I recently received the cover to the latest Entertainment Weekly issue, which features tons of first look images. The cover features Dark Phoenix, a film I’m not looking forward to at all.
I have a big gripe with the all of the X-Men films, especially the new crop of X-Men films, which go through the trouble of painstakingly replicating certain time periods, but neglect the background that influences the X-Men comic books–the Civil Rights Movement. Granted, X-Men has always shown racial and cultural animus in the country through the gaze of white characters, but the X-Men comics have seemed to have a much more political, and sometimes radical, bent that doesn’t ever come through in the movies. It’s frustrating. Dark Phoenix seems to sum up all of my aggravations with the X-Men franchise by deciding that it’s Jean Grey‘s story we need to hear about. Jean Grey (Sophie Turner) has never been that compelling as a character, and to base an entire film around her (especially with bad special effects, as shown in the first look images) is mind-boggling to me.
Also mind-boggling is that young Storm (Alexandra Shipp)–the goddess of weather– is not acting like Storm at all in this film.
As Kid Fury wrote so poignantly on Twitter:
Here is Storm (in next year's X-Men) holding an umbrella in the rain.
Holding an umbrella.
In a short ombre wig. pic.twitter.com/gU7kdexCJP
— Small Freedia (@KidFury) December 9, 2017
Why? Why has Storm been disrespected so hardcore in this franchise? Why have all of the black characters been so disrespected in these reboots? The main reason I’ve never seen it for the X-Men: First Class reboot series is because in First Class, Darwin–a character who can adapt to anything–uncharacteristically dies. He dies as the first and only black man in the entire film. I immediately checked out and never sought to seek out the series again (except when I went to a party and saw X-Men: Apocalypse, but not on my own dime).
The only image I like from this set of Dark Phoenix images is Jessica Chastain in an icy blonde look. I don’t know who she is, but I think she looks really cool. I just wished she looked really cool like this in another movie.
In short, boo to you, Dark Phoenix. I am not watching you.
There are some films and TV series I would love to see though. Entertainment Weekly has first looks of lavish costume drama Mary, Queen of Scots, starring Margot Robbie and Saoirse Ronan, and of Antonio Banderas as Pablo Picasso in the second season of National Geographic’s Genius.
Let’s not forget that Aquaman is coming; this first look of Jason Momoa gives us a very good look at a serious Arthur Curry.
Also, The Incredibles 2 was featured in this issue. This might be an unpopular opinion, but I’ve grown tired of Pixar sequels, so much so that I can’t muster the hype to get excited about this, and I was one of the people who yelled at Pixar for years to make a sequel. At this point, I’d rather Pixar just stick to making original films like Coco, which have the potential to make a much bigger impact culturally and socio-politically. But at the same time, I do want to know what Pixar’s First Family are going to do this go-round.
Also, I have to address the elephant in the room–Altered Carbon. I’ve talked about so many projects that feature white people as Asian people in the past two years, that I’m frankly surprised Altered Carbon didn’t decide to go against the grain and, I don’t know, be respectful. Takeshi Kovacs is a biracial Japanese-Eastern European character; it could have been cool to actually hire a biracial actor for this role instead of Joel Kinnaman. Also, how many times are we going to see neon and big cities in a glossy sci-fi film? ENOUGH.
There’s a ton more first look images at Entertainment Weekly—check them out!
It’s time to look to the near future of film. Just like how the fashion industry has become an industry that relies on trend forecasting, let’s utilize the same concept when discussing what kind of mood the country will be in when we decide to sit in the theaters next year. From where I’m sitting, 2018 is going to be a year of contemplation, a year of gathering one’s bearings after a tumultuous 2017, and overall, a year of figuring out where we in the U.S. and, indeed, the world, are going if we keep on our path towards destruction.
The color story that seems to be going on in 2018 is muted blues and black disrupted by explosive, fiery colors–dark red, orange, and gold. My using the word “explosive” is meant in both a descriptive and literal sense; there is a very real sense of literal explosions in our daily life at this point in 2017, what with the threat of North Korea, the growing Cold War-esque tensions between the U.S. and Russia, and the country’s own political explosions with mounting evidence that showcases President Trump and the administration under the sway of Russian Prime Minister Vladimir Putin’s power.
The end of 2017 will see dark red come into play as we transition from this year into the next. Check out these Star Wars: The Last Jedi posters from this year:
Dark red is the dominant color, painting each of the characters to show that no matter what side you’re on, everyone’s going to be affected politically, socially, and personally by the upheaval that will happen in this next part of the saga.
All of this year’s colors are featured in The Justice League, which is coming out late 2017. The Zack Snyder-led DCU has been consistently moody, with blues, reds, oranges, and blacks making up the color palette. Perhaps it’s because of this big tentpole that we’ll see a lot more films take on a more Snyder-esque palette for their promotional material. What’s funny is that as much as people have derided Snyder for his bleak palette, 2018 will be the year that we as a culture actually feel it reflected in our collective mood. Maybe Snyder was onto something the whole time.
Red, gold, orange, neon blue and muted blues make their way into several of next year’s movies, both in their posters and in the trailers themselves. The throughline seems to be that humanity wants to find the balance between war and peace, technology and human experiences, existentialism and optimism. The importance of neon blue definitely shows itself in the more futuristic films; in these films, humanity on the precipice of extinction–or at the very least, fighting for some kind of co-existence with a more dominant species– is the main plot point.
ORANGE: Power, the unknown, disturbance
(featured: Proud Mary, Alpha, A Wrinkle in Time, Blade Runner: 2049)
NEON BLUE: Technology, mechanical coldness, human advancement (not always for the better)
(featured: Pacific Rim: Uprising, Ready Player One, Black Panther, Blade Runner: 2049)
RED AND BLACK: Ominous threat, fright, fight for survival
(featured: The Predator, Early Man, Blade Runner: 2049, Pacific Rim: Uprising)
NAVY AND MUTED BLUES: Contemplation, the dark side of technology, lurking threat, existentialism
(featured: Pacific Rim: Uprising, Blade Runner 2049, A Wrinkle in Time, Ready Player One)
GOLD AND BLACK: Personal strength, inner power, intelligence, new beginnings
(featured: Black Panther, A Wrinkle in Time, Blade Runner 2049, Alpha)
2018 MAJOR THEMES
Movie studios will still be making reboots, remakes, and sequels. However there seems to be an even clearer note of nostalgia with some of these films in 2018 aside from Hollywood trying their luck with any book or older film property.
Nostalgia, particularly nostalgia for the ’80s and ’90s (a time when a big chunk of the most catered to media demographic, young people 18-40, were kids or teenagers) will be apparent in 2018. Of course, Blade Runner: 2049 is a big send-up to the ’80s, but there’s also Ready Player One, which will have properties that span the ’80s and ’90s making cameo appearances (such as The Iron Giant, featured above). Other films such as Goosebumps: Horrorland, The Predator, and Jurassic World: Fallen Kingdom keep up the nostalgic ’80s and ’90s trend. Even horror is getting on the bandwagon with the resurgence of killer doll Chucky and Halloween‘s Mike Myers.
Other films, like Barbie, Peter Rabbit, S.C.O.O.B. (a new live-action iteration of Scooby-Doo) and Mary Poppins Returns show that childhood memories from any era are back in play. Overall, the nostalgic trend showcases the longing everyone has to go back to a time when they didn’t have to worry about the fate of the world every. single. day.
A big example of the ’80s trend in mainstream tentpoles is Thor Ragnarok.
Thor isn’t a legacy property the same way Barbie, Peter Rabbit, and Mary Poppins are. But, as was apparent in Guardians of the Galaxy Vol. 2, the late ’70s and ’80s are a big influence on Marvel’s intergalactic adventures. I mean, it’s not accident that Bruce Banner shows up wearing a shirt featuring Duran Duran’s RIO album cover, or that ’80s genre it boy Jeff Goldblum is part of the main cast. The bright colors, bombastic feel, and Valkyrie showing up with a fleet of warriors on winged horses smacks of 1970s and 1980s heavy metal, Philip Castle airbrush art, as well as 1980s candy-coated cartoons, which also delved into their share of metal inspiration via He-Man, She-Ra, and ThunderCats. Even the ship that is felled by the fireworks display behind Valkyrie (below) seems to pay homage to the spaceship iconography apparent with the band Electronic Light Orchestra, aka ELO.
(featured: scenes from Thor: Ragnaork, Jeff Goldblum in The Fly, Philip Castle airbrush artwork, ELO spaceship artwork)
In short, film studios want those of us in our 20s and 30s to feel like we did when we’d stay up to watch TGIF or when woke up early to watch Saturday morning cartoons. That feeling of nostalgia is going to be used as a buffer and distraction from the scary times we have yet to enter come 2018.
While we’re all pining for our worry-free childhoods, we’ll also be taking stock of our place in the universe and whether we can keep our planet going for another couple thousand years. Quite a few films will focus on the world at its bleakest and most depleted as well as the world when it was fresh and new. Alpha, starring Kodi Smit-McPhee, is set during the last part of the Ice Age, and Aardman’s Early Man will have its protagonist, a Bronze Age man (voiced by Eddie Redmayne), on a journey to save his beloved city.
On the extinction side of things, Ready Player One takes place in a near future in which Detroit is inundated with trailer-home skyscrapers called The Stacks and Mortal Engines, based on the popular book series by Philip Reeve, shows an earth that is desolate after the “Sixty Minute War,” with cities roaming Laputa-style, attacking and eating smaller cities in its path to replenish supplies. Extinction, which will feature Michael Peña, Mike Colter, and Lizzy Caplan, will see our current world invaded by aliens.
Sci-fi in 2018 will be almost exclusively about the world’s dire straits and how we humans can protect ourselves and the world from becoming extinct. One of Dwayne Johnson’s many projects next year, Rampage, is based on an ’80s video game (yes, nostalgia again), but it’ll be a more serious take on the game, which involved monsters wreaking havoc on cities. In the film, the monsters are animals (endangered or vulnerable animals, no less) that have been mutated by a mad scientist to destroy humanity. Pacific Rim: Uprising continues the story of a world that is constantly at war with underwater aliens, and Jurassic World: Fallen Kingdom takes the dinosaurs out of the park and into the metropolis, creating yet another version of Godzilla. (Also, don’t forget about the sequel to Godzilla, coming in 2019, which will continue the environmentally-conscious trend in sci-fi films).
So why do sci-fi films seem to have a lot of power when it comes to this environmental message? Well, one of the cornerstones of sci-fi film is to discuss our culpability in our own demise and whether we’ll have the smarts to right our wrongs. And while we’ve been fantasizing about aliens wiping us out, the real threat has been us all along–we’ve mutated as many animals and destroyed as much wildlife as any alien in sci-fi has. So the alien threat in most of these films has become nature itself. When there is actual science to back up your sci-fi–yes, the earth is heating up and we’re destroying the ecosystem at all levels and perhaps we’re making our own grave if we don’t invest in sustainable methods of living–then sci-fi’s environmental message becomes that much stronger.
(featured: Jurassic World: Fallen Kingdom, Pacific Rim: Uprising, Rampage)
It’s a little early, but I’ve been looking at the 2019 slate as it stands right now, and it would seem that some more optimistic films are on the horizon after 2018. Perhaps the film industry is banking on us getting out of our present political and social state (we will be getting closer to Trump’s end of his first–and hopefully final–term) and we’ll finally have reason to celebrate. Let’s hope so. But in 2018, we’ll be in the existentialist thick of figuring out how we’re going to keep this world spinning.
We’re at odds with Russia, and more and more people believe that the Russian government has injected itself into our politics and in the country’s presidency. More insidious is the probability that Trump is willingly under Putin’s thumb. We haven’t faced such times as these since President Nixon’s Watergate scandal and the Cold War, which lasted from the lasted from the late ’40s to the ’80s (again, there’s a hint of ’80s nostalgia there). So naturally, 2018 will see an increased focus on ’70s and ’80s politics, the Cold War, Nixon and Watergate, and new interpretations of those themes in present-day stories. Films such as Red Sparrow and Finding Steve McQueen are directly related to Russian/American politics, both in the 1970s and today. The interest in Russia has already in TV, with Channing Tatum’s Comrade Detective and HBO’s Fahrenheit 451 (I’ll get to TV in another post, so don’t worry, I’ll get to the TV trends too). That trend is also already coming to film with this September’s The Death of Stalin, chronicling the days after the Joseph Stalin’s death.
(featured: Red Sparrow book cover, The Death of Stalin, Finding Steve McQueen, The papers set photo)
The Papers is another film that’s about the 1970s (and late 1960s), but it’s handling public distrust of another kind. The Papers is all about the discovery of The Pentagon Papers, which showed that President Johnson lied to the public about the nature of the Vietnam War. While this isn’t directly about Nixon or Watergate, it’s still showing that the film tide is turning towards investigating a lack of trust in authority, particularly in a “post-truth” society.
Eventually, the focus that is beginning to be applied to Russia and the Cold War of the ’80s will also rope in North Korea as well. With North Korea becoming more and more of a nuclear threat each day, screenwriters will no doubt want to turn their attention towards the Hermit Kingdom, and studios will also probably want to capitalize on some of the properties that are already out that focus on nuclear threat. (A possible resurgence of Watchmen, perhaps? Just spit-balling here).
As you can see in this Oceans Eight first look image, women are going to be in power in all kinds of ways. From robbing folks to executing hits to owning stardom, women in unconventional and/or powerful roles will be all over 2018. Some of the films we’ll see next year are Battle Angel Alita, A Wrinkle in Time, Mary Poppins Returns, Mamma Mia: Here We Go Again!, The Nightingale, Red Sparrow, Tomb Raider, Crazy Rich Asians, Proud Mary, Widows, Ant Man and the Wasp, Life of the Party, The Papers, Winchester, The Girl in the Spider’s Web, Annihilation, X-Men: Dark Phoenix, and The Nutcracker and the Four Realms, to name a few.
(featured: Rosa Salazar cast in Alita: Battle Angel, Meryl Streep in The Papers, Taraji P. Henson in Proud Mary, Mindy Kaling, Oprah Winfrey and Reese Witherspoon in A Wrinkle in Time, Gina Rodriguez and Tessa Thompson in Annihilation, Alicia Vikander in Tomb Raider)
Several of the films mentioned have women of color at the forefront, and two such films, like Widows and Proud Mary have black women (Viola Davis and Taraji P. Henson, respectively) taking on roles that require their characters to exact deadly revenge, a micro-trend by itself. Alita: Battle Angel, based on a popular anime and manga about a cyborg brought back to life, stars Rosa Salazar amid a multicultural cast, and Crazy Rich Asians finally ends the drought of a lack of a pan-Asian presence on screen. Zazie Beetz (seen below) will become the first lady of Fox’s Deadpool franchise and, of course, all of that is rounded out by the introduction of Storm Reid in A Wrinkle in Time and the big screen debut of ballerina (or as I like to think of her, my ballerina Barbie come to life) Misty Copeland in The Nutcracker and the Four Realms. (As a huge Nutcracker fan, I can’t wait to see the film’s costumes. Here’s hoping they live up to my expectations.)
The tide has been turning for women in film, what with the outcry of several actresses about the lack of meaningful roles for women, the financial gain studios have seen from hiring women for action and bawdy comedy roles (such as Girls Trip, which became the highest-grossing live-action comedy in 2017), and movie-goers’ own demand for actresses getting equal treatment next to their male counterparts. This has led to the portrayal of women who aren’t just boobs and butts with mouths for male pleasure; Alicia Vikander’s Tomb Raider isn’t the busty woman of the past (who still kicked butt, by the way); she’s now a slimmed-down, more athletic-built woman who is on an existential search for herself as well as she finds out the truth about her father. Meryl Streep plays a newspaper titan who is out to get those Pentagon Papers. Gina Rodriguez and Tessa Thompson are scientists studying another world, with no men in sight.
But, as you can probably infer from the high gross from Girls Trip, that there’s also a racial element at play, too. It’s not just that women as a whole are getting more roles, it’s that there’s slowly more equity for women of color to be seated at the table as well. While women in general don’t have as much play as actors, white women still had the lion’s share of the roles. Technically, they still do, but thankfully, with directors of color like Ava DuVernay and actresses of color-turned-producers like Queen Latifah taking the reins, we’re finally beginning to see films starring actresses of color play in roles that were strictly relegated only to white actresses. Would we have seen Mindy Kaling and Oprah play interdimensional beings if it weren’t for another woman of color like DuVernay? I’m sure someone would have done it, but it wouldn’t have happened so soon, I’d think, and it might not have been done with the same intention of equity. Ditto for A Wrinkle in Time featuring an interracial relationship and what looks like a blended family (from the trailers, it’s seems like Storm’s character has a white brother, leading me to think that it’s her stepbrother).
Is Hollywood really “woke” by including more people of color and more of an LGBT focus in its movies? Let’s just say this is Hollywood’s first dip of its big toe in the water of being “woke.” However, this is still a huge push forward in 2018, with a bigger number of films showcasing either all-POC or mostly POC casts.
Of course, there’s Black Panther, Crazy Rich Asians and A Wrinkle in Time, but there’s also, Triple Threat, starring Tony Jaa, Michael Jai White, Tiger Chen and Uko Uwais, and The Predator, which stars Keegan-Michael Key, Sterling K. Brown, Trevante Rhodes, Olivia Munn and Edward James Olmos.
As mentioned before, Annihilation stars Gina Rodriguez and Tessa Thompson, and several movies, including Deadpool 2, Pacific Rim: Uprising, Skyscraper, Gringo, Creed 2, Mary Poppins Returns, the currently-untitled Han Solo Star Wars film, The Alchemist, Aladdin and Jurassic Park: Fallen Kingdom will prominently feature POC characters. Just take a look at this compilation of actors:
(Featured: Lin-Manuel Miranda in Mary Poppins Returns, Tessa Thompson in Thor: Ragnarok, the cast of Rampage, Jurassic World: Fallen Kingdom‘s B.D. Wong, Star Wars Han Solo film’s Donald Glover, J.A. Bayona in Jurassic Park: Fallen Kingdom, the cast of The Predator, the cast of Aquaman and director James Wan, Crazy Rich Asians‘ Henry Golding, Aladdin‘s Mena Massoud)
It also doesn’t hurt that there will be some big films directed by directors of color. DuVernay has been mentioned, and James Wan is in charge of Aquaman. Taika Waititi is behind Thor: Ragnarok and Steve McQueen is behind Widows. Jon M. Chu is bringing his directorial vision to Crazy Rich Asians.
There’s also Simon vs. the Homo-Sapien Agenda, which will be the live-action adaptation of a novel focusing on a high schooler taking coming out to his classmates in his own hands.
With all of this progress, there are still some indications Hollywood isn’t as woke as it’d like to be: at least two of the movies on the current slate feature Asian themes (specifically Japanese storytelling) without Japanese characters. As mentioned already, the Alita film adaptation will feature a multicultural cast with a non-Japanese POC lead, and Isle of Dogs will feature a mostly-white, if not all-white, cast (including Scarlett Johansson, whom people still haven’t forgiven for her role in Ghost in the Shell). We’ll see how these films are handled as we get closer to their releases. Also, Simon vs. the Homo-Sapien Agenda is currently the only high-profile film focusing on a gay character. We’ll see exactly how many LGBT characters and stories are a part of 2018, but it looks like Hollywood is, once again, lacking in this area. There’s also no clear word on how disabled people will be represented either. Seeing how disabled people have been represented this year, there’s no reason to think that 2018 will showcase anything different. But we can hope.
Of course, I haven’t mentioned every film coming out in 2018 (partially because not every film has released its promotional info) and, like with anything, there will be outliers that are hard to put into any category. But these are my general thoughts on 2018–an overview, if you will. What do you think 2018 holds for us? Give your thoughts below!
The internet went wild over the release of the official Justice League trailer, and it seems like the reaction has been all over the place. If the official Twitter Moment gives you any indication, there’s a camp that’s all about the movie, and a camp that’s not about Zach Snyder’s penchant for muddy blues and dark tones.
If that last sentence didn’t let you know, you can probably tell that I’m in the latter camp. Look, I want to like the movie a lot, but this color scheme doesn’t do anything for me. One thing I learned in art school was that if you take a picture you’ve drawn and you squint your eyes and all you see is one monochromatic color, then you don’t have enough light and dark tones in your piece and you need to add some differentiation STAT. You can do the same with this entire trailer, especially the fight scenes, and all you’d see is blue. I really don’t know what Snyder is trying to pull with this “color palette.”
Three good things we’re getting out of this film are The Flash, Cyborg, and Aquaman. I’ve been a fan of Ezra Miller since The Perks of Being a Wallflower, so I’m excited to see what he’s going to do with this character. I’m also excited to see what Hollywood newcomer Ray Fisher will do with Cyborg who was best defined for me during the character’s role in the Teen Titans cartoon show. And of course, if you’re a person who’s attracted to men and you have a pulse, your probably in the camp that wants that Jason Momoa Aquaman movie to come yesterday. As Jamie of Black Girl Nerds summed up:
— BlackGirlNerds?️? (@BlackGirlNerds) March 25, 2017
I'm just praying that we get a ton of scenes Aquaman because Jason Momoa is a blessing pic.twitter.com/kYZkZFr4FU
— BlackGirlNerds?️? (@BlackGirlNerds) March 25, 2017
Justice League who? pic.twitter.com/Hhl3HDFGRL
— BlackGirlNerds?️? (@BlackGirlNerds) March 25, 2017
Want to see the trailer for yourself and form your own opinions? Here you go:
Now let me know what you think in the comments section!
With the culmination of the San Diego Comic-Con, we’ve been getting a lot of DC Comics movie franchise news. Some of which includes the new footage of the Justice League movie, featuring Batman (Ben Affleck), Aquaman (Jason Momoa), the Flash (Ezra Miller), Wonder Woman (Gal Gadot), Cyborg (Ray Fisher) and Superman (Henry Cavill).
With the introduction of DC’s superhero team, I started wondering—which movie franchise represents its diverse audience more?
Let’s take a look at some stats. According to the MPAA, the movie-going year of 2015 saw 23 percent of Hispanics and 11 percent of African-Americans going to the movie theaters, even though Hispanics only made up 17 percent of the population and African-Americans made up 12 percent. Similarly, Asian Americans and Americans of other ethnicities were 9 percent of the movie-going population, even though they only made up 8 percent of the total population. Even though white Americans go to the movies a lot, too–56 percent of them made up movie audiences last year–they go much less than non-whites, since they are 62 percent of the total population. With all of this said, it’s clear that if you’re non-white, more than likely you’re in a movie theater at some given point in time. This also means that a disproportionate percentage of the money generated by movies is from non-white pockets. Therefore, movie theaters should start catering to those dollars more than they already do.
In the movies department, it’s pretty clear that DC is about to school Marvel on using diversity as its opening act. Batman v. Superman‘s trailer had a frustrating scene for me–the scene in which a ton of extras with Westernized Dia de los Muertos-esque skeleton face paint revering Superman as a god. It looked a lot like the scene from Game of Thrones, with a ton of brown people exalting Khaleesi as their savior. In short, I didn’t like it. And to be fair, not many people liked the movie in its entirety. But, it appears that DC will still have the Marvel beat when it comes to catering to a wider majority of its audience.
Enter the footage for the Justice League.
Already, we have an overlapping group of a woman and three people of color (I’m including Gal Gadot in this group, hence the use of the word “overlapping”), and even though he’s not playing a gay character in the films, the Flash is played by Miller, who is gay in real life. Already, that’s a heck of a lot more inclusion than Marvel’s Avengers, which is majority white male (the only actual member of color is the Falcon, and the only woman is Black Widow).
DC also has Marvel beat when it comes to treating female characters like actual characters. People have been begging Marvel for years now to create a Black Widow movie, but cries had been falling on deaf ears until very recently, when Marvel finally announced that a Black Panther film and Black Widow film were going to be made. We have finally been getting tons of news about Black Panther, but a Black Widow film is still missing in action. However, the third movie in DC’s official movie franchise is Wonder Woman.
You can read my full thoughts here, but the short of it is that seeing a female superhero do her thing on the big screen is going to instill pride and hope in a lot of girls and women out there. It would behoove Marvel to do the same.
The diversity quotient is also high with Suicide Squad, which features women (in general) in various roles, but the film also prominently features people of color as the heroes (including Will Smith, Viola Davis, Margot Robbie, Cara Delevingne, Karen Fukuhara, Adam Beach, Jay Hernandez, Adewale Akinnuouye-Agbaje, and Common).
Of course, someone could say, “Well, it’s cruelly ironic that the heroes of Suicide Squad are the evil guys, and that over half of the evil guys are people of color.” Yeah, it is cruelly ironic. But let’s contrast this to Ant-Man, which was also about bad guys becoming the good guys. Except with Ant-Man, Paul Rudd was the genius who actually acted like a genius a good portion of the time. Ant-Man’s friends, played by T.I., Michael Peña, and David Dastmalchian, were supposed to be geniuses, too, but they frequently acted like racially-charged buffoons, characters who seemed to be the brainchild of someone who believed non-white people actually act like stereotypes in real life. It was clear the Rudd’s character was the cool, calm, and collected leader, even though they were all supposed to be on the same level of intelligence. Sure, a lot of non-white people are the bad guys in Suicide Squad, but at least they all seem to be written to exist on the same level. They seem to all have their own individuality. There’s also the case of Smith’s character Deadshot in the leadership position, a change of pace from Marvel’s status quo. Also great is that Davis is the one in charge of all of them.
Marvel’s films are also failing in another area: proper representation of race. Marvel is quick to tout it’s “diversity” in terms of how many black people they hire for films. They’re especially doing that now, what with Black Panther and the Netflix show Luke Cage. But it took ages for Marvel to finally commit to Black Panther, and before they finally committed, bogus statements had been put out regarding their indecision, such as how supposedly hard it would be to create a realistic Wakanda, even though Marvel had already made Thor, which featured another non-existent locale, Asgard.
— JoBlo.com (@joblocom) July 24, 2016
Second, it’s not like Marvel has ever had a character of color lead a film until Black Panther; the Marvel universe has had enough longevity to be able to put out several movies with characters of color as the leads, but instead, they’ve constantly resorted to the “goofy, yet smart white male” lead, which makes almost every movie in the latter half of Phase 2 feel like the same movie, just retold with varying degrees of success.
Third, the characters of color the films do have are always in secondary positions. The Falcon has since become Captain America in the comics, but in the films, Falcon is relegated to Captain America’s buddy; I dare say he was relegated to mere “sidekick” in Captain America: Civil War, because Sam all-too-readily agrees to follow Cap into the sunset, even without fully hearing Cap’s plan or questioning Cap’s decision to become a fugitive. Rhodey is a great character, but even still, he’s Iron Man’s buddy. Nick Fury is the most powerful man in the Marvel Cinematic Universe, but sometimes even he is treated like an outside force, a character that is “important,” but is merely a guise to lure audiences into believing that the black characters in the Marvel Universe are treated better than they actually are. Heimdall is also powerful, but as some have said online, they felt Heimdall was nothing more than a glorified doorman, not the all-mighty keeper of the universe and its alternate dimensions.
Marvel also lets down audience members in general by asserting the reductive conclusion that black people equal “diversity,” when there are a lot of people Marvel are leaving out of the conversation. Case in point: Doctor Strange. If you read my online roundtable discussion about Doctor Strange, you’ll find that quite a few people are upset by the lack of foresight given when casting the title character and the Ancient One as white people. Also lacking in foresight was the decision to “add diversity” by casting Chiwetel Ejiofor and Benedict Wong as Doctor Strange’s…I don’t know…helpers. Again, Marvel assumes the hierarchy of characters should be that people of color fall back as sidekicks or magical helpers, while white characters assume the “default hero” character role. Marvel has also failed when it comes to representing Latinos, people of the Middle East, South and East Asians, Native Americans, Pacific Islanders, and black women. I’m sure I’m missing some other groups as well.
If the only other non-white, non-black Marvel character is Michael Peña’s character from Ant-Man, then it’s clear Marvel’s doing something wrong when it comes to fully representing fleshed-out versions of all Americans. The kicker is that they have representations of fleshed-out characters of color in their comics right now. Ms. Marvel and Spider-Man are two such examples. When are we going to see live-action projects featuring them? How many more white dudes with powers are we going to have to see on the big screen? Black Panther can’t be the only time we see a majority non-white cast in a Marvel film.
— Chadwick Boseman (@chadwickboseman) July 24, 2016
DC might have gotten their act together slowly, but they are coming out of the gate swinging with possibilities. We’ve already got Wonder Woman coming, and Aquaman, The Flash, and Cyborg films have already been scheduled for 2018 and 2020. In building a franchise, it would appear DC has been studying Marvel’s failures as well as Marvel’s successes, and it seems like the franchise is planning on welcoming more people to the table.
However, Marvel seems to be slowly getting the message, since they have already cast Brie Larson as Captain Marvel for her own standalone movie:
— Fandango (@Fandango) July 24, 2016
And the cast of Spider-Man: Homecoming has been surprisingly multicultural (the film includes Donald Glover—who had campaigned to play Peter Parker years ago—Zendaya, Hannibal Buress, Tony Revolori, Garcelle Beauvais, Bokeem Woodbine, Abraham Attah, Kenneth Choi, Tiffany Espensen, Laura Harrier, and is rumored to also feature Selenis Leyva). The film has already had to face its share of whitewashing accusations when it comes to the casting of Michael Barbieri as an original character based on Ganke Lee, who, in the Ultimate Spider-Man comics, is Miles Morales’ Korean-American best friend. But have they revamped that decision, based on this picture of the cast?
— Best of Marvel (@thebestofmarvel) July 24, 2016
Despite their flubs, Marvel is working on rectifying their current lack of focus when it comes to representing their huge audience, baby step by stuttering baby step,. If Marvel starts getting serious about showcasing LGBT characters too, then I’d be absolutely convinced Marvel has learned its lesson from past mistakes.
What’s fascinating is that while Marvel has a ton of issues to get out of its system when it comes to the movie franchise, the same can’t be said of its TV and Netflix offerings. Such as Luke Cage, which offers up the politically-charged image of, as showrunner Cheo Coker told Vanity Fair, “a bulletproof black man.” Whatever is going on in Marvel’s TV department needs to filter into the movies department. But I’ll write more on the TV side of both the DC and Marvel universes in another post.
If you have thoughts about the movie and/or TV branches of either universe, feel free to discuss in the comments section!
Okay, let’s talk about something other than Rachel Dolezal for a second. Casting news and whatnot!
Game of Thrones is still making people highly uncomfortable and, to be frank, angry. It’s gotten so bad that now, what with the amount of “rape as character development” the show tends to engage in, with Sansa Stark being the latest victim, The Mary Sue has decided to withdraw their support of the show.
I have never been a fan of Game of Thrones; I couldn’t get past the first episode for many reasons, chief of which being the horror at seeing two siblings have rough sex with each other. But despite all of the horrors of the show (so much so that I can’t even get into it as much as everyone else seems to), I do know there are some fan favorite characters, such as Tyrion Lannister, Brienne of Tarth, and Khal Drogo, played by Jason Momoa.*
There’s quite a bit of casting news from this and last week. Here we go.