In a scene in Hidden Figures that is all too familiar for Black women viewers, or really anyone from a historically marginalized group, Taraji P. Henson’s character Katherine Johnson rushes to enter the NASA control room where she has just handed off crucial calculations for astronaut John Glenn’s safe return from orbit, and has the door summarily slammed in her face. The camera lingers on Henson’s profile, as she grapples yet again with the devastating knowledge that although she may be a useful “computer” for spitting out numbers that may make missions successful and even save lives, she is still not seen as fully human in the eyes of her peers and superiors. Indeed, in Henson’s capable hands, viewers ourselves experience the physical and emotional pain of being barred from entering the halls of power for absurd reasons beyond one’s control — in this case, race and gender.
When it comes to the Doctor Strange film, it continues to be the Greek-bearing gift of racism that keeps on giving.
I had no doubts that the white supremacy would ensue the moment it was announced that the Grand Wizard would portray the eponymous Sorcerer Supreme.
The film didn’t disappoint in this regard. After all like attracts like.
If you’re in the Bay Area this week, you should attend this conversation. It is one of our events leading up to 2017’s Black Comix Arts Festival, a Co-Presentation of MoAD, Cartoon Art Museum, and Black Comix Art Festival.
Join the Cartoon Art Museum and Black Comix Art Festival at the Museum of the African Diaspora for, “Ajuan Mance in Conversation with Shawn Taylor,” an evening celebration of current Bay Area cartooning sensation Ajuan Mance as part of the SF Comics Fest. Writer Shawn Taylor from The Nerds of Color will chat with Ajuan about her latest projects in illustration, cartooning and writing, her creative process, her recent rise in popularity, and what she plans to achieve next.
Spoiler warning: spoilers throughout. Best to read this after watching the whole season! Which I recommend!
It was during a small, nearly throwaway scene deep in episode 10 that it hit me like Jessica Jones’ fist: Luke Cage is the most feminist show I’ve ever seen.
The scene, captured in the screen grab above, features four women characters — four black women, not a one of them under the age of 30 (and none of the actresses under 35) — each of whom is in fundamental conflict with the others, but who come together in two temporary alliances to fight a multi-level battle. Yes, it’s complicated.
At 8 years old, I would wake up early every Saturday morning to tune in and watch Superboy. Over the years, I’ve been a faithful viewer of the original George Reeves Superman series, Lois & Clark, the Bruce Timm animated series, the live action films, and of course the comics. I’m a comic book guy through and through. For me, Superman isn’t just a superhero. He is THE superhero. I’m very protective of the Man of Steel’s mythos and legacy. Suffice it to say, I had my concerns when the CBS series Supergirl was announced.
Somehow when I wasn’t paying attention, my reaction evolved from, “The pilot was cute, I guess I’ll tune in,” to “Jesus Christ is it Monday night yet? I need my Maiden of Might!!!!”
I’ll say this much for the new Ghostbusters film, it’s staying true to the spirit of the franchise. Apparently.
Just as Ernie Hudson got thrown under the bus and treated like garbage during the release of the original Ghostbusters film, Leslie Jones is enduring the same crap in wake of the reboot.
In the tradition of today’s superhero, each new season brings new stories and of course new characters. New characters help to expand the lore of our superhero, and in the case of Supergirl, I thought what if these new characters happened to be women of color? After all, Supergirl managed to reach out with a message of equality and feminism. Now, let’s go a step further and showcase intersectionality. Feminism is for everyone and not just for our Caucasian female lead.
I wasn’t gonna do this, but in a conversation on twitter, @BlackGirlNerds asked me to expand on what I recently called “Daredevil‘s White Virgin/Whore of Color Complex” and I would hate to disappoint. Don’t get me wrong: I’m not just trying to dump on Daredevs. I still love the first season, and the second season, despite serious problems, is still great television in a lot of ways.
But I hope — on this site especially — I don’t need to go over again why/how problematic representations of POC and women spread like mayonnaise over a beloved television property can be like an all-day, all-you-can-take, face-slapping machine. And Arthur Chu has already shown you the wasabi-infused mayo currently salmonellizing on Daredevil‘s bread.
I’m here to show you the ketchup.
Happy International Women’s Day! To celebrate, you should sign up to attend the second annual Women in Comics Con which will be held this Saturday, March 12 at the Bronx Library Center.
Last year was the year of the most iconic feminist leading lady in action/sci-fi, arguably the most in cinematic history: the one and only Imperator Furiosa played be Charlize Theron in Mad Max: Fury Road. Thanks to a fellow NOC, I have finally finished the way too short first season of Into The Badlands. Following Furiosa and a long history of leading women in Hong Kong action cinema with better acting chops and doing more roundhouse damage than their male co-stars (Michelle Yeoh will be back soon as Yu Shu Lien people!), Into the Badlands also introduced us to strong heroines whose stories I hope to better understand in more detail in a second season. More than Wu’s Sunny, more than the avatars, even more than my man Cung Le, it was Emily Beecham’s show-stopping performance as The Widow that locked me in.