By Arturo R. García
You would think that a discussion of comics and diversity on The Nightly Show would be a home run.
You would be wrong.
By Arturo R. García
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.
— Todd VanDerWerff (@tvoti) January 12, 2015
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.”
The speech, as posted online, can be seen below.
Rev. Dr. Jacqui Lewis: [Black pathology] has two causes: one is institutionalized racism, and we just have to admit that America was built on a fault line called race, and that thing is cracking wide open. So, all of these are symptoms of that. Some of them are that we internalize the narrative. And I think the other thing, you were pointing to a little while ago, is that somehow it makes us feel like we have more power, if it’s ‘our stuff’ — we’ve got more power to examine it, to fix it. But I think the bottom line is, this isn’t at all about Black pathology; it is about racism in America, which is in fact, pathological.
This year’s keynote session for Facing Race starts at 4:30 p.m. EST and will be a multi-generational affair featuring Dr. Bernice Johnson Reagon, Toshi Reagon, and Tashawn Reagon.
From the program description:
Bernice Johnson Reagon, a scholar, singer/songleader, and activist for over half a century, has been a profound contributor to African American and American culture. Born in Southwest Georgia, her singing style and traditional repertoire are grounded in her experiences in church, school, and political activism. As a composer, she has created a narrative of her social and political activism through her songs and larger compositions. She performed as a member of the SNCC Freedom Singers during the sixties; founded an all women a capella ensemble, The Harambee Singers, during the Black Cultural Movement; and founded and led the internationally acclaimed Sweet Honey In The Rock for thirty years until retirement. Paralleling her work in music, Reagon is one of the leading authorities in African American Cultural History.
Her strongest musical collaborator is her daughter, Toshi Reagon. Described as “a one-woman celebration of all that’s dynamic, progressive and uplifting in American music,” Toshi is a composer, producer, founder, and leader of her own ensemble, Toshi Reagon and Big Lovely. Taking the stage at 17, singer, songwriter, guitarist Toshi Reagon moves audiences with her cross genre offerings of blues, rock, gospel, and incredible original songs. Collaboratively, these two socially conscious women artists have masterfully created two operas, “The Temptation of St Anthony” and “Zinnias: The Life of Clementine Hunter.”
Tashawn Nicole Reagon is a Sociology and Gender Studies major and an Intergroup Relations minor at Skidmore College. Tashawn has co-facilitated a two-credit, intergroup dialogue between students of color and white students on race, and interned in the Gender Rights and Equality Unit of the Ford Foundation, where she wrote a report entitled Student Activism for Gender Equity. Tashawn helped to establish the Justice Project at Saint Ann’s high school that examined issues of race and other identities.
The full session, as posted online, can be seen live below.
By Arturo R. García
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.
SPOILERS under the cut
By Guest Contributor Sunny Huang
Two weeks ago, Big Hero 6 premiered to critical acclaim at the Tokyo International Film Festival. Even earlier, it made a big splash at New York Comic Con. And it will open tomorrow as a likely box-office success — a projected $51 million in its first weekend — in the U.S. But with less than a full day to go, I am surprised by the lack of substantial criticism for it.
Frozen generateda firestorm of controversybefore it was released in mass and niche publications, yet there is little for Big Hero 6, which goes to show just how much Asians and Asian-inspired media are pushed out of the conversation. And the only criticisms that have appeared focus on the film’s episodic storytelling and choice of Fall Out Boy for the soundtrack, instead of its lackluster Asian representation and continued cultural appropriation by Disney. In fact, Big Hero 6 is being lauded for transcending these problems, when it is the very embodiment.
After spending my childhood barely seeing myself and my people represented on screen, I immediately made my brother watch the trailer. As a 20-year old, I was so happy that my 10-year old brother would have the chance to grow up without self-resentment. I was so grateful to know he would have the chance to not loathe his race because he would see characters who looked like him be appreciated. It was a chance I did not have.
When the trailer was over, I yelled at him. Look, look!An Asian character! Another character who’s Asian besides Mulan! From the biggest animation studio today! Do you know how many people like us will see how progressive this movie is?! To that, he just stared at me and said—
What? I thought he was white.
It was then I realized something was wrong. This movie was being marketed as progressive and beyond its time for giving its studio the opportunity to address “its historical reputation for ethnic homogeneity and cultural appropriation.” But if an Asian-American kid could not identify the main character as Asian, as part of his own group, then what else was wrong?
Turns out, a lot. The protagonist’s racial ambiguity just started the conversation.
The film is based off the Marvel Comics characters of the same name, but with major differences—many of them questionable, and some of them outright wrong.
SPOILERS for both the movie and the comic under the cut.
There are actually two parts to this. One is, there are troubling racial politics, but it’s not just about men of color. The other racial politics about this are that white women appear the most vulnerable, right, to these menacing men. But this happens to women of color, and women of color have been on the front lines. Three years ago at the Crunk Feminist Collective, we published a video that Girls for Gender Equity did where they had Black teenage girls talking about being harassed, and that video does not have 25 million hits.
— Interview aired on “All in With Chris Hayes,” Oct. 31, 2014.
“Hey … Shorty!” by Girls for Gender Equity NYC can be seen below.