#like the only real diverse character is Wesley

[windy-babe]

People be like "omg this movie/show is so diverse!" and then there's like 4 characters with blue eyes

[isca-rambles]

Oh man. I'd started to get an inkling but to have it confirmed sucks. I really hope it wasn't under similar circumstances to the other departures of Black cast members, but I feel like if it was on good terms then there'd have been a little more context given to it and he'd have an episode or two for a proper exit storyline. But if he's just not returning. But goddamit I really loved Tru and Aaron. Hopefully they don't kill him off and let him leave or transfer due to the trauma of everything he went through, which would be understandable, but also I'm just not sure it'd be in his character. He did so much to become a cop, and he has such a bond with Celina, it seems a lot that he'd just walk away without even an episode or two to lead up to it. And, selfishly, another friend Lucy is going to lose. He'll never see Chenford get back together :( Obviously none of the show-universe implications are important in the grand scheme of things, but it still sucks. He was such a good character. I really hope the departure was on good terms and he just wanted to focus on other work. That maybe he'd be open to coming back for guest spots. A wedding, mayhaps. But I have a feeling probably not.

It's a worrying trend though. For a show with a pretty diverse cast, considering Tim and John are the only white male members of the main ensemble (I guess maybe Wesley counts and this new guy now so that number is creeping up a bit), this show has a real issue with keeping Black cast members. And now they're bringing in a new Black cast member. Was it already planned prior to Tru departing or as a response to it? Because either way, with Tru coming in after Titus left, it feels a bit...yeah. It's really not my place to speculate or comment, it's my place to listen and support. But it does leave a bad taste.

What the fuck

[mitigatedchaos]

On Having “Whiteness”

(~2,200 words, 11 minutes)

Summary: A metaphysics of “Whiteness” has overtaken actual sociology in the Democrats’ popular consciousness - blinding them to racial interventions that might actually work and taking them off the table of political discussion.

-★★★-

Donald Moss - On Having Whiteness, Journal of the American Psychoanalytic Association (emphasis mine)

Whiteness is a condition one first acquires and then one has—a malignant, parasitic-like condition to which “white” people have a particular susceptibility. The condition is foundational, generating characteristic ways of being in one’s body, in one’s mind, and in one’s world. Parasitic Whiteness renders its hosts’ appetites voracious, insatiable, and perverse. These deformed appetites particularly target nonwhite peoples. Once established, these appetites are nearly impossible to eliminate. Effective treatment consists of a combination of psychic and social-historical interventions. Such interventions can reasonably aim only to reshape Whiteness’s infiltrated appetites—to reduce their intensity, redistribute their aims, and occasionally turn those aims toward the work of reparation. When remembered and represented, the ravages wreaked by the chronic condition can function either as warning (“never again”) or as temptation (“great again”). Memorialization alone, therefore, is no guarantee against regression. There is not yet a permanent cure.

So both @arcticdementor [here] and @samueldays have linked me to this allegedly “peer-reviewed” article.  The Federalist has a bit more context, but it doesn’t really make the situation better.

Race Theory Problems

Obviously, this is a work of sloppy thinking.  The categorization of “white supremacy culture” or “whiteness” used by people like this is vague handwaving that describes being bad at management as “white supremacy culture,” and which in general labels universal human problems, like organizations being resource-constrained, or people being impatient, as somehow uniquely “white.” 

But this sort of article is really what I mean when I say that social justice’s approach to “whiteness” is about “spiritual contamination.” 

Samueldays called it “the ‘I’m not touching you’ of inciting race war,” and I may cover more of his response to it later.  Suffice it to say, it has the same general kind of problems as “stolen land” arguments (where an entire present population’s living area becomes undefined), unbounded “reparations” arguments where no amount of transfers by the designated oppressor are considered to clear the debt, and so on.

This is exactly the sort of material that conservatives are seeking to remove government funding for and prohibit from use in employment training.  This is the kind of material that the Trump Anti-CRT executive order prohibiting racial scapegoating was meant to cover.

Race Theory Definitions

This kind of stuff is, of course, not really defensible, so usually at this point people will argue that 1), “that’s not real critical race theory,” and then 2), “it’s just a few weirdos.”  For those, I would say...

1) If it’s not real “Critical Race Theory,” then what is it?

We can’t measure or disprove Moss’s proposed “Whiteness,” and this malevolent psychic entity said to “deform” white people obviously isn’t based on a comparison with other human populations or historical periods.  When it comes to “insatiable” appetites, one study argued that the Mongol invasions killed so many people that it showed up in the carbon record.

At best, it’s sloppy race science as practiced by an amateur, like twitter users idly speculating whether whites have ‘oppressor epigenetics’ - but with the veneer of official status.  And it has similar risks to proposing that there is such a thing as biologically-inherited class enemy status, and other collective intergenerational justice logic.

Presumably, the Journal of the American Psychoanalytic Association is intended as a journal of science, or at least serious scholarship, and not of bad racist poetry with no rhyme or meter.

Moss provides a relatively pure example of whatever-this-is. I need to know what it’s called, so we can get rid of it.

Race Theory Prohibitions

2) If it’s just the product of a few race-obssessed weirdos, then it won’t hurt to get rid of it.  So get rid of it.

The actual text [PDF] of the Trump Anti-CRT order does not ban teaching about the Trail of Tears, or Jim Crow, and so on, and both of those topics were taught in school before this recent wave of whatever-this-is was popularized.

Trump’s order banned teaching that any race is inherently guilty or evil due to the actions of their ancestors, and the level of resistance to this has been bizarre.

These teachings don’t seem to provide gains in relatively objective metrics like underrepresented minority test scores (or at least that’s not something I’ve seen - and the continued opposition to standardized tests suggests proponents do not expect it to), so it’s unclear just what of value is going to be lost here. 

Collateral Damage

Samueldays wrote,

Because right now the conservatives talking about "critical race theory" as they fire in the direction of Moss et al. are very important in preventing another race war and you have a moral duty to help them aim, not throw smoke for Moss.

Right now Conservatives are assessing just how much stuff they’re going to have to rip out to make “standardized tests are racist” and “it’s impossible to be racist to white people” stop.  While this may not be the message that Liberals are intending to send, it is the message that many people are receiving.  (I discuss problems with both, and some alternatives to handle them better, in another post.)

Liberals need to get out in front of this.  Sooner is better.

If Conservatives think that they have to gut hostile work environment law in order to avoid their children being taught that they’re permanently morally contaminated by their race, and Liberals have no means to actually close race gaps within a 4-8 year period (and right now it’s slim pickings on that front), Conservatives are just going to gut hostile work environment law.

Aether

From their perspective, why not? 

Everything in the world is only six degrees of separation from something racist.  Anything in the world can be tied to something racist.  (So can anyone.)

But nowhere in this pervasive atmosphere of tying things to racism are there solutions.  There are guesses based on correlations.  Proposals.  But usually when you reach out to grab them, to really get a grip on whether it’s correlation or causation, they dissolve in your hands.  The few that do have any solidity to them are moderate in their success (such as Heckman’s involvement in the Reach Up & Learn study in Jamaica) - and don’t appear to be based on the same style of thinking as shown by Moss and others.

It isn’t just that trying to turn combating an invisible, non-measurable, unfalsifiable, parasitic psychic force into an actual political program would inevitably be oppressive and totalitarian.  It isn’t just that articles like Moss’s are an in-kind donation to the 2024 DeSantis Presidential campaign for that very reason.

It isn’t just that unfalsifiable Metaphysics of Whiteness content like White Privilege Theory has been found to lower sympathy for the poor, and that present diversity training doesn’t work...

Race Content Crowding

This stuff is crowding out legitimate scholarship.  I don’t just mean in terms of funding, tenure track positions, or high-flying magazine coverage - all limited by their nature.  I mean among the base.  I have been interrogating Democrats on Twitter for months, and not a single one has been able to cite a strongly-demonstrated intervention that’s being held back, or even a past one that was conclusively demonstrated to be effective.  They can often recite a list of racial grievances on cue.

Tucker Carlson could run boomer_update.exe on a list of every educational failure since the 1970s, and they would be reduced to sputtering accusations of racism against people who increasingly don’t care.  He could do this tomorrow.  The only thing that prevents this is Tucker Carlson’s conscience.

I discovered the Reach Up & Learn program through Glenn Loury - described as a ‘conservative.’ Scott Alexander, attacked by the New York Times crew, brought some success with multivitamins to my attention.  When I first heard about the Perry Preschool program, I believe it was from someone well to the right of him.

About the only one brought to my attention by the Democratic establishment constellation proper was lead removal, and the gains on that are probably getting tapped out.  The frame it was proposed in was not Critical Race Theorist, as this was likely in 2012. 

As it stands, I’m more likely to find something that works from someone the New York Times would disapprove of than someone they wouldn’t.  Or, as Wesley Yang wrote,

Reality has been contrarian for a while.

Succeed Early

Even if we suppose that Conservatives are inherently racist, Liberals have a duty to support interventions that work.  In fact, the more that Conservatives are a seething, undifferentiated mass of uniform racial hatred, the more important it is that Liberals stick to racial interventions that work, because nobody else is going to fix the problem if Liberals get it wrong.

It isn’t just a matter of resources per year.  It’s also a matter of time.

From Heckman’s website,

Although Perry did not produce long-run gains in IQ, it did create lasting improvements in character skills [...] which consequently improved a number of labor market outcomes and health behaviors as well as reduced criminal activity.

Even if we propose an unlimited amount of funding (which is not the case), people and politicians only have a limited amount of time and attention each year.  Newspapers only publish so many issues with so many pages each week.  Television programs only cover so many hours for so many viewers each day.  Even the dedicated can only read so many books in a year.

Even though the Perry intervention was imperfect, and the sample size was not as large as desirable, every second Democrat I talked to should have been able to answer the question “can you name an effective intervention?” with “what about Perry Preschool?”

Every year that we have entire cottage industries working on and popularizing contentious, ineffective, and backlash-provoking Metaphysics of Whiteness content, based on oversimplified oppressor/oppressed binaries, or theories in which power is held collectively by races as monolithic blobs (rather than modelling power as a network of relations between individuals, in which an individual of any background might be destroyed by the racialized relations in their environment), is another year we haven’t spent that energy on finding or implementing something that actually works.

This isn’t just an individual failure by Democrat voters, who typically have day jobs to focus on - it is a failure by the institutions who are supposed to inform and guide them.  This institutional failure likely contributed to the popularization of Metaphysics of Whiteness content in the first place.

Okay, now what?

Donald Moss is a crackpot.  Metaphysics of Whiteness content is unfalsifiable.  The idea that there is a psychic parasite of “Whiteness” is not a legitimate field of study; it’s parasociology.  The idea that “a sense of urgency” is “white supremacy culture” isn’t much better. [1]

We already tried isolating this content to obscure corners of academia, where individuals with high racial attachment could write about it.  It leaked out. 

We need to get this stuff out of the popular consciousness to make room for stuff that might actually work.  The best way to do that may be to cut off the source.  Since Donald Moss is a crackpot, perhaps it’s time we started treating him, and everyone else like him, as what they are.

People involved in Metaphysics of Whiteness content, like Donald Moss, need to be (figuratively) grabbed by the shoulder, and firmly, but politely, told to stop.  Society has been recklessly handing out race-colored glasses to the general population since around 2014, resulting in a rise in amateur race science, of which both right-wing Twitter users memeing about Italians and Metaphysics of Whiteness participants like Moss are examples.  If they do not stop, they must be stripped of institutional authority.  Metaphysics of Whiteness content is unfalsifiable and we should not be certifying it.

If institutions refuse to reduce the authority of Metaphysics of Whiteness practitioners, those institutions must have their accreditation penalized, and their government funding reduced or eliminated, just as if they insisted on producing study after study on magic or ESP which failed to yield results.  If they do not comply, they must be replaced.

It’s possible that Metaphysics of Whiteness content might have had some obscure, niche function in terms of the exploration of the idea space. 

However, as it has displaced popular knowledge of interventions that might work, and the attention given to them in the political system, Liberals should seek to surgically remove it, at the very least until some more effective interventions see the political light of day.

If not, Conservatives will attempt to remove it with a bludgeon.  "They described an entire race as ‘voracious, insatiable, and perverse,’ and here’s the citation for the exact page where they did that,” is perfect material with which to abolish entire departments.

-★★★-

[1] If we go a bit farther out, scholars of “Decolonization” argue that the field is wholly unconcerned with “settler futurity,” a phrase not much less ominous than describing “whiteness” as “incurable.”  It seems that their entire job should be to answer the very difficult questions they have decided not to.

[aion-rsa]

How What We Do in the Shadows Exploits Vampire Clichés

https://ift.tt/3nx8Vdh

What We Do in the Shadows on FX is a supernatural comedy that allows its characters to go beyond all of the powers and vulnerabilities that viewers expect of vampires, while still honoring the tradition established by the bloodsuckers that preceded them. In fact, the humor of a particular scene often stems from the subversion of the archetype, whereas the more expected wooden stakes and sunlight vulnerabilities are reserved for story arcs where the danger is more serious and real.

The most obvious use of humorous artistic license with vampire lore lies in the depiction of Colin Robinson as an energy vampire. The 2014 film upon which the FX show is adapted used the mockumentary style often imitated by single camera office comedies on television. Now the show introducing a creature that uses small talk and idle chatter to drain the life-force of co-workers and housemates fits perfectly into that formula. Notably, the only indications that Colin Robinson is even feeding are his ecstatic grin and glowing eyes. The understated nature of his vampirism is what makes it work.

Read more

TV

What We Do in the Shadows: Does Colin Robinson Find True Love in The Siren?

By Tony Sokol

TV

What We Do in the Shadows Season 3: Harvey Guillén Wants Buffy to Train Guillermo

By Tony Sokol

Colin Robinson, in fact, checks very few of the boxes on the vampire checklist. He has the long life of a vampire, but he doesn’t appear to have the flashy powers of transmogrification or victim hypnosis. His only advantage seems to be that he can walk with impunity in full sunlight. But even as What We Do in the Shadows subverts these vampire norms, it gives the energy vampire powerful abilities that even his peers don’t have, like an invulnerability to fire to further avert audience expectations.

Viewers also expect their vampires to be immortal, and if it weren’t for the advanced age of Nandor, Laszlo, and Nadja, What We Do in the Shadows would not be able to capitalize on the fish-out-of-water humor of their anachronistic existence. The series even played with the convention of having its eldest vampires appear less human with the passage of time (see The Master in either Buffy the Vampire Slayer or The Strain). The antics of the Baron in season one were therefore even more hilarious thanks to the juxtaposition of his elven ears, red eyes, and wrinkles displayed in all their glory beneath a New Jersey Devils cap.

And let’s not forget the infamous vomiting! Many vampire stories portray their creatures of the night subsisting only on fresh blood (or its synthetic equivalent in True Blood), but most can at least tolerate human food. The vampires in A Discovery of Witches can enjoy a glass of wine and some rare beef, for example, and although Twilight vampires must discreetly cough up their food later, they can eat to blend in. Not so in What We Do in the Shadows! The explosive regurgitation makes the show disgustingly and hilariously unique.

There are even quirks within the powers displayed by the vampires in What We Do in the Shadows. Laszlo, for example, can speak to animals and must shout “Bat!” in order to transform — or perhaps he simply chooses to do so. Nadja is particularly good at crawling up walls like a spider, and she joyously mentors Jenna as the novice vampire discovers her singular ability to turn invisible in season one. Meanwhile Nandor can become a dog and set fires with his mind! This amount of diversity among vampires is not often explored elsewhere.

What We Do in the Shadows sticks to the classics for its more mundane illustrations of vampire clichés. Guillermo may not be the blood-charmed familiar found in earlier tales of horror, but he uses wooden stakes with a Buffy level of bad-assery. Sunlight may not affect half-vampires like Wesley Snipes, but it takes care of the Baron easily enough and is even used as a method of execution by the Vampiric Council. Some conventions just shouldn’t be messed with.

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

Everything else about What We Do in the Shadows, however, takes vampire norms and twists them to fit the humor and atmosphere of the show. If the charismatic Jan and her cult believe that vampires can be turned back into humans, so be it! Nadja can transform into a pile of rats? Sure, why not? Including stories like Colin Robinson’s investigation into the origin of energy vampires is exactly what keeps this series as original and fresh as the virginal blood of the geekiest LARPer.

The post How What We Do in the Shadows Exploits Vampire Clichés appeared first on Den of Geek.

from Den of Geek https://ift.tt/3GbvLzi

[firespirited]

Blade Trinity

I have a lot of thoughts.

First of all I’d like to acknowledge that Snipes is quite probably a wifebeater, the one who left Halle Berry deaf in one ear. He has also abused weed to the point of psychosis on a couple of occasions. He is a not a nice person and it was easy to make the leap that he’s nightmarish to work with, especially given that he did indeed refuse to do anything more than his barest minimum contractual obligations after a controntation with the director.

With all that said, when you re-read the cast and crews comments 15 years on, it’s clear that Wesley Snipes (and Kris Kristoffersen) got totally screwed.

Read more for infodump level TL;DR not spoilers: the movie’s 15 years old.

Snipes had spent over a decade fighting for a Black Panther movie and Blade... when he managed to get Blade made, it launched the Xmen and Spiderman movies which made bank. He felt that had earned him enough goodwill to be a proper exec in the third movie. He and Kristoffersen signed on for a Mad Max postapocalytic style Blade movie where vampires were winning with the two of them as main co stars only to find out they they were bound to a whole new movie that was a vehicle for a whitewashed and youthwashed vampire hunter spinoff: “nightstalkers”. The script changed again with the addition of Dracula because a film about vampires farming humans was considered too grim. So Snipes found himself in a film where the only other black characters were a vampire flunkie and a getaway driver and the only other POC was Françoise Yip as a vampire with like three lines. When he eventually called out Goyer on being “a racist motherfucker” for putting said blackdriver in a T-shirt that said garbage (a reach but also the final straw for Snipes), Goyer retorted that Snipes had already filmed all his closeups and could get lost as far as he cared.

Now the problem here is that both men considered Blade their baby, one as a way to get comicbook dark heros going mainstream and other other was doing it for The Culture, to have a real black hero on screen that wasn’t blaxploitation from the late 70s.

So do I blame Snipes for retreating to his trailer after that threat, smoking weed, doing a few extra takes relunctantly and refusing to do press for a film he despised? No. I’m pretty sure from the blatantly re-used audio that Kristoffersen also left the set as soon as possible. Lyonne was also barely there on set and everyone worked around it. Do I blame Snipes for then suing the company for his wages and racial discrimination? No, in fact, I think it’s fantastic that he did, he demanded the racial receipts on the third movie in a trilogy where he’d had say in making sure the sets & crew were diverse in the previous two movies. I only wish it had been more public and not spun as Snipes being a money grabbing diva. By then he was living in a compound and beefing with the IRS so it looked bad. But imagine if it had set a precedent to be able to demand diversity that at least matches the american population... in 2005! Imagine!

Do I blame the company and the director for trying to push a “Nightstalkers” (Reynolds/Biel) franchise into a Blade movie, with crossovers with Underworld already planned out, without telling Snipes and Kirstoffersen? YES

Do I blame any script writer who brings in a literal god to fight their hero and then has trouble writing a decent ending? hahaha absolutely yes. writing 101 don’t bring in a god tier baddy unless you have a god tier chekov’s gun at the ready - see Thor: Ragnarok for this done right and an awful lot of superhero media for this done wrong.

I think it’d get entirely different press now that we have twitter. To be fair, Snipes probably wouldn’t get cast either now that we’ve narrowed it down to him being Halle Berry’s abusive ex. *takes a swig, little finger out, side eyes*

The story itself suffers from 1/ the mismash of two story lines: vampires planning for the end of humanity using blood farms and finding dracula then trying to make it look like the two stories were intertwined and part of the plan and not two seperate films badly mangled into eachother.

and 2/ Dracula is a god, the only way his death works is if you read it as him being willing to risk death by the only person on earth he deems honourable enough to slay him, realizing that Blade still is not close to a match, but getting,  well, *accidentally* slain by science.

With that said, it is a fantastic standalone movie. You don’t feel like the 90 minutes are wasted*. You get your action, your chuckles and fist pump moments, fast and furious! You’re left wanting to spend more time with many of the characters. Ryan Reynolds is the wisecracking ignored sidekick who’s having a whale of a time getting to do improv. You liked Deadpool? Well here’s the trial run! All the respective characters do their mostest: Parker Posey, Keith Callum Rennie and Francoise Yip sculk and play top notch scumbag villains you love to hate, Bit players ham it up for whatever screentime they get except Lyonne who was going through a breakdown during the filming so she’s not her shining, wonderfully naughty, self.

Snipes’ on set behaviour doesn’t show up on screen, it’s obvious his character is not being treated like the protag by whoever’s editing this thing but Blade the character treats Whistler’s daughter with respect once he realizes they’re going to have to team up and the scenes he’s in: he IS Blade.

Now Purcell as Dracula/Dagon/Drake is absolutely stunning, he chose to mirror Blade’s terseness with similar calm, spare, deliberateness. He growls his words and moves like a hunting cat toying with Blade, bored by humanity and vampires alike. The actor knows he’s been given an overpowered role so he chooses to never look like he’s actually straining himself, just enjoying the hunt so that when the claws finally do come out -so to speak- it’s organic: time for the kill, you get to see my real powers. Aside from the cheesiness of being nicknamed Drake, he uses physicality to convey that he’s just a whole different being from vampires and doesn’t really belong in this world, at least not the sheltered pseudo-america they put him in. I can’t fault him for the arc he was given, he blends into his role, embodies his ancientness and gives the whole thing a seriousness that anchors a really quite silly premise.

The movie came out in 2005 and at the time I remember thinking, (yes this is politically incorrect AF) Drac would have switched on the news, scrolled through wikipedia and totally gone looking for warriors, vampires or not. He’d have ripped Bin Laden’s head off live on camera and restarted the crusades just for the fun and bloodshed... on whatever side he felt had the most bloodlust. I did not imagine he’d declare a new caliphate or anything so don’t blame me for manifesting Daesh! It’s just that a god of war would not stick around - He’d give blood to the vamp scientists looking to improve his descendants then be off looking for a war to wage. The only way this movie works is if you read him as having given up, his age has passed, his descendants are pale copies and before he can get over his mini depression and start realizing that he sure does love a good fight, Natasha Lyonne’s character magically found the deus ex machina to allow Blade to kill a god.

*unless you watch the end credits. In the first version a voiceover says Blade is still needed and hunting which makes no sense given the vamp!plague. In the second version Dracula wakes up and you’re like what is this movie? did you just restart from zero? *shrug*

I think this movie will be considered with less scorn and more love than when it first came out as people do the 20 year rewatch or watch the trilogy before the new Blade comes out and will be somewhat of a vindication for Snipes who really was treated like a token by the industry. You can dislike the actor AND understand why Blade as a character and icon was disrespected.

[summerspn]

Charmed (2018)

(Minor spoilers)

I waited a few months, trying to go in this with an open mind. I didn’t google or watch anything about this show since first watching the trailer for the pilot months ago.

Here are my thoughts:

The diversity is great overall. However, I feel like the show is focusing on quantity over quality in that respect. I don’t care if the leads are African American, Latino, Caucasian, Asian, or from Mars. However, the should be able to act! Meaning, have depth / layers.

If any show/movie/or writer is attempting to be diverse, they need to diversify!

While I’m not in show business I hope to publish more stories in the future. So I read whatever I can get my hands on. Books written by Americans, Canadian, British, some from Africa, South America etc. I do this because I’m not only curious but I’m self aware. I want to know what other people do and to gain perspective.

For writers/directors/show runners etc they should watch shows & movies from other countries. British shows are phenomenal in the fact they do everything 100%. The writing feels natural, it’s intelligent, & it flows. The acting is brilliant. Even the people who have 2 lines can act! A couple years ago I watched an old Canadian show (I can’t remember the title) but it was heart wrenching and beautiful. I saw 20 minutes and was in tears...(without knowing who the characters were). The acting was that good. And the cast for many Canadian shows are diverse (though admittedly not ideal), but it feels real. They don’t beat us over the head with it.

- My point is, this 2018 version of Charmed was promoting itself as diverse but that worked for and against itself. Diversity is great but pointing out one’s differences is counterproductive. It’s like saying ‘treat me like everyone else’ and ‘I’m different & unique’ at the same time.

- The CW should have just focused on the actresses/characters being relatable. That’s more about marketing & instructing the actors before they give interviews though.

The special effects are on par with the original Charmed. That’s...not great. 20 years in between the shows. There are better effects out there.

So this tells me the CW was being cheap & didn’t want to pour their money into the special effects. As if the show wasn’t worth it...and if the CW thinks that, I’m not surprised people weren’t happy about the show.

- Also, there are tricks to use less special effects...camera angles etc. From Supernatural (another CW show - the only good one imho) The camera moves around Misha Collins so he can walk out of the frame and poof! Castiel is gone! No special effects required but it still felt real. The CW could do some tricks like that to supplement the budget.

This last episode - the black Smokey demon guys poofed in and out a fair amount. Cool I guess but then the final show down where the sisters slam that staff into the ground and the gate to hell opened, that looked incredibly cheesy. Less poofing earlier = more $ for final showdown special effects. Basic math.

- I actually prefer the original special effects because it was appropriate back then - to the time & technology it was pretty great.

The reboot has constant references to modern technology but it feels like they’re not using modern tech for the special effects.

Female empowerment! Yay! Or rather, what? As a headstrong, independent woman who can hold my own in an argument and that time I got mugged I can honestly say I do NOT support male bashing. Yes there are a lot of rich white men in power that suck but your friends, neighbours, professors, nephews etc have NOTHING to do with that.

This show acts like (well, the way the dialogue is written) every little upset or injustice is because of ‘harassment’ or a rejection of feminism & females. No, one doesn’t have to lead to the other. Your professor is upset with your work or with what you say... it’s possible you’re an idiot. Or maybe you shout the information in a way that’s standoffish which rubs someone the wrong way...

The original Charmed celebrated love. The sisters loved & respected their male friends, brothers-in-law, their father etc. There was an episode where Grams had trouble accepting a male witch into the family but they showed growth & she only felt that way because she was burned by love before. The reboot just tries to create drama where there isn’t any.

Female empowerment is where you feel strong & secure enough to be yourself. To be able to speak your mind, stand up for yourself & be independent. In real life you don’t have to tell people you’re empowered, you just are.

This show distorts that message. Empowerment does not require one to tear down another gender. The sisters from the original Charmed were strong and empowered but they never acted like they were better than anyone else (except demons).

The acting. Oh the acting... so the actors aren’t great. Some are better than others. Unfortunately it’s very distracting and disruptive to the suspension of disbelief. Noticing the poor acting pulls you out of the story so once again people aren’t as invested in the characters or the plot.

The gay characters are fine. I don’t care either way but why the continual reminders? Just BE.

Even on the show Crazy Ex Girlfriend, Daryl’s character is bi and white-Josh (his nickname on the show) is gay. But it’s not annoying and when they talk about it it’s either natural or over the top celebratory. They write it into the show so even the coming out musical number feels authentic. It’s kind of impressive to do that.

- But here on Charmed it’s brought up in a way that feels almost...out of the blue. Difficult to explain but it just doesn’t work. That randomness feels like it was smacking us and going ‘see I’m gay’!

Meanwhile during Crazy Ex girlfriend after 1 episode of Daryl making eyes at White-Josh you root for them. It’s just written so well.

The writing. Sub par. It’s more about the little things but I have predicted the villains a few times.

Whitelighter-that-looks-like-Wesley-from-BTVS-and-Ketch-from-Supernatural...was it necessary to KIDNAP the sisters, bind & confine them to reveal who they are?! And he didn’t get his ass kicked for it?! They were just...okay with it? That’s the first time I felt like they were all idiots. I mean, he could have just...I dunno, had a Conversation with them minus the sketchy kidnapping!

If that had been the OG sisters they’d have been pissed. Prue probably would have sent him flying or hit him with whatever was close by even without her powers.

Most episodes just feel a little...cheesy. So whitelighter (“guardian”) says in an episode ‘you’ll need to use the power of three’. It’s all dramatic and a big show down but it felt cheesy. Looking back I think it was because that actor was probably directed to just act like he was informing them...but because of that it felt like he could care less what happened. It was flat. Plus why did he stand so he was almost pressed against her? Just...awkward.

The actual spells are okay to me and the show has some nice eerie vibes but with the background music, the dialogue and even the title ‘Charmed’ it feels very light. The combo is classic Disney. It’s all fighting against one another.

Another example of minor details which has a big impact. This last episode - cute British guy is like ‘oh!’ And grabs a chair to stop him from being sucked into Hell. Really? That’s gonna do the trick. *sigh* To be fair, the writers go off what the show runners/directors want. So IF they were in a big open room and that was the only thing there, sure grab the chair. However, he was standing next to a door frame!

So I’m guessing the writers either: 1) didn’t know the set design, 2) the powers that be instructed them to ignore that detail, or 3), everyone forgot. Either way it’s sloppy. Not to mention the end result made the whole scene feel very...goofball rather than dramatic.

One of the MOST annoying things about this series is that they throw things in like a checklist. So we talked about...feminism ✔️, LGBTQ ✔️, ethnic minorities ✔️ etc. Seriously CW, you don’t have to squish everything into one episode. It felt too much like name dropping. See, we’re talking about this this and this...see, we’re cool! 😉 it felt so awkward.

If you’re going to go through your checklist at least spread it out. One episode focusing on their long lost sister & new powers. Next episode trouble with being harassed at school, next episode how you navigate your relationship with your girlfriend etc. Everything coming at you while they’re battling a demon is just too much!

The show is entertaining in a way but it was more about seeing if it was going to get better.

After over a decade since the original series ended, the CW still wasn’t prepared for this. Too many issues to like it as anything more than a time filler. Personally I’m not a fan of it and won’t watch anymore.

I also still want the CW to apologize to the original cast & crew for ripping off the show. It won’t make me watch the reboot anymore but it’ll make me feel less guilty for watching my favourite show, Supernatural which is under their control.

[stevie-coleman]

Right On Target

This past summer, I had the pleasure of working for SpotCo, a full-service live entertainment marketing and advertising company. A majority of their clients were Broadway shows, so my first task on my first day was to become familiar with the 2017-2018 season of Broadway shows. As I did my research and put my presentation together, I saw SpongeBob SquarePants, The Broadway Musical and I had the same reaction I think a lot of people had – I was in disbelief. SpongeBob? Like the goofy cartoon? I remember turning to my boss and saying, “Is this real? How on Earth are they going to market this??” and something to the effect of “This is just a show for kids!” Looking back, this was a pretty naïve way of perceiving the situation. I made a snap judgement about a potential target market and then wrote off the whole show as not being able to sell. However, what I should have seen was the incredible challenge faced by everyone from the actors, writers, producers, and directors to the marketing and press teams involved. They were tasked with taking a well-known kid show character, that people either loved or hated, and turning it into a successful Broadway production. And even more difficult than this was figuring out how to buck against preconceived notions and prove that this was in fact, not just a show for kids, but a show for everyone. So, how did they turn an eye-rolling, skeptical African-American female millennial into a die-hard fan?

The Music

I think one of the greatest elements of this musical is the diversity of genres represented in this show. It is no exaggeration when I say some of the biggest names in music across the spectrum wrote songs for this musical, names like John Legend, Lady Antebellum, Plain White T’s, T.I. Yolanda Adams, Steven Tyler and more. At first, this sounded bizarre to me because 1) musicals tend to stick to one kind of sound throughout a show or cast album and 2) these artists have absolutely nothing to do with each other. It really doesn’t make sense and I think it takes listening to the cast album or seeing the show to understand how ingenious it is. The creators of the show harnessed the power of unique styles of music to tell this story and evoke the right emotions in the right way at the right time. For example, listening to “BFF” by the Plain White T’s brings back memories of “Hey There Delilah”, a song that sweetly describing the feelings someone has for another person. “(I Guess I) Miss You”  was written by love song expert John Legend and has all of the soulful ballad-esque elements of a John Legend song even though the characters are saying things like “Now what’s the macaroni without the cheese/Or peas in a pod without the peas/That’s the way I feel when there’s a me without you” It’s truly incredible the way this creative team seamlessly strung together each and every number (shout out to Kyle Jarrow) and in doing so, the show proved that it truly had something to offer for everyone. Maybe you aren’t a SpongeBob super fan but you love Panic! At the Disco – SpongeBob’s big solo is right up your alley. Or you’re like me and you grew up listening to gospel music – “Super Sea Star Savior” serves as a toe-tapping jam that makes you feel right at home.

The Cast

As far as tapping into the market of theatre nerds, the show admittedly did not have a lot of star power from the start. If I’m being honest, I was only familiar with the name Lilli Cooper from Spring Awakening. That’s not to say the cast doesn’t have any seasoned veterans, but many members, including the titular character, were making their Broadway debut. New or not, another thing I loved about this show was how perfectly cast every character was. And I mean every single character, understudies included. You can look anywhere on the internet to hear Ethan Slater talk about how he mastered the mannerisms of SpongeBob but nothing beats seeing his unmatchable energy or hearing him do the iconic laugh.

 Lilli Cooper perfectly embodies the sassy, fast-talking, genius of a Southern squirrel in a way I didn’t even know was possible. 

Wesley Taylor sports an eye-patch for the entirety of the show just to serve up the looks that only one-eyed, evil genius Plankton could give. 

The night I saw the show, Alex Gibson was up for Squidward and everything from the sharp-toned negativity to the clarinet solo was delivered perfectly. 

(This is Gavin Lee, the originator of the role, but Alex Gibson was truly a dream)

Each character is so ideally represented on stage that it feels like you’re watching the cartoon come to life. The voices, the songs, the costumes – everything has been taken into account in the kind of detail that anyone could appreciate.

The Nostalgia Factor

I obviously don’t know the secret formula or insights that the marketing team had access to but I would say a huge factor in falling in love with this show for this millennial was nostalgia. I grew up watching SpongeBob and it wasn’t the most educational show but it was hilarious and entertaining and literally always on Nickelodeon. People my age still remember iconic episodes like “Band Geeks” and “Pizza Delivery”. Let me just say, the moment you step into the Palace Theatre and take your seat, you feel like you’re transported into another world. For almost two and a half hours, you are in Bikini Bottom.

As a 21-year-old college senior who is simultaneously looking for a job while finishing out her last semester in school, this show made me feel like a kid again, which is something I rarely get to experience. The pressures of stepping out into the real world are almost always weighing on me, as they weigh on most college seniors who dread the next time they’ll be questioned about their post grad plans. But I didn’t have to think about adult-related stresses or what comes next because for the duration of the show, my childhood memories just floated back. Of course the musical featured the show’s normal characters but sprinkled into this new SpongeBob story were classic references that only viewers of the older episodes would pick up on and appreciate. I couldn’t help but smile throughout the show because the feeling I felt was the same feeling people my age felt when Toy Story 3 came out or when the news broke about the Incredibles 2. We may be growing up and moving into adulthood, but we love letting our inner child free with the nostalgic staples of our childhood.

The Story

Nothing else sells the “this show is for everyone” vibe like the story. The plot is driven by the fact that an impending volcanic eruption is threatening the lives of Bikini Bottoms’ citizens. When the news breaks, everyone has less than 48 hours to figure out how they will save themselves. Even though SpongeBob maintains his optimism throughout the situation, other reactions are not so positive. Some citizens doubt the scientific facts (I believe there was a “tidal warming” joke somewhere in there). Others begin rejecting perceived outsiders like Sandy, believing she is in some way responsible for what’s happening. She is cast out for being a mammal and told that she is not welcome in Bikini Bottom. As the end nears, everyone is looking for updates from the news media and the mayor, who defaults to long-winded, never-directly-answering-the-question responses. Needless to say, the show draws some close comparisons from the real world and even though the world isn’t actually ending tomorrow, people who follow the news closely understand the level of panic these Bikini Bottom citizens feel. What saves the day night after night with this show is teamwork. When everyone else abandons all hope, SpongeBob, Sandy and Patrick work together because they believe Bikini Bottom is worth saving. I definitely feel like we live in a world that constantly feels like it’s in need of saving but taking a page from this musical’s book on what it means to act as a unified front and fight for what you believe in wouldn’t be a bad idea.

 All in all, this show has proven that it is so much more than just a kid’s show. It has a strong cast, album full of bops and a relevant storyline. To any skeptics of this show, I would say just try it. If you can go see this show, I would absolutely recommend it because to see it is to be truly entertained. To everyone involved with making this show come to life, thank you from the bottom of my heart. You accepted the challenge of making a “made for kids” show and honestly turning it into a piece that everyone can appreciate. And you made it one of my forever favorite shows. I don’t know if I was the kind of patron the creators or marketing team had in mind when this show was first pitched, but in my book, they were right on target.  

[we-pay-for-everything]

Top 5 whedonverse characters

Oooh... I’m sorry but my answer will not be very creative. I’ve seen Angel, Buffy, Dollhouse, Firefly, Serenity, Much Ado About Nothing, the first Avengers movie... Still, even though I enjoyed all of it, I only truly cared about Angel and Buffy. But mostly Angel... Soooo:

1. Angel

Big shocker here! Angel is my favorite character ever. What can I say that I haven’t already said about him? Hmm...nothing... 

In a nutshell, Angel faces life bravely, always tries to be a better person, is complex, intelligent and kind. He lives as the world should be to prove what it can be, and even though he sometimes bullocks it all up, he keeps trying which is, naturally, the most admirable thing of all. 

2. Wesley Wyndam-Pryce

Oh Wesley... I’ve got to say that his death scene is my favorite. Sentimental but meaningful, original. It sort of sums up what makes Wesley such a compelling character, particularly from season 4 onward: Wesley’s actions, carefully thought out as they are, always backfire on him. In his pursuit for the truth, or justice, or simply to protect his friends, Wesley’s actions and choices are pointless, absurd. He helped fulfill a fake prophecy while endeavoring to do the opposite. 

He’s the character you mourn and always root for despite everything. Intelligent, kind and full of good intentions, life wrecks him and turns him into a bitter, hypocritical shell of who he used to be. His very death is pointless because he fails in his mission, but like Lilah says, “It means something you tried.”

3. Lilah Morgan

I love this bitch. Unapologetic, ruthless, witty, beautiful, resourceful, classy. intelligent, determined, genuine... Lilah is full of fake bravado, pretending that life is great even though the most you can say about Lilah’s life is that it’s hers and she worked hard for every single aspect of it. 

She’s not a happy character, or a good one. Yet, amidst the fake bravado, there’s real confidence. And even if she lies and manipulates, and pretends that being evil doesn’t cost her, she is honest in her life. She knows who she is, and doesn’t bother pretending to be better or worse than. 

4. Faith Lehane

I always have to make a distinction between BtVS Faith and AtS Faith. The one I love is the latter. Faith on Buffy is a dumbbed down, underused shell of AtS Faith. There’s a respect that the AtS writers have for this character that the BtVS ones don’t. 

Faith’s redemption arc on Angel is quite perfect. It starts with Angel saving Faith’s soul, a first for him, and turns into a beautiful friendship between two people trying to live with themselves and their actions, while making amends. When shown proper trust and care, Faith flourishes into a strong, smart, loyal person who shows forgiveness, understanding and compassion. 

5. Connor 

My poor underrated baby! 

Connor is very misunderstood but that usually happens with teenage characters. There seems to be a general lack of empathy when it comes to teens. Most of their emotions are dismissed and they are labelled as hormonal, or moody or emo. Connor’s anger, or lack of trust, are, not only completely understandable and human, but also traits Wesley possessed in seasons 4 and 5 (and Wesley is beloved contrarily to Connor).  

Connor’s instability and naivete reflect his turbulent upbringing. Holtz was, after all, a good man turned evil due to revenge, while Angel is exactly the opposite. Connor does have something in common with both of his fathers though. He’s a great demon hunter, he’s independent and resourceful, and he’s ultimately a good person who sometimes makes wrong choices. 

Stripped away of his childhood, Connor becomes a well adjusted, brave and sweet kid, as evidenced by season 5, but I like him in his entirety.

Thanks for the ask! Sorry for the lack of diversity. 

[avaduvernayfans]

The Queens of ‘Queen Sugar’ talk about the power of their roles: 1-on-1 with @rutinaofficial and @dawnlyen

Fans of Queen Sugar know that when it comes to the Bordelon siblings, the drama is real but so is the love.

The hit show has been renewed for a third season on OWN, led by its pioneering creator, Ava DuVernay, and network namesake, Oprah Winfrey.

I got an opportunity to sit down one-on-one with Queen Sugar stars Dawn-Lyen Gardner and Rutina Wesley during the NABJ (National Association of Black Journalists) convention, in New Orleans, LA where the show is filmed.

They were nothing short of black girl magical.

Both actresses greeted us with smiles and hugs on a boat tour down the Mississippi River and into Chalmette National Historical Park. Gardner and Wesley spoke proudly of being ambassadors for the National Park Service’s “Find Your Park” campaign, which encourages people of all races and ethnicities to see America’s parks as their own (“Camping isn’t just for white folks!” they joked), while also opening up about their characters on “Queen Sugar” and the importance of diverse black experiences being seen on television.

TG: What was your reaction when you heard Queen Sugar was being renewed for a third season? Who did you have to call first?

Dawn-Lyen Gardner: I called my family first because I wanted to let them know to prepare- because I missed them a lot and being away is hard for me. But I wanted to celebrate with them because this whole project for me has been about my family and my personal family. Sharing what I watched my whole life, it’s been my dream to bring that to completion.

TG: What is it like working with Ava DuVernay, as a woman? I know it must feel like a luxury to have a black woman directing and also connecting with you.

Dawn-Lyen Gardner: It never stops being a bit of a dream come true. It’s almost hard to put into words what it means because of what she means to so many people in the country, let alone this industry.

As a black woman in the business, she’s been a hero of mine for a long time, so it never stops being phenomenally inspiring. The longer I know her, she becomes more and more of a colleague.

And so the shock begins to wear off but the joy doesn’t. And the “mind being blown about it” doesn’t wear off- my mind is still blown.

TG: How do you think the fans will react to the evolution of your character Charley?

Dawn-Lyen Gardner: I’m so excited for her journey this season we just completed. I didn’t know until like a week and a half ago where she was going and really I didn’t even know until a few days before wrapping where she was going.

So I was as much in the process of discovery this season as the fans. I’m really grateful for the kind of track that the writers have taken with her.

They’ve sort of dived into her inner world in a way that she didn’t really expect. I’m just glad to uncover more layers of what’s going on with her.

Why she is the way that she is and see through that emotional reality of losing your life, like she did in season one. Having to redefine herself and really self define for the first time. That process can not be anything but messy.

So we’re seeing a whole lot of mess but a whole lot of necessary mess.

TG: And it’s so real. There was one moment where Charley was about to hook up with someone else but because of not having finalized the divorce she stopped. Do you think that might be sort of an inspiration or affirmation of the sanctity of marriage in the way that the culture talks about it?

Dawn-Lyen Gardner: I think that for Charley what it points to more is her own need for security. Her own knowing what’s important to her.

I think she started a family extremely early, she was got married very young and it was a huge part of her identity. She knows what that has meant to her and what her commitment has been even though that wasn’t the same for her ex.

TG: You’re both women who care [openly] about black issues and issues like this [the National Park Service]. Why is that important to you as actresses be invested… and show the world it’s something you care about?

Rutina Wesley: I think it’s important because we have platforms to do so. If I have a platform where there’s a chance you might say something and people will listen, then you have a responsibility.

I was intimidated first by it, playing Nova, but then I just embraced it. Because even though I’m not a journalist, I do have a platform. When I do speak up, people do want to listen to what I’m saying about all the issues. And when in doubt it’s also okay to say you don’t know.

And I think young people who are living through us, there’s a lot of little Charley’s and Nova’s and Ralph Angel’s out there. They start to have a sense of self and they’re like ‘Well I think this thing about our president’ or ‘I think this thing about what I just saw.’ And it helps them to start to formulate their own ideas…

Dawn-Lyen Gardner: It’s always been really personal because I also saw this disconnect between what I saw represented in the media, which felt like under-representation, misrepresentation or just inauthentic representation, and what I saw at home, and what I saw in my community and what I saw in my neighborhood, which was so full of life and beauty and dimension and complexity and could not understand why wasn’t I seeing it there and realizing, at very specific points in my life.

Those who don’t have any connection with black life, don’t know that this exists and don’t get to see that. So they can only rely on whatever’s out there to tell them who and what we are. It is such a specific and deep need to be a voice for what I have witnessed. [I] want to share with those who may not know it and say “yes you matter and your worthy and you’re beautiful.”

TG: I want to ask you a little bit about Nova, I’m personally inspired because she’s a journalist and she’s somebody who’s woke. What do you think it means for little girls to see Nova on screen? Everything about you, everything that you bring, why do you think that matters for girls to see that on T.V?

Rutina Wesley: It matters because when I was a little girl and I saw Viola Davis she looked like me, she was a beacon of light for me, she was hope.

I saw her and Angela Bassett and said ‘Well if they can do it than I can do it.’ But now we’ve evolved… and now we have Nova on screen, which is a character like we’ve haven’t seen before.

I’m still overwhelmed because there’s a lot of sisters young and old that come up to me being like ‘I am Nova and thank you because I’m a mess, I’m beautiful. You can’t pin me down, I’m a lot of things.’

For people to embrace all the deliciousness about them- and I say delicious because your flaws and all are make you who you are…

I’m thankful that I can now be a role model for little brown girls and boys because they’re now seeing things familiar to them. They’re seeing their aunt, the really cool auntie that lets you do what you want and isn’t going to tell your mama. And you can talk to her.

It’s beautiful being on a show where people see themselves.

Also it’s our relationship, because we are so comfortable are like family. People watch it and see ‘oh they like each other’ that makes you want to watch more because you see us go at it, but at the end of the day you know our foundation of our show is love.

In order to be what it is, it has to start from love so it’s important to know that. A lot of kids are like “You must hate each other!” I’m like no, no I don’t.

There’s no hate anywhere, because in order to do that [argue] you have to come from love, to care that much.

Learn more about the “Find Your Parks” campaign findyourpark.com and nationalparks.org. “Queen Sugar” appears on OWN Wednesdays at 10pm ET.

Natasha S. Alford is Deputy Editor at theGrio. Follow her on Twitter at @NatashaSAlford for the latest news, entertainment and pop culture updates.

[heroesandvillainsofmbti]

INFP: Keiko Ishikawa-O’Brien, “Star Trek: Deep Space Nine”

INFP – the Healer, the Dreamer, the Clarifier

Keiko O’Brien put up with a lot, and never really got her due. She joined the crew way back in TNG, then left her career to cross over with her husband Miles to DS9, highlighting the show’s themes of family life and diversity. Once the focus shifted to the O’Brien-Bashir bromance (which, to be clear, I think is wonderful), our intrepid botanist went neglected.

Most of her episodes catch Keiko on her bad days, bickering with her husband or worrying what to do with her life. It was tough deciding whether she was always in the grip, or just aggressively using her higher functions. When we see her on good days, she’s obviously smart, sweet, and crazy in love with an Irish engineer who’s as stubborn as she is.

Dominant Function: (Fi) Introverted Feeling, “The Deep Well”

Keiko and Miles love each other deeply in a way that’s obvious to everyone, but also a little inexplicable given how often they seem to be at odds. They clash in the hard-headed way of two Fi-users exasperated with constant compromise. His Fi is lower, so he has trouble working out how to emotionally respond, while her higher Fi wants to be understood without having to explain itself (as an INFP who has dated two ISTJs, I can assure you this never happens in real life…ahem).

Their marriage isn’t easy, but it’s interesting to note that Keiko never brings up the option of separation once she’s committed to Miles. She’s mama-bear protective of her husband and kids on the multiple occasions when various outer space phenomena threaten them, as they do often to Starfleet types. She argues loud for her husband’s innocence when he’s unjustly accused by the Cardassians, and she has a gut feeling that he’s still alive after he’s apparently killed. She has to hold in her feelings when interacting with Miles’ imposter, but the creepiness proves overwhelming, and she makes excuses to get away.

Keiko will stick to what she believes outside of her family life, too. She feels that the kids on DS9 need education, so she starts a school. Vedek Winn tries to shut her down for teaching the scientific explanation about the wormhole without the religious story, but Keiko refuses to budge. She takes in a Cardassian war orphan, and pulls her husband aside during dinner to confront him over his bigoted behavior toward the boy.

They may sound argumentative to those outside the O’Brien household, but Miles declares that Keiko is the most supportive person he knows. When Lwaxana’s telepathic illness causes various members of the crew to randomly fall in love with each other, nothing happens to Keiko and Miles. The others were affected because of latent attractions they held unconsciously, but the O’Briens’ internal compasses point only at each other.

Auxiliary Function: (Ne) Extraverted Intuition, “The Hiking Trails”

Keiko is willing to pick up and move their family to DS9 for the sake of Miles’ career, and after a few weeks of boredom, she finds something productive to do and throws herself into the project. She protests Vedek Winn’s intrusion into her classroom because she sees her job as opening the minds of her students and exposing them to new and diverse ideas. When her unborn child has to be transplanted into Kira after an accident, Keiko just rolls with the new situation, inviting Nerys to live with them during the pregnancy and learning the Bajoran birthing ritual.

When we first meet her, Keiko’s freaking out over her impending marriage to Miles. She backs out, then re-commits, changing her mind virtually every few hours. She knows she loves Miles, but she’s anxious about making the right decision for her life.

This is the frustrating thing with Fi+Ne. Every types’ functions push and pull against each other, particularly when they’re far apart in the stack. It’s how the MBTI model explains the inner contradictions we all have, and helps us to grow. But even our top two functions, the ones that turn us into stereotypes if we only work from them without our lower half, can conflict with each other. Fi, in my INFP experience, is often the most rigid of the functions, while Ne is the most changeable.

Living with these two functions tag-teaming each other at the top of your stack gets exhausting.

On the one hand, you want to stick with the position you know is right, but on the other hand, you’re compelled to always be hunting for unexplored options. So while Keiko looks like a crazy person to her husband, I can completely sympathize with her frustration. She wants to support Miles in his career, but she needs to have her own opportunities to pursue.

Being a stay-at-home mom doesn’t work for her (particularly in an advanced future where there’s not much housework). Being a schoolteacher fulfills her for a while, but then that well dries up. Miles tries to build her a small arboretum where she can work with plants in her spare time, but botany isn’t her hobby—it’s her vocation.

Keiko needs to be a botanist. She joins a Bajoran expedition to explore undocumented species on the planet, and then she’s continuously gone on missions for most of the rest of the series. It’s a constantly moving, always changing lifestyle, and it seems to be the best choice she ever made.

Tertiary Function: (Si) Introverted Sensing, “The Study”

Keiko gets bored with routine. She assures Miles she’s okay sitting in their quarters when he leaves for work, but she needs something to engage her interests and skills. Still, she values her home life, and after months of traveling for work, she feels relief at coming back where she belongs. She keeps many traditions, especially food, from her Japanese heritage, and her wedding to Miles is a tasteful mix of Japanese and Irish customs.

Keiko gets help from a telepath to help her recollect the details from a certain childhood memory. She has various pieces—images, textures, a piece of a song—but she can’t quite recall why it’s important to her. The experience brings her memory into focus, and she finally remembers time spent with her grandmother doing calligraphy.

Keiko believes that footage of her husband’s death has been faked, because it shows him drinking coffee in the afternoon, and Miles never drinks coffee in the afternoon. Her certainty sends Sisko and the crew off on a whole investigation, and sure enough they discover Miles (and Julian) still alive and on the run. When she gets him back, Keiko discovers that she’s mistaken—Miles drinks coffee in the afternoon all the time (cue laugh track, freeze frame, end credits)!

Inferior Function: (Te) Extraverted Thinking, “The Workshop”

Keiko can put her foot down, and often does, leading to stand-offs with her Te-aux husband. She rises to the occasion when she decides the station urgently needs a school, planning and scheduling the curriculum and persuading Sisko to give her the space for it. She even gets Rom on board, convincing him that education will be good for his son.

And let’s not forget she managed to give birth to Molly in the middle of a ship-wide disaster.

(In the not-strictly-canon post-TV novels, Keiko takes a job after the war helping Cardassia regrow its biosphere, and then it’s Miles’ turn to give up his career for his partner. I think it’s a lovely development, bringing the O’Brien family full circle.)

Originally, I didn’t think I would be able to fully type Keiko, and I intended to include her in a quick list of supporting characters. While writing the list, I argued myself into an INFP typing. Back in the TNG series, I ended up typing another troublesome Star Trek character as an INFP, and I’m hoping this doesn’t reveal some sort of bias. I have no deep personal connection to Wesley or Keiko, so I don’t think I’m projecting my own type onto them. If I had to guess, when the show requires a character to act one way this week and another way next week, that Fi-Ne combo seems like an easy explanation.

As always, I welcome input and opinions.

Rosalind Chao certainly deserved better, so catch “The Assignment” from Season 5 to see her absolutely owning the episode.

[gyrlversion]

Marvels next films will bring diversity, onscreen and off

LOS ANGELES (AP) — Marvel’s push for more women and people of color in its immensely popular film franchise is extending to behind the camera as it launches its next round of films after the massive success of “Avengers: Endgame.” Of the five films the superhero studio announced at Comic-Con on Saturday, only one is set to be directed by a white man.

“It’s about fresh voices and new voices and great filmmakers who can continue to steer the (Marvel Cinematic Universe) into new places,” Marvel Studios president Kevin Feige said in an interview after the studio’s explosive Hall H panel. “And I am as proud of that lineup of directors as you saw today as any.”

In addition to a slew of women and people of color at the helm of the upcoming Marvel films, the weekend’s announcements promised more diversity on screen.

First up for release is the long-awaited solo film starring Scarlett Johansson as the Black Widow, the lethal assassin she has played for nearly a decade. The film is set for release in May 2020.

Johansson said the search for “Black Widow” director Cate Shortland wasn’t easy.

“It’s really interesting because when we were looking for a director, you start to see some of the systemic problems,” Johansson said. “Even looking for a female director who has had enough experience — who has had the opportunity to have the experience to sit at the helm of something huge like this, you know, choices are limited because of that. And it sucks.”

The actress added that she was proud to see the diversity on stage during Marvel’s Hall H panel.

“Looking out on that stage tonight, it was incredible. It was really moving, also just to see how incredibly diverse the universe is — and reflects what we see all around us. It’s incredible,” she said.

In terms of more diversity, “Black Widow” is just the beginning.

“The Eternals” will feature a cast full of actors of color, including Kumail Nanjiani, Brian Tyree Henry, and Salma Hayek. Simu Liu will become Marvel’s first big screen Asian American superhero when “Shang-Chi and the Legend of the Ten Rings” is released in February 2021. Natalie Portman will play a female Thor in the new “Thor: Love and Thunder,” which will also feature Tessa Thompson’s character, Valkyrie, as the MCU’s first LGBTQ superhero.

“First of all, as new King (of Asgard), she needs to find her queen, so that will be her first order of business. She has some ideas. Keep you posted,” Thompson said during the panel. Feige later confirmed the news in an interview with the website io9.

The studio is also reviving one of Marvel’s most iconic black characters, Blade (previously played by Wesley Snipes), with the help of Academy Award winner Mahershala Ali. Feige told The Associated Press that right after winning his second Academy Award for “Green Book” earlier this year, Ali set up a meeting.

“Within 10 minutes, he basically was like, ‘What’s happening with ‘Blade’? I want to do it.′ And we went, that’s what happening with ‘Blade.’ Let’s do it,” Feige said.

“Captain Marvel,” released in March, was the first of Marvel Studios film to be centered entirely on a female character. It earned $427 million domestically, and along with the DC Comics film “Wonder Woman” has created momentum for more films with female heroes leading the way.

“Marvel is really focused on having very strong female characters at the forefront of their stories,” said actress Rachel Weisz, who also stars in “Black Widow.” ″And I think that’s great. This film has got three. It’s Scarlett, Florence Pugh, myself. So I think yeah, they are doing wonderful work to represent women, people of color, and tell different kinds of stories.”

The sliver of Hollywood still on the outside of the Marvel’s cinematic empire was paying close attention to the news.

Actress, writer and director Lena Waithe tweeted Sunday: “Captain America is black. Thor is a woman. the new Blade got two Oscars. 007 is a black woman. And The Little Mermaid bout to have locs. (Expletive). Just. Got. Real.”

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[douxreviews]

Star Trek: Voyager - ‘Caretaker’ Review

“It’s a fine crew. And I’ve gotta get them home.”

‘Caretaker’ was originally shown as a single double-length episode, so I’m reviewing both parts together here.

Whatever else critics have to say about Star Trek: Voyager (least beloved offspring of the Star Trek stable until Enterprise came along) there are two things most agree on. One, Voyager has the best credit sequence of any of the Trek shows, with a stirring theme and beautifully rendered graphics showing assorted space phenomena. And two, it also has one of the best pilots.

The first half hour of Voyager’s pilot is stunning. It wants to be Star Wars – it actually opens with a text crawl explaining some of the backstory and a shot of a spaceship passing above the camera. We meet three of our regulars-to-be mid-battle, entering the ominously named ‘Badlands’. Brief introductions for the rest of the Starfleet contingent follow, but one of the things that makes Voyager’s pilot unique is that half the apparent cast will be killed off within the first twenty minutes.

Coming to the pilot with a full knowledge of the show, it’s hard to imagine what first time viewers thought as they watched what looked like the standard Star Trek cast come together – hot Betazoid, grouchy doctor, authoritative First Officer. Did they guess which of these were, ultimately, expendable? (The answer is ‘all of them’). I’d say the Betazoid pilot was probably more obviously marked for death since we’d already heard Paris’ boast that he was the best pilot around (the accidental deaths of three fellow cadets notwithstanding) – but the Doctor must have come as quite a surprise.

Following an action-packed beginning, things slow down a bit once Voyager has been dragged into the Delta Quadrant and the crew transported to what looks like an all-American farm (which must be thoroughly confusing to the remaining Vulcan crewmember). It wouldn’t be a Star Trek pilot without a god-like alien working mischief, but at least the titular Caretaker has more solid motivation than most, in his desire to protect the short-lived Ocampans from environmental disaster and Klingons with bad hair. The Kazon are one of the pilot’s misfires, one which would unfortunately be repeated throughout Voyager’s first two seasons before we finally got rid of them, but luckily we don’t spend too much time with them here.

One of the things Voyager’s pilot was determined to do was to make the set-up ‘darker’, following the success of the ‘darker’, more soap-opera-like Deep Space Nine. So we have one regular who’s an ex-con, one who’s a mercenary intergalactic rag-and-bone man, two terrorists and even the Vulcan security officer is a pretty badass spy. The tension between the Starfleet crew and Chakotay’s one-man’s-terrorist-is-another’s-freedom-fighter group was supposed to be a source of on-going internal conflict in the series going forward. Neelix as written here is also a much darker and more selfish character than he later became, and although Paris achieves a level of redemption by the end of the pilot, he was supposed to be a bit harder-edged as well.

How much you like Voyager as a whole will ultimately depend whether you were deeply disappointed that the ‘darkness’ promised here wasn’t really carried through to the series proper. Personally, I like my Star Trek light, and was perfectly happy with the direction the show ultimately took. This is at least partly because the Maquis issue is, for me, better left alone. Originating on Deep Space Nine, it’s clear from the name ‘Maquis’, taken from the French Resistance, that we’re supposed to have a fair amount of sympathy with the terrorist group (Voyager’s finale aired in the summer of 2001 so it never had to back-peddle on Trek’s unfortunate 1990s habit of sympathising with terrorists). For me personally, I prefer to quietly pass over that aspect of the show’s set-up. On the other hand, it’s perhaps a shame that later episodes left the pilot behind so completely. Neelix, in particular, might have benefited from the more complex characterisation he’s given here.

But I digress – this review is for the pilot episode. Corny farm sequences aside, this is an action-packed hour and a half that introduces a diverse and interesting group of characters with plenty of potential. Best of all, with Voyager stuck on the wrong side of the galaxy, every planet is new and every situation unknown. Space is, for the first time since the original series, a real frontier – wild, lawless, unexplored. And that’s a very promising start for a new show.

Bits ‘n’ pieces

- In the end, Voyager is stranded in the Delta Quadrant because Janeway made a choice she believed to be right. That’s one source of conflict that is sometimes revisited, and one of the most fruitful sources of internal drama on the ship.

- Harry Kim sometimes seems worryingly like a slightly older version of Wesley Crusher, but he bounces well off both Paris and Torres, pairings to which the show would return many times.

- It's traditional to see at least one cast member from a previous series in a new Star Trek pilot, and Quark is probably the best choice yet; his appearance feels natural and unforced, and provides nice character establishing moments for Kim and Paris.

- The Ocampa are rather bland, but Kes is immediately likeable. It’s clear why Neelix fell for her – why she fell for him, less so.

- The whole business with Chakotay’s life belonging to Paris because he saved him is cheesy and horrible and best forgotten. As, indeed, it is, by the next episode.

- I completely love Tuvok, who manages to be ass-kicking, a constant source of dry wit and incredibly touching, while maintaining absolute Vulcan-ness at all times.

Quotes

Janeway: “Mr. Kim, at ease before you sprain something.”

Janeway: “I never seem to have a chance to get to know any of them… I have to take more time to do that.” Don’t worry Janeway, you’re about to get all the time you need.

The Doctor: “This is a sickbay, not a conference room.”

Janeway: “We’re alone, in an uncharted part of the galaxy. We’ve already made some friends here, and some enemies. We have no idea of the dangers we’re going to face, but one thing is clear; both crews are going to have to work together if we’re to survive. That’s why Commander Chakotay and I have agreed that this should be one crew – a Starfleet crew. And as the only Starfleet vessel assigned to the Delta Quadrant, we’ll continue to follow our directive: to seek out new worlds and to explore space.

But our primary goal is clear. Even at maximum speeds it would take 75 years to reach the Federation. But I’m not willing to settle for that… we’ll be looking for wormholes, spatial rifts or new technologies to help us. Somewhere along this journey, we’ll find a way back.

"Mr. Paris, set a course – for home."

An excellent start. Four out of four god-like aliens.

Juliette Harrisson is a freelance writer, classicist and ancient historian who blogs about Greek and Roman Things in Stuff at Pop Classics.

[sgthoggin]

5 Animation Companies I’d work for and why

Studio Yotta

Studio Yotta is a US based animation studio run by animator Jake Ganz, with animators worldwide, that primarily specialise in traditionally animated music videos and shorts on the internet, with some work on TV and in games. Their most noted works are the several music videos created for the video game parody band ‘Starbomb’, some shorts of Ian Jones-Quartey’s Cartoon Network series ‘OK KO! Let’s Be Heroes’, as well as providing assistance to well known internet animators, such as Harry Partridge, Chris O’Neill, Zach Hadel and Gene Goldstein.

One big appeal for why I would want to work with Yotta is mainly because I would not have to resituate to a specific locale in order to work with them, since most, if not all of the work is done through online correspondence and the range of projects they work on are wide in variety of style, atmosphere and charm. Alongside this, their work being particularly oriented within Flash, which I already have a good amount of skill within. I would be able to offer them my skills as a character animator, inbetweener, colourist and clean-up artist, along with being able to hone in some skills as a traditional visual effects artist.

The Line Animation

The Line is a BAFTA award winning animation studio based in London, formed in 2013 by 6 directors: Bjorn-Erik Aschim, Wesley Louis, Sam Taylor, Tim McCourt, Max Taylor and James Duveen.

The studio is responsible for producing music videos, games, advertisements and original short films. Some of their works include the music video for ‘Easy’ by Porter Robinson, the short films ‘Everything I Can See From Here’, ‘Super Turbo Atomic Ninja Rabbit’, ‘Leo’s Red Carpet Rampage’ and ‘Amaro and Walden’s Joyride’.They also run a podcast on Soundcloud known as ‘The Pegbar and Grill’ where the team will have interviews with other well-known animators and industry creatives. They have also worked with Nickelodeon, VIPPS, Freeview, Virgin Media, TBS, HSBC, E4 and TalkTalk.

The studio’s work have a bunch of diverse styles, from very simple and characterised, to very detailed and experimental, mixing animation into live action footage and more. The diverse range of projects, along with the quality production always remaining extremely high and eye-catching are just some of the things that make The Line a fantastic studio.

At The Line I could offer myself to help in the departments of traditional Character Animation, Storyboarding and as an Inbetweener.

ClothCat Animation

ClothCat Animation is an animation studio based in Cardiff Bay, located within the Gloworks Building alongside Thud Media, Bait Studio, Gorilla and other multimedia productions. A lot of their work is primarily centered in the creationof children’s animation shows, such as ‘Tolibob’, ‘Toot the Tiny Tugboat’, ‘Boj’ and ‘Grandpa In My Pocket’.

Their most recent work was on the feature film of Raymond Briggs graphic biographical novel ‘Ethel and Ernest’ along with Lupus Films and Melusine Productions, in which their studio handled work on Ink and Paint, 3D work, and animation compositing.

Having applied and worked an internship at ClothCat, the studio itself is a cosy place to work with plenty of equipment. Having also had my work previously judged by ClothCat at our university’s Animotion Awards last year, I believe I have a good chance to be able to get in and begin working with the studio. The area is already close to where I live so re-situating myself should not be much of an issue.

Titmouse Inc.

Titmouse Inc. is an American animation studio based in Los Angeles, New York City and Vancouver. The studio has done work on full cartoons series and title sequences for major networks like Disney, Cartoon Network and Adult Swim, some of their most notable being ‘The Venture Bros.’, ‘Superjail!’, ‘Motorcity’ and ‘Randy Cunningham: 9th Grade Ninja’. They have also recently put out their own independently produced movie ‘Nerdland’.

A large difficulty would have to be moving away to America or to Canada depending on housing prices in their respective economies, along with general living costs. Having 3 studios however and with the range of shows there are available to work on, there might be a lot of open opportunity spaces. 

Media Molecule

Media Molecule is a game development studio in Guildford, known best for the game series ‘LittleBigPlanet’ on the Playstation 3, 4, Portable and Vita, the experimental Vita and PS4 games ‘Tearaway’ and ‘Tearaway Unfolded’ and their current in development project ‘Dreams’ for PS4.

The main draw to a lot of Media Molecule’s work is how they try to obtain and keep a very handcrafted look that gives their work, uses of materials like cardboard, paper, glitter and other very child-like arts and crafts materials that all give their games not only a feeling of nostalgic vibes but also presents a feeling of these things being able to be replicated in real life with some forms of craftsmanship. Paired along with simple yet very poppy visual art makes their work stand out from the rest very prominently.

Since the studio is rooted mostly within 3D game design, it may be a little bit tricky to apply in this field. While I only have limited experience in 3D, I feel it would be easy to pick up the skill eventually and hone it. I feel that I could also offer service in Storyboarding if they plan to make any more story based games in future.

[imani-english-portfolio-blog]

Making Connections 2

When I saw Black Panther, I watched as both a Marvel fan and a Black activist. It was crucial for me to watch in this way because the media was both a continuation of the Marvel Cinematic Universe (MCU) - a shared movie universe spanning 18 movies - and a cultural moment for Black people. Although there have been Black superheroes in the past, with likes of Wesley Snipes’ Blade and Halle Berry’s Catwoman and Storm in the X-Men Franchise, there has never been this level of interest and marketing in a hero, nor has there been a hero with Black Panther’s unique origin. He’s the king of the richest nation on Earth, the fictional African nation of Wakanda, and not only is he king, but he also the richest comic book character ever and one of the smartest people with in the Marvel Universe. Needless to say, the Black community flocked to the theaters opening weekend, making T’Challa one of the most recognizable and well-loved characters in the MCU.

Before I even saw the movie, I was tired of hearing about it. I was scared it would not live up to the hype and annoyed by the language surround the movie. Many people, including well known directors and celebrates heralding it as a revolutionary piece of art that would forever change the Black community and America’s perception of race. The talk and imagery surround the movie was also reminiscent of the Black Panther Party, which was founded only months after Black Panther made his comic book debut in the pages of Fantastic Four. That’s the part of this that annoyed me the most. I loved the movie, and it is now one of my favorite Marvel Movies ever. However, I am not going to pretend that Marvel Studios is building Wakanda, or better yet, repairing the centuries worth of damage done to Africa because of colonialism and imperialism. Black Panther did not erase 400 years of oppression in America, nor will it free the aging real-life Black Panthers that continue to be incarcerated for their work.

I thought it was amazing and inspiring to finally see a Black superhero on the big screen whose story focuses on what Africa could be like if Europe had not decimated it. Seeing dark-skin Black women who were not sexualized or brutalized take center stage was another high point of the movie. All the main Black women played an important role to the plot, and the movie would be nothing without them. The movie did well at representing the diversity and complexity of Black people, and it passed the Bechdel Test. However, that does not mean it deserves to be heralded as revolutionary. Representation does not equate to revolution, and I think the bar for representing and creating complex Black characters is too low. It is so low that creating this kind of movie is seen a revolution, and maybe it will dispel the myth that Black movies do not do well at the box office. Maybe Black movies will finally venture out of the realm of Black suffering and Tyler Perry-type movies. However, Black Panther is not a revolution.

Document Statement

I wrote this partially out of annoyance and necessity. It was an assignment I had to turn it, but it was also something that I needed to say. I enjoyed Black Panther. He’s easily one of my favorite superheroes, but the rhetoric surround the movie annoyed me to no end. 

[fadingfartconnoisseur]

11 Incredible LGBT Travel Movies

Earlier this year, I added an LGBT column for the website to make the site more inclusive and talk about issues that affect some members of our community. We hear from LGBT voices about their experiences on the road, safety tips, events, and overall advice for other LGBT travelers! Returning this month is our column leader, Adam from Travels of Adam to share some of his favorite LGBT travel films!

Of the many things that motivate me to travel and explore the world, movies are definitely one of the strongest influences. Cinematography helps us experience different worlds, stories take us to new places.

And as the experience of coming out feels like a journey for so many LGBT people, it makes sense that there’d be many LGBT movies that cover the emotional journey of discovery alongside the physical adventure of travel.

From Oscar-winning classics like Brokeback Mountain to cult favorites like To Wong Foo, Thanks for Everything! Julie Newmar to arthouse cinema by Almodóvar and John Waters, many films inspire us to travel.

This is my list of all-time favorite LGBT-themed movies that include traveling, and they come in all genres, from silly comedies to thoughtful dramas, from Hollywood masterpieces to indie productions.

Brokeback Mountain

Brokeback Mountain is (rightfully) at the top of any LGBT movie list. This 2005 movie tells the story of two cowboys and their annual trip from Wyoming to Texas. The beautiful scenery of the mountains and the men’s camping trip is the perfect background for this painful drama, which depicts how many gay relationships, however they’re defined, frequently start as friendship, but how there’s also often a struggle with society and one’s personal boundaries. Despite the tragic outcome, the story reminds us that love triumphs over hate — and over physical distance.

Priscilla, Queen of the Desert

From the mountains we travel to the desert. Two of my favorite movies are inspired by sand and hot winds. The first one is a classic and has become a gay cult movie. Set in Australia’s Simpson Desert, 1994’s Priscilla, Queen of the Desert is actually the name of a bus used by two drag queens and a trans woman to cross Australia on their way to a casino in Alice Springs. Along the journey, the characters interact with rural populations, aboriginal Australians, and homophobic gangs. A young Guy Pearce and award-winning costume design make the film especially memorable. The film’s combination of humor and drama is essential to any road trip movie, because traveling gives you exactly that: laughs and tears.

C.R.A.Z.Y.

The second desert movie on this list is a more recent (2005) Canadian production, and the desert depicted is that of the beautiful city of Essaouira, Morocco (though the setting of the movie is actually Jerusalem). C.R.A.Z.Y. is a story about acceptance and family life, but it includes an honest portrayal of traveling as a way of silencing the voices in our heads, only to return home completely empowered and strong. It follows Zac during his journey of coming out, which includes an escape to the Middle East before he reunites with his friends and family back home. Moreover, the soundtrack includes many iconic gay anthems, including Patsy Cline (“Crazy”), Giorgio Moroder (“Here to Eternity”), and David Bowie (“Space Oddity”).

To Wong Foo, Thanks for Everything! Julie Newmar

This 1995 film seems to be inspired by Priscilla, but the producers insist that production started before the Australian film was released. To Wong Foo follows the lives of three New York drag queens (Wesley Snipes, Patrick Swayze, and John Leguizamo) on a road trip from NYC to Los Angeles for a drag competition. Naturally, their car breaks down and they end up stranded in small-town America, where they have several comedic and dramatic encounters with the local police and other stereotypical Southern characters. The movie shows both the welcoming and homophobic attitudes of the American South, but for me, the best part is the combination of black, Latino and “white” narratives during the road trip. By overcoming stereotypes and hate — mostly depicted in the figure of a police officer — the drag queens change the lives of many people and rediscover the value of friendship.

Transamerica

Another great story, Transamerica features an outstanding performance by Felicity Huffman as a trans woman, Bree, on a road trip. Her therapist insists that she must make amends with her estranged son, who doesn’t know of her transition, before signing off on her final surgery. Bree drives her son from NYC to Los Angeles under the pretense of being a Christian missionary helping him out of jail and breaking his bad habits. As they travel together and learn about one another, the movie explores the meaning of words like “father” and “mother,” “boy” and “girl,” all the while revealing the characters’ complicated and emotional journey. It’s a story about family life, tolerance, and self-respect.

Weekend

This 2011 British drama was director Andrew Haigh’s breakout film (before he went on to direct Looking and 45 Years). Two men who meet in a gay club looking for a casual hookup before one of them is to move away. They have a passionate weekend together, sharing intimate details and experiences: their coming out, past relationships, and thoughts on sexuality. It’s the story of that emotional, in-between moment before leaving something behind and starting anew: passionate, intense, and fleeting but unforgettable.

Y Tu Mamá También

While some people are hesitant to consider it an LGBT movie, I believe Y Tu Mamá También is clearly about the stigma against bisexuality (or about the freedom to overcome any labels). While on a road trip around Mexico, two teenage boys and an attractive older woman head to the beach, only to discover the secrets of their own passions against the backdrop of Mexico’s political and social realities. The movie deftly combines comedy and drama, and it shows how traveling opens us up to new experiences by fighting societal and interal worries or doubts.

Seashore (Beira-Mar)

This lovely film from Brazil tells the story of two young men on a road trip trying to recover legal documents from relatives, with a detour to the beach. The journey gives them the opportunity to reconnect while solving their own internal struggles. One of the boys is gay, and the story follows his internal dilemma of sharing that fact with his friend. Part of the magic of this movie is that it’s a sweet and positive depiction of gay youth. The pain of coming out is mostly absent, and the whole experience is presented as natural and easy, with very little tension. There’s a sweetness to the story, a youthfulness—and, importantly, also a realness. Not everyone has a bad experience coming out. And those stories are just as worth sharing as the others.

Todo Sobre Mi Madre

It’s impossible to talk about LGBT movies and travel without making a reference to the work of Pedro Almodóvar. Many of his movies reflect gender, politics, and pain. Todo Sobre Mi Madre tells the story of a tragicomic drag queen and prostitute, Amparo, surrounded by a couple of lesbian theater actresses, a pregnant nun, and a mother (portrayed by Argentinian actress Cecilia Roth), all while searching for a trans woman who is the biological father of her son. The tragic story is set in two beautiful Spanish cities, Madrid and Barcelona, and through the protagonist, we learn that every trip has a different meaning at different points in our lives.

Happy Together

As for Asian cinema, the must-see film is this 1997 classic by Wong Kar-Wai. A gay couple from Hong Kong travel to Argentina, with the objective of visiting the Iguazú waterfalls and resetting their relationship. Their physical trip abroad is a metaphor for their spiritual trip, and includes episodes of depression, emotional pain, and abuse. The story is tumultuous but reveals the power of resilience and shows us how traveling can affect both past and present relationships.

August

August is another gay-themed movie about separation and reunification. After living for many years in Spain, Troy travels back to Los Angeles and begins a journey that explores the boundaries of relationships and the ugly difference between reality and expectations. For me, travel here is a symbolic way to break old habits and learn more about ourselves and others. Returning from a long trip always has its complications, especially when old relationships show up again. But it’s our journeys abroad that add to our own personal stories, and things always change before, during, and after a big trip.

***

We often travel to different places in other to imagine how life would be for us there, to discover new cultures and social contexts and to explore unknown parts of our own being. Many LGBT-inspired films do exactly the same. Today, it’s easy to explore both the real or fictional worlds of gay lives in many films from different cultures, cities, and social contexts as more and more LGBT films make it to mainstream screens. But even if you don’t identify as LGBT, I encourage you to seek out these films that follow unique and personal stories, themes we can all relate to no matter our sexuality or gender.

Maybe the more LGBT movies you watch, the easier it is to interact with others who are different or have a background that’s hard to assess. The same goes for travel. The more international friends and acquaintances you have and the more diversity in your life, the easier to understand and empathize with other cultures.

Note: Some of these films aren’t 100% accurate in their depictions of LGBT people and may seem dated, but many of them have had a positive impact on LGBT culture and continue to be important.

Adam Groffman is a former graphic designer who left a publishing job in Boston to settling in Berlin, Germany. He’s a gay travel expert, writer, and blogger and publishes a series of LGBT-friendly Hipster City Guides from around the world on his gay travel blog, Travels of Adam. When he’s not out exploring the coolest bars and clubs, he’s usually enjoying the local arts and culture scene. Find more of his travel tips (and embarrassing stories) on Twitter @travelsofadam.

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[touristguidebuzz]

11 Incredible LGBT Travel Movies

Earlier this year, I added an LGBT column for the website to make the site more inclusive and talk about issues that affect some members of our community. We hear from LGBT voices about their experiences on the road, safety tips, events, and overall advice for other LGBT travelers! Returning this month is our column leader, Adam from Travels of Adam to share some of his favorite LGBT travel films!

Of the many things that motivate me to travel and explore the world, movies are definitely one of the strongest influences. Cinematography helps us experience different worlds, stories take us to new places.

And as the experience of coming out feels like a journey for so many LGBT people, it makes sense that there’d be many LGBT movies that cover the emotional journey of discovery alongside the physical adventure of travel.

From Oscar-winning classics like Brokeback Mountain to cult favorites like To Wong Foo, Thanks for Everything! Julie Newmar to arthouse cinema by Almodóvar and John Waters, many films inspire us to travel.

This is my list of all-time favorite LGBT-themed movies that include traveling, and they come in all genres, from silly comedies to thoughtful dramas, from Hollywood masterpieces to indie productions.

Brokeback Mountain

Brokeback Mountain is (rightfully) at the top of any LGBT movie list. This 2005 movie tells the story of two cowboys and their annual trip from Wyoming to Texas. The beautiful scenery of the mountains and the men’s camping trip is the perfect background for this painful drama, which depicts how many gay relationships, however they’re defined, frequently start as friendship, but how there’s also often a struggle with society and one’s personal boundaries. Despite the tragic outcome, the story reminds us that love triumphs over hate — and over physical distance.

Priscilla, Queen of the Desert

From the mountains we travel to the desert. Two of my favorite movies are inspired by sand and hot winds. The first one is a classic and has become a gay cult movie. Set in Australia’s Simpson Desert, 1994’s Priscilla, Queen of the Desert is actually the name of a bus used by two drag queens and a trans woman to cross Australia on their way to a casino in Alice Springs. Along the journey, the characters interact with rural populations, aboriginal Australians, and homophobic gangs. A young Guy Pearce and award-winning costume design make the film especially memorable. The film’s combination of humor and drama is essential to any road trip movie, because traveling gives you exactly that: laughs and tears.

C.R.A.Z.Y.

The second desert movie on this list is a more recent (2005) Canadian production, and the desert depicted is that of the beautiful city of Essaouira, Morocco (though the setting of the movie is actually Jerusalem). C.R.A.Z.Y. is a story about acceptance and family life, but it includes an honest portrayal of traveling as a way of silencing the voices in our heads, only to return home completely empowered and strong. It follows Zac during his journey of coming out, which includes an escape to the Middle East before he reunites with his friends and family back home. Moreover, the soundtrack includes many iconic gay anthems, including Patsy Cline (“Crazy”), Giorgio Moroder (“Here to Eternity”), and David Bowie (“Space Oddity”).

To Wong Foo, Thanks for Everything! Julie Newmar

This 1995 film seems to be inspired by Priscilla, but the producers insist that production started before the Australian film was released. To Wong Foo follows the lives of three New York drag queens (Wesley Snipes, Patrick Swayze, and John Leguizamo) on a road trip from NYC to Los Angeles for a drag competition. Naturally, their car breaks down and they end up stranded in small-town America, where they have several comedic and dramatic encounters with the local police and other stereotypical Southern characters. The movie shows both the welcoming and homophobic attitudes of the American South, but for me, the best part is the combination of black, Latino and “white” narratives during the road trip. By overcoming stereotypes and hate — mostly depicted in the figure of a police officer — the drag queens change the lives of many people and rediscover the value of friendship.

Transamerica

Another great story, Transamerica features an outstanding performance by Felicity Huffman as a trans woman, Bree, on a road trip. Her therapist insists that she must make amends with her estranged son, who doesn’t know of her transition, before signing off on her final surgery. Bree drives her son from NYC to Los Angeles under the pretense of being a Christian missionary helping him out of jail and breaking his bad habits. As they travel together and learn about one another, the movie explores the meaning of words like “father” and “mother,” “boy” and “girl,” all the while revealing the characters’ complicated and emotional journey. It’s a story about family life, tolerance, and self-respect.

Weekend

This 2011 British drama was director Andrew Haigh’s breakout film (before he went on to direct Looking and 45 Years). Two men who meet in a gay club looking for a casual hookup before one of them is to move away. They have a passionate weekend together, sharing intimate details and experiences: their coming out, past relationships, and thoughts on sexuality. It’s the story of that emotional, in-between moment before leaving something behind and starting anew: passionate, intense, and fleeting but unforgettable.

Y Tu Mamá También

While some people are hesitant to consider it an LGBT movie, I believe Y Tu Mamá También is clearly about the stigma against bisexuality (or about the freedom to overcome any labels). While on a road trip around Mexico, two teenage boys and an attractive older woman head to the beach, only to discover the secrets of their own passions against the backdrop of Mexico’s political and social realities. The movie deftly combines comedy and drama, and it shows how traveling opens us up to new experiences by fighting societal and interal worries or doubts.

Seashore (Beira-Mar)

This lovely film from Brazil tells the story of two young men on a road trip trying to recover legal documents from relatives, with a detour to the beach. The journey gives them the opportunity to reconnect while solving their own internal struggles. One of the boys is gay, and the story follows his internal dilemma of sharing that fact with his friend. Part of the magic of this movie is that it’s a sweet and positive depiction of gay youth. The pain of coming out is mostly absent, and the whole experience is presented as natural and easy, with very little tension. There’s a sweetness to the story, a youthfulness—and, importantly, also a realness. Not everyone has a bad experience coming out. And those stories are just as worth sharing as the others.

Todo Sobre Mi Madre

It’s impossible to talk about LGBT movies and travel without making a reference to the work of Pedro Almodóvar. Many of his movies reflect gender, politics, and pain. Todo Sobre Mi Madre tells the story of a tragicomic drag queen and prostitute, Amparo, surrounded by a couple of lesbian theater actresses, a pregnant nun, and a mother (portrayed by Argentinian actress Cecilia Roth), all while searching for a trans woman who is the biological father of her son. The tragic story is set in two beautiful Spanish cities, Madrid and Barcelona, and through the protagonist, we learn that every trip has a different meaning at different points in our lives.

Happy Together

As for Asian cinema, the must-see film is this 1997 classic by Wong Kar-Wai. A gay couple from Hong Kong travel to Argentina, with the objective of visiting the Iguazú waterfalls and resetting their relationship. Their physical trip abroad is a metaphor for their spiritual trip, and includes episodes of depression, emotional pain, and abuse. The story is tumultuous but reveals the power of resilience and shows us how traveling can affect both past and present relationships.

August

August is another gay-themed movie about separation and reunification. After living for many years in Spain, Troy travels back to Los Angeles and begins a journey that explores the boundaries of relationships and the ugly difference between reality and expectations. For me, travel here is a symbolic way to break old habits and learn more about ourselves and others. Returning from a long trip always has its complications, especially when old relationships show up again. But it’s our journeys abroad that add to our own personal stories, and things always change before, during, and after a big trip.

***

We often travel to different places in other to imagine how life would be for us there, to discover new cultures and social contexts and to explore unknown parts of our own being. Many LGBT-inspired films do exactly the same. Today, it’s easy to explore both the real or fictional worlds of gay lives in many films from different cultures, cities, and social contexts as more and more LGBT films make it to mainstream screens. But even if you don’t identify as LGBT, I encourage you to seek out these films that follow unique and personal stories, themes we can all relate to no matter our sexuality or gender.

Maybe the more LGBT movies you watch, the easier it is to interact with others who are different or have a background that’s hard to assess. The same goes for travel. The more international friends and acquaintances you have and the more diversity in your life, the easier to understand and empathize with other cultures.

Note: Some of these films aren’t 100% accurate in their depictions of LGBT people and may seem dated, but many of them have had a positive impact on LGBT culture and continue to be important.

Adam Groffman is a former graphic designer who left a publishing job in Boston to settling in Berlin, Germany. He’s a gay travel expert, writer, and blogger and publishes a series of LGBT-friendly Hipster City Guides from around the world on his gay travel blog, Travels of Adam. When he’s not out exploring the coolest bars and clubs, he’s usually enjoying the local arts and culture scene. Find more of his travel tips (and embarrassing stories) on Twitter @travelsofadam.

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