Tag Archives: Netflix

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Marvel, Please Cast An Asian-American Iron Fist

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.

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The Racialicious Links Roundup 11.14.13: Sleepy Hollow, Renisha McBride, Luke Cage, Rememberance Day, YA Lit

Years ago, an actor/writer working on a pilot episode for Fox told me she suspected a 2010 session just led producers to transform tertiary white characters into ethnic minorities, with no change in the scripts to acknowledge the shift in race or culture.

But then came this fall’s sleeper hit, “Sleepy Hollow,” Fox’s tale about the modern-day adventures of Ichabod Crane. Ichabod somehow awakens in modern times after a 250-year sleep. The story unfolds like “The X-Files” meets “A Connecticut Yankee in King Arthur’s Court” (except the Yankee moves forward in time rather than back). Crane teams with a young cop to tackle supernatural weirdness related to the return of the Four Horsemen of the Apocalypse.

And the young cop, Abbie Mills, is played by Nicole Beharie, an up-and-coming African-American actor who made a splash as Jackie Robinson’s wife this spring in the film “42.” Suddenly, the show was anchored by a strong black woman who gets to kick down doors, tote a trusty sidearm and play skeptical Dana Scully to Ichabod Crane’s witchcraft-wise Fox Mulder (for the uninitiated, that’s an X-Files shout-out).

When the show featured a storyline centered on Mills’ sister, we got to see two black women in an action/adventure setting, fighting the bad guys instead of waiting to be rescued or seduced. It was exactly the kind of diverse casting I had been waiting for since 1999, when the issue hit a crisis point as the broadcast networks offered a fall slate of new TV shows without a single character of color.

We have been here before. Our history becomes our present so often it becomes difficult to distinguish the two. Politicians and cable news hosts and the naïvely colorblind ask us to forget, most of the country obliges, and black people, again, are left to piece together the fragments of history, suffering, rage, and pain so that we may have hope for something better.

Again we advocate for justice. Again we question what justice would even look like. Again we demand that black life be valued. Again we wonder why it never was in the first place. Again we weep, we pray, we march, we raise our voices. Again we prepare ourselves to be let down. And again we ask when will the moment come where we won’t have to go through this again.

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Open Table Call: On Race and Arrested Development

By Arturo R. García

The cast of “Arrested Development.” Image via jta.org

Like a lot of people this holiday weekend, I powered through all 15 episodes of the fourth season of Arrested Development. (Apparently I’m one of just 10 percent of viewers who finished the whole run by sundown. I don’t know if this is an honorific or a red flag.)

And as it turns out, there’s quite a bit to go through as regards the series’ treatment of people who aren’t the Bluths. But I want to try something a little different from our open threads — I’d like to crowd-source some reactions to some of the various depictions we saw this year. Spoilers and general guidelines under the cut.
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The Life of Films: Black People Watched “Traitor”! Sophisticated Urbanites Heart “Milk”!

By Guest Contributor AJ Christian, originally published at Televisual

The New York Times has an interesting interactive feature out that maps the top 50 rentals for 2009 based on the Netflix queues from a dozen US cities: New York, Boston, Chicago, Washington, Milwaukee, Dallas, Miami, San Francisco, Los Angeles, Altanta, Seattle and Denver. The list is a bit skewed because these are all fairly cosmopolitan areas — Benjamin Button and Changeling are at the top of the list — though that probably reflects what I assume is Netflix’s popularity in urban and suburban communities to begin with.

The list reminds us films have long lives. The press focuses almost solely on opening weekend box office returns and forgets films go to the rental market, DVD sales, pay-cable and OnDemand. Often these venues are great for films that couldn’t get people in theaters but are nevertheless intriguing or enjoyable. Movies by and about minorities sometimes can find audiences unwilling to shell out $6-$12+ for ticket (the gay film market has operated for years on this assumption).

I was surprised to see Traitor on the list — in the middle, but still before many popular Hollywood films. Traitor, a Don Cheadle-starrer about an alleged terrorist who may or may not secretly be working for the United States, made a paltry $27 million in theaters, just $23M in the U.S. Don Cheadle doesn’t have the Box Office pull of a Will Smith or Denzel Washington, despite his role in the Ocean’s Eleven films. Yet in the rental market, it seems black communities have taken a small liking to the film. The New York Times‘ map has it markedly popular in Atlanta — with a strong presence in the middle class/Morehouse area inside the perimeter — in D.C. and in neighborhoods like Bed-Stuy in New York.

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