diversity media

anonymous asked:

You know how (in fandom esp) ppl make fun of people who say "wow these two characters are such great friends :))" and everyone is like "yeah, sure, bc friends would do THIS *enter thing* for each other, jessica" or w/e? I mean I totally get where they're coming from, especially with lgbt+ pairings! But at the same time, as an aroace, itd mean a lot to finally be able to see a good friendship thats just. Friendship. Two people loving each other by selection w/o strings attached. and just?? Idk

True, tbh???? Like… aphobes have actually started on this campaign about “lgbt+ romances are more important that friendships” and it just… It feels kind of gross to me, given the context? Yes, LGBT+ romances in fiction are IMMENSELY important. But we should also encourage that not EVERYTHING in life has to be about romance.

Give me more diverse relationships in media. Of all kinds.

–Mod Mercy

I’m tired of ~diversity~ meaning the core white people are safe while the poc get cycled in and out and tortured and sidelined, the lgbt characters can’t have happy relationships and the women can’t interact for more than five minutes. I’m tired of white people and straight people and men patting themselves on the back for regurgitating the same bullshit tropes and calling it art.


franchise films carried by white actresses

franchise films carried by actresses of color….

  • first and foremost, a movie about three black women who were boss mathematicians and played integral roles in NASA’s first successful space missions while living in the Jim Crow South in the 1960s
  • an opening that your fave, Beautiful Minds COULD NEVER
  • octavia spencer taking the piss out of a white cop who can’t believe three black women work for nasa
  • a shitty nasa bro confusing taraji with the cleaning lady (AND YOU KNOW THERE’S ABOUT TO BE SOME COMEUPPANCE FOR THAT)
  • mahershala ali being taraji’s fine ass love interest
  • and taraji taking his ass to school with yes women work at nasa, not because we wear skirts, but because we wear glasses
  • janelle monae spittin this fire: we go from being our father’s daughters, to our husband’s wives, to our baby’s mothers
  • also janelle monae hitting on JOHN GLENN cause she all about that equal opportunity flirtin
  • also janelle monae spittin more fire: every time we have a chance to get ahead, they move the finish line
  • the moment when these women’s families are gathered around watching the launch and they’re so proud of their mamas, aunties, daughters, and wives making history (and then suddenly you’re tearing up)
  • also janelle monae spittin even more fire: if i were a white man i wouldn’t have to want to be an engineer, i’d already be one

when I say, “don’t you dare kill or otherwise take this character out of the narrative of the show” and they’re someone of a marginalized identity, i do not mean “i don’t want to see this character treated like a fully-fledged character equally at risk of the highs and lows of the story like any other and i want them to live eternally on a golden pedestal that makes them impervious to the effects of the actions of the plot and therefore a drag on the story.”

i mean, “until this character no longer bears the entire weight of the acknowledgement and representation of marginalized existence in this show, i do not want to see this singular thread terminate in tragedy like it always does.”

it is not a demand that you treat them as untouchable. it is a critique that you are still lacking. it is calling you out on having concentrated so much meaning and significance in one single character that you have made them too important to function properly like any other character in the narrative, and it is asking you to acknowledge this deficiency and not make it worse by also having them end like so many of their tragic predecessors have. 

Create more of them to displace that weight youve assigned these individual characters, unhobble them from this iceberg-below-the-water existence, make them (plural them!!) part of the foreground and background, on the protagonist and antagonist sides, small parts and recurring characters - make diversity not some stale, recycled one-note effort you lazily check off the box for, but a conscious effort in including pervasive variety in your story, so that these characters can each become a fuller part of the narrative and have the equal opportunity to be impacted, positively or negatively, by the drama of the story.

When i say, “don’t you dare kill this character,” the real thing im saying is, “dear god, do better.”

as a queer person who’s already 28, let me just tell you how huge the difference feels to me with series’ like steven universe, the foxhole court, sense8, cucumber or eyewitness that have canoncally queer characters that dont die, arent stereotypes, arent white, go through coming to terms with their identity in realistic ways and not interpreted through the hetersexual lense, who have mental health issues and face other problems besides being queer in a heterosexist world and WHO ACTUALLY KISS and/or FUCK in canon.

like 12-15 years ago when i was figuring stuff out, there was NOTHING like that. what i had was bad lesbian porn on the internet (when internet wasnt also that available), yaoi or yuri trash that was often bad porn, queerbating bullshit, or some random sidecharaters that died or villains who were gay. and probably also died. 

I can feel there’s a rift going on. And i dont think it’s gonna stop. I’m excited for whats coming the next 5 years. 

AND I’M SO HAPPY ABOUT IT cuz even now i just want representation so shows dont bore the fuck out of me, but imagine how different things must be for teens watching these shows. I hope you feel all loved and supported cuz you are!!!

okay so I was going through some old stuff and I found this book from a series called “Amy Hodgepodge” that I bought around 2009 or 2010

and I vaguely remembered something special about it so I opened it up and

(it’s a bit hard to read, so here’s the part that I mainly want to focus on: “I laughed, knowing she was only kidding. Lola has a great sense of humor. She’s the one who came up with my nickname: Amy Hodgepodge. My real name is Amy Hodges. But when Lola found out that I’m African American, White, Japanese, and Korean, she said my name should be Amy Hodgepodge. Lola and her twin brother, Cole, are mixed-race, too. So are some of my other friends. But Lola says nobody is as mixed as me!”)

This girl is African American, white, Japanese, AND Korean.

I remembered how weird being both Vietnamese and white was for me when I was little. I didn’t know any other part Asian, part white kids (and I specify Asian because I did know one or two kids that were part black, but I didn’t talk with them that much), and I had never read about anyone like me in any of the books I had ever read… until these.

Curious to learn more about the series, I decided to Google it. This is the home page of amyhodgepodge.com:

“Some kids were mean and teased me about looking different, which really made me sad.”

These kids books just briefly tackled racism without actually saying the word “racism” or “racist”.

Interested, I began to go through the website and went to the characters page:

The text is pretty small, so if for some reason if you can’t zoom in or anything like that, here’s what I want to emphasize:

  • Lola and Cole (twins) are part African American, part Irish-American.
  • Maya is pretty much white, but she’s Italian-American and Irish-American.
  • Pia’s mother is white and her father is Chinese-American.
  • Jesse is half Puerto Rican and half African American.
  • Rusty is Hispanic, Native American, and white.

The authors of these books didn’t put a single white child in the group (with the exception of Maya).

But apparently, racial diversity is too hard for people who are 100% white.

Somewhere Inbetween #10 (12/11/16)- Its the new math… or rather the old math in a new skin.

BTW if you want to see Queer pocs on film go see “Moonlight” and “The Handmaiden” (the handmaidens is foreign film and that why I did put it in the comic since is not a mainstream hollywood film.)

Moana did not make $100 million this past weekend.

Moana did not make $100 million in the U.S. or with worldwide profits as the articles expected. Make this movie a grand success. Let it beat frozen or at least come close.People probably don’t know this but after the surprise success of Frozen, they hurried the production of Moana to this year instead of it original expected release of 2017/2018. The budget on this movie $150 million. That means for it to make a profit, it needs to make 500 million. The movie has rave reviews and $99.3 million worldwide is no joke(it’s amazing!) but, let’s make this one of the best things that happened in this abysmal year of 2016. Get your family and friends who are on the fence about seeing it in the theaters this coming weekend. Hell, go see it twice. If it hasn’t been released in your country yet and you watch it ahead of the release, still go see it when it’s released in theaters. IF you can afford to see don't doddle about seeing. The POC Disney movies don’t fare well most of the time(Princess and the Frog, Pocahontas, Mulan, Atlantis, Brother Bear, etc.) in comparison to their white counter parts. 

I’m not trying to scare people, I just really want this movie to make billion. Do you realize how big it would be for a POC Disney princess to make a billion? Hell, even $600 million? None of the POC princess movies have even made that much yet.