Tag Archives: media representation

Blackface is Racist. Period. Mocking Domestic Abuse is Misogynistic. Period.

So this happened.

http://jezebel.com/5952124/idiot-students-in-blackface-reenact-chris-brown-beating-rihanna-at-worst-pep-rally-ever

Yeah an almost all white school had a performance where they did a skit in blackface portraying Chris Brown beating the shit out of Rihanna to win a popularity contest. This was a skit approved by school officials, watched by staff and community leaders. And now many of the students and faculty are defending it, saying it’s not racist at all. Sadly I’m not that surprised by this but it did make me feel some things I wanted to share.

First of all, as always I love it when white people, especially white people who obviously have no cultural knowledge of the history of blackface, and have close to no diversity in their community tell me what’s racist.

‘Cause they know right? They’ve been hassled by the police. They’ve been called the n-word by people that were supposed to be their advocates. They’ve been targets of harassment where people wouldn’t believe them because of their skin tone. They’ve been assumed to be a thief, thug, stupid, animalistic. They know how much it hurts some members of the black community to see blackface, how it’s tied to a time when we were considered less than human, how it was used to mock, belittle, terrorize, and propagandize to keep a group of people from having basic rights.

Blackface is racist. The end. Any comedy that requires you to darken your skin to be funny? Relies on the characters race for humor and considering you couldn’t get a black person to play the role I’m going think that the comedy wasn’t exactly flattering. There is no reason for blackface. Why is your art relying on an archaic and problematic premise?

Prejudice is the easy joke, it’s the simple laugh. Watch any frat dudebro comedy and you’ll see, they go for the old school stereotypes about women, foreigners, LGBTQI folks, disabled people, poor people, etc. for their humor. The women are always virgins or whores there to be mocked for either decision, the POC are always thugs (Af-Am), hackers (As-Am), mocked for their misunderstanding of America (everyone), etc. and the gay characters are there to be mocked with old stereotypes that compare queer women to men and queer men to women. We’re not even going to go into that problematic binary, that’s a completely different post. The point is it’s the easy laugh. HaHa look at the outsider, they’re not like me so their funny. If that’s the only humor you can reach for, aside from being privileged and oppressive you’re just a bad comedian. It’s old, it’s tired, it’s racist, it’s no longer okay.

And I assume if they’re defending this and past examples of blackface they’ve examined why they feel the need to use blackface. They’ve delved deep into their psyche and examined why an almost all white community that has little to no contact with People of Color finds blackface so entertaining it had to happen repeatedly.  They have a really good defense and reasoning for why they did this, why educators approved it, why everyone thought it was funny, aside from their critics being stupid or oversensitive, right? They were doing some good work deconstructing race and gender and the male gaze right? ‘Cause if they don’t have any that.

It’s. Just. Racist.

This is without even going into the fact that they were recreating the act of a black woman being abused! Go to the link above, look at that photo, look at the all-white audience laughing and smiling while they imagine a brown woman being thrown to the ground in violence. I don’t care what the skit was, I don’t care what they meant by it, I don’t care for anything the students, faculty or attendees have to say that is not a heartfelt apology, an explanation why they thought this was funny, and a commitment to examine their own amusement at mocking the physical assault of a black woman. Would it have been just as hilarious if it was recreating Pamela Anderson’s abuse incident? Sharon Osbourne’s? There’s misogyny here to be sure but the racial aspect turns it into something even worse.

What is it about seeing a brown woman beaten that these white boys think will win them a popularity contest, that their community will be entertained by the misogynistic, racist spectacle?

Also I’m sure the faculty and advisers know that 1 in 3 teens report knowing a friend in an abusive relationship, that 1 in 4 teen girls have been forced into sex by a intimate partner, that 80% of abused teen girls continue to date their abuser, that almost a third of teen girls killed every year are killed by a boyfriend or husband. Given these statistics they must also know that there are likely girls in that auditorium watching that performance that are currently involved in an abusive relationship. So what message did they get from the faculty approving of this? How likely are these girls now to feel safe reporting anything about abuse to this school, to anyone in their community? They’ve effectively told all who see this that the misogynistic atmosphere of the community is the arbiter of who gets to complain, who’s pain is real and whose is a joke.

But it was all a joke right?

No, it’s not a joke. Abuse is not a joke, racism is not a joke. I’ve been known to make the off-color joke myself among friends, true but first that is among friends and I always try to be aware of the privilege I have and how that factors into what I’m saying. I try not to be defensive if people decide to call me on what I say. It seems like this community wants none of that. They want to pretend that blackface is just make-up, that watching a woman getting an abusive beatdown is all good fun, that a community rallying to defend white boy’s right to recreate a brown woman’s fear, terror and pain as entertainment is okay. It’s not. This is not art that’s meant to inform, educate or examine abuse in certain communities which is one thing but entertainment that mocks her pain, belittles it, makes it fodder for the humor of an all-white community.

And that? Is. Not. Okay.

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Gayin’ Up DC Comics!

So there was much discussion back and forth about who the big DC hero coming out was and it’s been announced:

Alan Scott  – Green Lantern

So whipping out my comic book cred a bit. Alan Scott is not the Green Lantern most of you know. He’s very rarely appeared in media beyond the comics. His original origin had nothing to do with the Green Lantern Corps (or as I like to call them SPAAAAACE COOOOPPS!) it had to do with him finding a green lantern fashioned years ago in Ancient China that instructs him to make a ring which it then empowers.

Most folks don’t know Alan Scott as the Green Lantern, he’s old school – the Lantern of the 50’s and the JSA. Most people know Hal Jordan the 70’s era Green Lantern who was called out for being privileged and white by his privileged and white friend Green Arrow.

So number one why this “coming out” is bullshit is that Alan Scott is not a major superhero any longer. In most recent comics he’s taken on a more wise elder mentor role but he’s not a huge name. Also it’s not a coming out of Alan Scott, if they were keeping him in the main continuity and having an older man come out as a gay man long after he had kids who are now adult I would be  all over this. We so rarely get the POV of the older man coming out of the closet post-family and kids that it would be extremely interesting to see it in a superhero context.

That’s not what they were doing.

What they are they doing are retconning the whole thing.  Alan Scott is not in the main DC universe. He’s no longer an older man with kids, he’s a young hero on Earth-2.  So he’s not in the main storyline, he is no longer the mentor to Kyle Rayner or the father of Jade and Obsidian (we’ll come back to this later) instead he is on a different earth. Okay do I really need to explain the issue with taking a character, reinventing them as GLBTQ and then shunting them into the secondary world (tertiary? quartary? quintary? who knows with comics?)?

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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!

Glee, Why You So White?

So Gwyneth Paltrow singing Cee-Lo Green. For all the reasons this hurts and why it should not be even in the most hellish of nightmare worlds, go here: A Few Things About Gwyneth Paltrow’s ‘F*ck You’ As Performed on Glee for an excellent, intelligent and hilarious take on why it is so not okay. I’ve dealt with a lot on Glee (I’m looking at you Matthew Morrison and your incessant need to rap) but this is the first time I’m pretty sure I won’t be getting the songs on my iPod. So the part of the post linked above that seems to be causing the most drama up and in the comments is this part:

The song is off-limits for white people
Unless! Unless you really want to match Cee Lo sound for sound. First off, the soul-pop package doesn’t mitigate this song or its message; it mainstreams it. It’s subversion on steroids, and watered down to high-school pop it’s about as subversive as Reader’s Digest. More technically, I guess there’s nothing keeping Paltrow from actually rhyming that “if I was richer/I’d still be wit’ cha,” (hello, Amy Winehouse!), but her whitening of the phrase is kind of… well, disgusting. Let’s face it: Gwyneth Paltrow singing any variation on “F*ck You” is like Pat Boone singing “Tutti Frutti,” and maybe even worse: At least he didn’t have to dance with Cory Monteith and Chris Colfer.

Okay so the inevitable response to such queries as this is to scream “If you said black people couldn’t cover white songs that would be racist, so this isn’t okay! It’s reverse racism!” Okay first of all that’s a straw man argument that has nothing to do with the initial reasons given for why it’s not okay. Second of all, racism (as many people have said over and over) is privilege plus power. Black people as a group have never had enough power to enforce a nation-wide prejudice on white people in the west which continues through media to this very day.

Ignoring that let’s address that argument as if it’s valid. See the problem is that it’s only valid if equality is the base and we don’t live in an equal society at all and Glee certainly doesn’t exist in a universe of racial equality. See when this season started I was already a little put out that football coach Ken Tanaka and glee member Matt Rutherford were written out of the show and essentially replaced with white folk. Beiste for Tanaka, Sam for Matt. This is no comment on the characters of Beiste or Sam (both of whom I actually enjoy) but to show the whitening of the show in terms of diversity, one of the things they were initially praised for.

In the midst of this look at the guest stars they’ve had on the show so far: Eve, Kristin Chenoweth, Idina Menzel, Neil Patrick Harris, Barry Bostwick, Meatloaf, John Stamos, Johnathon Groff, Britney, Olivia Newton-John, Josh Groban, Cheyenne Jackson and now Gwyneth Paltrow. With the exception of Eve they are all white and Eve doesn’t even get to sing during her entire one episode appearance. How many songs has Kristin Chenoweth had on the show so far? More than Tina, one of the “main characters” that’s for sure.

So why can’t we have some Broadway legends of color? Some Jennifer Holliday, Stephanie Mills, Rita Moreno, Lea Salonga, Lin-Manuel Miranda, Audra McDonald, Taye Diggs. Shoot at this point I’m willing to accept Carol Channing’s sketchy claim to some black heritage and cheer for her as a guest star. Or even some actors/musicians of color? Jennifer Hudson, Halle Barry, Jennifer Lopez, Janet Jackson, Enrique Iglesias, Lenny Kravitz. You could just prop Whitney Houston up in the corner and have her bust out some ‘Greatest Love of All’. Shit, why couldn’t Cee-Lo himself play the substitute teacher and sing his own damn song?

I’ve watched Mercedes get slowly pushed aside, until she is the only glee club member without any kind of romantic interest, or urge at all if the show is to be believed. The relationship between Tina and Mike crosses the line from cute to stereotype so many times it makes my head spin and the treatment of Santana, especially in this last episode with the whole Puck/Artie storyline has drifted far into the overly sexualized latina stereotype.

The way the characters of color end up sidelined so much has resulted in many, many songs by artists of color being sung by white characters on that show. The reverse is hardly ever the case. When Mercedes is given a whole song to sing it is most often a song already done by a black female artist. She doesn’t get to cross that barrier ever (with the exception of Rocky Horror which she got crucified online by Glee fans) while characters like Mr. Schuester and Artie do so on a regular basis. This is not a case of there being a basis of equality that has suddenly changed. This is a case of people beginning to notice that the show is getting more and more white and monolithic in terms of race.

Glee does not rest on a base of equality, just as the world itself does not. To argue the charge of reverse racism you basically have to prove that all things being equal the world isn’t already slanted against People of Color and other oppressed groups. I’m not saying that individual members of an oppressed group cannot be prejudiced but the charge of reverse-racism is erroneous and detracts from the overall question I’ve started to have with Glee, a show I love and would like to continue too love, Glee why you getting more and more white?

And don’t even get me started on the conflation of white, young boy and gay that happens on the series, that’s another post that will be going up later this week.

Is He or Isn’t He? Take 5,890,763,111 – The Zachary Quinto Edition

Politically I’m quite a bit to the left (quelle suprise, I know) so it’s fairly often that more mainstream media pisses me off. Mainstream GLBT media especially which tends to be very white, male and “normative”, ignoring a lot of other parts of the queer community and thus pissing me off. So I tend to stay away from sites like Afterelton.com, the exception to this is the Glee Recaps which I enjoy and head over to read every week. This particular week I clicked on a link in the sidebar to a weekly column entitled, “Best Gay Week Ever!” and was scrolling through when I came across this charming little tidbit.

There was a lot of discussion this week about Zachary Quinto’s declining to address his sexual orientation when asked by the New York Times. That is certainly Quinto’s right and we here at AfterElton.com firmly don’t believe in outing in any way, so that’s pretty much all of what I have to say about Quinto.

But I just as firmly believe that every GLBT person who is able to live a life today that is more free and open than ever before has an obligation to do their part to make things better for those who come after us.

That’s why I’ll always champion out actors like [Chad] Allen and Cheyenne Jackson and Jonathan Groff, and won’t spend much time thinking about those who benefit from the sacrifices made by others yet live in glass closets.

Okay. *Deep Breath* Let’s ignore the hypocrisy of “[we] don’t believe in outing” and ending the rant with “others yet live in glass closets” and the fact that after saying that’s all that will be said about Quinto that the following two paragraphs are pretty much a passive-aggressive statement all about Quinto despite the fact that his name doesn’t appear. This isn’t even really about the person who wrote this column as much as it’s about  this pervasive idea in mainstream GLBT media that being out is the only way to live your life and that it’s worth anything and everything and on and on. It’s happened with rumors about Elijah Wood and Queen Latifah and Ne-Yo and a hundred other entertainers, along with the continual refrain of “Why won’t you just come out?” and frankly I’m sick of it.

First of all, let’s talk about the fact that the only reason that Quinto has had his sexuality questioned is his support of GLBT causes and issues. Take a moment to contemplate the sad fact that any straight man cannot support GLBT causes without it become a question of his sexuality and inevitably his manhood as well. That’s a whole research thesis in and of itself.

Now, let’s also look at the fact that Quinto [and Wood, Latifah, etc…]  could very well be straight, that his denial to reveal his sexuality could actually be a strong and interesting position of basically saying, “Despite my heterosexuality I don’t feel the need to confirm or deny my sexuality and make that the issue here rather than the GLBT issues we’re talking about”.  I don’t subscribe to the idea that a ‘No comment’ is the same as admitting to something. There are simply too many variables that we don’t know, that we can’t know, to make it that simplistic.

And let’s say they are queer in some fashion (or even straight!), maybe they just feel it’s none of  our damn business and that’s okay. It’s okay for someone who lives their life in the spotlight and has everything scrutinized to want to keep their private life private. Now I’m not one to jump on the “woe are the celebrities/rich” whiny bandwagon by any means and I admit to an unhealthy love of celebrity gossip and reality TV but should someone be judged and held up for (albeit mild) contempt because they didn’t answer a question the way you wanted them to? I don’t think so.

There is a contract between entertainer and audience, it says: you will entertain me and I will pay you. That’s it. That’s all she wrote.  Somehow it’s shifted to this entitlement that we as the audience have the right to know everything about an entertainer and put them on some pedestal as a leader, a hero and it’s an insidiously pervasive idea our society. Bottom line is that none of these people that (the generic) you believes to be in the closet ever promised to be your: leader/lover/healer/hero/figurehead/and the list goes on. To put that expectation on them and then be angry when they refuse to live up to it exhibits a level of arrogance that really bothers me.

And finally, and this hearkens back to what I said about not knowing all the factors, the idea that just coming out is the solution is too simple and too one-pronged a position to take for such a complex issue. (This at the base is the same issue I have with the It Gets Better campaign, even though I get the motivation and impulse, because it doesn’t always get better for some folks and others can’t wait that long). The thing is that you can’t know what is best for someone else. It’s impossible. You don’t know their family dynamics like they do, their religious affiliation and level of belief, their ethnic culture, their racial identity, their connection to community and that community’s value system, their political identity, their age and how they’ve identified so far, their class background and a hundred other things of both large and small effect that determine whether it’s better for someone to come out of the closet.

Basically by taking the position of out being the only way, the GLBT mainstream not only makes an amazing display of privilege in urging everyone that one way is the right way, they are also saying that coming out is worth everything you might change. And that’s probably the case for some and some of have less to lose but for others maybe they don’t want to deal with familial fall-out, maybe they don’t want to change the way people look at them, maybe they want to keep their career on a huge uptick [anyone remember how quickly Rupert Everett’s rocket ride to leading man came to an abrupt halt, Hollywood is always more comfortable with gay actors when they play gay/desexualized characters] and maybe they just don’ t think it’s any of your business. And maybe just maybe they’re fine with that decision, maybe it actually makes them happy. Maybe things are more complex than ‘in the closet’ = sad panda and out = healthy vibrant queer.

Because I’m not talking about staying in the closet miserable and afraid by any means, I think every who wants to come out should be able to in a safe and loving environment. I also think someone should give me a billion dollars. Not only does not everyone exist in a scenario where they are able to come out but some people don’t feel the need to, some just don’t care about making an announcement to anyone. I’m saying that this is a much more complex and minefield laden issue than a simple “Hey, come on out, the water is fine.” and that whatever decision someone may make on the spectrum of ‘out’ to ‘in’ their choice is a valid one and one that should be respected.

Really it all amounts to the fact that we should be praising Quinto and others for supporting GLBT issues however they identify. This focus on “Well are they or aren’t they?!? And if they are they should be out!” makes it seem as if the only reason they could ever be invested in the politics is if they had a personal stake in it which is surely not the impression that should be given out.  And I think that with his activism and voice Quinto is (as the columnist above stated of GLBT out actors) doing his “part to make things better for those who come after us” whatever his sexual orientation may be.

For Colored Girls…But Not Really

Now I’ll fully admit that I have watched some Tyler Perry movies in the past and even enjoyed one or two. There’s a lot to discuss about Perry most especially the way women tend to be portrayed in his work. Strong but unable to be so if they continue to be single. It’s like the law of Tyler Perry movies a female character cannot just leave her abusive/mean/dismissive/boring husband or boyfriend unless there’s another man already lined up for her to lean on. There’s also the added facet that all of these women go from “professional” men to “working class” men which adds a whole class aspect to his work. The men always marry up and the women always marry down in terms of socio-economic level. And this isn’t saying that that is not a valid story for some folks but it’s less the individual movies I have a problem with as much as the overall thematic pattern of his work. The only woman allowed to be angry and strong consistently in his work is himself dressed as Madea, which is a whole essay on its own. We could also talk about the fact that those who starred in his original plays and happen to be plus size and black never make the transition to screen unless its in the background, there’s not even talk about the originators of the roles being cast which is interesting considering the to do that’s happened around other transitions like Rent and such but again point for another time that none the less informs a lot of the things that bother me about him and his portrayal of women of color.

So I was understandably nervous when he bought the rights to Ntozake Shange’s amazing choreopoem For Colored Girls Who Have Considered Suicide/When The Rainbow Is Enuf which is an amazing work from the perspective of eight  black women only known  by the titles: Lady in Red, Lady in Orange, Lady in Yellow,…Green, …Blue, …White, …Brown and …Black. It’s one of the most moving pieces I’ve ever read period. It interrogates the perspective of black women as they fall in love, deal with abuse, raise their children, confront their secrets, work, dance and just live their lives. It’s nuanced. It’s moving. It’s smart. It’s beautiful. These are not words I really connect to Tyler Perry or his work.

The fact that originally Nzingha Stewart was supposed to direct the film before he used his connections to snatch the film from her already did not make me a fan of  him. When it was announced that he was considering Beyonce for one of the roles I was too through. Then as things started to come together in terms of the cast I had hope: Janet Jackson (who lest people forget started in acting – Good Times, Fame and Poetic Justice), Whoopi Goldberg, Thandie Newton, Anika Noni Rose, Loretta Devine, Kerry Washington, Kimberly Elise, Phylicia Rashad, Tessa Thompson and more. These are all actresses I’m a huge fan of and began to balance out the presence of Tyler Perry. I also learned that rather than writing the screenplay himself he was using the the screenplay that Nzingha Stewart wrote when she was still in charge of the film which IMDb and various sources confirm. Another point in the movies favor.

And as I was watching the trailer I actually was interested.

(WordPress would not let me embed the video of the trailer, go here to watch it.)

Until the whole video ended with this:

“Written For The Screen, Produced and Directed
By Tyler Perry”

WTF? So not only did Perry snatch the film itself from Stewart but he’s taking credit for her work. Now if it turns out that what I’ve heard and IMDB is reporting is wrong then I’ll take this back but as of now I hate Tyler Perry. What a move to make? To take a story about black women’s experiences written by  a black woman, steal it from a black female director (of which there are few enough as it is) and then take credit for her work. Methinks you actually need to read some of the original work you’re adapting:

somebody almost walked off wid alla my stuff

somebody almost walked off wid alla my stuff 
not my poems or a dance i gave up in the street
 but somebody almost walked off wid alla my stuff

like a kleptomaniac workin hard & forgettin while stealin
 this is mine/this aint yr stuff/
now why don’t you put me back & let me hang out in my own self

somebody almost walked off wit alla my stuff 
& didn’t care enuf to send a note home sayin 
i was late for my solo conversation
 or two sizes to small for my own tacky skirts

link to the entire piece

We could also have a conversation about the shortening of the name, erasing a lot of the context in terms of the lives being portrayed, but that’s a post for another time.