Part of what made the episode so bracing was this combination of serious material — the way holidays announce whose history is important — and biting jokes that would have no place in your ordinary Let's Learn A Leson episode of TV.
How can films and television create honest dystopian worlds if they ignore the racial strictures that make these narratives possible in the first place?
People seem to think that a movie or a television show or a book is "diverse" when there are "one or two black people or brown people, or one girl or a couple of girls," DuVernay says. "Inclusion is really half—half of the cast, half of the directors, half of the writers are women or girls, half of the room, more than half of the room is of color," she says. "I think we get really satisfied with less.
Mark Weisbrot
Center for Economic and Policy Research
Venezuela does not have the religious or sectarian divisions that have fueled the civil wars, mass slaughter, and chaos of Libya, Syria, or Iraq ― all countries where the US/major media narrative about the results of successful or attempted regime change turned out to be horrifically wrong. But the political polarization in Venezuela since Chávez was elected in 1998 has been overwhelmingly along class and therefore racial lines as the two are highly correlated.
“Brown men aren’t scared of brown women, they are scared of being boring and predictable if they end up with one,” Shriya Samarth, a media junkie and friend, told me over the phone. “Whereas brown women can genuinely fear the expectations of being a daughter-in-law, brown wife, etc.”
Mark Tseng-Putterman and Rebecca Pierce
Jewish Daily Forward
Beyond a reliance on disproved claims about race and genetics, the Gadot controversy has quite simply lost sight of the fact that race is primarily a function of place.
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