White Men: The Pandering (Pt. Two)

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Most Americans know the rest of the world only through the media they consume, and unfortunately, most of them are content to leave it at that level,  never bothering  to question what we know of the world, how we know it, or who gave us the information, and why they gave it to us. (The corollary to this is the rest of the world learns about America through the media we create.)

The media, especially popular mainstream culture, shapes our American worldview, and that worldview springs from the minds of largely one group of people, so it’s very interesting when White male critics (and let’s be frank here, these critics are primarily White, straight, male, and we must not forget it when talking  about this issue), when they talk about how the media is “pandering” to the SJW’s. At the same time these same men say things like “This is our media, and those people are invading it.” There’s a reason why they think Pop culture belongs exclusively to them, and that statement  is  both a declaration of ownership, and a subsequent lack of control over what they claim to be theirs.

If there are two essential truths in today’s media and popular culture, it’s these: One, virtually the entirety of mass popular culture is geared towards pandering to the wants, needs, interests, and desires of male nerds. And two, those male nerds often fail to believe that they’ve been pandered to quite enough.

 

I can’t cover everything, so this is going to be a broad 101 of the topic. There are going to be some subjects I avoid as being too lengthy, and deserve posts of their own. Some topics I’m going to  avoid talking about in depth, because I’m not a member of the community in question. There were so many resources I wanted to add, so many videos, so many links, but I simply couldn’t cover everything. I used the terms White characters, White men, and White people, interchangeably, but they are not all the same thing.  For the purposes of this essay (which I have edited the hell out of, and I’m too tired to go back through it and change all the terms) we’ll use them interchangeably here. (And yes, I am including White women in those terms, since they have often aided and abetted cis-heteropatriarchy in movies, books ,and TV.)

White Men Control The Stories

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Let’s talk about what pandering is, how it gets done, and what it looks like in Pop culture. I’m primarily going to talk about the three biggest forms of media:  Music, Movies and TV and Gaming.

One of the reasons we tend to think of White men the way we do, is because our point of view has been aided and abetted by the vast amount of entertainment we’ve consumed, that privilege the White, straight, middle class, cis-gender, male viewpoint of themselves, and the rest of the world. Narratives that are created, controlled, and distributed by White men.

 

White men are  prioritized and normalized in the stories we read, watch, listen to,  and play. This is so ubiquitous that most people never notice it, until other stories start being told. Their presentation,  desires, wants, opinions (of themselves, and others, and their needs, are often placed front and center in many of the stories we’ve consumed, while those of women, gays, PoC, and other marginalized groups are de-centered, or placed in the stories to make them feel good and look heroic. Issues like erasure and whitewashing serve the same purpose, and while those may  have recently become household words, some of the prioritization of White men  are much more subtle, and often go unrecognized.

For example, movies may appear to present an issue, but that issue gets sidelined to focus on how the White characters think about the issue, rather than how that issue affects the people involved in it. In the movie Three Billboards over Ebbing Missouri, the movie presents issues of police brutality. But…there are only three Black characters in the entire movie, and we don’t get any idea how they feel about what the police have been doing to them. Instead, the focus  is on them sympathizing with the White male cops who have committed  the brutality. Not only is the audience encouraged to see the humanity of these corrupt  police officers, but the Black characters (written by two White men) show sympathy and empathy for them too, unwilling to be angry, or hold the police to account for what was done to them. Police brutality of Black people is presented as background scenery for the story of a White woman’s feud with a group of White men.

 

Normalization, Exceptionalism and  Universalism

In books, movies, and television shows, White men’s activities, no matter what they are,  are presented as a normal outgrowth of being a man, and is something that can, and should, be applied to all men. The understanding is that the White male view of the world is shared by all men. The activities in which they engage, and their reaction to events, is something shared by everyone. Paradoxically, White men want to be shown to be rugged individualists, who are exceptional, and don’t share any mundane qualities with other men.

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We see the “normal” nature of whiteness in film and television too, in which most main characters are white, and in the case where a show or film prominently features actors of color, it is considered a “Black” or “Hispanic” cultural product. Film and television that primarily features white people is “normal” film and television that is thought to appeal to the mainstream; those that feature actors of color in lead roles and casts composed predominantly of people of color are considered niche works that exist outside of that mainstream.

 

One of the more subtle ways that White men are depicted on screen is through sympathy and innocence. White men in movies and TV shows are often given the benefit of the doubt when it comes to criminal behavior, or sympathized with when they experience pain.

I mostly want to talk about this as a TV phenomenon, but pick a crime, any crime, and Western media has probably made a movie/TV series/play/etc. with a white person that romanticizes the criminal activity. No matter what, a white person can do whatever terrible crimes and still have a TV/movie fanbase that loves them. When you see black or brown people committing crimes on screen, you are to see them thugs and criminal masterminds and people to be beat down.

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Basically, every trope and stereotype present in film, and television, was invented, created, and reinforced through decades of use, by straight, White, middle class men, and the result is that White men end up looking heroic, commanding, smarter, mentally stable, and more powerful than everyone else. Their mistakes and transgressions are to be  forgiven or excused. Their abnormal circumstances and /or criminal behavior is meant to be sympathized with, and in some cases applauded as heroic. Even their most villainous behavior is meant to be understood, justified, and sometimes even romanticized. Witness the number of TV series and movies that romanticize White serial killers, for example. There are no shows and movies romanticizing the exploits of serial killers who happen to be men of color.

Some of this is obvious, some less so, but the end result is that White men are given a pass for their behavior, no matter how toxic, while  making themselves look sympathetic, in  television shows like Breaking Bad, The Sopranos, and Sons of Anarchy. There are few shows depicting men of color as mobsters and drug dealers in a sympathetic manner. Men of color who engage in criminal activity are painted as thugs, terrorists, and ne’er do wells. White men’s ideas about crime pervade popular media in the form of procedurals, reality shows, and action movies.

Simultaneously, White men  have also gotten to be the only representatives of law and order. Up until thirty or so years ago, men of color were not depicted as cops in TV shows, and rarely depicted as such in movies. There were no Asian cops in American police procedurals until the 90s, few Latinos, and no Muslims.  White men broke the law, but almost always as Anti- Heroes, and Likable Rogues, (unless of course they had accents, or were coded as Queer) who were justified in committing violent acts. They also happened to enforce the laws which made them look like heroes. The majority of the rhetoric one sees in online commentary about the police has been heavily influenced by decades of propaganda showing the police as society’s heroes, keeping, the usually Black and Brown criminals, in check.

The idealized image of the Los Angeles Police Department that the series portrayed, of a thoroughly modern agency dispassionately dispensing justice, is sharply at odds with the historical reality of an imperfect force beset by racism, brutality, and decades of scandals. 

 

 Thus these shows are also the closest we will ever get to putting on a metaphorical cape, defeating the villains, and saving the burning city from collapsing on itself. We are able to live out our criminal and heroic fantasies simultaneously through both the lawless perpetrator and the take-no-shit cop.

 

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Even in movies that are ostensibly about other people’s stories, it is White men who get to be the heroes. In the movie Hidden Figures, a movie about the lives and careers of three  Black women who worked at NASA in the early 60’s, Kevin Costner gets to be heroic when he destroys the segregationist bathroom signage, that he never noticed or paid any attention to, until of course, it was pointed out to him by one of the Black women in his employ. Needless to say, this isn’t something that ever happened in the real world. Costner was  added to the story as someone for  White audience members to identify with, and feel good about themselves for doing so.

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Prioritization

From: ‘Forced Diversity’ in Modern Media

The expression“pushing identity politics/representation” is just the beginnings of addressing racism in problematic cinema

by: Thaddeus Howze

White people are in almost every movie and paint themselves as the heroes of every event, no matter how great or small. The complete invisibility of people of color, even in our own stories has been part of the American experience since mass media began. Even after we began to appear, it was always in subservient roles, either taking care of Whites or subservient to them.

White media paint White characters as indomitable, unstoppable juggernauts overcoming any obstacle. From seaside Viking raids to intergalactic alien invasions, no matter where it happens, the perception is, only White people will be leading the way and will WIN, because of their <insert ability inherent to and uniquely held by White protagonist here.>

This failed perception, this false worldview, is both problematic and reductive. It makes White people seem to be the only problem-solvers in movies and the lack of participation by other groups is because they have nothing to offer. The world view which says Whites are the ultimate expression of knowledge, culture, significance, beauty and creativity is a lie and it has been promoted through mass media since the turn of the last century.

This perspective has become so ingrained, people of color from around the world are bleaching their skins and divesting themselves of their own culture to gain access to the White hegemony and its oppressive racially-intolerant culture. Online bleating by racist fans of <insert media genre here> would have you believe the nature of inserting people of color into any media, no matter how appropriate to the very job of acting is an affront to their whiteness and the integrity of the work.

 

White male consumers are taught in a million subtle, and unsubtle, ways that everyone/everything belongs to them, centers around them, or is meant to serve their happiness. The industries of gaming, movies, TV, publishing, and music have been the fuel of their entitlement, and have pandered to White male fantasies of power, sex, and money, for decades.

Not only are White men the center of their own universe, they are meant to be the center of everyone else’s. They believe this because American media has been telling them that since its inception.

White men believe these things because they have been pandered to by a raft of  stereotypes and tropes,  from Whitewashing, to White Savior, to Mighty Whitey, to Generic Male Leads, which all designed to prioritize them. Their motivations, feelings and identities get to be the center of the stories, and they are the sun around which every other character (often  the marginalized, who are acting as emotional support and sidekicks) revolve.

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White men have been the only characters available, (for everyone who is not them), to identify with in most  fictional narratives, even in stories that are not theirs, such as movies like Mississippi Burning, where the focus of the Civil Rights Movement is on the White FBI agents investigating the  deaths of  the Civil Rights workers, and  how that investigation emotionally affects them.

 

Despite a few outliers here and there, White men in TV continue to mostly tell stories that are only of importance to White men, (which accounts for the sheer numbers of White, male, coming of age stories so prevalent in books, movies, and sitcoms). White men love to tell the mundane stories of their childhood, many of which were unexceptional, but are always lauded by the White critics who identify with them.

“It’s important that Hollywood showrunners and writers recognize that many of the narratives they put out in the world and how they do business is not in the spirit of who they claim to be,” Hunt said. “White men dominate the major positions, and people of color and women have a long way to go to attain any type of equity.”

 

… that problem stems back to the underlying systemic racism in society. The publishing companies are run by White men who have decided what is able to be published, what people are willing to buy and base their latest books on projections that figure Whites are the primary purchasers and thus are the only audience worth catering to.

 

 In a 2015 study, novelist Nicola Griffith (Hild, Ammonite) looked at 15 years worth of data from a few top literary prizes. She found that fiction written by women about women won hardly any prizes, and fiction by women about men fared a little better. Books by men about men were miles ahead.

 

Prioritization doesn’t just happen in the making of media, it can happen within the story itself. Movies that would ostensibly be told from the point of view of the characters that the story is about, often get sidelined, in favor of telling the story from the point of view of  White men who have been added to the narrative. This particular form of prioritization (often called The Generic Male Lead) is a lot easier to spot than others, although it is so ubiquitous that it’s all but invisible to a lot of people. Not only are White men the centers of other people’s stories, their presence in the story seems to be of primary importance to all the other characters.

The Generic White Male Lead

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I already discussed in The Pandering (Part One),  how movies, games, and shows are  written  to star a generic White male lead, because White males, aged 16-35, was the key demographic that was of most interest to Hollywood and advertisers. This particular trope is sometimes  called The Average White Guy, The Everyman, or just The Generic Guy. Most often this trope is little more than a power fantasy for the average White male audience it is aimed at. They can imagine themselves having heroic adventures in space,  the past, the present,  or obtaining the love interest. They’re still an average, mediocre fellow, but they get to be heroic, and have adventures, in the meantime.

White men are who the story is about, with the cultural histories, homelands, and marginalized people used as a  backdrop for their heroic undertakings, character growth, emotional angst, love stories, or family dramas.  Sometimes famous (or infamous) men and women of color are sidelined in their own stories, because the White man’s story takes precedence. For examples see : The Last King of Scotland,  and Birth of the Dragon, in which famous men of color (Idi Amin and Bruce Lee) are sidelined in their own stories, their lives used as backdrops to tell the stories of generic White men feeling some type of way about their circumstances, or falling in love.

The 2015 movie, Stonewall, came under fire from the LGBTQ community for centering a White man in the middle of a story that was supposed to be about the uprising of a group of transgender people of color at the Stonewall Inn in the 60’s. The original “real life” Queer people of color who were present at the event, got sidelined in a story that should have been about them, their lives, and their activities leading up to the rebellion, but they were instead used as  background color to tell the  coming of age story of  a generic fictional White guy.

…a San Francisco-set coming-of-age story involving a rough and tumble young white man who matches the feuding fighting legends in the brawl as he pursues a Romeo and Juliet romance with a young Chinese immigrant [JingJing Qu] under the control of the Chinese mob.

Many of the tropes listed here often overlap, and sometimes all of them can appear in just one movie. Movies where a White Generic Lead is Chosen to be a White Savior to a group of natives being colonized, or killed, by people who look like him, because it is his Burden, as a White man, to civilize those people, while being better at their cultural traditions than they are, and falling in love.

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A perfect example of all these tropes meeting in just one film is The Legend of Tarzan, which was released in 2016, (although all the Tarzan books and movies suffer from this, because it’s  what they are based on). In this modern retelling, Lord Clayton is a scruffy White dude, who is also the Chosen One of the African tribe which has adopted him. He knows how to be a better African than the Africans in the movie, making him a Mighty Whitey, as he talks to the animals, who love and obey him. As a White Savior, he has a responsibility to save his adoptive tribe from some evil Dutch Colonists. Further examples of all these tropes appearing in one movie are: Avatar, Dances with Wolves, John Carter of Mars, A Man Called Horse, and The Last Samurai. All of these movies have the same basic plot.

Mainstream video games are almost exclusively the province of the scruffy White every man. It is well documented that  White male audiences are prioritized when it comes to mainstream gaming. Women, LGBTQ, and PoC are often pushed out of gaming, not just by a lack of representation, but by the heavy sexualization of female characters, the mockery of Queer characters, and the harassment and violence of White male gamers.

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The problem faced by woman and minority-starring video games
is largely the same as the problem facing traditionally underrepresented groups across all forms of representation: their failures are treated as definitive,and their successes are ignored. Dozens of white man-starring video games have underperformed, but their failures are treated as specific to that game.

 

The White Savior and the White Man’s Burden

To this day, some people still latently believe what imperialists such as Rudyard Kipling said, that colonialism was important for everyone: the conqueror and, most importantly, the conquered. That without the colonizers, the colonized had no hope of survival. And by constantly churning out movies with plots in which white people “save” people of color, Hollywood reinforces colonialist dictum.

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In movies, the White Male Savior (and there are also more than a few female characters that fall into this trap, but this is a genre that is written, controlled, and distributed by men, so I’m leaving those movies that star White women in this space) happens often in film and television. When it’s women, they show up as characters like Daenerys in Game of Thrones, Skeeter in The Help, and  Leigh Anne in The Blind Side, with some of the most frequent depictions of the White Savior trope occurring in classrooms, with movies like Dangerous Minds, Conrack, Up the Down Staircase, and Freedom Writers. (No. To Sir With Love  does not fit this trope. That’s a story about a Black man saving a group of disrespectful White students.)

The number of White Male Saviors in movies are fairly  numerous and cross all genres: Movies like Amistad, To Kill a Mockingbird, Radio, Avatar, Dances with Wolves, District 9, The Soloist, Hardball, Gran Torino, The Great Wall, Tarzan, and The Last Samurai.

Sometimes this trope overlaps with the Chosen One, The Mighty Whitey, or The Generic Male Lead. The White Man’s Burden is a reference to the colonialist idea that White men had a responsibility to civilize the rest of humanity who were not as evolved, and neatly dovetailed with the White Savior Trope. The White Savior often functions as an audience identifier, which allows White audiences to believe themselves to be “good” people  because they identify with him or her.)

The white savior is a cinematic trope in which a white character rescues people of color from their plight.[1] Certain critics have observed this narrative in an array of genres of films in American cinema, wherein a white protagonist is portrayed as a messianic figure who often learns something about him or herself in the course of rescuing characters of color.[1][2]

…In the praxis of cinematic narrative, the white savior usually is a man who is out of place within his own society, until he assumes the burden of racial leadership to rescue non-white foreigners and minorities from their plights. As such, white savior stories “are essentially grandiose, exhibitionistic, and narcissistic” fantasies of psychological compensation.[4]

 

The Chosen One

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The trope of the Chosen One isn’t always a White man, (occasionally women and men of color get in on it). It includes everyone from Harry Potter to Anakin  Skywalker. The Chosen One trope is old and tired,  but not necessarily a bad thing. In fact, the trope itself is rather neutral. The problem begins when  the special Chosen one is paired with any of the above tropes, which it often is. The Chosen One trope is an Average White guy fantasy that he is secretly exceptional, with some grand destiny. The Fantasy genre relies on this trope far  too often.

 

The Mighty Whitey 

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This falls under the heading of  Exceptionalism, when it is only White men who get to be good at everything,  outdoing the people’s of the native cultures he has adopted (or who have usually kidnapped him.) We already discussed Tarzan, which helped to begin this trope in popular culture (although it existed before that), but The Last Samurai is also a near perfect  distillation of the Mighty Whitey trope. Tom Cruise goes to Japan as a colonizer, but gets kidnapped by a tribe of Samurai. In the space of a few months, however, he manages to befriend the leader of the tribe, Katsumoto, fall in love with the man’s sister, Taka, (despite having killed her husband), and master the use of the samurai sword after only a few months of lessons.

TV Tropes characterizes this trope as a typically noble Caucasian man who, due to often extenuating circumstances, comes to live with native tribesmen. He not only learns the ways of the native people, but surpasses their skill, becoming far better at being a member of the culture than those of the tribe, and naturally their greatest warrior or even their leader. The trope in some cases also involves a romantic story-line between the hero and the Chief’s daughter, who will often continue to love him despite the hero’s sometimes direct involvement with the death of a significant family member.

 

Many in the west clearly still believe we need an identical identifier on screen, if not a white savior than at least a proxy embedded into an exotic group. Someone apparently thought it necessary to have a white male lead in an early draft of Disney’s live-action Mulan remake. And a lot of people are still interested in seeing Tarzan as the superior white hero of Africa, given the global box office success of The Legend of Tarzan. Fortunately, discussions of the “Mighty Whitey” trope problem grow with every example.

 

Whitewashing

Roles that should rightly be played by  fat people,  people with disabilities, transgender,  gay, or people of color, will often be replaced by White men (and sometimes women) in a  story, but the term Whitewashing  itself, often specifically refers to the replacement of PoC with White people. Contrary to popular confusion, Whitewashing and Race Bending are not equivalent. Whitewashing also applies to more than just film and television roles, but across the whole of the entertainment industry.

The portrait is one of pervasive underrepresentation, no matter the media platform, from CEOs to minor characters. “Overall, the landscape of media content is still largely whitewashed,” the study concludes.

 

“It is the height of white privilege to think a white person is better equipped to play an Asian character than an Asian person.”

 

Erasure

This means the  removal of gender, racial, and sexual diversity from Historical, Present, and Futuristic Narratives in movies, television, and gaming, especially when they should be present. The past was not as homogeneous as people like to argue and  I consider the question of homogeneity, at any point in  European history, to be a thoroughly moot point, if one has also added dragons, orcs, elves, wizards, and other fantastical creatures to the landscape.

To remove marginalized people from present and future narratives is to make a deliberate choice to not add them, which says something (none of  it good) about the creators of such stories. Sometimes, the White creators of these stories cannot imagine a future in which PoC, gay people, or people with disabilities contribute to the creation of the culture, or have adventures separate from White people. In many of the movies in which these marginalized groups do appear, the writers cannot imagine a future for them that is any different from their past, or their current level of  oppression. Poc of color are still secondary citizens, who live to serve the needs of the White characters in the story, homophobia still exists, no accommodations have been made for the disabled, and  White men are still the leaders of everything. For  example see : Ready Player One (book and movie), Bladerunner, and any movies about the future that were made before 1979.

The Past

The Present

The Future

 

What all of the historical erasure of non -Whites  has led to, is the popular mainstream belief that different groups of people contributed nothing to the historical record, which is then used as an excuse for excluding them from fantasy narratives, which is  then extended  into the future, or any form of speculative fiction.   The impression that is  given is that  the only worthwhile contributors to all of human culture are White people, specifically White men. This also  aids in the perpetuation of the belief that it was exceptional White men who created civilization.

 

Cultural Appropriation and Orientalism

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The most egregious purveyor of these two tropes are Science Fiction films, and most noticeable in films which feature an entirely Asian cast except for that White Savior, or   Mighty Whitey. It also includes appropriative narratives like The Handmaid’s Tale, which appropriates the oppressive histories of WoC, but  with a cast of White women, and just about any X-Men, comic book, or movie, where the histories of Black Americans, and LGBTQ people  are appropriated to tell the story of those oppressions happening to White straight, cis-gender characters.

Many of these examples are just allegories of oppression. The use of allegory and metaphor is a neutral act, and I don’t actually have a problem with allegories about oppression. I think the problem occurs when these stories are almost always told through the lens of straight, White victims. I discussed why in my reviews of A Handmaid’s Tale, and the series The Gifted.

 

https://www.npr.org/sections/codeswitch/2017/06/28/533818685/cultural-appropriation-is-in-fact-indefensible

Cultural appropriation can feel hard to get a handle on, because boiling it down to a two-sentence dictionary definition does no one any favors. Writer Maisha Z. Johnson offers an excellent starting point by describing it not only as the act of an individual, but an individual working within a “power dynamic in which members of a dominant culture take elements from a culture of people who have been systematically oppressed by that dominant group.”

The movies most notable for both cultural appropriation (and Orientalism) are the Bladerunner films, in which Asian (specifically Japanese) aesthetics are used as background settings for a story that uses the American version of slavery as an allegory, but which stars no prominent Black or Asian characters.

This doesn’t just happen with different Asian cultures, but with African American, and Gay subcultures, and in music and books. Cultural appropriation is a product of White Western thinking that finds the cultural artifacts of other nations to be nothing more than amusing or pretty trinkets.  There is rarely  any understanding of what’s being appropriated, and this is often coupled with a denigration of the people that produced whatever aesthetic was stolen. Often, it is only the cultural aesthetics that have any value. To the White people who do this, the people who produce what they’ve stolen have no value. There is also  the added side effect of centering White people in the middle of other people’s stories and culture.

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There is some confusion over just what constitutes cultural appropriation, especially when it comes to more shared activities like music, art ,and fashion, but sometimes there are clear cut cases where corporations have stolen design elements from Indigenous, or geographically exclusive cultures, and profited from the theft, without giving credit to the originators of those design. Cultural appropriation has been very well documented for several decades.

An example of an appropriation of a musical style was Disco, which was primarily created by Latinos, WoC, and LGBTQ creators, who were also primarily the audiences for the music. By the time Disco made it into mainstream culture, most of the elements that made it so appealing to those marginalized groups, had been stripped from it by White men seeking to make a profit. The faces of Disco became White, straight, and male in the form of Saturday Night Fever, Abba, and The Bee Gees.

Every musician has influences, that is very true. The issue, however, lies with the lack of proper credit to these influences, and more importantly, that these influences aren’t getting their due monetarily and popularity wise. Moreover, these black influences experience barriers in terms of industry gatekeepers, while the influenced white musician is skipping through an open gate. Lastly, the trend of showing off the negative stereotypes of black culture and disregarding the other parts that are involved, demonstrates a lack of understanding and respect for the music one is taking.

 

The film Saturday Night Fever, a fictional account of a hetero Italian-American disco fan, whitewashed the genre and sold it – very, very successfully – to mainstream America.

  • Appropriation of Indigenous Culture in the Fashion Industry

Appropriation is typically defined as taking an idea or reproducing an artifact for one’s own particular use, altering its original meaning, and doing so without the original producer’s consent. Cultural appropriation is often related to the exploitative and commercial use of traditional and customary elements of long-established cultures. 

Tokenism

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Tokenism is something that can be applied to every marginalized group. Often they are the only member of their group in the narrative and don’t actually get to be their authentic selves, because their words are written by writers who aren’t a member of their group. There’s often only one woman, or one gay character, or that one lonely Black man, who gets killed first. And then there is the burden of representation, where that lone character now has to be all things to all the members of their group, because they are the only one present.

Because characters of color are rare on screen, when they appear, they carry ” the burden of representation,” which means that they are a symbol or representation for an entire community,…”For white people, this is not a problem, because their roles are so varied and so numerous that audiences do not see them as representatives of the white community, but simply the individual characters,…”

Narratives that contain two or more  gay characters, women, or  PoC, are considered niche markets, that are only of appeal to the group in question, and subsequently don’t get marketed to a larger more mainstream audience, which is what happens when members of the dominant group control the means of distribution. (This is very slowly beginning to change with movies created for, by,  and about marginalized audiences seeing mainstream release.)

Why do Black people like White movies? The short answer here is that we don’t have much of a choice.

 

One example of tokenism  are most of the MCU films, although this is a trope that can be spotted anywhere. The MCU film, The Avengers, fell under scrutiny for the  Smurfette Trope, as the only female character to appear in the movie, with a speaking role, was Black Widow. When there is only one token character in the story, the writers don’t have to expend time and energy imagining what such a character could be thinking, and they  certainly don’t have to imagine what two or more of them would talk to each other about.

Another trope I’ve been noticing recently is when there is more than one person from a marginalized group in the narrative, they may actually have names, and  speak to one another, but their relationship is antagonistic. Once again the MCU comes under fire, for this. The movies have been slowly adding more men of color to the franchise. In Captain America Civil War there are two Black men, Rhodes and Sam, but their relationship is antagonistic. There are two White women in the cast, but they have only two lines to each other between them. The rest of the time they don’t interact. The Netflix show, The Defenders, did slightly better by featuring multiple women of different races, but none of  them are friends, and in some cases actively work against each other. The only  two WoC who interact, and are shown being friendly, are  Misty Knight, and Colleen Wing. Even in the series Jessica Jones, only two of the several women in the cast are shown to be actual friends. The rest are all antagonistic to each other, and the lead character.

It’s almost as if the writers cannot conceive  that women (and others) would have any conversations that are not about White men, or what subjects other people could possibly be talking about, when White men are not  present, or even that they might like each other. This is especially easy to point out in the Token PoC Trope, where men and women of color don’t have lives that are separate from the White characters and they don’t seem to have friends or family of their own. Their lives (and deaths) revolve around the White leads.

Even the deaths of such characters are there to serve White men. People of color will sacrifice their lives to save the White characters. Women’s deaths have whatever meaning is assigned to them by the White man they’re  related  to in the story.  In  comic books women are “fridged” to provide an emotional arc for the lead characters, but  there are countless movies based on White men going on killing sprees that have been spurred by the deaths of wives, daughters, lovers… so many that this plot point almost constitutes its own film genre, The Vigilante/Revenge Film.

The Presentation of Everyone Else

 

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In stories that are ostensibly about women, PoC, and Queer characters, White men still get the most speaking lines, get to portray the gay and transgender characters, and even non-White ones. According to White men, the past was all White, the present is almost as White, and the future is every bit as White as today. When it comes to fictionalized universes the  White  straight men who control these narratives,  are hard pressed to imagine any point in time in which they are not a priority.

Since the vast majority of Pop culture media is owned and controlled by White men, White men get to speak for, put words into the mouths of, and then give their opinions on, everyone that is not them. They have created all the labels, the identities, and the narratives of everyone who is not them, instead of allowing those groups to speak for themselves.

 

The Presentation of Gays and Lesbians

As chronicled in The Celluloid Closet, it was White men who got to decide what images of gays and lesbians were acceptable for TV and movies. There were gay men involved in the creation of gay characters on screen, but after the implementation of the censor codes in the fifties, they often had to hide, deflect, or depict gayness in a comedic or villainous way.

Hollywood accounted for the creation of some of the most egregious gay tropes, like the Sassy Gay Sidekick, Kill Your Gays, or the “It’s Just A Phase” lesbian. Hollywood often engages  in the erasure of gay characters, in movies like Alexander, and A Beautiful Mind. In the past, the only way that film studios could get gay characters past the censors was to present them as being laughably harmless, tragic, or associate them with crimes they could be punished for.

The Celluloid Closet is not available at this time for free streaming but it is available on Youtube, iTunes, and Vudu, for a fee. Since I’m not a part of the community in question, I don’t feel I should speak for them, but I can signal boost the voices of those who are.

 

Queercoding Villains

One of the ways Hollywood excuses violence against gay people is to cast them as villains, thereby associating gayness with crime, or evil activities in general. Sometimes though, a character’s homosexuality is only alluded to by gestures, and dialogue.

One of the most difficult things about approaching film and television’s use of queerness is that there will rarely be a single verdict on any given cultural product. With the exception of the most simplistically supportive or bigoted representations, there is room for much discussion and debate in determining a positive or negative LGBTQ presence. Because of this shift, seriously engaging with and thinking about the images we consume has become more important than ever.

Transgender Men and Women

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Transgender characters come under special scrutiny in Hollywood. They are almost always cast as tragic victims of their “lifestyles”, or villains. Needless to say, since none of the imagery we see of transgender men and women are actually created by them, their depictions have always been problematic. Then there is the mainstream obsession with transgender men and women’s genitals, and whether or not they have transitioned, are going to do so, or are doing so right now. This is leaving aside that transgender actors  rarely if ever get to star in their own stories.

 “Media has a history of telling the world a story that transgender people are always victims or villains, instead of true depictions that show the transgender community as citizens worthy of equality and respect. 

In the past, transgender characters have been the butt of jokes, and objects of disgust, with transgender women being the focus of the greatest amount of  attention. That type of transphobia is to be expected when White, Straight, men are intrigued by them, mistakenly believe that them to be men in drag, and are  homophobic, and misogynistic. The hyperfocus on transgender women, as objects of ridicule and disgust,  is called Transmisogyny. There is also the common trope of transgender women as being male deceivers of straight men.

 

Transgender villains are often a common trope in Horror movies, too and serves the dual purpose of showing the creators disdain of the community, and associating transgender men and women with evil, and crime. Often the characters are not transgender at all, they are merely men dressed as women, and the effect is that transgenderism becomes associated with the idea that gay men are trying to deceive straight men, by dressing up as women to fool them.

Some of the most famous depictions of transmisogyny are from the movies Ace Ventura Pet Detective, Silence of the Lambs, Psycho,  and  The Crying Game, in which a member of the IRA goes to London to visit the girlfriend of a man he killed, finds that she is transgender, and reacts with vomiting and panic. In fact, vomiting at the sight of trans women was a common trope in the 90s, usually as a form of comedy.

Obesity

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This is a topic of considerable interest to me. Consider for example, that all of the media stories that feature fat people as  characters,  almost all are entirely written by conventionally thin people. This has real world consequences, and accounts for the worst stereotypes believed about  fat people, especially fat women. They are most often seen as comedy relief to be mocked or laughed at, or undisciplined, unintelligent, ugly and desexualized slobs, whose lives are a dysfunctional mess.

In the movie Death Becomes Her , one of the lead characters is played by Goldie Hawn, a conventionally attractive White woman wearing a fat suit. There’s a scene where her life is shown as having spiraled out of control due to her jealousy of Meryl Streep’s character. She is shown at home,  in her pajamas, messily eating tubs of food with her fingers, in a roomful of cats, while watching TV. Her hair is a mess. She is late on her rent and about to be evicted.This is a  type of shorthand often engaged in by visual media. There is nothing sympathetic about this scene or her character. It is a derogatory image meant to symbolize how pathetic her life is. The screenplay was written by David Koepp and Martin Donovan.

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https://www.usatoday.com/story/life/tv/2018/08/10/insatiable-netflix-fat-women-television-chrissy-metz-dietland-nicole-byers/945835002/

This is, inevitably, just new packaging for offensive stereotypes about fat women on TV. The logic goes that the “good” fat women are the ones trying to lose weight or who already have (Monica on “Friends,” for instance), because staying fat means you are lazy and disgusting. As a result, the characters that stay fat have to be the villains or comic relief (see “Mike & Molly” or any number of jokes in shows like “How I Met Your Mother” or even “Jessica Jones”).

Another example is a scene in Jessica Jones, a show about a female superhero, that’s meant to be empowering for women. There’s a throwaway insult made by Jessica about a fat character, seen through a window on the street. Why was this scene added? It has no bearing on the rest of the plot, and that character is never seen again. If it was put there to showcase how much of an asshole Jessica is there are other ways that could’ve been conveyed to the audience that didn’t require throwing fat women under the bus, and since that scene was written by women, has the perhaps, unintended side effect of making the writers seem like assholes. It has also been pointed out, that a show about abuse survivors is telling us, not so subtly, that verbal abuse of fat women is okay. That idea (and its associated stereotypes and myths) has always had real world repercussions for fat men and women. (Yes, the show is written by  White women, but they  have often been complicit in White patriarchy.)

https://danceswithfat.wordpress.com/2016/01/09/drive-by-fat-shaming/

This is drive-by fat shaming. Just a quick reminder to everyone watching/listening that it’s hilarious and cool to make fun of fat people – even on a show that is supposed to be feminist. 

 

None of the derogatory images we see of fat people are written by people who know what it’s like to live life as a fat person. Women of color are often “mammified” for being fat, while men of any color are most often mocked, even in sympathetic portrayals. It is Popular culture that is responsible for disseminating most of the myths we believe about fat people.

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…the film industry has a long and varied history of producing movies that feature overweight characters. Some movies portray weight sensitively; others make a mockery of the subject; but few politely disregard the subject of weight altogether – perhaps mirroring our collective real-life inability to do so.

 

Poverty

Many of Americans most entrenched  ideas  about being poor have come from politicians demonizing them,, and decades of watching the depiction of poor people, in movies and television, that were written by middle class people (who are themselves steeped in myths about poor people), and who have been conditioned by politicians to think of the poor as lazy, ignorant, and deserving of their fate.

Did you notice that a lot of the stereotypes and myths about fat people, poor people, immigrants, and poc are similar in nature. All that is said about the poor are the same things said about anyone who is not White, thin, middle class, , mentally abled, or male, and meant to paint the picture that the creators of these stereotypes are the norm, and anything that deviates from it is “other”, abnormal, or dysfunctional.

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…with more than 43 million Americans living below the poverty line, the topic is surprisingly rare in Hollywood films. And yet many common misconceptions about what poverty looks like, and how people can overcome it, have been reinforced by movies like Slumdog Millionaire, Precious, The Pursuit of Happyness, and The Fisher King. 

One of the most common stereotypes is that homelessness is exclusive to men, and that all homeless suffer from mental illness. That is who we often picture when discussing the subject. We do not often consider the idea of women and children being homeless, or that homelessness itself would exacerbate any already held mental illness, or sometimes even cause it. When we picture the homeless, we picture them looking a certain type of way. There are homeless people who look indistinguishable from everyone else, some of them  work and many  live in rural areas. Those people are called the Invisible Homeless.

Homeless people in movies and TV shows, are usually played for comedy relief. When they are shown sympathetically, it is usually to serve some well meaning and often middle-class, White  character’s personal  growth. This also falls neatly into the White Savior trope.

While the rural homeless may not be sleeping on city sidewalks or in public places, they are not any less homeless than their urban counterparts. They may be sleeping in their car, a church, an abandoned building, or, most commonly, on the couch of a relative or friend. 

Part of the problem, as it is in most years, is that few movies about poor or homeless Americans were made in the first place. My previous researchfound that between 1902 and 2015, of all the films made in the US, only 299 of them were in some way significantly concerned with issues of poverty and homelessness.

 

 

 

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Disability

Characters with disabilities are almost all written and created by people without them. The characters themselves are often depicted by actors who lack the disability in question, and non-visible disabilities like chronic pain, or mental illness are  rarely depicted on screen, without attaching ideas of laziness or  violence to them. Why do we believe so much of what we believe about the different groups of people to which we don’t belong? We probably got those ideas  (and they were most certainly reinforced) from decades of television and movie viewing.

Not only are people with disabilities stereotyped, the full range of disabilities is not reflected in media portrayals. Lynne Roper of Stirling Media Research Institute, in her article “Disability in Media,” notes that “wheelchairs tend to predominate… since they are an iconic sign of disability. Most actors playing disabled characters are, however, not disabled. The wheelchair allows the character to be obviously disabled, whilst still looking ‘normal’, and does not therefore present any major challenges for audience identification.”

 

The media, however, especially the movies, portray schizophrenia in a different light than the actual disorder. Common misconceptions are that schizophrenics are violent, drink alcohol heavily or use narcotics, behave comically, or suffer from a non-curable disorder. Some believe that schizophrenia is punishment for acting immorally, or that contact with a schizophrenic can lead to mental disorder. Others believe schizophrenia is the result of poor parenting and that schizophrenics behave unpredictably, are loners and isolated from society, or manifest disruptive behavior.

 

On Race and Gender

White, straight, cis-gender, Middle class, non-fat men get to have their say about  everyone else. Narratives about fat people that aren’t written by fat people, stories about men and women living in  poverty, where not one poor person was actually consulted, stories about women’s lives written from a male point of view, along with stories about gay people, Blacks, Asians, Latinx, where the opinions of who they are as a group are given no priority over the White men in the story, or the White men who wrote the script, or directed the movie, or even critiqued it,  is what is meant when we talk about seeing the world  through a White male lens.

We only  get the White male  point of view, and that point of view, reinforced through decades of pandering to White male audiences, is that everyone else is less than.That people who are not like them do not deserve sympathy or the benefit of the doubt. That those people’s lives are unstable because those people are somehow dysfunctional. It is not that White men don’t get depicted in unflattering ways, it is the overwhelming sense that White men deserve sympathy and compassion when they’re lives are out of order, while everyone else deserves mockery, dismissal, or erased. Decades of television, and film consumption have made Americans less tolerant of the differences between them, which is a (sometimes)  unintended side effect of White men being in the dominant position of catering to their key demographic: other Straight, White men.

The White male lens on race and gender in movies and television is well documented. They have   crafted, over the past fifty to sixty years of television, many of the stereotypical images of race and gender seen on our screens. Many of these depictions have been the only ones fans have consumed, since many Americans simply don’t read very much. White supremacy, ignorance, a lack of imagination, and laziness help to perpetuate these depictions throughout mainstream media, and even into fandom. Once again we’re not talking about individual depictions of gender and race, or outliers from the stereotypes. We’re discussing the whole of cinematic and television history.

 

Here, Lindsey Ellis discusses the  “Male Gaze”, and also makes the point that the male gaze isn’t just about how women are depicted on screen. Its also about how White men are depicted. She uses the Transformers movies as an example of gender and race as seen through the male gaze.

 

The Presentation of Men of Color

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Just as media images of White men can make their centeredness and superiority seem normal and inevitable, the stereotypical depictions of other men in media can do the same to them. It  becomes natural to associate Black men with criminality, Middle Eastern men with  terrorism, Latinos with sexual promiscuity, and East Asian men with technology. These racial stereotypes were created by White  creators, and  used as justification for inequality, racism, and White supremacy, and have been helpfully maintained by lazy and incompetent creators ever since.

I keep mentioning the Whiteness of the the creators, because I want you to imagine  an American made film,  which features a Black, Latino, or Asian man’s anguish at, or revenge for, the loss of their wives, daughters, or lovers. or at least imagine such a narrative wherein he is not punished for doing so. Men of color don’t get cast in mainstream shows and  films like that, because the media doesn’t cater to their power, fame, or money fantasies. A man of color can only be an adjunct to  a White man’s goals, whether those goals are avenging a loved one, or getting the girl.

One of the things to keep in mind when reading these stereotypes of men of color is that they are essentially all the same stereotypes, with slight variations. The same racist narratives used against Middle Eastern men has also been said about both  Black and Asian men. All men of color are uncivilized, and barbaric. That they  are both oversexed and desexed are stereotypes lobbed at both Blacks (The Black Brute), Asians (The Horndog),  and Latinos (The Latin Lover), and that they are all obsessed with White women, who need to be saved from their attentions.

One of the ways White men in pop culture seek to maintain hegemony is to desexualize or emasculate certain characters, Whether men or women,  while hypersexualizing others, and presenting these qualities as somehow admirable, when really those qualities are being promoted to make White male characters look good by comparison.

 

Black Men

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Characters of color remain underrepresented in mainstream movies and TV shows, and those actors who land roles are often asked to play stereotypes—from maids and immigrants to thugs and prostitutes. This overview breaks down how blacks, Hispanics, Native Americans, Arab Americans and Asian Americans continue to face stereotypes on both the big and small screen.

 

…negative mass media portrayals were strongly linked with lower life expectations among black men. These portrayals, constantly reinforced in print media, on television, the internet, fiction shows, print advertising and video games, shape public views of and attitudes toward men of color. They not only help create barriers to advancement within our society, but also “make these positions seem natural and inevitable”.

 

There’s no shortage of black male actors playing drug dealers, pimps, con-artists and other forms of criminals in television shows and films such as “The Wire” and “Training Day.” The disproportionate amount of African Americans playing criminals in Hollywood fuels the racial stereotype that black men are dangerous and drawn to illicit activities. Often these films and television shows provide little social context for why more black men than others are likely to end up in the criminal justice system.

 

One of the more disturbing tropes I noticed in the MCU, but have since noticed in other media are White characters who are meant to be heroes, punishing and torturing Black and gay men. In Captain America The Winter Soldier, there’s the torture of a Black man for information. In the movie Magnum Force (1973), Harry guns down a fleeing transgender woman. In fact, Clint Eastwood made a career out of vigilante justice in films. In The Defenders, you have a group of White heroes torturing a Black villain for information (of note: they didn’t torture any of the other men of color).  Torture happens frequently in the shows 24, Iron Fist, and The Punisher. Americans have  been conditioned for decades, by movies, TV series, and comic books, to see torture and vigilante justice as a  heroic activity. : a heroic activity that is  engaged in primarily by White men.

American society has been conditioned through vigilante imagery, to the acceptance of the use of torture and violent punishment, and  one of the side effects of this is the idea that Blacks, Gays, Latinos, and even women, get  considered to be  “non-normative”, and deserve to be punished and  killed for their transgressions against White men. This has the effect of associating White men with  law, order, and stability.

Hollywood’s obsession with black torture porn: Why the genre’s not important.

The film industry has mastered this skill to a tee, feeding us skillfully written, romanticized versions of the black American plight and later showering us (i.e. in many cases, white producers and screenwriters) with the highest of film honors and nominations when award season rolls around. But it’s starting to fail.

 

Asian American  Men

Like Black women, Asian men are often shamed for being Asian, don’t get to be shown as being loved, or lovable. They are often emasculated, not seen as sexy, and are still the butt of nasty jokes involving their penis size. Asian men get to be stereotyped as a danger to White women, smart but unnattractive nerds, misogynists, and perpetual foreigners in their own country. They rarely get to star in their own stories. When they do they are often the sidekicks to White characters.

 

 

Middle Eastern Men and Orientalism

As for Middle Eastern Men, they are almost always depicted as villainous barbarians obsessed with sex, and the beauty of White women.  America has a vested monetary interest in subduing the Middle Eastern regions of the world, so the people of that region have become handy scapegoats to blame US problems on. Before these visual tropes existed though, the West engaged in what is known as Orientalism, where the East was exoticized and romanticized for its barbarity.

“Orientalism” is a way of seeing that imagines, emphasizes, exaggerates and distorts differences of Arab peoples and cultures as compared to that of Europe and the U.S. It often involves seeing Arab culture as exotic, backward, uncivilized, and at times dangerous.

 

Growing up, it was quite normal for us to see ourselves on the silver screen in two scenarios – firstly as a terrorist/evil character/backwards thinking individual/collateral damage, or secondly absolutely nowhere at all. It was fine growing up – we were used to it. Hollywood was a place that we were allowed to watch, but not allowed to be a part of. 

 

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When it comes to Hollywood, the White male creators of media there, have a keen interest in showing men of other cultures to be less than them, so as to make themselves look better by comparison. Men of other races have many stereotypes in common. They are often shown to be oversexed,  desexed, hypersexualized, uncivilized, barbaric, villainous , or unintelligent.

 

 

The Presentation of Women

I talked about the sexual exploitation of women in pornography and mentioned the same in mass media in another post.The exploitation of women in mass media is another entire post  by itself, and it too,  is very well documented.

https://documentarylovers.com/film/miss-representation/

Since most popular media is controlled by White men, and the women they are most interested in are White women,  they have crafted dozens of stereotypes and tropes in movies, books and TV shows, that while they can be applied to all women,  were specifically invented to condition  White women to accept White men’s behavior towards them, and show White women those qualities in a woman they consider to be most important. These tropes are so prevalent that they are all but invisible.

One of these tropes is the Born Sexy Yesterday trope, where White women are shown as childlike, fragile, and vulnerable, that you don’t actually have to listen to, because you won’t understand anyway. This trope appears in dozens of movies. It’s basically a form of wish fulfillment. This is what White male creators, and by extension, White male audiences, find appealing.

 

Tropes for White women include : The Final Girl, The Manic Pixie Dream Girl, The Just One of the Guys Girl, The Disposable Object, The Sexy Floor Lamp, The Nagging Wife, and The Strong Female Character, who overlaps with The Final Girl. These tropes are not all wish fulfillment, or sexual fantasy, some of these are created to shame behaviors that White men find displeasing, or as a way to center a narrative around White male anguish.

How to think of White women  isn’t all that  audiences  are learning. White men are also shown by these narratives how they should perform masculinity, and the things they should care about as men. These narratives reinforce the status quo by showing men how to be men towards both men and women. Men are supposed to have an interest in women, technology, cars, computers, games, the hard sciences, and sports, or they somehow are not real men. When they don’t choose to engage in one or more of these interests, they are losers, pussies, faggots, bitches.

In other words, they are equated to women.

Men are taught that being seen as  feminine is the worst thing possible for a man, and it is how they insult men of other races, by accusing them, not just of being less than human, but being like women. Not only are men being taught how to be men, but it is these same stereotypes that reinforce to  men of color how to behave towards women. So you have Black, Asian, and Latin men, all trying to be men according to  rules of behavior that were created by middle class, straight, White men. (Misogyny/machismo is not the sole province of White men. Trust me, those two things are a global phenomenon. But mainstream American media has done nothing to challenge either.)

Narratives that are created by White men also teach women how to appeal to men. Decades of sexist narratives teach White women how they’re supposed to behave for the reward of White male approval, (and that WoC need to be as much like White women as possible, but will still  be inferior to White women who are behaving properly.) They  prioritize those qualities they find most important, like sexiness without awareness of it, youth, vulnerability, submissiveness , thinness, thoughtlessness,  helplessness, and fragility. Through these narrative decisions White men shame those behaviors in women they find distasteful and/or inconvenient to fulfilling their needs, qualities like  physical and emotional strength, intelligence, ambition, immodesty, and being old, or overweight.

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And yes, this applies to WoC too, who have gotten the message loud and clear. In the recent dustup over a cartoon image of Serena Williams, the White man who created it, called upon decades of Black female racial stereotyping. These were images invented by White men to demean and diminish Black women, to show why Black women were/are the least desirable of all women, while, at the same time,  the sexual assault and exploitation of Black women  by White men was occurring.

The legal and social double standard that allowed white men to commit sexual violence against black women with impunity, while the most baseless fear of sexual contact between a black man and white woman resulted in deadly violence, continued after emancipation. 

It is through entertainment culture created by White men,  that Black women learn that they are unloved, unlovable, and not capable of love. Latinas learn that they are desired for being passionate and sexy,  and that they will be rewarded with male attention for exhibiting such behavior, and Asian women will learn that they are the most desirable of all women, especially if they are as quiet and submissive as their stereotyping requires.The purpose of these stereotypes is to keep all groups of  women in their place, by teaching women that their purpose in the world is sex, that their priority should be procuring male sexual attention, and how that should be done.

 

Women who fail to gain the sexual attention of men (attract the male gaze) are denigrated, shamed, and/or erased. Women who reject male sexual attention (those women who are anywhere along the LGBTQ spectrum) are made to serve the narrative in other ways. They still need to be sexy and appealing to straight men, hence the creation of the stereotype of the “Just a Phase Lesbian”, who is only with women, until the right man comes along. Women in same sex relationships, must be made to seem desirable (and attainable) to straight men, otherwise they are of no use, and must be criminalized and punished.

Women are not worthy of male attention if they are  too old, too fat, too poor, or have a disability that cannot be classified as sexy, (for example, if you are a woman suffering from  certain types of mental illness, or depression, that kind of vulnerability can be made to seem sexy, fun or exciting, to a male audience.) The end result is that all women are taught that their highest priority is gaining the sexual attention of men, (without seeming to actually do so, because women who make it clear that they want that attention are also shamed for  that.)

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The most popular types of movies, even those prominently featuring PoC and women, often consist of  violent power fantasies, sexual fantasies,  and the use and misuse of technology. This isn’t a hard and fast rule, and there are plenty of movies that are exceptions, but most of the top ten highest  grossing movies  consist of these topics.  (Most White men have plenty of  interests outside of  those topics, but this s not what you would know from watching visual media.)

The Presentation of Indigenous People

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It is very easy to make up stories about a group of people that everyone thinks are extinct, and White US Americans have been making up all kinds of stories about Native Americans since they arrived on these shores, stories that serve whatever purposes White people need them for.  When White people want to use and  exploit Native Americans, the women become sexy squaws, to be used and disposed of, the men become inspirations for sports teams. When White people  want to play White Savior, or steal elements of their culture, then the Indigenous communities  suddenly  become  proud, noble, downtrodden people to be saved, and the  theft of their culture, becomes elevation. They should feel honored.  Does a White man have a chip on his shoulder about his life? Well, then Indigenous people morph into a highly successful group who get free stuff, because they own casinos. When White people want to use their resources for their own ends, and Native Americans refuse to get out of the way? Well, then they are  transformed into a bunch of ignorant savages who need to be put down.

From fashion, to sports teams, to oil pipelines, Indigenous people in the US can be turned into whatever White people need them to be, and Pop culture (mainstream) media has aided, and abetted this exploitation, reinforcing whatever  stereotypes were needed for White America to accomplish their goals.

Most Americans know almost nothing about the lives of Modern Native Americans, as most of them have gotten all their information about them from TV shows and movies that are not created by them. When they get the opportunity to tell their own stories however, the depictions we get of Native American lives are significantly different from what is seen in mainstream media, which continues to erase their present existence, and get their past existences wrong.

 

It’s better to hear about their lives from their own lips:

 

At the turn of the nineteenth century, the western U.S. was exploding with colonialist ventures. For the U.S. government, their biggest obstacle was conquering Native Americans and establishing power and control over their land and their resources.

 

The murder and  exploitation of Indigenous women is ongoing.

 Native American women across the country are being murdered and sexually assaulted on reservations and nearby towns at far higher rates than other American women. Their assailants are often white and other non-Native American men outside the jurisdiction of tribal law enforcement.

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This is not an essay about exceptions to all of the above. This is an overview, of as much as I am able, to cover of the past 60 70 years, of how White men having temper tantrums over how the current Pop culture is pandering to groups of people that are not them, is an accusation that stinks of hypocrisy. White men have been pandered to for decades, and the fallout from that pandering has helped to  create a level of ignorance about American life and history that is unmatched by other Western nations.

There are some real world effects to all this pandering. All these stereotypical images of PoC,  LGBTQIA, and Transgender people have real world repercussions, and a part of those repercussions come from the effects that all this pop culture pandering has had on White men. But Hollywood, and television are paying attention and thinga are very slowly starting to change, or at least be questioned by new thoughts, new imagery, new types of plots and characters. Contrary to White men’s tears, this new attitude towards diversity is not pandering. I really do like to stay positive on here, so I’m not going to dwell anymore on what Pop culture has gotten wrong. In part three of The Pandering, I want to end on a happy note, and talk about how this can be fixed, and what pop culture media is getting right.

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Weekend Link Roundup

Here’s some interesting reading from around the web, for the weekend. Some of the articles are older, but no less relevant:

 

Asian Erasure

*From Firefly and Star Wars, and from Bladerunner to The Matrix. What do these movies have in common? They’re all about the future, and they all have a certain Asian aesthetic. Unfortunately they also have no Asians in them. Hollywood loves seeing an Asian future, as long as there are no actual Asian people in that future. The Chinese population is some 1.3 billion people.  People classifying themselves as White make up only 11% of the world’s population and are set to be even less than that in the future as their population continues to decline, yet, there’s no evidence of that in any of the most popular movies about the future.

https://boingboing.net/2017/10/11/cyberpunks-asian-representat.html

https://moviepilot.com/p/what-is-cyberpunks-obsession-asian-imagery/4379249

https://www.avclub.com/read-this-why-does-cyberpunk-keep-making-asian-cities-1819366143

http://www.slashfilm.com/blade-runner-2049-asian-culture/

https://motherboard.vice.com/en_us/article/mb7yqx/cyberpunk-cities-fetishize-asian-culture-but-have-no-asians-blade-runner

 

Hollywood’s “Little” Problem

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https://www.thedailybeast.com/hollywoods-other-open-secret-besides-harvey-weinstein-preying-on-young-boys?via=newsletter&source=Entertainment

http://www.hollywoodreporter.com/news/corey-feldman-elijah-wood-hollywood-897403

https://www.thedailybeast.com/elijah-wood-calls-out-hollywoods-pedophile-problem

 

Toxic Masculinity in Pop Culture

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http://www.vulture.com/2017/04/nice-guys-in-movies-arent-nice-anymore.html

https://www.themarysue.com/toxic-masculinity-in-jessica-jones-kilgrave-as-a-nice-guy-and-will-simpson-as-misogynistic-hero/

https://www.themarysue.com/wolverine-toxic-masculinity/

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

http://www.ebony.com/news-views/toxic-masculinity#axzz4w4vfOIGI

https://www.thecut.com/2017/10/this-isnt-toxic-masculinity-its-sociopathic-baby-men.html

 

Neo Yokio Review

 

  1. Lord help the poor souls for whom Neo Yokio is their first introduction to anime — and let that same Lord (whatever benevolent nerd deity presides over these sorts of things) bless the brave souls who watched this inane attempt at entertainment knowing that so much greater anime exists in the world.

    Neo Yokio, a Netflix original series created by Vampire Weekend’s Ezra Koenig and starring the vocal talents of Jaden Smith, Jude Law, Susan Sarandon, Jason Schwartzman, and Steve Buscemi, among many others, takes place in a futuristic New York City that’s underwater south of 14th Street. In this version of New York, which is randomly and inexplicably peppered with elements of Japanese culture, one’s social standing — showcased on the all-knowing “Bachelor Board” in Times Square — is of the utmost importance, and those with old money look down upon the “magistocrats,” demon-slaying members of the elite who have worked their way up, through exorcisms and social engagements, into the class of nouveau riche (aka “Neo Riche” ::queue eyeroll::).

    Our hero (a term I’ll use with the same degree of irony that Neo Yokio overuses to no end) is Kaz Kaan, a young magistocrat who spends his time exorcising some demons but even more time complaining about his social status, shopping, and bemoaning his relationship status to his friends and mecha British butler, Charles. And what’s the plot, you may ask — a fitting question, but one for which Neo Yokio has no answer. The show literally follows Kaz as he mopes around, goes on errands, and tries to figure out how to become the most eligible bachelor in Neo Yokio. If there’s a reason why we should care about Kaz’s problems, it’s unclear. After all, with its fixation on brand names, fashion, and the superficial minutiae of Kaz’s upper-class life, Neo Yokio presents itself solely as a satire of classism and commercialism in our culture, right? Maybe.

    That’s just the problem — it’s unclear. For all its posturing about class, Neo Yokio never actually commits itself to saying anything about it. We see the characters bask in their privilege and throw around their money carelessly but the only instance of real contrast is when we see how Kaz treats Charles and the few characters he briefly encounters in the service industry (including the sales clerk at Bergdorf’s, whom he only refers to as “sales clerk”) with utter disregard. The characters — and the show in general — exist in a kind of vacuum, making it impossible to determine whether the show is taking itself seriously or not at all — and if it’s satirizing a group of people or an idea, who or what exactly that is. None of the characters are written with any depth and none of them reveal the show’s true aim. Sure, fashion blogger Helena St. Tessero awakens to the superficiality of Neo Yokio and initially seems like she’ll be the lens through which we may see the satirized world (think the smart, incisive gaze of Daria, who reveals the stupidity of those around her), but she too is exaggerated to the point of no return (read: is turned into a terrorist-recluse), leaving us with equally fatuous celebrations and dismissals of this upper-class life.

     

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Writing With Color

 

*Here’s some basic writing advice, for writing just about any marginalized group, (and eve nsome very common, not so marginalized groups) so you don’t come off looking like a racist twat! Now this is not to say you can do none of these things. Some of them can be done without offense, if you have a damn good reason for doing it. Some of the others…not so much.

 

Common Micro-aggressions: African Americans and/or
Black People

Anonymous said: What are some common micro-aggressions that a black american will regularly have to deal with?

Behold this masterpost of common micro-aggressions towards African Americans and/or people in the African Diaspora, several of which may be applicable to other PoC. Micro-aggressions can be perpetuated by White people as well as fellow Black people and People of Color.

This is just to give a thorough understanding of some of the things a Black person (often in America) deals with. Don’t run forward and jam-pack your Black character with every one of these experiences, though I can say I’ve personally experienced every one of these or know someone who has.

General Micro-aggressions

  • People excusing blackface.
  • Having our grammar and annunciation corrected.
  • “I don’t see you as a Black person/ I don’t see colour.”
  • Calling Black people ghetto, thugs, rachet, sassy, urban…
  • People debating why they should be allowed to say the n-word.
  • Then saying the n-word anyway.
  • Whispering, spitting, or stumbling over the word “Black” as if it’s a curse.
  • Refusing to pronounce your name right, or just calling you by a different name that’s easier.
  • Alternatively, “jokingly” calling you a “ghetto” name.
  • Constantly mixing up unrelated and not even resembling Black people, because you know.. ‘Black people all look the same’.
  • Dismissing our experiences as “just overreacting,” defending the wronging party, or using our plight to talk about one’s own experience (e.g. “well as a gay man i’ve got it rough…”).
  • Telling racist jokes and calling you sensitive when you don’t find it funny.
  • “______  is the new civil rights movement!” Black folks are still fighting for their rights so…

Media

  • Fox news (xD)
  • Caricatured depictions of Black people on TV.
  • Casting calls for Black people only tailored for “race roles.”
  • Media treating white criminals and killers better than Black victims (see these headlines).

Stereotypes

  • Assuming you only listen to rap/hip-hop/r&b.
  • Assuming you love chicken, Kool-aid, and/or smoke weed.
  • Assuming you’re good at sports.
  • Assuming there’s no father in the picture in Black families.
  • Assuming all Black people (see: young girls) have children.
  • Calling Black people who don’t conform to one’s image of Blackness, “less black,” acting white or “oreo.”

AAVE

  • Non-Black People mimicking/imitating AAVE.
  • People falling into AAVE when talking to Black People.
  • “Why don’t Black people speak real English instead of ‘ebonics’?”

Insults/doubting intelligence:

  • You’re so articulate!”
  • You take advanced classes?!”
  • “How did she get into that [prestigious school and/or program]?”
  • “They only got x because they’re Black/Affirmative action.”
  • Assuming a Black person (usually male) attends college because of a sports scholarship.
  • Counselors discouraging Black students to take prestigious coursework, assuming it’s too difficult for them.

 Respectability politics:

  • “You’re a credit to your race.”
  • “I’m glad you’re not like those other Black people. You’re not ghetto or listen to that rap stuff..”
  • Tone policing: dismissing someone’s reaction/argument/etc. because they are too “emotional.” Thinking that we need to be calm in order to be taken seriously.
  • Pitting African immigrants against African Americans, especially those coming to America for education, aka “Good Blacks.”

Beauty Standards and Dating

Fetishization/Othering

  • People asking you what you are or where you’re really from.
  • Referring to Black people or our features as “exotic.”
  • Referring to Black people’s skin as chocolate or other foods.

Black Women/Misogynoir

  • Saying Black women are ”strong, independent and don’t need no man.“
  • Calling Black women ”sassy“ or angry if she shows passion/emotion.
  • Referring to white and non-black women as “girls” and “women” while calling Black women “Females.”
  • [White] males who apply courtesy to white women (holding doors, giving up seat) but don’t apply the same to Black women.
  • Referring to Black women on government assistance as “welfare queens” (While ignoring that white people get more government assistance than Black people in the USA).
  • “Black women All woman are beautiful.” (StopThatPlease.)

Hair.

  • People touching/petting your hair without consent.
  • “So is that your real hair? Are those extensions?”
  • Calling natural black hair unprofessional.
  • White people appropriating Black hair styles (dreads, twists, etc) and being praised as edgy, while it’s “ghetto, unprofessional, and unclean” on our own heads.

Poverty Assumptions:

  • “Do you live in the ghetto?”
  • “Can you afford that?”
  • “Here are the value prices of this product…”

Racial Profiling + Criminalization:

  • Crossing the street to avoid passing Black men/people.
  • Following in stores, assuming Black people are stealing.
  • Moving aside when we pass, clutching purse, locking doors.
  • Asking Black people for I.D. when paying with card (while white people are not asked).
  • Being pulled over + arrested at astonishingly higher rates than white people.

For a fuller understanding of micro aggressions and the effects it has on individuals overtime, please see this: “These incidents may appear small…”

~Mods: Colette and Alice

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Stereotyping Tropes List (TVTropes)

A masterpost of the Stereotyping Tropes from TVtropes.org. This list is identical to the one linked above, save the addition of Indigenous peoples, which was added. Check for the titles with links, as it leads to more pages of tropes. 
For an assortment of other related tropes, some not mentioned here, see “Race Tropes” as well as “Prejudice Tropes.” Advice on handling characters that lean towards harmful portrayals can be found in the tropes & stereotypes tags at writingwithcolor.


General

Africans

African Americans/Black

Americans

Arabs

Asians

Australians

Brits

Canadians

Chinese

Dutch

Eastern Europeans

Europeans

French

Germans

Indians

Indigenous

Irish

Israel

Italians

Japanese

Jewish

Latin Americans

Nordic Countries

Russians

Scots

Spaniards

 

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*Okay, I had to put this up. This is, hands down, the funniest story I read on the internet all week, and this is next to The 15 Blackest Things About The New Black Panther Trailer , that I posted earlier.

Now while you’re reading this, continue to picture giant koi bloop blooping in a pond. They have no idea they’re the partial cause of all the chaos. They just wanna get fed.

I’m like,”Guys, ain’t nobody thinkin’ about y’all right now!”

The Great Flamingo Uprising

(Edited after additional information was obtained from zookeeping cousin)

I told this story to a few guildies a while back and decided to archive it in a longer format; so here is the story of The Great Flamingo Uprising of 2010 as told to me by my favorite cousin who was a keeper at the time.

In addition to the aviary/jungle exhibit, our zoo has several species of birds that pretty much have the run of the place.  They started with a small flock of flamingos and some free-range peacocks that I’m almost certain came from my old piano teacher’s farm.  She preferred them to chickens.  At some point in time they also acquired a pair of white swans (“hellbirds”) and some ornamental asian duckies to decorate the pond next to the picnic area.  Pigeons, crows, assorted ducks and a large number of opportunistic Canada geese moved in on their own.

Now; the ponds that dot the zoo property (I don’t remember how many there are but the one by the picnic area is the only one with swans) were also full of ginormous koi fish, some of whom by now are at least three feet long.  Sensing an opportunity to cash in on the koi, the zoo put up little vending machines all over the place that dispense handfuls of food pellets.  I swear to god the fish can hear the crank turning, and will show up at the nearest railing, blooping expectantly at whoever happens to be standing there and doing their best to appear starving and desperate.

Like this.^  And they weren’t the only ones who learned to associate the sound with the imminent arrival of food.  The Canada geese knew a good deal when they saw one, and had long since ceased to migrate anyway.  They formed roving gangs of thug-geese and staked out their turf around the vending machines, ready to mug anyone with pocket change.  Picture yourself as a small child squaring off with a bird as big as you are fully prepared to strip search you while standing on your feet and yelling “HWAAAAAKK!!” in your face.  It’s deeply traumatizing to you and incredibly hilarious to your parents.

Anyway.

The flamingos had their spot near the zoo entrance and never seemed to mind the presence of the other birds, as they kept themselves to themselves and didn’t really like the taste of fish pellets.  The problem lay in that their shrimp pond was close to a vending machine.  Ordinarily that wouldn’t have been an issue at all, but eventually the goose population grew large enough that one of the gangs decided to annex it.  Being territorial little shits, they would harass the poor flamingos any time they strayed within ten feet of it.  The flamingos tolerated this for years until one day they snapped collectively.  Here’s a summary of the incident in chronological order.

1.) It was a hot day, so everyone in question both human and avian, were cranky by the time the zoo even opened.
2.) A few flamingos (let’s call them The Jets) strayed into the radius of the vending machine and were immediately confronted by the indignant hissing geese (The Sharks)
3.) Possibly due to heat and the simple fact that the geese had been giant douchebags for far too long, the flamingos decided fuck it, this time they were going to FIGHT BACK DAMMIT, and swarmed the geese en masse.
4.) Chaos ensued.  The geese were outnumbered 4 to 1 but had the advantage of being able to scream for back-up.
5.) Hearing the shrieking Canada geese and the bellowing of the enraged flamingos, the peacocks came to the conclusion that the apocalypse had come upon them and began to gather in the surrounding trees in droves and wail in despair.  Or cheer them on, whichever.
6.) NOISE
7.) Apparently one of the siege tactics employed by geese is to shit explosively all over everything.
8.) The geese, having secured reinforcements from all over the zoo, went berserk and proceeded to attack EVERYBODY who had come to watch be they human or otherwise.
9.) The flamingos were chasing/being chased by the geese through the crowd accompanied by cheers/wails from the peacocks in the box seats.
10.) Complete pandemonium when the zoo tram became stalled by the flamingo pond due to battling birds.  The Jets, sensing these were somehow reinforcements on the side of the Sharks, charged the tram.  Adults were doing the duck and cover.  Small children were screaming, adding to the noise.  People were slipping on goose shit and hitting the ground in the fetal position, only to be stampeded by the rampaging flamingos.
11.) The koi continued to bloop hopefully for food.
12.) Two of the geese were cornered by a rival gang of their own and were chased into the swan pond.  Cue slow-motion.
13.) The swans detected an enemy presence in their territory and by god, SOMEBODY was going to PAY.
14.) The staff were having no luck in breaking up the fight and on the verge of giving up and just building another zoo elsewhere when the hellbirds stormed the battlefield, trumpeting battle-cries, to dispense feathered justice.  The staff promptly dropped their brooms and fled.
15.) Birds scattered in all directions.  Up, down, sideways.  Some people not present in the park circle swear a couple of geese flat out teleported into the petting zoo. A few ducks vanished in the chaos, presumably eaten by the swans.
16.) Two of the zookeepers barricaded themselves in the snack bar and refused to come out.
17.) The uprising was squashed in less than two minutes.  Number of casualties was unknown, feathers were flying everywhere and there was enough goose shit to build another bird.  One staff member had been knocked to the ground and was left with a melon sized bruise courtesy of one of the hellbirds.  Several children were traumatized, probably for life.  The zoo eventually removed the vending machine by the flamingos.

The geese went back to being giant douchebags. Because geese*.

Addendum:  Somehow, my aunt D got hold of this story and posted a link along with the comment: “This sounds exactly like our zoo!”
Zookeeping cousin replied: “This was exactly our zoo.”

*I’m really not kidding.  This is a photo, taken at our zoo, of a gorilla being chased by one of the thug geese.

 

*Yeah, the hellbirds came in and broke that whole shit up in two minutes!

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*I’m in agreement with this, really. It would make for some very intersting names:

I think we should make Puritan naming customs cool again, but like, updated to reflect Millenial values. So we can have names like Resistance Jones, Self-Care Williams, and I-Am-Not-Throwing-Away-My-Shot Anderson.

  • I-Will-Face-God-and-Walk-Backwards-Into-Hell Watson
  • Hydrate Mather
  • Healthcare-Is-A-Right-Not-A-Privilege Bradford
  • Body Positivity Watts
  • WTF-the-Fuck Preston
  • Cinnamon Roll Milton
  • Y’all-Need-Jesus Henderson
  • Snape-Was-Not-a-Hero Whitaker
  • Battery Life Wiggins
  • Reblog-If-You-Agree Bolton
  • @Horse_ebooks Humphrey
  • Renewable Moore
  • I-Came-Out-to-Have-a-Good-Time-and-I’m-Honestly-Feeling-So-Attacked-Right-Now Rutherford
  • Representation Hopkins
  • Organic Hurst
  • Money Cat Wallington
  • Fuck-It Wentworth
  • Impeachment Shepard
  • Don’t-Forget-To-Like-And-Subscribe Simpson
  • Consent Pimple
  • I-Bless-the-Rains-Down-in-Africa Woodford
  • Green Hoyle
  • Social Anxiety Travers
  • Kinkshame-Not Bailey

 

Tomorrow: A rare weekend posting. I finished the first part of my Bladerunner review.

Tumblr Discussions on Race

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

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

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

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

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

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

From the Tumblr: 

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

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

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

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

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

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

Here’s where I find fault in this argument:

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

Lord, sometimes I wish it got shows cancelled.

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

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

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

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

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

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

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

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

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

.

Here’s what actually causes diverse shows to fail:

1) Old white men in power.

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

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

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

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

Which brings me to the next item on the list:

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

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

The same is true of a lot of diverse television.

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

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

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

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

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

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

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

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

Or Brooklyn 99 – similar kinda deal.

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

.

Discourse is not killing diversity.

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

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

Fuck that noise.

 

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

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

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

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

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

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

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

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

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

THE WHITE SUPERHERO FAD STARTED, CRAZY ENOUGH, WITH BLADE

[1]

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

 

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

blackfemalescientist

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

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

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

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

 

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

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

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

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

 

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

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

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

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

 

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

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

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

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

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

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

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

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

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

 

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

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

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

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

 

 

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

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

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

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

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

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

By J. Clara Chan

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

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

 

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And on Historical Anti-Semitism in Art:

thegetty

Dialogue: Exposing the Rhetoric of Exclusion through Medieval Manuscripts

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

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

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

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

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

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

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

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

 

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

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

 

Black Cowboys/Girls & Black Westerns

 

I recently had a discussion with one of my regular readers (Hi!) about Westerns starring PoC, some of which they hadn’t seen, which inspired me to make a list of some of my favorites.

I love Westerns. If you’ve been reading the Favorite Movies of My Life posts then you know I have a lot of nostalgia for TV Westerns. I used to watch Big Valley, with my Mom, because she loved Barbara Stanwyck, and Bonanza because she liked Lorne Green. Later, we discussed, and watched, shows like Rawhide, which starred Clint Eastwood, and The Rifleman because she was a big Clint Walker fan. From there, she introduced me to Clint Eastwood’s Spaghetti Westerns, and inspired by her, I went on to watch movies like The Magnificent Seven, because I fell in love with Yul Brynner.

But my biggest joy was watching Black people in Westerns. The existence of Black people in the West has been all but erased by Hollywood, like so much of History has been erased, and supplanted, with images of only White people getting to have adventures, or make History.

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*The cowboy is an iconic American figure and in popular mythology almost always a white one. For every Django or Ned Logan (Morgan Freeman’s character in Unforgiven) there are hundreds of white gunslingers. But of the “estimated thirty-five thousand cowboys that worked the ranches and rode the trails between 1866 and 1895, researchers have calculated that the number of black cowboys ranged from five thousand to nine thousand, with the high number representing 25 percent,” wrote Tricia Martineau Wagner, an author of several books about the West, in Black Cowboys of the Old West.

https://theundefeated.com/features/fred-whitfield-and-the-black-cowboys-of-rodeo/

 

 

*How Hollywood Whitewashed the Old West

https://www.theatlantic.com/entertainment/archive/2016/10/how-the-west-was-lost/502850/

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*The Other Pioneers: African-Americans on the Frontier

http://www.scholastic.com/browse/article.jsp?id=4807

 

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*Black Outlaws, Cowboys, and Lawmen of the Old Wild West

https://owlcation.com/humanities/Black-Outlaws-Cowboys-And-Lawmen-Of-The-Old-West

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*AFRICAN AMERICAN COWBOYS

http://plainshumanities.unl.edu/encyclopedia/doc/egp.afam.002

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*10 African-American Cowboys Who Shaped The Old West

http://listverse.com/2016/04/04/10-african-american-cowboys-who-shaped-the-old-west/

Even modern day cowboys are simply not being acknowledged. Lets face it, if you’re a Black person, who lives anywhere in the Southern United States, you know there are Black cowboys. Its unfortunate that Hollywood and television don’t ever seem to remember that. My family is from deep Mississippi, so I know about this, but hardly anyone outside of the Southern states seems to know.

Image result for modern black cowboysImage result for african american cowgirlsRelated imageImage result for african american cowgirls

Image result for modern black cowboysOnly one member of the Cowgirls of Color competed in rodeo events as a teenager. “I was the only black person there,” she says. Photograph: M Holden WarrenKB works to control Yankee Girl during the barrel relay Photograph: M Holden Warren

*They’re Cowboys And They’re Coming Straight Outta Compton

 

 

And Philly:

 

Whitewashing of the term Cowboy:

They’re Cowboys And They’re Coming Straight Outta Compton

http://www.npr.org/2015/04/30/403353200/comptons-cowboys-keep-the-old-west-alive-and-kids-off-the-streets

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As for Westerns featuring Black actors, here, in no particular order, are some of my favorites:

Gang of Roses (2003)

Reviewed here: https://tvgeekingout.wordpress.com/2015/01/23/gang-of-roses/

Posse (1993)

I remember this movie was a huge deal in the Black community when it was released. A lot of my friends were crowing about how good it was. While it’s not my absolute favorite Black cowboy movie, its in the top ten, because at the time, it was kind of mind-blowing, since the last movie, that was anything like, it had been released in the seventies. And I got mad respect for Mario Van Peebles, who was  trying hard to make Black genre films a thing.

 

Blazing Saddles (1974)

I saw this one when I was in college, as a double bill with Raising Arizona, and laughed my ass off the entire evening. Two of the funniest Westerns ever. This movie was not afraid to go there. My favorite scene is when some racist cowboys bully the the Black railworkers into singing for them, and they burst into a piano-lounge tune called,  “I Get No Kick from Champagne”. The White cowboy’s reactons are  priceless. That scene never gets old!

 

Unforgiven (1992)

Unforgiven has some deep themes. While I’m not a fan of Clint Eastwood, the person,  his films have always been first-rate. Gene Hackman and Morgan Freeman are awesome in this movie.

 

Silverado (1985)

I saw this around the time of its release. Starring Danny Glover, and Kevin Costner, it was the  first time I’d ever seen either of these two actors, and the first time I’d ever seen a Black cowboy in a movie.

 

Buffalo Soldiers (1997)

I don’t remember a whole lot about this one. I watched it on cable late one night and remember enjoying it somewhat, so I’m not sure if this classes as a favorite, but I did watch it in its entirety, so felt I should put it here. It stars Danny Glover again, so that may have been my initial impetus for watching it in the first place, since I enjoyed Silverado.

 

Wild Wild West (1999)

I will watch Will Smith in anything, so I was overjoyed to see him in a Western, even if the movie royally sucked. The music video, on the other hand, was the shit. Yes! I know ALL the lyrics!

 

Django Unchained (2012)

Reviewed here: https://tvgeekingout.wordpress.com/2016/01/15/in-defense-of-django-unchained/

 

The Hateful 8 (2015)

Reviewed here: https://tvgeekingout.wordpress.com/2016/02/28/geeking-out-about-the-hateful-eight/

 

The Magnificent Seven (2016)

Yeah, I liked this movie!

https://tvgeekingout.wordpress.com/2017/03/28/stuff-im-watching/

“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.

 

black-to-the-bones

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

 

They Gon’ Learn!

Oh, didnt I tell you guys that since the elction, my job on Earth now, is to be a “Petty MF”? Now, I don’t have a whole lot of practice being petty. I’m one of those people who usually takes the high road,

But not today White Jeebus! Not today!

Just leaving these receipts here:

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Death Note
Next up on Hollywood’s list of series to mess with: Death Note.Netflix

 

 

 

*Hollywood’s whitewashed version of anime never sells

https://www.polygon.com/2017/4/3/15142608/hollywood-anime-live-action-adaptations-ghost-in-the-shell

*And just in case Hollywood has not learned anything from the previous fuck ups:

 ‘Whitewashing’ Accusations Fly as Zach McGowan Cast as Hawaiian WWII Hero

‘Whitewashing’ Accusations Fly as Zach McGowan Cast as Hawaiian WWII Hero

http://www.indiewire.com/2017/05/whitewashing-zach-mcgowan-hawaiian-niihau-wwii-controversy-1201814715/

*Now contrast that with financially successful and/or Oscar nominated movies prominently featuring PoC:

Image result for moonlightImage result for beasts of no nationImage result for moanaImage result for hidden figuresImage result for lion movieImage result for creedRelated imageImage result for straight outta compton

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Weekend Reading Assignments

Here I am, providing you guys with some enjoyable, and enlightening, reading material for the weekend. This should tide you over, until I make a post about something a little more substantial, Monday.

 

*This post is about one of my favorite action series, John Wick, and how it compares to the action films of the 80s.

At one point or another, every major movie site gets around to detailing  the collapse of the modern action movie star. Gone are the bulked up action stars of the eighties who could sell a fight sequence just by looking the part of a demi-god. Gone too are the slow-motion gunfights and myriad of squibs that contemporized the gunfight. In an era where the studio is the star and special effects are limited only by the imagination of those coding them, there isn’t a lot of room for standouts and signature styles.

From: https://wordpress.com/post/tvgeekingout.wordpress.com/57342

Continue reading “Weekend Reading Assignments”

Racism in Pop Culture

And here’s my monthly series of articles discussing  the intersection of race and pop culture.

First up, an essay about Westworld from the point of view of a Black man. I touched on some issues earlier with the depiction of Black and White women in Westworld’s dynamic, and its been one of my most popular essays,  but this article is a  discussion of the real world racial dynamics of Westworld, most specifically between Arnold/Bernard, and Robert Ford.

Race. Power. Westworld.

HBO’s sci-fi drama Westworld was a psychological mind f*ck of a show revolving around issues of control, power, violence and love. But there wasn’t a single moment in the show that focused on race despite the fact there are a multitude of racial politics in play. I don’t know if this is because the script was written without race in mind and the casting choices informed the racial dynamics or not. But I came away from the show a bit disappointed that the writers never chose to tackle racial motivations as the show evolved. The interaction between Arnold/Bernard and Ford is ripe with implications of power and race while the park itself seems to be no more than a #MAGA fever dream.

https://stillcrew.com/race-power-westworld-fd97c8a2a6b4


In this article, Zoe Kravitz, the daughter of Lenny Kravitz, and Lisa Bonet, brings the fire, about the roles available for Black women in Hollywood. The irony is that this article came from a British newspaper. 

Zoë Kravitz: ‘Why do stories happen to white people and everyone else is a punchline?’

  • August 20th, 2015

The actor has been stranded on the edges of blockbusters such as Mad Max: Fury Road and the Divergent series, but ahead of new film Dope she’s taking on Hollywood’s stereotypes and making a name for herself

https://www.theguardian.com/culture/2015/aug/20/zoe-kravitz-why-do-stories-happen-to-white-people-and-everyone-else-is-a-punchline


This is a very interesting article about how Hunger Games fans ignored the descriptions of race in the books, while being racist towards the characters in the movies.  Although, I am inclined to believe that a certain section of the Hunger Games fandom never  read the books, saw some racism on display, and decided they wanted to jump on that lovely bandwagon. I have found there’s a subset of White people that will take any and every opportunity to bash a black person, whether they know anything about the situation, or not.

Warning: There’s some seriously nasty shit on display in this article. If you don’t feel like dealing with this level of White nonsense today, or just don’t want to get your blood pressure up, my suggestion is to skip it. Come back to it after you’ve maybe had some weed, or a good strong drink. (I recommend some Henny.)

Racist Hunger Games Fans Are Very Disappointed


These articles area set. They’re  discussions of how social justice crusades on social media has changed the way critics do their jobs. There are certain words that have just become part of mainstream dialogue about movies, and I think we owe that to the critics and fans on Tumblr, Twitter, and Facebook.

The American media has no idea how to talk about race on-screen

But they’re (slowly) learning, thanks to social media campaigns that are forcing difficult conversations

http://www.salon.com/2013/12/05/the_american_media_has_no_idea_how_to_talk_about_race_on_screen/

Hot takes and “problematic faves”: the rise of socially conscious criticism

Modern criticism’s affinity for discussing social issues has changed pop culture, for creators and audiences alike.

https://www.vox.com/culture/2017/4/20/15179232/socially-conscious-criticism

For example, the term whitewashing has entered everyday language. Ten years ago, no one was saying this, or critiquing movies with this word. Hell, three years ago the mainstream media wasn’t even socially conscious enough to  be able to spot it, when it happened. But thanks to “woke” fans of Pop Culture, putting it out there, along with other terms like racebending,  appropriation, and erasure, it’s almost impossible for a movie starring white actors (in lieu of actors of color) to not mention any of these terms. 

I do have to thank the Internet for this. If it wasn’t for people like us, arguing vociferously in the comment sections,  and writing our own reviews, meta, and articles about the shows we love and hate, the mainstream media wouldn’t  be aware of these things as problems.

Whitewashing Hollywood movies isn’t just offensive—it’s also bad business

Apparently, ScarJo and Tilda Swinton  have not had enough of getting their edges snatched, all  across social media, by Asian- Americans. They are now starring in a movie together, titled Isle of Dogs, and people are not pleased.

@tsengputterman @ubeempress We get not ONE actress who’s proven her skills at playing Asians, but TWO! Ain’t we lucky! I feel so fucking blessed.

@FilmFatale_NYC New Wes Anderson film set in Japan starring ScarJo and Tilda Swinton. We’re getting trolled.

They really placed Scarlett Johansson and Tilda Swinton in Isle of Dogs to reaffirm their Asian ethnicity? Hollywood killin Asians… STILL!


And finally, more articles about the movie Get Out, which blew up the movie theaters two months ago. February is turning out to be the ” Absolute!Shit” month for African Americans.  Beyonce’s Lemonade dropped in February of last year, and this year we got the unexpected pleasure of Get Out. Next year, it’s the much anticipated arrival of Black Panther, due in (when else?) February.
In the meantime Get out has been one of the most written about movies in the past year. This includes a comparison between Get Out and The Handmaids Tale.  (Later I’ll do a post on the racial implications behind the news show, and the book.)



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These two misplaced fellows below are about Whitewashing. (Bear with me here, it’s morning, and I’m on a tablet!)


And this post wouldn’t be complete without mentioning that reprehensible Heineken ad, that gave me goosebumps just thinking about it. It’s as cringe-worthy as the Pepsi ad that aired earlier this month. Once again, you’ve got a corporation trying to get those Millennial dollars, and getting shit wrong. And here’s why its wrong, as DiDi Delgado perfectly articulates:

The Heineken Ad Is Worse Than The Pepsi Ad, You’re Just Too Stupid To Know It

(On Medium. com. You have to sign in to Medium to view the article. Follow DiDi, if you liked this particular article, and want to read all her stuff.)

View story at Medium.com

ETA: The Links for the Get Out articles have been added. I’ll have a part two of this post later this week, after my review of American Gods.

Ghost in the Shell Thoughts & LinkSpam

Here’s a roundup of thoughts and feelings  from Asian Americans (and a few others) on Ghost in the Shell, Hollywood, and Whitewashing:

Orientalism and the Ghost in Hollywood’s Shell

The Incomparable Differences between Whitewashing and Racebending

https://thirdtwinmusings.wordpress.com/2017/04/08/stolen-brilliance-whitewashing-and-the-white-mind-as-perfection/

https://screenalicious.wordpress.com/2017/04/06/how-to-end-hollywood-whitewash-in-10-easy-steps/

https://amazingrace350.wordpress.com/2017/04/06/how-get-out-proved-that-minority-actors-are-marketable-hollywood-just-refuses-to-make-it-work/

Exorcising Ghost in the Shell

https://haleyjb.wordpress.com/2017/04/11/entertainment-media-a-white-world/

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

http://www.motherjones.com/media/2017/02/history-whitewashing-asian-american-hollywood

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

https://theringer.com/ghost-in-the-shell-scarlett-johansson-63bd6503af72

http://www.tor.com/2016/04/20/why-are-we-still-white-washing-characters/

 

 

And also check out  the site:

http://blog.angryasianman.com/

For intelligent discourse on issues pertaining to Asian Americans in Popular media, and a list of similar blogs:.

http://blog.angryasianman.com/2017/04/read-these-blogs_9.html

Asian American Month begins in May.

 

Ghost in the Shell/Iron Fist Backfire

Fed-up fans turn ‘Ghost in the Shell’ meme generator against itself

The Major may be a cutting-edge cyborg capable of taking down even the most dangerous criminals, but even she’s no match for the withering disdain of the internet.

Ever since Paramount shared the first image of Scarlett Johansson as the Major in Ghost in the Shell, the film’s been under fire for its decision to whitewash the lead role, who is Japanese in the source material. So when the studio launched a viral campaign encouraging people to upload their own images and captions into a meme generator, some fed-up fans seized the opportunity to make their displeasure known.

And not only did Ghost in the Shell get a thorough roast, a few people made sure that Hollywood didn’t forget about Emma Stone and Iron Fist.

View image on Twitter

And then there’s the recent media implosion over Iron Fist, which got totally trashed by critics who were allowed to watch the first six episodes of the series.The actor Finn Jones, who plays Danny Rand, put his foot in his mouth both before and after the show’s debut and has now left Twitter after being dragged by the public.

‘Iron Fist’s Finn Jones Says He Left Twitter After Diversity Dust-Up To “Stay Focused” On Filming ‘The Defenders’

 

The Implosion of “Marvel’s Iron Fist” and Finn Jones Continues

Marvel’s Iron Fist Cultural Appropriation Casting Crisis Drives Finn Jones Off Twitter — What’s Going On?

Iron Fist actor leaves Twitter after confronting racial issues in series (update)

Yeah, I think someone needs to close their Twitter account and shut the Hell up before they dig a deeper hole.

Here’s the thing, if the public can’t get Hollywood casting agents, or moviemakers, to understand that we want more and better diversity and inclusion, then I guess the public is just going to shame the actors who contribute to the problem. Especially when those clueless actors go on social media to make excuses for what they just did.

Both Tilda Swinton and Scarlett Johansen have both made remarks about supporting diversity, and both of them were subsequently  roasted on Twitter, and Facebook. The bottom line is that actors are no longer getting a pass about their ignorance of these issues.

In the past, Hollywood actors have managed to get by by just speaking on some issue, without actually doing any of the real work, or being informed, and sometimes actually contributing to the perpetuation of said issue. Well, not anymore. From now on if an actor is going to talk about a social issue, they had better know what they’re talking about, and have put in the work on that issue. Its  simply not enough now to simply appear progressive and get points.

Unfortunately, the irony is that Hollywood is a conservative industry, and actors who speak out too much, or are too bold with their actions regarding social issues, can sometimes find themselves with the reputation for being troublemakers, and damaging their careers. I’m not saying they can’t have opinions, but they’re caught between the Scylla and Charybdis of the film industry and public opinion, and if they’re not A listers, they can’t serve both. They work in an industry that will allow them to be bold enough to speak out on things, if they have some amount of cache, but they can’t be too bold in their actions, or their careers will suffer.

This is the hole that people like ScarJo , and Finn Jones have fallen into. They’ve done something that genre fans do not approve of and have let them know it. At the same time, the actors can’t be too bold in their support of the issue by doing things like, trashing their own productions, or turning down roles.

As for Finn Jones, I don’t know what’s going to happen here. People are strongly objecting to his presence in this role, yet he is what we have. He’s what we’re going to be looking at in The Defenders, too, as don’t think he is going to be replaced.

As for one of the major arguments against casting an AA as Danny Rand:

Marvel did not seem to have any problem finding plenty of Asian Martial Artists to play villains in its productions. Casting Asians as Martial Artists because it might be stereotypical isn’t the problem. The problem is Marvel not wanting any of those Asian Martial Artists to be  heroic.

bigskydreaming:

LOL please skip that ‘Marvel just didn’t want to do the stereotypical Asian martial artist’ argument in regards to casting Danny Rand as white.

Like, if that were true….why would the rest of the cast be full of characters who are….Asian….martial artists???

Also, member that time Daredevil was filled with evil Asian ninjas?? Cuz I member.

And you’ll notice nobody was remotely concerned about casting a Cambodian actress to play Elektra, who has always been Greek in the comics. If not stereotyping Asians was such a concern for Marvel, why’d they go out of their way to make one of their only non-Asian ninja characters Asian? LOL.

And Elodie was AMAZING as Elektra, and there was nothing remotely stereotypical about her character at all, because shocking – that’s what happens when you don’t reduce or limit a character to one specific character trait. THAT’S the danger of stereotyping, and you don’t address that by denying characters access to something that’s actually legitimately a part of their cultural heritage and something they’d have every reason to pursue should they so desire. You just make sure they’re nuanced, three dimensional characters who have a lot more elements to them besides just the one stereotypical element. And Elektra was so much more than just her martial arts skills in Daredevil.

Like, Daredevil the show is heavily racist in a lot of ways, and a lot of that is tied up in their use of the Hand, Madame Gao and Nobu…..and that’s not because they’re mystical Asian ninjas. It’s because that’s ALL they are in Daredevil, that everything we know about those characters revolves around stereotypical characteristics with not much else besides that. And before people go ‘oh well they’re the villains, what do you expect’…..lmao pleeeeeeeeeeeeease. Compare what Marvel did with the Kingpin’s character in Season One to how they used Nobu in Season Two, not to mention Killgrave over in Jessica Jones. Marvel LOVES their nuanced, complicated villains, and yet for some reason, Nobu and Madame Gao remain just secretive Asian martial artists with vaguely defined mystical connections and whose motivations seem confined to uttering cryptic pronouncements but also drugs and taking over the world, we guess.

With Elektra, they actually bothered to breathe some life into her character and flesh her out beyond a two dimensional secretive ninja, and voila….suddenly, shockingly….she’s a full fledged character instead of a stereotype. Imagine that!

Asian American Danny Rand would only have been a stereotype if his characterization began and ended with ‘zen martial artist who barely talks because did we mention how zen he is’.

Of course, its not like this particular bullshit argument is new for Marvel. Remember how when Tilda Swinton was cast as the Ancient One instead of a Tibetan man, Marvel and the director both claimed it was because they were trying to stay away from Asian stereotypes?

And yet, in every still I ever saw from the movie, Tilda Swinton’s character (despite supposedly being Celtic, I heard?) has her head shaved and is wearing brightly colored garments traditionally associated with Tibetan monks in Western perceptions.

Like….umm….again….if you’re worried enough about stereotypes that you cast a white woman instead of the elder Tibetan monk seen in the comics….THEN WHY DID YOU GO OUT OF YOUR WAY TO EVOKE EVERY SINGLE STEREOTYPE ABOUT ASIAN MONKS WITH THE VISUALS YOU CHOSE FOR HER?

 

Tumblr Discussion – Fandom

And the discussions about racism in the various fandoms and how it manifests continues. A lot of people want to be insulted by these criticisms, but I look on it as an attempt to make a person’s writing better. These are valid criticisms. That they’re being given by individuals who are completely exhausted at having to explain, “Yet Again”, why its not right to make slave AUs of Finn and Black Panther, or write the deaths of Black characters,so as to remove them so you can ship two White characters, is beside the point.

But first, a bit of humor. This is only something you’ll get if you’ve watched Hannibal the Series mutliple times, though.

hannibalsbattlebot abigailhobbssghost

avegetariancannibal:

Imagine everything that sheep in Su-Zukana saw, from the guy in the horse to Hannibal and Will’s near-murder cuddles in the stables.

Imagine if she wrote a tell-all book about that night.

Pshaw. This book was a self serving work of FICTION. Beulah Jean totally glosses over the fact that she RECEIVED HEAD SCRITCHES from HANNIBAL LECTER ON THR NIGHT IN QUESTION! Wake up, sheeple. This is far from the unbiased account we deserve! Don’t let her pull the wool over your eyes!

Source: avegetariancannibal

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I have nothing to add to some of these critiques. Some things just are wrong.

theprettyfeminist adorablecresta

adorablecresta:

cyber-rich:

adorablecresta:

The interesting thing about discussing unpopular black female characters with certain fans is that many of them will openly acknowledge that fandom racism and racism in the media is a real thing, but will then go on to argue why a certain black female character should be written off the show, or sidelined, or killed off or be kept away from the white male lead. These fans know that fandom racism is a problem, but in their minds, their hatred for the character is completely justified. They know the trends. They know the pattern of black female characters repeatedly being abused by the fandom, but will still go on to list dozens of relatively benign reasons why a black female character should be written off the show. They like to argue that this time it’s different. This time it isn’t racial bias that’s driving their hatred of the character. This time it’s completely justified! So, next time when we’re listing all the black female characters that have been completely destroyed by the fandom, be sure to put a little asterisk next to so-and-so’s name, because that time was totally different.

Well, guess what? That whole list would be full of asterisks because to you, there’s always a perfectly valid reason for wanting the death of a black female character. There’s always a perfectly reasonable explanation for why the black female lead of a show should be sidelined and stripped of her status as leading lady. Whether it be Martha Jones, Iris West, Bonnie Bennett, Tulip O’Hare, Michonne, Gwen, Annie Sawyer, Braeden or any other intensely disliked black female character, the response is always the same. You may think you have perfectly valid reasons for disliking these women, but the fact is that they create a pattern. And whether you like it or not, your hatred is feeding into that pattern.

This is why no-one wants to break from the norm of creating white characters because no-one will say ‘racism’ or ‘sexism’.

However when creating a character who is not a male or a white person, people tend to complain like this and call racism or sexism if something bad happens to that character.

At the end of the day it’s the writer’s call what happens to character or not. If you want a black female character that doesn’t die, write a story yourself.

Um, did you even read my original post? I wasn’t talking about the lack of representation, I was talking about the racist response from audience members during the rare moments when we actually do get representation. I literally gave you a list of black female characters that this has happened to. And while I agree that we should have more prominent writers of color, you have to realize that there are already legions of poc writers out there, but they either can’t get their stuff published (because of racism) or their material isn’t given the proper amount of publicity it deserves (also because of racism).

Also, one more thing. When people of color complain about the lack of representation in the media, please do not tell them to simply “do it yourself.” First of all, as I listed above, people are already doing it themselves, but aren’t being recognized for it. And second, telling people to simply do it themselves is a not-so-veiled attempt at letting white writers who promote racist material off the hook. White writers should be held to a certain standard. It shouldn’t always be up to us to tell them to stop being racist. They should know this themselves.

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People are still arguing about Finn with people who absolutely refuse to see him as a viable candidate for being shipped with Rey, and craft any and all manner of bullshit as to why they won’t ship the two main characters in the movie. Finn has the most screen time of any male character in the entire movie. He is, unquestionably, one of the leading good guys, but some people would rather craft elaborate fantasies about how wrong he is for Rey, rather than acknowledge that they just don’t want to ship a Black man with a White woman.

This writer brings up another point not often made by critics. Black men do not get “woobified” in fandom. There’s not a single man of color, anywhere in fandom that gets the “woobie” treatment. This is something reserved exclusively for white male characters (many of them are often villains). When you consider that most of the people who are writing fandom consists of White women, from middle class backgrounds, most of them under thirty, then you need to ask  why that is.

diversehighfantasy onelonecandle

onelonecandle:

receiptsyall:

This post is the terrible gift that keeps on giving.

@onelonecandle“Finn is an emotionally relatable character, but not in the same ways that Kylo Ren is. Even when Finn is displaying fear and stress in the film, it is frequently made out to be funny (and that’s a great example of differences in character representation between black and white actors based on racial stereotyping).”

Even the opening shot, before we ever seen FN-2187′s face, the camera work is giving us a sympathetic POV on him. The dizzying whirl is meant to evoke a panic attack. Just because Finn gets to smile more in his giddy (and terrifying) new life doesn’t mean he’s not written or portrayed sympathetically.

I think you’re overlooking how carefully we’re taught to give sympathy to white men in fiction. Even when that white man is acting reprehensibly.

(Quick example with misogyny rather than racism: how many fans of Breaking Bad thought that Skyler White was an absolute bitch for protecting her family from her drug-dealing husband, and that Walter was being held back by her terrible bitchiness? Answer: far too many.)

Fandom has the same racial empathy gap that exists in the rest of our culture(s). Add in the echo chamber effect of fandom (enough people say that Driver made Kylo sympathetic and Boyega/the writers didn’t do the same for Finn), and suddenly a nuanced performance by Boyega is viewed as anything but.

In my opinion, Adam Driver, with less than 20 minutes of screen time, did not manage to portray Kylo Ren with more sympathy than Boyega with his 40+ minutes of screen time. That’s mostly on the audience.

@contains-the-force“…Imagine John with golden/yellow eyes and that cocky/cute grin of his!”

Or let him keep his natural dark eyes, which are lovely?

In context, this was related to sad, brooding male characters with certain feminine emotive traits made popular by anime.

In fairness, almost every one of those sympathetic prettyboy anime characters that my generation swooned over in high school was represented as white or asian.

You make good points and my argument was a little scattered there.

I’m sorry but that… wasn’t the context. It wasn’t about anime at all. The context was that the quote above followed a comparison between Black villians and white villains – that Black villains are “hard” and “self-contained,” while white villains are “soft, emotionally raw, feminine white boys.” And because of internalized racism on the part of the writers and directors, Kylo Ren was a more well-written, well-acted character, while Finn was a stereotype because he had funny moments. If John had been given the superior Kylo role and pulled it off as well as Adam, everyone would love him.

But this follow-up confirms what I’d already gleaned from the conversation – that it was more about liking brooding white guys than villains, since sympathetic Black villains like The Operative are not seen as sympathetic. Which is exactly what @receiptsyall is talking about. The empathy gap is real, and while media certainly contributes to that, when a Black character is sympathetic but the audience can’t see it, there is a problem with the audience as well.

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You really need to go to the Tumblr page and read the entire post. Its very enlightening.

eazzy–pink

Fandom culture posts that overwhelmingly describe how the state of fandom is worse now than it was before always put me to sleep because one of the most prevalent differences between what we have now to what we had then is that people started becoming more vocal about the kinds of negative and problematic things going on in fiction and fandom culture as a whole.

Like. I just saw a post talking about how if a person grew up in today’s fandom culture, they would be terrified and unable to enjoy things. Simultaneously, this person used two caps to emphasize this point: “EW GROSS YOU’RE A PEDOPHILE” for liking one ship or “OMG THAT SHIP IS ABUSIVE” to describe another.

I remember growing up in fandom and the kinds of things that I liked. For example: I fucked heavy with Twilight back when it came out. I passed the threshold for caring about Harry Potter and didn’t really have a vested interest in the series, but Twilight was the shit to me. It had a darker element to it than the books I was reading and the characters were compelling, blah blah blah, that whole shebang. I had been writing some stories prior to this, but Twilight was the one thing that saw me actually put work into grooming my writing abilities. I got involved in a writer’s club at my school, my friends and I geeked out about the characters and would come up with our own terrible knock-offstories that were centered around the supernatural, vampires and werewolves because it was really cool.

Fast forward to me discovering this blue hellsite called “Tumblr.”

Keep reading

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An analysis of how Blade sits within the MCU, and the superhero genre in general. (Another film I think deserves analysis within the superhero genre is Unbreakable by M. Night Shyamalan.)

 I also want to point out the whitewashing of the Blade franchise. As the films became more popular, and the budgets got slightly larger, the cast became whiter and whiter, until you have the complete WTF*ery going on in that last film. You went from a movie that was set in a black neighborhood, with a WoC as the co-lead, and its full representation of both humans and vampires, to token representation in the second film, with an Asian man,  Hispanic woman, and a Black guy, to no representation at all in the third film, (although the third film did wonders for White feminists, though.) 

Whitewashing doesn’t just mean exchanging characters of color with White people, in movies. Whitewashing is also about increasing the number of White characters in a show, or movie franchise, to the detriment of characters of color. This even extends to whole networks. Remember when Fox began as a network? Networks usually get a foot in the door by appealing to minorities. As the network strives to become more mainstream, shows that appealed to minorities are expunged, in favor of whiter casts and series, until PoC are all but absent from that network. Fox is a perfect example of whitewashing, and so is Teen Wolf.

fandomshatepeopleofcolor madmaudlingoes

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

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

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

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

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

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

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

THE WHITE SUPERHERO FAD STARTED, CRAZY ENOUGH, WITH BLADE

[1]

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

(via dakotacityukuleleorchestra)

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More on how White villains get “woobified” in fandom narratives, and PoC, who are sometimes not even the villains, don’t get sympathy or empathy. Really, check out the whole article. Its  all well stated.

diversehighfantasy

The Sympathetic Black Villain (Or How Loving the Bad Guy is Racially Conditional)

image

(Something Rukmini Pande said in the @fansplaining Race and Fandom podcast reminded me of this old meta I never got around to posting, so here it is, updated for 2016. Contains spoilers for In the Flesh series 2 (you can watch the whole series on Hulu). Thanks to @psmith73 for input and feedback!)

The Bad Guy of Color

In movies and on TV, we’re used to seeing people of color – especially men of color – as bad guys. You’ve got your drug lords, your terrorists, and your gang leaders (but not the “cool” white-friendly kind like mafia kingpins or bikers), all in a variety of shades of brown and black. As a rule, Bad Guys of Color have a few things in common: They’re scary (like, white folks’ worst nightmare scary), they’re The Other against white protagonists, and they’re not sympathetic characters.

Most of the time, there is no attempt to make us sympathize with the BGOC, because it might make it hard for us to watch them die, sometimes by the dozen. Usually, they don’t even give us a reason to hate them (exceptions, like Victor Sweet in John Singleton’s Four Brothers, who is shown as fully unsympathetic when he treats another Black man like a dog, are usually Black-written characters).

These are not the captivating villains. They’re not the Negan, The Governor, the Walter White, let alone the Loki, Joker, or Kylo Ren. They’re undeveloped, nondimensional, and more than a little racist.

When a person of color is written as a sympathetic villain, a developed character, they should be sympathized with, right? Especially if the character isn’t, as they say, defined by race?

Well… no.

Meet Maxine Martin, played by Wunmi Mosaku.

Keep reading

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Okay, that’s it! I’m going to start watching The Flash in support of Candice Patton, cause seriously, people! What kind of fu***ry is this?

White feminism is a hell of a drug…

theprettyfeminist darlingwestallen

braveheartannie:

You know what I don’t understand? Certain fans who are intent on proving that Candice and Danielle hate each other. I’ve come across 2 or 3 blogs this week that have been spreading nasty rumors about Candice bullying Danielle and doing things behind her back in order to decrease her screentime on the show. Like…what is this, the Twilight fandom? Grow the fuck up. These assholes like to pretend to be supportive of women, but when one of those women is black, all of a sudden, that support is thrown right out the window. There is zero evidence that Candice or Danielle have any ill will towards each other. Each and every time they’ve been out together in public, they’ve been nothing but gracious and kind. The reason certain fans want to stir up trouble is because they need a reason to hate Candice. They know they’ve lost the battle of trying to sideline Iris West as a character, so they’ve resorted to making up racist and sexist rumors accusing her of bullying her co-starts and even sleeping with the producers. Yes, you heard me right. There are blogs here on Tumblr accusing Candice of sleeping with the producers. Instead of believing that a gorgeous talented black actress used her charm, talent and intellect to get the job, these assholes are spreading rumors that the only reason why she was cast as Iris West is because she slept with Grant Gustin and the producers. Like, could you be any more transparent? You’re not racist, but you spend all day spreading rumors about how the only black girl on set is fucking everyone in sight and bullying her co-stars?

Donald Trump’s candidacy got ya’ll feeling braver than a motherfucker, I swear…

@reverseracism

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Honestly, I just wanted to put this here for posterity. I loved this answer. Now this is professional level snark.

fandomshatepeopleofcolor localpsychoticplant

Anonymous asked:

Why do you hate whites so much like wtf

taint3edcakes answered:

I don’t hate ya’ll. I think ya’ll are cute, honestly. It’s like I’m your mentor and you are all my mentees. And so you all look up to me and think I’m an amazing role model so you want to dress just like me, talk like me, have what I have. You want my boyfriend, you want my family, my culture, you want to say what I say. And at first it’s like aw haha that’s so cute they want to be just like me but then you’re ALWAYS there and you’re ALWAYS talking like me and it starts to get annoying and I’m like HEY BE YOURSELF PLEASE I don’t want to teach you to be a copycat, or a follower. BE A LEADER BE YOU. DO YOU KNOW WHO YOU ARE? And I mean you love me so much that you’ll go under the knife of SURGERY to be like me. You love me so much that you’ll get beat up just so you can say the N word. It’s flattering, but annoying. That’s how it feels to be black. It feels like mentoring a little ass kid that goes too far and starts looking cool doing what I’m doing, that steals my ideas and profits off them to the point where I dislike them and I’m like

I

MADE

YOU.

AND

I

CAN

END

WHAT

I

MADE

@
@

I think I mentioned something on this issue before, about how the only thing White fans have to work with when it comes to PoC, are decades of stereotypes. Writers who are less talented, less aware, unwilling to examine, or just plain lazy, will only reproduce the stereotypes they’ve been given about PoC all their lives. (Yeah, okay sometimes they’re just straight out racists.)

Real writers, people who care about, and want to hone, their craft, will pay attention to these types of critiques. These critiques are not an indictment against the writer. They are made to suggest improvements. If your’e not willing to use these critiques to  learn or improve your craft, and make bullshit excuses for  writing these stereotypes, than either your talents simply aren’t up to snuff, or you’re just a bigot.

Also there’s more on  the Strong Black Woman stereotype,  where it came from, how damaging it is, and why its okay not to be one. This is details how the stereotypes for White women are different from the stereotypes for Black women. White feminism doesn’t take into account how there are stereotypes for different groups of women. Asian, Muslim, Latinas, all have different stereotypes from each other, and Black women, all of which are designed to shut all women up and keep them subservient. Mikki Kendall also addresses this in her tweets about Strong Black Women.

Examples of the SBW are: Queenie, from season 5 of American Horror Story, taken to extremes in her case, and Gina Torres character from Suits. Actually Gina has made a career out of the Black character who feels no pain. Don’t believe me? Remember how she reacted all through all of the show Firefly and in Serenity after her husband dies? And how her character Bella planned to go through stage four lung cancer without any help from her husband, Jack? All of Gina’s characters are always tough as nails.

theprettyfeminist

thejollyswangirl asked:

In regards to you post about progressive white fangirls and the representation of black women, I think it’s important to remember that we are dealing with socially ingrained racism that stretches back to the days of slavery. Back then, slave owners routinely raped their black slave women. Their wives didn’t have the power to stop this behavior so they ignored it, often shifting the blame for their husband’s actions to the slave women. They created two categories for black women. (Part 1)

(Part 2) 1) Evil/seductress out to steal your man or 2) the much less threatening motherly (often overweight and/or ignorant) maime. This has carried over from centuries worth of literature into movies and tv shows. Progressivism is no antidote for racism. Neither, is liberalism or conservatism. Racism is a heart condition not simply a worldview. If you don’t believe that, study the writings of Planned Parenthood’s founder Margaret Sanger (a progressive white woman) and “The Negro Project”.

^All very good points! The relationship between black women and white women has been poisonous from the the very start.

nerdsagainstfandomracism diversehighfantasy

legendofcerberus-deactivated201 asked:

The only thing I don’t agree with you in your disney-is-racist explanation in Tiana. I prefer black women (including myself) to be seen as strong, someone who can do it without help. Its a better imagine to us and younger black women than someone soft, sub servant and helpless. I think that trope needs to be applied to every woman of color since we seem to be struggling with that in the media. IDK, that is how I feel as a black woman.

disneyforprincesses answered:

and that’s totally your right!! I’m not here to tell anybody how they should feel about how their own people are represented. All I can tell you is that a lot of black women have written about how the strong, independent black woman trope is damaging and I take them at their word!

blogs like lookatthewords and jhenne-bean are both blogs ran by black women who have talked about Tiana in length before if you feel like talking about it with someone who has a foot in the door, so to speak 🙂

-Lauren

jhenne-bean:

lookatthewords:

Well it’s pretty damn damaging trope considering the “strong, independent black woman” who don’t need no man, nor help, apparently is so imbedded in society that white people literally believe black people feel less pain and therefore are administered less pain medicine in need and are given less sympathy when experiencing pain because it’s assumed we’ve been hardened by this life and can “just take it.”

There’s a reason these tropes like “angry black woman” and “strong independent black women” exist, and it isn’t in our favor. Sure, there’s nothing wrong with being independent and I think it is a result of the life we’ve for the most part been forced to lead, but ya gotta realize if we’re subjected to just an independent black woman trope, always tough and always in control, then we’re the joke. We have no femininity. In fact, we’re interchangeable with Black men.

Plus I don’t see why being soft, which shouldn’t even be synonym to sub servant and helpless, is a regressive trait. Needing and relying on help does not make you weak; it makes you human. The fact that society likes to push us into this singular story of the strong and independent black woman with few other facades should make you wary as it perpetuates this idea that we’re in no need of sympathy. Empathy,

Therefore you can be a 19-year old teenage girl in need of help after a car accident, but i’m going to shot you in the back of the head because the idea of a Black woman actually needing help as opposed to being the Help is such a bizarre concept that my life feels threatened, right?

More resources:

Yes yes yes yes yes yes yes.

And I’d like to add this link, as it specifically regards young Black children and fantastical stories. The focus is on sci-fi, but the moral works here too, primarily the takeaway of:

Realism has become a trap for black children and they realize it.

Clutch.com had a thinkpiece on the phrase (+ the internalization of “strong” being the superior and only way for us to operate) stripping away our humanity. BuzzFeed (bear with me) has onethat dissects a few current Black women on television, which might help. Mikki Kendall (Karnythia) also has a Storify page housing some great tweets on the subject.

Lookatthewords already hit on the dangers of perpetuating the strong don’t-need-no-help Black woman as a trope, and it certainly helps no one to insist that it is the only portrayal of Black women illustrated in the media.

There is nothing wrong with being soft, or being the princess, or needing help: you can be all those things and still recognized as a Black woman— as a person. Still be a good example.

Imo, it is better to imagine (and write, and portray) black women of all ages in multifaceted and rounded ways.

Source: disneyforprincesses black women representation Media RepresentationWOC Representation Disney Princesses Princess Tiana Intersectional FeminismIntersectionality Meta Reblog Mod P.
Now, go read Mikki Kendall’s beautiful Twittter takedown of Strong Black Woman syndrome.
I, too, have suffered from Strong Black Woman, but I’ve since learned, in the past few years, to recognize when I’m suffering from a bout of this, and take myself off somewhere for some  self care.
 @
@

karnythia annlarimer

sourcedumal:

kyssthis16:

countessnoir:

daji-ruhu:

hellanahmean:

miss-jailbait:

dendritic-trees:

laterinthecaveoflesbians:

daji-ruhu:

The reason I label white women who are feminists as ‘white feminists’ is because womanhood has a very distinctive definition for Black women than it does for white women.

That whole edgy, dye-your-armpit-hair, shave your head, be aggressively non-feminine shit works for white/white-passing women because for centuries white women have been regulated to overtly feminine roles, stereotypes, tropes, etc.

Black women have always been made into mammy tropes/stereotypes, masculine and desexualized figures, or super strong she-beasts who can’t be hurt and therefore can never be associated with terms like ‘feminine’ or ‘delicate’ or ‘dainty’ or deigned worthy of protection.

So when I see posts railing against these ultra-feminine tropes I roll my eyes because it’s usually a white feminist behind them.

I really need white women to understand that being dainty and feminine and soft is just as radical for me as your punk, head shaving stuff.

Thank you so much.  This is such a great explanation.

I looooove this

This post is so…. Terrible? Like mammy figures are extremely feminine. And Black women have been regulated to these feminine roles just as much.

I don’t get how being feminine can remotely be radical.

Shut the fuck up, blockhead.

ROFL, how fucking dense do you have to be to let yourself even type mammy figures are extremely feminine and it be completely serious?

Mammy figures may be feminine but they are never delicate and that’s a bit of nuance that gets lost when ppl only rely on a thesaurus and no real-life application.

Mammy was a maid, fam. She did the “woman’s work” but womanhood was never ascribed to her in a way that would let her be a part of the protected class. And that’s the point. Even the ideas of femininity are different for Black women. To ignore that is to ignore history. That’s not at all cute. Get it together.

LMFAOOOOO Mammy was absolutely NOT a fucking feminine figure AT ALL

I will direct you to the Jim Crow Museum where they break down the bullshit:

AND I FUCKING QUOTE:

Abolitionists claimed that one of the many brutal aspects of slavery was that slave owners sexually exploited their female slaves, especially light-skinned ones who approximated  the mainstream definition of female sexual attractiveness. The mammy caricature was  deliberately constructed to suggest ugliness. Mammy was portrayed as dark-skinned, often pitch black, in a society that regarded black skin as ugly, tainted. She was obese, sometimes morbidly overweight. Moreover, she was often portrayed as old, or at least middle-aged. The attempt was to desexualize mammy. The implicit assumption  was this: No reasonable white man would choose a fat, elderly black woman instead of the idealized white woman. The black mammy was portrayed as lacking all sexual and sensual qualities. The de-eroticism of mammy meant that the white wife – and by extension, the white family, was safe.

The sexual exploitation of black women by white men was unfortunately common during  the antebellum period, and this was true irrespective of the economic relationship  involved; in other words, black women were sexually exploited by rich whites, middle  class whites, and poor whites. Sexual relations between blacks and whites – whether   consensual or rapes – were taboo; yet they occurred often. All black women and girls,      regardless of their physical appearances, were vulnerable to being sexually assaulted   by white men. The mammy caricature tells many lies; in this case, the lie is that    white men did not find black women sexually desirable.  The mammy caricature implied that black women were only fit to be domestic workers;    thus, the stereotype became a rationalization for economic discrimination. During   the Jim Crow period, approximately 1877 to 1966, America’s race-based, race-segregated   job economy limited most blacks to menial, low paying, low status jobs. Black women  found themselves forced into one job category, house servant.

Read that seven or eight fucking times until you get the goddamn message.

Mammy was NOT A WOMAN. Mammy was a PACK MULE FOR WORK that was deemed fundamentally ASEXUAL so white men could excuse raping them. Because it wasn’t REAL, since she wasn’t really a woman, you see?

Dark skinned Black women shown as feminine, fragile and dainty is revolutionary in a society that explicitly puts us in the position of MONSTROUS, UGLY AND UNLOVED.

Black women as damsels in distress is RADICAL in a society that purports Black women as only WORK MULES

Daji said what she mothafuckin SAID in the damn OP.

*”I am a human being. I am not a robot. I am not a punching bag. I am not a doormat. I am not an animal. I am not a Slinky that immediately bounces back into original shape no matter how many times it is thrown down some stairs. I am flesh and blood. I am a living organism. I am alive. I weep, mourn, ache, rage, chill, giggle, smile, radiate and plenty of other emotions. People, both White and Black, have internalized the message that Black women are simultaneously deified as superheros and disrespected as never needing love and care (and both deification and disrespect are dehumanization). I will always reject this.”

 

 

 

 

Hollywood’s Problems

Hollywood’s Problems

This is just another problem in a long list of issues Hollywood has with depicting PoC. For those of you who don’t remember the movie No Escape starring Owen Wilson, here’s some  reviews to refresh you. Movies Review: ‘No Escape’ is a suspenseful but borderline racist thriller ‘No Escape’ Reviews: Critics Call Owen Wilson’s Actioner ‘Racist,’ ‘Cliche-Ridden,’ ‘Monotonous’ 6 Reasons There’s No…

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Hollywood’s Problems

This is just another problem in a long list of issues Hollywood has with depicting PoC. For those of you who don’t remember the movie No Escape starring Owen Wilson, here’s some  reviews to refresh you.

Review: ‘No Escape’ is a suspenseful but borderline racist thriller

‘No Escape’ Reviews: Critics Call Owen Wilson’s Actioner ‘Racist,’ ‘Cliche-Ridden,’ ‘Monotonous’

6 Reasons There’s No Escape From Hollywood Racism

And the Impossible, starring Naomi Watts:

https://www.theguardian.com/film/filmblog/2013/jan/02/attempting-the-impossible-asian-roles

IMPOSSIBLE IS NOTHING: WHITENESS KNOWS NO LIMITS

 

And this is a review of Hollywood’s latest debacle starring Blake Lively. I do notice these types of films seems to star Hollywood’s best second raters.

Yet another white lady in jeopardy: “The Shallows” and Hollywood’s empathy gap

In movies like this, the suffering of local people of color takes a back seat to the plight of Caucasian outsiders

 

 

Hollywood : Whitewashing (Part III)

Normally, I like to celebrate and geek out about the things Hollywood is getting right but lately there has been a number of serious fuckups, that have been pointed out to us, that shows that the PTB in Hollywood are seriously out of  touch with the rest of the American people, and need to get their shit together, and undergo a serious diversity overhaul.

I know I’ve mentioned before what a huge behemoth Hollywood is, how its so large that it can be slow to change. The problem with that theory is that even in situations where Hollywood has the time, to make different types of choices, it doesn’t. I understand that often films are years in the making and the films that have been released this year are sometimes cast months (in some cases years) in advance, so I will give a tiny bit of leeway in that direction, as Hollywood probably has not fully understood just how seriously their fuckups have been on the diversity front. What I do not give a pass to are movies that have been recently cast.

For example:

MCU: The Marvel Cinematic Universe keeps falling down on the diversity front. Given an opportunity to cast anything other than White men in heroic roles in the films it continues to get this  wrong. There are almost no Women of Color in the MCU, outside of Agents of Shield (two Asian women), and Daredevil’s Elektra (its depiction of Asian women is  a  problem that was just discussed). There is one Afro Latina in the MCU as Claire in Daredevil.  I guess they figured with an Afro Latina they got all their bases covered and don’t need to cast any more women of color.

Hopefully we can get some representation with Luke Cage, which is coming out in the Fall, and hopefully it won’t rely on a bunch of tropes, since Hollywood seems to find writing for black female characters to be one of the hardest things in the universe. (Perhaps if they had some black women writers behind the scenes in Hollywood, this might not be a problem.) My argument though is  we shouldn’t have to wait for a Black vehicle to see black women in the superhero universe. We should’ve been included all along.

Jessica Jones went a long way towards depicting white women in the MCU and I say white women because the one depiction they had of a black woman in that series (Luke Cage’s wife) was ignominiously murdered by the white heroine of that series, which mostly served to send the, I’d like to believe unintentional, message to its audience that there is no room in this universe for black and white women’s stories to exist together.

Agent Carter too, is a prime example of heroic white women existing at the expense of women of color, as if there’s no room for both to co-exist. Perhaps the writers of that show think Peggy will look less heroic next to women who are actually experiencing some next level hardship? Or maybe the writers are too lazy to write the kind of story that would make Peggy look heroic by helping the lives of women who don’t look like her?

Its as if Hollywood refuses to understand that White women and  WoC don’t have to be pitted against each other for a good story to be told. Their stories can and often do exist side by side and doesn’t detract from the the other’s story.

Don’t get me wrong, there are plenty of white female heroes that I love. Like Black Widow, who has yet to get her own movie, even though the MCU was willing to make yet another film featuring a white man: Antman. A movie no one was asking for. We’ve been asking for a black Widow movie for over three years now and  it would also be nice to see a White Tiger (Latino),the original Captain Marvel (African American), or even Storm. (Catwoman doesn’t count. That movie was shit.)

Instead of giving us a Black Widow movie Hollywood has decided to make the puzzling decision to keep casting  Scarlett Johannson in worse and worse vehicles, as if they’re trying to destroy her career before they have to make that Black Widow movie we’ve been asking them for. What is their plan exactly? Keep making worse movies with her in them until her career flops and then use that as an excuse to call off the Black Widow movie they have no intention of ever making?

The less said about the DC Universe films, the better. The TV shows, on the other hand,which seems to exist exclusively on the CW, are at least trying, which is more than I can say for Marvel’s TV universe, which is incoherent and scattered all over the place.

While we are on the subject of Marvel, lets discuss: Whitewashing

Iron Fist/Dr. Strange: Whitewashing/White Savior trope:

I think I mentioned on another site that Hollywood has spent decades creating trope after trope after sterotype about PoC, so now that they have the ability to cast persons of color in movies, their castings are almost always going to be problematic no matter who they choose. Hollywood is an incredibly lazy and unimaginative place at times. They can be just as traditional and hidebound as that Auntie who spends all day/every day in church and walks around the house humming gospel songs to herself.

I know, I know, they are in the business of making money and they  like sure things, and don’t like to take many chances which is a great business model when your business doesn’t depend on being imaginative.

Ghost in the Shell: Whitewashing

Okay this photo gallery is for that asshole writer of Ghost in the Shell, who pretty much just killed his fucking movie by saying that they chose Scarlett Johannson because there are no good Asian actresses.

 

 

Or it could just be that their lazy asses couldn’t be bothered to look for any to star in their movie.

 

Gods of Egypt:Whitewashing

Nina Simone: Colorism

 

 

 

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