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…later on in this episode…
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Hi :)
I’m just curious about why you have negative feelings about Donald Glover/Childish Gambino. I feel like I’m out of the loop so I didn’t know if he’d done anything sketchy
Hi there! Well, to answer your question anon, I have negative feelings toward Donald Glover because he HATES Black women. He has a very strange and complicated history of insulting us at every turn, and quite frankly, I'm tired of it. And this is made evident through the things that he has said in the past, his work (which includes his TV shows, stand-up comedy sketches and his music), and even his dating life. I even remember him "joking" once that he allowed non-Black women to call him the N-word during sex. I just can't stand Black men like him, and there are many of them, who take joy in degrading Black women. And they've been saying this about him for YEARS!! He is an anti-Black racist (much akin to a Kanye West or Kodak Black), a colorist and a MISOGYNOIRIST (meaning anyone who exhibits deep a hatred of Black women). You can literally Google "Donald Glover + Black Women" and see the results that come up...
He's TRASH!!!!!
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Black Panther (2016-) #13 art by Wilfredo Torres
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Two Marvel shows fans thought might have been canceled get an update, and they're apparently "spectacular" | GamesRadar+
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What I think of when I see this image:
There’s a different standard for non-white actors, because even after they “prove” themselves, they must continue to set the standard higher to get half of the opportunities white actors amass by simply existing and displaying a certain conventional standard of beauty in the lottery of genetics. It’s a frustrating precedent that seems never to end. Talented young actors of color are sidelined for white actors with arguably less skilled backgrounds to take the spotlight.
(...)
Just think of Lupita Nyong’o, whose own streak after winning the Academy Award for 12 Years a Slave, despite some great roles, hasn’t seemed to feature the same opportunities as the likes of, say, Sydney Sweeney, who, without a single Academy Award to her name, has multiple high-profile films slated for the year 2024. While not all success can be measured by awards, there does seem to be a precedent set by whose career benefits from winning said awards and whose doesn’t—or doesn’t even need them.
Source: Marina Delgado, The Mary Sue
- mod sodapop
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Magneto is JEWISH. He is a Jewish character. The original version of the story the new X-Men 97 season is trying to tell relied on him being snapped out his plan by a young Jewish girl being hurt (I actually posted about how much I love this story beat last year). A young Jewish girl he later attends a meeting of Holocaust survivors with. Telling this story without using the word “Holocaust” or “Jewish” is so very telling. And it’s not a one off with this show— Roberto is an Afro-Brazilian character who manifested his powers because of a hate crime and they changed his origin completely.
Disney will ALWAYS shy away from these issues. They will ALWAYS want the kudos from having minority characters while sanitizing their stories. Really think about what it means for them to do this to characters like Sunspot and Magneto, but stand their ground when it comes to keeping the Israeli propaganda character in upcoming Cap movie.
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BLACK PANTHER 
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ZOË KRAVITZ ph. Sharif Hamza ELLE US, November 2022
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Zazie Beetz as Neena Thurman DEADPOOL 2 (2018), directed by David Leitch
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about to write an extremely niche post about a broadway show that barely has a fandom. sorry but i have to get this off my chest.
right, okay, so i love the band’s visit. it’s a great musical, the songs are gorgeous and the cast is excellent. also i love any show that expands the horizons of the kind of music that can be played in musical theater. having an oud on a broadway stage is fucking incredible and unprecedented.
here’s the thing though, i regret to inform you that i’m also israeli (against the occupation, anti-zionist, etc.) meaning that i was familiar with the movie the show is based on long before i saw the show. because of this and also because of the cultural knowledge i’ve acquired from living in this godforsaken place, i can point to some elements in the original film that were not present in the show, that completely transform the context and connotations of the show’s themes.
right so, the town of beit of hatikvah is fictional, but crucially, it is not generic. it is, in both the film and the play, clearly reminiscent of the average Israeli development town. development towns are “urban settlements built or significantly expanded by the israeli state, mainly during the 1950s, for the settlement of immigrants. the towns were mainly inhabited by mizrahi jews of low socioeconomic background” (quoting from a paper by oren yiftachel). these development towns, often referred to as the periphery of israel, were intentionally positioned in the then largely empty negev desert, because the ashkenazis in power in the 50′s and 60′s wanted to strengthen their borders (zionism gotta zionism) and they accomplished this by gathering a lot of mizrahi jews and basically placing them on the border. but of course not before stealing some of their kids and giving them to white people to “““civilize”””. so in addition to ethnically cleansing the arabs that were already here, israel also managed to thoroughly screw over a good half of our jewish population because they weren’t white.
now, this is information that the implied audience of the film—i.e., israelis—would be intimately familiar with. and although none of the beit hatikvah residents ever identify themselves as mizrahi jews in the film, the setting makes it clear that is what they are. not to mention that all of the actors in the movie that play beit hatikvah residents are mizrahi jews.
and the thing is, all of this context is essential to fully understand the themes of the film. this is not simply a story about two disparate groups attempting to communicate. it is, specifically, a narrative about the relationship between egyptians and mizrahi jews. so in the movie, when dina talks about how much she loved the egyptian films that were shown on tv every friday, it’s not just an expression of her appreciation of egyptian cinema. quoting from this article by ryan zohar (which i highly recommend reading, it’s a very good explanation of the historical context of the phenomenon of the friday night egyptian move): “during a period of israeli history when mizrahim were encouraged to become ‘good israelis’ by hating the arab-within and the arab-without, the weekly arab film served as a respite of sorts […] they could be arab for one hour each week from six o’clock to seven o’clock on friday evenings.” evidently, knowledge of the character’s background completely transforms how you’re going to read that scene.
which is why it’s kind of a travesty that in adapting the film, the writers made zero effort to communicate any of this to an american audience. and it’s not like they didn’t have an opportunity to do so. there are two different songs in the play, “waiting” and “welcome to nowhere” that serve to introduce the town to the audience. but neither one of these songs, which again, i cannot stress enough, are exposition songs, make any mention of the characters’ ethnic backgrounds. not to mention that, like i said, the beit hatikvah cast in the movie is comprised entirely of mizrahi jews. whereas, in the play, as far as i can tell almost non of the beit hatikvah cast is mizrahi. i mean i love katrina lenk as dina don’t get me wrong, but it’s kind of fucked up that this white lady (who isn’t even jewish lol) is playing a part that was originated by ronit elkabetz (z”l) a woman who wrote, directed and starred in a trilogy of films about her family’s experience as moroccan jews in israel (all of which are bangers btw, highly highly recommended).
the result of all this is that a story about the possibilities of connection based on a shared cultural background is lowkey depoliticized in favor of a far more generic why-can’t-we-all-just-get-along message. and i think that’s a shame.
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ISSA RAE photographed by Deirdre Lewis for Porter Magazine (January 29, 2024)
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LASHANA LYNCH attends the UK Premiere of "Bob Marley: One Love" on January 30, 2024 in London, England
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Iman Vellani - photographed for Grumpy Magazine, January 2024
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Zawe Ashton as Dar-Benn THE MARVELS (2023), directed by Nia DaCosta
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LAURA HARRIER for Hourglass Cosmetics (2024)
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KING VALKYRIE and CAROL DANVERS/CAPTAIN MARVEL The Marvels (2023) dir. Nia DaCosta
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