The problem with diversity, Woke and Cancel Culture in TV & film (written by an actual filmmaker)
These days you surely have noticed plenty of attempts to "mend history". People destroy Christopher Columbus memorials, pretend like their ancestors didn't violently conquer territory that was already occupied (by either native tribes or other established civilizations), and try to rewrite history in a way that is less offensive, as if that undoes the "wrongs" that were done. And I say "wrongs" because of course the past is always going to look wrong if you look at it with the lenses of the present. For example, think of the most embarrassing thing you ever did in childhood; the reason why you think it was embarrassing is only that you're looking at it now as a grown-up, and grown-up you wouldn't do that thing - doesn't mean it was wrong for a child to do it, nor even really embarrassing.
The same goes to history. Imagine if Germany had spent its post WW2 years destroying every evidence of the holocaust, Nazism and WW2 and pretending it didn't happen. Not only would it have been incredibly offensive and hurtful to the victims and their descendants, but also, erasing history means forgetting history, and when you forget history, you're doomed to repeat it. Yet somehow, it's been OK to do this with literally anything else, leading to the phenomenom of "Cancel Culture".
Now everyone's getting hurt, offended and ashamed by things that are well in the past, and instead of looking at them like a repressentative of the past, people seek to erase them, pretend they never happened, cancel them, try to vanish them from the Earth. For example when they throw Columbus' monuments into the ocean, or rewrite school books and neglect to inform children of how truly sad our past as human race is (and all these things have actually happened, I'm not exaggerating).
But when it comes to TV and film, you can't make them disappear, specially not in the era of Netflix, so what do they do? Try to redo them but "better". And then, legendary products of TV and film, such as Charmed, Friends, and so on, get either rebooted or attempted to be repeated in some similar fashion, and the "copy" sinks abysmally, while the popularity of the original rises.
There's a reason why the Charmed reboot hasn't been even a third of well-known as the original, why HIMYF sank after only two seasons, why there has never been anything quite like Friends, The Lord of the Rings, Harry Potter, why the new Star Wars movies don't get as popular as the original six, why Modern Family couldn't be done today, why TV and film are running out of original ideas and getting stupider and stupider, why Woke and Cancel Culture are setting fire to the world of good film and TV, or why the only good reboot I can think of was The Ghostbusters (women's version). Spending life trying to do the past again but "better" (or what you think is better according to your present lenses), instead of accepting the past as it is and coming up with new, original things that revolutionise film and TV, doesn't lead to anything but boredom and failure.
I've been working in film for years, it's what I studied, what I devoted my life to, and over and over, we all in the industry keep discussing the same thing: there are no new ideas, and this "diversity" thing is a farce. Diversity cannot come from non-diversity. Until you have diversity in production companies, script writers, show creators, directors... there won't be diversity. Not for real. Taking a show as great as Charmed for example and do it again "but with POC actors" is NOT diversity, is a joke. Same can be said about HIMYF.
And thing is, there is nothing wrong with having shows without diversity, or with barely any. There is nothing wrong with having shows or movies where everyone is white or male, I mean, look at the Marvel Universe, it's mostly built around grown-up white men with good looks playing superheroes. Men like it because it's got superheroes and action, women like it because the men look great, and children like it for the great special effects. Thing is, the writer's mantra is "write about what you know". So if you're white, went to Harvard in the 1980s, and grew up in say, Ohio, you should totally be writing about white people, because anything else is dishonest, with yourself and everyone else. How are you going to write about the lived experiences of people who you aren't even friends with? who you don't know anything about but stereotypes? No. If what you know about is a bunch of white men in NYC, then that's what you fucking write about. Yes, you do your research, but you, white boy from Arizona, don't start to do research about a lesbian girl from Sri Lanka to make her your main character in your new TV series, because all the research in the world won't make it right, unless you actually know well a real lesbian girl from Sri Lanka (or a country with a similar culture). Because your research will end up in stereotypes, trust me. And it'll suck.
And you definitely don't write about diversity behaving and pretending to be white men. For example, HIMYF. A show that attempts to be the diverse version of HIMYM. But it's not funny. It's not half as great. Why? Because it's too Woke. It showcases POC and women trying to behave like white American men, and it doesn't work.
I could go on about this for years and years (and please do feel free to ask anything) because it's such a massive issue, truly, and as a filmmaker, my ovaries are fucking huge with rage about the whole thing. But I'll leave it at this. We as a civilization need to develop thicker skin and learn to laugh at ourselves. No kidding the new generation is being called "crystal", damn, it's so bloody fragile. We need to be OK with jokes and even insults, and take them as what they are: the real repressentation of somebody's lived experience. I'm not saying racism is OK, but I am saying that I'd much rather someone is true to themselves so I know they're racists and choose not to be mates with them, than creating a fake world where everyone's fake and dishonest and pretending to be what they're not. Fake it until you make it never works. Not even actors do it.
What we see today in film and TV with the reboots and the "correction" is precisely that: fake and dishonest. Pretending like black actors have it as easy as white actors to get cast, like black stories can be identical to white stories, like producers and big companies aren't racist and sexist and homophobic because they make rainbow T-Shirts and say Love is Love like they're being paid for it (because they are), is fooling yourself and giving money to actual assholes pretending to be angels. We're forgetting what it means to have actual principles set in stone, and we're being content with people simply "pretending" for the sake of money and fame.
And I'll tell you one last thing: consume things and accept them and love them for what they are. I'm a woman and I come from minorities, but do I laugh when Barney Stinson says a sexist joke? yes. Because I accept he's a sexist asshole and I don't pretend to change him, I laugh and roll my eyes and think "typical Barney", and so far, having seen HIMYM several times, I haven't heard him say something so hurtful and inconsiderate that I actually got offended, mostly because I understand he's not a bad guy, he's just a product of the way he was raised and that's the whole point. To put it simple: don't get angry at a cat because it won't bark. And when I want to watch something that's feminist and all about female empowerment, I watch Charmed and see guys like Barney getting their arse handed to them by ferocious women.
And when I want badass POC or LGBT stories, guess what? Nothing, because we're yet to give POC or LGBT people enough of a platform as producers, script writers and creators to create badass LGBT or POC stories, so all we have is white people dressed as LGBT/POC in white shows dressing-up as diversity shows, and that's ladies and gentlemen how Sex and the City the reboot was born.
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In the story for the Werewolf Ice, you said that each of Val Kilmer's characters should turn into werewolves. We couldn't agree more on that! But could you please tell us what breed and color of wolf you have in mind for Val’s characters?
I am extremely headcanon-promiscuous, so each iteration would definitely come with its own distinct type of wolf. Overlaps, if they happen, would be circumstantial. When I write Iceman, he has a completely different family in each story, for example. I like the diversity, and enjoy being forced to come up with a different background that makes me consider what it was about THAT background that made Ice himself.
It doesn’t always need to be deep, either. Werewolf Iceman is an Iberian wolf, a subspecies of gray wolf that lives in Greenland. Just kidding. It’s the Iberian peninsula. I picked that wolf for Top Gun Iceman because they are trim, tightly muscled, and golden in color, just like Iceman’s tits in the volleyball scene. Also, Iberian wolves are cool.
Time for a
~Thunderheart Intermission~
Werewolf Ray Levoi is a Eurasian wolf, also a subspecies of gray wolf. Because Thunderheart takes place on an Indian Reservation and features a character of mixed indigenous/western European descent, I incorporated that into the lore of the story. The ancestral werewolf who gives Ray his power lives in modern day France, where she is worshiped, respected, and mostly feared. Ray’s mother is from a line of females (my werewolves pas down their power matrilineally) who immigrated from Europe to America. They are out of place in the US. Lost and isolated from their arcane culture. Ray specifically struggles with that on both fronts. His mother the European werewolf was too afraid to pass most things down to her son, and white settlers initiated multiple genocides to wipe out local werewolf populations, even seeking to kill the local ancestors to hobble them. This is because werewolf magic works to prevent things like consolidation of magical power. They’re like the water cycle but for magic. That makes hoarding magic very difficult! So Ray has almost NO connection to his werewolf side. He can’t even get in with the local werewolves because there aren’t any left (that he knows of…).
Similarly, he feels disconnected from his father’s people, the Oglala. His dad died when he was young, so he had very little exposure to Oglala culture. He’s white passing, and only goes back because his bosses at the FBI want him to root out activists, which he will do suuuuuper successfully by ingratiating himself with the locals. This will happen because he [checks smudged writing on partially censored document] shares an ancestry with the people his bosses are trying to put in the ground. For obvious reasons, this does not make him popular there because everyone with a brain cell knows what the fuck is up.
This is Walter and Ray doing their First Look on their wedding day. :) The sexual tension here is palpable.
But wait there’s more!!! In this AU, Ray is a black Eurasian wolf. Why? Because all black wolves have a little domesticated dog in them. That’s where they get that color. I didn’t pick a representative identity for the wolf and dog parts, since that’s not what I’m going for, especially given the fact that this AU is working with indigenous Americans: marginalized groups of people frequently compared to animals by virulent racists. Instead, the color is meant to symbolize Ray being torn between the magical and mundane worlds, being unable to find complete belonging in either place.
~the intermission has ended~
And now what you probably came here for: a small, unofficial official list of potential Val Kilmer Werewolves.
Tombstone Kilmer: red wolf that is always a lil dusty
Batman Kilmer: a timber wolf that was born in a zoo next to the bat enclosure
Real Genius Kilmer: a coyote pretending to be a wolf
Willow Kilmer: a tundra wolf wearing a wizard hat
Prince of Egypt Kilmer: Wepwawet's cousin
10th & Wolf Kilmer: human. too human.
Kiss Kiss Bang Bang Kilmer: extremely smart great plains wolf that willingly does enrichment puzzles with human field researchers for fun
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