#media representation

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buckets-of-dirt:

Indulge me, friends, because I’m curious. What’s the first piece of queer fiction* you ever consumed? Mine was Mistress of Dragons, a lesbian fantasy novel I definitely should not have read at age 10 that I checked out of the library because it had a dragon on the cover

*by this I mean it has canonically (in text, not word of god) queer characters (who aren’t a walking gay best friend stereotype) who impact the plot, NOT just subtext or characters with less than a handful of lines

I’malmost sure it was @dduane’sThe Door Into Sunset, which is the third in a series but I didn’t know that when I first got it out of the library. There’s a chance it was Robert Heinlein’s Friday but I think I didn’t read that until later.

(To my mind, the former has aged considerably better.)

The potent power of inclusive storytelling can not be expressed enough. For people privileged enoughThe potent power of inclusive storytelling can not be expressed enough. For people privileged enoughThe potent power of inclusive storytelling can not be expressed enough. For people privileged enoughThe potent power of inclusive storytelling can not be expressed enough. For people privileged enoughThe potent power of inclusive storytelling can not be expressed enough. For people privileged enoughThe potent power of inclusive storytelling can not be expressed enough. For people privileged enoughThe potent power of inclusive storytelling can not be expressed enough. For people privileged enoughThe potent power of inclusive storytelling can not be expressed enough. For people privileged enough

The potent power of inclusive storytelling can not be expressed enough. For people privileged enough to see themselves reflected on TV, movie screens and magazine covers in a positive and nuanced light, it is easy to dismiss the impact of media representation. Shout to Ava DuVernay and her Company AFFRM for promoting voices from all backgrounds and seeing the beauty and value of diversity in storytelling. We’re honored to have them as an official partner of Blackout Music & Film Festival. Join at Blackout Music & Film Festival this Saturday: http://bit.ly/1NviXBK and Read the Articles Below:

  • “Long before “Selma” came along, its director, Ava DuVernay, was working to help distribute films with black themes through the African-American Film Festival Releasing Movement. As she said in 2011, explaining why independent black artists needed the organization, “No one is ever going to care about their film except the people it’s made for, which is, black folks.” On Wednesday, hoping to raise awareness of AFFRM’s distribution label, Array, Ms. DuVernay enlisted more than 40 black filmmakers to share insights and advice via Twitter. Using the hashtag #ARRAY, the “Rebel-a-Thon” began in the morning with Debbie Allen, among others, and has progressed throughout the day with veteran and newcomer directors alike taking turns every hour or so” Continue Reading The New York Times article: http://nyti.ms/1JbRfLA
  • “And that is just so important, not only because she called out Hollywood for a status quo that refused to give such complex roles as that of Annalise Keating to women of color, but that she called out Hollywood for a status quo that refused to give such complex roles to a woman who is almost in her 50’s. Ageism and racism still run rampant in America today, something that has come to the forefront of American consciousness in the wake of the controversy surrounding the 2015 Oscars nominees, and for Davis to call that out in her speech was truly beautiful. How To Get Away With Murder does something that very few other shows are doing on TV right now, and to have a lead like Davis makes it even better.” Continue Reading Bustle’s Article Here: http://bit.ly/1MO0thB
  • “The auteur, and Paste’s 2014 Film Person of the Year, invites you to join her community of film artists, film advocates and film lovers who want to experience true diversity both in front of and behind the camera.” Continue Reading Paste Magazines Article Here: http://bit.ly/1KkPzzz
  • “I started writing this movie some 10 years ago as an impulse because I didn’t really my story out there in the culture. I didn’t see myself reflected back at me in the films I love or the stories that resonated for me. I tried to put myself in the culture. That can be difficult when, along the way, there’s really nothing there to tell you that you belong there. If you don’t see yourself in the culture, please put yourself there, because we need you. We need to see the world from your eyes” Justin Simien Wins the Award for Best First Screenplay at the Spirit Awards. Watch His Full Speech Here: https://youtu.be/JpBPTVejG2w
  • “I am keenly aware of how we as women (and most specifically women of color) are presented and portrayed in media and how we present ourselves. And here was my mama from almost 30 years ago on the surface doing something that often snags me in videos today but why did I feel differently about it?” Continue Reading Tracee Ellis Ross’ Article Here: http://bit.ly/1hB34Qz
  • “Black Women Are Leading a Cultural Movement through TV” For Harriet:http://bit.ly/1h4JAmq
  • “We need stories for and about black youth. We need stories where they are painted in the same light as their white counterparts. “I turned to books to figure out how to navigate life and relationships,” said I.W. Gregario, a founding member of the We Need Diverse Books campaign. As a result of not seeing her identity as an Asian woman represented in the literature she loved, she says she became self-hating. We live in a society that sees black kids as both less innocent and older than white children. A study published in the Journal of Personality and Social Psychology found that “black boys can be seen as responsible for their actions at an age when white boys still benefit from the assumption that children are essentially innocent.” The U.S. Department of Education revealed in a report that black children face discrimination as early as pre-school. This systemic dehumanization has life-altering results in the case of, say, Dajerria Beckton who was tackled at a pool party, or the life-ending case of Tamir Rice” Continue Reading For Harriet’s Article Here: http://bit.ly/1MHfHWX
  • “Even before his tragic death at the hands of Officer Darren Wilson, though, Brown’s chances of being seen—or seeing himself—as a hero were already limited. The image of a young black man, prostrate in the street, is one we’re much more accustomed to seeing in Hollywood movies than we are a black man working to save humanity. Marvel Studios, the folks behind Iron Man and The Avengers, recently announced they’d be releasing Black Panther—their first black superhero movie—in 2017. It’ll be the kind of film Michael Brown saw very little of in his lifetime. It’s hardly a surprise that many people of color were thrilled by Marvel’s announcement, or that the Internet recently erupted in jubilant conversation around the new Star Wars: The Force Awakens trailer—which opens on a black man dressed as a stormtrooper. There are huge portions of society, including the more than 50 percent that are women, who are starved for this kind of representation in our grandest forms of entertainment” Continue Reading Bright Ideas Magazine’s Article Here: http://bit.ly/1EFp4hU
  • “I am a storyteller. I write movies, short stories, and poems. I’ve spent years trying to understand the ways that narratives underscore society, how the stories we create, retell, and amplify influence our thinking, our actions, our ways of life. I cannot tell you how many times someone has had a pre-packaged idea of me before I even opened my mouth or entered a room. These people had a “black woman narrative” already constructed and were waiting for me to fulfill it. When I didn’t, they appeared confused. I just breathed and existed. But sometimes, even doing that is cause for violence and brutality. Because narratives of black beasts, black demons, of black criminals are so strong, that just breathing, and existing, might get you killed” Continue Reading Indiewire’s Article Here: http://bit.ly/1E8nyKC

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Don’t Miss Our Storytelling Panel at Blackout Music & Film Festival Featuring Actress Tracee EllDon’t Miss Our Storytelling Panel at Blackout Music & Film Festival Featuring Actress Tracee EllDon’t Miss Our Storytelling Panel at Blackout Music & Film Festival Featuring Actress Tracee EllDon’t Miss Our Storytelling Panel at Blackout Music & Film Festival Featuring Actress Tracee EllDon’t Miss Our Storytelling Panel at Blackout Music & Film Festival Featuring Actress Tracee EllDon’t Miss Our Storytelling Panel at Blackout Music & Film Festival Featuring Actress Tracee EllDon’t Miss Our Storytelling Panel at Blackout Music & Film Festival Featuring Actress Tracee EllDon’t Miss Our Storytelling Panel at Blackout Music & Film Festival Featuring Actress Tracee Ell

Don’t Miss Our Storytelling Panel at Blackout Music & Film Festival Featuring Actress Tracee Ellis Ross, The Blacklist Founder Franklin Leonard, Actor Mo McRae, Entertainment Tonight Co-Host Kevin Frazier, Director Justin Simien and More. Presented by CBMA, the Panel Will be Moderated by Indiewire Editor-In-Chief Dana Harris. The Panel Will Center on the Importance of Diversity in Media Representation, the Power of Visual Storytelling and the Need to See the World We Live In Reflected on Screen: http://bit.ly/1NviXBK. Join Us Next Saturday at The GRAMMY Museum and Check Out these Insightful and Compelling Articles Below:

  • “We need stories for and about black youth. We need stories where they are painted in the same light as their white counterparts. “I turned to books to figure out how to navigate life and relationships,” said I.W. Gregario, a founding member of the We Need Diverse Books campaign. As a result of not seeing her identity as an Asian woman represented in the literature she loved, she says she became self-hating. We live in a society that sees black kids as both less innocent and older than white children. A study published in the Journal of Personality and Social Psychology found that “black boys can be seen as responsible for their actions at an age when white boys still benefit from the assumption that children are essentially innocent.” The U.S. Department of Education revealed in a report that black children face discrimination as early as pre-school. This systemic dehumanization has life-altering results in the case of, say, Dajerria Beckton who was tackled at a pool party, or the life-ending case of Tamir Rice” Continue Reading For Harriet’s Article Here: http://bit.ly/1MHfHWX
  • “Even before his tragic death at the hands of Officer Darren Wilson, though, Brown’s chances of being seen—or seeing himself—as a hero were already limited. The image of a young black man, prostrate in the street, is one we’re much more accustomed to seeing in Hollywood movies than we are a black man working to save humanity. Marvel Studios, the folks behind Iron Man and The Avengers, recently announced they’d be releasing Black Panther—their first black superhero movie—in 2017. It’ll be the kind of film Michael Brown saw very little of in his lifetime. It’s hardly a surprise that many people of color were thrilled by Marvel’s announcement, or that the Internet recently erupted in jubilant conversation around the new Star Wars: The Force Awakens trailer—which opens on a black man dressed as a stormtrooper. There are huge portions of society, including the more than 50 percent that are women, who are starved for this kind of representation in our grandest forms of entertainment” Continue Reading Bright Ideas Magazine’s Article Here: http://bit.ly/1EFp4hU
  • “I am a storyteller. I write movies, short stories, and poems. I’ve spent years trying to understand the ways that narratives underscore society, how the stories we create, retell, and amplify influence our thinking, our actions, our ways of life. I cannot tell you how many times someone has had a pre-packaged idea of me before I even opened my mouth or entered a room. These people had a “black woman narrative” already constructed and were waiting for me to fulfill it. When I didn’t, they appeared confused. I just breathed and existed. But sometimes, even doing that is cause for violence and brutality. Because narratives of black beasts, black demons, of black criminals are so strong, that just breathing, and existing, might get you killed” Continue Reading Indiewire’s Article Here: http://bit.ly/1E8nyKC

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Anyone got any suggestions for a lighthearted movie where Disabled people aren’t props? Does this even exist is this wishful thinking on my part. Cause I’m so sick of seeing people like me be nothing more then plot points ways to move a story a long. I was watching Work It the other day and I was really looking forward to it cause Sabrina Carpenter but that’s besides the point and the thing is I was really enjoying it spoilers if you haven’t seen it until the scene where these two men are dancing and they’re both using forearm crutches and in the shot you see someone’s wheelchair. And this heavy weight just settled in my chest cause I knew these three actors where just here to fill a quota. And I knew the dancers weren’t here because it’s a fun dance movie and there showing of all kinds of dance they were their to inspire the love interest you could see it in his face the message was clear if these disabled people can dance I can dance with a screwed up knee. And I’m honestly so sick of disability being nothing more than a plot point for lazying writing and I know it’s a lot to ask cause the rest of the world hasn’t caught up but me and every other disabled person is a whole and complete person and are stories are worth telling too.

Hallo ace and aro friends! In case you were unaware, volume one of “I Want to Be a Wall” comes out in English today! It is super cute and I highly recommend checking it out! You can find more details and a link to the English-language publisher’s website in my review(^^)/

rnorningstars:

There’s also a large grey area between an Offensive Stereotype and “thing that can be misconstrued as a stereotype if one uses a particularly reductive lens of interpretation that the text itself is not endorsing”, and while I believe that creators should hold some level of responsibility to look out for potential unfortunate optics on their work, intentional or not, I also do think that placing the entire onus of trying to anticipate every single bad angle someone somewhere might take when reading the text upon the shoulders of the writers – instead of giving in that there should be also a level of responsibility on the part of the audience not to project whatever biases they might carry onto the text – is the kind of thing that will only end up reducing the range of stories that can be told about marginalized people. 

A japanese-american Beth Harmon would be pidgeonholed as another nerdy asian stock character. Baby Driver with a black lead would be accused of perpetuating stereotypes about black youth and crime. Phantom Of The Opera with a female Phantom would be accused of playing into the predatory lesbian stereotype. Romeo & Juliet with a gay couple would be accused of pulling the bury your gays trope – and no, you can’t just rewrite it into having a happy ending, the final tragedy of the tale is the rock onto which the entire central thesis statement of the play stands on. Remove that one element and you change the whole point of the story from a “look at what senseless hatred does to our youth” cautionary tale to a “love conquers all” inspiration piece, and it may not be the story the author wants to tell.

Sometimes, in order for a given story to function (and keep in mind, by function I don’t mean just logistically, but also thematically) it is necessary that your protagonist has specific personality traits that will play out in significant ways in the story. Or that they come from a specific background that will be an important element to the narrative. Or that they go through a particular experience that will consist on crucial plot point. All those narrative tools and building blocks are considered to be completely harmless and neutral when telling stories about straight/white people but, when applied to marginalized characters, it can be difficult to navigate them as, depending on the type of story you might want to tell, you may be steering dangerously close to falling into Unfortunate Implications™. And trying to find alternatives as to avoid falling into potentially iffy subtext is not always easy, as, depending on how central the “problematic” element to your plot, it could alter the very foundation of the story you’re trying to tell beyond recognition. See the point above about Romeo & Juliet.    

Like, I once saw a woman a gringa obviously accuse the movie Knives Out of racism because the one latina character in the otherwise consistently white and wealthy cast is the nurse, when everyone who watched the movie with their eyes and not their ass can see that the entire tension of the plot hinges upon not only the power imbalance between Martha and the Thrombeys, but also on her isolation as the one latina immigrant navigating a world of white rich people. I’ve seen people paint Rosa Diaz as an example of the Hothead Latina stereotype, when Rosa was originally written as a white woman (named Megan) and only turned latina later when Stephanie Beatriz was cast  – and it’s not like they could write out Rosa’s anger issues to avoid bad optics when it is such a defining trait of her character. I’ve seen people say Mulholland Drive is a lesbophobic movie when its story couldn’t even exist in first place if the fatally toxic lesbian relationship that moves the plot was healthy, or if it was straight.                          

That’s not to say we can’t ever question the larger patterns in stories about certain demographics, or not draw lines between artistic liberty and social responsibility, and much less that I know where such lines should be drawn. I made this post precisely to raise a discussion, not to silence people. But one thing I think it’s important to keep in mind in such discussions is that stereotypes, after all, are all about oversimplification. It is more productive, I believe, to evaluate the quality of the representation in any given piece of fiction by looking first into how much its minority characters are a) deep, complex, well-rounded, b) treated with care by the narrative, with plenty of focus and insight into their inner life, and c) a character in their own right that can carry their own storyline and doesn’t just exist to prop up other character’s stories. And only then, yes, look into their particular characterization, but without ever overlooking aspects such as the context and how nuanced such characterization is handled. Much like we’ve moved on from the simplistic mindset that a good female character is necessarily one that punches good otherwise she’s useless, I really do believe that it is time for us to move on from the the idea that there’s a one-size-fits-all model of good representation and start looking into the core of representation issues (meaning: how painfully flat it is, not to mention scarce) rather than the window dressing.

I know I am starting to sound like a broken record here, but it feels that being a latina author writing about latine characters is a losing game, when there’s extra pressure on minority authors to avoid ~problematic~ optics in their work on the basis of the “you should know better” argument. And this “lower common denominator” approach to representation, that bars people from exploring otherwise interesting and meaningful concepts in stories because the most narrow minded people in the audience will get their biases confirmed, in many ways, sounds like a new form of respectability politics. Why, if it was gringos that created and imposed those stereotypes onto my ethnicity, why it should be my responsibility as a latina creator to dispel such stereotypes by curbing my artistic expression? Instead of asking of them to take responsibility for the lenses and biases they bring onto the text? Why is it too much to ask from people to wrap their minds about the ridiculously basic concept that no story they consume about a marginalized person should be taken as a blanket representation of their entire community?

It’s ridiculous. Gringos at some point came up with the idea that latinos are all naturally inclined to crime, so now I, a latina who loves heist movies, can’t write a latino character who’s a cool car thief. Gentiles created antisemitic propaganda claiming that the jews are all blood drinking monsters, so now jewish authors who love vampires can’t write jewish vampires. Straights made up the idea that lesbian relationships tend to be unhealthy, so now sapphics who are into Brontë-ish gothic romance don’t get to read this type of story with lesbian protagonists. I want to scream.      

And at the end of the day it all boils down to how people see marginalized characters as Representation™ first and narrative tools created to tell good stories later, if at all. White/straight characters get to be evaluated on how entertaining and tridimensional they are, whereas minority characters get to be evaluated on how well they’d fit into an after school special. Fuck this shit.                            

Michelle Yeoh with Destin Daniel Cretton, John M. Chu and Jonathan Wang at the Gold House Gala 2022 Michelle Yeoh with Destin Daniel Cretton, John M. Chu and Jonathan Wang at the Gold House Gala 2022 Michelle Yeoh with Destin Daniel Cretton, John M. Chu and Jonathan Wang at the Gold House Gala 2022

Michelle YeohwithDestin Daniel Cretton,John M. ChuandJonathan Wang at the Gold House Gala 2022 (via Jonathan Wang’s IG)

You are our Queen, our Mother, our Super Hero, our Kung Fu Master, our Hibachi Chef, our Auntie, our Super Cop, our Hot-Dog-Finger lover, our Bond Girl, our Captain, and our Multiversal Treasure. Michelle, you are simply THE GREATEST OF ALL TIME! We love you! ❤️


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olderdearness:

Speaking of Everything Everywhere All At Once: I always think of how the Alpha!Wangs were under the impression that Jobu Tupaki had set out to destroy the whole multiverse, when she was really looking for an Evelyn who could understand her

Which is a lot like how some immigrant families catastrophize the moment their children become their own people. Some of us are made to feel that we will ruin EVERYTHING if we aren’t straight/don’t choose a “secure” career/don’t anything that’s supposed to align with our parents ideals. Many of us maintain relationships with our parents founded on unsaid and uncomfortable misunderstandings- and we yearn so badly for a situation where we don’t have to reach out across the gap.

So it means EVERYTHING that it is Evelyn that fights to connect with her daughter, rather than Joy having to clamor for her mother’s approval.

chaseadrian:

watching ke huy quan’s performance in everything everywhere all at once just made me really sad, and, moreover, angrythat we missed out on twenty years of great performances from him because the racism of the industry tricks people of color into believing there’s not a space for them. 

morningmightcomebyaccident:

“I am your daughter. Your daughter is me. Every single version of Joy is Jobu Tupaki. You can’t separate us.”

I got to thinking about the heavy implications behind this assertion.

Keep reading

squonck:

i’m not sure if anyone has pointed this out before, but the laundry and taxes line in eeaao actually translates more accurately to “if there is a next life, i would still choose to do taxes and open a laundromat with you” (instead of just “i would’ve really liked”), and the distinction is so important because it emphasises the gravity of the each minuscule choice we make, and how it is the significance of these choices that makes our seemingly insignificant lives have meaning. choosing to do laundry and taxes with her conveys a sense of certainty and assuredness that he would still actively make that decision in another life, as opposed to “i would’ve liked” which implies that he is merely a product of his circumstances with no agency over them instead of a result of his individual autonomy. it also reinforces waymond’s own philosophies about optimism as a choice we must constantly make and hold steadfast to despite despite despite. the act of choosing begets sacrifice, but choosing love, choosing kindness, choosing to believe that the darkness is transient and surmountable is the most important thing we could do in a world where succumbing to despair and hopelessness is so easy, and i think the way this film navigates this subject of choice is so beautiful

annieelainey:

[Text, “#DisabilityTooWhite” Annie with short lavender hair, glasses, and a striped top. In the background a collage of white actors as their disabled characters]

#DisabilityTooWhite is a hashtag created by Vilissa Thompson on Twitter in order to bring attention to the lack of racial diversity in disability representation. #DisabilityTooWhite does not intend to erase the struggles and the ableism that white disabled folks experience, it is merely addressing the issue that the intersection of race and disability is not often addressed and not often represented. #DisabilityTooWhite is a conversation that highlights how as minuscule as disability representation is already, disabled PoC (among other identities, disabled women, disabled LGBT folk, etc), their representation is microscopic!

-Confronting the Whitewashing of Disability
-#DisabilityTooWhite Calls Out Media
-#DisabilityTooWhite On Twitter 

Sources:
-Disabled People of Color Survey
-Disability Visibility Project
-Intersection of Disability, Diversity, and Violence 
-PoC with Disabilities and Violence
-Only 12% of Paralympic Tickets Sold
-Rio Chiefs fear Paralympics Could Fall Flat As Seats Remain Empty
-Does Hollywood Ignore the Disabled?
-GLAAD Media Diversity

New Videos Monday-Friday ‪#WithCaptions Subscribe!

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robynlambird:Oh you know just being incredibly good looking and stuff In all seriousness though I’robynlambird:Oh you know just being incredibly good looking and stuff In all seriousness though I’

robynlambird:

Oh you know just being incredibly good looking and stuff
In all seriousness though I’m so proud to be apart of Target Australia’s push for greater diversity and the inclusion of people living with disabilities in mainstream advertising. Also very honoured to be the first disabled model (other than child models) to feature in a nationwide advertising campaign for a major retail brand in Australia!

Representation matters folks, it’s all a step forward in normalising disability and breaking out of stereotypes.


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marauders4evr:

Do you know what children’s show was great at handling disabilities?

I mean, really, really, great!

Followers: *Unanimously sigh* Avatar?

No, no! Well, yes. But I talk about Avatar all the time! Tonight, I want to focus on another show that was amazing  in every sense of the word. A show that was downright hilarious but also had some really deep moments that came out of nowhere and felt like a punch to the stomach. A show about a bunch of abandoned kids who were taken into a foster home. Only these kids were imaginary!

For some reason, I’ve been having a lot of feels about Foster’s Home For Imaginary Friends. I used to love the show when I was younger. My dad, brother, and I would watch it all the time. I used to have a few shirts and everything. In fact, I don’t care that I’m almost twenty one and a junior in college. I might see if I can find a FHFIF shirt online.

But anyway, FHFIF was great. Talk about a diverse set of characters!

And actually, now that I think back to it, a lot of the characters had disabilities, whether implied or stated outright.

Think about it!

Coco technically has a speech impediment. And it’s pointed out continuously throughout the show, though the friends always understand her and never treat her differently for it. (Unless there’s a pun needed about what to drink!)

Goo was implied to have ADHD. (And was it me, or did anyone else see her as being on the spectrum as well). And the show really got creative. They showed that because of her disability, she frequently imagines new friends. This starts off as being annoying at first but the show does what it was great at and punches us with a fistful of feels as Mac finally snaps at her. Goo starts crying and reveals that one of the reasons why she makes so many friends isn’t just because she can’t focus; it’s because she doesn’t have any real friends. Mac genuinely apologizes and the two maintain a friendship throughout the entire show.

Cheese…Dear Lord and any other higher entity that exists in this infinate universe, I loved Cheese! He was my favorite character in the show and is easily on the list of my top ten characters of all time. Cheese was hilarious! He stole every single scene that he was in. And it was very obvious that he had an intellectual disability but to be honest, I never found a single joke offensive. And looking back, I still don’t! Maybe I’m just biased because the show is so nostalgic to me, but even as a kid, I was very passionate about characters with disabilities and I still loved Cheese. My brother, dad, and I still quote Cheese. In fact, if I do get a shirt, it’ll probably have Cheese on it.

And finally, there’s Wilt - the character with the obvious disability. For those who don’t know, Wilt was injured in a basketball game and ended up having one eye and an amputated arm. And the best part was that they tackled his disability in his very first scene in the movie. Mac and Bloo are staring at him in awe and Wilt becomes self-conscious but cheerfully and politely agrees that they probably don’t want a tour guide with his disabilities. Their response is to amazedly whisper that he’s tall - that was the only thing that they were focused on. Wilt immediately smiles and from that moment on, the three are good friends.

I can go on and on because I’m sure that there are others. Unfortunately, I’m really sick and don’t feel like typing anymore. But anyway, the point of this post was to say that Foster’s Home For Imaginary Friends was awesome, especially when it came to disability representation!

dinah-lance: Ariana DeBose poses with her Oscar for Best Supporting Actress for ‘West Side Story’ indinah-lance: Ariana DeBose poses with her Oscar for Best Supporting Actress for ‘West Side Story’ indinah-lance: Ariana DeBose poses with her Oscar for Best Supporting Actress for ‘West Side Story’ indinah-lance: Ariana DeBose poses with her Oscar for Best Supporting Actress for ‘West Side Story’ indinah-lance: Ariana DeBose poses with her Oscar for Best Supporting Actress for ‘West Side Story’ in

dinah-lance:

Ariana DeBose poses with her Oscar for Best Supporting Actress for ‘West Side Story’ in the press room at the 94th Annual Academy Awards at Hollywood and Highland on March 27, 2022 in Hollywood, California. (Photo by David Livingston/Getty Images )


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radioverses:

ok, so it’s been a few days since i’ve watched captain jack harkness (aka the episode where jack and tosh get sent to the 1940s) and it just feels completely false to me that tosh doesn’t feel any anger at being placed in a situation that she has stated to be personally traumatic for her. after tosh expresses her fears about being stuck in a time period close to the pearl harbour attacks, the discussion immediately shifts towards discussing jack’s experiences in the 1940s! and when tosh ends up facing the samepersecution as her grandfather, we don’t get her reaction or any scene where she actually talks about how she feels, nothing! how can you have a character, particularly a british japanese woman facing anti-asian racism during ww2 andnotfocus on her reaction to a moment you have previously established as frightening for her? 

yes, you could argue that tosh’s way of ‘processing’ is by immediately trying to solve problems and getting to work. sure! but i can’t help but draw parallels to ianto, who is similarly defined by his work and service to others in the earlier episodes, but his anger and frustrations are still given fair treatment, particularly in the cyberwoman episode. also, this is more of a note on torchwood/doctor who as a whole, but if you’re engaging with narratives of oppression and not actuallycentring the experiences of the characters from the oppressed group, particularly their justified anger, then who is this story for? to push a saviour narrative about how altruistic the white leads are? or using racism as ‘set dressing’ while the episode ultimately focuses on the pain of the white lead? (as many people have already mentioned, the family of blood is an egregious example of this with how it treats martha). 

again, i’m only midway through season 2 and i’m hoping that the show ends by delving into tosh’s psyche in a more interesting and meaningful way. they almost got there with greeks bearing gifts and i can see what they were trying to achieve in to the last man. but also, what is it with all of tosh’s extremely few standalone episodes heavily featuring a storyline where she needs to emotionally/physically service the needs of a white guest character? usually achieved by manipulating tosh and taking away her agency? mary in greeks, tommy in last man and in an extremelygross way with adam. and they never address it again! 

listen, i love tosh. i think naoko mori gives a fantastic performance and i think her empathy, capability in tough situations, and predilection for defining herself by her achievements are all really interesting traits. but at times the writing for her character feels dangerously reminiscent to say, someone like glenn in the walking dead, who was also the sole asian lead actor in a predominantly white genre show. steven yeun puts it best in this interview, that there’s just frustration at being consistently reverted to “dependable, supportive, benign” asian sidekick for the white leads. 

roach-works:

Encanto Meta: Mirabel’s True Gift

SPOILERS for the movie under the cut.

it seems like people agree that mirabel didn’t get powers and that this was a good thing because she was in a key position to break her family out of the increasingly toxic downward spiral of stress caused by their exceptionalism and abuela’s overbearing expectations of her family

but the thing is, i don’t think that’s exactly it.

Keep reading

eastasiansonwesternscreen:Henney grew up in a predominantly White town in Michigan, and his mom had eastasiansonwesternscreen:Henney grew up in a predominantly White town in Michigan, and his mom had eastasiansonwesternscreen:Henney grew up in a predominantly White town in Michigan, and his mom had eastasiansonwesternscreen:Henney grew up in a predominantly White town in Michigan, and his mom had

eastasiansonwesternscreen:

Henney grew up in a predominantly White town in Michigan, and his mom had been adopted and raised by a White family. “My mom and I were outliers,” he tells Timid, “but maybe I needed that. Maybe I wasn’t ready yet, because my mom wasn’t. It wasn’t until she started searching for her roots when I was about 14 years old that my Korean mind started to open up for me.“ 

Henney moved to Asia when he was 20, which he describes as the perfect time. “I had this formative period as a young man when I was old enough to process and make choices within my world and my culture. I was wide open for the experience mentally.”

The Asian-American experience is varied, but a common struggle is finding the balance among intersecting identities. Am I Asian enough? Am I American enough? What does it mean to be Asian-American? During our conversation, Henney muses that “no matter what side you’re leaning towards, it might never feel ‘enough.’”

“I think it’s about letting go and knowing that it’s okay to be leaning towards one identity for a while. You’re going to get there eventually if you want. If you really want to, it’s in your core, and you will get there, no matter if you’re 30, 40, or older.” He adds, “You’ll eventually find it, but I think if you pressure yourself too much to ‘find’ it, it can start to become tricky.”

(via TIMID magazine)


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eastasiansonwesternscreen:

Everything Everywhere All at Once:Michelle Yeoh’s character is swept up in an insane adventure, where she alone can save the world by exploring other universes connecting with the lives she could have led. Unfortunately, this sweeps her up into an even bigger adventure when she finds herself lost in the infinite worlds of the multiverse.

A film from Daniels and starring Michelle Yeoh,Ke Huy Quan,Stephanie Hsu, Jenny Slate, Harry Shum Jr., with James Hong and Jamie Lee Curtis. EVERYTHING EVERYWHERE ALL AT ONCE – In Theaters March 25, 2022! 

eastasiansonwesternscreen:variety: After a career spanning six decades and one viral petition, beloveastasiansonwesternscreen:variety: After a career spanning six decades and one viral petition, beloveastasiansonwesternscreen:variety: After a career spanning six decades and one viral petition, beloveastasiansonwesternscreen:variety: After a career spanning six decades and one viral petition, belov

eastasiansonwesternscreen:

variety: After a career spanning six decades and one viral petition, beloved 93-year-old actor James Hong was honored with a star on the Hollywood Walk of Fame today. ⁠

During the star ceremony, Hong was saluted by Everything Everywhere All At Once co-star Jamie Lee Curtis and actor Daniel Dae Kim, who started the online campaign for Hong to receive the honor.⁠

“I want to thank all the fans and friends who donated their money. It boggles my mind to think that there’s enough people out there who would do that,” Hong told Variety ahead of the ceremony. “And I don’t know who they are, so I’ll just have to thank them through your article.”⁠

Why It Took Six Decades for James Hong to Get a Star on the Walk of Fame


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chuutoro:

The BBC has today announced Ncuti Gatwa is the new Doctor set to take charge of the TARDIS.

Star of stage and screen, Ncuti is best known for his critically acclaimed performance in Sex Education as the iconic Eric Effiong, for which he was awarded Best Actor Award at the Scottish BAFTA’s in 2020 as well as numerous nominations including Best Male Performance in a comedy programme at this year’s BAFTA’s.

Speaking of his new role, Ncuti said: “There aren’t quite the words to describe how I’m feeling. A mix of deeply honoured, beyond excited and of course a little bit scared. This role and show means so much to so many around the world, including myself, and each one of my incredibly talented predecessors has handled that unique responsibility and privilege with the utmost care. I will endeavour my upmost to do the same. Russell T Davies is almost as iconic as the Doctor himself and being able to work with him is a dream come true. His writing is dynamic, exciting, incredibly intelligent and fizzing with danger. An actor’s metaphorical playground. The entire team have been so welcoming and truly give their hearts to the show. And so as much as it’s daunting, I’m aware I’m joining a really supportive family. Unlike the Doctor, I may only have one heart but I am giving it all to this show.”

Russell T Davies, Showrunner adds: “The future is here and it’s Ncuti! Sometimes talent walks through the door and it’s so bright and bold and brilliant, I just stand back in awe and thank my lucky stars. Ncuti dazzled us, seized hold of the Doctor and owned those TARDIS keys in seconds. It’s an honour to work with him, and a hoot, I can’t wait to get started. I’m sure you’re dying to know more, but we’re rationing ourselves for now, with the wonderful Jodie’s epic finale yet to come. But I promise you, 2023 will be spectacular!”

televisionpromos:

Tom Swift (The CW) Trailer HD - Nancy Drew spinoff - As an exceptionally brilliant inventor with unlimited resources and unimaginable wealth, the devilishly charming Tom Swift is a man who many men would kill to be, or be with - a man with the world in the palm of his hand. But that world gets shaken to its core after the shocking disappearance of his father, thrusting Tom into a breathtaking adventure full of mysterious conspiracies and unexplained phenomena.

tired of the constant headbeating lesson & moral in stories and animated series aimed for younger audiences that we are all beautiful on the inside and everyone is good. want a show where someone is irredeemably bad, not bc of some deep set trauma or sad stuff but just because they’re a genuinely horrible human being LOL they exist!

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