In the days following Doctor Who‘s latest season finale, you can expect most of the credit (or blame) for the show’s transition this year into the Twelth Doctor era on showrunner Steven Moffat, or on stars Jenna Coleman and Peter Capaldi.
But we’d like to argue that — somewhat unexpectedly — the show’s most valuable player this season was Samuel Anderson’s Danny Pink. The character many probably expected to be the show’s third wheel turned into its moral compass. And Anderson should be recognized for providing the dramatic glue in a season that was at times disconcerting, and not for the reasons Moffat might have intended.
It was easy to approach Marvel Entertainment’s Phase 3 announcement Tuesday morning somewhat skeptically. After all, the 24 hours leading into it were consumed by the rumor that Benedict Cumberbatch had been cast as Doctor Strange.
Then came the news:
BREAKING: CHADWICK BOSEMAN CAST AS BLACK PANTHER #MarvelEvent
Coupled with the news that Marvel was finally moving forward with a Captain Marvel film, the day ended with not only widespread anticipation, but the question: where do we — fans of diversity in the superhero movie realm — go from here?
Let’s try to answer that question by asking another: Which actors and character/brands benefit from Tuesday’s news? Continue reading →
DC Entertainment scored a rare PR victory over archrival Marvel over the weekend when it announced its upcoming slate of films. At first glance, this latest take on the DC movie universe instantly puts Marvel’s to shame when it comes to inclusion.
But besides the far-flung timetable involved, it very much remains to be seen whether the company is willing to put in the work to elevate its non-white heroes to a position befitting their upcoming roles on the big screen. Continue reading →
It was perhaps inevitable that Sebastian del Amo’s Cantinflas would fit Charlie Chaplin into the proceedings. Much like Richard Attenborough before him, del Amo finds himself needing to make room for not just a performer, but a singular persona.
And there are moments when it feels like a more introspective film wants to burst through amid the usual hagiography. But a few choices do make this take on Mario Moreno and his life’s work more interesting than the trailer would have you believe.
Aside from addressing many of the questions posed in last year’s finale, Scandal‘s season premiere focused on two more: Who is Olivia Pope without her Associates? And does she even want to be Olivia Pope anymore?
Earlier this week, Lucasfilm announced the addition of two more actors to the cast of Star Wars Episode VII. We do not yet know who the two relatively unknown actors — Pip Anderson, who’s British, and Crystal Clarke, who’s African American — will play in the movie, but I’m guessing their roles must be substantial enough to warrant a press release about their casting. If their characters are indeed prominent, Clarke will join John Boyega and Lupita Nyong’o in making this “the blackest Star Wars ever.”
Still, every time breaking Star Wars casting news comes across my feed, there’s always one name that I hope to see in the headlines:Ming-Na Wen.
With Kanye West in seemingly another controversy this week following a mid-concert rant, it’s a good time to revisit Latoya’s look at the furor surrounding his 2011 single, “Monster.”
By Latoya Peterson
Kanye has officially overdosed on artistic symbolism.
After his 35 minute debut of "Runaway" in back in October 2010, it difficult to figure out how Kanye would top a video that incorporated references to modern performance art, ballet, couture, mythology, and Fellini.
And yet, I don't think anyone counted on Kanye deciding to deck the halls with dead white women in "Monster". Continue reading →
Race, Culture, and Identity in a Colorstruck World