Bill Duke’s ‘Dark Girls’ the book. A companion to the 2011 documentary of the same name.
Teyonah Parris for Bright Ideas Magazine.
We run into trouble when we celebrate celebrity feminism while avoiding the actual work of feminism.
So long as we continue to stare into the glittery light of the latest celebrity feminist, we avoid looking at the very real inequities that women throughout the world continue to face. We avoid having the difficult conversations about the pay gap and the all-too-often sexist music we listen to and the movies we watch that tell women’s stories horribly (if at all) and the limited reproductive freedom women are allowed to exercise and the pervasive sexual harassment and violence too many women face. We avoid having the conversations about the hard work changing this culture will require.
… Feminism should not be something that needs a seductive marketing campaign. The idea of women moving through the world as freely as men should sell itself.
—Roxane Gay, “Jennifer Lawrence? Emma Watson? These aren’t the feminists you’re looking for”, The Guardian
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When critics talk of the great “antiheroes” of TV drama right now, they mention the Walts, the Dons, and the Rusts. But what about Olivia Pope? White men on television, of course, get to be morally questionable, and people will love it. Black women on television are expected to be role models, to “represent” the race in a positive light. Black women on television are allowed to be heroes, but not in a way that threatens whiteness. They are allowed to be strong, but not overpowering; smart, but not arrogant. They’re expected to be independent but also team players.
At the forefront of How To Get Away With Murder is Annalise Keating (Davis, whose performance is unquestionably the best part of this pilot). Annalise, much like Olivia Pope, flies in the face of all that bullshit. She’s a tough-as-nails criminal defense attorney and law professor whose students, rightfully, both fear and admire her. She cheats in court and cheats on her husband with a hunky detective. She’s a real human woman with real human flaws.
“I want to be her,” Michaela Pratt (Aja Naomi King) says when Annalise and her team literally slow-motion strut out of court after winning yet another case. Annalise certainly isn’t “likable,” but that’s because the characters of How To Get Away With Murder transcend the silly likable/unlikeable dichotomy. And at the end of the day, you do want to be her. Not because she fits the mold as your typical “role model.” But because she’s awesome. And characters of color don’t usually get to be awesome. They’re often too tied up in tokenizing goals on the writers’ parts or racist expectations from viewers or respectability policing from both sides of this equation to just be. Let alone just be awesome.
—Kayla Kumari Upadhyaya, HTGAM Pilot Review (via lettilove)
Jada Pickett Smith as Jeryline in DEMON KNIGHT – 1995
Alex Datcher as Anne in BODY BAGS (THE GAS STATION segment) – 1993