#poc male screenwriters

[yourdailyqueer]

Ian Iqbal Rashid

Gender: Male

Sexuality: Gay

DOB: Born 1968  

Ethnicity: Indian

Nationality: Tanzanian / Canadian

Occupation: Poet, writer, screenwriter, journalist, producer, director

#Ian Iqbal Rashid #qpoc #lgbt #lgbtq #mlm #male #gay #1968 #indian #asian #poc #Tanzanian #Canadian #poet #writer #screenwriter #journalist #producer #director #muslim

[joshualunacreations]

The US and its propaganda arm, Hollywood, have always been anti-Asian. Although opportunities are opening up for Asian actors, the underlying messaging—that divides and hurts Asians—hasn't changed.

Not too long ago, AsAms seemed united in outrage against racism and white-washed casting such as Scarlet Johannsen in Ghost in the Shell, Tilda Swinton in Dr. Strange, or Netflix’s Deathnote. Yet as more projects with AAPI leads and casts were produced, this so-called unity proved to be a lie.

The illusion of AsAm unity fell apart with To All the Boys I Loved Before—which was widely celebrated despite its blatant white-worship. The most recent blow comes from Hulu's The Company You Keep, a U.S. remake of a k-drama that replaced the male love interest with a white man.

Once it seemed like AAPI women were getting roles and being “humanized” (i.e. garnering attention and approval from white men on-screen and off) AAPI with media power were satisfied. It didn't matter that AAPI men were still erased and dehumanized—even in supposedly pro-AAPI projects.

Not only do AAPI with media power not care about the continuing harm against AAPI men, they exacerbate it. When AsAms critique anti-Asian narratives—especially ones erasing or targeting AsAm men like TATBILB—they're gaslit, harassed, censored and even permanently blacklisted.

This is because AsAm media is held hostage by the racist framework of the U.S. government's 1942-43 Mixed Marriage Policy. White men's hierarchy—based on perceived threat levels and receptiveness to white assimilation—still dictates Hollywood narratives.

Research confirms that the MMP persists today. A 2015 study shows how gendered racism leads to severe under-representation of Asian men (and Black women). Whereas monoracial Asian men face significant barriers in dating, a 2014 study shows mixed-white Asians get a "bonus effect."

This is why Hollywood execs know there will be less uproar if monoracial Asian men aren't represented—it's been the status quo for decades. In the few roles made for Asian men, they still fall into two categories: pathetic loser or toxic man/villain. In some cases, both.

The hatred and erasure of Asian men is so deeply embedded that it's led to the widespread erasure of AAPI men as victims of anti-Asian hate crimes in recorded stats and media narratives. AAPI journalists know this, yet continue to do nothing to correct it.

So what's next for AsAm representation? In 2022, Janet Yang became president of the Oscars. She's co-founder of Gold House—an AsAm Hollywood collective—and executive producer of Joy Luck Club, a seminal work bashing Asian men as irredeemable misogynists compared to "good" white men.

Many AsAms like Yang want more of Joy Luck Club and similar stories. Amy Tan, author of JLC, has been pushing for years for a sequel with the original cast. A TV series was optioned in 2017, and as of 2022 a movie sequel is to be written by white male screenwriter, Ron Bass.

Stories like Joy Luck Club aren't just bad media—they're dangerous. Arthur Martunovich randomly hammered three AsAm men to death because he saw a movie depicting Chinese men as abusers and he wanted to "protect Chinese women". There's a high chance that movie was JLC.

Hollywood has figured out it’s easy to make anti-Asian films and stifle criticism by hiring Asian tokens to give stamps of approval. An article from 1986 (40 years ago) about AsAm criticism of racism in Big Trouble in Little China shows there's a history of sowing division among AAPI and using government resources to do it. I understand the allure of the Hollywood dream because I used to believe in it myself. From an early age, all marginalized groups—POC, women, LGBTQ+—are taught to fantasize about how we'll finally be accepted and heal the hurt once we get on a big stage and give an award speech. Having experience in Hollywood as a comic creator, I know how people in power (esp. white men) behave. Their goal is to wear you down until you internalize their bigoted messaging, regurgitate it yourself, and then thank them for it. They hate the word "no." Awards don't matter if the content that gets you there ultimately serves bigoted and harmful purposes. In 2020, I made a test for AAPI media. None of the projects so far have passed. That's by design. We think we’re holding the statue, but really, it’s holding us.

Correction: I just noticed a typo in the comic. Inside the Hollywood sign's letter "Y" I meant to say "non-Asians" not "non-whites." Sorry, it was a lot of drawing and writing, and I got tired 🥴 (Please don’t repost or edit my art. Reblogs are always appreciated.)

If you enjoy my comics, please pledge to my Patreon or donate to my Paypal.

https://twitter.com/Joshua_Luna/status/1134522555744866304 https://patreon.com/joshualuna https://www.paypal.com/paypalme2/JoshuaLunaComics

#asians in hollywood #aapi in hollywood #asian representation #aapi representation #oscars #academy awards #racism #anti-asian racism #gendered racism #hate crimes #anti-asian hate crimes #media analysis #asian americans #fil am artist #my art #artists on tumblr #joshua luna #josh luna

[allthebrazilianpolitics]

Diversity Progresses in Still White Male Dominated Brazilian Production Sector

In Brazil, where the majority of the population are of African origin, persons of color are traditionally under-represented on above-the-line TV and film production. This, however, is gradually changing.

For the past years, POC talents, as well as residents from the impoverished urban areas, LGBTQ  and indigenous people, have gained ground in the still white-male dominated production sector.

The diversity drive resisted four years of an extreme-right government and ironically benefited indirectly from it, in the view of director and screenwriter Janaina Oliveira, vice-president of local Association of Black Audiovisual Professionals (APAN).

As the Bolsonaro administration (2019-2022) withheld coin from government incentives, said 42-year-old Oliveira, indie producers resorted to commissions from the large international streaming companies.

“Netflix, Amazon and the other streaming companies have adopted policies that stimulate diversity in their productions, especially after the Black Lives Matter movement, and they enforced them in Brazil. George Floyd had an impact here,” said Oliveira. 

“We have always being the majority on below-the-line positions, in lightening, catering, driving. But now we see Blacks in writers’ rooms, and directing and producing.”

Continue reading.

#brazil #cinema #television #politics #anti racism #racism #indigenous #LGBT #favelas #mod nise da silveira #image description in alt

[z34l0t]

4 - The Invitation (2022)

Yes, that screenshot gives away the plot "twist", but this movie was such rank garbage that it was spoiled before anyone watched it.

The main problem is that the film can't decide on which kind of horror movie it wants to be, and so takes turns trying on all of them. Jump-scares-by-numbers undercut the tension created by its creepily effective atmosphere; the story is built around a budding romance between a mysterious stranger and an urban Cinderella, but never puts in the work to sell us on the romance; snarky back-and-forths and a sassy comic relief sidekick let us know that our screenwriters have seen both Buffy and Get Out, thank you very much. And so on.

And if you're annoyed by the spoiler up top, don't worry: You would have figured it out within 15 minutes. The film makers aren't especially subtle about where they're headed, or where they cribbed their ideas from. Even before we're introduced to a kind elderly couple named Jonathan and Mina Harker (get it?), our male lead, named De Ville (get it??) reveals that he's originally from Wallachia (GET IT ???). But if you don't "get it", don't worry - the script makes sure to nudge you in the ribs every time something meaningful happens... as if the film makers were worried about being too subtle.

To be fair, the movie is a visual delight. The sets and production design are lush, and every bit as impressive as the classic Universal horror movies the film emulates (including the extremely under-appreciated remake of The Wolfman). Somewhere in this fetid gumbo of cliches, a more thoughtful, interesting, and ambiguous horror movie was waiting to be freed from its overexplaining script. Whatever mystery remains had a pillow held over its face by a score that never misses an opportunity to let you know something scary is happening. What's left is a Cradle of Filth music video with fewer strippers.

But just because this movie slathers itself in vampire movie cliches, doesn't mean it isn't thinking about deeper issues. Like... class? And...um, race?? And, like, a woman's right to not get married, or something??? Because white patriarchy is the real bloodthirsty monster, y'all! And so, during the climactic battle, the dialogue gesticulates wildly in the direction of all social injustice. The only thing missing was for our POC female lead to snap at her many white antagonists, "What do you mean, 'you people'?!?"

And then it all gets wrapped up with unconvincingly choreographed vampire slap fighting and some conveniently stashed pointy objects, and our girl boss walks away from a burning building like it's 1995 and we just rented Desperado from Blockbuster.

All I know is that if Katie Rife was still working for the AV Club, I wouldn't have been suckered into watching this piece of shit.

#31 days of horror #the invitation #girlboss #yass queen

[ricnoblin]

Chadwick Boseman in movie "Da 5 bloods" movie, 2020

#chadwick boseman #da 5 bloods #poc actors #poc male screenwriters #poc male directors #20s movies #cinematography resources #hollywood resources #pop culture #pop resources

[justzawe]

Browns 50: A Conversation With Zawe Ashton

Zawe Ashton has worn a myriad of hats in show business — as a film and theatre actor, director, writer and late night TV host. Her career, which she began at just six years old, is multilayered and transcends traditional categorization. The London-born polymath boasts leading performances on Fresh Meat, Netflix’s Velvet Buzzsaw, the Broadway play Betrayal. Her own play, For All the Women Who Thought They Were Mad, released in 2019, addresses the rampant cultural bias faced by Black women in the healthcare industry. The powerful drama feels more important than ever in the midst of the global Black Lives Matter Movement. Armed with a passionate drive and love for her art, along with a refusal to adhere to the structural limitations of race and gender, Zawe is only getting started. Fresh from the Browns 50 shoot, she tells us more.

What are your first memories of wanting to act?

I started when I was six. I knew when I started acting classes that I wanted to do it for the rest of my life. The Anna Scher theatre classes were based on respect and integration. Learning about poetry, history and the world was just as important as crafting ourselves as actors. I’ve never let go of the activism instilled in me there.

You’re also a playwright and screenwriter, and the author of Character Breakdown. Can you tell me more about the writing aspect of your career?

I started writing and reading poetry in my teens. I fell in with a group of artistic people in college. Instead of clubbing, we’d write rap and poetry. I won the title of Youngest UK Slam Champion when I was 17. Later, I began integrating writing into acting. I realized there weren't enough scripts for people who looked like me at my school. That’s when I wrote my first play, and from there, everything came.

Your play, For All the Women Who Thought They Were Mad, released in 2019, is about the Black female experience confronting racial prejudice in health and pharmaceutical institutions. Can you speak on that — given the play’s ongoing relevance in light of the BLM movement?

I wrote it aged 25, and for 11 years no one wanted to put it on. It’s about Black maternal mortality, cultural bias, and Black female relationships that exist without a dominant caucasian character. People were scared to put it on because they were unfamiliar with the wider context. Now the mortality rate for Black women in the US is a hot topic, but people dying isn’t a hot topic. How many Black playwrights and screenwriters are waiting for the times to catch up with their experiences?

Your first novel, Character Breakdown, is a fictitious memoir about a Black female actor. What are some challenges you’ve faced as a BIPOC in entertainment and how can future generations overcome those challenges?

There’s a spectrum of different types of aggressions and prejudices. When I started acting, I’d be asked to come to set already done-up, because they didn't have people willing to do my hair and makeup. It was the same for many BIPOC actors. The trailer is this peaceful rite before going on screen, and POC get robbed of that. It has lasting psychological effects. In 2020 there are still models and actors calling people out.

I’ve also been yelled at in meetings about my artistic property. The question is, would this be happening to a white male counterpart? I don't think so. Both my play and book are about cultural bias, micro AND macro aggressions and the white male gaze. When we keep writing and talking about it, we make the next generations aware of their strength.

How does costume affect you as an actor? And what are some of your favorite TV and film fashion moments?

Costume has a huge effect on me as an actor. If I'm wearing the wrong shoes, I find it hard to fully embody the character. One of my breakthrough moments was the creation of the character Vod for Fresh Meat alongside June Nevan and Janet Horsefield. Vodd’s style embodied every era of fashion — ‘90s rave, ‘80s punk, afrofuturism, with some ‘70s psychedelia and Grace Jones-esque androgyny. The most stylish films are from the ‘50s and ‘60s Italian neo-realists, and the French Nouvelle Vague. Even an alien from outer space would see how they dressed and think they were iconic.

How does your style change according to where you are? Do you dress differently when in London than in NYC?

I'm incredibly affected by my environment when it comes to fashion. The American and UK styles are so different. We’re more experimental and confrontational here. In the US, things can feel a bit more… sexy and normcore.

Who are some designers you love?

I still wear designers who supported me from the beginning — The Vampire’s Wife, Stella McCartney, Erdem, Tom Ford, Christopher Kane, my friend Roksanda... It's nice to support people who also support me. Fashion can be kind, it doesn't have to be harsh.

What are some upcoming projects you’re working on?

I’ll be shooting The Handmaid's Tale in Toronto. I’m a Margaret Atwood fanatic and Elisabeth Moss is incredible. Talk about iconic fashion on that show… I’m also finishing a couple of screen projects and there could be a new book beginning to bubble up...

Zawe wears dress by Khaite from our exclusive Browns 50 Designer Collaborations.

#zawe ashton #browns 50 #interview

[belle-keys]

In regards to your recent post on Shadow and Bone, I agree 90%, but how is the Darkling representative of "White Colonialism"? Especially considering his primary goal is to liberate his oppressed people. I almost get "Male Oppression," but one of his biggest goals is to train Alina to be his equal. Yeah, there was the Stag, but he intended for her to kill both the Sea Whip and Firebird, so he didn't want complete control of her.

I'm curious as to your thoughts.

Okay, I'm only half sure but I remember in 2018 or so when they were casting, Leigh was in contact with a lot of her fans and also the screenwriters and casting directors were liaising with fans. Readers were essentially pleading for her to make the main cast POC and the Darkling white and she essentially approved this request and heard out a lot of her fans, cus Leigh was involved in the making of the show.

The general consensus among many fans (at least at that time) is that this white general wants to take advantage of the insecurities of a young girl through manipulation, not only to control her power but to make his own country and army capable of world domination (I know he has an epic backstory so that's why I think he's a beautiful antagonist whom I will always love till the end of time). These thoughts were communicated to the makers of the show cus a major subtheme of the show is marginalized communities finding their place in the world (which is the very struggle that corrupted the Darkling himself). With the casting choices in mind and the discourse that was going on about casting when this show was just announced to even just potentially be a thing, it seems like the whole show was becoming an allegory for the age-old situation of white men abusing power from the get-go as they were writing it.

(Hope this helps, I have a lot more ideas on why they made the show the way they did. ❤️❤️❤️)

(Listen, I stan the Darkling by the way and I don't actively participate in interacting with anyone in book fandoms so if this isn't how other people feel about the show's subtext, that's fine, this is just my opinion based on what ideas were going around back in the day and I assume they made the show with said ideas in mind.)

#ask #anon ask #this is just what i extraploated based on memory #but thematically i think i could prove im right if i wrote an essay or something on this #the show was great #and making alina shu i think fits into this #beware of powerful men too is a thing #honestly aleksander was a walking red flag

[omgthatdress]

Sooo this year’s Golden Globes nominations are super White and super male.

No women nominated in directing and screenwriting, a LOT of great POC performances got snubbed, and When They See Us, which has cleaned UP at every other awards show, got no nominations at all.

[dansenfans]

From Dansen fans admin.

This is a collaborative reaction to some (not all as we would be here forever and a day trying to write it down) of our problems with the current storylines on Supergirl. Before we get into that, a word on who helps run the account. We are a varied set of users, but all recognize the importance of Dansen, but also Brainia as representation that not only helps other LGBTQ people - it undoubtedly has saved a life somewhere simply because someone sees themselves represented onscreen. Do not think for a second this is an exaggeration or untrue. The representation is that important and needed. LGBTQ representation is far more than just having a character on TV. It gives those who are marginalized a voice. It gives that child growing up in a hostile environment simply for being LGBTQ hope that their life can be okay. That they aren't a freak. Or they have sinned.

We are from within the LGBTQ community, white, POC and from the heterosexual community (as an ally). So these comments are from a diverse set of people. We all love different characters and even multi-ship in some cases. What we all have in common is a love of Dansen.

What we all also have in common is our absolute horror in not only how the current LGBTQ characters are being used, but how relationships are suffering for it. 

Even away from Dansen we are finding the current overall arc of the story extremely difficult, because there is now such a disconnect from characters and friendships.

Let's tackle the LGBTQ and Dansen problem first. 

William has as much presence as a tree stump. There is something called the potted plant test, and that basically means, if a character can be replaced by a potted plant in scenes and not be missed, they don't need to be there. William is that plotted plant. So many of his scenes could easily have been done by Nia (who is a journalist after all) or Kelly (who we still don't know if she knows Kara is Supergirl, which under the circumstances is utterly laughable).

There is also something in the screenwriting industry that is writing 101, and by all accounts (according to a screenwriter a couple of us know, and no they aren't in the Supergirl fandom, SM or watch Supergirl), “Show us, don’t tell us why this relationship or friendship should work," is what you should have at the forefront of anything you write.

In other words, if fans are being told, or characters get continually told by those around them why they should be in a relationship, it isn't working.

The premise is pretty simple. You outline you want your character to have a love interest. You indicate who that LI might be. You get casting sorted, have chemistry reads. Consider the way in how they get together to fit the bigger narrative. What you don't do is tie it down that this is the way you have to go, regardless of what the story calls for. If after a few episodes, the chemistry onscreen between a character and someone completely different to the LI you had in mind is so obvious, so powerful, you adjust. You don't try to force the original LI into that scenario. If you then have to justify that LI (in Supergirl's case by having those around continually tell her she should go for a date with William, when she looks nothing but awkward and the chemistry is flat), then you fail on this basic writing point. If you ignore what a lot of fans, media and casual observers see elsewhere, you fail at the job of being a good storyteller. 

Supergirl has done both.

Ah but now we head into that territory of Supercorp. Look, we don't ask that people like Supercorp. This truly isn't about that. We aren't a Supercorp account. What it is about is the groundswell of fans who have increasingly seen a crackling connection between Kara and Lena, who had either of these characters been male, would've had them together by now. There are so many direct parallels to other couples, not just on Supergirl but elsewhere (particularly Clois, which fans have plenty of examples about if you look).

But this season, Supergirl took it a step further. The romantic coding that went on in 5a, that had direct parallels to the canon couple (Dansen) on the show to bait fans into watching (and yes it was queerbaiting if they didn't intend to make it romantic because that is exactly what queerbaiting is, and Supergirl has queerbaited now in the worst ways possible) is inexcusable. When you have media outlets, blogs, even non Supergirl fans see this and talk about it (each of us here has someone who isn't a Supergirl fan, but knowing there is a lesbian couple on the show assume Kara and Lena are that couple if they've caught sight of clips) then you have a problem, even if you don't acknowledge it. 

The latest hypocrisy of all this is how some fans have tripped over themselves to say how lovely, how romantic it was of William to remember Kara's coffee order, yet scream down other fans who said the same thing as Kara not only got Lena her favourite coffee and food - she flew across the world to achieve that, at a time Kara fully believed the friendship was fixed. To have fans called delusional for it is preposterous. You cannot do that. You simply can't, and this is a prime reason so many fans get angry and upset. 

Aside from that, the overtones of why William did the coffee run, it was actually more on the creepy side than friendship side. He even acknowledged his behaviour, with the coffee, the texts and the compliments was overstepping and not respecting Kara by his actions. Some say that's self awareness and bravo. We all argue it is borderline abusive.  If your self awareness is such you know your behavior is wrong, and you do nothing to stop or correct that behavior and carry on, then those are nothing more than platitudes. There are examples of people who have been triggered by 5.14 and Williams' actions, and citing why that has occurred as IPV survivors. Melissa is a IPV survivor and if others have been affected by this, we truly worry Melissa has been too, although we sincerely hope that isn't the case. Is that what you want as a fan, even if it is only a possibility with Melissa? Because we definitely don't. No fan should have been triggered from a character like that.

The 100th episode basically turned around and told Kara that she and Lena's destiny was so entwined, that they couldn't live without each other, or they would die for the other. Platonic or not, that is soulmate status. As for best friends? Those of us who are married are all married to our best friend. So many people, whether gay, straight, everywhere in between, say a spouse is their best friend. For anyone saying a best friend doesn't mean they're in love with that person is the worst take, as most of the time the best friend is the partner or spouse. William has barely been in the friend zone, let alone best friend zone. 

As for how William is impacting on the LGBTQ and current cast, there is no doubt he is in an extremely negative way. To the degree that Dansen has suffered significantly. Sure we had an emotional scene in 5.07, but we are now at 5.14, so a further 7 episodes in, and we barely have minutes worth of Dansen onscreen time. Last episode was less than a full minute total Dansen time and that's the best it's been in weeks.

Less than a minute! It was approximately 45 seconds for the first scene. 7 seconds (yes you read that correctly 7 seconds) on the second scene.

So this means that while we got nice character development beginning in S4, and to some degree early in 5a, we have had nothing on any note in regards Dansen all season, or Kelly throughout the entire season so far.

This means that we got invested in these characters, we were promised it would develop as S5 went on, to have this thrown at us as the best they can do? Any intimacy has been pretty much nonexistent, (we had more from Sanvers), and we get told that what they have given us we should be grateful for. No-one deserves that sort of disdain as fans. Yet we get told by others that Kara deserves a relationship with William? Save us the hypocrisy. 

No-one here is saying Kara doesn't deserve a relationship, but at the expense of others? Lead of the show or not, that is an awful take. Particularly when we have a fundamental relationship with her and Lena, even if it isn't romantic. 

If you cannot find balance as a writer to incorporate all of these things, then you aren't doing a good job of it at all. Azie in particular has been given the shittest end of the stick possible. Chyler hasn't faired much better. It is making Dansen now appear forced and lacking depth, and that's even allowing for the build up they gave us in S4. Kelly is a Black Lesbian, is highly educated, has (by all accounts) a loving solid relationship with another woman. All aspects we should be highlighting and applauding. Instead, here we are having to write at length some of what is so wrong for us.

Moving on to another area that was problematic. To have Alex discuss technical details as Kelly arrived in regard her work at Obsidian North, but to hear Kara say to Kelly, "She has never said words like that." 

Now this line could have been in jest, but it didn't feel like that, and considering Alex has a PhD in bioengineering, Alex is also an expert in alien physiology, and has used this knowledge in multiple D.E.O. operations. Alex was able to successfully create Blue Kryptonite to incapacitate Bizarro and working with Maxwell Lord, synthesized a cure for Red Kryptonite. She is also an accomplished neuroscientist and xenobiologist. Alex herself stated she could've had a promising medical career as a researcher had she not decided to work at the D.E.O. instead - and now you are saying Alex would never use that kind of language? Come on! That's so unrealistic it would be laughable if it wasn't so awful.

If you are a show who claims to be at the forefront of LGBTQ representation, who claim to be about female empowerment, you are giving us neither of those things. Someone else wrote this (taken with permission from Buddha in disguise on Tumblr).

"It seems we shouldn't ask for justification as to why William is on the show, but when we say the LGBTQ characters are being sidelined, that it doesn't matter one jot how diverse a cast can be; if said cast are not being given credible storylines or screentime, and if we say as much, we have to continually justify why that is the case. We get told to take what we are given. To insist on better, is oppressing the straight characters on the show, often said by CIS men (in some cases CIS women have argued the same). This isn't oppressing anyone, but asking that if we get given relationships, given characters we want to invest in, they get the storylines to accomplish that. Supergirl is failing the LGBTQ audience so badly at the moment. So many have the same complaints it is ludicrous to suggest this is just one section of a fandom or trolls."

The show is floundering. Winn got a more complete arc and closure in two episodes than anyone else so far on the show this season. We might have had 3 or 4 great episodes out of 14 of the 20 so far this season. The rest have been mediocre at best, with no obvious cohesive plot or storytelling. 

It is crazy that a Superhero show, that effectively has the freedom to pull in ideas from multiple sources with unique interesting takes that allows, has made it so boring, so full of drudgery that people are starting to turn off in droves. A fandom boycott isn't enough for such poor ratings on some episodes. Having moments in an episode that are good, possibly great, when the rest around it is so poor is destined to fail. 5.14 was another example of that. The moments that were good were enjoyable but the rest was so bad, it is harder to enjoy those good points. To even remember them.

Batwoman and Legends of Tomorrow have both done this far better of late (even if Legends have been a bit problematic with Zari), and the POC and the LGBTQ side of the stories have primarily been handled well. Batwoman in particular has just done an amazing storyline with Sophie Moore. The interesting thing is, a lot of people found Sophie hard to like to begin with. Many thought Kate Kane was better off without her. What changed all that was they gave Sophie an in depth, credible backstory and the chemistry between them grew organically. Fans could see the connection and increasingly yearned for it. They have also just tackled homophobia in families, particularly for POC. All without taking away from other essential elements of the storytelling. Supergirl take note; this is how you write a show that is integrated without hurting either the POC & LGBTQ characters or CIS straight characters. 

Now let's just broach the disconnect with characters and friendships. 

Because of the fracturing of friendships and relationships has been so extreme (virtually every one has lost all or most of what we had in previous seasons), we have lost core elements of the show. Of course the most obvious is Kara and Lena, but it extends far beyond that.

Alex and Brainy. Brainy and Lena. Brainy and Nia (Brainia is groundbreaking representation for transgender people to show they too can have relationships, but no, we can't even have that). Kelly and Kara (early S5 suggested Kara and Kelly were close enough friends now to talk about presents for Alex). Alex and Lena. 

Alex, Lena and Kara, which in the last two seasons have been the powerhouse behind them defeating whatever was going on around them as a team, but still allowing Kara to shine as the Superhero.

All these intricate relationships have gone. Instead we are faced with pairings that feel uncomfortable and awkward as a viewer, so the crux of what made Supergirl work has been lost. We are suddenly expected to be able to feel emphatic and understand completely unheard of pairings when we know nothing about them under those circumstances. Strangely enough, the one new pairing they have achieved this with is Andrea and Lena, because we got a fully fleshed out background, that also helped explain some of Lena's behavior today. The rest feels chaotic, and so far into the season that feeling of chaos should be going the other way. Instead it's increasing.

As we wrote this, the latest media outlet to highlight some of the problems the last episode faced came out.

It might not be a big article or have any real depth, but when The Radio Times wades in, you are beginning to lose serious credibility in media circles. The Radio Times is not some 2 bit media blog that you can laugh off or blame a fandom for.

5.15 promises to have better LGBTQ content, and is tackling a subject that Nicole herself became involved in with the writers. This gives us higher hope it is a better episode overall. We also know Kelly and Alex work together with J'onn, and while it would be great to see them partner up onscreen, we would actually really like just softer Dansen at home moments. We hope it incorporates both, but honestly the way this season has gone we aren't holding out much hope on that.

Last of all. We have seen several people tout that the plot twist is William in fact becomes a villain. None of us like the idea that another POC becomes a villain, but if by seasons end it occurred and so explained his presence (as a tool or high up member for Leviathan for example,) then at least that would give us something solid. But again, to do all this at the expense of all other characters is not what you want to see. Nor do any of us wish to see another POC get killed off if this happens as is being suggested. We would all rather William just disappears back to London to The Times. 

The last thing any of us wanted was to be writing this, but collectively our patience has run out. Our disappointment is acute. 

While we try to avoid mistakes and edit this, none of us are writers so please forgive any glaring errors you find.

#azie tesfai #chyler leigh #dansen #lgbtq #supergirl #alex danvers #kelly olsen #nia nal #supercorp #Melissa Benoist #kara danvers #katie mcgrath #lena luthor #nicole maines #jesse rath #Brainy #brainiac5

[dearoldtuxedo]

The Love Interest

In 2017, Taft Studios hired a new screenwriter for their popular, and long-running show, The Banana Splits. Her name was Sammie Satterlee, and ever since they recruited her on the staff, she impressed the audience with her diversed setting scenarios. 

Some new episodes took up morals that are rarely explored among children, and needed to be talked about more. The Sour Grape girls were given more personalities, rather than being reduced to cute, sassy dolls. She made Bingo and Drooper explicitly POC coded, so that minority children can see themselves in their favorite characters, even allowing some POC to guest star on the show. Bingo spoke Spanish occasionally, and Drooper celebrated Kwanzaa for a holiday themed episode. Stevie was also given a decent dose of character development.

Then, at that year, 2018, Sammie was ready to take on a new challenge: Introduce an LGBTQ+ character. Around this generation, a lot of children's media has been accepting of queer themes. The whole purpose was to help kids acknowledge that queer romance is just the same as the typical heterosexual romance. There is nothing inherently sexual about it.

Plus, Sammie happened to be queer herself. She grew up loving The Banana Splits throughout her childhood, and is still a fan to this day. She also grew up around a lot of homophobia at that time. Projecting sexualities/trans identities onto characters is a method of feeling more accepting, more valid. The same method queer kids on the internet use "headcanons" for. Queer children deserve representation. Sesame Street won't do it, so The Banana Splits might as well.

What better way to have one of the Bananas come out than giving them a male love interest? But, which Banana shall have a love interest? Fleegle seems too independent for a lover, regardless of what gender. Bingo prefers pranks and adventure over romance. And Snorky, even though as old as his fellow band mates, bears childlike innocence, so he's not ready for an adult love interest. The only option left was Drooper.

Yes, Drooper will work, she thought. The poor lion is considered the loser of the bunch. What if he had a sweet darling that would tell him how valid he is? Drooper's so clumsy, he's always falling down. Now, he needs someone to catch him and pick him back up on his feet. Sammie then started to sketch out her ideas.

That's when she conjured up Tux the snow leopard! Tux was short for Tucker, also defining his wardrobe, which was a tuxedo. The reason she chose a snow leopard was due to their majestic appearance, and she wanted Tux to come out as sort of a romantic gentleman. Also, because he should be a feline like Drooper. She drew out a reference concept of Tux, along with additional sketches of him and Drooper acting lovey-dovey with each other, and written a bio.

Tux was presented as a muscled man, a contrast opposite to Drooper's skinny frame. This snow leopard was purposely intended to be the hero to Drooper's damsel in distress. He sure is a handsome fella, but he's pretty dumb as well. That didn't matter. He's perfect for Drooper. Tux would be somewhat special to Drooper, like he understands him, he cherishes him, and he's willing to take a punch in the face for him.

After giving the references to Karl, and a bit of debate, the engineer decided to take a shot at it. Reading through Tux's biography, his personality and characteristics had quite interest Karl. This snow leopard certainly didn't possess the same energy as his other boys. Fleegle was the intellectual leader, Bingo was fun and energetic, Drooper was the butt of bad luck, and Snorky was the baby of the group. Tux was different. It would be quite complicated for a stoic machine to act out all these actions. Unless...

What if he gave this animatronic fully functional emotions? Karl always wanted to try something new. A robot with emotions would probably be his greatest achievement yet. No other engineer has dared to try it out. Not only will the idea be impressive, but his feelings would be very convincing.

After almost a month, Tux was completed. Although he matched his reference drawing perfectly, he appeared to be seven feet tall, instead of being two inches shorter than Drooper. Speaking of Drooper, not only were emotions installed into his databanks, but he was also programmed to fall in love with no one but said lion. 

Karl decided to showcase Tux to Sammie. He then activated the mechanical snow leopard. It took some time for Tux to get into motion, but as soon as he saw those humans in sight, he stepped back nervously. He touched around at himself for a moment, and scanned his surroundings. He was now alive, and he wasn't sure how he felt about this. The animatronic walked around the room, picking up items at random. He went back to Sammie and spoke for the first time.

"Hello. I'm... I'm..."

Karl answered for him.

"Tux." "I'm Tux. Pleasure to meet you. ...I think. Say, could you tell me where am I? What is going on? What is my objective?"

Just as Sammie could say anything, the Splits had entered the room. Tux turned his attention towards them by instinct. The very sight of Drooper had already triggered him into love mode. The feeling of seeing the lion was undescribable to him, but since it's in his programming, he knew how to act. He stared at the lion for awhile, then ran over to him. Tux took his paw into his.

"Hello. I am Tux. Pardon me if this sounds so sudden, but, I love you."

The animatronic kissed Drooper's hand, even though he just gapped his mouth open a bit and pressed it against the paw.

"Do you love me?"

Drooper was confused by this abrupt gesture, and had no opinion about it due to his lack of emotions. Still, he responded anyways.

"I love you too, Tux! I love all my friends!"

Tux was quite offended, having to be considered a "friend." Sammie decided to clear things up for the lion animatronic.

"Uh, Drooper, this is Tux. He is your new boyfriend. You know, like, a lover. As in you two are in love. Or at least, pretend to be, for the show."

A new boyfriend? Drooper doesn't remember agreeing to that. He just met the snow leopard, and all of a sudden, they're lovers? The lion isn't sure how he feels about that, especially since he doesn't return the snow leopard's attraction. Then again, Tux is a pretty nice guy. And it's not like they're forcing him to love him back. After all, she did say he could pretend for the show. Since the Splits aren't on the air right now, they might as well just be friends. Drooper shook his hand and greeted the new recruit.

"Very nice meetin' ya, Tux! I'm Drooper! This is Fleegle, Bingo, and Snorky! Welcome to The Banana Splits! Enjoy your stay, friend!"

He still deemed Tux as a "friend." That's not what Tux wanted. He didn't just come alive, fall in love instantly, only for it to turn out to be one-sided. Tux figured, he will get this lion to love him back, even if it kills him.

And so, for the last four days, Tux wasn't ready to be onscreen, so that gave him enough time to win Drooper's affection. The snow leopard had snuck into Rebecca's computer to find information on how to woo a person. Then he'd capture that info into his system.

Tux tried presenting Drooper with a flower (one of the props). He was flattered, took the flower, and patted Tux on the head. But walked away afterwards.

He tried serenading a romantic song, which was performed by the Splits in another era. 🎵I enjoy being a boy, in love with youuuuuuuuuu.🎶 Once again, Drooper was flattered, and applauded his performance, but still, walked away.  

Next, he tried the extreme. Tux grabbed Drooper, dipped him, and planted his mouth onto his, giving him a kiss. That only resulted in Drooper pushing him so hard, he knocks him down on his bum. 

No matter what technique he tried, his attempts all failed. And Drooper showed no signs of loving him back. Today was scheduled for Tux to make his physical appearance. But before he's ready to be on the show, he discussed his issue with Karl.

"My lover... ...doesn't love me. What have I done wrong?" 

Karl knew exactly what the problem was. It's not what Tux has done, but how Drooper feels. The lion animatronic was built to be emotionless, so it's impossible for him to accept a handsome man's gesture. Maybe Karl can fix that. 

"Settle down, my boy. You'll get what you want. I promise."

He then called Drooper over for a tune up. The only way for the two's feelings to be mutual is to install the lion with the same features programmed into Tux's databanks. The snow leopard held his hands together tightly. Soon, he and Drooper will be bond together at last. Together, forever. He'll have him close to him. They'll hold hands. The two will spend their entire lives as one until they rust. Karl then motioned that he had the notion of giving the other Splits emotions as well, so that they can embrace Tux like a family member. He wanted to make his greatest achievement feel at home.

“Yeah yeah sure. Now hurry up with the process!”

Suddenly, Rebecca entered the workshop, announcing that the whole "LGBTQ+ representation" project was officially canceled.

While the news of The Banana Splits having an LGBTQ+ character on their show received largely positive from the queer community, they've also gained negative, violent feedback from those who were against it. They were being accused of "attempting to encourage children into sexual acts," and called out for spreading "leftist SJW propaganda."

It gets much worse. Straight parents set up a campaign to boycott the show. Stevie threatened to quit because he refuses to work around a "cybernetic f@gg3t." And Andy, the network executive, blackmailed that he would pull the plug on their show if they let this "gay shit" slip onto TV. Sammie was fired, and the whole assignment was history.

Karl stopped what he was doing, leaving Tux confused.

"Aren't you gonna-" "I'm afraid there's no reason to anymore, my boy." "But, Karl- Drooper- You said I could have what I want! YOU PROMISED!" “I wish I could keep it, but I don't think I have a choice. I'm sorry." "I don't believe it. How could you be SO SELFISH?! HAVE YOU EVER THOUGHT ABOUT HOW I FEEL?! PLUG HIM BACK IN, RIGHT NOW!" “I can't-" "ALL I WANT IS MY KITTEN TO LOVE ME! DOESN'T ANYBODY CARE?!!"

The snow leopard threw a big tantrum. A single stomp on the ground made the floor shake. Then, he shoved items off of counters, and smashed stuff, while screaming at the top of his voice. He was absolutely terrifying at that moment. Tux turned to Rebecca, thinking it was all her fault. She tried to tell him to stand down, but he was too stubborn. He grabbed her by the neck, and pressed her against the wall. With Tux's back turned away, that gave Karl the opportunity to shut him down. Tux let go of Rebecca, and fell over unconscious.

Poor Tux. Maybe giving him emotions was a bad idea. As it turns out, he's not mature enough to know how to handle them, which makes him too unstabled. After that traumatized experience, Rebecca demanded that Karl should get rid of him this instant.

After she left, the three other aninatronics entered the workshop. Karl stared down at Tux for a minute. The snow leopard animatronic didn't mean to cause any harm. He's just a little faulty, with his ardent coding and all. Karl never worked out how he would have Tux cope with his emotions. The engineer couldn't bring himself to throwing out what he thought was gonna be his greatest achievement yet, so he asked his four to dispose of Tux for him. Karl then left the workshop to see if he could calm Rebecca down.

Four of the Splits gazed upon the now deactivated animatronic. They, including Drooper, felt a bit sorry for him. Why put him to waste? There's still some potential in him. The sad case just wanted, and needed, some love like they have had. A new Banana Splits member is still a member. Besides, he was much nicer to them than Stevie.

"What are we gonna do with him?"

So, rather than dragging his metal carcass to the dumpster, they all agreed to hide his body, behind a couple of boxes and bins in the corner. Perhaps he will make himself useful. Someday.

#The one who turned a banana cherry red [Tux] #Dear sweet kitten [Drooper] #Lover cats [Tux and Drooper] #Bleeding heart [Horrorverse] #Homophobia tw

[zoufantastical]

Terminator: Dark Fate was absolute trash

They really recycled John Connor's story and the basic plot of T1 and T2 to a bland one dimensional teenage mexican female. There was absolutely no point of this movie. It didn't create anything new.

I said this before on my The Little Mermaid post. What they are doing lately, replacing female (especially POC) from a previous character (one that is/has been a white male/female) is ridiculous. They could have done so much more. Grace was actually an interesting character (until is revealed that Dani saved her). They could have explored humans enhancing their bodies to fight machines. But no. They did the laziest rehash ever.

Of course on Tumblr all I see is how smitten they are on Grace's actress and Linda Hamilton.

I need people to realise that we, as in POC, are not means of substitution. That is extremely lazy and shows they don't give us enough thought. I want these screenwriters and filmmakers in Hollyweird to actually put an effort in making a great character we can relate to. They didn't have to kill John (without good reason) to introduce Dani. They can coexist. Instead all she did was take his place. Wow. So amazing and original. It's pathetic and I'm tired.

No one cares. They care about Grace's muscles and how they the gals are a lesbian dream. As long as they keep thinking that and not go beyond, they will keep making piles of trash like Dark Fate.

Way to ruin your own franchise and pull a Aliens 3 James Cameron. Talk about being a hypocrite.

#terminator #terminator dark fate #terminator: dark fate #sarah connor #john connor #arnold swarchenegger #linda hamilton #james cameron

[yourdailyqueer]

Keisuke Kinoshita (deceased)

Gender: Male

Sexuality: Gay

DOB: 5 December 1912

RIP: 30 December 1998

Ethnicity: Japanese

Occupation: Director, screenwriter

#Keisuke Kinoshita #lgbt history #lgbt #lgbtq #mlm #male #gay #1912 #rip #historical #asian #japanese #poc #director #screenwriter

[scoutoftherings]

I finally watched To All The Boys I’ve Loved Before

and let me tell you, it lives up to ALL the hype and then some.  Watching this movie was like basking in all the best parts of a really well-written fanfiction.  It had the warmth, humor, and full-throated heart that rarely comes out of Hollywood at all, let alone without it being lavished on a white male protagonist.  Here’s a quick and by no mean complete list of things I adored:

- The gentle and realistic treatment of single parent (and multiracial) households (plus issues like divorce, loss of a parent, parental abandonment, etc)

- The nonchalant racial inclusivity (including a gay POC!) without ever once making race (or sexuality) a plot point or “characteristic”  

- The realistic, tender and completely non-sexualized treatment of a teenage girl coming of age and exploring her sexuality (not to mention the honest and non-condescending treatment of her crushes/letters/emotions)

- The characterization, good lord.  Lara Jean is a deeply interesting, fully fleshed-out individual with flaws!!!  Amazing!!!

- The complete lack of toxic masculinity or male ego fragility in Peter (and Josh)...  It’s rare in general for screenwriters to include emotionally mature/open male characters  who don’t need to be “fixed” or otherwise helped by the female character(s) 

- The loving and supportive relationship between the sisters 

- Perfect soundtrack and gorgeous cinematography 

Anyway I loved it, and that’s coming from someone who has been bored and/or enraged by most romantic comedies ever made.  Watch it!!!

#to all the boys i've loved before #tatbilb #movies #kate writes #movies i loved #films #movie review #lara jean #peter kavinsky #lara x peter #romantic comedy #romance #romcom

[chrisevansluv]

I'm also a POC and I'm gonna agree with the first nonnie - yes representation matters, but I would rather have a role written and intended for a BIPOC - instead of just casting someone next to a lead in the name of satisfying a certain market or to be "woke".... I feel like the lack of intention is a copout of authentic representation. //

Precisely, people just want to see a white male lead with WOC? The same people won't like it if black male lead have white love interest..Like seriously? So as screenwriter I don't even have a say about my story and as a director/casting director I can't choose people who actually fits the character? Also it's funny because all these people have problem with white females actors but not with white males actors..and for the love of God, movies are for entertainment not to appease any narratives or agenda.

I recently saw 'crazy head' series where the lead is a black woman, she calls her friend with names like 'blondie' etc and then says 'I'm a string black woman'. I know what would have been the reaction of the roles were reversed. The hypocrisy is so obvious.

.

[aion-rsa]

Doctor Who: Why Jo Martin’s Ruth Should Be The Next Doctor

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The BBC recently announced Jodie Whitaker, along with current showrunner Chris Chibnall, will be departing Doctor Who. Their departure will occur after Season 12 premieres later in 2021 plus three specials to air during 2022. Speculation over who will be the next Doctor is inevitable, but this time around there is a candidate already waiting in the wings who passed their audition with flying colors: Jo Martin.

Ruth Doctor, officially known as the Fugitive Doctor, first appeared last season in the episode “Fugitive of the Judoon.” Her character’s initial cover backstory was immediately endearing to many Doctor Who fans, as we meet the Fugitive Doctor when she is working as a tour guide in Gloucester. In reality, she is a Time Lord on the run from Gallifreyan authorities. Although her initial appearances were a plot device and admittedly conceived as a random afterthought, bringing Martin back for a full series run will not only heal a major plot hole but also set a new positive direction for Doctor Who. Martin brought incredible energy to the role. It would be a shame to let that momentum die on the vine of shifting canon. For a series that prides itself on having multiple timelines and adventures at the same time, the show very sparingly takes advantage of this aspect of its premise. A Martin Doctor in the hands of a showrunner who wants the opportunity to chart a new set of adventures would be sure fire way to bring back many fans who were dissatisfied with Chibnall’s run of Doctor Who, as well as bring in the next generation of fans.

Setting up a new season with Martin’s Doctor as the main Doctor can be done while adhering to the tradition of resetting major canon events after a showrunner exits. It’s as simple as never mentioning the existence of The Timeless Child plotline. There have been breaks in continuity before and plot holes Doctor Who fans have come to expect. Fans can easily live with a reset that brings Martin’s Doctor into the main timeline. There’s also room for the new showrunner to lean into the fan theories around her character. Some believe Martin Doctor’s TARDIS is proof she fits sometime around the Second or Third Doctor era. Modernizing lost episode scripts, bringing back classic monsters with better CGI and modern sensibilities, or creating new adventures based on previously unused ideas. The possibilities are as infinite as time and space. 

The challenges of executing a full season led by Martin’s Doctor cannot be ignored. So far, Doctor Who has not had any Black or POC showrunners. Malorie Blackman, who wrote “Rosa,” has been the only Black screenwriter to write or co-write an episode. British-Indian scribe Vinay Patel wrote, “Fugitive of the Judoon” and “Demons of the Punjab.” Both of these landmarks occurred only recently, in the Chibnall era. Chibnall’s execution has not been perfect, but this does not mean the solution is to turn back the clock and close the door. If the show chooses to have another white screenwriter, they still have the full resources of the BBC to find the right talent to take on the opportunity of giving Martin’s Doctor an authentic and culturally sensitive voice. Focus groups, sensitivity readers for scripts, and diverse screenwriters will avoid repeating the tokenization mistakes of past episodes. There is also the challenge of moving the Doctor’s view of the world away from a white perspective. If the Doctor is really as all-knowing as the series claims, it’s clear the limits of the character’s worldview have only been set by previous showrunners. 

Social media and streaming services have brought the series to countries Classic Who fans have only seen on a map. The future of the series depends on international financial investment through television licensing, merchandise deals, and viewership. Overcorrecting Chibnall’s uneven character development for Yaz and Ryan and accidental stereotyping of minority characters by going even harder towards pandering to the white male fans who don’t want to see increased racial diversity will create a much bigger problem. Sinking ratings, especially in the US and international outlets, means lost revenue for the BBC, which is already facing budget cuts. Losing out on licensing profits means new episodes will be more expensive or impossible to air. 

Although many white women and white queer fans felt the Thirteenth Doctor was the first time they were truly represented by the Doctor, this view leaves out many Black and POC fans who are still waiting for a Doctor who looks like them. Martin’s appearance was a beacon of hope for many fans that the view from the TARDIS would look eventually like their own. Martin has inspired so many fans of color to get into cosplay, making fanart and fanvids all around the world. Although I was excited to see what Jodie Whitaker would bring to the table when she was first announced, I was even more elated when Martin introduced herself as the Doctor.  For those concerned that a non-white Doctor could potentially alienate fans, it must be pointed out that many fans have stopped watching Doctor Who because past promises of more inclusivity were broken. In addition, quite a few white critics of Seasons 11 and 12 were impressed by Jo Martin’s performance. Listening to the voices who demand the show remains in the past will only mean that the series will not be attractive to many already existing fans, as well look dated and stale to viewers who are seeing other sci-fi franchises prioritize diversity and inclusion. 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The BBC has already pledged more racial inclusion in new productions, and the lead role in one of their longest-running franchises would be a great place to demonstrate this commitment to the entire world. The gift of seeing yourself fully in your favorite TV show is a gift that many fans are begging Doctor Who not to take away, and to build on. Martin’s introduction in a season with the tagline “Space, For All” is much more than a PR tagline. Ending the casting search for the next Doctor with Jo Martin is a fine place to start.

The post Doctor Who: Why Jo Martin’s Ruth Should Be The Next Doctor appeared first on Den of Geek.

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#aion-rsa #Den of Geek

[strwbrymoonchild]

Creating Our Own Spaces: Open Television and the Importance of Intersectional Streaming Platforms

Open Television (OTV) supports Chicago-based artists by producing indie web series and pilots that tell intersectional stories. The platform revolutionizes streaming by highlighting nuances in the lived experiences of people of color and the LGBTQ community, and by intentionally holding space for joy, healing, and humor. Lack of diversity in film is well-documented; a recent study by the Annenberg Inclusion Initiative shows that of the top 100 films in 2019, 78 had no LGBTQ characters and 94 had no female-identified LGBTQ characters. The study also found that of 4,357 speaking roles, only 61 (1.4%) were LGBTQ, forty-five characters were gay, 10 characters were lesbian, 3 characters were bisexual and 3 characters were transgender. All three trans characters had a total screen time of no more than 2 minutes. About 71% of these LGBTQ speaking roles were white. While there have been both strides and shortcomings in efforts to increase the depth of LGBTQ and BIPOC television characters in mainstream media, diversity, and inclusion behind the camera is just as integral to filmmaking as representation on screen. 

There are some perceptions that we are entering into a Black film Renaissance. The rise of shows like Insecure and Atlanta FX in addition to major Black blockbuster moments for films like Black Panther and Moonlight all suggest that progress is being made. However, the figures reported by The Annenberg Inclusion Initiative show that the number of movies with Black Directors in 2019 fell by more than half; only nine movies released in 2019 had Black directors whereas 15 movies released in 2018 had Black directors.Even when we look at Black and POC directors as a whole, the numbers don’t get much more encouraging; the study also found that out of the 112 directors that made movies in 2019, 19.6% were from underrepresented racial and ethnic groups. While representation for Black directors has been halved, the percentage of women directors helming the most popular films more than doubled between 2018 and 2019. Nevertheless, their share of representation remains critically low. The Annenberg Inclusion Initiative found that only 10.6% of directors across the top 100 films of 2019 were women. When it comes to writing and producing, representation for women is only slightly better. Women made up 14.4 % of writers across the top 100 films, and only 21.1% of producers. 

Diversity behind the scenes is so crucial because it ensures that marginalized communities can tell their stories using characters that have distinct voices, complex backgrounds, agency that extends beyond tokenistic supporting roles, or even leads roles that myopically reinforce tired tropes and harmful stereotypes. For example, when Black writers are in the room, they can construct characters that speak like us instead of mis/overusing awkward AAVE that’s cut and pasted from Twitter into contexts that don’t fit. When women writers are in the room, they can squelch manic pixie tropes and fridging for the sake of male character development. When LGBTQ writers are in the room they can mitigate issues like queerbaiting or focus solely on the trauma of coming out stories without centering queer joy and romance. Similarly, when producers with marginalized identities are in the room, they can thwart gatekeeping by expanding the production value of films made by marginalized artists with limited resources, and by prioritizing inexpensive and creative ways of funding and distributing media (e.g. crowdfunding, virtual screenings, DIY film festivals, etc.). Furthermore, when filmmaking spaces lack diversity, the result can be toxic and alienating, which stifles creativity and demoralizes BIPOC and/or LGBTQ creators. OTV has shown that one of the keys to creating authentic stories is not only getting diverse voices in the room but also making the room a brave space that emphasizes accountability and community while allowing artists the independence and freedom to innovatively experiment with storytelling without fear of exploitation, bigotry, or violence.  

OTV exemplifies how critical it is to not only feed diverse narratives into the mainstream media, but to introduce more accessible, inclusive, and alternative ways of filmmaking.

Executives in the film industry often buy into the misconception that intersectional stories that have characters with marginalized identities aren’t worth the investment because they only appeal to niche audiences. On the contrary, many viewers don’t just want cookie cutter, predominately white shows; they are hungry for diverse content that is striking, informational, and binge-worthy. A study released by UCLA revealed that in 2019, films with 41%-50% minority cast earned the most from box office ticket sales, whereas films with the least diverse casts performed the poorest. The #RepresentationMatters report that the National Research Group released in September 2020 shows that 2 in 3 Black Americans don’t see themselves represented in movies or television, and 86% of Black Americans want to see more representative stories on screen. Taken together, these findings suggest that when underrepresented groups see someone who looks like them in a film, it makes them want to support it more because representation is such a coveted rarity for these groups.  

It's not enough to sprinkle diversity into mainstream media to increase sales. OTV exemplifies how critical it is to not only feed diverse narratives into the mainstream media, but to introduce more accessible, inclusive, and alternative ways of filmmaking. Recently, Open Television started the OTV Fellows program for emerging writers and directors from marginalized communities. The program seeks out and supports promising talent, helping them build their portfolios for a career in the film industry. OTV also hosts a seven-part workshop series called OTV Study Hall, which features a wide range of panelists and offers insights into career development, production, and marketing. 

When we create intersectional TV platforms that are for and by us, shows that spotlight multiple marginalized identities can reach their full potential, and flourish in conversation with content that has a similar range. There is power and value in seeing multi-faceted, genre-bending, intersectional stories as the centerpiece of streaming, rather than cramming them into a specialty category tucked away in a corner of Netflix or Hulu or trying to make them fit in a category where they don’t belong.

Check out some top picks from OTV’s incredible content below

The T | For fans of Pose FX and Lovesick

The T follows the relationship between a Trans white woman named Jo and a queer Black man named Carter. The two are former lovers turned best friends who support each other through the insecurities and bigotry they face as they re-enter the dating world. 

You’re So Talented | For fans of The Incredible Jessica James and Brown Girls

You’re So Talented follows Bea, an actor looking for work in Chicago and navigating the twists and turns of love and life in her twenties. A character many millennial BIPOC creatives out there can relate to, Bea does her best to find meaning through her art while keeping the bills paid. Through it all, her best friend’s Devin and Jesse are always there for her. (You may recognize the actor who plays Bea, Sam Bailey, as the Director and Producer of hit web series, Brown Girls). 

The Right Swipe | For fans of Broad City and The Perfect Date

We’ve all seen our fair share of tragic online dating app profiles: a man holding big fish twice his size, stale jokes about The Office, shameless gym mirror selfies, etc.. In The Right Swipe, best friends and business partners India and Margo team up to start a business fixing men’s dating profiles. They extend their services to a diverse set of clients including a trans man, a queer poet, and a hotep. They have 3 simple ground rules 1. They must use their powers for good, 2. They charge clients on a sliding scale, and 3. No sleeping with or dating clients.

Velvet | For fans of Insecure

A hyper-competitive young professional named Demetra attempts to revive her social life by striking up a friendship with her cooler more laidback coworker Cymone. The duo eventually builds a squad of friends who take on the city of Chicago as they explore their own identities and relationships with each other. 

The Haven | For fans of Orange Is the New Black (before they killed off Poussey)

The Haven follows the story of overworked and underpaid staff members at a domestic violence shelter. Once accepted into the shelter, residents of The Haven have only 90 days of refuge before they must find a way to propel themselves onto a new life path. The odds are stacked against those seeking a fresh start as they face a range of obstacles including addiction, mental illness, poverty, immigration complexities, and PTSD. 

Damaged Goods | For fans of Euphoria

Bathed in technicolor and barely getting by, four young, messy creatives of color walk down uncertain paths of self-discovery in Chicago. When Sanavi tries to dismantle the Boy’s Club in her white-dominated workplace, she’s met with hostility and discrimination. Meanwhile, Caleb navigates the queer club scene and struggles to make ends meet. In contrast, Marlo thrives as a Black wellness guru/yogi/influencer. Ezra supports himself as a weed dealer and Uber driver, but has big dreams of becoming an artist. 

Otito Greg-Obi is a poet and aspiring screenwriter based in Washington D.C. Her poetry appears in "small poems for the masses," a quarterly zine by Post Ghost Press. She is a former member of The Excelano Project, a poetry collective in Philadelphia. When she’s not writing you can find her slow-mo milly rocking in the pouring rain to MorMor, baking sourdough bread, over/underwatering succulents, or knitting something cozy. Her favorite color is mint green, and she’s obsessed with pop culture and with television (particularly dramedies and dystopian sci-fi). You can find her on Twitter at @otweetoh

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#film #tv #web series #otv #open television #chicago #creatives #bipoc #qbipoc #qtbipoc #lgbtq #representation #intersectionality #diversity #inclusion #indie #production #television #streaming #platform #annenberg #filmmaker #black filmmakers #queer filmmakers #renaissance #niche