It’s telling that, within minutes of ABC quelling weeks of suspense and announcing that Marvel’s Agent Carter was getting a second season, many of the well-wishes were mixed with a call for the show to introduce more characters who weren’t cis-white hetero, a campaign that quickly gained traction under the tag #DiversifyAgentCarter.
It’s also telling that “fans” of Marvel Entertainment and/or the show quickly rolled out the same tired, insidious arguments against it becoming more diverse: that it would be “diversity for diversity’s sake;” or even worse, that it would be “historically inaccurate.”
We say “fans” because, even if you don’t question their enthusiasm for the show or for star Hayley Atwell, you have to wonder what kind of fandom they inhabit when they insist that people of color would be “unrealistic” in what Anna Cabe rightfully described last week as a show that was originated by the fight between a chemically-enhanced US serviceman and a German antagonist with his own altered skull exposed to the world.
You also have to wonder about their particular worldview when they argue that seeing of people of color would be “unrealistic” in New York City at any point in recorded history — let alone the period following post-World War II. Continue reading →
Earlier this week we covered the burgeoning campaign against Adam Sandler, Netflix, and their Ridiculous 6 project.
During our coverage, we caught up to Megan Red-Shirt Shaw, who devised the #NotYourHollywoodIndian tag in the wake of the mass walkout by a group of Native American performers, and talked about how the tag came together, how she feels about the defense of the film as “satire,” and where the campaign goes from here.
Let’s start at the beginning: describe, if you would, the moments when you first heard about the actors walking off the Sandler set. How did you go from there to getting the tag together?
Megan Red-Shirt Shaw: I was definitely upset, but also empowered by their decision to take a stand. It’s really difficult to hear that people within our communities are being dishonored – especially in ways that seem like “vintage” issues — the old Western and “Cowboys and Indians” films we’ve come to know really well. I went on Twitter to see what different voices were talking about and realized there wasn’t a hashtag consolidating the ideas. I looked through the original article by Vince Schilling and saw the quotation by Allie Young about being a “Hollywood Indian.” I knew that was what we had to get trending. Continue reading →
“We were supposed to be Apache, but it was really stereotypical and we did not look Apache at all. We looked more like Comanche,” said actor Loren Anthony, a Navajo Nation member. “One thing that really offended a lot of people was that there was a female character called Beaver’s breath. One character says ‘Hey, Beaver’s Breath.’ And the Native woman says, ‘How did you know my name?’”
ICTMN also posted video taken on the set from another performer, Goldie Tom, showing actors voicing their concerns to an unidentified producer.
“We don’t need to sell out our people,” one actor says in the footage.
“I understand completely,” the producer replies. “But we’re not gonna change ‘Beaver Breath.’”
“It’s no surprise, of course, that Adam Sandler has written another movie overflowing with the kinds of jokes that might feel edgy to an 11-year-old who finally understands what sex is,” Sargent observed.
The story quickly picked up traction nationally, blossoming into a rare public blunder for Netflix, which was just coming off the largely-favorable reception for Marvel’s new Daredevil series. And the budding broadcast hub chose to address the issue with a somewhat warmed-over statement.
“The movie has Ridiculous in the title for a reason: because it is ridiculous,” the company stated. “It is a broad satire of Western movies and the stereotypes they popularized, featuring a diverse cast that is not only part of — but in on — the joke.”
While Sandler himself has not weighed in, the chorus of Native Americans supporting the actors has only grown. Natives In America founder Megan Red Shirt-Shaw, a past Racialicious contributor, organized the #NotYourHollywoodIndian tag to rally attention to the incident.
And Netflix itself now faces the prospect of a boycott, as the #WalkOffNetflix campaign is also gaining steam. Online supporters are threatening to abandon the streaming service if it does not cancel Sandler’s project.
Meanwhile, the production staff has reportedly reached out to the actors who left the set, including 74-year-old Choctaw performer David Hill.
“I hope they will listen to us,” said Hill, a member of the American Indian Movement. “We understand this is a comedy, we understand this is humor, but we won’t tolerate disrespect. I told the director if he had talked to a native woman the way they were talked to in this movie — I said I would knock his ass out. This isn’t my first rodeo, if someone doesn’t speak up, no one will.”
If you skipped last night’s ceremony, we certainly don’t blame you. But, Kendra and Arturo were live-snarking throughout the night, and you can catch their recap of the highs and awkward lows under the cut.
How to describe the reaction to Boyhood winning the Best Picture (Drama) award over Selma at Sunday’s Golden Globe Awards? Let Lance Reddick sum it up:
And it’s hard to argue. At a time when Ava DuVernay’s look at the Civil Rights Movement is resonating almost eerily with the atmosphere surrounding social justice fights today, it lost out to a Coming-Of-Age Story. David Oyelowo, who led the film’s ensemble cast as Dr. Martin Luther King Jr., lost the Best Actor (Drama) award to Eddie Redmayne’s portrayal of Professor Stephen Hawking in The Theory Of Everything.
So in the aftermath of the show, when people were wondering how Selma could have been shut out of the major awards, it was interesting to get this nugget from Vox culture editor Todd VanDerWerff:
Basically, Paramount apparently ONLY sent screeners for Selma to the Academy. If it pays off in lots of Oscar noms, great. But VERY risky.
VanDerWerff followed it up by saying this was a rumor. But just the thought is mind-boggling: If the theory holds up, Paramount Pictures basically punted on its own potential Golden Globes contender for the sake of taking a shot at the Oscars.
So now, when the movie is getting raked over the coals for being “historically inaccurate” — because James Cameron’s Titanic and Ridley Scott’s Gladiator were documentaries, don’t you know — it’s already losing ground in the Academy Awards horse race to Boyhood.
The lone bright spot for the film on Sunday was Common and John Legend’s win in the Best Original Song category for their collaboration on “Glory.” The victory was capped off by one of the best acceptance speeches of the evening.
“As I got to know the people of the Civil Rights Movement, I realized I am the hopeful black woman who was denied her right to vote,” Common said. “I am the caring white supporter killed on the front lines of freedom. I am the unarmed black kid who maybe needed a hand, but instead was given a bullet. I am the two fallen police officers murdered in the line of duty. Selma has awakened my humanity.”
Just eight episodes into its debut season, The Flash has established itself as a viable long-term investment for Warner Brothers and the CW Network — we just hope that the show does some investing of its own not just in Team Flash, but in Iris and Joe West.*
Coming off a satisfying crossover with its sister show, Arrow, there’s signs that Flash is ready to start tweaking its superhero-procedural formula. And one thing we’d love to see would be a “Zeppo” episode giving the Wests a bigger share of the spotlight as the show wraps up the first half of the season.
It was a momentous occasion. The sight of John Boyega in the first moments of the teaser for “Star Wars Episode VII: The Force Awakens” was a victory — a much-needed statement after the parade of racist caricatures that haunted the series’ three prequels, and a sign that director J.J. Abrams could really be on the right track toward blunting the memory of Jar-Jar Binks from fans’ minds.
But Boyega’s appearance also caused an ugliness to stir from within the Internet’s own hives of scum and villainy — comments sections and the most basic of Twitter accounts — from people who are apparently ready to believe in 7-foot wooly smugglers, diminutive green mystics and swords made of light that are drawn from a person’s connection to an all-encompassing universal essence, while being aghast at the thought that a member of a galactic military brigade can be Black.
These bros are apparently freaking out because Boyega appears wearing Stormtrooper armor. This ignores the fact that Jango Fett, the bounty hunter who provided the blueprint for the original troopers, was played by Temuera Morrison, who is of Maori, Irish and Scottish descent. These “fans” also forgot that the actor who played the young Boba Fett, Daniel Logan, is also Maori.
As The Atlanticpoints out, there’s also an in-canon reason for Boyega to play a Stormtrooper (that is, unless his character is just posing as one):
Even if Morrison and Fett (and all of his clones) choose to pass as white, by the time of the events of “Episode IV: A New Hope,” the Empire has been recruiting from general populations for years. That’s why it makes sense that a young Luke Skywalker, lured by a galaxy larger than the humble moisture farm he calls home on Tatooine, dreams of enlisting in the Imperial Navy.
Luckily, Boyega himself is handling things just fine, going by this Instagram post over the weekend:
On the plus side, we now have an idea of how comments section racists are going to react whenever Lupita Nyong’o appears in any of the Episode VII trailers:
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.