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“American Fiction,” “The American Society of Magical Negroes,” and the Endless Debate About Good Black Movies – Andscape

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Oscar winner Cord Jefferson was behind the scenes answering questions about his film when asked about the types of black movies receiving awards.

“A story with black characters that will appeal to a lot of people doesn’t have to take place on a plantation,” Jefferson, who won best adapted screenplay, told reporters. The statement reignited the debate about whose stories must be told and whose must be ignored. The comments also complicate Jefferson and one other film, which reminds us that movies that are not set on plantations, projects, and trappings aren’t inherently more Black-loving either.

At first glance, placing , a couple of author navigating the white publishing world, in the same space as . The latter centers on a secret group of Black individuals who develop magical powers to assist white people not get so indignant – and it’s making the rounds online 30% on Rotten Tomatoes AND he was struggling to make one million dollars first weekend in cinemas. After all, it has something it doesn’t, namely a reliable plot, compelling characters, a real desire to say something vital, and a story that kept my interest throughout. it was mostly enjoyable. In contrast – with its unoriginality, trite attempts at comedy, and incomprehensible ending – it was simply one of the worst movies I actually have ever tortured myself to complete. However, each movies had a typical flaw: that they had to spend more time on the beauty of black people and less on the horror and prevalence of white supremacy.

In this respect, each movies usually are not much different from the works they try and ridicule.

each stem from a desire to critique art that presents a reductive view of blackness. The first is aimed toward books and movies like , which featured an limitless barrage of trauma for each black character, while six Oscar nominations, winning two (Mo’Nique for Best Supporting Actress and Geoffrey Fletcher for Best Adapted Screenplay). she focused on criticism a trope originally coined in 2001 by film director Spike Lee, wherein “magical” black characters appear in movies only to make the lives of the white essential characters easier or more satisfying. Think and.

Jeffrey Wright (left) and Issa Rae (right) star in the film.

Claire Folger/MGM

Because each movies focus their ire on these criticisms, their goal is to present a distinct side of blackness. But after I watched each and , I could not shake the familiar feeling I had when watching movies crammed with trauma porn. For example, after I saw 2016 , a supposedly triumphant film that was promoted as a real story of Nat Turner’s 1831 slave insurrection, I believed that a lot was shown about the brutality of slavery and so little about the actual ingenuity and courage of the insurrection that by the time every enslaved person had been freed , I wanted to go away the theater. While it’s miles from trauma porn, it spends a lot time perfecting the ridiculousness of microaggressions and white supremacy that some of the beautiful blackness in the story is lost.

For example, I never quite got the impression that the characters Monk (Jeffrey Wright) or Sinatra Golden (Issa Rae), two black women writers attempting to make it in the white publishing world, were even that great at their craft in . The audience never sees the beauty of Monk’s words or the genius Sinatra had to beat to succeed. By the time there may be a moment of true love between Monk and his brother Clifford (Sterling K. Brown), they’ve been through so many arguments and disappointments that it doesn’t feel satisfying. As for , there may be nothing celebratory about blackness in any of the film’s crevices. Yes, black people have magical powers like teleportation and mystical PowerPoint presentations, but they wield them in the service of white people. The atmospheric rant is about how miserable it’s to be black in white spaces.

Both movies made me indignant and frustrated with scenes of white passive aggressiveness. None of them made me feel proud of the blackness of the characters.

And that is the problem with many critically acclaimed movies. and the like do nothing to make me be ok with being black. Their appeal is aimed squarely at an audience that desires this sort of black subservience and subordination. But they don’t seem to be bad because they happen in Jim Crow projects. They are indignant because they do not love us.

You cannot watch a show or read a book like Robert Jones Jr. set during the times of slavery and not feel love in every scene and on every page. You cannot watch a movie without watching a movie about love. Meanwhile, movies like and appear to have been made with the express purpose of making black people imagine that they were doomed to the influence of whiteness.

In the early twenty first century, a brand new measure was introduced to judge movies based on their treatment of women has come into fashion. The test asked a straightforward query: Are there any scenes in the movie where women talk over with one another about anything apart from men? Since then, critics have proposed similar race tests. The “The DuVernay Test” proposed by critic Manohla Dargis asked for movies wherein “African Americans and other minorities have fully realized life, rather than serving as settings in white stories.” Both are beneficial, but they mostly deal with white people’s movies. It doesn’t hurt to have a movie like this for movies for Black people and by Black people who ask whether the amount of screen time spent exploring the beauty of blackness outweighs the amount of time showing the oppressiveness of white America.

Despite Jefferson’s comments, the black film setting shouldn’t be the problem. Period shouldn’t be an issue. The problem is the way these movies treat Black people and show us on screen. The film will be as anti-black and violent as the mansion will be, and as gracious and kind as the plantation desires to be. The Black experience is just that complicated.

DavidDennis Jr. is a senior author at Andscape and winner of the American Mosaic Journalism Prize. His book titled The Movement Made Us might be released in 2022. David is a graduate of Davidson College.


This article was originally published on : andscape.com
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An attempt to save the image of Jeff Bezos’ future wife backfired after weeks of outrage and ridicule over her skimpy outfit

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Lauren Sánchez has apparently gained a popularity for her fashion hits and misses as social media users began following her every move.

Billionaire Jeff Bezos’ current fiancée stepped into the highlight long before she met the Amazon co-founder, after years spent as co-host of “Good Day LA,” a reporter for “Extra” and host of “So You Think You Can Dance,” and he even starred in a number of movies like “Ted 2.”

She faced criticism for posting a sultry selfie in November in a negligee-inspired gown by designer Laura Basca. In October, the 54-year-old again faced backlash when she showed off her latex Halloween costume as Catwoman.

Now, weeks after being deemed “cheap” and tasteless, the founder of Black Ops Aviation has turn out to be a subject of discussion.

Jeff Bezos’ fiancée Lauren Sánchez shows off a “winter white” look, weeks after critics slammed her busty latex outfit. (Photos: @laurenwsanchez/Instagram, Theimagedirect.com via Page Six)

On December 5, Sánchez and the business mogul attended The New York Times’ DealBook event in New York City. For the occasion, she wore a white Alexander McQueen suit and a white lace corset. The beaming bride-to-be sent two mirror selfies of her outfit, which she signed: “winter white.”

One follower particularly was stunned by the whole look he ejaculated that she was “very attractive and beautiful, gorgeous and stunning, charming and fantastic young lady, sexy, charming, charming and elegant” in the photos that Sánchez took.

Two other people swooned over the photos and wrote: “So chic and elegant!” and “You look great.” But as you would possibly expect from online viewers, not everyone was impressed.

When Page six published paparazzi photos from the trip, the critic commented: “It’s 30 degrees in New York and she gets out of the limo in a white Miami smock, her bra visible to everyone. No taste. Nothing. A cashmere turtleneck, flannel trousers and a wool jacket can be classy.

Someone else sharply asked: “Who can be the first to tell her that she looks tacky and not elegant and refined? Does she even know what sophistication means? A 3rd person noted: “She looks more like she’s wearing a bathrobe.”

Another person wrote in a comment from a licensed pilot: “White means…” possibly referring to rumors that Sánchez and Bezos are scheduled to exchange vows over Christmas. At least one person doubted the couple would have the opportunity to say “I do.” This person said: “This will be the longest engagement ever. They will NEVER get married and we all know why!!!!”

Sánchez told the “Today” show hosts that she was in the process of planning the big day last month. She didn’t comment on speculation about exchanging Christmas vows.

Renewed interest and scrutiny of Sánchez has increased as the pair have been spotted in various locations in recent months. The couple reportedly began dating in 2018. Their engagement was announced five years later, in May 2023. Their upcoming wedding can be a second journey for each of them.

Sánchez was previously married to celebrity agent Patric Whitesell, with whom she has two children. She can be the mother of a son, whom she shares with Pro Football Hall of Famer Tony Gonzalez. Bezos was married to the mother of his three children, Mackenzie Scott, for 25 years once they divorced in 2019.


This article was originally published on : atlantablackstar.com
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Apart from the song with singer-songwriter India Shawn – Andscape

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India Shawn is a contemporary muse with a chilled nature, crafting love stories and heartfelt tales in smooth, charming songs. With over a decade of experience in the music industry as a singer-songwriter, Shawn has incredible strength. She was born in Los Angeles, and her musical roots reach throughout the country. Beginning her profession in her hometown, Shawn eventually found herself in Atlanta, where she immersed herself in the city’s deep-rooted R&B scene, further shaping her artistry.

“I transferred to ATL, I was in 10th grade, and that’s when my music journey really started,” Shawn told Andscape. “I met people who were trying to get by, so I ended up recording and learned what songwriting was really early on.”

Before releasing her debut EP in 2012, Shawn wrote songs and collaborated with artists similar to Chris Brown, El DeBarge, Keri Hilson and Monica. In 2013, she gained much more notoriety when Solange Knowles published her song “I’m Alive” on the Saint Heron compilationmarking her as an artist value watching.

Following the release of the single “There Must Be a God” from the Andscape soundtrack, she caught up with Shawn to learn more about the muse behind the vibes.


Singer India Shawn grew up singing in church with her family. “I feel like most of us R&B kids have that experience,” she said.

India Shawn

Name:
India Shawn

Hometown:

Los Angeles

Artistic soundscape

Airy, soft, telling a story, multidimensional, soft, mysterious, atmospheric

The oldest musical memory

Shawn’s soulful sound is deeply rooted in her upbringing, with influences drawn from her childhood memories and the musical culture of her church. “I sing with my sister all the time, and I also grew up singing behind my mom in church. She was the leader of praise and worship. So I feel like most of us R&B kids have that experience,” Shawn said. “I had these little solos in church, and I believe what made me consider in it was that after the service people got here as much as me with tears of their eyes and said, ‘You really moved me while you sang.’ “These early moments of connection with music and audiences laid the foundation for conveying depth and sensitivity through her music.

Influences

For Shawn, music, especially R&B, has all the time held a special place in her life. “Me and my sister are harmonizing in the living room, just picking some of our favorite songs, including for me Mariah Carey, Babyface, Boyz II Men and (and) Brandy,” she said of her early music memories.

Creative process

Shawn often draws inspiration from real-life experiences and relationships that influence her music. She weaves this into the authenticity and atmosphere of her songs, but she didn’t immediately recognize where her inspiration got here from. “It’s funny that it took me so long to make that connection, but I realized that I was telling my whole story and presenting my business through my music,” she said. “It took me two albums to realize, wait a minute, I’m giving people a lot to understand here… these aren’t just songs. This is truly the life I live.”

Challenges and development

As Shawn’s profession grows, so do his moments of appreciation and reflection. “I literally just thought about a very gradual progression of my career. It’s like step by step, but there are more breakthrough moments. My first tour, which was so beautiful, I just knew I could pack a room and people knew my lyrics and sang my songs to me. Those moments that make the waiting not in vain.”

Shawn has plenty of recommendation for up-and-coming singer-songwriters. Her biggest sacrifice? Collaboration is essential. “I think (cooperation) is really why I’m still here. So find your people… you’ll know when it feels right, you’ll have that freedom and fluidity, and you’ll be able to really create things and create without having to think too much.” He also shares the importance of patience. “Just be patient during the journey. This has been a theme throughout my profession. Let it develop. I feel like more things come from being in that flow and being present reasonably than forcing all of it.

Current project

There should be a God”, the lead single from Andscape , now streaming on Hulu, also serves as a teaser for Shawn’s solo album. “(This song) is such a manifestation of God’s love,” she said. “I think when you find yourself in a place of waiting, you can feel very hopeless. So when you see glimpses of God’s love again, or the fact that you know there is a higher power, there is a source that is thinking about you, has you in mind, has a perfect plan for you, it’s just like the clouds parting. And this is the moment, I understand. I understand that I had to go through all this to get here. And that’s exactly what I felt in the studio that day.”

Sheila Matthews is a digital producer at Andscape and a proud HBCU graduate. She believes “Return of the Mack” must have won a Grammy, and her Twitter mentions are open to all debate.

This article was originally published on : andscape.com
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ICYMI: Tessa Thompson’s Mocha Lip, Danielle Brooks’ Updo and More – Essence

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With just a number of weeks left until the tip of 2024, the celebrities are setting the tone for the brand new 12 months this week. And although mocha mousse is anticipated to be fashionable in 2025, neutral shades in darker tones have gotten more and more popular. Paired with an array of beauty eras – from elegant Twenties updos to 2000s-style round pink, the brand new Hollywood showcases its best 12 months-end beauty moments.

Tessa Thompson and Issa Rae are the newest to debut mocha lips holiday shade near the season, and Coco Jones’ lipstick was cranberry red. Doechii’s perforated suggestions and signature face-lift tape made it probably the most avant-garde look of the week, and within the sweetest moment, Chloe and Halle Bailey’s round pink cheeks made pink cheeks a winter styling staple.

From makeup to hairstyles, Sabrina Elba and Alva Claire opted for light, coffee colours, and Jourdan Dunn’s short hairstyle proved relevant at any time of the 12 months. Meanwhile, Lupita N’yongo, Danielle Brooks and Venus Williams’ braided buns showed just how classic this style may be.

In case you missed it, take a take a look at 17 of the very best celebrity beauty moments from the week below.

This article was originally published on : www.essence.com
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