#[which had two (2) new african-american characters on its cast as well as two (2) remorseless killers]
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10 Cartoons With The Best Racial Diversity
Diversity is important in cartoons, and while racial diversity has been done well a lot for a while, I am happy to say that it is continuing to be done more and executed in a better fashion as time goes on! Today, I will be discussing what are, in my opinion, the 10 cartoons with the best racial diversity.
10. OK KO! Let’s be Heroes
Kicking off the list with a series that was also featured in my list counting down the cartoons with the best LGBTQ representation! OK KO! Let’s be Heroes had many awesome instances of racial representation throughout as well. A good portion of characters all have different races, which is amazing to see! While many shows do have different races between characters, one thing that separated OK KO! Let’s be Heroes from the rest was one episode called “No More Pow Cards”, in which KO’s friend Dendy feels that she will never be a hero due to the fact that her turtle race has been viewed as monsters. Due to this, these cards that KO and Dendy collect do not represent Dendy’s race. However, instead of just letting that happen, KO and Dendy confront the CEO. When seeing Dendy, the CEO sees that some of the Kappa are heroic, and due to this, he finally allows Kappa cards to be made. This episode was one of the main standouts to me, but aside from that, the series does stand strong in the field of representation!
OK KO! Let’s Be Heroes was a Cartoon Network series that ran from 2017 to 2019 for a total of 3 seasons and 112 episodes. The series was about Kaio Kincaid, also known as K.O. who hopes to become the world’s greatest hero. While hoping to accomplish this, he works at a store known as Gar’s Hero Supply and Bodega, which sells a variety of items, whether that be food, or even hero supplies. He works alongside two other employees known as Radicles and Enid. Oftentimes, the trio have to fight off Boxmore, a store that sells items to supervillains. OK KO: Let’s Be Heroes! is an amazing series with a unique artstyle, interesting characters and a great concept! It is definitely an amazing series that is racially diverse, and just a good series in general! You can watch OK KO! Let’s be Heroes on HBO Max or Hulu!
9. The Hollow
Now, we move onto another show that I feel is quite underrated! The Hollow was a series which had a diverse main cast, all having a different race. Furthermore, the characters all feel normal, and they do not act differently based on their race, making them all feel more human. Having almost every main character different worked very well for me because it just felt that the series had the goal of showing people that different groups can get along well regardless of race. This series was one that was made in Canada, and in Canada, diverse groups like the one in The Hollow is very common.
The Hollow was a series running from 2018 to 2020 for a total of 2 seasons and 20 episodes. The series takes place in a strange world, where three teenagers named Adam, Mira and Kai all wake up. The three do not have any memories, and all they have at the time they wake up are each other. Due to this, the three work together to explore this new world, and to find their way back to their home (wherever their home is). However, they soon find that this world is not all that they think it is. The Hollow was a great series to me. Alongside its highlights, I loved the worldbuilding present in the series. Furthermore, the darker colors really stood out to me! It really matches with the feel of the show! It was definitely a fun series, and I do wish Netflix treated it better! You can watch The Hollow on Netflix!
8. The Loud House
Now, the Loud House is definitely another series that has to be mentioned if talking about diversity! The series has a lot of diversity among the different characters, from the Loud’s being a family with a Scottish Heritage, Lincoln’s best friend being African-American, and another family somewhat close to the Loud’s, the Santiago’s are Mexican! Furthermore, the series is a great representation of how different families can be as they have different struggles that they face, and different circumstances overall. The Loud House may have a bit of a negative reputation these days, but diversity is one thing it did well!
The Loud House is a series that is currently running on Nickelodeon. It has been a Nickelodeon hit series since 2016, and it has so far had 6 seasons consisting of 156 episodes. The series revolves around the Loud family, a family of 10 sisters and one single brother. The show is mostly focused on the brother, Lincoln, with some episodes focusing on certain sisters. The sisters, from oldest to youngest are Lori, Leni, Luna, Luan, Lynn, Lucy, Lana, Lola and Lily. Each of them have their own unique quirk, whether that be being good at a sport (Lynn), being a great musician (Luna), or even being filthy (Lana). The family often go through different sorts of adventures, some of which being adventures that most everyday families go through, with others being a bit more quirky than your average real life family. While the series is mostly episodic, there is some change as the series goes on, but none of these changes are huge. The Loud House has a lot to love! I love how there are so many characters, but all have unique quirks to set them apart, I love the comic book art style and I love the wholesomeness it has! While it is not as good as it was when it first aired, The Loud House is still pretty great to me! You can watch The Loud House on Netflix!
7. The Ghost and Molly McGee
I’m sure someone expected a Disney show in here somewhere seeing how I am obsessed with Disney, and I had to have The Ghost and Molly McGee in here somewhere! Now, this series was a standout to me because it includes a bi-racial main character who is half Irish and half Thai. The series is great at representing what our current society looks like - a mix of all sorts of races and religions. In fact, there was a whole episode where Molly was confused on her heritage, and was trying to find out where she truly belongs. Furthermore, while this is not direct, the ghost and Molly’s friendship symbolizes inclusiveness to me. The reason for this is because the two are clearly different in terms of their backgrounds, but once they meet, Molly is excited to have a friend, which shows kids that having friends that are not similar to you doesn’t have to be scary, and it can even be exhilarating!
The Ghost and Molly McGee is a series which aired first in 2021 on Disney, and is still airing! The series is about a 13 year old girl named Molly, who alongside her family moves to a rusty old house. Little did they know that this house has been inhabited by a ghost. Now, unlike most teenage girls, Molly wants to be his friend. He puts a curse on Molly, but that only brings them closer together! While he does not like Molly at first, he slowly opens up to her as well, and they eventually become good friends! Now, there is a lot to love about The Ghost and Molly Mcgee! Firstly, I love the designs and the brighter colors the show has. Furthermore, I love how vibrant the characters are! While The Ghost and Molly Mcgee is one of my less preferred shows from Disney’s more recent hits, I still have lots of love for it and hope it succeeds! You can watch The Ghost and Molly McGee on Disney +!
6. Amphibia
Now, I had to include this somewhere as it definitely has great representation for a variety of different races! The three main friend group consists of three girls, all of a different race - one of which being Thai, one being German and one being Taiwanese. Outside of the three main girls, many of the human characters are also represented through different races, which can be seen with the girl's classmates or even their principal. Amphibia has definitely done well with the representation, and they have shown how a normal society is with different races of people interacting with others, and not just sticking to one race in the series, like some do.
Amphibia is a series running from 2019 to 2022 on Disney, and has had a total of 3 seasons and 58 episodes through its runtime. The series revolves around Anne Boonchuy, a middle schooler, who steals a box with her friends Sasha and Marcy. However, they were in for a bit of a surprise. The box was actually a magic box, and once they stole it, they were transported to a new world, which is known as Amphibia. Amphibia differs from their regular world because it is full of frogs. When waking up in this new land, Anne realizes that she has been separated from her friends. Now, she must go on a quest to not only get back home, but to find them along the way to take them with her. She is originally found by a frog named Sprig, who came with the purpose of hunting her. However, after he finds her, they become good friends, and Anne moves in with them temporarily. However, along with meeting new friends like Sprig, she also runs into quite a few obstacles. Now, Amphibia is truly one of my favorite shows! I love everything from the characters to the humor to just the concept of middle school students getting sent to a frog world! It is definitely a great show, and I am glad to have found it! You can watch Amphibia on Disney Plus!
5. 6Teen
6Teen was another Canadian series that accurately captured Canada’s feel. In Canada, we have such a diverse range of people, and we get to see so many people mix around and mingle. In 6Teen, we have a mixture of different races among the main six characters, and we have the different background characters all from different ethnic groups. Seeing this accurately represented in a TV series was great, and it made me connect with the different characters.
6Teen was a series which ran from 2004 to 2010 for a total of 4 seasons and 93 episodes. It is about 6 teens who are 6teen! The teenagers go by the names of Wyatt, Jude, Jen, Caitlin, Jonesy and Nikki. They all just go through typical teenager situations that we all have been through, with some definitely being more insane than others! These situations are all that I am sure that we can relate to, whether that be the pressure of making money, the pressure of school, the pressure to impress a crush, you name it! Now, 6Teen is definitely a loveable series! Some of the standout attributes for me are the raunchy humor that was not overdone, the relatability and the development of certain characters (especially Caitlin). 6Teen is definitely an amazing series, and the diversity was a highlight! You can watch 6Teen on the YouTube channel Retro Rerun or on Tubi!
4. Detentionaire
I previously mentioned an underrated show, but now, we will be talking about what I think is the most underrated show! Detentionaire is a pretty unique show when it comes to diversity. The show takes place in a high school, and the different cliques that the school has is similar to cliques you would find in real life. Furthermore, the school has a bunch of different races and ethnicities mixing along. While many of the different characters in these cliques seem like stereotypes in the first few episodes, the series illustrates how while someone may seem shallow from surface level, they have much more to them. While the series is mainly focused on the main character, some background characters get shine on them, and we learn much more about them than we thought they had. Detentionaire did a great job at illustrating that all sorts of people are more than what we think they are, and that all people do go through different circumstances.
Detentionaire revolves around a highschooler named Lee, who on his first day of school, gets framed for a huge prank, and gets a year of detention for this. With some help from his friends, he goes on a quest to clear his name by investigating different students and cliques. However, early on, he realizes that whatever is going on is more than the prank. Instead, he finds out that the prank was just a small set piece that connects to this huge government level conspiracy. He is not the only person who has a connection to this conspiracy - his parents do as well! Due to his connection, he realizes that the whole world may be at stake unless he does something. Now, Detentionaire is so great that I do not know where to start - firstly, I would say that the characters all feel like what you would see at an actual high school, and as they open up, it makes them all feel very real. Furthermore, I love the plot progression - the show really starts with a prank in episode one, and by the final episode, he is trying to stop an ancient pyramid from opening up as an ancient species is inside, waiting to take over Earth. Finally, the mystery itself was a pleasure to watch as it had so much depth to it, and each answered question would open up many new questions! Detentionaire is one of my favorite shows, and I could go on forever talking about how amazing it is! You can watch Detentionaire on the YouTube channel Retro Rerun, or on Tubi!
3. Glitch Techs
Now that we already have a Nickelodeon show down, I might as well add another one to the list! Glitch Techs was another series that had great diversity! The series had two main characters, with one being a Mexican American, and the other one being a Japanese-American. The Glitch Techs (which is the name of the group as a whole) has a lot of members of different races, whether that be Zahra, who is an Arab-American girl that actually wears a hijab, or the Leader, Mitch, who is a Black British male. Now, I brought up these two in particular because they really stood out to me. I do not usually see characters represent their religion by wearing hijabs in animated TV shows, so it was amazing to see! Furthermore, I have watched lots of cartoons, and it’s rare for me to see a black character leading a group, which I always found sad as they are underrepresented! Seeing this in Glitch Techs made me really happy!
Glitch Techs is about two teenagers named Hector and Miko. The two often work together to stop “glitches”, which are video game characters that leave the game and try causing havoc on their world. Now, there is a lot to love about Glitch Techs, whether that be the concept alone, the vibrant and as I mentioned earlier, diverse characters, or the amazing designs that the series uses! Glitch Techs is an amazing series, and it truly deserved better from Nickelodeon! I hope that one day, it gets the continuation it deserves! You can watch Glitch Techs on Netflix!
2. Dead End: Paranormal Park
Now, I recently started Dead End: Paranormal Park, and I have to say that in the field of representation, it is spectacular! The series has a variety of characters of different races. For instance, the main character Barney is white, while his best friend/co-worker Norma is Pakistani. Through the series, there are many other characters coming from different races such as his boyfriend Logan, who is Vietnamese. Another thing that makes the diversity powerful to me is that each of the characters are being played by a person who is the same race as that character, which, to me, is going above and beyond to contribute to a diverse environment. Many shows do not do this, but Dead End: Paranormal Park stood out for this.
Dead End: Paranormal Park is a Netflix original that originally aired early this year for a season of 10 episodes, with plans for a second season to come out soon. Dead End: Paranormal Park revolves around Barney and Norma who were recently hired at a new theme park that is actually haunted. However, aside from being actually haunted, there is actually some big lore that is being built upon. From the first scene itself, we see Pauline Phoenix, the actress who the park is based off, get killed. This indicates what there is to come! Dead End: Paranormal Park is one of the more recent shows I have checked out, and there is so much greatness the show offers! I love the representation, the color choices they use and the horror elements (I will be rewatching it this Halloween! Dead End: Paranormal Park is a great show with awesome representation, and it is probably my favorite series that came out this year! You can watch Dead End: Paranormal Park on Netflix!
1. Craig of the Creek
I have seen many shows, but in terms of racial diversity, Craig of the Creek is outstanding! The series has had so much when it comes to racial diversity as we get introduced to so many characters of different ethnic groups. For instance, we have the main character, who is African American, but outside of that, we have Indian characters, East Asian characters, you name it! The characters are not only all there and have an important role, but these characters also all embrace their different ethnicities, and the specific cultures that the characters have are mentioned in the series! For instance, one of the Indian characters Raj, had a short dedicated to him and his grandma, where the main character Craig was trying to learn more about their culture. Acts like these go a long way as they encourage children to embrace their culture and to not be ashamed of it. Craig of the Creek also showed how so many different people can become great friends regardless of the ethnicity they are from. The main cast of characters are all so diverse, and instead of running from that diversity, they all embrace it and continue to spend time with each other.
Craig of the Creek is a series that is currently running. It started in 2017, and through its time, it has had a total of 3 seasons with 120 episodes. The series was about a young adventurous boy named Craig, who often goes on different sorts of adventures at this creek he lives near. He is accompanied by his friends Kelsey and JP. The adventures vary from episode to episode. Sometimes, they are more nature-esque in the creek, and sometimes they are more technical. Whatever they are upto though, is always entertaining to see. Now, with me, I love the character designs (with JP being my favorite), I love the characters who bring these designs to life, and I love the wholesome feeling that I get when watching it as it definitely has some touching moments. I am almost caught up with Craig of the Creek, and I have to say I definitely love it from what I have seen! You can watch Craig of the Creek on HBO Max!
So these were the 10 cartoons with the best racial diversity in my opinion! Which ones did you agree with? Disagree with? Would you change anything? And follow me for more cartoon-related blogs!
#cartoon#cartoons#cartoon network#nickelodeon#disney#teletoon#netflix animation#ok ko let's be heroes#the hollow#the loud house#the ghost and molly mcgee#tgamm#amphibia#amphiblr#6teen#detentionaire#glitch techs#dead end paranormal park#craig of the creek#radarplz
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In Focus: The Mummy
Dominic Corry responds on behalf of Letterboxd to an impassioned plea to bump up the average rating of the 1999 version of The Mummy—and asks: where is the next great action adventure coming from?
We recently received the following email regarding the Stephen Sommers blockbuster The Mummy:
To whom it may concern,
I am writing to you on behalf of the nation, if not the entire globe, who frankly deserve better than this after months of suffering with the Covid pandemic.
I was recently made aware that the rating of The Mummy on your platform only stands at 3.3 stars out of five. … This, as I’m sure you’re aware, is simply unacceptable. The Mummy is, as a statement of fact, the greatest film ever made. It is simply fallacious that anyone should claim otherwise, or that the rating should fail to reflect this. This oversight cannot be allowed to stand.
I have my suspicions that this rating has been falsely allocated due to people with personal axes to grind against The Mummy, most likely other directors who are simply jealous that their own artistic oeuvres will never attain the zenith of perfection, nor indeed come close to approaching the quality or the cultural influence of The Mummy. There is, quite frankly, no other explanation. The Mummy is, objectively speaking, a five-star film (… I would argue that it in fact transcends the rating sytem used by us mere mortals). It would only be proper, as a matter of urgency, to remove all fake ratings (i.e. any ratings [below] five stars) and allow The Mummy’s rating to stand, as it should, at five stars, or perhaps to replace the rating altogether with a simple banner which reads “the greatest film of all time, objectively speaking”. I look forward to this grievous error being remedied.
Best,
Anwen
Which of course: no, we would never do that. But the vigor Anwen expresses in her letter impressed us (we checked: she’s real, though is mostly a Letterboxd lurker due to a busy day-job in television production, “so finding time to watch anything that isn’t The Mummy is, frankly, impossible… not that there’s ever any need to watch anything else, of course.”).
So Letterboxd put me, Stephen Sommers fan, on the job of paying homage to the last great old-school action-adventure blockbuster, a film that straddles the end of one cinematic era and the beginning of the next one. And also to ask: where’s the next great action adventure coming from?
Brendan Fraser, Rachel Weisz and John Hannah in ‘The Mummy’ (1999).
When you delve into the Letterboxd reviews of The Mummy, it quickly becomes clear how widely beloved the film is, 3.3 average notwithstanding. Of more concern to the less youthful among us is how quaintly it is perceived, as if it harkens back to the dawn of cinema or something. “God, I miss good old-fashioned adventure movies,” bemoans Holly-Beth. “I have so many fond memories of watching this on TV with my family countless times growing up,” recalls Jess. “A childhood classic,” notes Simon.
As alarming as it is to see such wistful nostalgia for what was a cutting-edge, special-effects-laden contemporary popcorn hit, it has been twenty-one years since the film was released, so anyone currently in their early 30s would’ve encountered the film at just the right age for it to imprint deeply in their hearts. This has helped make it a Raiders of the Lost Ark for a specific Letterboxd demographic.
Sommers took plenty of inspiration from the Indiana Jones series for his take on The Mummy (the original 1932 film, also with a 3.3 average, is famously sedate), but for ten-year-olds in 1999, it may have been their only exposure to such pulpy derring-do. And when you consider that popcorn cinema would soon be taken over by interconnected on-screen universes populated by spandex-clad superheroes, the idea that The Mummy is an old-fashioned movie is easier to comprehend.
However, for all its throwbackiness, beholding The Mummy from the perspective of 2020 reveals it to have more to say about the future of cinema than the past. 1999 was a big year for movies, often considered one of the all-time best, but the legacy of The Mummy ties it most directly to two of that year’s other biggest hits: Star Wars: Episode One—The Phantom Menace and The Matrix. These three blockbusters represented a turning point for the biggest technological advancement to hit the cinematic art-form since the introduction of sound: computer-generated imagery, aka CGI. The technique had been widely used from 1989’s The Abyss onwards, and took significant leaps forward with movies such as Terminator 2: Judgment Day (1991), Jurassic Park (1993) and Starship Troopers (1997), but the three 1999 films mentioned above signified a move into the era when blockbusters began to be defined by their CGI.
A year before The Mummy, Sommers had creatively utilised CGI in his criminally underrated sci-fi action thriller Deep Rising (another film that deserves a higher average Letterboxd rating, just sayin’), and he took this approach to the next level with The Mummy. While some of the CGI in The Mummy doesn’t hold up as well as the technopunk visuals presented in The Matrix, The Mummy showed how effective the technique could be in an historical setting—the expansiveness of ancient Egypt depicted in the movie is magnificent, and the iconic rendering of Imhotep’s face in the sand storm proved to be an enduringly creepy image. Not to mention those scuttling scarab beetles.
George Lucas wanted to test the boundaries of the technique with his insanely anticipated new Star Wars film after dipping his toe in the digital water with the special editions of the original trilogy. Beyond set expansions and environments, a bunch of big creatures and cool spaceships, his biggest gambit was Jar Jar Binks, a major character rendered entirely through CGI. And we all know how that turned out.
A CGI-enhanced Arnold Vosloo as Imhotep.
Sommers arguably presented a much more effective CGI character in the slowly regenerating resurrected Imhotep. Jar Jar’s design was “bigger” than the actor playing him on set, Ahmed Best. Which is to say, Jar Jar took up more space on screen than Best. But with the zombie-ish Imhotep, Sommers (ably assisted by Industrial Light & Magic, who also worked on the Star Wars films) used CGI to create negative space, an effect impossible to achieve with practical make-up—large parts of the character were missing. It was an indelible visual concept that has been recreated many times since, but Sommers pioneered its usage here, and it contributed greatly to the popcorn horror threat posed by the character.
Sommers, generally an unfairly overlooked master of fun popcorn spectacle (G.I. Joe: The Rise of Cobra is good, guys), deserves more credit for how he creatively utilized CGI to elevate the storytelling in The Mummy. But CGI isn’t the main reason the film works—it’s a spry, light-on-its-feet adventure that presents an iconic horror property in an entertaining and adventurous new light. And it happens to feature a ridiculously attractive cast all captured just as their pulchritudinous powers were peaking.
Meme-worthy: “My sexual orientation is the cast of ‘The Mummy’ (1999).”
A rising star at the time, Brendan Fraser was mostly known for comedic performances, and although he’d proven himself very capable with his shirt off in George of the Jungle (1997), he wasn’t necessarily at the top of anyone’s list for action-hero roles. But he is superlatively charming as dashing American adventurer Rick O’Connell. His fizzy chemistry with Weisz, playing the brilliant-but-clumsy Egyptologist Evie Carnahan, makes the film a legitimate romantic caper. The role proved to be a breakout for Weisz, then perhaps best known for playing opposite Keanu Reeves in the trouble-plagued action flop Chain Reaction, or for her supporting role in the Liv Tyler vehicle Stealing Beauty.
“90s Brendan Fraser is what Chris Pratt wishes he was,” argues Holly-Beth. “Please come back to us, Brendaddy. We need you.” begs Joshhh. “I’d like to thank Rachel Weisz for playing an integral role in my sexual awakening,” offers Sree.
Then there’s Oded Fehr as Ardeth Bey, a member of the Medjai, a sect dedicated to preventing Imhotep’s tomb from being discovered, and Patricia Velásquez as Anck-su-namun, Imhotep’s cursed lover. Both stupidly good-looking. Heck, Imhotep himself (South African Arnold Vosloo, coming across as Billy Zane’s more rugged brother), is one of the hottest horror villains in the history of cinema.
“Remember when studio movies were sexy?” laments Colin McLaughlin. We do Colin, we do.
Sommers directed a somewhat bloated sequel, The Mummy Returns, in 2001, which featured the cinematic debut of one Dwayne Johnson. His character got a spin-off movie the following year (The Scorpion King), which generated a bunch of DTV sequels of its own, and is now the subject of a Johnson-produced reboot. Brendan Fraser came back for a third film in 2008, the Rob Cohen-directed The Mummy: Tomb of the Dragon Emperor. Weisz declined to participate, and was replaced by Maria Bello.
Despite all the follow-ups, and the enduring love for the first Sommers film, there has been a sadly significant dearth of movies along these lines in the two decades since it was released. The less said about 2017 reboot The Mummy (which was supposed to kick-off a new Universal Monster shared cinematic universe, and took a contemporary, action-heavy approach to the property), the better.
The Rock in ‘The Mummy Returns’ (2001).
For a long time, adventure films were Hollywood’s bread and butter, but they’re surprisingly thin on the ground these days. So it makes a certain amount of sense that nostalgia for the 1999 The Mummy continues to grow. You could argue that many of the superhero films that dominate multiplexes count as adventure movies, but nobody really sees them that way—they are their own genre.
There are, however, a couple of films on the horizon that could help bring back old-school cinematic adventure. One is the long-planned—and finally actually shot—adaptation of the Uncharted video-game franchise, starring Tom Holland. The games borrow a lot from the Indiana Jones films, and it’ll be interesting to see how much that manifests in the adaptation.
Then there’s Letterboxd favorite David Lowery’s forever-upcoming medieval adventure drama The Green Knight, starring Dev Patel and Alicia Vikander (who herself recently rebooted another video-game icon, Lara Croft). Plus they are still threatening to make another Indiana Jones movie, even if it no longer looks like Steven Spielberg will direct it.
While these are all exciting projects—and notwithstanding the current crisis in the multiplexes—it can’t help but feel like we may never again get a movie quite like The Mummy, with its unlikely combination of eye-popping CGI, old-fashioned adventure tropes and a once-in-a-lifetime ensemble of overflowing hotness. Long may love for it reign on Letterboxd—let’s see if we can’t get that average rating up, the old fashioned way. For Anwen.
Related content
How I Letterboxd with The Mummy fan Eve (“The first film I went out and bought memorabilia for… it was a Mummy action figure that included canopic jars”)
The Mummy (Universal) Collection
Every film featuring the Mummy (not mummies in general)
Follow Dom on Letterboxd
#the mummy#brendan fraser#stephen sommers#action adventure#fantasy adventure#action adventure film#the green knight#david lowery#dominic corry#letterboxd
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Bert Williams
Bert Williams (November 12, 1874 – March 4, 1922) was a Bahamian-born American entertainer, one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He is credited as being the first black man to have the leading role in a film: Darktown Jubilee in 1914.[2]
He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world."
Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his three-decade-long career. Fellow vaudevillian W. C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw—and the saddest man I ever knew."
Williams was born in Nassau, The Bahamas, on November 12, 1874, to Frederick Williams Jr. and his wife Julia. At the age of 11, Bert permanently emigrated with his parents, moving to Florida in the United States. The family soon moved to Riverside, California, where he graduated from Riverside High School in 1892. In 1893, while still a teenager, he joined different West Coast minstrel shows, including Martin and Selig's Mastodon Minstrels in San Francisco, where he first met his future professional partner, George Walker.
He and Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. But they soon discovered that they got a better reaction by switching roles and subverting expectations. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business." A New York Times reviewer wrote: "He holds a face for minutes at a time, seemingly, and when he alters it, bring[s] a laugh by the least movement."
In late 1896, the pair were added to The Gold Bug, a struggling musical. The show did not survive, but Williams & Walker got good reviews, and were able to secure higher profile bookings. They headlined the Koster and Bial's vaudeville house for 36 weeks in 1896–97, where their spirited version of the cakewalk helped popularize the dance. The pair performed in burnt-cork blackface, as was customary at the time, billing themselves as "Two Real Coons" to distinguish their act from the many white minstrels also performing in blackface. Williams also made his first recordings in 1896, but none are known to survive. They participated in a "Benefit for New York's Poor" held on February 9, 1897 at the Metropolitan Opera House, their only appearance at that theater.
While playing off the "coon" formula, Williams & Walker's act and demeanor subtly undermined it as well. Camille Forbes wrote, "They called into question the possible realness of blackface performers who only emphasized their artificiality by recourse to burnt cork; after all, Williams did not really need the burnt cork to be black," despite his lighter skin complexion. He would pull on a wig full of kinky hair in order to help conceal his wavy hair. Terry Waldo also noted the layered irony in their cakewalk routine, which presented them as mainstream blacks performing a dance in a way that lampooned whites who'd mocked a black dance that originally satirized plantation whites' ostentatiously fussy mannerisms. The pair also made sure to present themselves as immaculately groomed and classily dressed in their publicity photos, which were used for advertising and on the covers of sheet music promoting their songs. In this way, they drew a contrast between their real-life comportment and the comical characters they portrayed onstage. However, this aspect of their act was ambiguous enough that some black newspapers still criticized the duo for failing to uplift the dignity of their race.
In 1899, Williams surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow eight years Bert's senior. Thus, the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple, and the union lasted until his death. The Williamses never had children biologically, but they adopted and reared three of Lottie's nieces. They also frequently sheltered orphans and foster children in their homes.
Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten.
The duo's international success established them as the most visible black performers in the world. They hoped to parlay this renown into a new, more elaborate and costly stage production, to be shown in the top-flight theaters. Williams and Walker's management team balked at the expense of this project, then sued the pair to prevent them from securing outside investors or representation. Filings in the suit revealed that each member of the team had earned approximately $120,000 from 1902 to 1904, or $3.5 million apiece in 2019 dollars. The lawsuit was unsuccessful, and Williams and Walker accepted an offer from Hammerstein's Victoria Theatre, the premiere vaudeville house in New York. A white Southern monologist objected to the integrated bill, but the show went ahead with Williams and Walker and without the objector.
In February 1906, Abyssinia, with a score co-written by Williams, premiered at the Majestic Theater. The show, which included live camels, was another smash. Aspects of the production continued the duo's cagey steps toward greater creative pride and freedom for black performers. The nation of Abyssinia (now Ethiopia) was the only African nation to remain sovereign during European colonization, repelling Italy's attempts at control in 1896. The show also included inklings of a love story, something that had never been tolerated in a black stage production before. Walker played a Kansas tourist while his wife, Aida, portrayed an Abyssinian princess. A scene between the two of them, while comic, presented Walker as a nervous suitor.
While the show was praised, many white critics were uncomfortable or uncertain about its cast's ambitions. One critic declared that audiences "do not care to see their own ways copied when they can have the real thing better done by white people," while the New York Evening Post thought the score "is at times too elaborate for them and a return to the plantation melodies would be a great improvement upon the 'grand opera' type, for which they are not suited either by temperament or by education." The Chicago Tribune remarked, disapprovingly, "there is hardly a trace of negroism in the play." George Walker was unbowed, telling the Toledo Bee, "It's all rot, this slapstick bandanna handkerchief bladder in the face act, with which negro acting is associated. It ought to die out and we are trying to kill it." Though the flashier Walker rarely had qualms about opposing the racial prejudice and limitations of the day, the more introspective and brooding Williams internalized his feelings.
In 1908, while starring in the successful Broadway production Bandanna Land, Williams and Walker were asked to appear at a charity benefit by George M. Cohan. Walter C. Kelly, a prominent monologist, protested and encouraged the other acts to withdraw from the show rather than appear alongside black performers; only two of the acts joined Kelly's boycott.
Bandanna Land continued the duo's series of hits and introduced a tour de force sketch that soon Williams made famous: his pantomime poker game. In total silence, Williams acted out a hand of poker, with only his facial expressions and body language conveying the dealer's up-and-down emotions as he considered his hand, reacted to the unseen actions of his invisible opponents, and weighed the pros and cons of raising or calling the bet. It later became a standard routine in his solo stage act, and was recorded on film by Biograph Studios in 1916.
Walker was in ill health by this point due to syphilis, which was then incurable. In January 1909 he suffered a stroke onstage while singing, and was forced to drop out of Bandanna Land the following month. The famous pair never performed in public again, and Walker died less than two years later. Walker had been the businessman and public spokesman for the duo. His absence left Williams professionally adrift.
After 16 years as half of a duo, Williams needed to reestablish himself as a solo act. In May 1909 he returned to Hammerstein's Victoria Theater and the high-class vaudeville circuit. His new act consisted of several songs, comic monologues in dialect, and a concluding dance. He received top billing and a high salary, but the White Rats of America, an organization of vaudevillians opposed to encroachments from blacks and women, intimidated the theater managers into reducing Williams' billing. The brash Walker would have resisted such an insult to his star status, but the more reserved Williams did not protest. Allies were few; big-time vaudeville managers were fearful of attracting a disproportionate number of black audience members and thus allowed only one black act per bill. Due to his ethnicity, Williams typically was forced to travel, eat and lodge separately from the rest of his fellow performers, increasing his sense of isolation following the loss of Walker.
In 1910, Booker T. Washington wrote of Williams: "He has done more for our race than I have. He has smiled his way into people's hearts; I have been obliged to fight my way." Gene Buck, who had discovered W. C. Fields in vaudeville and hired him for the Follies, wrote to a friend on the occasion of Fields' death: "Next to Bert Williams, Bill [Fields] was the greatest comic that ever lived."
Williams' stage career lagged after his final Follies appearance in 1919. His name was enough to open a show, but they had shorter, less profitable runs. In December 1921, Under the Bamboo Tree opened, to middling results. Williams still got good reviews, but the show did not. Williams developed pneumonia, but did not want to miss performances, knowing that he was the only thing keeping an otherwise moribund musical alive at the box office. However, Williams also emotionally suffered from the racial politics of the era, and did not feel fully accepted. He experienced almost chronic depression in his later years, coupled with alcoholism and insomnia.
On February 27, 1922, Williams collapsed during a performance in Detroit, Michigan, which the audience initially thought was a comic bit. Helped to his dressing room, Williams quipped, "That's a nice way to die. They was laughing when I made my last exit." He returned to New York, but his health worsened. He died at his home, 2309 Seventh Avenue in Manhattan, New York City on March 4, 1922 at the age of 47. Few had suspected that he was sick, and news of his death came as a public shock. More than 5,000 fans filed past his casket, and thousands more were turned away. A private service was held at the Masonic Lodge in Manhattan, where Williams broke his last barrier. He was the first black American to be so honored by the all-white Grand Lodge. When the Masons opened their doors for a public service, nearly 2,000 mourners of both races were admitted. Williams was buried in Woodlawn Cemetery in The Bronx, New York City.
https://en.wikipedia.org/wiki/Bert_Williams
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The Mysterious Death of a Hollywood Director
This is the tale of a very famous Hollywood mogul and a not-so-famous movie director. In May of 1933 they embarked together on a hunting trip to Canada, but only one of them came back alive. It’s an unusual tale with an uncertain ending, and to the best of my knowledge it’s never been told before.
I. The Mogul
When we consider the factors that enabled the Hollywood studio system to work as well as it did during its peak years, circa 1920 to 1950, we begin with the moguls, those larger-than-life studio chieftains who were the true stars on their respective lots. They were tough, shrewd, vital, and hard working men. Most were Jewish, first- or second-generation immigrants from Europe or Russia; physically on the small side but nonetheless formidable and – no small thing – adaptable. Despite constant evolution in popular culture, technology, and political and economic conditions in their industry and the outside world, most of the moguls who made their way to the top during the silent era held onto their power and wielded it for decades. Their names are still familiar: Zukor, Goldwyn, Mayer, Jack Warner and his brothers, and a few more. And of course, Darryl F. Zanuck. In many ways Zanuck personified the common image of the Hollywood mogul. He was an energetic, cigar-chewing, polo mallet-swinging bantam of a man, largely self-educated, with a keen aptitude for screen storytelling and a well-honed sense of what the public wanted to see. Like Charlie Chaplin he was widely assumed to be Jewish, and also like Chaplin he was not, but in every other respect Zanuck was the very embodiment of the dynamic, supremely confident Hollywood showman.
In the mid-1920s he got a job as a screenwriter at Warner Brothers, at a time when that studio was still something of a podunk operation. The young man succeeded on a grand scale, and was head of production before he was 30 years old. Ironically, the classic Warners house style, i.e. clipped, topical, and earthy, often dark and sometimes grimly funny, as in such iconic films as The Public Enemy, I Am a Fugitive from a Chain Gang, and 42nd Street, was established not by Jack, Harry, Sam, or Albert Warner, but by Darryl Zanuck, who was the driving force behind those hits and many others from the crucial early talkie period. He played a key role in launching the gangster cycle and a new wave of sassy show biz musicals. At some point during 1932-33, however, Zanuck realized he would never rise above his status as Jack Warner’s right-hand man and run the studio, no matter how successful his projects proved to be, because of two insurmountable obstacles: 1) his name was not Warner, and 2) he was a Gentile. Therefore, in order to achieve complete autonomy, Zanuck concluded that he would have to start his own company.
In mid-April of 1933 he picked a public fight with Jack Warner over a staff salary issue, then abruptly resigned. Next, he turned his attention to setting up a company in partnership with veteran producer Joseph Schenck, who was able to raise sufficient funds to launch the new concern. And then, Zanuck invited several associates from Warner Brothers to accompany him on an extended hunting trip in Canada.
Going into the wilderness and killing wild game, a pastime many Americans still regard as a routine, unremarkable form of recreation, is also of course a conspicuous show of machismo. But in this realm, as with his legendary libido, Zanuck was in a class by himself. He had been an enthusiastic hunter most of his life, dating back to his boyhood in Nebraska. Once he became a big wheel at Warners in the late ’20s he took to organizing high-style duck-hunting expeditions: the young executive and his fellow sportsmen would travel to the appointed location in private railroad cars, staffed by uniformed servants. Heavy drinking on these occasions was not uncommon. (Inevitably, film buffs will recall The Ale & Quail Club from Preston Sturges’ classic comedy The Palm Beach Story, but DFZ and his pals were not cute old character actors, and their bullets were quite real.) Members of Zanuck’s studio entourage were given to understand that participation in these outings was de rigueur if they valued their positions, and expected desirable assignments in the future. Director Michael Curtiz, who had no fondness for hunting, remembered the trips with distaste, and recalled that on one occasion he was nearly shot by a casting director who had no idea how to properly handle a gun.
But ducks were just the beginning. In 1927 Zanuck took his wife Virginia on an African safari. In Kenya Darryl bagged a rhinoceros and posed for a photo with his wife, crouched beside the rhino’s carcass. Virginia, an erstwhile Mack Sennett bathing beauty and former leading lady to Buster Keaton, appears shaken. Her husband looks exhilarated. During this safari Zanuck also killed an elephant. He kept the animal’s four feet in his office on the Warners lot, and used them as ashtrays. If any animal lover dared to express dismay, the Hollywood sportsman would retort: “It was him or me, wasn’t it?” Zanuck made several forays to Canada with his coterie in this period, gunning for grizzly bears. Director William “Wild Bill” Wellman, who was more of an outdoorsman than Curtiz, once went along, but soon became irritated with Zanuck’s bullying. The two men got into a drunken fistfight the night before the hunting had even begun. In the course of the ensuing trip the hunting party was snowbound for three days; Zanuck sprained his ankle while trailing a grizzly; the horse carrying medical supplies vanished; and Wellman got food poisoning. “It was the damnedest trip I’ve ever seen,” the director said later, “but Zanuck loved it.”
Now that Zanuck had severed his ties with the Warner clan and was on the verge of a new professional adventure, a trip to Canada with a few trusted associates would be just the ticket. This time the destination would be a hunting ground on the banks of the Canoe River, a tributary of the Columbia River, 102 miles north of Revelstoke, British Columbia, a city about 400 miles east of Vancouver. There, in a remote scenic area far from any paved roads, telephones, or other niceties of modern life, the men could discuss Zanuck’s new production company and, presumably, their own potential roles in it. Present on the expedition were screenwriter Sam Engel, director Ray Enright, 42nd Street director Lloyd Bacon, producer (and former silent film comedian) Raymond Griffith, and director John G. Adolfi, best known at the time for his work with English actor George Arliss. Adolfi, who was around 50 years old and seemingly in good health, would not return.
II. The Director
Even dedicated film buffs may draw a blank when the name John Adolfi is mentioned. Although he directed more than eighty films over a twenty-year period beginning in 1913, most of those films are now lost. He worked in every genre, with top stars, and made a successful transition from silent cinema to talkies. He seems to have been a well-respected but self-effacing man, seldom profiled in the press.
According to his tombstone Adolfi was born in New York City in 1881, but the exact date of his birth is one of several mysteries about his life. His father, Gustav Adolfi, was a popular stage comedian and singer who emigrated to the U.S. from Germany in 1879. Gustav performed primarily in New York and Philadelphia, and was known for such roles as Frosch the Jailer in Strauss’ Die Fledermaus. But he was a troubled man, said to be a compulsive gambler, and after his wife Jennie died (possibly of scarlet fever) it appears his life fell apart. Gustav’s singing voice gave out, and then he died suddenly in Philadelphia in October 1890, leaving John and his siblings orphaned. (An obituary in the Philadelphia Jewish Exponent reported that Gustav suffered a stroke, but family legend suggests he may have committed suicide.) After a difficult period John followed in his father’s footsteps and launched a stage career, and was soon working opposite such luminaries of the day as Ethel Barrymore and Dustin Farnum. Early in the new century the young actor wed Pennsylvania native Florence Crawford; the marriage would last until his death.
When the cinema was still in its infancy stage performers tended to regard movie work as slumming, but for whatever reason John Adolfi took the plunge. He made his debut before the cameras around 1907, probably at the Vitagraph Studio in Brooklyn. There he appeared as Tybalt in J. Stuart Blackton’s 1908 Romeo and Juliet , with Paul Panzer and Florence Lawrence in the title roles. He worked at the Edison Studio for director Edwin S. Porter, and at Biograph in a 1908 short called The Kentuckian which also featured two other stage veterans, D.W. Griffith and Mack Sennett. Most of Adolfi’s work as a screen actor was for the Éclair Studio in Fort Lee, New Jersey, the first film capital. The bulk of this company’s output was destroyed in a vault fire, but a 1912 adaptation of Robin Hood in which Adolfi appeared survives. That same year he also appeared in a famous docu-drama, as we would call it, Saved from the Titanic. This ten-minute short premiered less than a month after the Titanic disaster, and featured actress Dorothy Gibson, who actually survived the voyage, re-enacting her experience while wearing the same clothes she wore in the lifeboat. (This film, unfortunately, is among the missing.) After appearing in dozens of movies Adolfi moved behind the camera.
Much of his early work as a director was for a Los Angeles-based studio called Majestic, where he made crime dramas, Westerns, and comedies, films with titles like Texas Bill’s Last Ride and The Stolen Radium. In 1914 the company had a new supervisor: D. W. Griffith, now the top director in the business, who had just departed Biograph. Adolfi was one of the few Majestic staff directors who kept his job under the new regime. A profile in the February 1915 issue of Photoplay describes him as “a tallish, good-looking man, well-knit and vigorous, dark-haired and determined; his mouth and chin suggest that their owner expects (and intends) to have his own way unless he is convinced that the other fellow’s is better.” It was also reported that Adolfi had developed something of a following as an actor, but that he dropped out of the public eye when he became a director. Presumably, that’s what he wanted.
Adolfi left Majestic after three years, worked at Fox Films for a time as a staff director, then freelanced. During the remainder of the silent era he guided some of the screen’s legendary leading ladies: Annette Kellerman (Queen of the Sea, 1918), Marion Davies (The Burden of Proof, 1918), Mae Marsh (The Little ‘Fraid Lady, 1920), Betty Blythe (The Darling of the Rich, 1922), and Clara Bow (The Scarlet West, 1925). Not one of these films survives. A profile published in the New York World-Telegram during his stint at Fox reported that Adolfi was well-liked by his employees. He was “reticent when the conversation turned toward himself, but frank and outspoken when it concerned his work. Mr. Adolfi is not only a director who is skilled in the technique of his craft; he is also a deep student of human nature.” Asked how he felt about the cinema’s potential, he replied, with unconscious irony, “it is bound to live forever.”
III. The Talkies
In spring of 1927 Adolfi was offered a job at Warner Brothers. His debut feature for the studio What Happened to Father? (now lost) was a success, or enough of one anyway to secure him a professional foothold, and he worked primarily at WB thereafter. Thus he was fortuitously well-positioned for the talkie revolution, for although talking pictures were not invented at the studio it was Sam Warner and his brothers, more than anyone else, who sold an initially skeptical public on the new medium. After Adolfi had proven himself with three talkie features Darryl Zanuck handed him an expensive, prestige assignment, a lavish all-star revue entitled The Show of Shows which featured every Warners star from John Barrymore to Rin-Tin-Tin.
Other important assignments followed. In March of 1930 a crime melodrama called Penny Arcade opened on Broadway. It was not a success, but when Al Jolson saw it he sensed that the story had screen potential. He purchased the film rights at a bargain rate and then re-sold the property to his home studio, Warner Brothers. Adolfi was chosen to direct, but was doubtless surprised to learn that Jolson had insisted that two of the actors from the Broadway production repeat their performances before the cameras. One of the pair, Joan Blondell, had already appeared in three Vitaphone shorts to good effect, but the other, James Cagney, had never acted in a movie. Any doubts about Jolson’s instincts were quickly dispelled. Rushes of the first scenes featuring the newcomers so impressed studio brass that both were signed to five-year contracts. While Adolfi can’t be credited with discovering the duo, the film itself, re-christened Sinners’ Holiday,remains his strongest surviving claim to fame: he guided Jimmy Cagney’s screen debut.
At this point the director formed a professional relationship that would shape the rest of his career. George Arliss was a veteran stage actor who went into the movies and unexpectedly became a top box office draw. He was, frankly, an unlikely candidate for screen stardom. Already past sixty when talkies arrived, Arliss was a short, dignified man who resembled a benevolent gargoyle. But he was also a journeyman actor, a seasoned professional who knew how to command attention with a sudden sharp word or a raised eyebrow. Like Helen Hayes he was valued in Hollywood as a performer of unblemished reputation who lent the raffish film industry a touch of Class, in every sense of the word.
In 1929 Arliss appeared in a talkie version of Disraeli, a role he had played many times on stage, and became the first Englishman to take home an Academy Award for Best Actor. Thereafter he was known for stately portrayals of History’s Great Men, such as Voltaire and Alexander Hamilton, as well as fictional kings, cardinals, and other official personages. The old gentleman formed a close alliance with Darryl Zanuck, whom he admired, and was in turn granted privileges highly unusual for any actor at the time. Arliss had final approval of his scripts and authority over casting. He was also granted the right to rehearse his selected actors for two weeks before filming began. All that was left for the film’s director to do, it would seem, would be to faithfully record what his star wanted. Not many directors would accept this arrangement, but John Adolfi, who according to Photoplay “was determined to have his own way unless he is convinced that the other fellow’s is better,” clearly had no problem with it. His first film with Arliss was The Millionaire, released in May 1931; and in the two years that followed Adolfi directed eight more features, six of which were Arliss vehicles. He had found his niche in Hollywood.
One of Adolfi’s last jobs sans Arliss was a B-picture called Central Park, which reunited the director with Joan Blondell. It’s a snappy, topical, crazy quilt of a movie that packs a lot of incident into a 58-minute running time. Central Park was something of a sleeper that earned its director positive critical notices, and must have afforded him a lively holiday from those polite period pieces for the exacting Mr. Arliss.
In spring of 1933, after completing work on the Arliss vehicle Voltaire, Adolfi accompanied Darryl Zanuck and his entourage to British Columbia to hunt bears. Arliss intended to follow Zanuck to his new company, while Adolfi in turn surely expected to follow the star and continue their collaboration. Things didn’t work out that way.
IV. The Hunting Trip
It’s unclear how long the men were hunting before tragedy struck. On Sunday, May 14th, newspapers reported that film director John G. Adolfi had died the previous week – either on Wednesday or Thursday, depending on which paper one consults – at a hunting camp near the Canoe River. All accounts give the cause of death as a cerebral hemorrhage. According to the New York Herald-Tribune the news was conveyed in a long-distance phone call from Darryl Zanuck to screenwriter Lucien Hubbard in Los Angeles. Hubbard subsequently informed the press. The N.Y. Times reported that the entire hunting party (Zanuck, Engel, Enright, Bacon, and Griffith) accompanied Adolfi’s remains in a motorboat down the Columbia River to Revelstoke. From there the body was sent to Vancouver, B.C., where it was cremated. Write-ups of Adolfi’s career were brief, and tended to emphasize his work with George Arliss, though his recent success Central Park was widely noted. John’s widow Florence was mentioned in the Philadelphia City News obituary but otherwise seems to have been ignored; the couple had no children.
V. The Aftermath
Darryl F. Zanuck went on to found Twentieth Century Pictures, a name suggested by his hunting companion Sam Engel. One of the company’s biggest hits in its first year of operation was The House of Rothschild, starring George Arliss and directed by Alfred Werker. The venerable actor returned to England not long afterwards and retired from filmmaking in 1937. In his second book of memoirs, published three years later, Arliss devotes several pages of warm praise to Zanuck, but refers only fleetingly to the man who directed seven of his films, John Adolfi, and misspells his name.
In 1935 Zanuck merged his Twentieth Century Pictures with Fox Films, and created one of the most successful companies in Hollywood history. He would go on to produce many award-winning classics, including The Grapes of Wrath, Laura, and All About Eve. Zanuck’s trusted associates at Twentieth-Century Fox in the company’s best years included Sam Engel, Raymond Griffith, and Lloyd Bacon, all survivors of the Revelstoke trip. Personal difficulties and vast changes in the film industry began to affect Zanuck’s career in the 1950s. He left the U.S. for Europe but continued to make films, and sporadically managed to exercise control over the company he founded. He died in 1979.
In 1984 a onetime screenwriter and film critic named Leonard Mosley, who had known Zanuck slightly, published a biography entitled Zanuck: The Rise and Fall of Hollywood’s Last Tycoon. Aside from his movie reviews most of Mosley’s published work concerned military matters, specifically pertaining to the Second War World. His Zanuck bio reveals a grasp of film history that is shaky at times, for the book has a number of obvious errors. Nevertheless, it was written with the cooperation of Darryl’s son Richard, his widow Virginia, and many of the mogul’s close associates, so whatever its errors in chronology or studio data the anecdotes concerning Zanuck’s personal and professional activities are unquestionably well-sourced.
When Mosley’s narrative reaches May 1933, the point when Zanuck is on the verge of founding his new company, we’re told that he and several associates decided to go on a hunting trip to Alaska. The location is not correct, but chronologically – and in one other, unmistakable respect – there can be no doubt that this refers to the Revelstoke trip. From Mosley’s book:
“There is a mystery about this trip, and no perusal of Zanuck’s papers or those of his former associates seems to elucidate it,” he writes. “Something happened that changed his whole attitude towards hunting. All that can be gathered from the thin stories that are still gossiped around was that the hunting party went on the track of a polar bear somewhere in the Alaskan wilderness [sic], and when the vital moment came it was Zanuck who stepped out to shoot down the charging, furious animal. His bullet, it is said, found its mark all right, but it did not kill. The polar bear came on, and Zanuck stood his ground, pumping away with his rifle. Only this time it was not ‘him or me,’ but ‘him’ and someone else. The wounded and enraged bear, still alive and still charging, swerved around Zanuck and swiped with his great paw at one of the men standing behind him – and only after it had killed this other man did it fall at last into the snow, and die itself. That’s the story, and no one seems to be able to confirm it nor remember the name of the man who died. The only certain thing is that when Zanuck came back, he announced to Virginia that he had given up hunting. And he never went out and shot a wild animal again, not even a jackrabbit for his supper.”
VI. The Coda
Was John Adolfi killed by a bear? It certainly seems possible, but if so, why didn’t the men in the hunting party simply report the truth? Even if their boss was indirectly responsible, having fired the shots that caused the bear to charge, he couldn’t be blamed for the actions of a dying animal. But it’s also possible the event unfolded like a recent tragedy on the Montana-Idaho border. There, in September 2011, two men named Ty Bell and Steve Stevenson were on a hunting trip. Bell shot what he believed was a black bear. When the bear, a grizzly, attacked Stevenson, Bell fired again – and killed both the bear and his friend.
That seems to be the more likely scenario. If Zanuck fired at the wounded bear, in an attempt to save Adolfi, and killed both bear and man instead, it would perhaps explain a hastily contrived false story. It would most definitely explain the prompt cremation of Adolfi’s body in Vancouver. Back in Hollywood Joe Schenck was busy raising money, and lots of it, to launch Zanuck’s new company. Any unpleasant information about the new company’s chief – certainly anything suggestive of manslaughter – could jeopardize the deal. A man hit with a cerebral hemorrhage in the prime of life is a tragedy of natural causes, but a man sprayed with bullets in a shooting, accidental or not, is something else again. That goes double if alcohol was involved, as it reportedly was on Zanuck’s earlier hunting trips.
Of course, it’s also possible that Adolfi did indeed suffer a cerebral hemorrhage. Like his father.
John G. Adolfi is a Hollywood ghost. Most of his works are lost, and his name is forgotten. (Even George Arliss couldn’t be bothered to spell it correctly.) Every now and then TCM will program one of the Arliss vehicles, or Sinners’ Holiday. Not long ago they showed Adolfi’s fascinating B-picture Central Park, that slam-bang souvenir of the early Depression years in which several plot strands are deftly inter-twined. One of the subplots involves a mentally ill man, a former zoo-keeper who escapes from an asylum and returns to the place where he used to work, the Central Park Zoo. He has a score to settle with an old nemesis, an ex-colleague who tends the big cats. As the story approaches its climax, the escaped lunatic deliberately drags his enemy into the cage of a dangerous lion and leaves him there. In the subsequent, harrowing scene, difficult to watch, the lion attacks and practically kills the poor bastard.
by William Charles Morrow
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My sources for this article, in addition to the Mosley biography cited in the text, include Stephen M. Silverman’s The Fox That Got Away: The Last Days of the Zanuck Dynasty at Twentieth-Century Fox (1988), and Marlys J. Harris’s The Zanucks of Hollywood: The Dark Legacy of an American Dynasty (1989). For material on John Adolfi I made extensive use of the files of the New York Public Library for the Performing Arts. Special thanks to James Bigwood for his prodigious research on the Adolfi family genealogy, and to Mary Maler, John Adolfi’s great-niece, for information she provided on her family.
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Let’s discuss what’s going on with American Gods Season 3 (and as a whole)
My focus is mostly gonna be on Bilquis and the depiction of the African centric divinities, and there will be spoilers.
Okay. So we’re halfway through this third season of American Gods, and I’ve come to some serious realizations as well as developed some serious questions about where this show could possibly be going.
First off, I’ll go ahead and admit that Orlando Jones not being brought back colored my opinion of this season before watching it. I’ll also admit that some of the casting choices had me side eyeing the season before it aired (and they still do).
But I’m gonna address the absence of Jones first, and how I feel like it’s altered the dynamic of the show in some ways.
From season 1 and Season 2, Mr. Nancy was a voice for radical blackness, straight out the gate. His introductory monologue in Season 1 is still iconic as his monologue about slavery being cult in Season 2. This season however, feels completely dry and displaced in regards to how the show is addressing the myths and narratives surrounding black people in the American framework.
With Mr. Nancy gone, the strain of black righteous wrath has left as well. Mind you, that’s not an inherently bad thing, but the way the writers have removed Mr. Nancy’s fiery speeches and in its stead, introduced this push for black unity with the Orishas is lacking in some ways.
When considering all of the behind the scenes drama, the opening scene from episode 4 of the current season feels sanitized to a degree. “I becomes we” while a lovely inspirational phrase also feels like it’s ignoring some things in the efforts to make whoever hears it feel good. It feels real “Black is Beautiful”. It feels very tidy and abstract and toothless and clawless compared to the raw realism that drove Mr. Nancy’s monologues.
And honestly, it would have been better if they weren’t compared at all. Mr.Nancy’s justified rawness combined with this sentiment of unification could have worked well together. It would have been nice to see Mr. Nancy’s leading the efforts to unify the African gods during the brewing war between the Old (anglocentric) gods and the new gods.
Because if you are going to unify, then the reason for the unification needs to clear. Mr. Nancy constantly reminded folks of what was at stake, and what needed to be done in order for blackness to survive. For the writers to do away with that aspect, and push this new depiction of black optimism via Bilquis and the Orishas feels...uninspired.
Which leads me to the second point, I’m honestly not feeling what they’re doing with Bilquis as a character, and I’m not exactly excited to see where they’re going with her. The whole set up of her meeting the orisha Oshun was disappointing for some reasons.
Oshun’s casting is something I side-eye because I think it’s real suspect that an African spirit of beauty, sensuality, and love is depicted as a light skinned afro-latina. No shade to Herizen Guardiola because I liked her in The Get Down. But why cast her and have the rest of the Orishas be depicted as dark skinned? And why give her most of the speaking parts in Ep. 4 and Ep. 5?
And yes, I’m aware that Oshun is depicted as light skinned in different parts of the African Diaspora, and I still side eye that idea. However, I’m not in those African Traditional Religions circles, so I’ll leave that alone. But my point still stands in the context of this show.
Another reason is that the whole situation of helping Bilquis remember who she is comes almost left field. The past two seasons have shown Bilquis to be for the most self actualized even though she, like the other old gods, has to find new and creative ways to gain worship. The only instance, we have of Bilquis “forgetting” her divinity is during the montage in season one where we see her journey from ancient time as a powerful erotic goddess to being homeless until Technical Boy gives her a means of gaining worship.
Now perhaps, she’s in the same situation as Ostara (Easter) in the first season finale where Wednesday had to remind her of her true identity. Which is a valid direction, but then that leads us as watchers to wonder what is this supposed true identity? And does this mean that her powers in sensuality are completely gone?
I ask these questions, but I’m not entirely excited to see what the answers are.
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Did The Dark Knight Really Influence the Marvel Cinematic Universe?
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In 2008, there were two seismic events in the superhero movie genre so close together that you’d be forgiven for thinking they signaled the same thing. Over the span of a few months, Marvel Studios launched the Marvel Cinematic Universe (MCU) via Iron Man, and director Christopher Nolan changed the perception of how seriously to take these movies with The Dark Knight. Both are credited as watershed moments for how audiences and (more importantly) the industry approached such stories; and The Dark Knight is specifically singled out as the gold standard by which all other masked crimefighter films are measured.
However, was Nolan’s haunting vision—one in which a lone avenger is the last, best hope for a major American city on the verge of collapse—really that influential on its genre? The Dark Knight certainly had a monumental impact on the culture, then and now. You saw it when Heath Ledger’s searing interpretation of the Joker made him only the second actor to win a posthumous Oscar, as well as when the film’s exclusion from the Best Picture race changed the way the Academy Awards handled its top prize. And just last year, The Dark Knight became only the second superhero movie inducted into the National Film Registry.
Yet when a friend watching last week’s The Falcon and the Winter Soldier premiere told me Marvel was returning to the “realistic” approach of Captain America: The Winter Soldier, and by extension The Dark Knight, I couldn’t help but disagree. The new Disney+ series may have a slightly more grounded aesthetic than the last time we saw these characters (back when they were fighting space aliens over magic stones in Avengers: Endgame), but the medium-blending existence of the series belies the idea that Marvel took anything significant from the insular and self-contained Dark Knight Trilogy.
The Dark Knight vs. Iron Man
It’s interesting to look back at just those 2008 films since at face value they bore minor similarities. They both were focused on fantastically wealthy billionaires using their fortunes to fight wrongdoing on a potentially global scale; each movie was directed by filmmakers with indie cred thanks to Nolan helming Memento (2000) and Jon Favreau writing and starring in Swingers (1996); and each starred unexpected casting choices with Ledger as the Joker and Robert Downey Jr. jumpstarting a career comeback as Tony Stark.
But their goals and approaches were worlds apart. The obvious thing to note, besides The Dark Knight being a sequel to Batman Begins (2005) and Iron Man being an origin movie, is that Iron Man had an slyly hilarious sensibility, and The Dark Knight fancied itself an allegory about post-9/11 America. The former’s success was engineered in large part by Downey’s gift for comedic improvisation and freestyle. Indeed, co-star Jeff Bridges said in 2009 that he, Downey, and Favreau were essentially improvising their scenes from scratch every day during primitive rehearsals. “They had no script, man,” Bridges lightly complained with his Dude diction.
By contrast, The Dark Knight appears at a glance to be an exercise in self-seriousness and lofty ambition. Every scene, written by Nolan and his brother Jonathan Nolan, appears like a chess move, and each character a pawn or knight who’s been positioned to put contemporary audiences in a state of pure anxiety with War on Terror imagery and dialogue. Of course this clocklike presentation is itself another Nolan illusion, as smaller players like Michael Jai White, who portrayed gangster Gambol in the movie, have been quite candid about. As with almost every film, there is still a level of fluidity and workshopping on Nolan’s set.
Ultimately, the bigger difference between the Nolan and eventual Marvel approach is what each is hoping to accomplish with the film they’re currently making. More than just offering a “realistic” vision of Batman, The Dark Knight attempted to tell a sweeping crime drama epic that would stand alone, separate from its status as a Batman Begins sequel. Rather than being “the next chapter,” The Dark Knight was meant to be a cinematic distillation of Batman and Joker’s primal appeals writ large. With this approach, the film also broke away from the superhero movie template Batman Begins followed three years earlier, and which nearly all superhero films still walk through the paces of.
In essence, The Dark Knight showed that superhero movies could be dark and mature, yes, but they can also be subversive, unexpected, and genuinely surprising. Nolan’s previous superhero movie, as good as it is, followed the beats set down by Richard Donner’s Superman: The Movie nearly 30 years earlier. They’re the same beats trod by Iron Man and pretty much every other superhero origin movie, including a large bulk of Marvel Studios’ output. The Dark Knight, by contrast, reached for a cinematic vernacular separate from its specific genre. The movie’s not subtle about it either. The opening scene of Nolan’s epic wears its homages to Michael Mann’s Heat on its sleeves, and the story’s structure has more to do with Jaws than Jor-El.
The approach shook audiences in 2008 after they’d come to expect a certain type of movie from masked do-gooders. In The Dark Knight, superhero conventions could be subverted or obliterated when love interest Rachel Dawes is brutally killed off mid-sentence, or stalwart Batman is forced to claim a pyrrhic victory over the villain by entering into a criminal conspiracy and cover-up with the cops. The thrill of novelty was as breathtaking as the movie’s allegorical elements about a society on edge.
And even with The Dark Knight’s open-ended finale, it stood as a singular cinematic experience, complete with then-groundbreaking emphasis on IMAX photography. Nolan was so adamant about making this as self-contained an experience as possible that he jettisoned his co-story creator David Goyer’s idea of setting up Harvey Dent’s fall from grace for a third movie. Dent’s fate, as that of everyone else’s, would be tied strictly to the events of the movie you’re now watching.
“We Have a Hulk”
In Iron Man, and then more forcefully in Iron Man 2 (2010) and the rest of its “Phase One” era, Marvel Studios demonstrated a wholly different set of priorities. Similar to how Batman Begins paved the way for Nolan to do what he really wanted with that material, Iron Man 2 came to encapsulate Marvel Studios President Kevin Feige’s grander designs for the type of movies he was making. Where The Dark Knight was singular, unconventional, and two steps closer to our world than its comic book origins, Iron Man 2 was episodic, entirely crafted around audience expectations for a sequel, and even more like a comic book world than our own.
In other words, the first Iron Man gently submerged audiences into the fantasy by beginning with contemporary images of Tony Stark in a Middle Eastern desert; Iron Man 2 then made sweeping strides in defining what that MCU fantasy is as quickly as possible: Natasha Romanoff, aka Black Widow (Scarlett Johansson) is introduced solely to establish the superspy who will be vital to The Avengers two years down the road, and the central narrative about Tony Stark fighting an old rival is put on pause to reintroduce the character Nick Fury (Samuel L. Jackson) as a supporting, and superfluous, side character. The post-credit scene even arbitrarily introduces literal magic with a glowing hammer that has absolutely nothing to do with the story you just watched. Still, it’s a hell of a teaser for Thor which was due in theaters a year later.
With the release of Iron Man 2, Marvel Studios’ emphasis became diametrically opposed to the driving concept behind The Dark Knight Trilogy. Rather than each film being an insulated, standalone cinematic experience like the Hollywood epics of old, Marvel’s movies would be interconnected episodes in an ongoing narrative saga that spanned multiple franchises and countless sequels. This isn’t necessarily a bad thing. Unlike Nolan after The Dark Knight, Feige and his stable of writers always know where the next movie (or five) is going, and have a better idea of what the overall vision is than any single director working within this system. Ironically, this returns power to the studio and producer as the seeming authorial voice of each movie. Like in the Golden Age of Hollywood, directors are more often hired hands than influential auteurs.
However, this means the aspects Nolan really valued on The Dark Knight beyond a gritty “realism”—elements like spontaneity, subversion, and a distancing from superhero tropes—became antithetical to the type of movies produced by the MCU. For at least the first decade of its existence, the Marvel Cinematic Universe flourished by creating a formula and house style that is as predictable for audiences as the contents in a Big Mac.
When you go to a Marvel movie, you more or less you’ll get: an ironic, self-deprecating tone, a story that often revolves around a CG MacGuffin that must be taken from the villain, and a narrative in which disparate heroic characters come together after some amusing, disagreeable banter. In fact, more than Iron Man, it was Joss Whedon’s The Avengers (2012) which refined the Marvel formula into what it is today.
There are of course exceptions to this rule. Black Panther became the first Marvel movie since Iron Man to arguably tackle themes significant to the real world, in this case specifically the legacy of African diaspora. It also became the first superhero film nominated for an Oscar for Best Picture as a result; James Gunn’s Guardians of the Galaxy movies might follow the narrative formula of most MCU movies, but they’re embedded with a cheeky and idiosyncratic personality that is distinctly Gunn’s; and in Captain America: The Winter Soldier (2014) and Captain America: Civil War (2016), directors Joe and Anthony Russo, as well as screenwriters Christopher Markus and Stephen McFeely, attempted to inject a little bit of that “realistic” aesthetic from The Dark Knight. But only to a point.
Particularly in the 2014 effort, there was a push by the Russos to rely on in-camera special effects and cultivate what they often described in the press as a “1970s spy thriller” style. Ostensibly, the hope may have been to make The Winter Soldier as much a spy thriller as The Dark Knight was a crime epic. In this vein, there were even attempts to graft onto the story very timely concerns about the overreach of a government surveillance state, which had only grown in the decade since the U.S. PATRIOT Act was passed, despite a change in White House administrations. However, all of these ambitions had an invisible ceiling hovering above them.
Despite having overtones about the danger of reactionary if well-intentioned government leaders, like the kind personified by Robert Redford’s SHIELD director in the movie, Captain America: The Winter Soldier couldn’t become too focused on the espionage elements or too far removed from the Marvel house style. The story still needed to interconnect with other Marvel films, hence Redford’s character turning out to be a secret HYDRA double agent, and it still needed to give audiences what they expected from a Marvel movie. Thus how this “1970s spy thriller” ends in a giant CGI battle with citywide destruction as Captain America inserts MacGuffins into machines that will blow up HYDRA’s latest weapon for world domination.
It’s easy to wonder if the movie was developed a little longer, and didn’t have to play by a certain set of rules and expectations, that instead of backpedaling into comic book motivations, Redford’s character would’ve been a well-intentioned patriot amassing power “to keep us safe,” and in the process destabilized the institutions he claimed to revere.
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Movies
What Did Batman Do Between The Dark Knight and The Dark Knight Rises?
By David Crow
TV
WandaVision: The Unanswered Questions From the Marvel Series
By Gavin Jasper
A Universe Without End
The Marvel method breeds a heavy need for familiarity and comfortable predictability, as opposed to disorientation and discomfort. Yet both methods are valid. While Nolan achieved near universal praise for The Dark Knight, his attempt to replicate it with the even more ambitious The Dark Knight Rises—an unabashed David Lean-inspired epic that took more from A Tale of Two Cities and Doctor Zhivago than DC Comics—left fans divided. It also was a narrative dead end for the corporate/fanbase need of an ongoing franchise. Nolan instead reached a final, artistic, and emphatic period for his cinematic interpretation of Batman mythology. By comparison, Marvel Studios has created a new cinematic vernacular that only ever uses dashes, semicolons, and commas. There is always more to tell.
Nolan reflected on these changing circumstances for superhero movies in 2017 when he said, “That’s a privilege and a luxury that filmmakers aren’t afforded anymore. I think it was the last time that anyone was able to say to a studio, ‘I might do another one, but it will be four years.’ There’s too much pressure on release schedules to let people do that now, but creatively it’s a huge advantage.”
This lines up with what Jeff Bridges said about the evolution of the Marvel method way back in ’09 after the first Iron Man: “You would think with a $200 million movie you’d have the shit together, but it was just the opposite. And the reason for that is because they get ahead of themselves. They have a release date before the script [and they think], ��Oh, we’ll have the script before that time,’ and they don’t have their shit together.”
Bridges’ unhappiness with the new process notwithstanding, Marvel was rewriting the playbook about how these types of movies were made. Nolan’s approach of one at a time and years-long development processes created three distinctly different and relatively standalone Batman movies. But Marvel has shifted the idea of not just what a franchise can be, but also what cinematic storytelling means.
Instead of three movies, their rules and structures have generated dozens of well-received and adored entertainments, that when combined can produce experiences as unique as Avengers: Infinity War (2018) and Avengers: Endgame (2019): two movies that were more like a two-part season finale on TV than individual stories. And the latter became the highest grossing film of all time.
The success of this approach is further underlined when one considers competitors that tried to emulate both Marvel and Nolan’s approaches, relying on a lone auteur to build a shared cinematic universe—while also arguably taking the wrong lessons from the “dark” in The Dark Knight title. In the case of the DC Extended Universe, that approach collapsed on itself after three movies, leaving the interconnected “shared” part of its universe in tatters, and fans and studio hands alike divided on how to proceed with the franchise.The Marvel Cinematic Universe took a narrower road than that of The Dark Knight. But it turned out to be a lot smoother and much, much longer.
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Da 5 Bloods (2020) Review
WAKANDA FOREVER!!!!!!!
Plot: From Academy Award® Winner Spike Lee comes a new joint: the story of four African American Vets - Paul (Delroy Lindo), Otis (Clarke Peters), Eddie (Norm Lewis), and Melvin (Isiah Whitlock, Jr.) - who return to Vietnam. Searching for the remains of their fallen Squad Leader (Chadwick Boseman) and the promise of buried treasure, our heroes, joined by Paul's concerned son (Jonathan Majors), battle forces of Man and Nature - while confronted by the lasting ravages of The Immorality of The Vietnam War.
Talk about coincidental relevancy! The Black Lives Matter movement is in full swing currently (following the death of George Floyd), and non-other than Spike Lee releases a Netflix film about Vietnamese veterans, emphasising that it wasn’t only the whites who fought and died for their country during the war. On a serious note, racism was always an issue in the US, so movies like this should always be welcomed, with or without the movement. Director Spike Lee recently addressed the fact of his new film’s release timing accidentally coinciding with what is happening on the news recently in an interview with Variety, where he said the following: “I cannot take any credit for this. The film was shot when it was shot; it was ready to come out when it was ready to come out. And then the world changed for everybody. When something is repeated all the time it becomes a cliché … but that doesn’t mean it’s not the truth. And the truth I’m talking about is timing is everything. This film’s coming out at the right time for the world we live in.” Couldn’t have put it better myself, Mr Lee! This reiterates how severe racism is engraved in America’s DNA, especially that we keep coming back to this issue over and over again. You’d think that by now people would have learnt from their mistakes and would have become better. But as I said, it’s in the DNA of the US, and there is only so much that that can be changed unfortunately. History has taught us a lot, and sadly history tends to repeat itself. But let’s not talk about negatives. In this pandemic filled world where new films are such a rarity due to cinema closures, we actually have a decent film to talk about! So let’s talk about it!
In a nutshell, this is a quest film! Find a fallen comrade and do some good ol’ gold digging whilst they’re at it! As expected with these treasure escapades, things get out of hand. Straight off the bat, our four leads meet up at the beginning of the movie, and right away you sense the camaraderie between these guys. Through the solid writing and great acting, you truly get the feel that these are true friends who have been through a lot together, like, say, a war! You get to observe their friendship and their love for one another, and though each of them have their own ideologies and beliefs, they work naturally well together, and at the end of the day that is what friendship is. A group of different people who share something in common. That is a theme I’m sure everyone can relate to. That is unless you don’t have any friends, in which case I am very sorry to hear that. Wish I could help. Not even much for advice on that one. Maybe get out more? Honestly, I’m no counsellor, so not the best point of conversation on this topic. I can provide you with a pat on the shoulder and a “there there” if necessary, but that’s about it... Anyhow, friendship!! There’s a lot of it in this movie! That’s just one of the many profound themes applicable to humanity that are present amongst the scenes that play out before our eyes. Even with the Vietnam war aspect, from the trailer I thought this was going to be a war movie, but it actually isn’t. Don’t get me wrong, the war element is certainly present in flashback form, but otherwise it is a modern day set tale. So the war is done, but that is the thing, for these guys, this war never ended. They still suffer from PTSD, getting nightmares and constantly being haunted by past demons, and thus the horrors of war are constantly surrounding them. Again, a very timely theme that can resonate with a few, even as loosely as the idea of being tormented by the past. This makes the movie work really well. It feels real, as it is dealing with a lot of true to life human emotions.
I need to also mention the technical side, as the way this movie is filmed....it feels like a filmmaker who knows his chops! For example, the way aspect ratio is used in this movie to emphasise the time and place in certain scenes really helps in separating the different story elements and tones. The modern day plot-line is presented in normal scope 23.5 aspect ratio as well as 1.78, then the flashbacks that show the Bloods fighting in the jungles of Vietnam during the war are shown in 4:3 (basically a slightly widened square shaped, very old-school) ratio with a more grainy palette, that very much adds to the feel of the past. Heck, for many audiences this might not be a big deal, but I appreciated this cinema trickery.
As a whole this movie is a solid watch (and surprisingly intense with quite a few shoot-outs), and, like The Irishman last year, perfect for a streaming service like Netflix, as it’s a pretty long movie, reaching over 2 and a half hours, so it’s very comforting to split your viewing into two or three sittings. In terms of negatives, there aren’t many. As I said, it is a bit long, and 20 minutes could have been chirped off, and also at times the movie does come off a bit preachy and on-the-nose with some of its ideas, which seems to be a bit of a Spike Lee shtick, as I had the same little complaint with his previous directorial outing BlacKkKlansman (though, again, that was a very good movie too!), but never so much that it was beating you over the head with its messages. Though as previously stated, a lot of the themes and ideas are timely messages and thus I cannot really fault them. Also a shout-out to the entire cast, everyone is on their top game, and as I haven’t seen many of these actors before, I will definitely make sure to keep an eye out for them from now on, as these fellas have talent! Special applause goes to Delroy Lindo, who gives such a raw, emotion-filled, vulnerable performance, that I really hope The Academy consider him for an Oscar nomination at the ceremony next year. The film as a whole to be honest definitely oozes with awards potential. We’ll just have to see if these nominations truly come to fruition. Also those looking forward to seeing Black Panther himself, Chadwick Boseman, in this movie, just want to warn you, he isn’t in the film much. That being said, his role is very important and has a great impact on it’s characters. So don’t worry, you will still get your chances to scream “Wakanda Forever!” at the top of your lungs, you Marvel sycophants!
Overall score: 8/10
#da 5 bloods#spike lee#spike lee joint#netflix#vietnam#vietnam war#war#drama#2020#film#movie#movie reviews#film reviews#2020 in film#2020 films#black lives matter#da 5 bloods review#delroy lindo#jonathan majors#chadwick boseman#jean reno#clarke peters#norm lewis#isiah whitlock jr.#melanie thierry#paul walter hauser#jasper pääkkönen#black panther
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Review : Coming 2 America (2021)
At one point in time, there was no bigger movie star than Eddie Murphy. With a string of successful standup films under his belt, as well as starring roles in both the Beverly Hills Cop and 48 Hrs. franchises, the rising star stepped further into the spotlight with films like Harlem Nights, Boomerang, and perhaps his most iconic film, the instant classic that was Coming to America. As the mid-1990′s arrived, however, the film successes became fewer and further between, but after 2019′s Dolemite Is My Name found him success with a new generation (and rediscovered success with old fans), the door of possibilities was left open, which ultimately brought us Coming 2 America.
On Prince Akeem Joffer (Eddie Murphy) and Princess Lisa Joffer’s (Shari Headley) 30th wedding anniversary, a day that should be centered around celebration, Akeem finds himself at a crossroads between his past and future. Initially, General Izzi (Wesley Snipes) of Nextodoria accosts Akeem in hopes of persuading him to offer one of his daughters as bride to his son Idi Izzi (Rotimi), which Akeem declines. Later that day, as King Jaffe Joffer (James Earl Jones) beckons Akeem to his bedside to inform him that his time spent in Queens with Semmi (Arsenio Hall), Akeem’s confidant and royal aide, resulted in the birth of an illegitimate child. After King Jaffe Joffer passes away, passing the mantle of King down the line, Akeem decides to return to Queens to find Mary Junson (Leslie Jones) and confirm whether or not Lavelle Junson (Jermaine Fowler) is his son and the rightful heir to the throne of Zamunda.
While one would assume that Coming 2 America would have ties to its predecessor, I definitely had my reservations as to how well the film could fall in line with such a monumental classic as the bar-setter. That being said, I was pleasantly surprised with how well that Coming 2 America was not only able to touch upon many, many aspects of the original film, but also find a way to stand on its own two feet. A number of characters we came to know and love from Coming to America return to the fold as funny as ever, and Arsenio Hall even steps in to provide a new classic character in the form of Baba. With almost 35 years passed since Coming to America, it also makes since that elements such as the gentrification of Queens and the Americanization of Africa would play a key role in the development of the film’s world.
The way that many of the original beats from Coming to America are flipped between the American and African counterparts works well for sequel fodder, seemingly even more so than it normally does in other films. Switching Queens to Zamunda, Akeem to Lavelle, Lisa to Mirembe and so forth follows the comedy callback rule on a narrative level, while certain jokes are either continued or reshaped to mine new laughs out of old ground. Flipping the location also brings in new aspects of the tradition versus morals storyline, even with its overall familiarity. The way that class and cultural clashes are presented from the Zamundan side of things (rather than the Queens side) brings a grandness to the story not present in the first film. Overall, there is just the right amount of narrative mirroring present (with a bit of aid from the time passed between films) to make the film interesting on its own terms and absent of the feeling that too much old ground is being revisited.
The comedy, while different than that of the original film, definitely holds up in its connectivity as sequel, making the film a welcome addition to a newly founded series. Placing the film in Africa gives the film a new look, making it distinct from the very 1980′s-heavy New York setting in which the original film took place. Music is a major factor within the film, with in-story performance of popular songs especially standing out as moments of high entertainment. The inclusion of footage from the original film helps give newcomers to the story reference, while serving as emotional lifts for older fans of the franchise. The costuming has evolved along with the times, bringing even more of a grandiose feeling to the royal element, while the iconic makeup transformations continue to suspend disbelief and sell the multiple characters that Eddie Murphy and Arsenio Hall play.
Eddie Murphy, Arsenio Hall and James Earl Jones all fall right back into the roles they inhabited so well many years ago (even the auxiliary ones that filled out he world), while managing to present the natural growth and adaptation that would come with the progression of time. Shari Headley, John Amos, Paul Bates and Louie Anderson also step in to serve the purposes of nostalgia. Jermaine Fowler does a good job of stepping into the role that Murphy previously inhabited, but this time he is able to let his American perspective fuel his fish out of water role in Zamunda. Leslie Jones does what she does best, dropping comedy gems in both her delivery and physical presence. On the Joffer side of things, Kiki Layne, Bella Murphy and Akiley Love bring a youthful royal presence. Wesley Snipes appears to be having the time of his life in his role as antagonist, with Rotimi and Teyana Taylor hilariously following suit. Appearances by Tracy Morgan, Rick Ross, Vanessa Bell Calloway, Nomzamo Mbatha, Garcelle Beauvais, Colen Jost, Trever Noah, Clint Smith and Luenell, as well as cameos by Morgan Freeman, En Vogue, Salt-N-Pepa, Davido, Gladys Knight and Dikembe Mutombo fill out the stellar cast.
Based on some of the immediate feedback from those who saw the film immediately upon release, as well as some press buzz centering around some of Eddie Murphy’s casting regrets, I was honestly prepared to be slightly let down. Luckily, I didn’t watch any trailers prior to release, and I stayed away from articles and think pieces connected to the film, and with that lack of expectations set, I found Coming 2 America to be very enjoyable. I wouldn’t recommend that they go the route of a trilogy, but I’m happy that they were able to pull off a successful sequel.
#ChiefDoomsday#DOOMonFILM#CraigBrewer#Coming2America#EddieMurphy#ArseonioHall#JermaineFowler#LeslieJones#TracyMorgan#KikiLayne#ShariHeadley#WesleySnipes#JamesEarlJones#JohnAmos#TeyanaTaylor#VanessaBellCalloway#PaulBates#NomzamoMbatha#BellaMurphy#MichaelBlackson#EnVogue#SaltNPepa#MorganFreeman#AkeleyLove#LouieAnderson#Rotimi#ClintSmith#Luenell#RickRoss#GarcelleBeauvais
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Jill Fields, "Where my dreidel at?": Representing Jewish Identity in Orange Is the New Black, 13 J Jewish Identities 1 (2020)
The Netflix original series Orange Is the New Black ranks among the most watched shows available for streaming online or on cable. In June 2016, the first episode of Season 4 drew 6.7 million views in 72 hours, making it second in viewership only to HBO's popular Game of Thrones.1 It also garnered critical acclaim, receiving a Peabody Award in addition to many Golden Globe, Emmy, and Screen Actors Guild nominations and awards.2 The series is based on a memoir by Piper Kerman, who served thirteen months in a minimum security women's prison in Danbury, Connecticut after her conviction on a drug-related offense she had committed ten years earlier. Created by Jenji Kohan, the series is a "dramedy" that mixes comedic touches with poignant stories based upon Piper's prison experiences and those of others she lived with and worked alongside while incarcerated. When the series debuted in 2013, it was lauded for its diverse female cast—in terms of racial, ethnic, and sexual identities—and for its sympathetic depiction of the plight of the primarily poor women who serve time behind bars.3 Orange Is the New Black (OITNB) clearly broke new ground in representing women who are rarely seen in mainstream cultural texts, especially in prominent roles. Kohan revealed in an NPR interview that she used the character of the blonde Piper—whose last name was changed to Chapman in the show and who labels herself a WASP in both her memoir and on screen—as a "Trojan Horse" in order to sell the series to Netflix executives, who green-lighted a project that began with Chapman as the lead, but quickly evolved in an inclusive direction by elevating women of color to co-starring status.4
Academic assessment of OITNB has celebrated aspects of the series, but also critiqued ways in which the show upholds stereotypes about women of color, lesbians, transwomen, and older women, and how it draws upon women's prison film conventions that objectify incarcerated female bodies, albeit at times self-knowingly.5 Less noted thus far by scholars is the prominent attention the show gives to its Jewish characters and themes.6 Though the series deserves praise for shining light on diverse female experiences, its treatment of Jews draws upon long-standing tropes. The show deploys, for example, the classic construction of the interfaith relationship, seen for over a century in American culture; the enduring American television tradition of covert rather than openly Jewish identity; and reliance on the conversion narrative in portraying Jewish beliefs and rituals. These mechanisms highlight, yet also displace, the depiction of Jewishness on the series and the contributions of its Jewish creator, writers, directors, and actors.
Studies of Jewish representation in American popular culture have addressed both the presence and absence of Jewish characters and narratives. Documentation of the Jewish presence in film and television has produced assessments and generated debates about whether particular portrayals draw upon or challenge antisemitic tropes, provide realistic depictions of the Jewish-American experience, or sidestep considerations of what it means to be Jewish.7 Over time, and in tandem with emerging trends in feminist analysis and cultural studies, investigations of the representation of Jews in film and television began to also consider how particular narratives construct Jewish identity, especially in regard to gender, and explore contradictions embedded in mass cultural texts that reference Jewish experiences. Though ire, fear, outrage, and appreciation continue to motivate some research and give it urgency, analysis questioning assumptions about claims to authenticity, acknowledging diversity within Jewish communities, and drawing parallels in addition to contrasts with how a range of minorities are represented both in front of and behind the camera has provided new insights and opened up new ways of thinking about larger frameworks as well as specific texts. Nonetheless, asking whether products of the culture industry such as OITNB are "good for the Jews" remains relevant even when also taking into account a range of Jewish experiences and practices, the potential instability of identity formations, and possibilities for conflicting interpretations.
Important Jewish characters in OITNB include Piper Chapman's fiancé Larry Bloom, inmate Nicky Nichols—who I assert is a crypto-Jew through Season 5—and African-American inmate Cindy Hayes, who converts to Judaism in Season 3. It is significant as well that a number of actors, writers, and directors employed by the show in addition to series creator and producer Kohan are also Jewish. In what follows, I explore relevant aspects of the source material—Kerman's memoir—with a primary focus on how the fictional characters and their stories create Jewish moments in series episodes. I also suggest ways in which the representation of Jews connects with the show's Jewish cast and crew. Moreover, the contrast between the show's groundbreaking status and its employment of practices that date back to earlier periods in the history of television reveal the persistence of problematics for including fully realized Jews and their narratives on the small screen.
Larry Bloom, Masculinity, and Jewish Betrayal
Piper's Jewish fiancé Larry Bloom appears in the first episode of Season 1 and remains in the series through Season 2.8 The real Piper's real-life Jewish fiancé (now husband), who is a successful writer with the far less iconic Jewish last name of Smith, is in Kerman's memoir supportive and loving throughout Piper's prison ordeal, as are his equally wonderful parents. Larry Bloom of the series, an aspiring writer who struggles to get a paying gig, is initially kind and defends Piper to his awful Portnoyesque parents, who try to get him to dump his shiksa girlfriend. Larry has internalized his father's view of the blonde gentile woman as exotic and uses the term himself when proposing to Piper after she is sentenced. "Why would I want a felonious former Lesbian WASP shiksa who is about to go to prison to marry me? Why? Because this underachieving, underemployed Jewboy loves her."9 Larry Smith describes meeting Piper in similar terms: "Piper was pretty by anyone's standards, but blonde, blue-eyed, Waspy girls are catnip for hairy Jewish guys like myself." He further describes "classic Piper: steely and self-contained. I grew up with a different window into the world of women, one where they are a little neurotic and a lot needy."10 This well-worn construction of Jewish women has appeared in a range of media and texts, including interfaith marriage narratives depicted in such films as The Heartbreak Kid (1972) and Along Came Polly (2004), and in the 2015 comment by then-presidential candidate Donald Trump calling Congresswoman Debbie Wasserman Schultz "crazy" and "highly neurotic."11 In OITNB, Larry further demonstrates his assimilationist impulse by preparing roasted pig for the couple's last meal together before Piper's self-surrender at Litchfield prison; their first snack in the prison visiting room is pork rinds.12
Larry is played by actor Jason Biggs, who has portrayed Jewish men in films such as American Pie (1999), though not Jewish himself.13 Soon after OITNB debuted, articles such as "Does Orange Is the New Black Have a Jewish Problem?" expressed concern about yet another iteration of Jewish masculinity as having "that tortured, brooding, nebbish quality we've come to associate with Woody Allen."14 Moreover, as other characters are humanized via flashbacks that reveal their difficult personal histories and draw viewers' sympathies, Larry's weaknesses become more apparent as the narrative unfolds and he draws viewers' disgust. A 2014 article, "A Guide to The Internet's Love of Hating Larry Bloom From 'Orange Is the New Black,'" concluded Larry was so detested he was the object of "world-class hatred."15
Larry's multiple betrayals of Piper propel his development into—or revelation as—a despised, nebbishy Judas. His first step down that path is watching episodes of Mad Men alone, after promising Piper he would wait to watch them with her after her release. To do so guilt-free, he turns over a framed photo of the two of them on his coffee table. As one critic called it, "Only a truly terrible human being would go against his loving girlfriend's wishes and watch their show without her. But turning the frame over? That's just cold-blooded."16 Larry's initial betrayal leads to more. When his only chance to get paid for writing an article requires detailing the prison experiences that Piper has shared with him in phone calls and visits, he goes ahead without her permission.17 She finds out about his New York Times "Modern Love" column from her prison counselor and, after viewers see Larry excitedly buying up copies of the newspaper, we find out that he has revealed information that endangers the tenuous relationships Piper has been building and needs to survive prison.18 In a subsequent episode, despite Piper's distress, Larry cozies up to an NPR reporter he meets at a Thanksgiving dinner, which results in a radio appearance sharing similar stories. Again, Piper only finds out about this after the fact, and listens in horror as Larry further humiliates both her and inmates she knows.19
The real Larry did write a "Modern Love" column about his relationship with an inmate, though it was published well after Piper's sentence ended, and a month before the 2010 publication of her memoir. Likely timed to promote Kerman's book prior to its release, the column most importantly does not betray her or her prison friends. Instead, Larry focuses on his devotion to Piper throughout her incarceration and the men he met who were also visiting their wives or girlfriends. The column ends with claims that his consistent visits and phone calls were not testaments to his character but instead prove how wonderful his fiancée is.20 In contrast, Netflix Larry's multiple betrayals reach their ultimate conclusion when he sleeps with Polly (Maria Dizzia), Piper's married best friend and business partner, and then dumps Piper for her. Larry and Polly even move in together and are shown enjoying their comfortable New York City lives as Larry and Piper used to do.21
Expressing dismay about how the show transformed Larry's character by drawing upon familiar tropes that denigrate Jewish men and Jews generally, and identifying differences between the two portrayals of Larry, is a fair, but ultimately narrow criticism. After all, adapting books into movies or television shows, whether fiction or non-fiction, requires alterations. The real Larry, for example, explains that translating Netflix Larry into what he calls a "schmuck" made the show more interesting.22 Another way to frame that transformation is to ask what purpose the nebbishy Judas/Jewdas performs in the OITNB narrative. I would argue that Larry's betrayal not only relieves the show from an unexciting story of a reliable boyfriend, but also displaces questions about possibly exploitative aspects of Kerman's best-seller and hit series onto the despicable and feminized Jewish man. This narrative turn burnishes the author's—and series creator Kohan's—celebratory claims to tell rather than sell the stories of incarcerated women who will not profit from their commercial dissemination.23
Kohan's OITNB cookbook, which features "Larry's Orange and Black Peppercorn Pulled Pork," is suggestive of her commercial goals and conflicted take on just how seriously the show and the discourse it has generated consider prison conditions.24 In addition, Kerman's former girlfriend, Cleary Wolters, who facilitated Kerman's criminal involvement in the drug trade, states in her memoir that she was never contacted by anyone connected with the book or the series prior to their release. In OITNB, her fictionalized character Alex Vause ends up in the same prison with Piper and their relationship is a central story line. When the Netflix series debuted, Wolters was out of prison and working and, though her employers knew the broad outlines of her criminal past, she had not shared details nor come out as gay at work when outed by the series. Wolters feared for her job security, aware of her tenuous status as an ex-felon. Within one day of the series release, the identity of the "real Alex Vause" was posted online, which caused her anxiety that former inmates might track her down. Ultimately, however, Wolters felt grateful that the success of OITNB allowed her to also share in print the sobering lessons of her criminal past and prison experiences.25 Nonetheless, the risks provoked by Wolters's inclusion in the memoir and series raise the question of exploitation, a charge against the show conceptualized as "trauma porn." Ashleigh Shackleford popularized the term in her assessment, shared by a number of African-American critics, that the show depicted "bleak narratives about the experience of people of color for the entertainment of those who have never lived those experiences."26 Such critiques provide further evidence for reading Larry's many betrayals as a displacement or hedge against similar charges directed toward Kerman or the series creators. As a long-standing trope, Jewish betrayal is easily identifiable and works to distract or absolve others of incriminating behavior.
The Jewish Inmate Problem: Levy
The treatment of a woman who, like Wolters, appears in the memoir but who has drawn less attention because she did not become an easily identifiable character in the show, provides an additional avenue for exploring Jewish identity in OITNB. Kerman's descriptions of Levy, a Jewish inmate, suggests the translation of Larry into a Judas can be indeed identified as a "Jewish problem," and one that originated in the memoir rather than the series. Consideration of the memoir is uncommon in studies of the series; Hilary Malatino's analysis is an important exception that provides a point of comparison below.27 A French Moroccan Jew, Levy is the only inmate whose behavior and demeanor Kerman derides repeatedly in her memoir. Levy is a true "other" in prison. As Kerman explains early on:
When a new person arrived their tribe—white, black, Latino, or the few and far between "others"—would … get them settled and steer them through their arrival. If you fall into that "other" category—Native American, Asian, Middle Eastern—then you got a patchwork welcome committee of … women from the dominant tribes.28
Levy thus falls outside or in between even the "other" category, but her status as a Member of the Tribe without a tribe and the impact her singularity might have had on her ability to in fact "get settled" is not considered by the otherwise compassionate Kerman. Described in the memoir as "tiny," Kerman scorns Levy for being "totally useless at electrical studies" despite "preening about her Sorbonne education."29 She is also criticized for her decision not to allow her children to come visit her because she does not "want them to see her in prison," despite Kerman noting without judgement others who "did not want their people to see them in a place like this."30 Kerman even positions Levy below guards in likeability: "'Zey have no class,'" sneered Levy. I didn't like prison guards, but she was insufferable."31 This excerpt is also an example of how Levy is singled out by Kerman, who reproduces her accent in the text to a greater degree than any other prisoner's. Levy is also ridiculed for crying more often than Kerman deems appropriate, though Kerman writes that when seeing an inmate cry after visiting hours are over, "you smiled sympathetically or touched their shoulder."32 Together, these comments justify Levy's status as:
the unifying factor in the [electrical] shop: the rest of us united against her. She was insufferable, crying daily and complaining loudly and constantly about her measly six-month sentence, asking inappropriate personal questions, trying to boss people around, and making appalling and loud statements about other prisoners' appearance and lack of education sophistication, or "class," as she put it. … Most of the time she was nervous-verging-on-hysterical, which manifested in dramatic physical symptoms; an astonishing hive-like swelling made her look like the Elephant Man, and her always sweating hands made her particularly useless for working with electricity.33
Though we do not learn the specifics regarding the cause of Levy's incarceration, Kerman mentions Levy was "whisked away to testify against her chiseler ex-boyfriend."34 However, the worst offense committed by Levy, according to Kerman, occurs after her release when she is interviewed by the Hartford Courant in September 2004, just before Martha Stewart's incarceration. Kerman reports the "Camp freaked out" that Barbara, as Levy is referred to in the newspaper article, describes the prison as a "big hotel" with "an ice machine, ironing boards," "two libraries" and "amazing food," and that she says she enjoyed not having to cook, clean, drive or buy gas. Kerman responded to the article in her memoir by "pictur[ing] Levy, swollen with hives, looking like the Elephant Man, crying every single day over her six-month sentence and sneering at anyone she thought was not 'classy.'" Though Kerman states the "reporter got many minor facts wrong," she and other inmates who "are outraged by the false claim that [they] could buy Haagen-Dazs ice cream" at the commissary blame Levy for the error. The prisoner in charge of the kitchen, Pop in the memoir and Red in the show, is upset and confused:
Piper, I just don't understand it. Why would she lie? You have the opportunity to get the truth out there about this place, and instead she makes up these lies? We have nothing here, and she makes it sound like a picnic.35
Kerman then explains to her readers that Levy lied because she "didn't want to admit to herself, let alone to the outside world, that she had been placed in a ghetto, just as ghetto as they had once had in Poland." Kerman here assumes that she understands the Jewish ghettos of World War II-era Poland better than Levy. She continues:
It was too painful … for Levy and others (especially the middle-class prisoners) to admit that they had been classed as undesirables, compelled against their will into containment, and forced into scarcity without even the dignity of chosen austerity. So instead, she said it was Club Fed.36
Kerman uses the ghetto metaphor to help her readers understand the "revolving door between our urban and rural ghettos and the formal ghetto of our prison system" in the United States and the difficulty of escaping either.37 However, Kerman, in collapsing distinctions, overlooks differences between Nazi ghettos and those she references, and also ways in which targeted communities form alliances based in shared histories of pain and oppression. Moreover, she does not consider the possibility if not probability that Levy has family members who perished, or who suffered and survived the Holocaust in France and Morocco. In a comparable critique, though one focusing on gender identity, Malatino finds Kerman "lacks a framework for understanding trans subjectivity," and uses "classic othering strategies … [that] serve to de-authenticate transfeminine gender expressions."38 Kerman similarly lacks intersectional frameworks that could account for Levy's status as both wielding middle-class privilege and experiencing her subjectivity as an isolated and vulnerable minority.
Lacking fuller consideration of Levy's multiple facets, Kerman also did not mention that Levy in the interview lauded her fellow prisoners as "classy" and defended them against charges that sexual assault was common. For Levy, "The worst part about being there was being counted. They count you like an animal." Whether intentional or not, her emphasis on this aspect of prison life being exceptionally difficult for her evokes the experiences of Jews in Nazi camps during the Holocaust, an allusion that escapes Kerman. The Courant also sympathetically reported Levy's decision not to see her children, which Levy states was the hardest part of her stay, and an effort to maintain her dignity.39
Levy indeed may have been annoying. But that alone does not explain why Kerman devotes so much attention to her. In assessing what work she performs in the narrative, I argue Levy serves several functions. First, she is a vehicle for the middle-class Kerman to distance herself from those of her own class and to legitimate her claim that she accepts her shared status with poor undesirables, which other middle-class women prisoners like Levy do not. Second, she confirms the view of Jewish women as needy and neurotic, a dominant caricature even promulgated by Kerman's real-life Jewish husband. Levy thus also is a vehicle Kerman uses to elide her possible association with reviled Jewish femininity via her relationship with a Jewish man. Third, Levy translates into Netflix Larry as they are both Judases who in self-interest betray the experiences of incarcerated women in mass media forums. Levy-Larry are categorically unable to truly understand who those women are or identify with them, unlike the transcendent Kerman. Thus Levy-Larry is the mechanism by which Kerman and by default Kohan distance themselves from assessments that they are profiting from the ordeals of women who do not have similar professional opportunities to do so.40 Moreover, the construction of the justifiably hated if not abject Jew that results from Levy's transgressive behavior and Larry's increasingly despicable acts creates more possibilities for the diverse female inmates to be viewed sympathetically by readers and viewers.
OITNB and Television's Crypto-Jews
The portrayal of Jewish identity on the television series OITNB contains further complexities, as Jewish elements beyond the Bloom stereotypes are depicted from its earliest episodes. A mechanism for simultaneously including and excluding Jews in television is the long-standing practice of the crypto-Jewish character. Leslie Fiedler first used the term in 1964 to describe the phenomenon of characters whose Jewish identity is hidden, like the original crypto-Jews, Spanish Jews forced to convert in 1492 whose Mexican and Mexican-American descendants maintained Jewish practices for centuries typically without knowing the origins of their family traditions.41 Fiedler deployed the term critically in analyzing Willy Loman in Arthur Miller's Death of a Salesman and other characters penned by mid-twentieth-century Jewish-American writers such as Paddy Chayefsky, Bernard Malamud, and Norman Mailer. Fielder deplored the effect of "characters who are in habit, speech, and condition typically Jewish American, but who are presented as something else—general American," as "pseudo-universalizing." As a result, "the works … lose authenticity and strength" and constitute a "failure to remember that the inhabitants of Dante's Hell or Joyce's Dublin are more universal as they are more Florentine or Irish."42
Jewish Studies media critics such as Jeffrey Shandler, David Zurawik, and Vincent Brooks found the crypto-Jew concept useful in describing television characters whose Jewish identity is ambiguous, hidden, or suppressed but hinted at through narrative gestures, personal qualities, or physical features and often by being played by a Jewish actor. These critics explain that the crypto-Jew phenomenon was born of concern largely on the part of Jewish television executives that shows that appeared "too Jewish" would not appeal to most Americans and would make them vulnerable to charges of Jewish control of the media. The practice emerged in television's "Golden Era," after the popular radio and then television show The Gold-bergs ended its twenty-six-year run in 1955. The Goldbergs depicted an observant Jewish family of modest means comprised of immigrant parents and America-born children living in New York City. Matriarch Molly Goldberg (Gertrude Berg) was a beloved mass culture icon known for her down-to-earth wisdom and endearing malapropisms. Despite its broad appeal—Berg won the first Emmy awarded for Best Actress in 1950—Jewish television moguls such as William Paley, who headed CBS, made it clear that no new shows with Jewish leading characters would be aired. This attitude has been attributed to television executives' fears that Jewish programming would bring unwanted attention and therefore problems to Jews working in the medium. Occasionally, Jewish characters appeared in Jewish-themed episodes of shows from westerns like Rawhide (1959–1965) and Bonanza (1959–1973) to procedurals such as The F.B.I (1965–1974). However, the maxim "write Yiddish, cast British" became the rule through the 1970s. It was implemented most famously in network discussions about what became The Dick Van Dyke Show (1961–1966). Created by Carl Reiner, who planned to star, the sitcom was based on his life as a television comedy writer and head of a Jewish family living in the suburbs. Innovative in depicting both its main character's home and work life, CBS agreed to put the show in the prime time schedule if Reiner, et al. would step aside for a "less ethnic" cast. The one exception in the final ensemble was supporting character Buddy Sorrel, played by Morey Amsterdam, though his Jewish identity was rarely referenced.43
In the 1970s, "write Yiddish, cast British" remained a guiding principle on network television, though popular shows such as Barney Miller (1974–1982) and Welcome Back Kotter (1975–1979) featured lead characters with familiar Jewish identifiers, such as their New York City origins and speech patterns, and who were played by Jewish actors. Nonetheless, such characters remained crypto-Jews, as story lines never referenced or confirmed their Jewish identity. Rhoda (1974–1978), a spin off from The Mary Tyler Moore Show starring the non-Jewish Valerie Harper as Mary's Jewish friend Rhoda Morgenstern, was an exception, a sitcom about a Jewish woman. Even after the late 1980s and 1990s saw the return of the Jewish female lead in The Nanny (1993–1999) and Will & Grace (1998–2006), and the Jewish leading man in dramas thirtysomething (1987–1991) and Northern Exposure (1990–1995), the crypto-Jew remained an important creature of network television. Crypto-Jews of this era include George Costanza, Kramer, and Elaine on Seinfeld (1989–1998) and Rachel Green, Monica Geller, and Ross Geller on Friends (1994–2004). In an echo of the decision to recast what became The Dick Van Dyke Show, NBC executives insisted the Seinfeld characters, who were created as Jews, not remain so. Only Jerry Seinfeld remained identifiably Jewish, which was unavoidable as his character was based on the already known Jewish comedian's real persona.44
Despite this decades-long context and an emerging self-referential and fearless Jewish sensibility in twentieth-first-century cable programming personified by Jon Stewart on The Daily Show, Larry David's Curb Your Enthusiasm, and Ilana Glazer and Abbi Jacobson's Broad City, and by the Amazon series Transparent, celebrated as the "Jewiest show ever," all of which found broad audiences, Orange Is the New Black features crypto-Jews among its diverse cast.45 Jewish actors in the series in recurring roles that began in the first season include Yael Stone, Constance Shulman, Barbara Rosenblatt, and Natasha Lyonne. Constance Shulman's character Yoga Jones's potential identity as a crypto-Jew is tipped off in a visual cue. As the inmates prepare for the December holidays by decorating the prison, Jones tapes a two-dimensional dreidel decoration to the wall upside down. Whether this indicates ignorance or a sign of Jewish distress (or Jews in distress), like the meaning of flying the American flag upside down, it is significant that this moment precedes, and perhaps precipitates, the scene where Jones's back story is revealed in flashback. Though nothing in the character's background particularly suggests she is Jewish, that she becomes a Buddhist after her conviction for mistakenly shooting and killing a neighbor's child when protecting her remote marijuana crop might be, as so many American Buddhists are Jewish, they are known as "JuBus." Jones's story also evokes the television character Dharma Finkelstein of Dharma & Greg (1997–2002) whose father is a Jewish hippie and befuddled pothead.46
Drug offender Nicky Nichols is the most prominent and clearly identifiable crypto-Jew on OITNB throughout its first five seasons. Yet a case can be made as well for Yael Stone's Lorna Morello. Stone, for example, was originally considered for the part of Nicky Nichols, but instead was cast as the working-class Italian-American Lorna Morello. This cultural slippage between Italian Americans and Jewish Americans has been long noted. In 1964, for example, Leslie Fiedler cited Paddy Chayefsky's Italian American Marty as a Jewish American being "presented as something else."47 More recently, Dominique Ruggieri and Elizabeth Leebron in their research on Jewish- and Italian-American women on television conclude that ever since Mama Rosa debuted in 1950, shortly after the transition of The Goldbergs from radio to television, both Jewish- and Italian-American women have been portrayed as:
selfish, pushy, materialistic, domineering, manipulative, assertive, loud, shallow, whiny, demanding, man-hunting, weight-conscious, high-maintenance, shopping-crazed bargain hunters, possessive, controlling, unmarried, success-oriented, food-oriented, asexual, and unattractive. Physical qualities that epitomize these characters include large noses, big hair, a dark complexion and issues with their bodies. The positive characteristics linked to these ethnic portrayals include strong family orientation, loyalty, and devotion as mothers.48
In addition, several prominent Italian-American television characters, such as Dorothy Petrollo-Zbornak on The Golden Girls (1985–1992) and Marie Barone on Everybody Loves Raymond (1996–2005) were played by Jewish actors, Bea Arthur and Doris Roberts respectively. Some Jewish media journalists have gone a step further and declared the entire Barone family Jewish because the show's Jewish creator, Phil Rosenthal, infused the series with storylines based on his own family.49 Similarly, crypto-Jew Costanza from Seinfeld, who is ostensibly Italian American, is played by a Jewish actor, as are his parents. It works both ways; Italian-American actor John Turturro has played Jews in multiple films.50 Moreover, on OITNB, the connection between Nicky and Lorna is part of the narrative. In the first episode of Season 1, we are introduced to both characters along with Piper, who discovers them having sex in the shower. The amorous relationship between Nichols, who is a lesbian, and Morello, who identifies as heterosexual, continues through the fifth episode, when Morello breaks it off to save herself for her fiancé. Nonetheless, their relationship maintains an emotional and at times physical intimacy. Furthermore, Lorna later reveals her fiancé is Jewish, and decides, "If I marry him, I'll be Jewish too."51
On her own, drug offender Nicky Nichols personifies the typical television crypto-Jew. Natasha Lyonne neé Bronstein's thick, wavy long hair and New York accent are key physical markers. Nicky, an articulate, insightful, and wisecracking lesbian, was raised in Manhattan by her professional, well-to-do, divorced mother. Nicky complains about and blames her mother's absence in her life for some of the psychic distress that undergirds her addiction. Flashbacks depict their difficult relationship; however, as her back story progresses, we see Nicky is an incorrigible addict who uses her smarts and sarcasm to manipulate her mother, who eventually throws up her hands. Nicky's mother's characterization is not stable in the show and there is no evidence to suggest she is a crypto-Jew herself. For example, she is not played by a Jewish actor. Perhaps then it is Nicky's truly absent father who is Jewish. After all, her last name mirrors jokester Joey Nichols, who is Woody Allen/Alvy Singer's father's friend in Annie Hall. As Joey's cultural descendant, Nicky's comedic abilities are more fully evolved: in another marker of Jewish-American identity, she performs stand-up during the prison holiday talent show.52 Moreover, Lyonne makes her own Jewish identity clear in interviews and in the extra feature "Getting to Know the Cast" on the Season 3 DVD, where she talks about living in Israel in the 1980s, and provides the wittiest responses to many of the questions she and the other actors are asked. Nicky is also the first character to use Yiddish words in the series and the first to term a gang of white supremacist inmates as Nazis.53
In critical readings of the show, Nicky has been noted for her non-normative lesbian body, i.e., she is perceived as non-conforming to dominant standards of beauty. Such critiques either laud the show for depicting Nicky enjoying her sexuality despite not being thin and "attractive" or find fault in that the white lesbians with leading roles, Piper and her girlfriend Alex (Laura Prepon), uphold and thus perpetuate these oppressive standards.54 Furthermore Nicky's (crypto-Jewish) hair is unruly, and she does not attend fully to grooming and behavioral practices associated with femininity such as being neat, tidy, and controlled in appearance or speech. Nicky's presentation thus can be seen as conforming to the view of Jewish women as unattractive. Nonetheless, Kyra Hunting finds that:
often it is not Piper, marked by the politics of respectability who is the moral center for the group of white women but drug addict and promiscuous Nicky—whose appearance and lascivious language has rough edges but who consistently provides the most rational advice to other inmates.55
In addition, Nicky articulates incisive feminist critiques. For example, in regard to Lorna's obsession about her future marriage to her fiancé, Nicky comments on "the wedding industrial complex and society's bullshit need to infantilize grown women." Though Nicky demonstrates the benefits of her college education in such comments, she does not use her well-honed analytical skills to assert her superiority in the same manner as Piper's displays of knowledge sometimes do and for which other inmates call her out.56
Claiming Nicky as a crypto-Jew opens up further possibilities for considering her within the genealogy of "tough Jews," who defy stereotypes of Jews as weak, passive, victims or brainy yet nebbishy nerds. Scholars and commentators have deployed the term "tough Jew" to describe a range of real and representational Jewish men, from early twentieth-century Jewish-American gangsters Meyer Lansky and Bugsy Siegel and Holocaust resistance fighters the Bielski Brothers, to the muscular Zionists and Israelis who forged a Jewish state and aim to protect the Jewish people. Nathan Abrams in The New Jew in Film extends the category to include the "tough Jewess with Attitude" seen in a number of turn-of-the-century films such as Miller's Crossing (1990), Homicide (1991), and Mr. & Mrs. Smith (2005). Though Nicky engages in illegal activity, she is not a gangster in the Lansky mold, nor is she a righteous member of anti-fascist resistance. Instead, her brand of Jewish toughness is born of her defiant lesbian identity, rough street life as a junkie, and willingness to speak her mind. These attributes are essential components of her prison survival skills.57
The tough Jew is posited by Abrams as a one-half of a binary paired with the queer Jewish male. In regard to Jewish women, he explains:
the tough Jewess with Attitude not only rebels against stereo(typical) gender roles, demonstrating that she can perform the same roles and tasks as the Jew, but also questions the duality of gender in the first place, confounding both the general and Jewish binary logic.58
As Nicky is queer and tough, she confounds stereotypes about Jewish women's representation on television, and, as I discuss further below, the representation of Jewish women in OITNB. Perhaps Nicky's status as a crypto—rather than "out" Jew—is thus overdetermined because not only does she defy categorization, she is categorically defiant. However, the popular cultural presence of well-known Jews with histories of substance abuse such as Lenny Bruce, Bob Dylan, Hillel Slovak, and Amy Winehouse—and that Natasha Lyonne's own struggles as an addict inform Nicky's narrative—raises additional questions about the reluctance or apparent impossibility of presenting Nicky as Jewish.59
Like many of the inmates, Nicky is not only tough. She displays vulnerability, particularly in her relationship with her prison mother Red (Kate Mulgrew). Yet even crypto-Jew Nicky engages in a Judas betrayal by sharing with a corrupt prison guard her prison mom's secret method of getting in additional culinary supplies. He plans to use the information to smuggle in drugs. This will lead to Nicky's downfall, as she later is found with drugs in her possession and, early in Season 3, gets sent to the nearby higher security prison. The dispatching of Nicky underscores the tenuous status of the television crypto-Jew, whose identity both articulates and avoids representations of Jewishness. Crypto-Jews provide gestures of Jewish representation, however reified—such as physical features, names, personal qualities, comedic sensibilities and intellectual insights—that convey a sense of Jewishness detached from historical contexts and specific experiences. Thus, a crypto character's Jewish attributes can be assigned or withdrawn at will, evading narrative demands for continuity or follow-through. The tattoo of a cross Nicky sports on the inside of her forearm, for example, thus neither confirms nor denies her Jewish identity. Instead it speaks to the shifting construction of the crypto-Jew as both trope and pastiche.60
"Where my dreidel at?" Kosher Food and Conversion Narratives
It is telling that it is only shortly after Nicky leaves, that the first "out" Jewish inmate shows up. Or at least, the first inmate who asks for a kosher meal. It turns out she is not Jewish, but requests kosher meals to get better food. This is a real phenomenon in US prisons. According to a 2012 Forward article, just one-sixth of the 24,000 prisoners receiving kosher meals in America are Jewish.61 On OITNB, the quality of the kosher meals is quickly noticed by other inmates, particularly Cindy (Adrienne C. Moore), who is among the first to request one. By the next episode several other African-American characters whose back stories have been previously highlighted are also eating kosher. However, it is Cindy who most embraces the potential of claiming Jewish identity. When she is accused of not being Jewish, she replies, "You think you know my life? Shabbat Shalom, bitch!" And as one Jewish popular press article on the topic notes, Cindy's "quest for edible food" leads her to other Jewish references, "including 'Shanah tova and hava nagila. It is good to be chosen.'" In response to someone asking if a seat is taken, she replies, "Yeah. We're saving it for Elijah." Cindy pursues her desire to learn more about Jewish culture by checking out Fiddler on the Roof and a Woody Allen movie from the library, which is humorous yet also a self-referential gesture to the importance of popular cultural texts in disseminating information about what it means to be Jewish.62
Up to this point in the series, Cindy's character has largely served as comic relief. She is depicted as a fool and an immature petty thief who is in prison because she abused her position as a TSA officer to steal passengers' belongings at the airport.63 When a rabbi is brought into the now privatized prison to determine if prisoners requesting kosher meals are motivated by "sincerely held beliefs"—an actual legal standard employed to determine the validity of prisoners' claims to kosher meals—his interviews are relayed in a montage of inmates sharing both goofy ideas about what it means to be Jewish and some well-worn stereotypes that are played for laughs: "I think y'all are doing a wonderful job controlling the media. I mean we. We are doing a wonderful job;" and "I call my mother a lot, like every day, and, love a bargain." When asked whether she was raised Jewish, Cindy claims she was "born and bred," and recounts plot points from Annie Hall and Yentl. This strategy fails to keep her on the kosher meal list and Cindy decides to convert, ending the episode with its title question, "Where my dreidel at?"64
In the next episode we discover there actually are Jewish women inmates held at Litchfield; Cindy has sought them out to prepare for her conversion. One is Ginsberg (Jamie Denbo), who sheepishly reveals she has been convicted for money laundering when asked. This is an odd exchange not only because it is rare for a prisoner to be asked that question by another inmate, especially when they have just met, but also because Ginsberg's gesture when revealing the basis for her conviction conveys shame at having been caught both in the crime itself and in a crime that evokes the antisemitic association of Jews with money. However, that same information reassures Cindy that Ginsberg is indeed Jewish, as she was skeptical due to Gins-berg's blonde hair and blue eyes. In the commentary on the episode by its credited writer, who describes herself as an Irish Catholic, she explains that Kohan rewrote Ginsberg's monologue describing the inmate's upbringing. Ginsberg's experiences thus appear grounded in those of Kohan's herself, as when Ginsberg demonstrates she knows her Jewish chops by talking about her bat mitzvah and her Hebrew name, Shayna Malka.65
In the last episode of Season 3, Cindy, with Ginsberg and another Jewish inmate, Rhea Boyle (Yelena Shmulenson) by her side, meets with the rabbi. Rhea opens the conversation: "Why you want to go from a hated minority to a double-hated minority is beyond me," before turning to the rabbi, and vouching for Cindy by asserting, "she's for real." Cindy has chosen the Hebrew name Tovah—"which means good and it's all good now"—and explains she has traded granola bars with Ginsberg and Boyle for Hebrew lessons. The rabbi then asks, "What is this for you?" Cindy's reply, written by Kohan, is conveyed in a truly moving performance by Moore.
Honestly, I think I found my people. I was raised in a church where I was told to believe and pray. And if I was bad, I'd go to Hell. If I was good, I'd go to Heaven. And if I asked Jesus, he'd forgive me and that was that. And here y'all saying there ain't no Hell. Ain't sure about Heaven, and if you do something wrong, you got to figure it out yourself. And as far as God's concerned, it's your job to keep asking questions and to keep learning and to keep arguing. It's like a verb. You do God. … I want to learn more and I think I got to be in it to do that. … Can I be a Jew?
Cindy is ecstatic when he and both witnesses say yes, until she finds out she must also experience ritual immersion in a mikvah to make her conversion official. Ginsberg consoles her by explaining that although she is not a Jew yet, she is "Jew-ish."66
A miracle ensues for all the inmates when the guards go on strike and a construction crew accidentally rips open a hole in the fence, allowing everyone to take a dip in the lake on the other side. Most prisoners run in to enjoy their momentary freedom. Cindy finds Ginsberg, who recites the blessing as Cindy immerses her naked body in the water. Conversion complete, Gins-berg congratulates her with a "mazel tov" and Cindy is all smiles in a closeup shot depicting her deep expression of her new found source of joy. Cindy's transformation during a season in which all sorts of religious identities and meanings are explored is remarkable for her as a character and also for the way it explains the meaning of Judaism, and most importantly, the difference of Judaism, which the show affirms and upholds. Furthermore, the sensitive treatment of her conversion story creates opportunities to depict Jewish community within the prison, and allusions to Jewish community outside it. In so doing OITNB incorporates significant Jewish content that a focus on individuals, especially when occurring in fleeting moments or signaled in quips, cannot accomplish alone. I would argue the brief depiction of Jewish community on the show reveals the fissures of representing Jewishness without that larger communal context, and the potential for greater narrative depth when included.
African Americans and Jews by Choice
Cindy's conversion is credible as a personal journey that concludes the series' prison kosher food narrative, and also because it resonates with the experiences of other well- and lesser-known African-American converts—whether real or imagined—to Judaism. These "Jews by Choice" join a diverse Jewish community: a 1990 study conducted by the Council of Jewish Federations concluded that in the United States 2.4 percent of "self-identified Jews list their race as black," and "about 100,000" additional African Americans "reported having 'connections' to Judaism." In addition, African-born Jews comprise 14.6 percent of Israel's Jewish population.67 Popular entertainer and Rat Pack member Sammy Davis, Jr. was the most well-known African-American Jew for many decades following his 1960 conversion, which occurred after years of study and consultation with Reform rabbis in Los Angeles and Las Vegas. He and his Swedish fiancée, actress May Britt, "formally converted a few weeks before their wedding."68 Other well-known African-American converts include writer Julius Lester, actress Nell Carter, writer Jamaica Kincaid, and rapper Shyne. Convert Alysa Stanton became the first African-American woman rabbi in 2009. She decided to convert when in her twenties, explaining her choice in similar terms voiced by the fictional Cindy, "For me, Judaism was where I found a home." After overcoming initial hesitancy upon her hiring, she ultimately led the Congregation Bayt Shalom in Greenville, North Carolina to great acclaim.69
Fictional African-American Jews have also previously appeared on television. In an episode of the 1970s situation comedy Sanford and Son entitled "Funny, You Don't Look It," patriarch Fred Sanford (Redd Foxx) is told by a genealogist that he is a descendant of Ethiopian Jews. His initial reaction trades in stereotypes in a similar vein to Litchfield inmates' attempts to assert a legitimate claim to their kosher meals, such as articulating his new-found desire for his son to become a doctor. However, like Cindy, Fred then explores more deeply the meaning and history of Judaism and its rituals. When it turns out he was misinformed about his Jewish roots, he celebrates what he learned and appreciates his Jewish teacher's perspective that "Jews and blacks … have a lot in common," hoping that "the similarities will bring us closer together."70
Sammy Davis, Jr.'s conversion was also motivated by sentiments about connections between the two minority groups, in addition to spiritual connections he felt after a 1954 car crash in which he lost one of his eyes. He had become familiar with Jewish teachings and practices after working closely with Jewish entertainers such as Eddie Cantor, whom Davis credited for giving him his first big break. Davis particularly admired and was inspired by the Jewish people's ability to survive adversity.
These are a swinging bunch of people. I mean I've heard of persecution, but what they went through is ridiculous! … They'd get kicked out of one place, so they'd just go on to the next one and keep swinging like they wanted to, believing in themselves and in their right to have rights, asking nothing but for people to leave 'em alone and get off their backs, and having the guts to fight to get themselves a little peace.71
Despite the lengthy period during which Davis considered conversion, when accomplished it was met with some skepticism and criticism. Ribbing from his Las Vegas Jewish comedian friends was to be expected, but he was also the object of charges from some African Americans that he converted to advance his career, and escape from his blackness. Such accusations may explain his 1980 statement in Ebony that "My people are my people and my religion is my religion. My people are first. I happen to be a Black Jew. I am Black first and the religion I have chosen is Judaism."72
African Americans who become or are born as Jews challenge static notions of black and Jewish identity. Popular cultural renditions can further evoke the fluid terms that construct identities generally. African-American inmate Cindy, in OITNB, seeks and finds a spiritual home by converting to Judaism. Moreover, African-American Jews, both real and imagined, create spaces for plural Jewish identities. Yet questions remain about the benefits, costs, and consequences of such transformations, and their meanings in cultural representations.
In Lovesong, Julius Lester's 1988 memoir, he explores his path to conversion and the many dimensions of his Jewish identity. In the book's preface Lester states, "I am no longer deceived by the black face which stars at me from the mirror. I am a Jew."73 This expression of tension between his identities as black and Jewish is articulated by other African-American converts as well. Assumptions when attending services at an unfamiliar congregation that one is a curious visitor and not Jewish, and accusations from African Americans that conversion to Judaism represents a desire to escape blackness and become white, are both common experiences of black Jews by Choice. However, among other diverse Jewish populations, African-American Jews open up conceptions of what an American Jew looks like and point to limitations regarding assumptions about Jews and whiteness. In OITNB, Cindy's character also points to more flexible understandings of Jewish-American identity. Cindy's turn to gospel music after an African-American inmate's death—"I may be a Jew now, but times like this call for some Black gospel no matter what"—is a tribute to the power of that musical form and an expression of her own dual moment when she articulates both her black and Jewish identities. Asserting Jewishness as American in this case is also related to African-American cultural expression. Moreover, as Terry Shoemaker points out, Cindy shows she "is capable of being both Jewish and African American."74
OITNB's deployment of an African-American character's conversion to Judaism to convey Jewish values and depict Jewish rituals without inclusion of a fully realized recurring Jewish-American character and community underscores the problematic representation of Jewish identity in American popular culture. Though Cindy in OITNB tells the visiting rabbi in Season 3 she has "found her people" when professing to the sincerity of her quest to become a Jew, Season 4 depicts her prison experience largely as before, living among and hanging out with her African-American friends, with sparse attention to her new found faith and its meaning for her. Despite her new mezuzah, the Jewish inmates who assisted her conversion have not become a part of her life and no longer appear on the show. Moreover, Cindy's Jewish identity flattens, expressed primarily by her and other inmates in articulations of stereotypical if not antisemitic Jewish avarice. Conflicts with Alison, a newly arrived African-American inmate who is Muslim, wears a hijab, and is assigned to the bunk next to Cindy's, lightly spoof tensions between the two groups, yet mostly at Cindy's expense. In one episode, Alison hopes to trade access to her contraband cell phone for some of Cindy's commissary-purchased tampons during a prison sanitary napkin shortage. When Alison references a Biblical admonition, "If there are poor among you, do not be selfish or greedy towards them" to make her case, Cindy rejects this view as Christian. In addition to demeaning Cindy by showing her to be ignorant of the shared basis of the Abrahamic religions, which Alison understands, the one-dimensional focus on stale jokes about Jewish greed that dominate Jewish references in Season 4 prevents Cindy from articulating deeply-held Jewish values—for example in this moment of potential tzedakah—as she had during the previous season's focus on her conversion.75 Thus, the show's sympathetic portrayal of Jewish faith, values, and identity is short-lived, and its reliance upon an African-American character who converts to convey the authenticity of the Jewish experience most fully proves unstable.
Despite their limitations, a century of cultural texts from The Jazz Singer to OITNB have served as vehicles for disseminating information via mass culture about Jewish practices, values, family life, and community concerns to gentile audiences. Such exposure serves an ongoing need, as African-American actress Yvonne Orji recently demonstrated when she said, "I know what Shabbat is by watching Curb Your Enthusiasm."76 Yet the apparent impossibility for OITNB, despite its well-deserved reputation for inclusivity, to incorporate a Jewish-American inmate, or an ongoing Jewish prison community, however small, for Cindy to continue to interact with, suggests Jewish television creators and writers are still struggling with a revised, contemporary version of the "write Yiddish, cast British" mandate. One expression of that dilemma occurs early in the series when a posted list of religious services is shown to include Catholic, Wiccan and Muslim, but omits a Jewish option.77
Nicky and Cindy: New Information and Missing Connections in Season 6
Six years into the series, Nicky's crypto-Jewish identity resolves via a flashback to her fraught bat mitzvah. Her parents are divorced, squabbling, and more concerned about superficial and materialist aspects of the event than their daughter's achievement. As the second pair of Jewish parents depicted on the show, they are far worse than Larry's, who, however misguided, at least cared about their son's well-being. The bat mitzvah plays out as a teenage revenge fantasy, as Nicky strays from her prepared Torah commentary to excoriate her parents in front of the congregation. Yet the additional details provided about Nicky's self-absorbed and neglectful parents, whose behavior has been referenced previously, though not as Jews, do not further humanize Nicky nor serve to explain in a compassionate manner her drug addiction and criminal behavior because her parents, like Larry's, are one-dimensional. As one reviewer assessed the season, "Nicky Nichol's bat mitzvah is a train wreck with some good laugh lines, but it does not feel like an indispensable part of this show." Rolling Stone's Season 6 review similarly found only one of the season's flashbacks—about two other characters—"worth the bother," and did not mention Nicky's at all.78
The bat mitzvah flashback comes after Nicky, who is facing significant additional prison time in the aftermath of a prison riot, has contacted her father for legal assistance, and he comes through. Themes of Jewish betrayal become central as he urges Nicky to betray Red—again—to save herself. She does, though Red in a Stella Dallas moment of maternal self-sacrifice grants her permission to do so.79 Moreover, Cindy faces a similar high-pressure situation. She contacts her conversion rabbi for legal assistance, which he facilitates. Here too, her lawyer advises her to betray her best friend.80 Though wracked with guilt—a "Jewish thing" another inmate explains—she does.81
Though Cindy asserts the primacy of her Jewish identity in this season by using her Hebrew name when she becomes co-host of a radio show within the prison, she must do so repeatedly to her gentile friends. Other audiences apparently also need convincing; it is interesting that in the closed captions for the show, she is always referred to as Cindy, not Tovah.82 Furthermore, though there are parallels to Nicky's and Tovah's story lines, they seem to exist, like these characters themselves, in separate worlds within the prison. They appear briefly together in a prison wedding scene, where Nicky has donned a yarmulke and prayer shawl to officiate, though the couple, Piper and Alex, are not Jewish and there is no Jewish content to the ceremony. The Jewish objects, which also include a chuppah, add an exotic vibe that liven up the dreary setting, but like Nicky and Tovah, do not connect in any meaningful way with their Jewish character, identity, or values. The cross tattoo on Nicky's forearm is prominently displayed in another indication of her continuing ambivalent status post bat mitzvah flashback. In a measure of the irrelevance of the Jewish components depicted at the wedding, many reviews of the episode do not mention them at all. Thus, the Jewish elements of this season's important final episode—that includes a classic TV series ratings magnet, a wedding—provide color or comic effect, detached from ritual and cultural significance.83
Conclusion
In OITNB's final, seventh season, Nicky retreats to her crypto-Jewish identity. Despite having a loving relationship with a lesbian Egyptian inmate held for an immigration violation, a seeming set up for jokes and storylines like those created for Alison and Cindy in Season 4, there is bupkis about Nicky's Jewishness in any of this season's episodes. In regard to Cindy, the brief references to her being Jewish in Season 7 are few and far between. Though her rabbi comes through for her again in writing an employment reference letter, which secures her a job, he is mentioned only in passing, and Cindy is never depicted interacting with other Jews. These retrenchments once again point to the instability of the crypto-Jew and convert in reliably relating Jewish identity, practices, and sensibilities in television narratives. Erasure and marginalization of Jewish perspectives also appear to be facilitated by the absence of depictions of Jewish community.
Over its seven seasons, OITNB's shifting representations of Jewish identity move from the Bloom stereotypes and crypto-Jew Nicky Nichols, to the inclusion of Ashkenazi Jews in minor supporting roles that are essential in supporting the conversion of higher profile character Cindy. In Season 4, the reversion to stereotypes about Jews accompanies the return of crypto-Jew Nicky, who has been transferred back from a higher security prison. Perhaps the series' success in featuring the stories of women of color, lesbians, and transwomen, and in building a fan base for its diverse cast, created the possibility for the open exploration of what it means to be a Jew, if only temporarily. Nonetheless the instability of Jewish identity in the show may suggest tensions and uncertainties surrounding the relationship of Jewish subjectivity to those more clearly understood as marginalized. Thus it is significant that the character with the most screen time who voices the most endearing and sympathetic Jewish perspective is a convert who expresses her Jewish identity through the lens of her experience as an African American. When Nicky is revealed to be Jewish in Season 6, it makes little difference, as her Jewish identity and that of Cindy/Tovah's typically find expression only in passing verbal quips or visual jokes. These indications are underscored in Season 7, the series' last, in which the Jewish identities of these characters are rarely referenced or elided completely. Like other television shows that only explore Jewish identity in the apparently safer context of interfaith marriages and relationships, Jewish identity in OITNB is most fully realized when linked with someone who is not, at least initially, Jewish, and whose struggles as an incarcerated African-American woman have been depicted previously in the series, though no Jewish inmate's story receives similar treatment. Moreover, the troubling treatment of Levy in Kerman's memoir finds an echo in references to Jewish identity on the series that mine well-worn stereotypes without addressing the consequences, for example, of antisemitism in similar ways that the series addresses racism and homophobia. Yet importantly, Cindy converts and becomes a Jew who is accepted by the Jewish inmates who supported her religious transformation and by the rabbi who authorized it. Her conversion narrative provides opportunities for compassionate expression of Jewish values, conveys information about Jewish rituals, and challenges static notions of Jewish identity.
Though OITNB incorporates if not champions the experiences and perspectives of a range of minority groups, portrays incarcerated women sympathetically, and aims to critically depict the prison-industrial complex, and deserves praise for doing so, the significant Jewish presence on OITNB still bears consideration as simultaneous displacement through deployment of familiar stereotypes, crypto-identities, and conversion narratives. As Malatino also finds in regard to trans issues, "the show subverts certain tropes," yet also relies on "stereotypes."84 Cindy's struggles to be recognized as Tovah are emblematic and suggest that a Jewish problem—the problem of Jewish representation—remains a forceful shaper of narratives and character development on episodic television and streaming series.
Notes
Michael O'Connell, "Nielsen Says 6.7M Watched Orange Is the New Black Premiere in 3 Days," Hollywood Reporter, June 29, 2016, http://www.hollywoodreporter.com/live-feed/orange-is-new-black-ratings-907390; Daniel Holloway, "TV Ratings: Orange Is the New Black Premiere Numbers Revealed by Nielsen," Variety, June 29, 2016, http://variety.com/2016/tv/ratings/tv-ratings-orange-is-the-new-black-premiere-nielsen-1201805991/, accessed December 4, 2016. OITNB is the "most-watched show" on the streaming platform according to Netflix executive Ted Sarandos. Dana Birnbaum, "'Orange Is the New Black': Jenji Kohan, Cast Talks Season 4, Diversity, Binge-Watching," Variety, January 17, 2016, http://variety.com/2016/tv/news/orange-is-thenew-black-season-4-jenji-kohan-1201681782/, cited by Sarah Artt and Anne Schwan, "Screening Women's Imprisonment: Agency and Exploitation in Orange Is the New Black," Television & New Media 17:6 (September 2016): 468.
Suzanne Enck and Megan Morrissey, "If Orange Is the New Black, I Must be Color Blind: Comic Framings of Post-Racism in the Prison-Industrial Complex," Critical Studies in Media Communication 32:5 (October 2015): 303. Piper Kerman, Orange Is the New Black (New York: Random House, 2010). See also Internet Movie Data Base, which notes over 250,00 reviews and an overall viewer rating of 8.1, www.imdb.com, accessed March 14, 2019.
Numerous articles laud the show's diverse cast, even those finding fault with how specific individuals and groups are represented. See for example, Roxanne Gay, "The Bar for TV Diversity Is Way Too Low," Salon, August 22, 2013. Gay notes, "You can't blink without someone celebrating the show's diversity," accessed March 10, 2019, https://www.salon.com/2013/08/22/the_bar_for_tv_diversity_is_way_too_low/.
“Orange Creator Jenji Kohan: Piper Was My Trojan Horse," Fresh Air, National Public Radio, August 13, 2013, accessed December 4, 2016, http://www.npr.org/2013/08/13/211639989/orange-creator-jenji-kohan-piper-was-my-trojan-horse. See also Jason Demers, "Is a Trojan Horse an Empty Signifier? The Televisual Politics of Orange Is the New Black," Canadian Review of American Studies/Revue Canadienne d'Études Américaines 47:3 (2017).
For essay collections with a range of perspectives on the series and how it represents particular groups, see Shirley A. Jackson and Laurie L. Gordy, eds., Caged Women: Incarceration, Representation and Media (New York: Routledge, 2018); April Householder and Adrienne Trier-Bieniek, eds., Feminist Perspective on Orange Is the New Black (Jefferson, NC: McFarland & Co., 2016), and Television & New Media 17:6 (September 2016), special issue, ed. Sarah Artt and Anne Schwan.
Analysis of religion on the show that discuss Jewish themes include Terry Shoemaker, "Escaping Our Shitty Reality: Counterpublics, Orange Is the New Black, and Religion," Journal of Religion and Popular Culture 29.3 (Fall 2017): 217–229, and Terri Toles Patkin, "Broccoli, Love, and the Holy Toast: Cultural Depictions of Religion in Orange Is the New Black," in Shirley A. Jackson and Laurie L. Gordy, eds., Caged Women: Incarceration, Representation and Media (New York: Routledge, 2018), 227–238.
Foundational texts in Jewish television studies include Jonathan and Judith Pearl, The Chosen Image: Television's Portrayal of Jewish Themes and Characters (Jefferson, NC: McFarland & Co., 1999); Vincent Brook, Something Ain't Kosher Here: The Rise of the "Jewish" Sitcom (New Brunswick: Rutgers University Press, 2003); David Zurawik, The Jews of Prime Time (Hanover: Brandeis University Press, 2003). For a critical assessment of the field, see Michele Byers and Rosalin Krieger, "Beyond Binaries and Condemnation: Opening New Theoretical Spaces in Jewish Television Studies," Culture, Theory & Critique 46:2 (2015): 131–145. Some studies incorporate consideration of both television and film. See for example, J. Hoberman and Jeffrey Shandler, Entertaining America: Jews, Movies, and Broadcasting (Princeton: Princeton University Press, 2003); Paul Buhle, ed., Jews and American Popular Culture, vol. 1 (Westport, CT: Praeger, 2007); Joshua Louis Moss, Why Harry Met Sally: Subversive Jewishness, Anglo-Christian Power, and the Rhetoric of Modern Love (Austin: University of Texas, 2017); Michael Renov and Vincent Brook, eds., From Shtetl to Stardom: Jews and Hollywood (West Lafayette, IN: Purdue University Press, 2017).
OITNB, www.imdb.com
"I Wasn't Ready," OITNB season 1, episode 1, Netflix, July 11, 2013. Piper tells Larry not to inform his father about her predicament because "he already hates me."
Larry Smith, "My Life with Piper: From Big House to Small Screen: The Other True Story Behind Orange Is the New Black," Medium, July 14, 2014, accessed December 4, 2016, https://medium.com/matter/my-life-with-piper-from-big-house-to-small-screen-592b35f5af94#.t5josbg1p.
Jeremy Diamond, "Trump: DNC Chairwoman 'Crazy' 'Neurotic Woman,'" CNN, November 2, 2015, https://www.cnn.com/2015/11/02/politics/donald-trump-debbie-wasserman-schultz-crazy-neurotic-woman/index.html; Miriam Levine, "Am I That 'Crazy Neurotic' Jewish Woman Donald Trump Is Describing?" Forward, November 3, 2015, accessed December 4, 2016, http://forward.com/sisterhood/323877/the-crazy-neurotic-jewish-woman/
"I Wasn't Ready," OITNB season 1, episode 1.
13. Biggs also portrayed American Pie character Jim Levenstein in American Pie 2 (2001), American Wedding (2003), and American Reunion (2012).
Sigal Samuel, "Does Orange Is the New Black Have a Jewish Problem?" The Daily Beast, July 18, 2013, accessed December 4, 2016 http://www.thedailybeast.com/articles/2013/07/18/does-orange-is-the-new-black-have-a-jewish-problem.html.
Ashley Burns, "A Guide to the Internet's Love of Hating Larry Bloom from Orange Is the New Black," Uproxx, June 30, 2014, accessed December 4, 2016 http://uproxx.com/tv/aguide-to-the-internets-love-of-hating-larry-bloom-from-orange-is-the-new-black/3/.
Ibid. See also Kimberly Potts, "Orange Is the New Black: You're Not the Only One Who's Not on Team Larry," Yahoo TV, June 20, 2014, accessed December 15, 2016, https://www.yahoo.com/tv/orange-is-the-new-black-youre-not-the-only-one-96478890565.html.
"WAC Pack," OITNB season 1, episode 6, Netflix, July 11, 2013; "Blood Donut," OITNB season 1, episode 7, Netflix, July 11, 2013.
"Moscow Mule," OITNB season 1, episode 8, Netflix, July 11, 2013.
"F … sgiving," OITNB season 1, episode 9, Netflix, July 11, 2013; "Bora, Bora, Bora," OIT NB season 1, episode 10, Netflix, July 11, 2013; "Tall Men with Feelings," OITNB season 1, episode 11, Netflix, July 11, 2013.
Larry Smith, "A Life to Live This Side of the Bars," New York Times, March 28, 2010, accessed December 4, 2016, http://www.nytimes.com/2010/03/28/fashion/28Love.html. He wrote an earlier "Modern Love" column about proposing to marry Piper that did not mention her recent prison experience. Larry Smith, "Hear that Wedding March Often Enough You Fall in Step," New York Times, December 26, 2004.
"Comic Sans," OITNB season 2, episode 7, Netflix, June 6, 2014; "Take a Break from Your Values," OITNB season 2, episode 11, Netflix, June 6, 2014.
Smith, "My Life with Piper."
See for example Yasmin Nair, who states, "White women like Kerman leave prison with book contracts, while others keep moving through its doors, fodder for the expanding Prison Industrial Complex." Idem, "White Chicks Behind Bars," In These Times, July 18, 2013, accessed March 10, 2019, http://inthesetimes.com/article/15311/white_chick_behind_bars/. The term "trauma porn" emerged to signal concerns about the show's exploitative aspects. Ashleigh Shackelford, "Orange Is the New Black Is Trauma Porn Written for White People," June 20, 2016, accessed March 10, 2019, https://wearyourvoicemag.com/culture/orange-is-the-new-black-trauma-porn-written-white-people.
Jenji Kohan, Tara Hermann, Hartley Voss, and Alex Regnery, Orange Is the New Black Presents: The Cookbook (New York: Abrams Image, 2014).
Cleary Wolters, Out of Orange: A Memoir (New York: Harper Collins, 2015), 4–8, 300–303.
Shackelford, "Trauma Porn;" Keah Brown, "Season Four of Orange Is the New Black Has a Race Problem," June 30, 2016, accessed May 14, 2019, https://medium.com/the-establishment/season-four-of-orange-is-the-new-black-has-a-race-problem-159a999dc66c.
Hilary Malatino, "The Transgender Tipping Point: The Social Death of Sophia Burset," in April Householder and Adrienne Trier-Bieniek, eds., Feminist Perspective on Orange Is the New Black (Jefferson, NC: McFarland & Co., 2016), 95–110.
Kerman, Orange Is the New Black, 49; see also "WAC Pack," OITNB season 1, episode 6.
Kerman, Orange Is the New Black, 90.
Ibid., 91, 111.
Ibid., 94
Ibid., 114.
Ibid., 97.
Ibid., 199.
Ibid., 200.
Ibid., 200–201.
Kerman writes: "Prison is quite literally a ghetto in the most classic sense of the world [sic], a place where the US government now puts not only the dangerous but also the inconvenient—people who are mentally ill, people who are addicts, people who are poor and uneducated and unskilled. Meanwhile the ghetto in the outside world is a prison as well, and a much more difficult one to escape from than this correctional compound. … t." Ibid.
Maltino, "Transgender Tipping Point," 101.
Lynne Tuohy, "Don't Worry Martha, It's Like a Big Hotel," Hartford Courant, September 19, 2004. There are Holocaust references in the series; for example, inmate Red refers to Anne Frank in "Blood Donut," OITNB season 1, episode 7.
See for example, Nair, "White Chicks;" Shackelford, "Trauma Porn;" Brown, "Season Four"; Cate Young, "On Orange Is the New Black and the Destruction of Black Bodies," July 14, 2016, accessed March 10, 2019, https://medium.com/the-establishment/season-four-oforange-is-the-new-black-has-a-race-problem-159a999dc66c.
For earlier use of the term, see for example, Lucien Wolf, "Crypto-Jews under the Commonwealth: A Paper Read before the Jewish Historical Society of England on Re-Settlement Day, February 4th, 1894," (London: Jewish Chronicle Office, 1894).
Leslie Fielder, "Jewish-Americans, Go Home!" in Leslie Fielder, ed., Waiting for the End: The American Literary Scene from Hemingway to Baldwin (New York: Stein and Day, 1964), 91. See also Henry Popkin, "The Vanishing Jew of Our Popular Culture: The Little Man Who Is No Longer There," Commentary, July 1952.
Jeffrey Shandler, "At Home on the Small Screen: Television's New York Jews," in J. Hoberman and Jeffrey Shandler, Entertaining America: Jews, Movies, and Broadcasting (Princeton: Princeton University Press, 2003), 244–257; Zurawik, Jews of Prime Time, passim, 51–54; Vincent Brook, Something Ain't Kosher Here: The Rise of the "Jewish" Sitcom (New Brunswick: Rutgers University Press, 2003); Pearl and Pearl, The Chosen Image, 73–4, 155.
Zurawik, Jews of Prime Time, chapters 4 and 6; Brook, Something Ain't Kosher. Also notable is the Jewish family depicted in Brooklyn Bridge, 1991–1993.
Jon Stewart debuted on The Daily Show in 1999; Curb Your Enthusiasm launched the next year. Transparent began streaming in 2014, the year after OITNB's first season. Debra Nussbaum Cohen, "How Jill Soloway Created Transparent—the Jewiest Show Ever," Forward, October 21, 2014, cited by Roberta Rosenberg, "The Importance of Jewish Ritual in the Secular, Postmodern World of Transparent, Jewish Film & New Media 5:1 (Spring 2017): 98.
"Fool Me Once," OITNB season 1, episode 12, Netflix, July 11, 2013. See for example, Emily Sigalow, American JuBu: Jews, Buddhists, and Religious Change (Princeton: Princeton University Press, 2019).
Fielder, "Jewish Americans," 91.
Elizabeth J. Leebron and Dominique G. Ruggieri, "How TV Portrays Jewish and Italian Women," Television Quarterly 34: 3/4 (Spring 2004): 41; Dominique G. Ruggieri and Elizabeth J. Leebron, "Situation Comedies Imitate Life: Jewish and Italian-American Women on Prime Time," The Journal of Popular Culture 43:6 (2010): 1266–1281; 1269. The article cites a 1998 study by Hadassah of portrayals of Jewish women in the media that found similar qualities.
Ellen Sandler, "Raymond Barone, Crypto-Jew?" Jewish Journal, January 24, 2002, accessed December 15, 2016, http://jewishjournal.com/culture/arts/5412/; Tom Teicholz, "The Heroes of Jewish Comedy," Jewish Journal, July 4, 2003, accessed December 15, 2016, http://jewishjournal.com/news/16/the-heroes-of-jewish-comedy/.
Turturro plays Jewish characters in such films as Mo' Better Blues (1990), Miller's Crossing (1990), Barton Fink (1991), and Quiz Show (1994). In The Truce (1997), he portrays Holocaust survivor Primo Levi. It is also worth noting that Jason Biggs is three-quarters Italian American, and Jewish actors James Caan, Henry Winkler, and Edward G. Robinson have portrayed Italian Americans (Sonny Corleone in The Godfather, The Fonz in Happy Days and Rico in Public Enemy, respectively). See Nathan Abrams, The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema (New Brunswick: Rutgers University Press, 2012).
"Fear and Other Smells," OITNB season 3, episode 8, Netflix, June 11, 2015.
"Can't Fix Crazy," OITNB season 1, episode 13, Netflix, July 11, 2013.
See for example, "Take a Break from Your Values," OITNB season 2, episode 11; "It Sounded Nicer in My Head," OITNB season 4, episode 7, Netflix, June 17, 2016.
Sarah Fryett, "'Chocolate and Vanilla Swirl, Swi-irl': Race and Lesbian Identity Politics," in April Kalogeropoulos Householder and Adrienne Trier-Bieniek, eds., Feminist Perspectives on Orange Is the New Black (Jefferson, NC: McFarland, 2016), 16.
Kyra Hunting, "All in the (Prison) Family: Genre Mixing and Queer Representation," in April Kalogeropoulos Householder and Adrienne Trier-Bieniek, eds., Feminist Perspectives on Orange Is the New Black (Jefferson, NC: McFarland, 2016), 120.
Sarah Gibbons, "'Can't fix crazy': Confronting Able-Mindedness," in April Kalogeropoulos Householder and Adrienne Trier-Bieniek, eds., Feminist Perspectives on Orange Is the New Black (Jefferson, NC: McFarland, 2016), 213.
Paul Breines, Tough Jews: Political Fantasies and the Moral Dilemma of American Jewry (New York: Basic Books, 1990); Nathan Abrams, The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema (New Brunswick: Rutgers University Press, 2012).
Abrams, The New Jew, 132.
Ben Stiller played Jewish writer and heroin addict Jerry Stahl in the 1998 film based on his memoir Permanent Midnight. "Fool Me Once," OITNB season 1, episode 12.
"Friends in Low Places," OITNB season 4, episode 8, Netflix, July 17, 2016.
Naomi Zeveloff, "Kosher Prisons in U.S. Spend Millions on Food for Non-Jewish Inmates," Forward, April 30, 2012, accessed December 15, 2016, https://forward.com/news/155363/not-just-jews-eat-kosher-food-in-prison/.
Linda Buchwald, "Orange Is the New Black: The Best Jewish Moments from the New Season," Jewish Telegraph Agency, June 15, 2015, accessed December 15, 2106, https://www.jta.org/2015/06/15/arts-entertainment/orange-is-the-new-black-the-best-jewish-momentsfrom-the-new-season. "Ching Chang Chong," OITNB season 3, episode 6, June 11, 2015; "Tongue-Tied," OITNB season 3, episode 7 Netflix, June 11, 2015; "Fear and Other Smells," OITNB season 3, episode 8.
"Comic Sans," OITNB season 2, episode 7.
“Where My Dreidel At?" OITNB season 3, episode 9, Netflix, June 11, 2015.
"A Tittin and a Hairin'," OITNB season 3, episode 10, Netflix, June 11, 2015.
"Trust No Bitch," OITNB season 3, episode 13, Netflix, June 11, 2015.
Nora Rubel, "Chicken Soup for the Souls of Black Folk: African American Converts to Judaism and the Negotiation of Identity," Social Compass 51:3 (2004): 335–347, accessed June 22, 2018, http://www.academia.edu/5543962/Chicken_Soup_for_the_Souls_of_Black_Folk_African_American_Converts_to_Judaism_and_the_Negotiation_of_Identity_English_Translation_.
Rebecca Davis, "'These Are a Swinging Bunch of People': Sammy Davis, Jr., Religious Conversion, and the Color of Jewish Ethnicity," American Jewish History 100:1 (January 2016): 40.
Amanda Seigel, "Celebrating African American Jews" New York Public Library Blog, February 11, 2016, accessed June 22, 2018, https://www.nypl.org/blog/2016/02/11/celebrating-african-american-jews; Dina Kraft, "Rapper Finds Order in Orthodox Judaism in Israel, New York Times, November 10, 2010, accessed June 22, 2018, http://www.nytimes.com/2010/11/11/arts/music/11shyne.html?pagewanted=all. Stewart Ain, "Pulpit of Col-or," The New York Jewish Week, May 20, 2009, accessed June 22, 2018, https://web.archive.org/web/20110615044723/http://www.thejewishweek.com/features/pulpit_color.
Pearl and Pearl, The Chosen Image, 82–83.
Sammy Davis, Jr., Yes I Can: The Story of Sammy Davis, Jr. (New York: Farrar, Straus and Giroux, 1965), 246–247, emphasis in original, cited by Rebecca Davis, "'These Are a Swinging Bunch of People': Sammy Davis, Jr., Religious Conversion, and the Color of Jewish Ethnicity," American Jewish History 100:1 (January 2016): 36.
"Becoming a Jew Gave New Meaning to Davis' Life" Jet, June 4, 1990, 29. The entire issue was devoted to "Sammy Davis Jr., World's Greatest Entertainer, 1925–1990."
Julius Lester, Lovesong: Becoming a Jew (New York: Arcade Books, 1988), 1, cited in Adam Meyer, "Gee, You Don't Look Jewish: Julius Lester's Lovesong, an African-American Jewish-American Autobiography," Studies in American Jewish Literature 18 (1999): 41–51.
"Toast Can Never Be Bread Again," OITNB season 4, episode 13, Netflix, June 17, 2016. Shoemaker, "Escaping Our Shitty Reality," 225.
"Power Suit," OITNB season 4, episode 2, Netflix, June 17, 2016; "We'll Always Have Baltimore," OITNB season 4, episode 5, Netflix, June 17, 2016.
Sonaiya Kelley, "Yvonne Orji on Dating, Virginity and Playing Sexually Liberated Molly on 'Insecure,'" Los Angeles Times, July 28, 2017.
"The Chickening," OITNB season 1, episode 5, Netflix, July 11, 2013.
"I'm the Talking Ass," OITNB season 6, episode 4, Netflix, July 27, 2018. Kathryn VanArendonk, Orange Is the New Black Season 6 Is Aimless, But Still Compelling," July 18, 2018, accessed May 14, 2019, https://www.vulture.com/2018/07/orange-is-the-new-black-season-6-review.html; Alan Sepinwall, "Orange Is the New Black Season 6 Review: Maximum Security, Medium Payoff," Rolling Stone, July 25, 2018, accessed May 14, 2019, https://www.rollingstone.com/tv/tv-reviews/orange-is-the-new-black-season-6-review-701476/.
"Who Knows Better Than I" OITNB season 6, episode 1; "Sh*tstorm Coming" OITNB season 6, episode 2, Netflix, July 27, 2018; "Look Out for Number One," OITNB season 6, episode 3, Netflix, July 27, 2018; "I'm the Talking Ass," OITNB season 6, episode 4.
"Who Knows Better Than I" OITNB season 6, episode 1; "Sh*tstorm Coming;" OITNB season 6, episode 2.
"Well This Took a Dark Turn," OITNB season 6, episode 11, Netflix, July 27, 2018; "Double Trouble," OITNB season 6, episode 12, Netflix, July 27, 2018.
Cindy asserts her name as Tovah in season 6 episodes, such as episode 6, "State of the Uterus;" OITNB, Netflix, July 27, 2018; episode 7, "Changing Winds," OITNB, Netflix, July 27, 2018; and episode 9, "Break the String," OITNB, Netflix, July 27, 2018.
"Be Free," OITNB Season 6, episode 13, July 27, 2018. VanArendonk, "Season 6 Is Aimless"; Alana Altman, "Alex and Piper's Wedding on Orange Is the New Black Season 6 Was A Bright Light," July 27, 2018, https://www.elitedaily.com/p/alex-pipers-wedding-onorange-is-the-new-black-season-6-was-a-bright-light-9869449; Isabella Silvers, "Here's what the Orange Is the New Black Cast Thought About That Surprise Wedding," Cosmopolitan, August 7, 2018, https://www.cosmopolitan.com/uk/entertainment/a22666213/orange-is-the-new-black-season-6-piper-alex-wedding/. All accessed June 7, 2019.
Maltino, "Transgender Tipping Point," 95.
#jews#jews in entertainment#cultural depictions of jews#orange is the new black#the goldbergs#television#conversion#stereotypes#religion#religion in entertainment#crypto-jews#narrative#character development
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Orlando Jones
Orlando Jones (born April 10, 1968) is an American actor and stand-up comedian. He is known for being one of the original cast members of the sketch comedy series MADtv, for his role as the 7 Up spokesman from 1999 to 2002, and for his role as the African god Anansi on Starz's American Gods.
Early life
Jones was born in Mobile, Alabama, on April 10, 1968. His father was a professional baseball player in the Philadelphia Phillies organization. He moved to Mauldin, South Carolina, when he was a teen and graduated from Mauldin High School in 1985. One of his early acting experiences involved playing a werewolf in a haunted house to help raise money for the junior/senior prom. Jones enrolled in the College of Charleston, South Carolina. He left in 1990 without finishing his degree.
To pursue his interest in the entertainment industry, Jones, together with comedian Michael Fechter, formed a production company, Homeboy's Productions and Advertising. Together Jones and Fechter worked on several projects including a McDonald's commercial with basketball superstar Michael Jordan for the McDonald's specialty sandwich the "McJordan".
He scored his first Hollywood job in 1987, writing for the NBC comedy A Different World, on which he had a small guest role in the season five finale. During 1991-92, Jones penned the Fox series Roc and, in 1993, he co-produced The Sinbad Show. He also made a brief appearance on the FOX sitcom Herman's Head in 1992.
Career
MADtv
After hosting Fox's music series Sound FX, in 1994, Jones became one of the original nine cast members of MADtv. Unlike some of his fellow original repertory performers on MADtv, Jones came to the show with limited sketch comedy experience. However, his comedy writing and television producing skills proved to be valuable to the early success of the show.
Throughout the first two seasons of MADtv, Jones produced characters like the Cabana Chat band leader Dexter St. Croix and Reverend LaMont Nixon Fatback, the vocal follower of Christopher Walken. He was also noted for his impressions of Thomas Mikal Ford, Temuera Morrison, Warwick Davis, Danny DeVito, Michael Jai White, Eddie Griffin, and Ice Cube.
After two seasons on MADtv, Jones left the show to pursue a movie career. However, Jones returned to MADtv in 2004 to celebrate its 200th episode.
Other television projects
Aside from MADtv, Jones made many other television appearances. Perhaps his most popular and enduring television appearance was not in the form of a sitcom or television drama, but rather in a series of humorous commercials as the spokesperson for 7 Up where he gained wide recognition.
This exposure led to a plethora of opportunities for Jones. First, he hosted an HBO First Look special in 2000 and then, in 2003, Jones was given his own late night talk show on FX called The Orlando Jones Show. Although his talk show was short lived, Jones continued to make additional television appearances. In 2003, he appeared on The Bernie Mac Show and on Girlfriends. In 2006, Jones decided to return to television as one of the lead characters of ABC's crime drama The Evidence, as Cayman Bishop. He has also appeared in two episodes of Everybody Hates Chris, the first in 2007 as Chris's substitute teacher and the second in 2008 as Clint Huckstable, an allusion to the character Cliff Huxtable played by Bill Cosby on The Cosby Show.
In 2008, he appeared as Harold Wilcox, a violent veteran with PTSD, on New Amsterdam. In the first season of the show, Jones also starred on Nick Cannon's Wild 'N Out. Jones was the first guest star on the show. Jones was the co-host of ABC's Crash Course (which was canceled after 4 episodes). On November 16, 2009, it was announced on TV Guide that Jones had been cast as Marcus Foreman, Eric Foreman's brother on House, appearing in the season six episode "Moving the Chains". In 2013, he was hired as a principal actor in the FOX television series Sleepy Hollow. The freshman drama opened to FOX's highest fall drama premiere numbers since the premiere of '24' in 2001.
From 2016 through 2019, Jones portrayed Mr. Nancy, aka the African god Anansi, in the Starz series American Gods.
Film projects
After leaving MADtv, Jones expanded his cinema resume. He appeared in a bit part in his first big screen film, In Harm's Way (1991), Jones then joined Larry David in the feature Sour Grapes (1998), playing the character of an itinerant man. Subsequently, he appeared in Woo (1990), Mike Judge's Office Space (1999), alongside fellow MADtv alumnus David Herman, and in Barry Levinson's praised drama, Liberty Heights (1999). Since then, Jones has appeared in Magnolia (1999), New Jersey Turnpikes (1999) and in Harold Ramis' Bedazzled (2000).
During the 2000s, Jones' career began to branch out. In addition to his witty appearances in the 7-Up campaigns, Jones played the role of Clifford Franklin in The Replacements (2000) and the horror film From Dusk till Dawn 3: The Hangman's Daughter (2003). In 2002, Jones landed the lead role of Daryl Chase in the action-dramedy Double Take (2001), alongside Eddie Griffin, and worked with David Duchovny, Seann William Scott and Julianne Moore in Ivan Reitman's sci-fi comedy, Evolution (2001). Jones was also in the 2009 film Cirque du Freak: The Vampire's Assistant and he appeared as the computer Vox 114 in The Time Machine (2002). His other more recent films includes Biker Boyz (2003), Godzilla (2005), Runaway Jury (2003) and Primeval (2004). Jones appeared in an uncredited cameo and played in Grindhouse Planet Terror (2007 film).
In 2011 Jones appeared in the documentary film Looking for Lenny in which he talks about Lenny Bruce and freedom of speech. In 2012, Jones starred in Joe Penna's original interactive thriller series Meridian created in conjunction with Fourth Wall Studios.
Voice acting
Jones has been featured in many voice acting projects over the years. In 1993, Jones appeared in Yuletide in the 'hood and in 1998, he made a guest appearance in the animated comedy TV Series, King Of The Hill. More recently, he lent his voice to the TV series Father of the Pride and the video games Halo 2 as the marine Sergeant Banks as well as other black marines and L.A. Rush. In 2006, he co-created, produced and voice acted for the MTV2 animated series The Adventures of Chico and Guapo.
In early April 2013, it was largely thought that Jones would be taking Tyler Perry's place as Madea. This stemmed from Jones's own report that he would be taking over the role, and photography of himself impersonating Madea. This led to public outcry from fans. Perry later revealed, however, that this was an elaborate prank played by Jones, stating, "That was an April Fools' joke that HE did. Not true. And not funny. When I’m done with Madea, she is done."
Personal life
Jones married former model Jacqueline Staph in 2009. They have a daughter. In October 2011, Jones provoked controversy when he joked on Twitter that someone should kill former Governor of Alaska and Vice Presidential candidate Sarah Palin. He apologized for the comment several days later.
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The Weekend Warrior Feb. 14, 2020 – SONIC THE HEDGEHOG, FANTASY ISLAND, THE PHOTOGRAPH, DOWNHILL, OLYMPIC DREAMS
It’s Valentine’s Day on Friday and President’s Day on Monday, which means that this weekend is going to be absolutely nuts in terms of getting four new wide releases. Last week’s Birds of Prey did not do even remotely close to where I predicted/projected – almost half!! -- and here I thought all those raves reviews might help, but apparently not. It will still make money with its global release but it’s gonna fall short even of last year’s Shazam! and many have already started questioning whether an R-rating is the way to go with a movie semi-targeted towards younger women. (Warner Bros. has already sent out a mandate to theaters to change the title of the movie to Harley Quinn: Birds of Prey. I cannot believe that it took this long for them to figure out what a terrible title they had previously!)
With the four-day weekend, it’s very likely that Paramount Pictures’ SONIC THE HEDGEHOG, will prevail, as it brings the beloved SEGA video game character to the big screen with James Marsdenand Jim Carrey, the latter starring in one of his first big-screen appearances in a while. It should be an easy victor this weekend in a market that could desperately use another strong family film.
For those unfamiliar with SEGA’s flagship video game “mascot,” Sonic has appeared in all sorts of other media including animated series and comic books, so one can say that the character is almost but not quite as well known and popular as Nintendo’s Pokemon, which has had a much wider reach in terms of both games and cartoons.
Of course, it’s impossible not to look at Sonic the Hedgehog and completely ignore the relative success of last year’s Pokemon: Detective Pikachu, which had the added benefits of a popular A-list star in Ryan Reynoldsand a summer release. That opened with $54.4 million and made $144 million domestic and $429.7 million worldwide.
On the other hand, Sonic does have Jim Carrey, who hasn’t been in an American wide release since the 2014 sequel Dumb and Dumber To, which only made about $156 million worldwide. At one point, Carrey was one of the biggest box office stars with multiple $240 million plus domestic blockbusters. Maybe the kids won’t be as invested in Carrey’s Mr. Robotnik, but many parents who grew up with Carrey’s comedies will be happy to see him in such a perfect role.
The Presidents Day weekend allows one extra day for parents with kids needing something to do with them sans school. Even so, the biggest movies on the weekend have been superhero movies, including Black Panther, Deadpool and Fifty Shades of Grey, the latter two definitely not for kids. (Daredeviland Ghost Rider also fared well on the weekend.) In fifth place for the weekend is Warner Bros’ The LEGO Movie, which made $62.5 million over the four-day weekend, but that was in its SECOND WEEKEND! So yeah, lots of money to be had for a family movie even though the biggest opener was Christopher Columbus’ Percy Jackson and the Olympians: The Lightning Thief (now on Broadway!), which opened with $38.7 million ten years ago.
I have to imagine that Sonic is more popular, and even with the tragic misstep of that first trailer last year which got such a negative reaction to Sonic’s appearance, Paramount delayed the movie and went back to the CG drawing board, there will be enough fans interested to see how he translates to the screen that $40 million over the weekend should be doable even with three other wide releases. I also don’t think reviews will be so bad, so it should be good for $100 million plus.
Mini-Review: For whatever reason, Sonic the Hedgehog is the kind of movie that lazy critics love to dump on, maybe because it’s a kids’ movie or because it’s a movie based on a video game they played as kids, or more likely, a character their kids know from popular cartoons and comic books. It doesn’t help that judgments were mostly cast when the first trailer hit last year and Sonic looked different than what people expected. Regardless, I went into the movie with very low expectations, maybe because I really had no passionate connection to the character despite being generally familiar with some of the games.
We meet Sonic as he’s being chased by robots, and we flash back to him as a kid on a planet where he’s able to zoom around freely, until he’s discovered by predators that are hunting him (it’s never explained why), so his mentor owl gives Sonic gold rings that can take him off-planet. Sonic ends up in a small town called Green Hills where he watches the townsfolk in hiding for years, including a local police officer (James Marsden) and his wife Maddie (Tika Sumpter). The former eventually discovers Sonic after he causes a major power outage that gets the attention of the government and its genius robotics scientist, Dr. Robotnik (Jim Carrey).
Despite not having much previous connection to Sonic, it’s hard for me not to appreciate this character, because I’ve been known to zip around myself. I also enjoyed Sonic’s haste since who knows when we might see that movie based on one of my favorite comic characters, The Flash. Sonic does a good job capturing the intensity and yes, speed, of having speed powers in quite a masterful way compared to previous attempts, giving me hope that a Flash movie is possible. (Granted, they do rip-off the fun thing Quicksilver does in the recent X-movies by slowing everything around Sonic down to a halt, but it’s still amusing.)
Probably the most genius idea by Sonic’s filmmakers was to convince Jim Carrey to return to the big screen as Dr. Robotnik. He quickly reminds us how hilarious he can be when going as fully into a character as he does this one, and it’s prime Carey vs. the semi-lazy Carrey that made movies in the early ‘00s. Robotnik is a super-genius with no patience for anyone on a lower level of intellect (aka everyone), and Carrey takes that idea to the utmost extreme. (It’s hard not to compare what he’s doing in this movie to what Ewan McGregor does in Birds of Prey and see how Carey does it effortlessly whereas McGregor was clearly trying too hard.)
That’s not to take away from Marsden and Sumpter, Sonic’s other prominent human co-stars, who bring such a warmth and humanity to those characters that you rarely even think that you’re watching them interact with a fully CG-character. (Kudos to Ben Schwartz and what he brings to Sonic as his voice.)
Sure, the plot can be a bit predictable with certain parts clearly geared to kids, but there’s also slew of pop references that display some real talent in the writing of the movie so that it can be watched and enjoyed by people of all ages.
Is it possible that Sonic the Hedgehog is the first thoroughly entertaining movie of the year? Yes, indeedy. (Definitely stay through the first bunch of credits if you are a Sonic fan!)
Rating: 8/10
One of the more interesting releases of the weekend is BLUMHOUSE’S FANTASY ISLAND (Sony Pictures Releasing), which as you can guess is a PG-13 horror version of the popular ‘80s show, starring Michael Peña as Mr. Rouke, the head of a program in which people can pay lots of money to achieve their greatest wishes… with a catch! Since this is Blumhouse, you probably know that the catch involves some sort of horror/thriller premise, and if you’ve seen the trailer, you might get some idea how it works… or not. (I wish I can say more but I’m under embargo!)
The rest of the cast is decent including Maggie Q (from Mission: Impossible 3), Lucy Hale, Portia Doubleday, Michael Rooker, Ryan Hansen, Jimmy O . Yang and more, plus it’s directed by Jeff Wadlow, who last did Blumhouse’s Truth Or Dare (a very bad movie!) and then Kick Ass 2 before that. (He was supposed to direct Sony’s upcoming Bloodshot movie but he left that to do other things, like this.)
Unfortunately, Sony Pictures Releasing (another specialized imprint from the parent company?) seems to have taken a cue from Screen Gems by deciding not to screen the movie for critics until Thursday afternoon (just like with The Grudge!), plus there won’t be ANY Thursday previews for this. It’s a shame since… well, I can’t really tell you if I liked the movie or not since I’m under embargo until Friday. J
Either way, it seems like a strong enough counter to Sonic and Birds of Prey that it should be good for $15 million plus over the four days. Personally, I think it would have opened even bigger if Sony and Blumhouse had shown some balls and screened it for critics in advance, but what do I know? I’ve only written about this stuff for ALMOST TWENTY FUCKING YEARS! (Not sure I’m gonna review the movie but we’ll see.)
I know far less about Universal’s Valentine’s Day offering THE PHOTOGRAPH (Universal), which I guess is a romantic drama that’s targeting African-Americans looking for something to see on the biggest date nights of the year. In fact, we’ve seen some interesting hits on this weekend just by putting “Date” in the movie title, as was the case with Adam Sandler-Drew Barrymore’s 50 First Dates ($45.1 million four-day opening) and even Date Movie ($21.8 million), which satirized romantic movies. But the real winner has to be a movie that went all out for Valentine’s Day by actually going with the title Valentine’s Day, which helped it open with $63 million over the four-day weekend ten years ago. ($23.4 million of that was on Valentine’s Day alone!)
Since I won’t see The Photograph until Weds. night, I can only talk about the little bit of marketing I’ve seen and what’s out there. Apparently, this is more in the vein of Valentine’s Day in that it’s a series of intertwined romantic stories, but it has an impressive cast of African-American actors who are on the verge of breaking out such as the great LaKeith Stanfield and amazing Kelvin Harrison Jr., as well as Rob Morgan (from “Daredevil” and Mudbound) and Courtney B. Vance. I’d be neglect if I didn’t mention any of the women involved and having Issa Raefrom the TV show “Insecure” as the primary female lead is something that shouldn’t be ignored. Stanfield isn’t the only connection to Jordan Peele, though, asLil Rel Howery from Get Outis also in this movie as is Peele’s actual wife, Chelsea Peretti!
I actually had to double check to make sure Peele wasn’t one of the film’s producers, but no, this is from Will Packer, a producer who is responsible for so many huge hits among African-Americans that one of these days I won’t underestimate his drawing power, even though all three of his 2019 movies underdelivered, including the comedy Little (co-starring Rae), although did well compared to their lower budgets.
In that sense, The Photograph could be compared to Packer’s Screen Gems comedy About Last Night, which opened with $27.8 million in just over 2,200 theaters in 2014, but that also had the power of proven box office draw Kevin Hartto bring in audiences. I certainly don’t want to be accused of underestimating Packer again, but with such a generic title and premise (and next to no marketing?), I’m just not sure the movie will deliver despite being decent counter-programming for AA audiences. With that in mind, I think the movie will probably make somewhere between $12 and 14 million.
Then there’s DOWNHILL (Searchlight Studios), the new movie from The Way, Way Back directors Nat Faxon and Jim Rash (who also won the Oscar for cowriting Alexander Payne’s The Descendants), this one being a direct remake of Swedish filmmaker Ruben Östlund’s 2014 film Force Majeure.
In this version, Will Ferrell and Julia Louis-Dreyfus play a squabbling couple who travel to the alps with their kids, but after barely escaping an avalanche – one in which he runs away leaving his family behind – they start questioning their lives. The film also stars Zach Woods (also from “Veep”), Miranda Otto and Zoe Chao, and though it premiered at the Sundance Film Festival (just like the duo’s previous movie), it did not receive great reviews, as it currently sits at 48% on Rotten Tomatoes.
I don’t think that will matter since like Carey above, Ferrell hasn’t been oversaturating the market with movies in the past couple year, maybe because his last movie, Holmes & Watson, reteaming him with John C. Reilly from Step Brothers bombed with $41 million worldwide after horrifying reviews. Fortunately, Louis-Dreyfus is far more loved thanks to her run on “Seinfeld” and her Emmy-winning run on HBO’s “Veep,” and that should help get people into theaters despite all the competition aboe and below.
Searchlight (no more Fox!!) will be releasing the movie into roughly 1,500 theaters, a moderate release to see how it fares, and the extended holiday weekend (plus the chance of it attracting older moviegoers on Valentine’s Day) should help it make $5 million plus over the extended weekend.
Mini-Review: If you’re reading this review hoping for a play-by-play of how Downhill differs from Ruben Ostlund’s Force Majeure, then you’re bound to be disappointed, because a.) I don’t really remember it, b.) I wasn’t as big a fan of the movie as so many others, and c.) I’m going to assume that a lot of people never got around to seeing it.
In this version, it’s Ferrell and Louis-Dreyfus as Peter and Billie Stanton, and there’s much more focus on their roles as parents and the responsibility that goes with that. Once again, Peter runs off when a controlled avalanche comes their way, but they don’t really talk about it so much even as it hangs over their heads.
Nat Faxon and Jim Rash once again find a manageable way of making “dramedy” out of a situation, making sure not to go for constant visual laughs or the zaniness Ferrell usually goes for. (Granted, we can totally believe him as a careless father/husband who does dumb things.) In fact, Ferrell plays his role fairly toned down, which allows Louis-Dreyfus to shine in what’s, oddly, a quite rare movie appearance. How they deal with the aftermath of the avalanche comes to a head when Pete’s work-buddy Zack (Zach Woods) arrives with a ladyfriend (Zoe Chao) allows the two to go at each other. It doesn’t get quite as intense as Marriage Story, but it’s obvious that they both have reached the point in their marriage where they need a separation.
It is kind of amusing that Miranda Otto almost steals her scenes with the two leads because she’s so funny as a hot-to-trot European guest they keep running into and who sets Billie up with a hot Italian ski trainer. There’s a few other funny characters but it mostly stays on Ferrell and Louis-Dreyfus either alone or together, and that’ll be enough for most people.
Faxon and Rash find interesting ways to play with the basic premise, although Downhill is very much comedy with a lower-case “c,” and like the original movie, it should lead to some interesting conversations.
Rating: 7/10
This week’s Top 10 should look something like this… (bearing in mind that the below are all four-day projections). It’ll be interesting to see if the name change for “Birds of Prey” will make a difference, but look for NEON’s Parasite to make its first foray into the top 10 this weekend after 19 (!!!) weeks in theaters, thanks to its Best Picture win last Sunday.
1. Sonic the Hedgehog (Paramount) - $44 million N/A (up $1.5 million)*
2. Harley Quinn: Birds of Prey (Warner Bros) - $20 million -39% (down $1.5 million)*
3. Blumhouse’s Fantasy Island (Sony) - $15.8 million N/A (up $.3 million)*
4. The Photograph (Universal) - $13.5 million N/A
5. Bad Boys for Life (Sony) - $8 million -35% (up .2 million)*
6. 1917 (Universal) - $7 million -23%
7. Downhill (Searchlight) - $5.6 million N/A (up .2 million)*
8. Parasite (NEON) - $5 million +300% (up .4 million and one place)
9. Dolittle (Universal) - $4.5 million -30% (down .4 million and one place)
10. Jumanji: The Next Level (Sony) - $4.2 million -24%
*UPDATE: A few minor updates based on actual theater counts with Parasite being expanded into 2,000 theaters, the widest its been so far. I feel like most of the new movies will do well, including Downhill (which will be in 2,301 theaters vs. the 1,500 estimated earlier in the week). Anyway, it should be a fairly hearty and robust weekend at the box office.
LIMITED RELEASES
Before we get to the regular limited releases opening Friday, I want to mention two special releases for Weds. night, Trafalgar Releasing is giving a one-night screening of The Doors: Break on Thru - A Celebration of Ray Manzarek, which I haven’t seen but I’m definitely interested in as a fan of the ‘60s group (and Manzarek’s keyboard work). You can get tickets for that here. Also, Kino Lorber is giving one-night release of Emily Taguchi & Jake Lefferman’s doc After Parkland to commemorate the second anniversary of the shootings at the Marjory Stoneman Douglas High School in Parkland, Florida that killed 17 people and began a nationwide student movement for gun control. It’s a fairly sobering and emotional doc, as you can imagine, especially since so little has been done to prevent incidents like this even two years later.
My favorite movie of the weekend is Jeremy Teicher’s OLYMPIC DREAMS ( IFC Films), opening at the IFC Center Friday. It stars Nick Kroll (who you’ll know from “The League,” “Oh, Hello” and other things) and (actual Olympian distance runner) Alexi Pappas, who you may or may not be as familiar with. Pappas plays Penelope, an American competitor in the 2018 Winter Olympics in South Korea, who is feeling lonely and unable to connect with others until she meets Kroll’s volunteer dentist, Ezra. While at first, it wouldn’t seem like they would have anything in common, they spend a night hanging out and while some might be expecting something romantic, since this is opening on Valentine’s Day, well I won’t ruin what does or doesn’t happen, k? Either way, it’s a wonderful film co-written by Teichter, Pappas and Kroll, and if that sounds like a familiar formula, then it is indeed the one Richard Linklater used for his sequels to Before Sunrise with Ethan Hawke and Julie Delpy. Olympic Dreams isn’t nearly as deep and philosophical (or wordy), but the two actors are so wonderful together, and they actually filmed this in the Athletes Village at the Olympics (the first film to do so) which adds some authenticity to the sweet little movie. (There will be a sneak preview Weds night at the IFC Center with Teicher, Kroll and Pappas all in attendance!)
Danish filmmaker Lone Scherfig returns with THE KINDNESS OF STRANGERS (Vertical), a star-studded ensemble piece starring Zoe Kazan, Andrea Riseborough, Caleb Landry Jones, Jay Baruchel and Bill Nighy (who appeared in Lone’s previous film Their Finest). This is a New York City story about six strangers whose lives intersect and mingle while trying to find help, hope and love. I know it sounds like the Crash-style movie we’ve seen far too many times before, but I have faith in Ms. Scherfig and hopefully I’ll have a chance to watch it in the next day or two.
I also still haven’t gotten around to watching Kenji Tanagaki’s action-comedy ENTER THE FAT DRAGON (Go WELL USA), starring the always-amazing Donnie Yen as police officer Zhu, who is sent to Japan on a routine police escort of a suspect… who mysteriously dies, forcing Zhu to call upon a former undercover inspector to help solve the murder. I’m assuming the latter is the “Fat Dragon” and Yen didn’t gain 200 lbs. for the part.
Opening at the Quad Cinemaon Friday and in L.A. on Feb. 21 is Dimitri de Clercq’sFrench/Belgian film You Go to My Head (First Run Features) about an architect who finds a young woman lost, alone and in a fog in the Sahara after a mysterious accident, but when he takes her to the hospital, he claims to be her husband. As she gets better, he creates an elaborate life to fill in the life they shared which she can no longer remember. It also sounds perfect for Valentine’s Day, so you have plenty of options!
I didn’t have too much to say about Céline Sciamma’s PORTRAIT OF A LADY ON FIRE (NEON), because I think I wrote about it last year, and I haven’t seen the movie since the New York Film Festival. Set in the 18thCentury, it’s about a woman painter who travels to a remote island where she’s commissioned to do a painting of a grieving widow, who she ends up falling in love with. I probably should see the movie again as it didn’t really connect with me the first time, but I can totally understand why others love it so much. (Unfortunately, the 7:10 screening on Friday night at the Angelika with a QnA moderated by my pal, Valerie Complex, is already sold out!)
The second documentary in the last year about a man named “Cunningham” (a different one this time) is Mark Bozek’s The Times of Bill Cunningham (Greenwich) about the famed photographer who died in 2016… and whom I know even less about than I did dancer/choreographer Merce Cunningham. Apparently, he was a New York Timesphotographer for four decades and had a long relationship with First Lady Jackie Kennedy, and this doc is even narrated by Sarah Jessica Parker! It also opens at the Angelika and City Cinemas 1, 2 & 3, and maybe L.A.?
Due to the usual conflicts and circumstances, I wasn’t able to see Lisa Barros D'Sa and Glenn Leyburn’s Ordinary Love (Bleecker Street) as planned, but it’s an appropriately-timed romantic drama starring Liam Neeson and Lesley Manville as a middle-aged couple who must deal with her beast cancer diagnosis. I actually am interested in seeing this, especially to see Neeson back in serious drama mode (it’s been a while), so hopefully I’ll have a chance to see this down the road.
Also opening Friday is Tanya Wexler’s Buffaloed (Magnolia), starring Zoey Deutch as Peg Dahl, a young woman living in Buffalo, the debt collection capital of America but hopes to get out of town and into an Ivy League university. When she’s accepted to her top choice but can’t afford the tuition, she gets pulled into the rope of debt collection. Also starring Judy Greer, Germaine Fowler, Noah Reid and Jai Courtney, it will open at New York’s Quad Cinema, the Loz Feliz 3 in L.A., Buffalo’s North Park Theater and more theaters.
Opening at the Quad Cinemaon Friday and in L.A. on Feb. 21 is Dimitri de Clercq’sFrench/Belgian film You Go to My Head (First Run Features) about an architect who finds a young woman lost, alone and in a fog in the Sahara after a mysterious accident, but when he takes her to the hospital, he claims to be her husband. As she gets better, he creates an elaborate life to fill in the life they shared which she can no longer remember. It also sounds perfect for Valentine’s Day, so you have plenty of options!
Another SXSW 2019 movie is Richard Wong’s Come As You Are (Samuel Goldwyn), starring Gabourey Sidibe, Grant Rosenmeyer, Ravi Patel, Hayden Szeto and Janeane Garofolo. The three guys in the middle play men with disabilities who go on a road trip to a Montreal brothel to get away from their suffocating parents. Sidibe (from Precious) plays their travelling nurse who drives them across the border to help them lose their virginity. This is an English remake of the Belgian Film Hasta La Vista about the real-life adventure of Asta Philpot.
Sara Zandieh’s indie rom-com A Simple Wedding (Blue Fox Entertainment) also opens in theaters and On Demand on Valentine’s Day, this one following an Iranian-American named Nousha (Tara Grammy) whose hopes for a Persian wedding are dashed when she falls for a bisexual artist/DJ named Alex (Christopher O’Shea). She has to make sure her parents don’t realize they’re living together before marriage. The film also stars Shohreh Aghdashloo, Rita Wilson, Maz Jobrani, Peter McKenzie and James Eckhouse.
LOCAL FESTIVALS
Some cool festivals and series in New York are happening this weekend to offer competition for all the choices above.
Let’s begin with the “Winter Showcase” for one of my favorite annual film festivals, the New York Asian Film Festivalsubtitled “Love at First Bite,” since they’re including a special Valentine’s Day screening of the Korean hit Extreme Job followed by a reception including delicious Korean food. The rest of the line-up is probably more appropriate for the rep section as it will including Asian classics like Stephen Chow’s God of Cookery (1996), Ang Lee’s Eat Drink Man Woman (1994),Tampopo (1985) on Saturday, as well as Ritesh Batra’s amazing The Lunchbox and more on Sunday.
Up at Film at Lincoln Center, there’s the annual “Neighboring Scenes,” the annual celebration of “New Latin American Cinema,” opening Friday with Joanna Reposi Garibaldi’s Lemebel, a documentary about writer/visual artist Pedro Lemebel and his controversial performances amidst Chilean upheaval. Of course, I’m most interested in the Brazilian offerings, but sadly, there just isn’t enough time in the day/week to see as many of the films in this series I’m curious about including the New York premiere of Ema from Chile’s Pablo Larrain (Neruda, Jackie). Click on the link above and check out that line-up.
Further North (in terms of global geography) but South (in terms of New York City geography) is this year’s “Canada Now” series, taking place at the IFC Center from Thursday through Sunday. It will kick off with Guest of Honor, the new film from Canada’s Atom Egoyan, starring David Thewlis and Laysla De Oliveira as father and music school teacher daughter whose lives become complicated when she’s put in prison for earlier crimes. There are seven other movies in this series, most of them getting their U.S. debuts, so that’s another alternative for what could be a busy movie-going weekend.
STREAMING AND CABLE
Lots of stuff premiering on streaming services this weekend including the British animated sequel A Shaun the Sheep: Farmageddon on Netflix, as well as the rom-com sequel To All the Boys: PS I Still Love You, which will premiere on Weds and may end up being the “Netflix and chill” choice for many young people on V-Day. (I honestly never got around to seeing the first movies of either of those yet!)
Over on Hulu, they’re premiering the gender-swapped series loosely based on Nick Horny’s High Fidelity, this one starring Zoe Kravitz, the daughter of Lisa Bonet, who appeared opposite John Cusack in Stephen Frears’ adaptation of Hornby’s book from 2000 that was one of my favorite movies that year! Wait a second, even though Kravitz plays a character named Rob, just like Cusack, is she meant to be the daughter of Cusack and Bonet’s characters in that movie? That would be intense! (But probably not. I’m sure I’ll check it out.)
REPERTORY
METROGRAPH (NYC):
The Metrograph’s Valentine’s Dayweekend offerings include Casablanca (1942), Howard Hawks’ 1944 film To Have and Have Not, the 1932 film Trouble in Paradise, Douglas Sirk’s Written on the Wind (1956) and another screening of Makoto Shinkai’s animated Your Name. The “To Hong Kong with Love” series continues through the end of February, this weekend screening Yellowing (2016), which I haven’t seen.This weekend, the Welcome To Metrograph: Reduxwill offer two more screenings of Edward Yang’s 4-hour 1991 film A Brighter Summer Day, while Late Nites at Metrograph will screen Nagisa Oshima’s 1978 film Empire of Passion, also which I have never seen! Rounding out the weekend’s Asian offering is the Playtime: Family Matineesoffering of Yoshifumi Kondo’s 1995 animated film Whisper of the Heart, which guess what? I haven’t seen that either! Clearly, I need to try to get to one of the four movies, right?
ALAMO DRAFTHOUSE BROOKLYN (NYC)
Tonight’s “Weird Wednesday” is the Susan Sarandon-James Spader romantic drama White Palace (1990). Oddly, the Alamo is CLOSED on Valentine’s Day.. is this true?!? On Sunday is a special “Drew Believers: Drew Barrymore Movie Marathon” with four of Barrymore’s movies in 35mm! (As of this writing, there are a few seats available near the front.) Monday’s “Fist City” is Sam Raimi’s The Quick and The Dead from 1995 and that’s quickly selling out as well. The “Terror Tuesday” is James Gunn’s hilarious Slither and then next week’s “Weird Wednesday” is the 1987 Ken Russell film Gothic.
THE NEW BEVERLY (L.A.):
Wednesday’s “Afternoon Classic” is the 1961 Oscar-winning musical West Side Story. Weds and Thursday night’s double feature is Robert Altman’s 1971 film McCabe & Mrs. Miller and Sydney Pollack’s 1972 film Jeremiah Johnson, starring Robert Redford. This week’s “Freaky Friday” offering is the classic The Bride of Frankenstein (1935, while Friday’s midnight movie is True Romanceand Saturday’s midnight is 1978’s Mean Dog Blues in 16mm! This weekend continues the “Kiddee Matinee” run with the Alfonso Cuaron-directed Harry Potter and the Prisoner of Azkaban. Monday’s matinee of David Lynch’s Wild at Heart is already sold out but that night is a Robert Clouse double feature of The Pack(1977) and Darker than Amber (1970). Tuesday’s Grindhouse double feature is 1976’s Sky Riders and 1981’s Force: Five.
EGYPTIAN THEATRE (LA):
Thursday is a “Black Voices” double feature of Car Wash (1976) and Cooley High (1975) with guest including Bill Duke in person. John Sayles and Joe Dante will be on hand Friday night for a “John Sayles: Independent” double feature of Piranha (1978) and The Howling (1981). This weekend is the “HFPA Restoration Summit” including a Saturday afternoon presentation called “Serge Bromberg Presents from the Silent Era” with the Lobster Films founder, while the one and only Jane Fonda will be on-hand Saturday evening to present a 4k restoration of the 1972 film F.T.A., which she produced with Donald Sutherland. Saturday night is a screening of The Black Vampire, the 1953 Argentine adaptation of Fritz Lang’s M, and there’s more classic cinema on Sunday as part of the series.
AERO (LA):
Thursday’s “Antiwar Cinema” matinee is Richard Attenborough’s Oh! What a Lovely War from 1969 with an all-star cast, while that night is a Eugene Levy/Christopher Guest double feature of A Might Windand For Your Consideration. The AERO is ALSO showing Casablancaon Valentine’s Day and then Saturday is another Levy/Guest double feature of Best in Show (2000)and Waiting for Guffman (1996) with Levy doing a discussion between films. John Sayles and Frances McDormand will appear in person for a Sunday afternoon double feature of 1996’s Lone Star and 1999’s Limbo.
MUSEUM OF THE MOVING IMAGE (NYC):
MOMI is going a bit crazy with its Valentine’s offering but it’s a good one…Jane Fonda in 1968’s Barbarella as part of its new 2001-inspired series “See It Big! Outer Space”! (If MOMI wasn’t all the way in Astoria, I’d totally go.) It will play again Sunday with Tarkovsky’s Solaris (1972) playing on Friday and Saturday and 1979’s Star Trek: The Motion Pictureon Sunday. Sunday will also be a repeat of Kubrick’s 1969 film 2001: A Space Odyssey in 70mm with a discussion before the movie between Doug Trumbull and Piers Bizony. There’s also the usual DCP screening of 2001on Saturday afternoon, as part of the exhibition. On Saturday, they’ll screen Marjane Satrapi’s excellent Persepolis(2007) as part of its “World of Animation.”
FILM FORUM (NYC):
Starting Friday, the Forum will be screening a DCP restoration of Luchino Visconti’s L’Innocente (1976), starring Giancarlo Giannini. This weekend’s “Film Forum Jr.” is Guys and Dolls from 1955, starring Marlon Brando, Jean Simmons and Frank Sinatra. (If you read this on Wednesday, you can catch Joseph Strick’s 1963 film The Balcony, starring Shelley Winters, Peter Falk and Lee Grant, in 35mm.
QUAD CINEMA (NYC):
The Quad’s run of Pandora and the Flying Dutchman continues through the weekend, and there will be Valentine’s Day screenings of Alex Cox’s Sid and Nancy on Thursday and Friday night. (How romantic!)
ANTHOLOGY FILM ARCHIVES (NYC):
The Anthology’s great “The Devil Probably: A Century of Satanic Panic” continues this weekend with screenings of Robert Eggers’ The Witch, Alan Parker’s Angel Heart, another screening of Rosemary’s Baby, as well as screenings of Race with the Devil on Weds. and Thursday night. I missed it last week but they’ve been showing Mark Rappaport’s 1975 film Mozart in Love the past week, as well.
ROXY CINEMA (NYC)
The Cage-athon continues Weds. with Neil Labute’s The Wicker Man (2006) and 2009’s Knowing on Thursday. Valentine’s Day sees screening of Baz Lurhmann’s Romeo + Juliet, starring Leonardo DiCaprio and Claire Danes, as well as the 1987 Nicolas Cage movie Moonstruck, co-starring Cher. Spike Jonez and Charlie Kaufman’s Adaptation (2003), starring Cage, repeats on Saturday.
NITEHAWK CINEMA (NYC):
Williamsburg‘s “Uncaged” series continues Friday with last year’s Mandy at midnight and 1983’s Valley Girl on Saturday morning. Casabalanca is also playing at the Prospect Park on Thursday, and unrelated but Back to the Future will play there on Monday night. Billy Wilder’s 1954 film Sabrina, starring Bogart, Hepburn and Holden will play on Saturay morning.
IFC CENTER (NYC)
Weekend Classics: Luis Buñuel is back with Belle de Jour from 1967, starring Catherine Deneuve. Waverly Midnights: Hindsight is 2020 will screen the animated Ghost in the Shell, while Late Night Favorites: Winter 2020 will also go with an Anime film, Paprika.
MOMA (NYC):
Modern Matinees: Jack Lemmon is off Weds. and Thursday but will return Friday with Billy Wilder’s Irma La Douce (1963).
BAM CINEMATEK (NYC):
BAM will continue to show Horace Jenkins’ 1982 film Cane River through the weekend.
Next week, the second to last week of February (man, it flew right by!) will include Fox’s The Call of the Wild, starring Harrison Ford, and the horror sequel, Brahms: The Boy II.
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A while back I mentioned I had it in me to give a long sorta discourse-y post about Blizzard Entertainment, well here it is.
Blizzard, as a company, suffers primarily from 2 major issues:
1) It’s totally creatively bankrupt
2) It is actively racist/homophobic.
The two issues are closely linked but it’s caught in a “chicken or the egg” situation. Are they so racist because they have no original ideas and racial stereotypes are easy to use, or are they so lacking in creativity because they’re racist at their core and don’t care about coming up with better ideas?
I’ve been playing Blizzard games for just about half my life now.
I started with WoW back in 2004, which then got me into Warcraft 3, Starcraft, Diablo 3, Overwatch, etc.
I’m going to start with Warcraft since it is Blizzard’s biggest and longest-running IP.
Warcraft is built on insensitive racist caricatures and recycled ideas. The humans in Warcraft are all predominantly white and themed after medieval Britain. Dwarves and gnomes, the other human-like races, are also white, with Dwarves being modeled after Ireland/Scotland and gnomes being a joke race that never get taken seriously ever.
I don’t think Warcraft had any black people in it at all until World of Warcraft because the inability to make a black person would have set off some red flags.
Every non-white ethnicity is instead represented as non-human, monstrous races.
Caribbean/African nationalities are all blanket covered by the trolls, lanky tusked cannibals that practice bastardized Hollywood voodoo, worship loa, speak with stereotypical Jamaican accents, and wear wooden masks, lead by their high king Rastakhan.
First Nation/Native Americans are covered by the Tauren, hulking cow people that carve totems, wear eagle feathers, and worship the Earth Mother.
The Chinese are literally just bipedal panda bears. They’re always fat, love to drink, and all know kung fu.
Mongolians and Huns are represented by the centaur, who are consistently described in universe as “the bastard children of a demigod” and are stupid, smelly, and barbarous, to the point of having a cloud of swarming flies baked into their character models.
At least until Blizzard forgot about the centaur and replaced them with the Yaungol, subtle I know, a variant of Tauren that are based on yaks instead of cows, but just as rapacious and violent as the aforementioned centaur.
Orcs were originally Always Chaotic Evil savages stolen wholesale from Tolkien and Warhammer, but after Blizzard retconned them to justify having playable Good Orcs, they were modeled to somewhat evoke South American nations and Australian aborigines, living in mud/clay buildings, having brown(ish) skin, and wearing face paints. At least until Blizzard decided to make orcs always evil again and threw that idea out the window in favor of being bloodthirsty savages all the time.
Inuit people are depicted as fat, mono-gendered walrus people called tuskarr.
And I’d like to give special mention to the Draenei, Warcraft’s stand-ins for Eastern European Jews/Romani. Sporting comedic slavic accents, the Draenei are the exiled members of an alien species that goes on to become the primary antagonist and source of all problems in the Warcraft timeline. They even had their own clumsy version of the Holocaust at the hands of the orcs and evil members of their own race.
That’s right! The “good” Draenei, that suffered the from their Fantasy Holocaust and talk with funny accents, make up only 10% of their race! The remaining 90% of their race are literal demons and the source of all evil in the universe.
And in an alternate universe, those good Draenei turn into an ethnic cleansing facist empire if they’re not actively oppressed! I wish I was making this up!
The unifying trend here is that all of these “other” races, with the exception of the draenei, are uniformly depicted as being stupid and primitive. Despite being culturally older than the humans, dwarves, and gnomes, they are consistently shown as being afraid or intimidated of the superior technology of the humans and their human-like allies, and easily cowed when their “primitive” idols and gods are defeated.
In addition to this, humans have been the de facto heroes of Warcraft since its inception. Human protagonists are always core to the plot and have the most agency.
Meanwhile, non-human characters are not allowed to be anything other than a stereotypical example of whatever culture they’re a parody of. Tauren can’t be anything other than a mystical Native American that helps the hero go on a spirit journey to learn something. Trolls can’t be anything besides the wily and savage fighter that the hero is never sure they can really trust. Draenei are not allowed to be relevant at all unless they’re fighting against their evil counterparts or dying heroically.
In addition to that, I cannot think of a single canonically gay character in the Warcraft franchise. Not a one.
This is what brings me to Overwatch. The very first thing I ever heard about Overwatch was “It has an LGBT+ cast”. Before I even heard what the gameplay was, the fact that it had a “progressive” cast was a selling point.
And then it took Blizzard, what, a year and a half of the game being out for them to actually follow up and say which character is gay?
Think about it. Everyone that liked Overwatch touted it as being this inclusive win for LGBT representation yet for the longest time, none of the characters were actually LGBT. The community did Blizzard’s work for them and just made up who they wanted to be gay and/or trans, until Blizzard finally settled on Tracer and 76.
It also dips slightly in Warcraft’s niche of “foreign nationalities can’t stop reminding you how foreign they are”. Every non-American character cannot STOP peppering words or phrases of their home language into their english dialogue.
When I directly compare it to its most obvious competitor, Team Fortress 2, which also sported a multi-ethnic cast, I can’t ignore how much of Overwatch’s roster uses their ethnicity as the core of their personality.
When I look at Overwatch, I can’t help but see it as insincere. I’ve seen Blizzard blatantly and shamelessly turn non-white cultures into literal monsters for the past 15 years, and I’m supposed to just believe that they suddenly turned over a new leaf?
Their second biggest IP, Starcraft, has a grand total of 3 black named characters, and they are respectively:
An eldritch monster in disguise that promptly changes to a white guy disguise
A mentally disturbed assassin with a caribbean accent and plays with voodoo dolls that becomes totally irrelevant after his personal story arc ends.
A stereotypical General Army Man that dies in the first set of missions of Heart of the Swarm.
So yeah. For as much as I love Warcraft, and Blizzard games as a whole, the whole thing is undeniably built on a core of American/European ethnocentrism, with Overwatch being what I can only call a marketing experiment.
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Quantum Leap - Season Four Review
Since season three was mostly leaps of the week, they made an attempt to shake things up with season four by playing with the formula a bit.
But as always, Quantum Leap is at its best when it does arc episodes about Sam and Al, as they again did in the premiere and the finale. There were a few other strong episodes as well.
4.1 "The Leap Back" (June 15, 1945)": In the fourth season premiere, Sam got to play a brand new character: Dr. Sam Beckett. For the past three seasons, we've been leaping with a Sam who had partial amnesia and was completely disconnected from his real life. Here, he was finally dynamic, brilliant scientist Sam, and surprisingly, married Sam.
Mimi Kuzyk did a terrific job as Sam's wife Donna, another brilliant scientist who kept her existence a secret from leaping Sam because she knew that it would make it harder for him to complete his missions. That was darned selfless of her, and that made her feel worthy of him in short order, since our Sam is quite a guy. I also thought Donna waiting for Sam gave us an obvious parallel to Beth, who waited years for prisoner of war Al to come back from Vietnam.
We finally got a lengthy visit to the actual Quantum Leap Project, with interior decoration that made it look as if Al's handlink exploded. We finally met Gooshie, Dr. Beeks and Ziggy, who changed gender in this episode. As Sam became reacquainted with his life and his wife, he and Al reversed roles and Al got to be the leaper who had to fix what once went wrong (and in Al's lifetime, 1945), while Sam's glee as he got to be the hologram was adorably funny. "Revenge is mine. Thus sayeth the hologram!"
Of course, Sam had to re-leap to save Al, so the status quo was too quickly re-attained. Honestly, I would have loved seeing Sam at home and observing and Al leaping for a few episodes.
4.6 "Raped (June 20, 1980)": You'd think an episode about a man occupying the body of a young woman who'd been raped would be uncomfortable, awkward, preachy, and/or cliched — but no. Instead, it was one of the best episodes of the series, because they did it right.
Sam leaped in because Katie, the victim, was having difficulty testifying against her attacker. Scott Bakula's performance as Sam in Katie's body was terrific; calm and matter of fact, Sam fought on Katie's behalf, refusing to accept the way the townspeople and police kept blaming the victim.
Although I always dislike the way trials on television seem to happen instantly after a crime, the strongest scene was Sam testifying on the stand by simply repeating Katie's own words, as Al held her hand. Even though the reason Al did that was so that Sam could see her, it was also a physical way of showing Al and Sam showing their support of Katie. Excellent episode.
4.7 "The Wrong Stuff (January 24, 1961)": Quantum Leap took on animal experimentation as Sam leaped into a test chimp, and they did a good job acknowledging all aspects of a difficult topic. This is the only episode in which Sam leaps into a non-human. I really liked the little nod to Planet of the Apes when Sam tried to write a note.
4.22 "A Leap for Lisa (June 25, 1957)": The lesson of "A Leap for Lisa" is that whenever they go back to the well and do an episode about Al's past, it's a winner. I'd mostly forgotten this one and it was such a pleasant surprise, the best episode in the season, with the possible exception of "Raped."
Sam leaped into 23-year-old Al and it appeared that he was supposed to save Al's married girlfriend Lisa from dying in a car crash, but Al was so bemused by encountering his younger self in the waiting room that he arrived late, in time to watch Lisa die. Sam's interference changed history so that Al would be convicted of the murder of his commander's wife, Marci, and at one point, when probability went up to 100% that Al would die in the gas chamber, the hologram of Al vanished and was replaced by another observer named St. John (Roddy McDowall, and I loved that they brought in an A-list actor to play the part). When Sam solved the murder, young Al had to leap into his earlier self in order to save himself, Lisa and Marci.
It was so much fun to see Al talking to "Bingo," his younger self, in the waiting room. It was also fascinating that Sam initially leaped into Al in the middle of a From Here to Eternity erotic dream on the beach, too. Has Sam ever leaped into someone dreaming before? Did that happen because his mind is linked to Al's?
What's also fun is how this episode inadvertently relates to Star Trek. Charles Rocket's character was called "Commander Riker," a character on Star Trek: The Next Generation; Terry Farrell, who played Lisa, would join the cast of Star Trek: Deep Space Nine the following year (1993), and of course, Scott Bakula went on to star in Star Trek: Enterprise in 2001.
Honorable mention
4.11 "The Play's the Thing (September 9, 1969)": A nice episode about ageism. I liked how Sam saw nothing wrong with being a younger man in love with an older woman, and how he immediately and passionately defended Jane's choices and helped her achieve her dreams. Anna Gunn from Breaking Bad had a nice supporting role as Jane's daughter in law.
4.15 "A Song for the Soul (April 7, 1963)": Scott Bakula in an African American girl group, as he backed up the daughter of a preacher who wanted to break into the big time. (The daughter, not the preacher.) This one was sweet. Plus I think it was the first time Sam leaped into a black woman. I particularly liked the sedate gray outfit Al wore in church. (Well, "sedate" for Al.)
4.16 "Ghost Ship (August 13, 1956)": Despite an occasional uncomfortable resemblance to Airplane!, this was a good one about a plane stuck in the Bermuda Triangle. It also featured a very young Carla Gugino.
4.19 "Moments to Live (May 4, 1985)": Sam leaped into a star of daytime drama, and Kathleen Wilhoite and Pruitt Taylor Vince kidnapped him for embarrassing reasons. Well written with good acting, and I'm glad that they (mostly) didn't play kidnapping and mental illness for laughs.
What didn't work
There were a few episodes that I thought were poor, and a couple that made me outright uncomfortable. Starting with...
4.12 "Running for Honor (June 11, 1964)": Al as a homophobe? Yes, I get that even somewhat recently, a majority of people were against gays in the military, but I'd like to think that anyone who dressed the way Al did would be a bit more open-minded. At least Sam was understandably disgusted by his attitude and what happened in the episode changed Al's mind, and I doubt anyone would do an episode like this today. We've come a long way in 25 years.
4.13 "Temptation Eyes (February 1, 1985)": Another attempt to do something new, although I don't think it worked. Tamlyn Tomita played a genuine psychic who fell in love with the real Sam, he fell for her, and they actually got to spend a few weeks together. But the acting and writing were poor and cliched, making it more of a miss than a hit. And that's too bad, because I'd always thought it would be nice if Sam got a vacation in the middle of all that leaping.
4.14 "The Last Gunfighter (November 28, 1957)": My word, this one was terrible. It was like they wanted to do an old west shoot-out but couldn't, so they did it anyway. What town in 1957, even one with a corrupt sheriff, would allow two old men to have a gunfight in the center of town? Innocent bystanders, anyone?
4.18 "It's a Wonderful Leap (May 10, 1958)": Another unsuccessful attempt at something new, this time with Liz Torres from Gilmore Girls as a genuine guardian angel. What bothered me more than I can say was Al doing fat jokes along with even worse Latino jokes. Liz Torres deserved better than this.
4.20 "The Curse of Ptah-Hotep (March 2, 1957)": Intended to be a rip-off of King Tut's tomb and Howard Carter with mysterious deaths, but with the budget of a one-hour TV show, anyone with any knowledge whatsoever of archaeology would find this episode painfully bad. I mean, the mummy comes to life and everything. And John Kapelos, who is usually pretty good, played an Egyptian archaeologist (the John Rhys-Davies role in Indiana Jones) with an accent that sounded like a cross between Russian and Spanish. I haven't finished rewatching the series yet, but this might be my least favorite Quantum Leap episode ever. Certainly my least favorite in season four.
Bits and pieces:
-- Notable actors (other than the ones already mentioned): Neal McDonough, James Morrison, Glenn Morshower, Joseph Gordon-Levitt at the age of ten, Harry Groener, Eriq LaSalle, Bob Saget and Amy Yasbeck.
-- Famous people: There was a little boy named Donald Trump in a New York City cab with his father in "It's a Wonderful Leap." I saw it coming and said out loud, "No, no, please don't."
-- As usual, there were a number of homages to movies, including The Rainmaker, The Defiant Ones, the Indiana Jones movies, and A Few Good Men.
To conclude
Although there were still many strong episodes in season four, I think seasons two and three were a bit stronger. Am I wrong?
Billie Doux loves good television and spends way too much time writing about it.
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The Tuskegee Airmen, and their Portrayals
Race has been a prominent issue in the Aviation Industry throughout its existence. African Americans weren’t involved in aviation before and up to the time of World War I due to the heavy scrutiny and prejudice in the pre-civil rights movement timeline. It wasn’t until the time of World War II that things drastically changed.
World War II was considered one of the most revolutionary conflicts in modern history. Weaponry, equipment, and most importantly, aircraft, were more technologically advanced than ever. In World War I, military aircraft were being built from canvas, wire and wood, and were very susceptible to anti air fire. In a mere 20 year span, newer aircraft were developed with much more resilient build materials. Airplanes were more powerful, and more durable allowing them to be used much more effectively in combat, but as many people in aviation will say, a pilot is the heart of the airplane.
World War II aviators were predominantly white, educated officers who were selected to attend flight school based on their academics, and the needs of the military at the time. Jim Crow laws prevented any African American from serving alongside white soldiers. It took two whole decades of advocacy and lobbying to gain the approval required to give African Americans their wings. In 1941, the Army Air Corps designated the first all African American flying unit, the 99thPursuit Squadron. The severity of the Jim Crow laws were still in full swing, however. The segregated Tuskegee University was established to educate the men involved in the program. The pilots and flight crew members were trained to fly and maintain the advanced fighter aircraft they would eventually operate in combat. On June 2nd1943, the Tuskegee airmen flew their first combat mission in the Mediterranean Sea. After many years of successful combat, they were awarded the Congressional Gold Medal for their efforts. Many airmen went on to become Generals.
The Tuskegee airmen received a pretty decent amount of media representation throughout the years, including two feature films, one of which was quite recent. The Tuskegee Airmen(1995) and Red Tails(2012) are the most prominent examples of the legacy of Tuskegee.
Lawrence Fishburne took point in the 1995 interpretation, and the predominantly African American cast performed well to portray the brave Airmen. Many critics took kindly to the stylish combat scenes and harsh, but accurate detailing of the segregation experienced by the airmen during that time period. One of the pretty neat aspects of the film was the heavy use of legitimate combat footage to supplement the recreated battles. It created an immersive experience that gave ample recognition to the people of color who selflessly served our country. Aside from that, there was only one real Tuskegee Airman represented in the film, the rest were fictional characters. The film did “reel” in (excuse my pun) a few Emmy awards, and a Golden Globe for Fishburne. The films historical accuracy was pretty solid. They detailed the different aircraft flown by the squadron, and also recognized their victory against the German ME-262, the first Jet powered fighter aircraft. The common misconception at the time was that the Tuskegee Airmen never lost a bomber during their escort missions, and this was displayed in the film. Further research into Air Force Records proved this theory wrong, however 25 bombers lost is still a very impressive statistic among fighter squadrons of the time.
The more recent portrayal was led by Terrence Howard, but did not fare well in the box office. On “Rotten Tomatoes” Only 58% liked it compared to the 78% earned by the earlier film. Why could this be? It seems that the main consensus is the lack of quality storytelling in the film. Both of these films share the quality of having many African Americans portraying the Airmen, and there is no real sign of white washing in any sense of the term. It just seems that The Tuskegee Airmen’s producers and directors did a bit more research, besides the fact that Red Tailswas created with the help of an actual surviving Tuskegee Airman. “One dimensional Characters, corny dialogue, and heaps of clichés” were only a few of the criticisms received from its reviewers. Aviation Historian Budd Davidson said to just sit back and enjoy the Hollywood side of things because aviation accuracy may not be the #1 priority here. Many African American veterans and former Airmen claimed that there was too much emphasis on the digitally enhanced combat scenes. This left them with little in the way of comprehensive characters who accurately portray the challenges faced by African American Airmen of the time. George Lucas, a key collaborator in the making of this film, blamed the struggles of creating the film on the notion that “Hollywood doesn’t like to touch Black films”. This hit home with many, and after a Facebook campaign opened, the film finally saw some success with two sold out pre-release screenings. Lucas made a heartfelt comment on the film’s success in the African American Community. “It had an effect on a lot of kids and adults. Now it’s the one thing that everyone comes up to me and says ‘thank you’ for-I’m proud of that”. Regardless, it seems the 1995 film had a much more profound sentimental impact, rather than the 2012 film which some even say was a “Blackface, slapped-together remake of Top Gun”-University of Pennsylvania professor Adolph Reed.
The accurate representation of African American’s in film is an integral piece of our society’s growth. These two films each have their own strengths and weaknesses in the way of representation, but the fact that African Americans receive this recognition is still important in its own right. The Tuskegee Airmen were one of the finest squadrons in the Army Air Corps, and their legacy fills museums and inspires the diverse aviators of today. Now, there are thousands of African American pilots operating airline flights all over the country and all over the world. It is important that their representations are dignified and well researched.
Sources include:
Rotten Tomatoes
New York Times
Lucasfilm
HBO
The Tuskegee Airmen Legacy page
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Lots of Quickies
Hi, I’ve been real busy lately and have started a heap of reviews that I’ve been unable to finish because of time restraints and stress. University can get on my back quickly but I’m finished now so I’m going to finish the ones I started before getting into a top 10 for films, albums and singles for the mid year (probably released before the end of June).
Avengers: Infinity War
The biggest crossover movie event ever pitted together the 20+ heroes against the big bad villain of the Marvel universe, Thanos. With a giant cast full of big names, a range of genres and a massive story to deal with, there were a lot of risks that the Russo brothers faced to make this movie. Despite it feeling supersaturated with characters and having some pacing issues, they were successful in creating a massive, climatic film, and Infinity War is close to the MCU’s best.
Avengers: Infinity War gets an A-
Breath
Simon Baker’s adaptation of the highly acclaimed Tim Winton novel of the same name had a surprising amount of hype for an Australian film. Although there is some gorgeous cinematography, especially with some of the surfing shots, the movie is bogged down by stale acting, shocking character development, inconsistent pacing, and a directionless plot. With the movie just coming under the 2hr mark, it feels overly long and bland, lacking originality in both the surfing genre and the coming-of-age genre.
Breath gets a D
Deadpool 2
Deadpool was an unbelievable success in 2016, shattering records and expectations as it became one of the most successful R-rated films ever. With the sequel they have expanded the universe, introducing ‘the X Force’ for the future of the franchise. This introduces many new strong characters, including Domino (Zazie Beetz) who steals every scene she’s in, and Firefist/Rusty Collins (Julian Dennison) who is works well with the titular character (Ryan Reynolds). Thankfully they haven’t sacrificed the quality of the film in order to universe build, with the sequel being almost as hilarious as the first, whilst digging into deeper themes of mortality and family.
Deadpool 2 gets an A
Hereditary
I generally split horror films into three categories; the aim to scare, the aim to gross out, and the aim to unsettle. Hereditary falls into the last category. It’s been a long time since a film has me shook by the end of it. This isn’t an enjoyable film at all, instead being a tiresome experience of slowly increasing tension and uncomfortableness. This makes it one of the best horror films I’ve ever seen. Toni Collette and Alex Wolff are both incredible and the cinematography and score are perfect, complimenting the story and giving the tension exactly what it needs to flourish. The use of shadows and wide shots create an atmosphere which is unlike any horror movie I’ve ever seen, giving you enough to be scared but not enough to know why. Hereditary isn’t for anyone, it is slow and there are no payoffs for the tension (like jumpscares), but its a testament to how one can build tension on film and up there with the greats of the genre.
Hereditary gets an A+
Solo: A Star Wars Story
Solo isn’t a complex movie. It doesn’t try to be a massive connection story like Rogue One, nor an epic adventure like The Force Awakens or The Last Jedi. Instead it plays to its strength, a low stakes origin story which gives a few characters some extra screen time. And it works to that extent, Han, Lando and Chewie being introduced well and having a fun adventure. It does have issues with pacing and the overcooked “shock betrayals” towards the climax starts getting cringy more than surprising but the journey is enjoyable fun, becoming a simple popcorn flick with a lot of replay value.
Solo: A Star Wars Story gets a B-
13 Reasons Why
13 Reasons Why has quickly become on the most decisive and controversial TV shows in recent memory. Season One had its issues but still held itself up due to its characters and story development. To put it simple, Season Two didn’t need to be made and it’s very clear that it was forced out. Only three of the characters remain interesting with their story arcs, the script is derivative and banal, and events happen only for the purpose of the plot. This all leads up to terribly cringey moments and a predictable ending (which follows one of the most disturbing and unneeded scenes in TV). I will give the show props though for attempting a realistic court hearing and a beautiful moment in which the main cast come together in memory of their deceased friend, a moment which really should’ve ended the series.
13 Reasons Why gets a D-
Atlanta: Robbin’ Season
Donald Glover’s Atlanta is something else. The debut season explored the African American life, relationships, the Hip Hop scene, poverty and young parenthood in such a unique and fresh way. With Robbin’ Season Glover gets deeper into his characters, exploring their flaws with a realistic lens. It works as well, with each episode making a range of statements, varying from depression and grief, to dating and ‘investments’. By the end of the season the main ensemble has changed so much that season three is a complete unknown. What the show doesn’t pretend to do though is become cliched, with success still an unobtainable goal and their desire to reach it getting more desperate. To summarise, this is honestly one of the best seasons of television ever produced. Also, bonus points for Teddy Perkins being the scariest character ever conceived in a hip hop story.
Atlanta: Robbin’ Season gets an A+
Arctic Monkeys - Tranquillity Base Hotel & Casino
With album number six, Arctic Monkeys attempted to completely re-image themselves. Diverting from their previous, guitar driven, indie rock, TBH&C delves into a smoother, 70s psychedelic inspired direction, with most songs utilising a keyboard to accompany Alex Turner’s almost mindless ramblings (at times successful, other times forced)). Although the band have changed the direction, it seems they’ve changed it to a familiar territory, with a lot of the songs sounds like Alex Turner’s recent The Last Shadow Puppets materiel (and some seeming like the B-sides of them). Although there are stronger moments, there’s a lot of filler and some of the weakest material of the band’s quite consistent career.
Favourite song: ‘The Ultracheese’
Tranquillity Base Hotel & Casino gets a C
A$AP Rocky - Testing
The A$AP mob’s most successful mainstream member, Rocky, has been moving at a rapid rate. His popularity and critical acclaim has been moving up with every release. Testing is both a step in the right direction and the wrong direction. Although it’s is most ambitious record to date, influenced by psychedelic, electronica and ambient music, it’s quite messy and inconsistent. Songs start well to just fall away in their second half and there’s simply too many tracks to keep interest high. A$AP Rocky is doing very different things in hip hop and Testing will hopefully continue to lead him on his path, it’s just disappointing the album couldn’t be stronger.
Favourite track: ‘Purity (feat. Frank Ocean)’
Testing gets a C+
Courtney Barnett - Tell Me How You Really Feel
I’m one of those people that didn’t rate Courtney Barnett’s breakout debut. I found it redundant and pretentious. With her sophomore though she takes a lot of what was strong from her debut and worked with it. Although there’s a clunky and repetitive middle section, the first third of the album is very good music. Barnett has a wonderful way with melodies when she tries to write melodic music and her voice, although not the strongest, can be really emotive. There’s still some rambling tracks but her development is quite noticeable and from someone who couldn’t get through multiple listens of her debut, this was an enjoyable album.
Favourite track: ‘Hopefulessness’
Tell Me How You Really Feel gets a C+
DMAs - For Now
DMAs’ debut was something special in 2016. A 90s Brit-Pop revival album which was better than most 90s Brit-Pop. For Now continues their journey through British music, sharing similarities with bands like The Cure, The Smiths, Boomtown Rats and The Stone Roses. It’s very successful, with a wide range of influences and styles being incorporated in their sound. The album is much more consistent their debut, with each track being different yet based around the general ‘feel’ of the album. Unfortunately, it doesn’t have that big moment that their debut had, with no tracks really standing out as something incredible. That doesn’t weaken the album too much though, being one of the strongest releases of the year.
Favourite track: ‘Tape Deck Sick’
For Now gets an A-
Kanye West - Ye
I love this album cover. It’s very simple but very effective, representing both the minimalist, emotional, and cold album that is to come. Ye isn’t the first Kanye album to be lowkey, or sad, or left of field. It isn’t something special in his career though, an album where it really seems he condenses his talent into a short time (it is only seven songs) and really lets the production of the tracks take over, with some of the best moments being when he’s not on the mic (’Ghost Town’ has an outro which is just brilliant thanks to 070 Shake). That’s not to say Kanye’s voice doesn’t shine, ‘Wouldn’t Leave’ is a testament to his lyrical and rapping strengths, but his production is his best in nearly a decade. Although there are some weaker tracks and some cheesy lyrical moments, Ye reminds us why we continue to love Kanye, because he continues to release some of the best hip hop available.
Favourite track: ‘Ghost Town’
Ye gets a B+
Kids See Ghosts - Kids See Ghosts
If someone gave me a list of all the albums released this year before the year started, a collaboration between Kanye and Kid Cudi would definitely be my most anticipated. An album combining two of the most important voices in hip hop during the late 00s, both of them being instrumental in bringing topics of mental illness into mainstream hip hop. Where I expected Kids See Ghosts to be a darker album though, the album is almost a celebration of overcoming their demons. There are still some darker tracks, like the album closer ‘Cudi Montage’, there’s a lot of fiery tracks (like the conveniently titled ‘Fire’) and uplifting tracks (the album standout ‘Reborn’). There are some brilliant moments on this album, whether it comes from the strangely funny yet creepy sample of Louis Prima’s ‘What Will Santa Claus Say’ in ‘4th Dimension’, the ballsy attempt at scat rap in ‘Feel the Love’, or the gorgeous chorus in ‘Cudi Montage’ which features the beloved noise of Cudi humming (God bless Cudi and his biblical humming). Although the track listing works in its disadvantage some tracks do have some strange choices in direction (the end of ‘Fire’ sounds great but doesn’t fit with the song, nor the album), Kids See Ghosts is a contender for album of the year.
Favourite track: ‘Reborn’
Kids See Ghosts gets an A
Lily Allen - No Shame
Lily Allen will always be one of the most lovable cynics in music. Her career has been largely satirical takes of political and societal issues through upbeat, pop songs. With No Shame she seems to direct her satire on to herself, literally roasting herself, focusing on her recent divorce, motherhood, drug addiction, and balancing her fame and career with family life. This makes for a very deep, and at times dark, listen. Somehow though, through all this, Lily Allen has made her best album, and maybe the best album this year. Lead single ‘Trigger Bang’ is a brilliant pop song, reminding us of her humble beginnings whilst delving into criticisms of the industry and her place in it. Tracks like ‘Lost My Mind’ and ‘Everything to Feel Something’ are some of her saddest, roughly criticising her lifestyle with some beautiful production and instrumentation. And the gorgeous piano-ballad, ‘Three’, is as beautiful as it is rough, the lyrics being from her daughter’s perspective of Allen not being around for her kids. The album does allow a lighter ending, the final few tracks feeling upbeat and optimistic, something rare from albums which explore such dark themes. Although there are a couple of tracks where the dancehall vibe feels slightly too strong considering the lyrical content, No Shame is something special, and a sign of unbelievable growth for an artist over a decade old.
Favourite track: ‘Everything to Feel Something’
No Shame gets an A
Middle Kids - Lost Friends
Middle Kids are slowly becoming the most underappreciated act in Australia. Their critical acclaim and industry cred are both high but their commercial success hasn’t blossomed in Australia. Their debut album looks to be their big push (it reached #10 on the ARIA album charts), and for good reason. It’s a really consistent album, with each song being a good alternative rock song. There are some lyrical moments which are average and some songs go for a little too long but each track fits well on the album and are enjoyable. For a debut, it’s a good one and really builds up anticipation to hear more from the band and see where they go.
Favourite track: ‘Edge of Town’
Lost Friends get a B
Nas - Nasir
Nasir is another good release from the recent G.O.O.D Music output with Kanye West, although it’s probably the weakest so far. The production on it is really good, with the beats driving most of the songs, but Nas seems misguided and confused on a lot of the tracks. He has good messages behind the songs, referencing themes from police brutality to finances, but he doesn’t seem to really push his ideas, mostly feeling like there is a lack of passion or interest. It’s still an enjoyable album but the feeling of going through the motions is littered throughout and thus is quite disappointing.
Favourite track: ‘Everything’
Nasir gets a C+
Parkway Drive - Reverence
Australia’s premier Metalcore band, Parkway Drive, have has a mixed career for me. Their previous album, Ire, was one of their best, with the songs being meatier and relentless, not holding back at all whilst bringing new influences in. With album number six I’m not sure whether they’ve gone backwards or forwards. It’s different from their previous releases, leaning on cleaner singing much more often, and the influences are clearly from the heavy metal genre of the late 70′s to the early 90′s, but it doesn’t have a strong identity. At times it seems like a tribute album and really doesn’t standout or have its own image and sound. There are still some strong songs but a lot of the album feels like filler and for a band which has been leading the way in the genre in Australia for so long, it seems like they are now falling behind.
Favourite track: ‘The Void’
Reverence gets a C-
Post Malone - Beerbongs and Bentley’s
Every now and then Post Malone nails it and he’s definitely ridden off the success of these moments (think the songs ‘Congratulations’ and ‘I Fall Apart’). There is a hidden talent there which is covered up by the cheesy songwriting and cliched style that he presents. On Beerbongs and Bentley’s he hides this talent better than ever. This is a very mediocre album, which is made even worse since it has 18 songs and drags for over an hour. He seems to run out of things to say very quickly and there’s few moments that really standout as interesting or fresh. It’s definitely a step backwards after the far more interesting Stoney.
Favourite track: ‘Stay’
Beerbongs and Bentley’s gets a D-
The Presets - Hi Viz
One of my first introductions to music was Apocalypso, The Presets breakout sophomore album which blew away the Australian dance scene. It’s been about 10 years since that release and other than the left-of-field Pacifica, The Presets have been relatively quiet besides festival appearances. Hi Viz is the album they needed though. There are so many certified bangers on this album, from the lead single ‘Do What You Want’ to the giant album closer ‘Until the Dark’. They also bring in some really strong features, with both Alison Wonderland and DMAs shining on both their feature tracks. Although there are some filler in the album, and it does get repetitive towards the middle, it’s an excellent return to form from the band and establish them back at the top of the Australian dance scene.
Favourite track: ‘Feel Alone’
Hi Viz gets a B+
Pusha T - Daytona
Daytona was the first album from the G.O.O.D Music trail of releases of the past month and it really kicked off the project well. The production is really strong, the instrumentals on each track are solid, Pusha T’s lyrics are great (like usual) and the features fit nicely. I think the major weakness is that at times Pusha T’s voice doesn’t fit nicely with the music, especially with the mixing of his vocals at times. It seems to sit too high in the mix and seems out of place. Other than that though it’s a really solid album and an enjoyable listen.
Favourite track: ‘If You Know You Know
Daytona gets a B
#avengers infinity war#deadpool 2#breath#solo a star wars story#hereditary#13 reasons why#atlanta robbin season#arctic monkeys#a$ap rocky#courtney barnett#DMAs#kanye west#kids see ghosts#lily allen#middle kids#nas#parkway drive#post malone#the presets#pusha t
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I remember when this show first came out in high school and everyone was talking about it. The high school that I went to had a large population of queer students. This was all the talk for the absolute longest time. The show was super diverse; using a range of POC actors, depicted a spectrum of LQBTQ+ individuals, and portrayed a variety of body shapes. The film started off seemingly regular with a white straight woman going to jail for fraud but the actual storyline of the show has nothing to do with a heterosexual relationship. In Orange Is the New Black, there are several bisexual and lesbian characters, as well as a few who are "curious" or simply seeking companionship in a lonely place.
Orange Is the New Black has been praised for its groundbreaking diversity on television. With a predominantly female cast, with Asian, African American, Latinos, and even a trans actress in major roles. The article analyzed the diverse characters of the show. It made me think about the Bechdel Test. The Bechdel Test (according to Merriam Webster) is a set of criteria for evaluating a work of fiction based on the inclusion and representation of female characters. There are three rules to the test; (1) It has to have at least two [named] women in it, (2) Who talks to each other about (3) something besides a man. Women are heart to this show. Many multi-faceted inmates stand out. Women of various shapes, colors, sizes, ages, and backgrounds were featured. The show's female-centric storytelling, which depicts women as they see themselves and each other, often in unglamorous or even gritty moments, truly distinguishes it. The storyline enriches and improves the lives of all inmates.
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