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There's Room At The Top For Everybody Black
As A Wrinkle in Time premiered this past weekend, many film critics doubted whether Ava Duvernay's remake of a children's classic could topple the cultural phenomenon that is Black Panther. It didn't.
But Duvernay's sci-fi/fantasy flick DID earn a commendable spot closely behind Ryan Coogler's blockbuster. Despite its financial success, Wrinkle was still subject to intense criticism for not measuring up to the Black Panther excellence. The real shame is that most outlets failed to see and applaud the bigger picture.
For the first time in box office history, the top two spots were dominated by films with black leads and black directors.
Given the vast difference in genre and target demographics, it begs the question: why were these two films pitted against each other at all? Of course, every weekend release is a race to the top but the tone of these comparisons read as more than just customary competition. Black creators of all industries and genres become subject to unfair division. This divisiveness is more plainly seen in the music industry (Beyonce vs. Rihanna, Kanye vs. everyone, etc.) yet the historic lack of black filmmakers makes the disunity particularly disheartening.
Isn't it high time we accept that there's ample room for multiple black filmmakers to be successful?
There seems to be a reawakening of sorts for black filmmakers. The origin of this surge is uncertain but the existence of it is clear. While inclusivity in film has gained more momentum in recent years, the vast majority of movies are made through one homogeneous lens. Due to the long-held myth that black films don't perform well overseas, filmmakers of color have spent decades trying to convince Hollywood that their distinct perspectives can reach broader, global audiences. As studio execs are finally understanding that diversity is not only in-demand but also profitable, the breadth of content made by and made for underrepresented groups continues to widen.
More diversity on the big screen has had a more profound impact on popular culture. The immense amount of support and collaboration in Black Hollywood right now feels reminiscent to the halcyon days of 1920's Harlem. With artists of all backgrounds exchanging ideas and creating work reflecting the social and political experience of marginalized groups, it's no wonder many are whispering the coming of a "New Black Renaissance."
This movement is apparent.
If you follow black creatives on social media, you have most likely picked up on the camaraderie. Issa Rae, especially, is the current social butterfly of Black Hollywood. Her followers may remember living vicariously through her Instagram stories this past summer at both her highly-melanated yacht party in LA and her house party in Atlanta. The guest list? Actors, writers, and directors of all the most popular black shows and films of the year.
Not only were these social gatherings fun to observe but they also demonstrated the genuine bond among current black creatives. And in case there was any question whether Issa Rae truly supports her people, her infamous response to who she was pulling for this award season found its way to memes and t-shirts galore.
The emphasis here is everybody.
What needs to be avoided is tokenism, an idea that filmmakers John Singleton, Lee Daniels, Barry Jenkins, and Jordan Peele blunty touch on in the latest issue of The Hollywood Reporter. As the only four black directors to be Academy Award nominated in the show's 90-year history, they knew far too well the loneliness in being the token black guy. Daniels, director of Precious (2009) and The Butler (2013) laments he "grew up in a time where there could only be one" to which Singleton (Boyz N the Hood, 1991) agreed, calling it "the Sidney Poitier equation,"or, in other words, the incorrect belief that these successes were anomalies.
But fortunately, debut director and most recent Oscar winner Jordan Peele is having a much different experience than his predecessors. He, in fact, credited the critical and financial success of Get Out to the Black Renaissance, emphasizing that "we're exponentially stronger together than we are separately."
While there's certainly an influx in racially diverse content, the numbers are still staggeringly low. In regards to black directors, they wield only 5.1% of that space according to a study by University of Southern California. That number drops dramatically for women of color whom USC Professor Stacy Smith states are "nearly invisible in the director's chair". For black male and female directors, only one-third work more than once in a 10-year period. Limited by genre, budget, and age, they are simply not awarded the same opportunities as their white, male counterparts and thus fail to attain longevity in the film world.
It's a slow road towards racial and gender parity. Coogler penned an ode to Duvernay describing the impact she has had on him.
Ava is a pioneer. She makes the most distant dreams and ideas a reality. She made a show called "Queen Sugar" and mandated the use of female directors and key creatives a full two years before the great Frances McDormand shared with the world what an inclusion rider was. Ava is inclusion, equity and representation.
This public demonstration of mutual respect and adulation is sweet and also necessary. It signifies a cultural transformation.
They clearly understand that their individual successes lead to a common thread where success will only sustain through solidarity.
It is statistically implausible that Duvernay would be given a multi-million dollar budget to direct a star-studded cast. Yet, she did so and that fact alone should be lauded. Whether her film grosses more than another is irrelevant.
It's a remarkable win for her either way. And it's a win for all black creatives.
The notion that "there can only be one" is not only antiquated but it stifles the growth of more diverse representation. There's room at the top because there has to be. When there are so few in those spaces to begin with, division is irresponsible.
It's imperative to continue cultivating a community of black artists where everyone has the potential to thrive.
Featured image by Giphy
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Anndi Jinelle is a part-time creative and full-time corporate cog in the machine living in Brooklyn, NY. This 20-something spends most of her days going from coffee to wine, moving closer to her truth, and watching way more TV than is humanly possible. Catch her on Twitter @seranndipity.
This article is sponsored by Hulu.
UnPrisonedhas returned for its highly anticipated second season, delving deeper into the complex dynamics of the Alexander family.
The series premiere comes a year after its debut season garnered rave reviews from fans and critics and earned record-breaking ratings for Hulu's Onyx Collective brand. UnPrisoned's success can be attributed to its raw, relatable themes and comedic appeal.
Inspired by creator Tracy McMillan's life, the show follows Paige (Kerry Washington), a therapist and single mother whose life takes an unexpected turn when her father, Edwin (Delroy Lindo) --who was released from prison-- moves in with her and her teenage son, Finn (Faly Rakotohavana).
Throughout UnPrisoned's first season, viewers witnessed how Edwin's incarceration deeply affected Paige's life and relationships. In the series, Paige unpacks her trauma through interactions with her inner child and her online followers. Meanwhile, Edwin is overcoming specific struggles with his own past that led to his life of crime, including a dysfunctional upbringing and his mother's arrest. As the Alexanders attempt to reconcile, new challenges arise.
This new season promises to further explore their unconventional family dynamic. Here are several compelling reasons why season two of UnPrisoned should be on everyone's watchlist.
The Alexander Family Life Is Still In Shambles
UnPrisoned's second season resumes where the series left off, with Paige grappling with the fallout from her troubled therapy practice and Edwin navigating life independently after moving out. Meanwhile, Finn faces his own challenges. The teenager is battling anxiety and seeking information about his father—a topic Paige avoids discussing.
The Alexander Family Are Attending Therapy To Resolve Their Underlying Issues
Amid the chaos in their lives, the Alexander family decides to mend their bond by confronting their past traumas. They seek professional help and attend therapy sessions with a “family radical healing coach,” played by John Stamos, a new cast member. This collective effort aims to unravel the complexities of their shared history and strengthen their relationships.
The process of unraveling each character's internal conflicts and their potential impact on future relationships may clash with Paige's textbook therapy approach. While Paige is used to being in the therapist's seat in both career and family, this forces her into the unfamiliar role of a patient during therapy sessions. This shift would compel her to look in the mirror and try a radically different approach.
The Alexander Family Learned A Big Lesson During A Therapy Session
In therapy, the Alexanders are tasked with addressing their individual traumas to salvage their remaining relationships. One of the family therapist’s eccentric suggestions was an exercise involving a family wrestling match. During this session, Paige faces tough questions about her refusal to share information about Finn's father.
While it's unclear whether this scene is reality or fantasy, the image of the family duking it out in the ring certainly makes for hilarious yet compelling television.
Paige Tries Dating Again Following Failed Relationships
Amid her life's chaos, Paige decides to step back into the dating field. However, her many attempts have left her with mixed results. The dating apps have turned out to be a fail, and an outing with her ex Mal (Marque Richardson), who is also her father's parole officer, doesn’t go quite as expected after he brings an unexpected guest – his new girlfriend.
The situation takes an awkward turn when Mal's new partner learns why the former couple split, partly due to Paige's self-sabotage.
UnPrisoned Is A Perfect Balance Of Comedy And Drama
As a dramedy, UnPrisoned takes a comedic approach to its heavy subjects. The show takes us on a ride with Paige's dating misadventures and navigating a friendship with her ex.
Other lighthearted moments include Edwin's attempts at CPR based on online videos and, of course, the antics of the Alexander family's unconventional new healing coach.
The second season of UnPrisoned is now available on Hulu.
UnPrisoned | Season 2 Trailer | Hulu
Feature image courtesy
'Love Island USA' Star JaNa Craig On The Reality Of Black Women On Dating Shows
Love Island USA just wrapped up its sixth season, and it has been the talk of the town. According to Nielsen, it's the No. 1 show on streaming, proving it's just as entertaining as the UK version. One of the reasons this season has been successful is due to the authentic relationships formed between the islanders in the villa.
You have the sisterhood between Serena Page, JaNa Craig, and Leah Kateb, aka PPG, and the real relationship moments between couples like Serena Page and Kordell Beckham, who were named the winners of this season. The other finalists include Leah Kateb and Miguel Harichi, Nicole Jacky and Kendall Washington, and JaNa Craig and Kenny Rodriguez.
While JaNa made it to the finale with her boo Kenny, her journey in the villa was far from perfect. Viewers saw the Las Vegas native get her heart stomped on a few times after many of her connections didn't work out.
At one point, it even looked like she was getting kicked off the island. While she had a lot of support from people watching the show, it was clear that she was in a position that many Black women on reality dating shows find themselves in: not being desired.
It has been an ongoing conversation among Black women watching reality dating shows as we see time and time again that non-Black women or racially ambiguous-looking women are often chosen over Black women, especially dark-skinned women. In a discussion with Shadow and Act, JaNa opened up about the support she received from viewers.
@cineaxries i love them 🤧 #janacraig #janaandkenny #loveislandusa #foryou #peacock #loveisland #janaloveisland #xybca #kennyloveisland #janaedit #loveislandedit #janaedits #loveislandusaedit #viral #loveislandusaseason6 #foryoupage #peacocktv
"You know what’s so crazy? I’m so grateful, because when I got my phone, the way they’re making us The Princess and The Frog…I felt honored. I will be that beautiful chocolate queen if I need to be. And the comments like 'beautiful chocolate girl,' I’m like, all Black women are beautiful. There’s the whole light skin versus dark skin, which breaks my heart. I just really don’t understand that, but I will take pride and represent us well," she said.
She also candidly discussed her experience as a dark-skinned Black woman on the show. JaNa and Serena had been in the villa since the first episode, and they were the only dark-skinned Black women there. As new men aka bombshells came into the villa, they found themselves not being wanted by many of them.
"Me and Serena literally had a heart-to-heart before Kenny came in and she’s like, I just don’t think it’s fair that the Black girls don’t get enough fair chance.' Every islander that came in, we were not their top pick. And we just [thought], maybe because we’re Black girls, and the dark-skinned Black girls. It sucked," she said.
"I’m like, 'Serena, we know what we bring to the table. We’re great personalities. A guy’s going to come in for us.' That’s when we manifested what we wanted, and that’s when I manifested Kenny."
@ashleyvera__ We love to see it 🥰 #loveislandusa #loveisland #loveisland2024 #janaandkenny #loveislandseason6 #peacock #realitytv #fypage
After many failed connections, Kenny came in and immediately turned JaNa's experience around. America watched the model get the care and attention that she deserved.
"I’m not going to hold you. When I was in the bottom for a quick second, I’m like, ‘There’s no way America doesn’t [ride for us]. I know Black America had to ride for me, but maybe because I’m a dark-skinned … hmm … maybe … you feel me? And you saw the Casa Amor lineup. Beautiful, beautiful light-skinned [women]," she said.
"We looked at each other like, 'Damn, Love Island did their big one with this. And every single Casa Amor girl was like, 'You girls are gorgeous, you guys are stunning.' They expressed love. You guys are beautiful and it felt good."
Although she and Kenny came in third place, JaNa is happy that she got her man in the end. "I think the thing I’m most grateful about is the fact that this is a beautiful love story like you guys complement each other and there’s no hate toward the skin color. It’s all love and support. I love that more than anything," she said.
"That’s why I was like, 'I won,' even though I didn’t win. And the fact that Serena won, we were like, 'Yeah, run that.' Either way, we won. And I love the support from all communities."