LINK: Bringing It Back To 1520 Sedgwick and DJ Kool Herc
Oooh! Go play this on Google. It was so much fun! I can’t “break” to save my life, but I loved the mashups I created though.
LINK: Bringing It Back To 1520 Sedgwick and DJ Kool Herc
Oooh! Go play this on Google. It was so much fun! I can’t “break” to save my life, but I loved the mashups I created though.
For those of you old enough to remember that Brandy/Monica duet:
For some reason, this has been all over my Tumblr dashboard. Probably because I’m a huge John Boyega fan.
Two years ago, Hannibal ended in a cliff-hanger, and although we were told that was the end of the show, creator/showrunner/writer Bryan Fuller has said time after time that for him, it’s not the end. Earlier this week, Fuller answered a fan’s question about Hannibal’s future through Twitter, stating he and Martha De Laurentiis, executive […]
and just to make myself really clear, so that there is absolutely no quibbling about what I mean to say:
One little blatant Stephen King knock-off Netflix series comes along and wrecks the internet, and the next you know we’re suddenly drowning in official Stephen King adaptations.
Ok. That’s not how this has actually gone down, not with the long lead times it usually takes to get anything made in Hollywood. However, it certainly feels true because last year Stranger Things did its Stephen King (and everything else 80s)-inspired thing and suddenly this year we’ve already seen The Mist TV series on Spike, The Dark Tower in theaters right now, Mr. Mercedes on Audience (don’t pretend like you already knew that was a name of an actual cable channel) and still have It and Gerald’s Game to go.
If that feels like more than normal than you clearly don’t remember the 80s or 90s. Twas a time when Stephen King adaptations were a nonstop occurrence. You weren’t surprised to look…
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Just thought I'd share!
No wonder this has won so many awards. You get to experience almost every emotion of a great Rom-Com movie, in a four minute span.
And the reaction video, of these Seniors watching it, is almost as cute!
Yeah, this needs a reblog.
“This year we explored the failure of democracy”
Starship Troopers is twenty years old this year! I mean the film, not the book. Paul Verhoeven’s adaptation of Robert Heinlein’s classic science fiction novel was greeted with critical disdain upon its release. Those fond of Heinlein’s novel disliked his interpretation of the text (and lack of power suits). Film critics disliked the fascistic overtones, bland acting, and simple plot. However, both parties misunderstood Verhoeven’s intentions behind directing Starship Troopers. He didn’t want to bow down before a science fiction classic. He wanted to be subversive and controversial. He wanted to turn the novel on its head and lace it with his own brand of brutal satire. In that respect, it was a success. Starship Troopers isn’t a classic science fiction film, but it’s pretty darn close.
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Well, I made a list of TV shows, so here’s a list of books I’m looking forward to attempting to read this Fall, or maybe they just look interesting right now. I pretty much have to wait for some of these to be in my hand, before I decide if I’m going to finish, or not.
Hex Rated – Jason Ridler
From the description this seems like a retro 70s X-Files type of plot. I keep picturing an Asian cop from Starsky & Hutch, wearing a giant mustache. I still don’t know why I find various combinations of paranormal activity and the Federal government fascinating. probably because government organizations represent Order on a large scale, while anything having to do with the paranormal represents the complete opposite.
Son of the Night – Mark Alder
I got halfway through the first book, Son of the Morning, before having to cart it back to the library, from whence I had procured it! And I do mean cart, because it was a massive book. It was also pretty good, up until I had to put it down. Its an Historical Paranormal Thriller, where actual Angels have gotten involved in Europe’s various wars.
Resurrection Game – Michelle Bellanger
Apparently, this is the third book in a series. I haven’t read any of the others but this one sounds intriguing, and I’ve read Ms. Bellanger’s work before, The Dictionary of Demons, and The Vampire Codex.
1 – Sea of Rust – Robert Cargill
This one is about sentient robots, wandering an apocalyptic landscape, while trying to find their own humanity.
Iron Angels – Eric Flint
Eric Flint has written lots of Historical Urban Fantasy/SciFi, but this one is interesting to me. It seems a little more traditional, with a primary protagonist fighting against some paranormal creatures, in Chi-Town. It too, has an X-Files type of vibe, with government agents getting involved with the Occult.
The Salt Line – Holly Goddard Jones
This is set in an apocalyptic landscape, where half the US is cut off from the other half, because one side has been invaded by disease carrying ticks, and involves a group of action junkies, who like to play with fate, by jumping The Salt Line.
7 – I Am Behind You – Lindqvist
I don’t have a date for this book, but it sounds creepy enough. About a boy and his Mom, who wake up in some kind of twilight zone, with lots of other strange people, and something terrible is coming to get them.
14 – Peace Talks – Jim Butcher
I loved the ending of the last book, so I’m eagerly looking forward to this. There’s still no listing on Amazon for this, or I’d have pre-ordered it already.
26 – Unkindness of Magicians – Kat Howard
This sounds not unlike a book I’m reading now about magic in New York City, called The Last Magician, only this one sounds a lot grittier, and a little less traditional.
Sleeping Beauties – Stephen King
I’m looking forward to King’s collaboration with his son Owen King. I’ve not been much of a fan of Owen’s work, but the plot sounds intriguing. The women of the world fall into a deep sleep inside cocoons, and it’s dangerous to wake them up. Now you know men can be fairly bull-headed creatures, who would of course wake all of them up, thereby destroying the human race, so I’m interested to see how these two will write around that.
3 – Scandal in Battersea – Mercedes Lackey
I’m enjoying these Sherlockian Magic mashups by Lackey.
Akata Witch/Warrior – Nnedi Okorafor
I’m only just now getting into this author through her SciFi book, the Binti series. This sounds like a neat Urban Fantasy set in Nigeria. It’s being billed as an African version of the Harry Potter-verse.
What the Hell did I Just Read – David Wong
I’ve liked every one of Wong’s books, so far. They’re terrifying and hilarious, so I don’t want to miss this one, featuring the three main characters from the previous two books, Dave, John (who isn’t actually dead), and Amy, trying to stop some kind of biblical cataclysm.
Anno Dracula: 1000 Monsters – Kim Newman
This is set in the Anno Dracula Universe, starring The Diogenes Club, and the Vampiress Genevieve. I’ve tried to read all of the series, and this one is set in japan, which doesn’t have vampires, but has an entire menagerie of its own monsters to deal with. If you like Japanese folklore and mythology then check it out.
10 – Stone in the Skull – Elizabeth Bear
I wasn’t going to read this one, but I know some of you guys must like this series, and I’m a fan of Bear’s other work. This is set in the Eternal Sky series, and is about The Lotus Kingdom. I couldn’t get into the other series, but I’ll try this one.
17 – Under the Pendulum Sun
I’ve already borrowed my copy of this from Netgalley and am working on it now. It’s about a Victorian expedition to the lands of the Fae. A Missionary goes missing and his sister arrives to search for him. I like it so far, but I’m still chafing at all the religious stuff.
24 – Strange Weather – Joe Hill
This is another Joe Hill anthology. I’m looking forward to this book, which features four stories featuring horror, and the paranormal, and sometimes, just the normal made horrible.
All Those Explosions Were Someone Else’s Fault – James Alan Gardner
This sounds like a parody of the superhero genre, with vampires, capes, ghosts and various weirdnesses. I’ve like Gardner’s books in the past and I like the plot of this one.
14th – Into the Drowning Deep – Mira Grant
I read this first novella about an attack by carnivorous mermaids, on the crew of a Reality TV series, and loved it. This is the sequel.
Here’s a list of shows I’m interested in watching for August, and the new Fall Season. I also included shows I’m not particularly interested in, but some of you might enjoy viewing. i didn’t list some of the returning shows I will be watching though. (The numbers preceding the titles, are the dates of the shows, not a rating of some kind.)
4 – Comrade Detective (Amazon)
I know nothing about this show, except it appears to be set in the mid-80s, and involves a Russian detective who comes to America to solve crimes. From what I saw of the trailer it looked like a parody of 80s cop shows. Its available on Amazon Prime.
9 – Mr. Mercedes (Audience Network/DirecTV)
I read the books for this series, and it’s Stephen King, so I’ll watch this. It should be a good substitute for The Mist, which turned out to be disappointingly boring. The show airs this Wednesday. Just to warn you though, the show does contain some graphic, and possibly triggering imagery:
18 – The Defenders (Netflix)
I still have mixed feelings about this, but I will watch it. I hate Jessica Jones, and Danny Rand, but I love Luke Cage, Daredevil and Sigourney Weaver, so I actually hope the show looks, and does well, despite my misgivings.
25 – The Tick (Amazon)
I was never a big fan of this character but I have seen some episodes here and there over the years, and I know some people are huge fans of both the comics and the short lived cartoon, so I’m putting this on the list. I may or may not watch it. I will add that the lead actor is absolutely perfect for the role, though.
5 – American Horror Story: Cult (FX)
I’m gearing up for the final season of this show. Its got a brand new cast, along with three, or four, old cast members. I think this season is supposed to touch on some of the themes of the previous seasons. Here! Have a creepy trailer! Hope you’re not scared of clowns.
10 – The Orville (Fox)
I’m not sure I want to watch this because of the lead actor, (we do not share the same type of humor, really), but the special effects look like fun, and I’m always up for a Star Trek parody, which is what this appears to be. Trailers are sometimes misleading though.
10 – Outlander (Starz)
I kinda like this show, and not just because Jaime is a hottie. I’ve never read any of the books, beyond the Lord Grey series, because I thought they were Romances, and that’s just not my bag. But I like the show. I’m a sucker for a good costume drama, I guess.
10 – Fear The Walking Dead (AMC)
I don’t watch this show because one show about The Walking Dead is harrowing enough, but I know some people love this one, too.
24 – Star Trek Discovery (CBS Access)
I’m eagerly looking forward to watching this. I’ll have to subscribe to the network to watch it though. CBS All Access is a subscription cable service like Netflix. It costs 5.99 a month. The show will air the first episode on network television, after which all the episodes will be available on Access, with a hiatus after about six episodes, and the rest of the new episodes airing in January.
26 – Brooklyn 99 (Fox)
The show’s last season ended on a cliffhanger with Rosa and Jake possibly going to prison on corruption charges. It sounds like a pretty heavy plot, but this show has a way of getting you to laugh at such things, without feeling guilty about it. I’m looking forward to the new season. I love these characters and don’t like to see bad things happen to them.
27 – SEAL Team (CBS)
I keep saying I’m going to watch these military type shows, because I find all this Spec Ops stuff fascinating, but I keep skipping them. There’s an unspoken American jingoism in a lot of them, that just doesn’t sit well with me, and I end up just not liking the shows. Also, David Boreanaz is in this one, and I don’t like him very much.
28 – Gotham (Fox)
Apparently, The Scarecrow makes his debut this season. I like Killer Croc and hope he’s on the show, or planning to be. I’ve been skipping this show, because it hasn’t been holding my attention, and because some of the acting was a bit dodgy. I hated most of the female characters because their acting was terrible. I hated this show’s version of The Joker. Penguin, however, continued to be a favorite. but I’ll watch the season premiere, and see what’s what.
29 – Marvel’s Inhumans (ABC)
This show just looks bad. But bad with the potential to be good. I’m still mad at the show runner, Scott Buck, for inflicting the mess that was Iron Fist on us earlier this year. I swear to gob the next person who mentions the words affirmative action, and undeserving Black hires, in the same sentence is gonna catch some hands. Mediocre stains like Scott Buck are allowed to fuck up multiple times and still manage to have careers. This show could have gone to some deserving PoC instead of this guy. Okay let me stop here, because this rant can, and will, go for several pages.
The Exorcist (Fox)
I stopped watching this about halfway through the first season, but I know some of you out there are still really into it. (It does look kinda scary from the trailers.) Let me now how its going, and I’ll check out a few episodes ,on your rec.
1 – Ghosted (Fox)
I’ve loved Craig Robinson, ever since Hot Tub Time Machine, a movie I profoundly hated. I also remember him from Reno 911, as the commercial conman who was always singing using the same five notes on his synthesizer. He also did some hilarious cameos on Brooklyn 99. I was wondering when he’d get his own show and I’m set to watch this one, where he plays some regular yahoo, who gets involved in some afterlife type of shenanigans, although it mostly just looks like a buddy-cop show, with ghosts.
2 – Lucifer (Fox)
I’m not a fan of this but I heard the show has greatly improved since season one. I’m still not inclined to watch any of it, because I object to the woobification of evil characters. That whole “I’m not really bad. I just like a little drinkin’ and whorin’,” shtick gets real old with me, real fast. If a character is gonna be evil don’t make excuses for them. Just let them be evil.
The Gifted (Fox)
This show isn’t filling me with a great deal of confidence that it will be interesting. Right now it looks like Riverdale with superpowers, and I hate Riverdale so…nah! Also I’m kinda getting tired of the whole’ government is after superpowered people” plot. I find it difficult to believe that anything formed by the US government would have their shit together enough to be that organized. Private companies could pull it off, but not the government.
10 – The Flash (CW)
I watched the last season, and still have no idea what the hell is happening on this show. I’ll probably watch this just to figure out what’s going on.
Legends of Tomorrow (CW)
I’m really looking forward to this. The show is adding some new characters, and Damien Darhk is rumored to be back on the show this season. Also I’m a huge Firestorm fan and never get tired of looking at Jax. Vixen is also a favorite who clearly needs her own damn show.
Black Lightning doesn’t air until 2018, but I’m going to check it out, as CW becomes the Official DCEU network.
12 – Supernatural (CW)
Yep! Gonna watch!
Nope. I always fall asleep on this show. I don’t know why!
22 – The Walking Dead (AMC)
Yep! Gonna watch!
27 – Stranger Things (Netflix)
I think I’ll watch the second season of this, which looks more interesting than the first. I watched a few episodes, and wasn’t greatly impressed, but it also wasn’t bad either, in that I didn’t fall asleep. It does have kids in it, and I’m allergic to watching those sometimes. At any rate, it looks like a good tide-over until the release of Stephen King’s IT, in theaters next year.
2 – SWAT (CBS)
Another military themed show I’m planning to look at, and then don’t.
14 – Future Man (Syfy)
I got nothing. I know nothing beyond the fact that Seth Rogen is involved, and I sorta, kinda like him and this title. I know Josh Hutcherson is in it too, and I have no idea who the hell he is, nor do I care to Google him. I will, however, give the show a looky-loo, see what’s up, and let you know what I think. The Trailer doesn’t tell you much either.
21 – The Runaways (Hulu)
This looks like a better match for me than The Gifted. The trailer for he Gifted just looks really bad, I think. But I like the idea behind this show, and I’ve read a few of the comic books its based on, about the sons and daughters of some kind of Superteam, (like the JLA) battling with their superparents. The showrunners say they’re not going to do the usual racist stereotype stuff, so I’m holding them to that promise. this is another one with no trailer.
29 – Vikings (History)
Hell if I know. I watched all the other seasons without understanding why I love this show. I might as well finish it up.
Midnight Texas, Charlaine Harris’ new show has already begun and is approaching its third/fourth episode. Teen Wolf is finishing its last season, and I’ve pretty much skipped it, for reasons, although I will watch the finale. The show has moved to Sunday nights at 8PM without telling anybody, though.
The most recent show to air is The Sinner, starring Jessica Biel, which I wasn’t particularly interested in, although some of you might be interested, because there may be some supernatural element involved in its plot.
Preacher is nearing its end, and I’m a little behind in my episodes because I’ve been watching movie re-runs (like The Thing and Robocop), and I need to stop it. Game of Thrones is also in its final season, but I’m not much of a fan and I’ve been skipping the episodes. I will watch the Finale though.
I will try to watch Ash Vs. The Evil Dead Season 3, even though I missed the last season. The Punisher is set to be released in November on Netflix. I really liked this character in Daredevil, and I’m looking forward to the show.
Coming in 2018:
We’ll be seeing the second seasons of Legion, Luke Cage and Jessica Jones, this year. Cloak and Dagger, and The New Warriors is set to be released. I’m looking forward to the New Warriors because Squirrel Girl will be prominently featured.
This isn’t a complete list. For that, visit:
And we promise to keep an eye on this show, since the showrunners already feel a need to get out ahead and defend it.
Here’s the problem with comic books, sci-fi and fantasy; for worlds that are make believe, they are remarkably traditional. This is especially true when it comes to their depictions of race. For years people of color were relegated to stereotypes and punchlines. Now with the boom of comic book based entertainment, people of color are […]
Just putting these numbers out here. Actually, I think this is may be from 2014, but really, it doesn’t make much difference. Hollywood talks a good game but is really, really slow to change. I think it takes so long because Hollywood is this big unwieldy ocean liner, and most of the power players on it consider themselves to be above using social media, and interacting with the public. I think most of them consider that to be the actor’s job, and disdain listening to the public themselves. I think if the ones calling the shots in Hollywood do hear about social issues regarding their movies, it’s probably second hand/hearsay. (and the ones who do hear about it, just make excuses for their laziness.)
I’ve noticed that the television creators are much more likely to interact with audiences at Cons, and on social media, than the film/casting directors, and money lenders of Hollywood. The creators of television are just much more intertwined with their audiences, and can know what their audiences think about their product, almost in real time.
For example, the creators of Arrow were on social media that first season, probably just gauging reactions to the show. But I noticed a marked change in the show from the beginning to the end of that first season. The show improved tremendously, and I think many of those improvements were based on the critiques they saw in social media. That’s how fast the creators were able to react to audience reactions. Unlike with movies, the creators for TV don’t have to wait until a show’s run is over before finding out what an audience thinks about it.
I’m not saying that television content creators don’t fuck up, (HBO we’re looking at you!) or that there isn’t an element of racism involved in Hollywood’s decision making process. Just that, in Hollywood, change takes a hell of a lot longer to be implemented because so many of these factors seem to work well enough together to delay progress. To the rest of us it just looks like a truculent inability to move forward.
From the Tumblr: diaryofanangryasianguy
The report “Inequality in 900 Popular Films,” released today, from Smith and the Media, Diversity & Social Change (MDSC) Initiative at USC Annenberg, reveals how little top movies have changed when it comes to the on-screen prevalence and portrayal of females, underrepresented racial/ethnic groups, the LGBT community and individuals with disabilities.
“The deficits we see on screen are worse behind the camera,” said Smith. Out of the 1,006 directors hired on the 900 films studied, just 4.1% were females. Only 5.6% of the directors were Black or African American and 3% were Asian or Asian American. Three Black or African-American women and two Asian women worked as directors across the 900 movies. “When we look intersectionally at directors, that’s where we see just how exclusionary Hollywood is when it comes to the hiring process,” said Smith. “The image of a female director seems to be that of a White woman.”
And riding on the point of that last essay, there’s this one, in response to another essay/rant that, basically, blames identity politics, and call-out- culture, for why certain TV shows fail. Essentially, that person was trying to blame the fans of color for the failure of certain shows. Yeah, that’s not it!
This essay sure sounds like it’s making a lot of sense, but it’s predicated on a bunch of false presumptions.
I agree that hypercritical dogpiling call-out culture is bad. It makes fandom a toxic environment.
Here’s where I find fault in this argument:
Lord, sometimes I wish it got shows cancelled.
But in reality, when you run the numbers, angry scary fans have a negligible effect on the success or failure of a diverse show.
Shows with a ton of discourse are usually quite successful. Supernatural’s been embroiled in fandom backlash/outcry its entire run and I’ve lost count of how many seasons it has.
Okay but SPN’s not especially diverse, so let’s go to my next example. Speaking of shows I can’t believe are still on the air, Teen Wolf (a show with a non-white lead and numerous LGBT characters) is SIX MOTHERFUCKING SEASONS LONG and fans have been ranting and raving about how shitty and problematic it is since the beginning of season 3 (I myself was one of its loudest and most savage critics back in the day).
Sleepy Hollow was a diverse show that suffered a lot of fandom backlash prior to cancellation. I suppose one might argue that the cancellation was a result of the backlash.
But consider – Sleepy Hollow’s fridged it’s black female lead, Abbie Mills, at the end of its 2nd season, shortly after, The 100 fridged it’s wlw female lead’s primary love interest mid season 3.
There was a shitte tonne of *intense* fandom drama surrounding Lexa’s fridging in season 3 of The 100. Every vaguely liberal entertainment news outlet had something to say about “Hollywood’s dead lesbian problem.” A lot of wlw fans wrote scathing rants and swore off the show.
In comparison, fandom was downright quiet about Abby’s fridging. In fact, the very small handful of posts I read criticizing the writers of Sleepy Hollow made a point of also criticizing fandom’s white feminists for their ‘deafening silence’ with regard to Abbie’s death.
Consequently The 100 just got renewed for season 5. Meanwhile, Sleepy Hollow is as dead as a doornail.
Seems to me that silence does a better job of killing shows than any amount of screaming and ranting.
1) Old white men in power.
@temporaldecay you want to talk revenue? Perhaps you’d be surprised to learn capitalism is not the be all/end all of a tv show/film’s success as people often assume.
For example, we know that movies with diverse casts are more lucrative, yet the industry continues to churn out all-white media. Why? Nepotism. White execs bring in white producers who find white directors to tell white stories and cast white actors.
They keep doing this, even though financially speaking, it’s self-sabotage.
Teen Titans was the most popular show on Cartoon Network when it was canceled because it appealed to an audience (of girls) that wasn’t the intended target audience (boys) and the marketing team didn’t like how this messed up their gendered merchandising strategy. You can read all the details [here]
Which brings me to the next item on the list:
2) Bad marketing (combined with the aforementioned institutionalized bigotry)
There’s a great essay called Shut The Fuck up Marvel that explains in detail the problematic economics of the comics industry – TL&DR, diverse comics are failing not because of fickle and hypercritical fans, but rather because Marvel’s entire marketing strategy is so flawed that fans don’t even find out about diverse comics until they’ve already been axed.
The same is true of a lot of diverse television.
Wonder Woman got hardly any marketing. I didn’t see trailers for the movie. It managed to go viral anyway through word of mouth, and through the inherent publicity of being the first big blockbuster superhero film revolving around a female lead, but it’s the exception that proves the rule.
Still Star-Crossed, a Shondaland period romance/drama based on pro-fanfiction for Shakespeare’s Romeo & Juliet was recently canceled due to low viewership. The show got next to no marketing. The few people who managed to hear about it from tumblr couldn’t even figure out when it was airing due to the network changing the time slot twice within the first 4 episodes.
Similarly, Sense8 season 2 was under-marketed, as was The Get Down. I must have seen about 8 million ads for that garbage suicide apologia show Netflix has been hawking.
Networks don’t want to market diverse shows. They assume diverse shows will magically sell themselves, and then blame fans when they don’t.
3) Appealing to too small of a niche – Novelty vs. Variety
Consider Agent Carter – this show catered to a niche within a niche within a niche – a period noir drama, that was also a science fiction. Lack of POC meant it had trouble attracting POC as audience members. Lack of LGBTQ rep (queerbaiting doesn’t count) meant it had trouble holding on to LGBTQ fans.
The only audience Agent Carter seemed to want to actively market itself to was ‘straight white feminist-identifying women who like retro noir sci-fi’ – that’s so specific. Too niche of an audience to attract the kind of audience a network like ABC expects for its prime time shows.
Compare that to How to Get Away With Murder – which has a little something for everyone. Ensemble cast, multiple sexual orientations, multiple cultural backgrounds and ethnicities, people from diverse socioeconomic backgrounds – Shonda Rhimes knows how to cast a big net.
Or Brooklyn 99 – similar kinda deal.
Having a one member of a marginalized demographic in a lead role is a novelty. And novelty’s good for getting people to watch your pilot, but it wears off quickly. People come for novelty, but they stay for representation. I don’t mean representation as an abstract concept. I mean people continue watching a show when they find a character that they personally identify with and relate to. The more character variety, the greater the number of audience members who feel consistently well-represented.
This is a lie networks and showrunners tell fans to scare us into silence. They sabotage their own shows and then blame fans for being “too critical” or “too entitled.”
And we buy this bullshit. We buy it and we sell it to other fans. We write big long essays telling fellow fans to count their blessings and stfu.
Fuck that noise.
This one is about how Blade began this whole superhero movie nonsense, that we all love so much. Yes, I blame Blade too. Frankly, even though I was a big Marvel Comic book reader, I had never even heard of this character before the movie was released, but I’m always gonna stan for that first movie, which still holds up very well to this day, and despite that Wesley Snipes is something of an asshole.
I personally consider Blade, and The Crow, to be two of the Blackest superhero movies of the 90s. (I will fight ‘chu!)
And that’s the real difference between Blade and the superhero franchises that have followed. Blade was never a big-name character in the first place. So there wasn’t a whole lot of retro-geek enthusiasm associated with the character. But more than that, Blade, the film, simply isn’t backwards-looking.
There’s none of the Greatest Generation boosterism that clings to the Captain America franchise, for example. Nor do we get from Blade the home front 50s stay-at-home mom-with-kids meme that pops up incongruously in Age of Ultron when we get to meet Hawkeye’s secret, perfect family.
Instead, Blade is deliberately, defiantly hip. Motherhood isn’t idealized; on the contrary, one of the queasier moments of the film involves Blade ruthlessly offing his feral, incestuously sexual, evil vampire mom. If there is nostalgia, it’s for blaxploitation’s up-to-the-minute cool.
The movie’s first grinding, sweaty, sex-and-blood drenched night club scene hasn’t dated at all. Nor has the Afrocentric incense store where Blade buys his formula fix, nor the black, brotherhood embrace between that store’s owner and the hero. There’s a notable lack of cell phones, of course, and the computer graphics prophesying the coming of the blood god look rather dated. But there’s little question that, as much as it’s able, the film is looking forward not back.
And part of the reason it’s looking forward, I think, is race. Blade—unlike most superhero films—is set in a meaningfully integrated world. That Afrocentric shop suggests, quietly but definitely, that Blade is part of a black community and that that community matters to him. One of his two crime-fighting companions Dr. Karen Jenson (N’Bushe Wright), is also black.
The diverse cast, and the acknowledgement of diverse communities, is part of why the film still feels and looks relevant. Here, after all, is a narrative that was fulfilling the call for more diverse superhero movies before superhero movies were even a thing.
But beyond that, Blade makes clear the extent to which nostalgia and whiteness are inextricably bound together in so much of the superhero genre. Retooling old, old pop-culture heroes means, inevitably, dreaming about white saviors and about a time when white people were the only ones who were allowed to be heroes.
|—||THE WHITE SUPERHERO FAD STARTED, CRAZY ENOUGH, WITH BLADE
A lot of us have talked a lot about how Blade started the current superhero domination in Hollywood and how current films forget that; and though it’s important to ask what kinds of behind-the-scenes decisions have caused that, I like this analysis about how Blade is fundamentally different from what we’re getting today and how that film is, in many ways, incompatible with today’s Ant-Men and Men of Steel.
Another argument for why HBO’s new idea for a show, Confederate, (about an alternative world in which the South won the Civil War), is a truly bad idea:
I’ve been thinking a lot about Confederate, the upcoming project by the creators of game of thrones. I’m not alone in actively hating the idea for this, but it took me a while to figure out why the idea for this show bothers me so much. Part of it is the current political climate, part of it is the idea being not nearly as new or interesting as the creators think it is (sci fi and fantasy is full of stories about chattel slavery in more modern/technologically advanced societies), and part of it is just me not trusting these two guys with this kind of story.
But what it really comes down to for me is this: even if I could buy that the south won the war, I do not buy that black people, in a majority black country, would be content to live in the only slave-holding society in the world for another 150 years. And the fact that the creators of this show can imagine that says a lot about how they feel about black people and their agency.
Like to put that idea in perspective, black people waged a successful national campaign to end jim crow in a majority white country and it didn’t take them 150 years. Haiti rebelled in 1804, and while we can talk current economic conditions (and how frace is primarily to blame for that), what you can’t say is that chattel slavery exists there now. Like what world are you living in where black people aren’t resourceful, smart or motivated enough to end chattel slavery 150 years after the entire world decided that maybe chattel slavery was doing too much.
The entire premise doesn’t work as alternative history because its not an alternate world, its a complete fantasy – a fantasy where black people are not only subjugated but incapable of taking steps to end that subjugation. And that leads to all the “who is this for” and “why would you do this” questions that smarter people than me have talked a lot about.
And here’s my man, Ta Nehisi Coates, laying it out, in his own very eloquent way, why the writers of Game of Thrones, and HBO, need to catch some hands:
Of course, any time Black people hold discourse on a subject that directly affects our lives, you’ve got those white people crawling out from under the baseboards, to defend this wtf*ery, because for them Black life is no more than an intellectual exercise, and we should get over it, because it’s messing up their ability to be entertained by our misery.
This is one of the most cogent arguments I’ve ever read against financial inequality. I also had no idea of the history of the game of Monopoly.
We played this game all the time in our house. My Mom was, naturally, the Banker, and we always played it Socialist style, I guess, with everyone getting the same amount of money, and being treated the same, following the same rules. Of course she always won, up until we were teenagers, and started learning more about how to handle money, like how to plan ahead, and how to delay gratification.
Monopoly isn’t maybe the best way to learn about money, but it does teach you something about how financial systems work.
So let me get this straight, in Monopoly if you give one player more money to start out it’s “unfair” but if you do it in real life it’s “capitalism”?
You know what, I’m going to tell you guys a story.
In my Sociology class a few semesters ago, our prof had us break off into groups and, much to our naive joy, began distributing Monopoly boards! We had no idea what was going on but yay! Games! Of course, once our group, and a number of others, got the board we began to work at setting up and distributing the money…
until suddenly our prof told us to put the money down and pick up the dice.
“Roll the dice and sort yourselves from highest to lowest,” our teacher commanded. “Now, the highest number is the upper class. The next one is upper middle class. The next two or three are middle class. The last person is in poverty.“
Well, as the person who rolled a two this was startling and not wholly welcome news.
From that point the game changed entirely. We had to hand out the money so that the “upper class” had this fucking mountain, and then less for upper middle, even less for middle, and I didn’t get any triple digit bills. We would all collect different amounts from passing go as well.
The biggest change though? Going to jail. Upper class didn’t. Period. Upper middle class could go but they only had to stay for one turn or they could immediately pay their way out. Middle class had some pretty easy guidelines for when they could pay to get out. As lower class, it was really easy for me to wind up in jail and REALLY hard to get out. But since I was working with so little money when everyone else had so much I was in jail all the time because there was no “game over”. If I couldn’t pay I had to go to jail for a certain period of time. I had to take out loans with interest I could never pay back just to get out only to wind up back in it again, rolling dice turn after turn hoping to be able to get out.
It was simultaneously the most enlightening and most awful game I had ever played. I was bored and frustrated and a little terrified about it all. And it wasn’t only me. I would never win, I sort of accepted this, but it was amazing how the middle classes reacted as well. They were stressed. Because they were always that close to either being able to one-up the upper class or from crashing into poverty with me. They had to fight constantly just to stay in the middle.
(I should also mention that the upper class player in one group felt so bad for the lower income players that they ended up overhauling their entire game and creating a “socialist” society instead. I’m not sure how our teacher felt about that one.)
Worth stressing this is entirely in the spirit of the original designer’s aims for Monopoly.
Monopoly’s original form of The Landlord Game which was explicitly designed to teach people about the unfairness of rent systems. To quote from the wikipedia entry, just as it’s the easiest source to hand…
Magie designed the game to be a “practical demonstration of the present system of land grabbing with all its usual outcomes and consequences”.She based the game on the economic principles of Georgism, a system proposed byHenry George, with the object of demonstrating how rents enrich property owners and impoverish tenants. She knew that some people could find it hard to understand why this happened and what might be done about it, and she thought that if Georgist ideas were put into the concrete form of a game, they might be easier to demonstrate.
When the usual suspects start making “don’t bring politics into games” noises, I roll my eyes pretty hard. They have no idea of the history of the form.
This final topic speaks to the idea of accurate Representation from a Historical perspective. One of my biggest pet peeves is the bigoted argument against diversity and inclusion, in Fantasy media, coupled with the erasure of PoC from Historical narratives, and not just because such an argument is irrelevant to a discussion of Fantasy based world-building.
As an amateur Historian, I’m sick and tired of seeing the argument about Historical accuracy, from the mouths of lazy, sometimes bigoted, individuals, who have done no research, who have only ever gotten their ideas about what History was like, from various movies and TV shows, trying to uphold the pop culture status quo, by saying we don’t belong in Fantasy environments.
I have found that even the most well intentioned people are deeply, deeply, ignorant of History, having gotten most of their ideas about it, from whitewashed movies, television shows, and History classes, in which the contributions (sometimes even the presence) of PoC are erased. When you consider that the vast majority of the world is made up of PoC (Chinese, for example) and that those who are most definitely considered to be “White” Europeans (whatever that may mean) made up only about 11% of the world’s population in 2010, and by 2060 are set to become less than 10% of the world’s population, I find it more than a little hinky that such people would argue for Historical accuracy.
And now we have the Alt-Right attempting to lay claim to this same argument in an attempt to bolster their racist beliefs that PoC contributed nothing to Historical narratives, and that all of the humanity’s major contributions to Literature, Science, and Art, were only done by White men.
Part of the problem is that Historians need to make clear that PoC were History. We were everywhere, not just invented in certain eras, and trotted out when White men needed to conquer somebody. History is far more nuanced and complicated than most people know.
By J. Clara Chan
—-The criticisms of the conference’s diversity stems from problems in medieval studies for decades — that it is still too Eurocentric, male-dominated, and resistant to change. But as the medieval era has become increasingly prevalent in rhetoric used by white supremacists to advocate for a return to racial, ethnic, and religious purity, many nonwhite medievalists are feeling a new urgency to combat the stereotypes that accompany the field.
And on Historical Anti-Semitism in Art:
By Kristen Collins and Bryan Keene, originally published on the Getty Iris
We invite your thoughts on an exhibition-in-progress at the Getty that addresses the persistence of prejudice as seen through lingering stereotypes from the Middle Ages.
As curators in the Getty Museum’s department of medieval and Renaissance manuscripts, we are interested in how books, and museum collections more broadly, can spark dialogues about inclusivity and diversity. Our manuscripts collection at the Getty consists primarily of objects from Western Europe, which can present challenges when trying to connect with a multicultural and increasingly international audience.
We are striving to make connections between the Middle Ages and the contemporary world—connections that may not be immediately evident, but are powerful nonetheless. Museums are inherently political organizations, in terms of the ways that collections are assembled, displayed, and interpreted. This year’s meeting of the Association of Art Museum Curators addressed how institutional narratives and implicit bias can skew ideas of history and culture in ways that exclude minorities and gloss over the shameful aspects of our past. Groups such as the Medievalists of Color, the Society for the Study of Disability in the Middle Ages, the Society for Medieval Feminist Scholarship, and the Society for the Study of Homosexuality in the Middle Ages, among others, are applying similar lines of inquiry, seeking to decolonize and diversify the field of medieval studies. We stand with these groups.
We were also inspired by Holland Cotter’s call to arms, as he exhorted museums to tell the truth about art, “about who made objects, and how they work in the world, and how they got to the museum, and what they mean, what values they advertise, good and bad. Go for truth (which, like the telling of history, is always changing), and connect art to life.”
Here is our description of the exhibition, still in draft form:
Medieval manuscripts preserve stories of romance, faith, and knowledge, but their luxurious illuminations can reveal more sinister narratives as well. Typically created for the privileged classes, such books nevertheless provide glimpses of the marginalized and powerless and reflect their tenuous places in society. Attitudes toward Jews and Muslims, the poor, those perceived as sexual or gender deviants, and the foreign peoples beyond European borders can be discerned through caricature and polemical imagery, as well as through marks of erasure and censorship.
As repositories of history and memory, museums reveal much about our shared past, but all too often the stories told from luxury art objects focus on the elite. Through case studies of objects in the Getty’s collection, this exhibition examines the “out groups” living within western Europe. Medieval society was far more diverse than is commonly understood, but diversity did not necessarily engender tolerance. Life contained significant obstacles for those who were not fully abled, wealthy, Caucasian, Christian, heterosexual, cisgendered males. For today’s viewer, the vivid images and pervasive narratives in illuminated manuscripts can serve as a stark reminder of the power of rhetoric and the danger of prejudice.
“If you don’t know you have a history, it can be hard to believe you have a future.” —-National Museum of Stockholm
James Baldwin: “Not everything that is faced can be changed; but nothing can be changed until it is faced.”
For those of you who are off the MSM, GBN, is perfect. Like and subscribe if you are on WordPress.
interview by Lucy Purdy via positive.news
Lori Lakin Hutcherson was shocked when she was unable to find a website dedicated to positive news about black people. So she started one
Why did you start the Facebook page that became the website, Good Black News?
I actually started Good Black News by accident. It was 2010 and, in my work as a film and television writer and producer, I was collaborating with author Terry McMillan on the film adaptation of her new book. Before our writing session started one morning, she was telling me about a story she’d barely come across in the news: at an all-black academy in Chicago, 100 per cent of the seniors were accepted to college. Terry was wondering why there was no major news media coverage of this great achievement, and lamenting that the…
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Their planned alternate history series about the hypothetical outcome of the South winning the Civil War ought, rightly, to be dead right now. Ta-Nehisi Coates kills it. For while the Confederacy, as a political entity, was certainly defeated, and chattel slavery outlawed, the racist hierarchy which Lee and Davis sought to erect, lives on. It…
This whole idea just needs to be dropped. No one is clamoring for this show other than the bigots who’ll get off on viewing Black pain and misery.
Legends of Tomorrow’s writers have always said that they take a point not to define a character by their race, religion, or sexual orientation. And now, in its third season, the show has made an addition to its cast in the form of Zari Adrianna Tomaz, a Muslim computer who will be played by actress […]
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