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 […]
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 […]
At the Public Medievalist, Asa Mittman writes about race, racism and the medieval narrative that inform The Last Jedi. “In the final act of the film, the Resistance (our heroes) have fled the First Order’s mighty army. They hole up in a cave, behind a massive wall, with […]
Lois Becket writes about race, racism, romance and “relatability” in romance, the Romance Writers of America and the Rita awards. “People say: ‘Well, I can’t relate,’” [Beverly] Jenkins told NPR a few years ago, after watching white readers simply walk past her table at a book signing. “You […]
At first it was the way the bears were stacked atop each other that appealed to me. I’d see ads for We Bare Bears while watching other shows and think, “That is adorable/charming/cute/appealing.” Their shape, the color arrangement. Just the whole stacking thing. But one weekend shortly after […]
As it turned out, the success of extravagant films like Metropolis had no bearing on the continued production of such opulent films in Germany, the United States, or anywhere else. On October 29, 1929, the U.S. stock market crashed. In short order, the abrupt economic collapse in the […]
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