#Authentic ethnic portrayal

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Dark skin ethnic black Sudanese model Alek Wek joyful excited smile beauty skin photography 💕

"Radiant Beauty Unveiled: Capturing the Joyful Smile of Sudanese Model Alek Wek in Stunning Skin Photography 💕✨"

[makingqueerhistory]

Writing an Identity Not Your Own: A Guide for Creative Writers

Alex Temblador

A practical guide to help authors authentically write and edit a character whose identity is different than their own. Do you have the tools to authentically write and edit a character whose identity is different than your own?

It's not a subject that's generally taught in creative writing programs, and there are so few craft books and online resources on the subject. Even if you can take a seminar, class, or workshop, there's nothing like having an easy-to-understand book on hand to provide guidance and insight every time you craft characters with historically marginalized identities. In Writing an Identity Not Your Own, award-winning author Alex Temblador discusses one of the most contentious topics in creative writing: crafting a character whose identity is historically marginalized.

What is "identity," and how do unconscious biases and bias blocks impact and influence what we write? What is intersectionality? You'll learn about identity terms, stereotypes, and tropes, and receive genre-specific advice related to various identities to consider when writing different races and ethnicities, sexual and romantic orientations, gender identities, disabilities, nationalities, and more. Through writing strategies, exercises, and literary excerpts, writers will gain a clearer understanding on how misrepresentations and harmful portrayals can appear in storylines, dialogue, and characterization. Alex will guide writers from the brainstorming phase through the editing process so they can gain a full understanding of the complexities of writing other identities and why it's important to get them right.

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[shuinami]

Part 1: What Exactly is Hobie’s Accent and Who Has It?

Part 2: When, Where, Why (Black Londoner Culture since Windrush) | Part 3: How (Writing Tips)

As a black Londoner, a large reason Hobie is so special to me is because I really saw and heard myself in him, while also not seeing a stereotype or typical, lacking in nuance portrayal of a black Londoner.

A lot of people have given great advice about how to write the dialogue of a British person; however, though the U.K. is a small place, different areas, like anywhere, have very different cultures and accents. Even somewhere as geographically small as London has a few different native accents, as many of you have picked up on, Cockney is one but there is also Received Pronunciation (RP), Estuary English and the one Hobie uses for most of his intro: Multicultural London English (MLE). 

I’m an MLE user myself, as are most black Londoners, including Daniel Kaluuya (who voices Hobie and was asked to make the dialogue sound authentic). Aside from tilting my head in slight confusion at some of the slang floating around the fandom, one of the last times I rewatched the movie, I noticed Hobie actually only uses one relatively ubiquitous Cockney phrase… and apparently, it was used inauthentically? On the other hand, he uses quite a few MLE phrases and constructions but it seems few people represent that in their fan content. 

It made me want to give my two cents and some advice on how to write the dialogue of an MLE user since I haven’t seen anyone do something like this yet.

In addition, I wanted to give a little bit of context about life as a black Londoner, since Windrush brought the first mass migration of black people to England in 1948 until now, since it’s another thing that I haven’t seen anyone talk about how it differs from the typical depictions of British life. And also how that intersected with punk culture and what it says about Hobie. Everyone is entitled to their personal interpretations but, of course, as someone who Hobie’s a bit closer to home for than most, I felt a lot of people are missing a key part of who he is without understanding the youth culture of black Londoners.

To answer these questions, I think it would be good to put names to the four main London accents so you can understand exactly what Hobie’s purposefully mixed accent is made up of and the one thing it is not.

I also want to say before we get into it that some people have unique accents/accents that may not seem to match their status or ethnicity, etc. so it’s not that nobody speaks using other accents but if we hear it, it would be noticeable.

Starting off, we have Received Pronunciation which is that posh, fancy and stuffy accent you probably first associated a British accent with. This is the accent of the rich, associated with types who go to private schools like Eton, with the royals’ accents and political figures. Nothing to do with Hobie.

On the opposite end of the spectrum, there’s Cockney. Cockney is an interesting one; it’s a term referring to people that are from East London, and according to Google “traditionally one born within the hearing of the Bow Bells” which means in earshot of the bells of St Mary-le-Bow Church. 

The term is also used to cover the accent and slang; the Cockney accent is not necessarily exclusive to Cockney people but rather is one that, nowadays, floats around the working class. The culture, on the other hand, such as familiarity with rhyming slang and stuff like eating jellied eels is not so ubiquitous amongst the working class not from the area. An example of a Cockney with this accent would be Danny Dyer, who plays Mick Carter in EastEnders and some of the other characters also have a proper Cockney accent. Here’s an iconic clip from EastEnders that showcases the Cockney accent lol

However, there is a more general accent, which refers to the varying mixtures of RP and cockney that most Londoners have: Estuary English. The estuary in the term refers to the Thames Estuary in the South East of England, near but outside of London. The accent is not locked there, however, and extends to London, especially as people have tended to move further out from London with time due to housing prices and thus accents of outer and inner parts of London mix. It’s not associated with class the way the other two previous accents are.

There are no clear boundaries between Estuary English and Cockney, mainly due to upward mobility and movement around London. I’m not a linguist so it’s hard to describe but I would personally say that proper Cockney has some ways of pronouncing things that even Estuary English speakers on the Cockney end of the spectrum don’t typically do. 

Some examples I would consider Estuary English or more typical accents would be those of people like Amelia Dimoldenberg (chicken shop girl 😂) and Tom Holland; on the more Cockney end of this accent, you’d have people like Adele (who I’m pretty sure has Cockney family members).

Then there’s Multicultural London English, influenced mainly by the dialects of the ethnic immigrants that have come to the U.K., most notably Jamaican Patois but also, more recently, borrowing a lot from West African Pidgin languages, as well as some words and phrases here and there from other immigrant communities. Most black people speak MLE and many other ethnic Londoners do too, as due to the effects of colonization and structural racism, many are relegated to the working classes and live in community together. Examples of this accent would be John Boyega, Jasmine Jobson, Letitia Wright and, of course, Daniel Kaluuya.

Now that we’ve got the accents down, which does Hobie have?

While the term Cockney is thrown around a lot, there is a strong implication that Hobie was born and raised in Camden, especially given the casting of Daniel Kaluuya, who was born and raised in that area himself. 

Here’s a map of London, I split us up based on how I understand people typically refer to it, which is a mix of geography, government designation and postcodes. The rainbow in the middle is considered Central London, it’s a very commercial and touristy area, where all our classic landmarks are and it’s very expensive to live there. 

Part of the borough of Camden is in central London and, currently, it starts to get more residential near Camden Market, which is 3 miles away from St Mary-le-Bow-Church, aka. The Bow Bells. A true Cockney is said to be within 3 miles or earshot of the bells (for geographical reasons, the sound carries more East). I’m not sure about the balance of residential to commercial areas in the 70s, although apparently, the area near Camden Lock was industrial. London has changed and expanded over time so someone from an east-most part of Camden at a point probably would have been easily counted as Cockney but I have no clue about the timeline. It’s uncertain whether or not Hobie would fit the criteria but if he was born today, Hobie definitely wouldn’t be considered or consider himself a Cockney. 

So again, while there’s no clear distinction of what makes a Cockney accent, Hobie is probably not a Cockney (unless you hc as such).

Does that mean he uses Estuary English? I would say no. I think his accent is predominantly Cockney and he uses some of the slang, as most Londoners do, but being black and not from East London, he mostly uses MLE slang and sentence constructions.

I believe this was the creative intention, given the casting of Daniel Kaluuya, most known for his roles in movies tackling black issues, and the freedom he was given to make the dialogue authentic, meaning Hobie’s blackness is a core part of his character design for Spider-Verse. You can also hear Daniel exaggerating the accent for Hobie at points; as he’s said himself, it’s not just his regular accent, which might not be too obvious to those not so used to London accents. It's a more Cockney accent, particularly in the intro, that he’s putting on instead of speaking normally, despite not necessarily using much Cockney lingo. Bear in mind, that Daniel naturally has a stronger Cockney twang to his natural speaking voice than a lot of MLE speakers.

Returning to the point that the one Cockney phrase, “scooby doo” was used inauthentically; it’s worth noting that you’ll be hard-pressed to find an up-to-date and thorough reference or guide on how to write the use of Cockney slang authentically because Cockney is a somewhat dated culture. For example, jellied eels? Not a common thing anymore, Some people, probably older East Londoners, still do eat them but extremely few places sell them and most of us will have never even seen them in our lives. As mentioned above, upward mobility along with people moving around means that the accent, slang and general culture have been watered down over time. On top of that, a lot of East London has been gentrified, such as the Isle of Dogs (in Tower Hamlets), which has had Canary Wharf transformed - a mall, a business centre and a major transport link and Stratford (in Newham), which has similarly had a giant mall and major transport links added to it.

Some Cockney rhyming slang stuck and is known to all Londoners, such as “telling porkies/porky pies” and “copper”. “I ain’t got a scooby (doo)” is a more common one, although not even that is known to all. Typically, Cockneys only say the first half of the rhyming slang phrase (even if it no longer rhymes). I couldn’t tell you which Cockney rhyming slang phrases have been absorbed into more general London vocab other than those, because again, it’s not used as most lists you could probably find online have it written out in full but know that a lot of phrases have been absorbed. 

Cockney slang is an oral tradition of the working class and so until more recently, when literacy rates went up, probably wouldn’t have been written, on top of people tending to write in standard English instead of using slang when writing. Unless you’re talking to a boomer/gen-x/older millennial from East London, it’s not so likely that you could read off a list of cockney phrases to a Londoner and they would be familiar with them. Because Daniel Kaluuya and I’m guessing the other people involved in writing Hobie’s dialogue aren’t Cockneys, well, that’s how we ended up with what we got.

So, whilst a dated dialect probably would be perfect for Hobie, it’s hard to get right or for it to read as natural to a Londoner because it’s difficult to pinpoint people that still talk like that on a regular basis, even in East London and it’s ESPECIALLY not black people/MLE users that talk like that these days. Cockney Rhyming slang was code language, after all so it figures that it’s a bit elusive.

Funnily enough, Hobie’s use of MLE is probably a slight anachronism, a little ahead of his time. Because the mass migration of Caribbeans began in 1948, by the 70s, most young black people would be the first big wave of second gens or immigrants themselves; ‘Black British’ culture would’ve still been quite young and not had enough time to carve itself as its own thing. The MLE we (including Hobie in the movie) use today started to really be what it is today in the 90s. Point being, you’re not going to find documentation of black Londoners from the 70s or early 80s who talk like Hobie.

Basically… Hobie’s accent is not authentic to the time period so if you wanted to write a historically authentic accent/slang… then you probably wouldn’t really write one… buuut it’s less fun and less Hobie! So let’s learn about black British youth culture and racism in London since the 70s, then we can understand the context in which the language is used before we learn the lingo + how to use it 😎

[jesncin]

Hi! I'm sorry if this an inappropriate question to ask, but I was wondering if you had any advice on how to accurately portray characters of color? I'm White and my creative fiction includes a lot of diverse characters, and I don't want to just ignore how their races impact their stories but at the same time being a racial/ethnic minority isn't something I've personally experienced and I don't know how to walk the line between good representation and some White dude telling stories that aren't his place to tell. Do you have any advice on how to accurately present characters of color without appropriating?

Luckily I have time today so I'll give my 2 cents! For one: there is no such thing as "accurate" portrayals of POC. Our experiences aren't a monolith. Something personal I would write and pull from my lived experience might not be relatable to, say, another queer Indonesian. And characters I write that are outside of my identity (Black, disabled, etc.) are inevitably going to be less authentic compared to someone of those identities tackling those characters. That's just something to make peace with- we can only do the best we can with the perspective we have.

With that: the usual platitudes are "do your research" and "listen to POC", I dislike both of these sayings! I get what they mean, but I don't love the insinuation of "doing research and listening" as a means of personal creative benefit. So instead I encourage different mindsets:

Instead of "do your research" (where identities can be treated as subjects to be learned and not people) I prefer "expand your perspective". Art is so cool because it's self expression. Stories are awesome because it's a shortcut to a person's deepest feelings. They get you fascinated and invested in a life so unlike your own. I can't stand "I only read queer books" people because it's an admission that they refuse to engage with identities they can't relate or project onto. There are so many important stories out there outside of your bubble. Get into the habit of earnestly learning about perspectives outside of your own. And not with the mindset of "this'll make me a better writer if I consume the identity and can become them" but with the mindset of getting to learn about a new friend. I think people take "stay in your lane" too literally sometimes where they focus so much on writing about their own experiences that they miss out on empathizing with other people.

Instead of "listen to POC" (I hate this one. Because our opinions aren't a monolith, it essentializes all of us to being media critic savvy experts, and white people tend to cherry pick the POC opinions they like instead of looking at the wider conversation) I prefer "improve your media criticism skills, and supplement with different perspectives". Not only should you "expand your perspective" as my last point said, but you should also be critical of things you read and learn! Learning about how ableism, racism, classism, etc. operates in life helps inform your opinion of how an identity was portrayed in a story. Recognize that earnest, and well intended attempts at representation can still be flawed or performative (the amount of times I'm told "I'm sure they weren't intending to be racist" like I truly believe the writer is a mustache twirling racist villain is too much). It's important to be opinionated! Do the work to find different perspectives to inform your own.

Lastly, don't ask for labor from marginalized people haha. I know that's what you're doing now (and this always happens to me whenever I voice a critical opinion of race representation) but I happen to have time (I'm still waiting on my editors to get back to me, such is the life of publishing). Most people don't, and are exhausted with explaining themselves. I don't bother my other marginalized friends whenever I write perspectives outside of my own. I do as much of the work reading articles, history, criticism, art etc. first. Especially if it's going to be a published work, then find Authenticity Readers and pay them for their labor. Avoid asking general, easy to google answers y'know? A lot of people have done the work writing thought pieces in their own time about a variety of perspectives.

[jasonswh0rre]

My Guideline to Writing ✍🏽

1. NSFW Content: While I occasionally explore NSFW themes, my content leans towards the vanilla side. Any story I write that is NSFW will be labeled as 18+.

2. Smut Writing: Despite my username, I tend to steer away from explicit smut writing. I am open to oral r + g or 🖐🏽jobs but beyond that I am not really comfortable with writing. I mainly prefer more fluff, mature and angst based writing.

3. Canon Ships: I'm open to writing about already established canon ships, but if there's a particular pairing you'd like to see explored, don't hesitate to ask! I'm always open to new ideas and interpretations.

4. I prefer to write from the perspective of a main character (MC) rather than using the "reader" format. I have tried writing using reader but it's confusing for me, I am familiar with "y/n" but considering the history of that word in my days of reading fanfics I don't use that format either.

5. As a black writer, I value diversity and aim to reflect this in my stories. You'll find characters of various races and ethnicities in my masterlist, including Black MCs, White MCs, Latina MCs, Asian MCs, and Middle Eastern MCs. Authentic representation is important to me, and I try to strive for accurate portrayals of people from different backgrounds respectfully.

6. I'm relatively new to posting on Tumblr, and I have a life outside of the internet. Your patience and understanding are greatly appreciated as I navigate this platform and find my footing.

Thank you very much for your likes, shares, and comments! ✍🏽💫🩷

[sapphicbookclub]

Author Spotlight: Yona Katz

This weekend, we're bringing you an essay by Yona Katz about diversity, inclusivity, and the importance of Happily Ever Afters! Yona Katz is the author of The Valley of Stars, a current club read.

Diversity and inclusivity, and why I only write “Happily Ever After” novels

Hi! My name is Yona and I write queer stories.

Fiction writing has long served as a powerful medium for storytelling, imagination, and empathy. It has the potential to shape our perspectives, challenge societal norms, and foster understanding. In recent years, the call for inclusivity and representation in literature has gained significant momentum.

It goes without saying that one of the most significant benefits of inclusivity and representation in fiction writing is its ability to cultivate empathy and understanding among readers. When readers encounter characters from diverse backgrounds, they are exposed to different perspectives, experiences, and struggles. This exposure breaks down barriers, dispels ignorance, and encourages readers to empathize with the challenges faced by marginalized groups. By putting readers in the shoes of characters who are LGBTQ+, minorities, or disabled, fiction writing fosters compassion and encourages readers to embrace diversity in real life.

But most importantly, representation in literature provides much-needed role models for individuals from marginalized communities. Seeing characters who share their identities and navigate similar challenges can be inspiring and empowering, particularly for young readers. These characters serve as beacons of hope and demonstrate that success, happiness, and personal fulfillment are attainable, regardless of one's background or sexual orientation.

One of the trends in the media that makes me literally sick is a “kill your gays” trope. Thankfully, in recent years, there has been growing backlash against it. Audiences, activists, and content creators have increasingly called for more nuanced and authentic portrayals of LGBTQ+ characters. As a result, media representations have begun to shift, with an emphasis on complex, multi-dimensional characters who are not defined solely by their sexual orientation or gender identity.

Personally, I am a very empathetic human being. I have a lot of love and care to share. When I first started writing, my goal was to spread that love through inclusive novels with happy endings. I hope I have achieved that goal and have contributed to the promotion of visibility of minorities, be it queer, disabled, or ethnic and racial minorities.

[hellomynameisbisexual]

Getting more and clear bisexual representation requires collective efforts from various stakeholders, including media creators, activists, advocates, and the general public. Here are some strategies to achieve this goal:

1. Advocate for Inclusive Policies: Encourage media companies, studios, and content creators to adopt policies that prioritize diversity and inclusion, including representation of bisexual characters and storylines.

2. Promote Diversity in Hiring: Encourage media organizations to hire a diverse range of writers, directors, and producers who can authentically and sensitively portray bisexual characters and experiences.

3. Support Bisexual Creators: Support and amplify the work of bisexual writers, directors, and content creators. By elevating their voices, we can increase the chances of authentic representation.

4. Collaborate with LGBTQ+ Organizations: Media creators can collaborate with LGBTQ+ advocacy organizations and individuals to gain insights into the experiences and concerns of bisexual individuals, ensuring more accurate representation.

5. Challenge Biphobic Narratives: Critique and challenge biphobic storylines and portrayals when they appear in media. Encourage media creators to avoid harmful stereotypes and misrepresentations of bisexual individuals.

6. Celebrate Positive Representations: Support and celebrate media that includes positive and multi-dimensional bisexual characters. Positive feedback encourages media creators to continue producing inclusive content.

7. Educate the Public: Raise awareness about bisexuality and biphobia to counter misconceptions and promote empathy. Educational campaigns can contribute to a more understanding and accepting society.

8. Engage Social Media and Hashtags: Utilize social media platforms and relevant hashtags to highlight the importance of bisexual representation and call for change.

9. Pressure Media Outlets: Engage in letter-writing campaigns, petitions, and discussions to put pressure on media outlets to improve bisexual representation.

10. Include Bisexual Consultants: When creating media content, consider consulting with bisexual individuals to ensure accurate and respectful representation.

11. Expand the Range of Stories: Advocate for stories that go beyond the "coming out" narrative and explore various aspects of bisexual individuals' lives, relationships, and experiences.

12. Encourage Intersectionality: Recognize that bisexual individuals can belong to diverse racial, ethnic, cultural, and gender identities. Encourage representation that reflects this intersectionality.

13. Support Diversity in Funding: Encourage funding organizations to support projects that prioritize diversity and representation, including those centered around bisexual characters and themes.

14. Influence Media Ratings and Reviews: Utilize media rating platforms and reviews to commend inclusive content and call attention to problematic portrayals.

Remember that creating change takes time and persistence. By working together to promote more and clear bisexual representation, we can make a positive impact and contribute to a more inclusive and empathetic society for all.

[writingquestionsanswered]

Okay, so I'm finally getting around to planning a project that's been on my mind for quite some time now. And one thing I want to do is make this story very representative in as many ways as I can - absolutely no het white male leads in sight, that's for sure. Being that I am not a member of most of the groups I will be writing about, I intend to do plenty of research into how to represent them respectfully and avoid stereotypes. However, something I'm uncertain about is how I should choose the actual groups I'll be representing. Like, is it advisable to just pick any personal details I like for a character in terms of ethnicity, gender, sexual orientation, etc.? Or is there more that should go into deciding those details? I don't want to overdo it either - so far I've assumed there's no such thing as too much representation, but I'm concerned that having many minority characters might make the overall representation of the story less impactful if that makes sense. For reference, my main setting is a port city with many lines of trade running through it, so it is a pretty diverse place in terms of race/ethnicity. Also, the culture is very accepting of varied sexual orientations and gender identities. So I don't have concerns of the representation clashing with the narrative. I just feel there must be a better way to decide on the character details than random selection.

Choosing Diverse Characters to Represent in Your Story

Real life is random, so don't worry about being random. You also don't have to worry about over representing. If you grabbed ten random people off the street, you would have a lot more diversity than meets the eye since the things that make people diverse aren't always visible to the eye.

The key, as always, is research. And also, while it's fine to write about a character with a diversity trait you don't share, please avoid writing commentary about the experience of living with that trait if you haven't had that experience. For example, you can have a character in your story who is blind even if you are not blind yourself, and obviously part of portraying that will be showing the challenges your character faces as a result of your story's events, but that's different from making commentary on the experience of being blind. Either way, you will want to make sure you hire sensitivity readers who can make sure your portrayals are authentic, not offensive, and not harmful. :)

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[girlmagazineedits]

The Superior Doll: Barbie vs Bratz

When you think of dolls from childhood, the top two are Barbie and Bratz. There are a few in between like the dolls of Monster High, Polly Pocket, and American Girl, but what makes these two so special? I will compare the two iconic dolls on diversity, authenticity, style, playability, movies, and overall girl power. 

Diversity plays a huge role in whether or not a doll will succeed in today’s age as every little girl needs representation. Let's look at the original Barbie doll, she is white, blonde, thin, and tall, but what if you're short, chubby, black, or Asian? How can you relate to a doll that looks nothing like you? With Barbie rolling out in 1959 and Bratz rolling out in 2001, Millennial and Gen Z girls had opened their eyes to a new form of diversity and inclusion that came with the Bratz brand. Unlike Barbie, the original Bratz doll was a four-package deal. There was Sasha, a black girl, Cloe, a white girl, Jade, an East Asian and white girl, and Yasmin, a Latina and Persian girl. With this blend of almost every race and nationality, there was a little bit of everything for any young girl to relate to. Bratz wins diversity.

The authenticity of these two dolls is so significant to the fans. Barbie has made some changes along the way with Mattel by adding more body types, LGBTQ+ dolls, various culture dolls, and dolls with disabilities. Current Barbie is not as “slay” as she once was as her face looks different with less makeup and not so snatched bone structure, as collectors, fans, and many within the r/Barbie subreddit state. Although Bratz has added a new doll, Raya, to the original fabulous four, Bratz has always remained spunky, fashionable, and multi-ethnic. It seems as though Barbie had to progress and change with the times because of the outrage of concerned mothers worried about the body image portrayal their kids viewed along with the lack of diversity pushed upon children. Mattel has strayed far from what Barbie originally stood for and got lost along the way trying to please everyone, which is impressive loyalty to fans but what Barbie originally stood for has faded. Barbie represented the “perfect” all-American white, skinny, blonde woman proudly, who could be anything and do it all, stemming from the women's rights movement in the 1950s. Bratz wins authenticity as they never had to change to make others feel comfortable.

Barbie has had some iconic looks over the years, such as the Sporty Barbie, Cowgirl Barbie, and the striped swimsuit in her original rollout outfit. As much as Barbie has fashionable classy looks with a retro flair, Bratz takes home the trophy in style, I mean just look at them. The high-heeled boots, the belts, the glitter, sequins and bedazzles, the makeup, the eyelashes, and the layering on the Bratz dolls are top-notch and over the top in all the right ways. Bratz wins style.

What playability means to me is the sets/scenes and the storylines these dolls have. Bratz has had many sets but have any of them stuck? The “Rock Angels” set seems to be the most popular with a movie and soundtrack coming out of it, I remember I had the tour bus, but Barbie’s iconic Barbie dreamhouse trumps all. The Barbie Dreamhouse is the epitome of play to a little girl, you mean she gets an entire four-foot-tall pink dollhouse? Barbie’s iconic Corvette, dreamhouse, friends, pets, sisters, and overall storyline make imagination and play easy. Barbie wins playability. 

Barbie in the Nutcracker (2001) was the first ever Barbie movie. Bratz released their first movie Bratz the Video: Starrin’ and Stylin’ (2004). Since Barbie was already very well known across generations and the globe, their success with the films was greater as they already had a forty-year established brand underhand to the Bratz franchise. Barbie movies have significantly higher ratings, viewership, and cult-like following with their whimsical, fantasy-like movies of the early days. On top of the early films, a critically acclaimed live-action Barbie (2023) movie was released with it being, the most anticipated movie last year with an outstanding cast and director, Barbie wins the movie category.

Mattel’s Barbie is an outstanding brand that has lasted for 65 years whereas Bratz is 23 years old. Bratz has proven itself in the clear categories listed above through the eyes of a young girl with their stylish outfits, diverse cast, and the brand's authenticity. However, Barbie’s playability, longevity, and overall brand power are superior. Barbie pushes the notion that young girls can be whoever they want stamping this with their slogan “You Can Be Anything”, not just style icons and fashionistas as opposed to Bratz with their slogan “Passion for Fashion. This is not a comparison of the two brands but rather a deep dive into what makes both dolls so special to us. What doll is your favorite?

[hayatheauthor]

So I have a lot of characters of different origins and ethnicities and stuff, but I'm just now realizing that I write them all as if they don't have a race(?) In my country though people have a wide range of skin color, in my area there are very few people who are not locals. So I think this might be a problem? Do you have any advice for this, especially for a newbie writer? Sorry for bad english, have a good day:)

To start, you can consider the backgrounds and origins of your characters and incorporate elements that reflect their diverse identities. This can include physical descriptions like skin color, hair texture, or facial features, as well as cultural aspects such as names, traditions, languages, or beliefs. Researching and learning about different cultures can provide valuable insights and help you create authentic and respectful representations.

It's important, however, to approach diversity with care and avoid stereotypes or tokenization. Each character should be well-rounded, with their racial or ethnic background being just one aspect of their identity. Give them individual personalities, strengths, weaknesses, and story arcs that go beyond their race or ethnicity.

Additionally, sensitivity readers or beta readers from diverse backgrounds can offer valuable feedback on your portrayal of characters and help you avoid unintended biases or inaccuracies.

Best of luck with your writing journey, and have a great day!

[candylandphotos]

Dark skin ethnic black Sudanese model Alek Wek joyful excited smile beauty 💕

"Emanating Beauty and Joy: The Enchanting Smile of Sudanese Model Alek Wek Radiates Pure Delight 💕✨"

[denisearef]

The Half of It (2020)

"The Half of It" unfolds in the fictional town of Squahamish, where Ellie Chu, an introverted and academically gifted Chinese-American teenage girl, makes a living writing essays for her classmates. When Paul Munsky, the friendly jock, approaches Ellie for help with expressing his feelings for Aster Flores, the girl they both secretly admire, an unexpected friendship develops.

The plot takes a twist as Ellie, who's struggling with her own secret affection for Aster, navigates the complexities of love, identity, sexuality, and friendship. The film beautifully explores the trio's dynamics, challenging traditional romantic tropes as they form an unconventional bond that transcends societal expectations. As Ellie ghostwrites love letters for Paul to win Aster over, the narrative evolves into an examination of self-discovery, acceptance, and genuine relationships.

Alice Wu's "The Half of It" stands out for its nuanced approach to diversity and its subversion of genre norms. One notable aspect is the portrayal of non-white characters that avoid the trap of being reduced to stereotypes or signifiers of 'otherness.' Leah Lewis, in the role of Ellie Chu, embodies this transcendence as her character's experiences and emotions become universal, resonating beyond cultural boundaries.

Rather than relying on exoticized or token representations, the characters in "The Half of It" navigate universal themes of love, identity, and self-discovery. The narrative becomes a mirror reflecting the shared human experience, making it accessible and relatable for audiences worldwide.

"The Half of It" further distinguishes itself from conventional romantic comedies by subverting the expected romantic pairings. In a departure from the typical narrative arc where the shy, introverted girl would fall in love with the charming jock, the film takes another route. Ellie's journey is not centered around a romantic relationship with Paul but rather an exploration of her own identity and a realization of her feelings for Aster. This deviation challenges the often-predictable formula of romantic comedies and introduces a queer narrative.

Ellie's unspoken affection for Aster becomes a central theme, and the film beautifully navigates the complexities of same-sex attraction in a small, conservative town. Instead of conforming to the expectations of a heteronormative storyline, "The Half of It" explores the challenges and nuances of LGBTQ+ experiences, providing a much-needed representation within the romantic drama genre.

The decision to maintain Paul and Ellie as friends at the end of the film further reinforces the narrative's commitment to authenticity. Rather than forcing a romantic resolution between the main characters, the film prioritizes the importance of deep, platonic connections. This departure challenges the notion that every close relationship between a male and female character must inevitably turn romantic, offering a more realistic portrayal of the complexities of human connection.

Despite the film's diversity, the casting still somewhat centers around whiteness. Although certain characters challenge some stereotypes, the narrative framework remains within the confines of a predominantly white cultural context. This dichotomy raises questions about the depth of diversity in the film industry, emphasizing the need for more inclusive storytelling that goes beyond surface-level representation.

All in all, "The Half of It" distinguishes itself in the romantic comedy genre by subverting conventions and exploring themes of love, queerness, identity, and friendship. While transcending racial and ethnic origins, it also prompts reflection on the industry's ongoing journey towards more authentic and inclusive representation.

[inkdsythe]

Unraveling the Tapestry: The Complex Portrayal of Women in Media

In a world where media shapes our perceptions, it's time we unravel the tapestry that weaves the portrayal of women. From silver screens to glossy magazines, it's crucial to recognize the multifaceted nature of this portrayal and the impact it has on our collective consciousness. Join me as we dive deeper into the complex depiction of women in media, shedding light on both the progress made and the challenges that still lie ahead.

Beyond the "Damsel in Distress": Breaking Stereotypes Historically, women in media were often confined to passive roles, perpetuating the stereotype of the "damsel in distress." However, recent years have witnessed a significant shift. Films and TV shows now feature female characters who challenge societal norms, displaying strength, resilience, and intelligence. Characters like Wonder Woman, Rey from Star Wars, and Offred from The Handmaid's Tale serve as powerful symbols of women reclaiming their narratives.

The Double-Edged Sword: Sexualization vs. Empowerment One contentious aspect of women's portrayal in media is the fine line between sexualization and empowerment. While some argue that embracing sexuality can be empowering, others contend that objectification still persists. Analyzing music videos, advertisements, and even video games, we observe a nuanced interplay between female empowerment and the perpetuation of unrealistic beauty standards. It is crucial to encourage diverse representations that celebrate a range of body types, ethnicities, and abilities.

Invisibility No More: Amplifying Marginalized Voices Women from marginalized communities have long been underrepresented or misrepresented in media. However, as our society becomes more inclusive, we witness a growing demand for authentic stories that reflect diverse experiences. Trailblazing projects like "Pose," "Never Have I Ever," and "Gentefied" explore the narratives of LGBTQ+ women, women of color, and immigrant women, offering a refreshing departure from the mainstream.

The Glass Ceiling: Behind the Scenes While we critique the portrayal of women in front of the camera, it's essential to shine a light on the gender disparities behind the scenes. Women continue to face significant obstacles in the film industry, with limited opportunities as directors, writers, and producers. By championing and supporting female voices in these roles, we pave the way for more nuanced and authentic portrayals of women in media.

Unveiling the Marketing Machinery: Consumer Influence The media landscape is undeniably shaped by market forces. Advertising plays a crucial role in perpetuating gender stereotypes and beauty standards. By becoming savvy consumers, we can challenge these narratives. Social media movements like #NoMakeup, #EffYourBeautyStandards, and #WomenInSTEM encourage women to embrace their authentic selves and defy conventional expectations, promoting inclusivity and self-acceptance.

As we step back and examine the portrayal of women in media, we uncover a tapestry of progress, setbacks, and untapped potential. By demanding more diverse representation, challenging stereotypes, and amplifying marginalized voices, we can weave a future where women's stories are truly reflective of their diverse realities. Let's unravel the threads of the past and stitch together a more intriguing and empowering future for all.

[gretasworld]

Yes. We prefer the old Lestat and Louis. And the old Claudia as well. 💯

Portrayal of Louis also stays truer in the Brad Pitt version in terms of his country and ethnicity.

Authentic representation 👌✔

[chaya-mga2022mi5014]

Researching social, political, and cultural influences on contemporary character design

As it was mentioned in the brief that we will need to generate ideas  for contemporary character design influenced by social, political and cultural research, I decided to do some more digging into that topic so that I could integrate those into my character design.

  1. Social Influences To talk about diversity and representation, with more and more people wanting to see characters that look like them and their communities, I understood that it's crucial that characters are designed to reflect the diverse population in terms of race, ethnicity, gender, sexuality, and ability. This means more characters from underrepresented groups and more nuanced and authentic portrayals of these characters.

For an example, ‘The Croods’ animated movie showcases different types of families, for example, Eep, the young girl’s family is a traditional one, where the father is the leader and the protector of the family, while Guy's family is a more modern one, where the mother is the leader and the protector of the family. This representation of different types of families allows the audience to relate and connect with the characters in different ways.

The film also addresses themes of individuality and self-expression within a family. Eep's character is a great example of this as she is a curious and adventurous young girl who wants to explore the world outside of her cave. Her desire for this is often met with resistance from her overprotective father, but ultimately she is able to find her own path and become a leader.

2. Political Influences in times of political turmoil or social unrest, characters may be designed to reflect the feelings of hopelessness or resistance that many people may feel. Similarly, during times of political progress, characters may be designed to reflect the optimism and hope that many people feel.

In the movie ‘Brave’ the main character Merida's actions and desire for change is met with resistance from her mother and the high-ups of the kingdom, who believe that tradition should be upheld at all costs. This reflects the political issues of tradition vs. change that societies face today.

3. Cultural Influences

Characters are often designed to reflect the cultural values and beliefs of the society they're created in. For example, the movie "Moana" is a great example of how cultural influences shape contemporary character design. The movie is set in the island of Motunui, which is based on the real-life Polynesian culture.

The character Maui is designed to reflect the Polynesian cultural values of strength, bravery, and masculinity. He is also designed to reflect the traditional Polynesian tattoos, which are a significant aspect of Polynesian culture. Maui's tattoos cover his entire body, and they tell the story of his deeds and exploits.

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This research on the topic of social, political, and cultural influences in contemporary character design has been incredibly informative and has helped me understand how these factors play a role in shaping the characters in movies.

I've understood that these factors should also be present in the backstory and design of my own characters. By understanding and utilizing these influences, I can create characters that are relatable, authentic, and reflective of the society in which they are created. 

[oddvolumebookstore]

Check out this listing I just added to my Poshmark closet: 1950s Handsome Men & Pretty Women at Lakeside Resort fr-1.