???)–who is probably why Ward is the nice cuddly guy he is. Wow, every baddie has a backstory. Probably affects plot in future. But is anyone interested? (I loved the art deco style building this scene supposedly took place in. Anyone know where it is?)

Remember DR’s one friend? His one friend is now dead of a drug overdose. Why? Maybe Big Al was around for for one Google search, some food and to allow DR to mouth some platitudes over his body? Or to highlight the plight of the homeless by ki–that’s really … really not good storytelling.

Security at Rand Enterprises is dreadful–DR has no problem sneaking in again. (Or maybe it’s that other thing.) Cut to Joy, the nicer sibling. Who is very calm for a woman that’s just found a strange guy in her office (again). Maybe it’s because she might believe him. Or is being swayed by his rhetoric. (”It’s a Zen saying” … gag me with a spoon.) His backstory is taking way too long … So Joy drugs him. I take everything back, she’s just as bad.

DR wakes to … a very troubling scene of forced institutionalisation at the end. As if everything else had not been bad enough.

Plot: It’s all over the place … Not sure if the writers know what DR is supposed to be. He has trauma, tries to be a pacifist but is really angry inside? What is the message here? Wall Street is evil? Problematic portrayals all over the place? The plight of the homeless and people with mental health issues? Not enough women with lines? Colleen Wing needs her own show with Misty Knight!

Orientalism: Check, aesthetics over substance, mangling of Mandarin despite the fact that DR has no reason to be speaking Mandarin, Zen sayings, yoga poses, a huge Chinese New Year-style parade in the background for reasons unknown (oooooooor they just wanted a certain type of backdrop for a not very good fight scene). One East Asian character with lines.

Asians in the background: around 100 of them perhaps, no lines, much firecrackers. Not sure if they were Chinese-American, Korean-American, Japanese American, Hmong-American … because they have no lines.

spoilers iron fist for the sensitive it has the potential to be very triggering i actually watched thisit was dreadful worse than anything the reviews prepared me for i struggled through one episodenearly yelled at the screen for colleen to just fucking punch this guy already orientalism

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*The conservative Christian boycott of Disney’s Beauty and the Beast is Hypocritical

http://www.patheos.com/blogs/friendlyatheist/2017/03/07/the-conservative-christian-boycott-of-disneys-beauty-and-the-beast-is-the-height-of-hypocrisy/

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*Tomato Lacochran just got fired from The Blaze. I had written about this no-nothing twenty something, who had the gall to wag her finger at Black people, about  subjects on which she hadn’t done her homework.

Naw! I’m still not calling her empty headed ass by her actual name.

 I also kind of thought of her as tofu. She’s the kind of person who has no real thoughts of her own, like an intellectual mimic, she just takes on the flavor of the strongest brain, in her orbit.

http://www.papermag.com/tomi-lahren-just-got-banned-from-the-blaze-and-the-internet-is-living–2331280605.html

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*On  representation in fandom:

http://uncannymagazine.com/finding-yourself-in-fandom/

*I am loving this analysis of The Hobbits from Lord of the Rings:

6) Tolkien’s hero was average, and needed help, and failed.

This is the place where most fantasy authors, who love to simultaneously call themselves Tolkien’s heirs and blame him for a lot of what’s wrong with modern fantasy, err the worst. It’s hard to look at Frodo and see him as someone extra-special. The hints in the books that a higher power did choose him are so quiet as to be unnoticeable. And he wouldn’t have made it as far as he did without his companions. And he doesn’t keep from falling into temptation.

A lot of modern fantasy heroes are completely opposite from this. They start out extraordinary, and they stay that way. Other characters are there to train them, or be shallow antagonists and love interests and worshippers, not actually help them. And they don’t fail. (Damn it, I want to see more corrupted fantasy heroes.) It’s not fair to blame Tolkien for the disease that fantasy writers have inflicted on themselves. […]

Fantasy could use more ordinary people who are afraid and don’t know what the hell they’re doing, but volunteer for the Quest anyway.

It’s misinterpretation of Tolkien that’s the problem, not Tolkien himself.

“Tolkien Cliches,” Limyaael

(via mithtransdir)

The whole point of The Lord Of The Rings… like, the WHOLE POINT… is that it is ultimately the hobbits who save the world. The small, vulnerable, ordinary people who aren’t great warriors or heroes.

Specifically, Sam. Sam saves the world. All of it. The ultimate success of the great quest is 100% due to a fat little gardener who likes to cook and never wanted to go on an adventure but who did it because he wasn’t going to let his beloved Frodo go off alone. Frodo is the only one truly able to handle the ring long enough to get it into Mordor – and it nearly kills him and permanently emotionally damages him – but Sam is the one who takes care of Frodo that whole time. Who makes him eat. Who finds him water. Who watches over him while he sleeps.

Sam is the one who fights off Shelob.

Sam is the one who takes the Ring when he thinks Frodo is dead.

Sam is the one who strolls into Orc Central and saves Frodo by sheer determination and killing any orc who crosses him. (SAM THE GARDENER GOES AND KILLS AN ACTUAL ORC TO GET FRODO SOME CLOTHES LET’S JUST THINK ABOUT THAT). And then Sam just takes off the Ring and gives it back which is supposed to be freaking impossible and he barely even hesitates.

Sam literally carries Frodo on the last leg of the journey. On his back. He’s half-starved, dying slowly of dehydration, but he carries Frodo up the goddamn mountain and Gollum may get credit for accidentally destroying the ring but Sam was the one who got them all there.

Sam saved the world.

And let’s not forget Pippin and Merry, who get damselled out of the story (the orcs have carried them off! We must make a Heroic Run To Save Them!) and then rescue themselves, recruit the Terrifying Ancient Powers through being genuinely nice and sincere, and overthrow Saruman before the ‘real’ heroes even get there.

Let’s not forget Pippin single-handedly saving what’s left of Gondor – and Faramir – by understanding that there is a time for obeying orders and a time for realizing that the boss is bugfuck nuts and we need to get help right now.

Let’s not forget Merry sticking his sword into the terrifying, profoundly evil horror that has chased him all over his world because his friend is fighting it and he’s gonna help, dammit and that’s how the most powerful Ringwraith goes down to a suicidally depressed woman and a scared little hobbit.

Everything the others do, the kings and princes and great heroes and all? They buy time.  They distract the bad guys. They keep the armies occupied. That is what kings and great leaders are for – they do the big picture stuff.

But it is ultimately the hobbits who bring down every villain. Every one. And I believe that that is 100% on purpose. Tolkien was a soldier in WWI. His son fought in WWII. (And a lot of The Lord Of The Rings was written in letters to him while he did it.)

And hey, look, The Lord Of The Rings is about ordinary people – farmers, scholars, and so on – who get pulled into a war not of their making but who have to fight not only because their own home is in danger but so is everyone’s. And they’re small and scared but they do the best they can for as long as they can and that is what actually saves the world. Not great heroes and pre-destined kings. Ordinary people, doing extraordinary things because they want the world to be safe for ordinary people, the ones they know and the ones they don’t.

Ordinary people matter. They can save the world without being great heroes or kings or whatever. And that is really important and I get so upset when people miss that because Aragorn and Legolas and Gimli and Gandalf and all the others are great characters and all but they are ultimately a hobbit delivery system.

It is ordinary people doing their best who really change the world, and continue doing so after the war is over because they have to go home and rebuild and they do.

If nothing else, I have to reblog this for the phrase “hobbit delivery system.” So accurate it hurts.

(via elenilote)

What I love too is how even the foretold king and the assorted great heroes themselves all come to recognize that their main (and by the end, only) role is to distract Sauron. To the point that by the end they’re all gathered up before the black gates of Mordor in order to keep his attention focused on them, with only the hope – not the certainty – that they can buy Frodo whatever remaining time he needs, if he’s even still alive.

One thing the movies left out but has always been such a key part of the books for me was how when the hobbits returned home, they found that home had been changed too. The war touched everywhere. Even with all they did in far-off lands to protect the Shire, the Shire had still been damaged, both property and lives destroyed, and it wasn’t an easy or simplistically happy homecoming. They had to fight yet another battle (granted a much smaller one) to save their neighbours, and then spent years in rebuilding.

(via garrusscars)

In many ways, the entire POINT is that homecoming.

A quest, an adventure, is defined by the return home, and the realization that not only have YOU changed, so has your home.

(via mymyriadmusings)

“My friends, you bow to no one.”

(via sorrelchestnut)

Even more relevant today.

notanecromancer)

lotr

 

*And on a lighter note:

We have a twitter here too: https://twitter.com/IntrovertUnite. See some of you there?

We have a twitter here too: https://twitter.com/IntrovertUnite. See some of you there?

Next up : Some amusing stories from Tumblr

Random Subjects from Tumblr

*Now that television is getting used to the idea of interracial couples, its time for writers and creators to start moving away from the idea that interracial couples only consist of a white person with a PoC.

Prompted by [a question] about interracial couples in media, and the prevalence of White/PoC couples instead of PoC/PoC couples, I started a list of [Interracial Couples Without White People] in live action television. By the suggestion of an anonymous person, I’m opening three new lists.

Note I: If you send me a couple for the list, please tell me their ethnicity in your message.
Note II: the ethnicities listed below each pairing are those of the actors’, not the characters.
Note III: mixed-race, white passing actors are totally counted as long as they consider themselves non-white, even if the movies whitewashed their characters.

Interracial couples between PoC in movies

  • Hitch/Sara in Hitch.
    (Black American/Mixed Cuban latina)
  • Dom/Lettie in the Fast franchise.
    (Mixed Black/Mixed Dominican&Puerto-Rican latina)
  • Cinderella/Prince Christopher in Cinderella (1997).
    (Black American/Filipino)
  • Trish/Han in Romeo Must Die.
    (Black American/Chinese)
  • Mika/Raizo in Ninja Assassin.
    (Black British/South Korean)
  • Patience/Thomas in Catwoman.
    (Black American/Peruvian Mixed Latino)
  • Alonzo/Sara in Training Day.
    (Black American/ Mixed Cuban latina)
  • Demetrius/Mina in Mississippi Masala.
    (Black American/British Indian)
  • Marcus/Lucia in Our Family Wedding.
    (Black American/Mixed Honduran latina)
  • Ben/Emily in Seven Pounds.
    (Black American/Afro-Cuban&Puerto-Rican latina)
  • Jay/Audrey in Descendants.  
    (Mixed Japanese-Chinese-Korean-Blackfoot American/Mixed race*
    *she might be Afro-latina but she’s really only recently started getting substantial roles so there’s just not much on her)
  • Collins/Angel in Rent.
    (Black American/Puerto-Rican mixed latino)
  • James/Laura in Men In Black II.
    (Black American/Afro-Cuban&Puerto-Rican latina)
  • Adonis/Bianca in Creed.
    (Black American/Afro-Panamanian&Mexican latina)
  • Kay/Robby in The Sapphires.
    (Australian Aboriginal/Black American)
  • Dell/Talia in Larry Crowne.
    (Colombian mixed latino/Black South-African British*
    *they’re a background couple, but still!)
  •  

Keep reading

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*This is a video from Al Jazeera on Japan’s suicide Crisis and how Buddhist Temples (and others) are attempting to combat this issue. 101 East is a series of videos, produced by the Al Jazeera network, covering various social issues across the Asian diaspora. Having had my own bouts with mental illness, the suicide crisis in Japan (and across the world) had always been of specific interest to me. People doing the work of suicide prevention are awesome and truly serving their fellow human beings.

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*So, what we have here are White people, who want to practice a closed ancestral religion, that only exists because of the atrocities that were committed by their ancestors, in the first place. Can I just chime in to say that’s a  horrible fucking idea? I’m not even a proponent of any of these religions and I can see that. And how rude is it to call on the ancestors of the people who once served, died, and were tortured and raped by your ancestors, to attempt to get them to do your bidding? Yeah, go for it if you want to fuck up your whole life and curse your family.

anonymous  asked:

So i was talking to a white witch about Haitan Vodou and they were promoting that white people should be able to practice it, after a long dicussion their conclusion to my points were “i hate white people” and that it’s basically okay to summon the ancestors of oppressed people by the oppressors because “not all white people have oppressive ancestors”

afrocentric-divination  answered:

If those white people have ancestors that weren’t oppressive (which is possible but very unlikely), then there is a chance they came from across the sea on their own and not with Columbus and them, meaning their people came from europe, and there are plenty of religions there. And even if they’re ancestors lived through slavery times and never bought a slave, that still doesn’t give them the right to practice. White people always try to twist things so that it can be ok in their eyes to do whatever they want.

In conclusion, remember white witches, 🗣Just because you contact your ancestors does not mean it is vodou  🗣and 🗣Don’t contact our ancestors, they are not your ancestors, they are ours 🗣

(White witches also forget that our ancestors are petty, they will listen to you and say hi and all that, and then fuck your shit up. Don’t try it)

I’m sorry, I just have to comment like this doesn’t even make fucking sense lol. If you have no connection to our ancestors why are you summoning them? It’s not like Gods & goddesses. They aren’t your gahdamn ancestors. Get over it. Why the fuck do y’all never in your lives develop the capability to understand when things don’t belong to you? It’s elementary school shit. Every other poc practice is mostly okay with each other. Y’all are the ONLY damn ones that always feel the need to insert yourselves where you don’t belong, the rest of us mind our own business or enter a practice the right fucking way. That’s why you’re never welcome.
on top of the damn fact that our ancestry is heavily rooted in slavery perpetrated by YOUR people. Like why do you even WANT to mess with that?

Black ancestors were the ones who hid our gods in their mouths through the horror of the Middle Passage and, when they reached darker, more treacherous shores, they let them out in tiny puffs of air. Prayers here, songs there. Lines scratched into dirt in mud houses, away from prying eyes.

It is Black ancestors who, when white (and other) slave owners tried to crush our gods underfoot, hid them behind a panoply of saints. The halos and the bright robes were bright enough that those slave masters never truly saw the expansive, towering nature of the ones who walked with us. Who still walk with us.

It is Black ancestors who, now that we have shifted into a new era, are coming forth, filled with vigor. Empowered as more of us begin to recall their names or, simply lend them energy by acknowledging their existence. We remember. Ancestors are an outstretched hand to us, one that we can grasp simply by calling upon them. One that we can hold through careful cultivation of our bond.

Like, don’t you understand? Our gods are powerful but so are the ones who came before us. Who built bridges for us upon their whip-scored backs. Whose sacrifice – which in many cases, was their very lives – is what gives us enough air in our lungs to call upon them in the first place. For those of us who remember, it is a source of infinite strength that keeps our backs straight and our heads held high. Our ancestors bring with them the force to make things manifest so that WE don’t get crushed underfoot when wahala comes.

And you, oyinbo witch who thinks of divinities like fruit on trees, ripe for your plucking and consumption, you think you can safely tap into that?

Don’t.

Dip a toe into the ocean of our strength and you’ll get dragged beneath the waves. You don’t want to know what waits for you in the ocean deep.

*And some responses to this:

This shit is wild to me white people are literally continuing oppression in others afterlife?!? Like summoning our ancestors would imply you are looking for exchange or favor or something. Which why would you demand that from black ancestors trying to rest from the terror of living with white folks?!! What. That’s horrible.

afrocentric-divination:

This literally is not about skin color, I don’t understand why you’re purposely being so fucking obtuse about this, @insanewitchking.  Yes, we have common ancestors and shared ground, but you need to remember that some of us have shared ancestors and common ground because of systematic racism, institutional violence, and rape; and in this case, we did not choose to share ancestors or ground with you.  They were either taken from us or forced on us. You don’t get to claim heritage to ground and traditions that you murdered your way into, tried to eradicate, and demonized.  If you need an example, the Trans-Atlantic slave trade, the Trail of Tears, and colonialism as a whole are all good places for you to start.  And if you can’t understand that, then please educate yourself and stay the fuck off posts that don’t fucking pertain to you.

We are not telling you “you can’t practice this because you’re white”, we are saying “do not practice this without going through the proper initiatory channels because you are disrespecting an entire culture, group of people, and spirits otherwise.”  Afro-Diasporic traditions like Vodou, Santeria, Palo Mayombe, etc are closed.  They belong to specific groups of oppressed and marginalized peoples, and understanding the historical and social context of those people is crucial to properly practicing the religion.  Again, see the above paragraph to understand why this is important.

But if you want to be a privileged, disrespectful asshole, and cry your precious White Tears™ because a group of Black people are politely explaining to you that it’s oppressive, inappropriate, and possibly dangerous for you to just randomly start contacting our ancestors, whose oppression you benefit from as a white person, you are the one who isn’t right in this situation.  This is literally why certain religions are closed–to keep ignorant ass clowns like you from interjecting yourself into circles that you’re not a part of.  We’re trying to educate your stupid ass, but if you want to talk over us, and learn the hard way about poking around in shit that you have no business messing with, by all means, tell the ancestors that “We’re all from Africa originally.” and “All Lives Matter” and “All races have done terrible things and we should just all not be racist.” and that “I don’t see color.” and see what fucking happens.

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This photo needs captioning, immediately!

Here! Have some introvert memes! And  please visit the IntrovertUnites website. Its a fun site with lots of information on being an introvert, what it is, how to take care of yourself, how to be in relationships as an introvert, etc.

This is my personal favorite and is highly accurate. (Don’t be calling me out the house after I sit my butt down for the evening.)

We have a twitter here too: https://twitter.com/IntrovertUnite. See some of you there?

 

Yeah, this one is about right, too. I hate small talk, and trying desperately to remember where the hell I know you from.

We have a twitter here too: https://twitter.com/IntrovertUnite. See some of you there?

 

“Meaningless ritualized social interaction” were the exact words I used to refer to “small talk” when I was about fifteen. I have simplified things as I’ve gotten older. Now its just called “mindless yammering”.

We have a twitter here too: https://twitter.com/IntrovertUnite. See some of you there?

 

 

We have a twitter here too: https://twitter.com/IntrovertUnite. See some of you there?

 

We have a twitter here too: https://twitter.com/IntrovertUnite. See some of you there?

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And just to lighten things up a bit, here’s some Chadwick Bozeman, my future  ex-husband:

 

 

Tumblr Humor # 247

*Why does no one think it at all strange to be gluing appliques on their baby? And what about gluing shit on boys? How about little bow-ties, since we’re going for that whole gender essentialism thing?

brainstatic: “Tired of your baby girl being seen as a genderless imp? Afraid strangers might not recognize your sexless proto-human as the soft femme heartbreaker she is? Well now you can glue some shit on her head! That’s right, just glue some...

brainstatic:

Tired of your baby girl being seen as a genderless imp? Afraid strangers might not recognize your sexless proto-human as the soft femme heartbreaker she is? Well now you can glue some shit on her head! That’s right, just glue some gender conformity right onto her unclosed fontanelle! Say goodbye to awkwardly explaining that no, despite her bald head, your androgynous poop machine is actually a demure coquette! Glue your fucking baby today!

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*Once I sit down in my house, that’s it! I’m not having any more interactions with ppl for the rest of the evening. And no, don’t  even be in my neighborhood.

We have a twitter here too: https://twitter.com/IntrovertUnite. See some of you there?

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*I think it might have been a mistake for NASA to ask for suggestions on this. I mean they’re talking to Americans and I think we invented snark.

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*This is the most plausible explanation, I’ve ever seen, for why people don’t recognize Clark Kent as Superman, and its not the eyeglasses:

raptorific:

I still think it’s hilarious that the reason nobody ever figures out Superman’s secret identity or where he lives or what he does when he’s not saving the planet, is because he already told them all the Kryptonian stuff that can’t be tied to any of his human friends or family. I guarantee you the in-universe wikipedia article on Superman lists his name as Kal-El and the “personal life” section says that he lives full-time at his private fortress of solitude at the north pole. Nobody in the world looks at Clark Kent and thinks “oh my god, maybe he’s superman!” for the same reason nobody ever starts to suspect that their coworker who looks KINDA like Barack Obama is actually secretly Barack Obama – They know who Barack Obama is and know what he does and they know their coworker Greg is Greg and not Barack Obama. They have no reason to assume Barack Obama secretly moonlights as Greg The IT Guy at their workplace even though they’ve never seen Greg and Obama in the same place. At best, “Greg is secretly Obama” would be a running joke at the office, and the same is true at the Daily Planet. “Kal-El of Krypton, who lives in a CRYSTAL PALACE at the NORTH POLE and whose dayjob is SUPERMAN, sometimes puts on a suit and pretends to be a clumsy reporter and lives in a one-bedroom walkup in Metropolis” is a ridiculous concept to anyone who doesn’t already know it’s true

@unpretty

“Hey, that— that guy, in the corner, is that— is that Superman?” 

Clark looks up from his computer at the new intern. “Oh, no,” he says. “You caught me.”

“Clark, you pull this shit every time, man,” his desk neighbor Steve says. “Shut the fuck up.”

“No, the kid’s right, I’m Superman,” Clark says. He gets out of his seat and cracks his back out. “I guess we’re gonna have a superhero fight.”

“Clark, sit back down.”

“Nope. Superhero fight.”

“Clark if you don’t sit the hell back down and finish your article by lunch I am going to tell Perry on you.”

Clark points at the intern. “You get off easy this time, buddy,” he says, and sits back down.

“So…” the intern says, very lost. “Uh…”

“That’s Clark,” a slightly older and more experienced intern says. “He’s Superman’s asshole twin.”

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*This is, very possibly, one of the best reviews of Fences.  Ever! Or, as clueless White people at awards shows like to call it, Hidden Fences!

Art Art by John Ueland

 

Source:
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And you know Black Twitter couldnt let that Hidden Fences comment pass:
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*And finally , I laughed too long and hard at this discussion, with Black people refusing to tell White people what “Take the L”, actually meant, and basically trolling  them.

poonpie:

dope-lore:

poonpie:

For those who don’t know, ‘take this L’ refers to the Longitude and Latitude of a map. When you have to take an L, you need to locate your Longitude and Latitude. By doing so you will discover how far out of your lane you fucking traveled.

I thought the L stood for log like logarithim cuz u gotta do a complicated problem to figure out who the fuck u think ur talkin too

You’re actually not wrong. Originally it referred to the Latin word ‘lūcidus’ which means ‘radiating light’. Therefore, when you need to take an L, you must enlighten yourself on where you got me fucked up.

Random Tumblr Shenanigans #15

This video made me laugh so hard. If you’re unfamiliar with the philosophy of White Fragility, then here’s a link to the White woman who coined the term: Robin D’angelo.

http://libjournal.uncg.edu/ijcp/article/viewFile/249/116

And here’s a video lampooning White Fragility:

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Okay, this video is just begging for a caption:

Uhmhmmm, yeah, that’s it! The red tulle with the…Oh, uh hello “hooman”. I didn’t see you there. I was just putting this back…you left it on the floor..I’ll uh…just be over here then…

Please feel free to add your own captions!

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#11 is definitely not the typse of White person you  wanna be friends with, tho’, even if that is your current aesthetic.

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*This is a long one and is going to take a minute or two.

Now, normally, I would never have printed this entire review here, but the person who wrote this, has a deactivated account, and someone else published this on Tumblr. If anyone knows the original poster, and wants me to remove this from this particular site, I will.  In the meantime, this will stand as one of the most intelligent, and astute, meta of a Science fiction movie, I’ve ever read. Whats really impressive is that there’s no fan-wanking. They didn’t pull this review completely out of their  backside:

Meta: Snowpiercer

My [scattered] thoughts on Bong Joon-ho’s Snowpiercer. This was originally just a defence of the film’s ending—which I’ve seen widely criticised—because I think it’s brilliant and necessary and worth defending. But… then there’s everything else.

THIS IS AN ALLEGORY

A lot of discussions of Snowpiercer I’ve seen have been very literal, which I think is a terrible way to read this film when so much of it is densely allegorical. The train at its centre is a clear allegory for capitalism [I’ve seen this rejected so here’s the director saying it himself this is a film about capitalism]. It’s capitalism: what was promised as an ark of salvation but became a barbaric prison for all but the very privileged.

And it’s a capitalism so advanced that the illusory crutch of money has disappeared—this system deals directly in human flesh. The “alienated labour” of Tail Section is a constant supply of children fed to the machine. At the same time, the system tames the body politic by literally marking and mutilating the underclass: the flesh of almost every soul in Tail Section bears the scars of being “consumed” by each other and the regime.

That anti-capitalist sentiment concentrates around Tilda Swinton’s Mason, a character that without doubt invokes Margaret Thatcher, the widely abhorred UK prime minister who ushered in neoliberal capitalism in the 1980s. Thatcher was born to a northern British lower-middle-class family, and was mocked for her jutting teeth and large nose; she spoke with a broad loamy Lincolnshire accent until elocution lessons got rid of it [x]. Thatcher’s policies crippled British industries [including, yes, the railways] and caused incredible suffering to working-class people.

In the film Mason originally boarded the train as a lower-class citizen and over the years was groomed by Wilford to become minister [x]—she’s also a class traitor. Mason presides over the the violence & suffering inflicted on Tail Section inmates, as Snowpiercer accelerates the system so that capitalism’s slow violence becomes bloodsoaked brutality in real time.

Within capitalism crisis isn’t an accident; it’s endemic. Capitalism is untenable and inevitably manifests cycles of boom and bust; the illusion of harmony followed by violent rupture. It’s almost like clockwork—and the train itself is a clock, circumnavigating the earth once every year, ticking down to the next scheduled uprising.

Capitalism’s genius is its ability to co-opt every attempt at resistance; every revolution is engineered within the system, with the permission of the system, according to terms defined by the system. Which is why the exploitative conditions of capitalism—its visceral and mundane horrors—have persisted for so very long: they seem to be driven by a “sacred engine” which will run perfectly forever.

“We control the engine, we control the world.”

But revolution’s not impossible. Curtis is an honest Marxist revolutionary who believes in the righteousness of his cause, setting out to seize “the means of production”—the engine itself. And as a creature of the train he knows how to topple from the inside, how to turn the system’s material reality against itself.

Snowpiercer lets you see only what Curtis sees as he moves forward and forward. Maintaining an artificial hierarchy relies on an artificial reality—“false consciousness”—in which none of the classes perceive the material reality of other classes. The lower classes are socialised to keep their place, to “be a shoe”. The upper classes are socialised to believe in their natural superiority to the underclasses. By breaking down divisions & doors, remaking the train into one long continuous system, Curtis—for a moment—collapses the artificial hierarchy. He’s the first person to walk the full length of the train.

HE’S NOT THE MESSIAH…

— “My friend, you suffer from the misplaced optimism of the doomed.”

Curtis is essential to the revolution: he plots with Gilliam, he drives it forward, he realises that the guards have no bullets, it’s his strategy that gets the rebels to Prison Section; he’s on the frontline of the Battle, and he temporarily halts the bloodshed by capturing Mason. He makes the ugly decisions: he’s willing to keep others ignorant about the reality of the system, to censor what the Artist draws [i.e. what’s really in the protein bars], to seize political gains at the cost of lives [sacrificing Edgar to capture Mason; one life for many], to make brutal choices in service to The Idea.

At first Curtis is sold to the audience as an American hero, the noble but reluctant leader of the rebellion [the casting of “Captain America” in this role is slyly ingenious]. But Curtis is a creature of the train: he remembers nothing before it; he came into being as the man with the knife, the man who killed Edgar’s mother and was ready to butcher a baby, to extract use-value from something sacrosanct.

Consciously or not, he absorbed & replicated the system’s brutal exploitative logic. And even as he moves forward he’s looking back; he’s never moved beyond that horror seventeen years ago [x]. He’s still “the man with the knife”. He’s still the train.

Snowpiercer quickly collapses the idea of Curtis as a messianic figure. When he’s called upon to lead—in the Battle of Yekaterina Bridge, by Wilford at the Engine—his face & image blur, or he’s reduced to a faceless silhouette shot from behind. Curtis isn’t marked for greatness or “chosen” in any sense; he’s thrust into that role by a system which demands white male figureheads to elevate as false prophets. He’s not special; he’s just next in line.

Curtis isn’t the hero. Curtis is the inevitable crisis within the system. His chaos is as essential to the order of things as the brutalised lower classes and the debauched upper classes, and all the bureaucrats and apparatchiks and military thugs in between.

“Yes, Wilford knows you well, Mr Curtiss Everett. He’s been watching you.”

It’s hard to know if Gilliam did conspire with Wilford to bring about Curtis’s revolution; if Gilliam intended the revolution to fail but changed his mind after the Water Section, if he always intended Curtis to take Wilford’s place; or if all that was Wilford’s lie—Gilliam warned Curtis,don’t let Wilford talkcut out his tongue. Wilford’s knowledge of their conversation about having two arms strongly suggests that Gilliam conspired with Wilford.

But the ambiguity is the point: within capitalism you’re never certain that any “resistance” hasn’t already been co-opted and repurposed and undermined by the system you’re trying to escape.

When Curtis reaches the Front Section he falls to his knees before the Engine, overwhelmed and awed and horrified—the same quasi-religious fervour shown by Wilford and Mason. It’s reminiscent of Coppola’sApocalypse Now and Conrad’s Heart of Darkness, when the journey up river culminates in a view of the unseen tyrannical figurehead, an awesome and shameful creature. Curtis is the train; is the system; is Wilford’s natural & inevitable successor, the white-man heir to his throne. The man who can ensure the system’s survival and oversee the next generation of subjugated souls. Edgar inadvertently predicts this at the very beginning:

“What I mean is he’s gonna die someday. And when that happens you’re gonna have to take over. You’re going to have to run the train […] I think you’d be pretty good, if you ask me.”

Curtis’s revolution serves the system it threatens—helps to fulfil the killing quotas to keep the population down. Keeps the fishtank in equilibrium.

By sacrificing his arm to stop the train and free Timmy, Curtis begins to make amends for his crimes seventeen years ago. But he’s only ever half-redeemed. He can’t ever escape, and his violence will always be reabsorbed back into the social order, drained of all its subversive power.

Most crucially, Curtis doesn’t believe in life outside the train; that survival is possible, that the result would be anything but death and annihilation. He can only imagine the train. The irony of the word “revolution” is that it describes a circle, like the endless turning of the Sacred Engine—round and round and round, forever. That would be the legacy of Curtis’s revolution—if it weren’t for Nam.

CHILDREN OF THE REVOLUTION

Fundamentally, Snowpiercer is a film about parents and children, the legacies of generations. Parents should strive to leave their children the best possible world; but today’s children inherit the ideologies and inequalities and injustices of morally bankrupt predecessors. They inherit a world threatened by global warming and environmental collapse, thanks to the rapacious plunderings of capitalism.

Worse, children are taught to adore that monstrous world. Perhaps the most disturbing sequence in Snowpiercer takes place in the school car, a grotesque hypersaturated parody of a classroom environment.

You see the next generation of Front Section children taught to worship the Engine and its messianic Conductor, immunised to the violence and horror that system wreaks [in the first shot of the classroom all the children are faceless; dehumanised, as though not real children at all].

And the hand gestures they make in reverence to the Engine are the same gestures made by Tail Section children who become dehumanised organic-mechanical parts of the Engine. This is how propaganda works: it condenses an entire ideology into a few visual or verbal signs that can be replicated ad infinitum. And these privileged children are unwittingly complicit in the subjugation of Tail Section children. The system dehumanises everyone, front to tail.

The teacher responsible for “breeding” this ideology is pregnant, a symbol of perverted maternalism—a next generation already corrupted. She parallels Wilford, who sought to make Curtis the son and heir to the corrupt system. Curtis, too, is a failed father: he sacrifices his symbolic “son” Edgar in order to capture Mason; and the “new world” he intends to create for the next generation will look identical to the last. [Had Curtis died at Yekaterina, it seems clear that Edgar would’ve been groomed by Gilliam to lead the next revolution.]

On the other hand, Tanya is a brave and brilliant mother who fights and dies for the cause.

But she’s never reduced to a maternal figure: she’s a fierce revolutionary who fights and survives the Battle of Yekaterina Bridge [where dozens die], and who drives Curtis onward. Her beating by the soldiers is meant to invoke the beating by police of Rodney King which sparked the LA riots of 1992, another citizen uprising against oppressive violence [x]. In Tanya the personal and political are wound together: in her mind, political resistance and freeing her son are one and the same goal—she wants his liberation, in every sense.

And Namgoong is the real father of the revolution, Snowpiercer’s radical imagination. Before Curtis finds them, he and his daughter Yona exist in a liminal countercultural space within the train, taking hallucinogenic drugs rather than experience its horrific reality.

Namgoong is not interested in the Sacred Engine—his ideas are “above Curtis’s” [x]. Nam cares to see the world beyond the train; he knows that the conditions which “required” the train’s creation have begun to recede. Nam protects Yona at all costs; and once they pass the Water Section he begins to plan their escape. He demands more for his daughter than the same system in new [white] hands.

[This was the moment I knew that Yona was going to escape the train.]

The Front Section children, brainwashed and monstrous and overwhelmingly white, contrast with the young people and the “train babies” of Tail Section, who are brave and brilliant and largely not-white. These children of the underclass have also been lied to: they believe the world outside can’t be survived; that the mutilated world of the train is all there is. Edgar even hero-worships Curtis, the man who murdered his mother and tried to take a knife to him.

Most importantly, they’ve been lied to about the Engine. It’s not perfect and divine and eternal; it’s a broken defective thing that survives only by the subjugation of train-babies. The Front Section children are bred to prop up the system, the train-babies—bred to be actual cogs in its diabolical machinery—are its downfall. They are the heart & life of the revolution: when Grey is murdered, it’s with the knife that’s stabbed through his hand—he dies with his hand over his heart.

At Yekaterina Bridge, where the revolution was supposed to die, the spark of resistance comes from Chan’s little hands striking a match in the deep dark at the very back of the train.

He passes the torch to Andrew, but it’s Grey who multiplies the burning torches until the fire’s hurtling along borne by many hands of many rebels.

The desperate cage of the downtrodden written in Grey’s tattoos—surrender or die—becomes the choice he presents to his oppressors when he rises up against them.

YONA

And most important of all is Yona [“Yona” is a form of the name “Jonah”, the biblical prophet]. That revolutionary fire begun in Tail Section becomes explosive in Yona’s hands when she blows up the gate to the outside world. It’s Yona, not Curtis, that the brutal implacable killer Franco the Elder tries to shoot through two windows when the train curves.

Yona is Nam’s revolutionary legacy. Her clairvoyant eyes see through the barriers he’s made, see through the bars of the cage, see the coming violence. Psychologically, she is already “outside” the system. And with the Kronol Nam & Yona create the means to physically escape the train.

That escape means blowing up the door, the event which triggers an avalanche and destroys the train. The new world comes at terrible cost—and Snowpiercer doesn’t flinch from that. This is the radical message of the film: ideology is never just abstract—its injustices & brutalities are decreed by human mouths and wrought by human hands—and the adult revolutionaries who can bring down the system are too compromised to do anything but replicate the very thing they destroyed.

Curtis can’t be part of the new world. He has to die with the train. So does Nam: he created the protective inter-carriage doors which allowed class segregation to last for so long. Snowpiercer is determined to show the kind of sacrifices that might be demanded to bring down a system as resilient and as monstrous as this. This film is not remotely fucking around.

The only survivors of this collapse are the train-babies Yona & Timmy, who emerge from the burning wreckage of the train like phoenix-children. A clean break from the dominance of the old order and its white patriarchs. They’ve never touched the earth; and when they step outside the train it’s as though they’re the very first humans alive. This is the real “sacred engine” of Snowpiercer: nature itself. A beautiful brutal state of chaos and freedom and life and death. Cold and cleansed.

The end of Snowpiercer seems like a desolate vision: in literal terms, the children’s chances of survival are almost zero. But the film is an allegory, and in those terms the escape from the train is hopeful: these two children, a new Adam & Eve setting foot on frozen pristine ground, can repopulate the earth [x].

The polar bear which stares them down is a threat; but it’s also proof of life outside the prison of the system. [Bong originally intended the animal to be a deer, but the polar bear is a contemporary symbol of global warming and its consequences, making its survival a happy irony.]

This last scene suggests that white Westerners are too compromised and complicit with the capitalist system to bring about its downfall—inevitably, they will shore it up as “the lesser evil”. True revolution against capitalism must come from elsewhere. [Yona’s words to Curtis could be the film’s words to America and the West at large: “you’re fucked.”]

Snowpiercer is one of the very few films willing to imagine what might be necessary to bring down capitalism—if not literal fire and blood, then real destruction and suffering—and to ask, honestly, if it’s a price the generations currently in power are willing to pay for the sake of a planet staring down ecological catastrophe; and for their children, the real-world “train babies” who will inherit the earth.

This is a lot of what I saw in the film too.

 *This is a lot of what I saw in this movie too. I saw more of the racial angles, than the realtion to capitalism, but the review comes by its ideas ogically, and there are clear parallels to the real world in the movie.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tumblr Getting Serious

Here are some of the more troubling conversations occurring on Tumblr.

*Okay, anytime you have Dan Rather tapping his keynboard with hysteria on Facebook, (and yeah, this is Dan’s version of hysterics) you know you done fucked up!

Dan Rather Facebook Post (2/14/17)

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*Actually, I’ve sen this particular behavior all over the internet. Its especially prevalent in trolls and other assorted assholes, who like to think that if you can’t calmly discuss your life as a marginalized person, with someone attempting to devalue that life, that your opinions are invalid, and therefore, they have just won some kind of argument that no one was trying to have.

That and Portnow’s statement is just nonsensical.

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*Things like this basically amount to the erasure from History, of any contributions to culture that PoC may have made. This is why information like this matters, because when people don’t know this stuff, its easy to argue that we never did anything, that we’ve always been nothing but victims, and never contributed to the cultures we inhabited.

It is important not just that White people see these images, but that Black people see them, too because this isn’t so much about winning White people’s approval, as it is a celebration, and recognition, of our accomplishments, which counters the narrative of worthlessness that White supremacy insists on disseminating throughout the world.

Britain’s Biggest Secret – The Black Victorians

purpleolifant:

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Pictured above is the Higdon family. This photograph was taken in the year 1898 in Britain. That is all we know about them.

Who were the Black Victorians? Mainstream history has virtually erased them from our minds and history books. We have been filled with images of slavery in America and across the world, but why is it that this chapter in black history was skipped? Why isn’t it equally common knowledge that in the midst of all of that darkness there was light, also.

Never before seen photos were uncovered, giving us over 200 images of glances into our past. Many of the photos did not include names or any details whatsoever, cloaking these people in mystery for all of time.

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At one point in history, people of color were included in high society and walked the cobbled streets of Britain. The women wore intricate, voluminous gowns and wore their hair in curls and chignons. The men in suits and fair business. This may not have been the case for all black people in Britain, but for some it was.

The Victorian Era was ruled under Queen Victoria, an era that is described as an opulent culture, although there were underlying bouts of poverty and child labor. History would like you to believe that black people didn’t arrive in Britain until 1948 during “The Empire Windrush”, when many Jamaican descendants entered the country, but that is not so. There has been proof to suggest otherwise. There is documentation that proves that it wasn’t uncommon to see black faces at a Shakespeare show. We’ve been there all along, humming softly in the background.

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These images prove that you can’t take mainstream history at face value. Take the time to look behind the curtain and uncover OUR history. It’s as if our ancestors are just waiting for us to seek them out.

Who were the Black Victorians?

To see more of these images check out this video reel.

https://www.youtube.com/watch?v=08mwrYUzPqI

Happy Black History Month.

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*On Racism in Fandom, and choosing, or not choosing, a side:

If you stand for nothing, what will you fall for?

thecheshirecass:

Forgive the cheesiness of the Hamilton quote, but when it comes to fandom, this is a question that all fans (but particularly white, cishet fans) need to ask themselves.

Make no mistake – when it comes to the treatment of marginalized fans, especially fans of color and in particular black fans, there is no such thing as neutrality. The sides are established by the racist, homophobic, and transphobic members of the fandom, and it’s your choice whether you are on their side, or the side of the marginalized. It’s a simple question – will you be on the side of the oppressor or the oppressed?

When it comes to harmful and oppressive behavior, you cannot simply sit back in silence and watch the horror show go by – silence is violence and when you do not speak out, you quietly condone bad behavior. Is that fair? Maybe not, but neither is life.

I’ve seen the argument over and over again that people don’t want to “engage.” Fandom is their escape, their safe space, where they go to forget the troubles of the real world – which would be fine if you didn’t’ also bring the biases and cultural baggage of the ‘real world” with you to fandom. It would be fine if your safe space didn’t come at the expense of the marginalized BUT IT DOES. When you ignore our mistreatment you condone it, and your escapist fantasies hinge on us quietly taking the abuse meted out by shitheels like  @geeky-jez, @adjectivebear, and @oldstupidtemplar.

Now, does this mean you have to constantly make callout posts? Nope, not even close. But there are plenty of us who do, or who discuss the racism and other faults inherent in fandom on the regular. Don’t feel personally up to leading the charge when it comes to fandom’s terrible behavior? Well then it’s time to share the voices of those who do. Your lack of input on any given issue leaves marginalized fans wondering where you stand – relogging our words, NOT sharing the content of problematic members of the community, and generally trying to be aware are basic steps you can take to show your solidarity.

Like it or not, you are going to be on a side, so make sure it’s the side you genuinely want to be on.

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*Actually, I’m hoping this essay isn’t true, and that Rosita was just being salty with Sasha, because the alternative is too painful to contemplate. Everyone was able to save Sasha, but I’m getting a very bad feeling that no one will be able to save Rosita.

Rosita was salty AF because Sasha got the Michonne treatment.

helenasmirkedno:

melanie91bunnylovr:

fangirlnovel:

Rosita was salty AF because Sasha didn’t just sleep with Abraham.

He was in love with her. He wanted to spend the rest of his life with her. He wanted to make her full of his babies. She was his lady.

And Rosita was someone he used to fuck.

Rick’s gonna officially marry Michonne.  As soon as they find Father Gabriel, I am telling y’all.  He has the same heart eyes Abe used to have Sasha, or Glenn had for Maggie.  And Michonne’s whispering about how they’re the one’s that live.

I mean, that is it for them–there is no one else.  Rick knows it.  Michonne knows it.  Y’all know.

I like rosita and everything but she was getting on my last nerve this episode

I hate how bitter & reactive Rosita’s character is being written the last few episodes. Sasha is not her enemy and the writers shouldn’t be forcing cattiness on her from Rosita.

Rosita isn’t “salty” or jealous of Sasha.

She’s going through the last stages of deep depression right before a suicide attempt, (-pushing people away, fatalistic mindset, etc).

Negan beat Abraham to death and then after failing to goad her, beat Glenn to death and took Daryl.  Then when she tried to commit suicide by Negan and take him out at the same time by shooting him, it backfired and Olivia was killed instead.

That scar she carries on her face is emblematic of that deeper pain.  In the scene where she received the scar, she was literally daring Negan and Co. to kill her for her mistake, and they didn’t.  They killed yet another person on her watch, while she lives with it being, in her mind “her fault”.

I’m honestly, disappointed in the line of thought in this post, because it might come from a similar place to the lack of empathy we’ve witnessed for Sasha’s pain.  Shs was called all kinds of bitter, annoying, angry, when really she was just hurting; going through her PTSD.  …All because she’s a black woman.

Rosita isn’t some basic angry “fiery” jealous Latina, mad because she was jilted… She’s beenbeyond that.

Every line she gave was a sign of a defeatist fatalistic mindset.  What’s the use trying because it will go wrong anyway.” The unspoken train of thought is that people died and will continue to die, and she’ll probably have a hand getting those people killed.

That’s why she spoke to Sasha and Morgan in that way she did about the deaths.

It’s also probably the reason why she stashed that bundle of dynamite, because she’s planning on rectifying her “mistakes”.

Rosita isn’t jealous or mean or a being an annoying bitch….

SHE’S BEING SUICIDAL, because she hates herself for what she sees as her role in getting the people she loves killed. If you were paying attention to the episode where Denise got killed, she actually read Rosita correctly, right before that arrow went through her head (yet another lost life on Rosita’s conscience, where she probably thinks she didn’t push the issue enough of her staying behind).

Rosita is a deeply sensitive empathic person, who gives everything to everyone else.  That’s why she’s acting this way.  ….She can’t have people caring enough to get themselves killed for her again (hell, even Spencer’s sorry ass was another one she thinks is on her, because she was the only one with clues to what he would attempt).

Her whole M.O. for who and why she’s survived this long is her love and caring for others. Her selflessness, to the point where it just wasn’t emotionally healthy.  …But, it helped her survive the zombie apocalypse.

Everything that you see Rosita doing, is her purposely pushing people away so they won’t miss her when she’s gone after she “corrects” her “mistakes”.

We know what it is to see WOC’s pain dismissed because of super-basic and wrong unfeeling, bitchy stereotypes.

Can we not do that to Rosita?

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*MikeyMagee breaks down why La La Land, while a perfectly acceptable movie,  isn’t nearly as groundbreaking as people would have you believe, relying as it does, on the safety of White nostalgia, for its accolades.

mikeymagee

Anonymous asked:

Can I ask you why do you hate La La Land? I mean, I loved Moonlight too, but I liked La La Land a lot more.

Let me start off by saying that I really enjoyed La La Land. I didn’t hate it at all. I enjoy old Hollywood films. I liked Singing in the Rain, and Meet Me in St. Louis, and Victor/Victoria and Rogers and Hammerstein musicals. And as an homage to those kinds of films, La La Land was wonderful

But…that’s about all it is. La La Land (while nice for what it is) wasn’t anything innovative, or new. Instead of breaking new ground it instead returned to an old past that prided itself on exclusion (and let’s be real, old Hollywood was all about excluding nonwhites and LGBT individuals.)

And the movie approaches all of its subjects  from a very Eurocentric perspective. It’s a very white film, and that was very apparent as I watched it. Take Sebastian (Ryan Gosling) who wanted to “save jazz” and was disturbed by his friend Keith’s more modern interpretation of the genre. When Sebastian was busy shaking his head at Keith’s innovation all I could do was sit there and think “Well, what’s Keith supposed to do? He’s working in an industry that routinely celebrates white mediocrity and ignores Black innovation!” Keith was a black man who had to work even harder to make a dent in the same industry that Sebastian was working in as well. That’s how racism works.

When Sebastian was talking about the history of Jazz, he left out many (racial) aspects of it. Like how it was spread by the Harlem Hellfighters in World War I, how Jazz was originally played by and for black people. That when white people began to play Jazz they had more access to high end bookings, and shows, etc. When Sebastian said he wanted to keep Jazz from dying, all I could think of was, “Well, maybe you should keep your white gentrifying hands off of it then…”

And then there was Mia (Emma Stone) who was working to be an actress. And her struggles there in. And all I could think about was how far more difficult it would be for an actress of color in her shoes. At least Mia had roles she could audition for. For a lot of nonwhite actresses simply having a script that requires a nonwhite woman is a luxury.

I mean, with all the stuff going on in America right now, I don’t think a film that runs on nostalgia and an over romantic view of  America’s history is good. And if a film is going to get that much critical acclaim (I mean, 14 Oscar noms?) then I’m expecting it to break new ground and forge a path ahead. But La La Land did not do that. In fact, it did the exact opposite.

Moonlight, is without a doubt, my favorite film of the year. And yeah, I may be biased because I’m a black gay man, but I don’t really care. It’s hard to find movies that showcase the Black identity. And it’s hard to find movies that showcase the gay identity. And it’s damn near impossible to find movies that show off the black gay identity. And believe me, I’ve looked. There are great black gay films out there (Blackbird, Rag and Tag, Naz and Malik, Brother 2 Brother, to name a couple). But Moonlight is in another league altogether. Moonlight actually starts a conversation in both of those communities. It looks hypermasculinity within the black community and outlines the consequences, and it shows that there are such a thing as Black Queers (something the LGBT community hasn’t figured out yet). And as Black Queers our experiences diverge from white LGBT experiences and black heterosexual experiences. It’s an entirely new narrative that gets no spotlight in the mainstream (and frankly, it still hasn’t. Moonlight was an indie film on a shoestring budget that isn’t even playing in commercial theaters anymore.)

Moonlight is a movie that requires contemplation. It’s not easily digestible like La La Land. It challenges as well as illuminates. Moonlight forces people to look at themselves and their ideals. It makes you uncomfortable and has a longer impression. La La Land is just more of the same. It’s nice for what it is, but I hate that people are going insane over a movie that’s been done a thousand times, and will continue to be done.

It’s as I said before, white mediocrity will always be rewarded at a higher rate than black innovation, and that’s what’s driving me nuts.

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*Actually, its almost like if you build it, they will come. I’m glad this is happening really, although I don’t necessarily feel that White people have anything to offer, in conversation, on some of these shows. But I’m glad other people are at least willing to give the shows a try and get something positive from them.

It’s almost like we’re all human beings, imagine that.

It’s almost like that “diversity agenda” that bigots tout is actually making stories that haven’t been told a million times before and people enjoy that.

Source:
 
Feminist Frequency

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