From the beginning, we were concerned about casting, the issue of race. What we realized is that this story is functioning at the level of myth, and as a mythical story, the race of the individuals doesn’t matter. They’re supposed to be stand-ins for all people. Either you end up with a Bennetton ad or the crew of the Starship Enterprise. You either try to put everything in there, which just calls attention to it, or you just say, ‘Let’s make that not a factor, because we’re trying to deal with everyman.’ Looking at this story through that kind of lens is the same as saying, ‘Would the ark float and is it big enough to get all the species in there?’ That’s irrelevant to the questions because the questions are operating on a different plane than that; they’re operating on the mythical plane.
– Ari Handel, screenwriter for “Noah,” as told to The High Calling
Cesar could be a brilliant strategist, a skill observable in agile, imaginative interaction with determined opponents, turning apparent weakness into sources of strength. But the film depicts him largely as a creature of impulse, committed to be sure, but not the brainy strategist who took special joy, as he put it, in “killing two birds with one stone…and keeping the stone.” He was a learner, a deeply curious autodidact who thrived on constantly probing diverse sources of information: books, people and experiences. When I met him in 1965, he was reading Churchill’s The Gathering Storm because, as a student of Gandhi, he wanted to learn how his opponent thought. The commitment to nonviolence was based both on his appreciation of Gandhi’s methods and the way in which the civil rights movement, and reaction to it, had been unfolding every day. But oddly, although a commitment to nonviolence was a condition for undertaking the strike in the first place, shaping the way it unfolded, the film portrays nonviolence as a reaction to events in the strike.
Events depicted as spontaneous in the film, such at the 1966 “perigrinación” from Delano to Sacramento, were, to the contrary, a result of sustained, careful planning. The “kick-off” was timed to take advantage of national media in town to cover Senator Robert Kennedy’s participation in hearings held in Delano, orchestrated by the labor movement. This “march” strategically linked efforts to promote the UFW’s first boycott, to deter farm workers from returning to Delano in the spring, to pressure then Governor “Pat” Brown to intervene on the UFW”s behalf and to rekindle the faith, hopes and solidarity of the 100 to 200 people at the core of the movement and their supporters. Cesar did not hear of RFK’s death while driving somewhere in his car—we had been in LA doing the “get out the vote” that won him the primary, and some of us were with him in the ballroom when he was shot, on his way to thank the farm workers for their help. Similarly, the “fast” was not a reaction to a few unruly farm workers, but a strategic tactic, backed with a team of organizers, of which I was one, undertaken at a key time in response to court actions alleging violent tactics, renewing commitment several years into the fight and drawing attention to the grape boycott in time for the new season. The creativity, organizational discipline and courage that produced the events depicted in the film is lost entirely in the incoherent jumble of what the film makers must have judged to be “dramatic moments,” which presented out of time, place or sequence are robbed of their real drama.
– From “Not the Cesar Chavez I Knew,” by Marshall Ganz
By Guest Contributor Keith Chow, cross-posted from The Nerds of Color
Yes, I am proposing that a major comic book institution change the race of one of its popular characters as it transitions to a new form of media. In this case, I want Marvel Studios to cast an Asian American actor to play the lead in the upcoming Iron Fist show it is developing for Netflix. It seems logical enough to me, though as always, there are fans who are urging Marvel to resist changing his race.
Now, I know the topic of cross-racial casting has come up time andtime again here at The Nerds of Color. And while there are a contingent of fans who don’t think such things matter — or worse, arevehemently opposed to such casting choices — I can’t help thinking that Iron Fist gives Marvel a chance to add even more diversity to its interconnected cinematic universe. Not to mention that this is a case where changing the race of the character has the potential to actually add layers of depth to the story of said character.
By Arturo R. García
This week’s episode was best served when it strayed from the usual tropes. Sure, we got Olivia and Fitz arguing (again) about the rules of their relationship, and starting the episode with them in flagante pugna about her deciding to “date” Jake — with him outside the door — at least made it a more interesting take on the Fight Of The Week.
By Arturo R. García
So after watching the trailer a couple of times Wednesday night, I came away feeling not totally worried about the forthcoming Annie remake. Quvenzhané Wallis looks like she’ll inhabit the title role more than capably — showing her ask “What’s the hustle?” was a nice touch to include this early — and Jamie Foxx (as Michael Bloomberg stand-in Benjamin Stacks) and Rose Byrne (as his girl Friday, uh, Grace) came off well in this trailer.
Cameron Diaz’s take on Miss Hannigan, here reimagined as a foster mother for Annie and her friends, looks less steady, shading further toward Carrie Bradshaw than Carol Burnett. The film’s IMDB page also reveals another potential setback for the character: there’s no listing for Daniel “Rooster” Hannigan, depriving Diaz’s Hannigan — at least thus far — of someone with whom to banter beyond Annie and Stacks. The music and choreography, from the brief glimpses we get in this trailer, don’t look bad.
The story also looks like a simplified version of the original, which you can either take or leave, considering that the 1982 vehicle featured “Bolsheviks,” assassination attempts, bodyguards named “Punjab” and “The Asp,” and Daddy Warbucks hanging around with Franklin D. Roosevelt. And while sites like ScreenRant and Jezebel also liked the trailer, it’s a long jump from a good two-minute clipshow to a coherent final product. (Remember, Zack Snyder’s Watchmen had a pretty well-liked trailer, and … well.)
In other words, there’s plenty of good discussion to be had about this movie; for starters, you might be surprised to see Emma Thompson — yes, that Emma Thompson — is one of the three writers. (In truth, it’s her 13th writing effort.)
But as you might imagine, some Internet Racists just couldn’t stop themselves from catching feelings. So, for anybody wondering why our comments policy is tight, we picked some real “winners” to show you under the cut.
By Arturo R. García
Well, that was a lot to take in. Some of the highlights:
- Maybe the night’s sentimental favorite, Lupita Nyong’o, won the Best Supporting Actress award for her work on 12 Years A Slave, which went on to win Best Picture.
- John Ridley also won Best Adapted Script for his work on 12 Years, though … was it us, or was there some shade going between him and director Steve McQueen?
- Robert Lopez, a Filipino-American, won Best Original Song along with his wife Kristen Anderson-Lopez for “Let It Go,” from Frozen.
- Mexican-born Alfonso Cuarón, who some felt was snubbed for the Best Director award after Children of Men, made good Sunday and won for Gravity.
- Cis-hetero actor Jared Leto won Best Supporting Actor for playing a trans woman in Dallas Buyers Club, and seemed to omit mentioning the trans community during his far-flung acceptance speech. As Autostraddle notes, it’s not like he can claim ignorance of his actions at this point.
Feel free to add your thoughts in the comments and check out the full storify below, but under the cut, some video, and some more observations from the evening.
By Arturo R. García
After months of speculation, Thursday night brought confirmation: Michael B. Jordan will play Johnny Storm/The Human Torch in 20th Century Fox’s newest attempt to build a Fantastic Four film franchise. And while some geeks reacted as badly as you might expect, this iteration of Marvel’s First Family is worth keeping an eye on for far more interesting reasons.
By Arturo R. García
THIS POST CONTAINS SPOILERS
Not to get all Morpheus on you, but: what if some of us Whedonistas have been approaching Agents of SHIELD off focus, just a bit?
Sure, I’ve been among the fans who have been critical of the show during most of its’ freshman season, with a good deal of that dissatisfaction aimed at the ostensible audience POV character, Skye (Chloe Bennet) — and this was before we found out she might be an extraterrestrial sort-of object of considerable power, on top of being a super-hacker.
But, over the weekend a colleague of mine at The Raw Story, Scott Eric Kaufman brought me up to speed on at least one more way to approach the series. It might not excuse some of the story choices in Agents thus far, but it sheds new light on how we might consider Skye and her cohorts.