Category Archives: fantasy/sci-fi

Censureship, Myself & Ender’s Game

Pieces of this post have been sitting on my computer since the summer so with the movie coming out I decided to fix it up and post it in the hopes of getting  my blogging back on track

So the film “Ender’s Game” based on the book of the same name by Orson Scott Card is coming out soon. I’m not here to talk about the many issues with Orson Scott Card, his political views are well-known and written by his own hand in most cases.  What I wanted to talk about is my own relationship with Ender’s Game and this new trend I’ve been seeing where people who choose to blacklist a film/show are accused of censorship.

I have a long and complex relationship with “Ender’s Game” both the book and the film, so my feeling on it are more complicated and gray than my feelings for OSC. I read EG at the right age, the perfect age, the age where I felt like no one understood me, adults were ineffectual against my harassers and I had a lot of anger inside that I wanted to get out somehow. I identified with Ender, his struggles and isolation but it was the character of his sister Valentine Wiggins that I left the book loving. The character of Valentine showed me the difference between pacifism and weakness. Ender changes the world through violence and ignorance but Valentine changes it through her words, through arguments meant to sway public opinion. Valentine was the first capitol-A  Academic I read about, the one I’ve probably spent a lot of my life trying to be. When you feel that close to a character you want to see them brought to life, want to see more of them. Also the fact that Valentine is being played by Abigail Breslin, on of my favorite young actresses leaves me hopeful for a great portrayal.

And the casting is another reason I want to see it. Viola Davis is in it. I love Viola Davis and have been truly disappointed in the work she’s been offered post-Help (the less said of her magical negro servant who sacrifices everything for her young white charge in “Beautiful Creatures” the better, looks it’s The Help with magic!). Nowhere has the racism of Hollywood been more blatant lately than the post-Oscars careers of Octavia Spencer and Viola Davis and the roles they’ve been offered.. Generally an Academy Award nomination (let alone a win) results in an avalanche of offers for the actors. Spencer has talked about how this definitely wasn’t the case for her though she’s taken an excellent view of it, acknowledging the disparity of Hollywood while planning ahead:

Well, it must have started ringing at some point, because you have some pretty great projects coming up, like Diablo Cody’s movie and Snow Piercer.
Well, the funny is thing is that I got the Diablo Cody movie and I got Snow Piercer before I got any nominations, so I knew I had both of those projects in November. I don’t want to sound as if [I'm complaining]. The reality is that there are so few roles out there for women and for women of color, and I’m a character actor, this I know. And I’m getting to see more of the roles that are out there, but there aren’t many. And zilch have been studio movies. Zilch. So my challenge and my opportunity now is to take the opportunity to create my own work. I’m fine with that.

In addition to these reasons people will argue that you have to give Science Fiction films your money so that Hollywood knows that SF/F sells and therefore makes more movies. I understand this argument, it was the one I made for the super-insanely disappointing movie “Sucker Punch”. It looked campy and great in the trailer and was the first women-headed film that production company had done in seven years so I wanted it to make money. Despite the ineptness and horrible stereotypes of it’s script I wanted it to succeed just so Hollywood Execs would not be able to say, “See movies with female leads don’t make any money let’s not do it again.”

And I want Hollywood to make more science fiction films. I want them to make more diverse science fiction films (which speaking of Octavia Spencer I am so hyped for her sf/f outing Snowpiercer!). I don’t, however, want them to give OSC my money. I don’t want them to think that OSC films are the way to go. The very last thing we need is a “Prentice Allen” TV series or a “Pastwatch: The Redemption of Christopher Columbus” movie or his homophobic masterpiece “The Songmaster” – the miniseries.

Ultimately the fact is that no one can predict how Hollywood will view the success or failure of something. Executives are not a conglomerate, they are individual people with their own minds, they have their own prejudices and assumptions and that effects how they perceive something. If they took every success as proof of the American public’s wants/needs ‘Alien’ would have been followed by a slew of tough, amazing protagonists in SF/F films who just happen to be women (we got a few, I’m looking at you Linda Hamilton but far from a slew). The success of Grey’s Anatomy would have lead to a slew of TV shows that had a diverse cast and a writing room that was mostly women. How many shows last 10 years?

The fact is that Hollywood takes the success of things that they champion as proof that the people want it, while things they are unsure of/don’t want to think about/deal with/make more of are called flukes whenever they succeed.

So what really cemented my decision not to pay to see this film?

The response  coming from OSC and his rabid supporters. First there’s his horribly demeaning and condescending letter:

“Ender’s Game is set more than a century in the future and has nothing to do with political issues that did not exist when the book was written in 1984. With the recent Supreme Court ruling, the gay marriage issue becomes moot. The Full Faith and Credit clause of the Constitution will, sooner or later, give legal force in every state to any marriage contract recognized by any other state. Now it will be interesting to see whether the victorious proponents of gay marriage will show tolerance toward those who disagreed with them when the issue was still in dispute.” — Orson Scott Card.

Ok let’s break the outrage down to it’s component parts, shall we?

Ender’s Game is set more than a century in the future and has nothing to do with political issues that did not exist when the book was written in 1984.

First of all, to act like there weren’t already LGBT folks advocating for rights back then is disingenuous at best, ignorant at worse. His homophobic masterpiece “The Songmaster” was written in 1980 so his views were already well established then and he was authoring his homophobic columns by 1990. So at least personally he was fully aware such issues exists during the length of the 80s. But the most horrible thing about this line to me, is that it shows OSC lack of imagination. Yes, it was written in 1984 and as a sf/f author you should be able to imagine the future of our world that reacts to real life issues. The fact that your future includes no GLBT folks says a lot about you and nothing about the time it was written. Especially since you have authors at the same damn time coming out with groundbreaking pieces that explored gender, race, class, sexuality, ability and a whole slew of other identities in wholly new ways.

With the recent Supreme Court ruling, the gay marriage issue becomes moot. The Full Faith and Credit clause of the Constitution will, sooner or later, give legal force in every state to any marriage contract recognized by any other state.

Again I call bullshit. Legal protections have never ended a debate or discrimination in this country, yes they allow for more rights under the law but marginalized people have always known that the laws are applied unevenly. We know that just because a law says were equal doesn’t mean we won’t be hurt/killed/denied our rights. Also we know for a fact that just because something is law doesn’t mean people will follow or acknowledge it. For a recent example look at the ACA and the recent gov’t shutdown.

And the last bit of ridiculousness:

Now it will be interesting to see whether the victorious proponents of gay marriage will show tolerance toward those who disagreed with them when the issue was still in dispute.

This is the most offensive bit of the whole thing. First of all it recast GLBT folks as intolerant of those with different opinions. Leaving aside the straw man argument that OSC sets up here, explain to me why I have to show tolerance towards someone who never showed it to folks like me? See I’m not intolerant of your opinion in general but when your opinions are on MY RIGHTS which have shit all to do with your life then you’re damn right I’m gonna hold it against you. So basically you spent all this money to deny me rights, wrote columns on how I and people like me are the downfall of society and used to sit on the board of an organization explicitly set up to deny me rights (National Organization for Marriage, he resigned in mid-2013 right when controversy for his film and opinions were heating up, fancy that) and keep me a second class citizen but I’m the one who needs to show tolerance for you OSC? By giving you my hard earned money?

Which leads us to the fans who somehow champion the idea that by not going to see his movie and encouraging others to do the same I am somehow silencing him and his voice. I’ve seen this entitlement in fans a lot, for some reason they will argue that choosing how you want to spend your money and sharing that with others is censorship.

Let me be clear I have NO power in Hollywood. I cannot stop a film from being made. I cannot change the story to suit my ideals. I can’t whiten a character or change their gender. I have no power over the media, what I do have power over is what I choose to give money to. Choosing not to give OSC my money is not silencing him in any way, I am not telling him that he cannot hold his opinions, write his book, write his homophobic columns; what I am saying is that I refuse to give him any more money or social cache by contributing to your movie being a success. That is the only power I have in light of the Hollywood machine.

That is not silencing people, silencing people with money and power is what NOM  did with the money and cache OSC  provided for them. Also even if he’s no longer on the board I don’t trust he still won’t give them his time, money and attention. Am I punishing him for his opinion? No. I’m choosing not to participate in a system that would end up with putting money in his pocket.

I still want to see Abigail Breslin & Viola Davis though. Maybe I’ll stick with my initial plan of paying for a film, something featuring GLBT folks and women of color, something I think should get more money/press/billing and then sneak into “Ender’s Game”.

It’s still voting with your wallet but in a cheating, sneaky way – it’s like rigging the election with your wallet. It’s the capitalist American way.

Oh Conan Yes!: Defending the new movie

Went and saw the new Conan movie last night and it was amazing!

Okay so number one a lot of people have been calling the Schwarzenegger movie a classic and “How could they redo it?” and on and on and on. So let me just say I own the first movie on DVD along with Red Sonja. So don’t try to bullshit me into this world where the original Conan is some amazing bit of film. It is camp, high camp (as if any movie with Arnold could be anything but) and not even James Earl Jones turns it into some amazing bit of art. And if I’m remembering correctly everyone dies in that version, Conan comes out the other side but not many other allies survive. Nostalgia can be a powerful thing and I like the original film but come on.

Now on to the new film. Will contain spoilers:

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World Science Fiction (Renovation) – Here I Come!

So I will be attending my first ever World Science Fiction Convention this year! 2011’s con is Renovation in Reno, NV. I’ve always wanted to attend a World SF Con and with it being so close geographically this year and a couple of other things that came together it looks like I’m gonna make it! There’s still the matter of rooming to be worked out (if you need a room I have slots, please be not-a-serial-killer, smoking I can live with a knife in the back not so much). Hope to see at least some of my friends from WisCon and World Fantasy there. I’m also going to be on 7(!) panels. Exciting and nerve-wracking.

Here are my panels for the Con:

Thu 14:00 – 15:00, Science Fiction, Gender, and Social Change(Panel), A03 (RSCC)

The workings of any society are a confluence of many different forces and movements. As society changes, its literature and arts (including SF) reflects, anticipates, and perhaps influences the direction and scope of change. How has SF influenced and reflected the changes in gender and gender roles over the past quarter century? As we look back to the work of writers such as Ursula LeGuin and Joanna Russ in the sixties and seventies, what can we say about their impact and
that of their heirs today?

Alexandria Brown (M), Ctein, Amy Thomson, Mari Kotani and Naamen Tilahun

I’m very interested in who we think are the heirs to LeGuin and Russ. Not just authors with a feminist slant (while many authors tend to deny this label) but authors where feminism and gender roles are central to their work in many ways.

Thu 15:00 – 16:00, Why We Still Love _The Twilight Zone_ Fifty Years On (Panel), C1 (RSCC)

While science fiction for kids filled the TV screens of the ’50s, Rod Serling’s _The Twilight Zone_ was, arguably, the first SF show for adults. Featuring sophisticated themes, good writing and a surprising number of young actors who went on to be stars, _The Twilight Zone_ is a classic of the genre everyone should be watching. Our panel talks about some of their favorite episodes and why they’ve lasted.

H. G. Stratmann (M), Gary Westfahl, J. Steven York, John DeChancie and Naamen Tilahun

Okay, admission time. The Twilight Zone freaks me out! Don’t get me wrong, I love it but it still freaks me out. It is one of my mom’s favorite shows so I was exposed to it a lot growing up and I still feel terror over certain episodes (mostly more obscure eps like the one with the bus stop and the doppelgangers). Amazing show, effective and creepy and oh so sci-fi.

Fri 10:00 – 11:00, SF We Love by Writers of Color (Panel), A03(RSCC)

Are you curious about SF by writers of color. How do you
find the good stuff? There are many reading options, and many ways of connecting with the various communities of color producing excellent SF. Join us to look at reading lists from the Carl Brandon Society and other sources. And bring your own suggestions and your squee.

Naamen Tilahun (M), Vylar Kaftan, Anne Gray, Bradford Lyau

Definitely have authors that I think are getting some attention but deserve a lot more. Readying a list.

Fri 11:00 – 12:00, Minority Representation in SF Art and the Ugly Reality (Panel), D05 (RSCC)

Minority representation needs to get better in our visual SF, including casting in film and TV and the design and selection of cover art. A discussion of what’s wrong with the status quo and how the industry can and should improve.

Lee Moyer (M), Aliette de Bodard, Lee Harris, Naamen Tilahun

I have examples I can bring! Examples from multiple decades! Gotta dig through my books and pull out my old copy of Butler’s “Dawn”, Emily Deveport’s “Larissa”, Laurie J. Marks’ “Fire Logic” and of course bring up the recent controversies in cover art and the idea that asking for accurate and inclusive cover art is somehow being a problem author.

Sat 14:00 – 15:00, Unsuppressing Women: The Work and Legacy of Joanna Russ (Panel), D05 (RSCC)

Joanna Russ was one of science fiction’s first
feminist writers and a leading literary critic. Our panel looks at her fiction, reviews, and critical work, and assesses her lasting impact on the field.

Farah Mendlesohn (M), Teresa Nielsen Hayden, Naamen Tilahun, Gary K. Wolfe

Love, love, love Joanna. I’m doing a series over at Feminist-SF The Blog called Remembering Joanna about reading four of the more obscure works she wrote. Only the first part is up so far but I’m hoping to get at least one more up (if not the whole sequence of four) by the time I leave for WorldCon.

Sat 15:00 – 16:00, The Paranormal as Metaphor (Panel), A16 (RSCC)

Paranormal fantasy, including urban fantasy and paranormal romance, is among the most popular genres within speculative fiction. One intriguing aspect of this type of fantasy is its role as a stealth route toward social commentary and change. What are the issues being examined and how effectively are the experiences of various groups presented?

Naamen Tilahun (M), Lucienne Diver, Carrie Vaughn, Rose Fox, Patricia Briggs

Really like the idea of this panel, totally had the discussion of metaphors of vampires and werewolves and witches in on of my classes last year and really enjoyed it. Also sort of want to bring up the opposite effect in metaphor. The way in which Twilight and some other YA works attempt to rework the mythos of these creatures into something that is safe and somewhat non-sexual when their initial metaphor had such a sexual connotation.

Sun 13:00 – 14:00, Feminism in Science Fiction and SF Fandom (Panel), C1 (RSCC)

Feminism and feminist themes are an integral part of SF and Fantasy. There is major annual feminist SF&F convention (Wiscon). Last year the _The Secret Feminist
Cabal_, a cultural history of science fiction feminisms was published. What role does feminism play in modern day science fiction and fandom, and how is that role traceable the seventies and before?

Renée Sieber (M), Ellen Klages, Joan D. Vinge, Naamen Tilahun, Jed Hartman

Loved The Secret Feminist Cabal when I read it when it came out. Gonna try and re-read it before the Con so all of it (or at least the more pertinent bits) are fresh in my mind.

So that is my WorldCon schedule. Hope to see some of y’all there!

Wanna Read Along?

So I am doing an independent study next semester called “Female Protagonists of Colors in Speculative Fiction” and have decided to do most of my reading over this break between semesters to lessen the load in the Spring. A few friends mentioned that they would like to read along with me during this time. So here is the book list:

Required Texts:
James Alan Gardener – Expendable
SM Stirling – Island in the Sea of Time
Octavia Butler – Wild Seed
Nalo Hopkinson – Midnight Robber
Hiromi Goto – The Kappa Child
Larissa Lai – Salt Fish Girl
Leslie Marmon Silko – Almanac of the Dead
Eva Swan – The Bone Whistle
Daina Chaviano – The Island of Eternal Love
Angelica Gorodischer – Kalpa Imperial
Samuel R. Delany – Neveryona
Lizzie Borden’s Born In Flames (film)
Miyazaki’s Nausicca of the Valley of the Winds (graphic novel)

Additional Texts:
David Heath Justice – Kynship
Frank Miller – Give Me Liberty (graphic novel)
Children of Men (film)
Nnedi Okorafor-Mbachu – The Shadow Speaker
F.M. Busby – Zelde M’tana

Some are hard to find, like Larissa Lai if you’re in the U.S. because it was Canadian only distribution so feel free to drop some from the list if you guys choose to read along. I’ll be posting about each books as I finish either way. BUT I forgot to post about this until I’d already started so I’ve already (re)read Midnight Robber and will be posting about it later this week.

Just started: Wild Seed

Next Book: Island in the Sea of Time

Probably won’t switch to Island until about January 1st because I’m in thesis crunch time and am trying to finish it before the end of this month by writing about 80 pages. We’ll see if it happens!

So Close Yet So Far!

So I’m obviously not as plugged in as I thought I was because until last night I had never heard of the Emmy-winning web series Satacracy 88. Twenty-four episodes were done in ’06 and ’07 and they are all viewable on hulu. Now the pluses are complex, interesting Woman of Color protagonist, plenty of People of Color,  passes the Bechdel Test, gotta support indie art and the plot is pretty interesting and grabby.

I stayed up late last night watching the whole thing, each episode is only 3 -5 minutes and I was loving it until I reached the end. Now I’m not gonna ruin it for anyone who is going to head over and watch it but I found it anti-climactic and boring and just plain annoying.

This time though I can’t really blame the creators or the showrunners for the badness. See, Satacracy 88 comes to us via ItsAllInYourHands.Com where at the end of each episode the protagonist is left torn between two possibilities and the audience vote decides which way they go. It’s like a group census Choose You Own Adventure Book!

They have two other shows on their webpage and on hulu.com but I’m too burned on how Satacracy 88 ended to put myself willingly into mob rule television again anytime soon. I would recommend people go watch it if only so I can have someone to discuss some of the possibly problematic elements I recognized. One of which was Satacracy 88’s origin story which I put under a cut so as not to spoil:

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Heroes – I Don’t Even Watch You And I’m Sick Of You

Okay geek confession time – I don’t watch Heroes.

I know, I know *wrist slap* bad sci-fi comic geek.

I tried during the first season and got about 11 episodes in mostly carried by my interest in the Nikki/Jessica and Claire characters – I like crazy, homicidal women and women who will put a man through a car windshield. But I’ll be honest my interest was simply not enough to carry me through the winter hiatus/re-runs. Plus the race politics from the jump were sketchy as hell. We had the silent Haitian – who I’m pretty sure still doesn’t have a name, the drug addict Latino Issac and the criminal black man DL. Sure we had Simone but she had no powers and look how she ended up. Then there are Hiro and Mohinder who are based on the “overachieving Asian” stereotype.

Now some of you are sitting back there thinking “How can this guy critique the show when he’s only seen 11 episodes?” and I agree that I can’t do an in depth critique but the fact of the matter is that being in geek circles I know the basic story lines of what has gone down on the show and really it sounds like its gone down the toilet hardcore.

I watched parts of the third season opener with my housemates and as K. Tempest Bradford says in her awesome column on the premiere Unbreakable Habits: Heroes Returns (which y’all should check out) it was “Two hours I will never get back.”

It was simply train-wreck after train-wreck and as one of my friends said (can’t quite remember who) “Heroes never met a stereotype it didn’t like.” and that’s one of its main problems right there. Every brown and female character on the show starts as a stereotype and I have yet to see them grow beyond that or disrupt that even a little bit (of course most don’t live long enough to get the chance). Mohinder and Maya engage in the out of nowhere rough brown people sex after he injects himself with the serum. The literalmagical negro in Africa – who again I don’t think we have a name for as of yet – helping out white boy Matt Parkman. The friendship between Hiro and Ando being broken apart by Hiro’s continued naivete and obsession with the truth of comic books – at this point it’s just annoying because he makes stupid ass decisions over and over again. You think that after the first two seasons he would have learned something. And there’s … have any of the other brown characters been featured as of yet? Micah? Monica? Are they just gone into the ether never to be mentioned again? 

There are basically no strong female characters on the show who are not evil in some way – the only two I noticed were crazypants sociopath Elle and manipulative Angela Petrelli. The other women have been crippled or broken in ways where they basically have nothing left of the fire that attracted me to the show for even that short while.  And can we talk about the lack of diversity in the female characters? I’m not just talking race here but size and hair color as well – there’s a preponderance of the the skinny white blond girl that Ijust find confusing and odd – Daphne, Elle, Claire, Nikki/Jessica, Tracey I mean damn is there some linkage between blondness, skinniness and the gene that gives these folks powers? Also don’t even get me started on Niki/Jessica’s death and the whole any sexually free or confident woman must die trope and the whole Tracey vs. Niki/Jessica thing they’re trying to do – show how different they are which stinks of  and plays on the Virgin/Whore dichotomy women are constantly subjected to in our society.

The other part of Heroes that works my last nerve is that its comic in visual form which I normally would be down with but all their are doing is taking X-men and Justice League swallowing it down and regurgitating it onto the screen. There is almost nothing new or original in what they are doing. Every snippet I watch just reminds me of a comic I watched as a child. Sylar as the third Petrelli brother = the search and mystery surrounding the third Summers brother. The Shanti virus = the Legacy virus. The future “league of villains” thing = something we’ve seen dozens of time. And as my housemate Jackie pointed out the whole third “book” Villains is just a rehash of Kingdom Come …but y’know bad.

They say there are only seven original stories and everything after is simply a copy of those. Yeah that’s all well and good but if you’re going to rehash a bunch of things I read growing up then you need to add something, make it your own in some way otherwise it’s just seems like boring adaptations of old favorite but without the characters and twists that made it great.

Critiquing Joss Whedon

Joss Whedon created – Buffy The Vampire Slayer, Angel, Firefly, Serenity and the upcoming Dollhouse. Now I have issues with a lot the shows listed, I’m also a huge fan. My problem isn’t entirely with the shows but also in the way a lot of of fans perceive Joss. He gets a lot of cachet from certain segments of fandom – about how he loves strong women, how he describes himself as a feminist, his population of diverse women.

Yeah I kind of scoff at all of that. First of all I will never understand why men who choose to treat women decently get a fucking medal, that should just be par for the course. I know it’s not and we as a society need to work on that but handing out cookies to these men and not allowing them to be critiqued or not critiquing them just allows them to get away with a lot of bullshit – that without the cachet of being a “feminist man” or “pro-feminist man” they would be torn to shreds for.

While I love Buffy & Firefly. (Angel I’m kinda *meh* on) the first thing that I notice is that Joss likes a certain type of woman to be strong: they have to be skinny and white and ever so traditionally beautiful. Not really that feminist to me. I’ve had a lifetime of reading comics where skinny  women become superheroes all the time. Buffy was little different from them to me. I liked her sarcasm, her determination but didn’t truly see her or the show as ground breaking…wait rephrase perhaps it was ground breaking for the medium of television specifically. But it seemed to me that everytime there was a feminist moment of fabulousness it was always within this very narrow view of women so that no ground was actually gained in my eyes. If it was anything it was the feminism he ascribed to was this prevalent “girl-power” pseudo-feminism. Yes, it was great to see girls and women being strong but you know what I would have loved? If we could have seen women of different colors, sizes, abilities, classes being just as strong without fucking up and killing someone innocent (Faith) or dying (Kendra).

And so often the shows fell into stereotypes and tropes:

The destruction of Angel’s life through Cordelia’s rampant sexuality and yes we find out she was possessed and it wasn’t really her but that whole excuse was way muddled and not thought out. 

I would have loved for Gunn (the only recurring POC in his first two shows) to just be able to be smart without a mystical intervention.

The dead lesbian – Tara

The breakdown of women without a male partner or when the male partner leaves – Buffy, Anya, Willow and on and on – in a way where we rarely if ever saw the reverse with Xander and Giles.

There’s a way in which Joss likes to consistently pair physical strength in girls with emotional weakness or fucked-up-ness, almost as if they have to exist side by side and that’s what pissed me off more than anything.

And yes we can’t say that Joss had a hand in all of those, he was the creator but he did not write every episode but as the creator he sets the tone, the pace and the message of the show. None of the show writers are going to write a character completely out of the character that Joss has set. It’s a trickle down effect.

Also I think most of us can agree while Joss might have an inkling of feminism he’s really bad at race…really really bad. Yes, in Firefly we have a mixed crew – which I love – but there’s a way in which River and Inara never have their heritage brought up and the complete absence of Asian folks in this Asian inspired show could be a whole post in and of itself. Just plopping down some folks of color is not good race politics you have to explore it at least a little – and I know he only had 12 episodes. Also the gender politics in Firefly/Serenity weren’t the best. In fact cracked.com listed Hollywood’s 5 Saddest Attempts at Feminism- River’s at #3.

I want to talk about these things, I want to talk about his consistently really bad race politics in all three of his shows. I want to talk about the co-opting of feminism by the mainstream into this whole “girl power” movement where there’s not real critique of power structures and the similarity of this “girl power” movement to the Republican ideology of “pull yourself up by the bootstraps” without any discussion of the continuing hierarchies and how difficult that can make it. I want to talk about all of that and how that’s filtered into Joss’ work but all too often I’m completely shut down by calls of “He’s a feminist!” as if that gives him a free ride to do whatever else he wants.

I own: all 7 season of Buffy, Firefly, Serenity & the first two seasons of Angel so it’s safe to term me a fan but I know that Joss has issues that crop up as do all creators. Shoot I know my own work probably has issues but I would hope that no one would give me a pass, that folks would tell me imy issues so I could be aware of it and either acknowledge it as a problem that had to exist in the work or apologize and try and do better next time. When we don’t allow for these critiques and questions to be voiced then we’re doing a disservice not only to the work but to the creator as well.

There might be posts later that focus on these shows and specifically their race politics when I get the time because:

Buffy – So. California town with little-to-no People of Color?

Angel – Only representation of POC is the trope of ghetto-gang-hustler?

Firefly/Serenity – The already mentioned absence of Asian folks coupled with the complete appropriation of their culture.