Neely Tucker writes about Negro Romance, a 1950s American romance comic focused on Black characters, for the Library of Congress blog. “It was startling and rare for its positive depiction of African Americans in the era, particularly in its portrayals of young black women as romantic heroines. But […]
At the New Yorker, Christine Smallwood looks at Dorothy B. Hughes’ “forgotten Noir,” The Expendable Man (1963). “The creation of difference itself was her subject. Her books were widely praised for their atmospheres of fear and suspense, and criticized when they reached, as the New York Times said […]
Jeannette Ng thinks about The Rise of Skywalker, The Last Jedi and “memorabilia without memory.” “The central plot of Rise concerns Rey’s parentage which was very satisfyingly resolved in The Last Jedi. They were no one in particular, not great heroes nor villains. Along with the rest of […]
At BFM, Kimberly Nichele Brown consider Octavia Spencer’s role in Tate Taylor’s Ma (2019). “Ma offers viewers a new archetype of black womanhood–the black female suburbanite. Unlike earlier representations of middle-class black women that can be readily subsumed under the archetype of the ‘black lady,’ instead of respectability […]
Our friends at Graveyard Shift Sisters have some suggestions for your 31 Days of Horror!
Graveyard Shift Sisters interviews Dr. Robin Means Coleman about her book Horror Noire, that’s right the very book that was adapted into the swell documentary, Horror Noire. “Horror Noire was born out of a truly very simple question: “Does the Black guy really always die first in horror […]
At Graveyard Shift Sisters, Mary Kay McBrayer writes about Midsommar. (Plot details are discussed so watch ou): “Midsommar acknowledges racial tropes of horror movies, and it somehow both utilizes them responsibly and realistically, and it subverts them just enough to keep us guessing. That’s good storytelling. “