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.
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.”
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.
He waits along with more than 100,000 others who gather daily on dozens of street corners across the United States, according to figures from 2006. It is a world, where workers are often cheated out of their wages, injured on the job and then left without medical care, according to a 2006 survey. Where workers who complain often suffer retaliation by employers who fire them, suspend them, or threaten to call immigration officials.
How can you attempt to craft a political, artistically rich narrative that trades in the real-life experiences of black and brown women, while ignoring them and the ways sexism intersects with racism? The bodies and histories of black and brown women prove to be useful templates for shows like The Handmaid’s Tale, but our actual voices aren’t.
Master of None's second season tackles the intersection of queer identities and race, as well as the diversity of New York City, painting a fuller picture of the city than shows that have come before like Girls, or even Louie.
Racism and sexism, like many other forms of discrimination, have been baked into our social and economic systems and will not simply fall away as a fairer economy emerges.
In the wrenching fifth episode of the series, Reggie gets into a fight with a white character who uses the N-word at a party, then winds up held at gunpoint by the campus police. As Richardson explained, the episode, which was directed by Moonlight’s Barry Jenkins, rejiggered the structure of the show and forced the writers to figure out a new way forward.
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