Category Archives: eurocentric

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Race + Spider-Man: Sony Confirms A Glass Ceiling For Miles Morales

By Arturo R. García

(L-R) Peter Parker and Miles Morales, as shown on the cover of “Spider-Men” #1.

Sony Entertainment might be pleased right now about the opening-weekend performance from Amazing Spider-Man 2. A $94 million domestic take isn’t a Marvel-level success, and the film has gotten middling reviews, but it’s been a decent start.

But the company should be concerned about the arrogance exhibited by executive producers Avi Arad and Matt Tolmach late last week, as they effectively rejecting the possibility of seeing a Spider-Man who is not cis-white het male Peter Parker inhabit Sony’s Spider-film realm. As The Mary Sue reported, Arad and Tolmach put the kibosh on that talk in an interview with IndieWire:

IndieWire: Are Miles Morales (“Ultimate Spider-Man”), Ben Reilly (clone Spider-Man) or Miguel O’Hara (“Spider-Man 2099″) on the table? If you want a Spider-Man movie every year why not bring in some of the other variations?
Tolmach: No.
Arad: No. The one thing you cannot do, when you have a phenomena that has stood the test of time, you have to be true to the real character inside – who is Peter Parker? What are the biggest effects on his life? Then you can draw in time, and you can consider today’s world in many ways. But to have multiple ones… I don’t know if you remember, but Marvel tried it. And it was almost the end of Spider-Man.
IW: So Spider-Man in the cinematic realm will always be Peter Parker?
Arad: Absolutely
Tolmach: As far as we’re concerned. The guys who take it over after us … Who knows …

It’s true that Sony runs the ASM brand independently of Marvel’s operation, but if movie!Spidey were truly independent from his comics counterpart, Otto Octavius’ stint assuming Peter Parker’s identity in Superior Spider-Man might not have wrapped up just in time for the new movie.

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Self-Healing From American Racism

By Guest Contributor Marly Pierre-Louis

All images provided by the author.

I love a good adventure. So when my partner asked, “How would you feel about moving to Amsterdam?” I was game. Between the shock of making that decision and being completely overwhelmed with all we had to do, I daydreamed about what it would be like to be Black in the Netherlands. I knew about the historical love affair between Black America and Europe. Black folks, especially artists, had always sought refuge from the terrors of American racism in Europe. Stories of Josephine Baker, James Baldwin, and Richard Wright in France painted an eclectic and humane portrait of Black life in Europe. I was thrilled at the prospect of experiencing a truly post racial existence.

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Quoted: The Worst Justification Ever For Not Casting People Of Color

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

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Quoted: Media Diversified UK on Game of Thrones And Genre Fiction’s Race Problem

While not placing it in the pantheon of truly great television, I’ve been a fan of Game of Thrones since the show debuted in 2011. I normally like my drama pessimistic, with a hard edge, and even downright cruel on occasion. I like even more that a show in the fantasy realm cares as much about its tonal execution, as it does costumes and wacky names.

And yet, I’ve never been able to relax in the presence of the programme, never allowed myself to be fully swept up in the world of Westeros. The reason why? This is best encapsulated by the conclusion of Season 3 – which Sky were so helpful to remind us of during their promotion for the upcoming Season 4.

The character of Daenerys Targaryen is emblematic of “Game of Thrones” continuous problem with race. Beyond the emetic “white saviour“ scene to close Season 3, we are first introduced to her during a forced marriage to Khal Drogo of the Dothraki people (who are non-white). At the wedding, the Dothraki are painted as little more than savages, with the men literally killing each other to force themselves on the women; hypersexual and hyperviolent, two big racist boxes are ticked.

– From “Daenerys Targaryen Is Back To ‘Save The Coloureds’ Tour De #GameOfThrones 2014,” by Shane Thomas

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Dear Christina Fallin

By Guest Contributor Adrienne Keene, cross-posted from Native Appropriations

Dear Christina Fallin,

Last night, someone tagged me in the comments of your post on Instagram, a picture of you wearing dark red lipstick and a coordinating warbonnet. Initially, I just rolled my eyes and closed the window, because since I’ve somehow become an “expert” on white girls in headdresses, I get sent pictures like yours pretty much every. single. day. Don’t believe me? Just glance at the “#indianheaddress” tag. But then I got an email, then another, and another, and another, and then realized that this one was different–because you, Christina, are daughter of Oklahoma’s Governor.
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Who-mogeneous: If Doctor Who Doesn’t Diversify, Will It Last Another 50 Years?

By Guest Contributor Anoosh Jorjorian

When I was 13 years old, my best friend introduced me to Doctor Who. Growing up as a brown girl in a predominantly white neighborhood in Sacramento, people would ask me, “What are you?” When I explained that my family came from Armenia and the Philippines, I might as well have said they were, like the Doctor, from the planet Gallifrey in the constellation of Kasterborous. The show played perfectly to my fantasies of escape into wider possibilities. Yes, funny smart man with your English accent, please whisk me away in your blue box as far in space and time as I can get from 1980s Northern California.

Nearly two decades have passed since I first watched the show, but on the occasion of its 50th anniversary, to my eyes, the show looked a bit… like 1980s Northern California. “The Day of the Doctor,” the episode marking the special occasion, was simulcast globally in 94 countries, an official Guinness World Record. So why was so little of the world in it? I had expected the diversity of the audience to be reflected on the screen, but instead the episode seemed Anglo in every dimension.

I monitored #DoctorWho50th on Twitter but couldn’t find many people of color livetweeting the simulcast. The few that did seemed to have “the feels” like everyone else. No one mentioned race. With Matt Smith’s tenure in the title role ending on Wednesday, I turned to Facebook to find more Whovians: friends, friends-of-friends, and strangers, mostly Americans, mostly people of color. What did they think about the whitewashed “Day of the Doctor”?

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Race + The Netherlands: Resistance, Lost in Translation

By Guest Contributor Marly Pierre-Louis

I’m an activist and, one way or another, wherever I am, I always find my way to movement work, or it finds me. So when my partner and I uprooted our lives in Brooklyn for him to pursue a job opportunity in Amsterdam, I was excited to get involved. I figured since we’d be living here for the indefinite future, might as well jump in the mix. What were the issues? Who were the oppressed? And what were they fighting for? I met with organizers and did my research. Initially, I was disappointed at what seemed like a lack of collective struggle and as a result a lack of movement work. I didn’t detect a culture of resistance. But surely there was conflict in a society that celebrated a figure like Zwarte Piet.

In fact, there’s been more activity than ever before concerning Zwarte Piet, particularly in the last couple of months. In the Dutch mythology, every year Sinterklaas, more of a religious figure than our Santa Claus, rolls through the Netherlands from his home in Spain. Accompanying him are his servants known as Zwarte Piets or Black Piets. These characters are white adult men and women with their faces painted Black, red lipstick, gold hoop earrings and a black curly wig. Zwarte Piet is clumsy, subservient and unintelligent; a regular coon. In October, Quinsy Gario, a prominent anti Zwarte Piet activist who was arrested in 2011 for protesting the Sinterklaas parade (Trigger Warning: Police violence) while wearing a T-shirt that read, “Zwarte Piet is Racisme (Black Piet is racism)”, publicly denounced Zwarte Piet on a popular Dutch talk show, as racist and hurtful. Dutch Twitter went MAD, and an ugly, racist underbelly of the worst kind was revealed:

(Trigger Warning for pictures under the cut)

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Where Are All the Zombies of Colour?

By Guest Contributor Jenn, cross-posted from The Nerds of Color

I don’t mean the zombie survivors. I mean the zombies.

Ironically, The Walking Dead is pretty racially diverse compared to other zombie movies in the genre. Remember Zack Snyder’s Dawn of the Dead remake? There are, in that case, two sole surviving Black men, although one (Mekhi Phifer’s Andre) is singularly stupid. Meanwhile, there are no other notable characters of any other race or ethnicity among the survivors. And how about 28 Days Later ? Sure, the main female protagonist is a Black woman (Selena, played by Naomie Harris ), but why is she the main cast’s only character of colour despite the fact that London boasts a 20% Black and 20% Asian population . In fact, most zombie movies are typically populated by an almost all-White (with a token or two) surviving cast; against this backdrop, I’m relatively pleased by the racial diversity of The Walking Dead, One-Black-Man-At-a-Time rule notwithstanding (more on this later in the Walker Week).

But, here’s my gripe: where the heck are all the zombies of colour?
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