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Why is Storm wearing a raincoat and holding an umbrella in “Dark Phoenix”? Plus other first look thoughts

I recently received the cover to the latest Entertainment Weekly issue, which features tons of first look images. The cover features Dark Phoenix, a film I’m not looking forward to at all.

I have a big gripe with the all of the X-Men films, especially the new crop of X-Men films, which go through the trouble of painstakingly replicating certain time periods, but neglect the background that influences the X-Men comic books–the Civil Rights Movement. Granted, X-Men has always shown racial and cultural animus in the country through the gaze of white characters, but the X-Men comics have seemed to have a much more political, and sometimes radical, bent that doesn’t ever come through in the movies. It’s frustrating. Dark Phoenix seems to sum up all of my aggravations with the X-Men franchise by deciding that it’s Jean Grey‘s story we need to hear about. Jean Grey (Sophie Turner) has never been that compelling as a character, and to base an entire film around her (especially with bad special effects, as shown in the first look images) is mind-boggling to me.

Also mind-boggling is that young Storm (Alexandra Shipp)–the goddess of weather– is not acting like Storm at all in this film.

As Kid Fury wrote so poignantly on Twitter:

Why? Why has Storm been disrespected so hardcore in this franchise? Why have all of the black characters been so disrespected in these reboots? The main reason I’ve never seen it for the X-Men: First Class reboot series is because in First Class, Darwin–a character who can adapt to anything–uncharacteristically dies. He dies as the first and only black man in the entire film. I immediately checked out and never sought to seek out the series again (except when I went to a party and saw X-Men: Apocalypse, but not on my own dime).

The only image I like from this set of Dark Phoenix images is Jessica Chastain in an icy blonde look. I don’t know who she is, but I think she looks really cool. I just wished she looked really cool like this in another movie.

In short, boo to you, Dark Phoenix. I am not watching you.

There are some films and TV series I would love to see though. Entertainment Weekly has first looks of lavish costume drama Mary, Queen of Scots, starring Margot Robbie and Saoirse Ronan, and of Antonio Banderas as Pablo Picasso in the second season of National Geographic’s Genius. 

Let’s not forget that Aquaman is coming; this first look of Jason Momoa gives us a very good look at a serious Arthur Curry.

Also, The Incredibles 2 was featured in this issue. This might be an unpopular opinion, but I’ve grown tired of Pixar sequels, so much so that I can’t muster the hype to get excited about this, and I was one of the people who yelled at Pixar for years to make a sequel. At this point, I’d rather Pixar just stick to making original films like Coco, which have the potential to make a much bigger impact culturally and socio-politically. But at the same time, I do want to know what Pixar’s First Family are going to do this go-round.

Also, I have to address the elephant in the room–Altered Carbon. I’ve talked about so many projects that feature white people as Asian people in the past two years, that I’m frankly surprised Altered Carbon didn’t decide to go against the grain and, I don’t know, be respectful. Takeshi Kovacs is a biracial Japanese-Eastern European character; it could have been cool to actually hire a biracial actor for this role instead of Joel Kinnaman. Also, how many times are we going to see neon and big cities in a glossy sci-fi film? ENOUGH.

There’s a ton more first look images at Entertainment Weeklycheck them out!

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All hail The Chief: A virtual roundtable on Wonder Woman’s Native American inclusion

Patty Jenkins’ Wonder Woman has been a revelation to many who love film. Not only did the film open up the box office to finally accepting a female superhero, but it also paved the way for one of DC’s longest-standing, but often misrepresented character, Apache Chief. In the film, the character is treated a lot more seriously and realistically, only going by “The Chief” to mere mortals, but is actually Napi, a Blackfoot demi-god hoping to protect his people and fight against evil.

The Chief got much of is backstory from actor Eugene Brave Rock, who integrated parts of his own background into the character to make an even richer experience for himself as an actor, for the film, and for the viewer, especially those who might not have ever seen a non-stereotypical portrayal of Native Americans. The role was even more special for Native American viewers, who rarely see themselves portrayed in full in the media.

I was able to catch up with three Wonder Woman fans who are also African-American and Native-American. From their points of view, the DCEU—and movies in general—can only get better with the inclusion of more Native American characters like the Chief.

Cherry Davis, pop culture and lifestyle blogger and Afterbuzz TV guest host, said she is 1/16 Blackfoot and that the Chief is a rare character in a landscape lacking in complex Native roles.

“…[It’s] likely the second time I’ve seen a Native/Indigenous character played by someone of that ethnic background. So big hurrah for that casting choice!” she said. “What stood out was that he didn’t speak in the ‘Entertainment Native Dialect’ and that he wasn’t subservient to the white characters.”

He was definitely the icing on an already delicious cake of a film. As soon as he appeared on the screen, I all but screamed Super Friends Reunion!” said Dennis R. Upkins, speculative fiction author and activist as well as part Cherokee. “He definitely had a mystique about and while we know little about this mysterious character, he was established enough that he could take the lead in his own narrative in the DCEU.”

Cherese Capadona, who is part Mississippi Choctaw, said what struck her the most about the Chief was his unapologetic approach to talking about “the Native American relationship with White Americans after colonization.” She said the Chief’s statement that men like Steve Trevor killed his people “was accurate.”

“It didn’t say they couldn’t have a good working relationship or couldn’t be friends, but that’s never been addressed in any television show, anything I’ve ever remembered seeing growing up like The Lone Ranger, which has my least favorite representation of a Native American character ever.”

Photo credit: Warner Bros./DC

Due to her Blackfoot heritage, the Chief hits even closer to home for Davis, who also minored in Native American Studies.

“This is dear to me,” she said. “…[I] am always excited to see diverse characters [and] characterizations. I applaud Patty Jenkins for allowing Eugene Brave Rock to truly make the character his own, imbuing the Chief with a backstory nod to his people. Also, a huge nod to Eugene for taking this opportunity as a platform for Native American Blackfoot mythology.  I’m hoping that people will be excited enough to read more and that DC Comics will have a ‘hmm’ moment. Expand on his mythology, cast him in some of the DC TV series to gather a fanbase and eventually comic book movie/series/cartoon around an entire mythology that people have little awareness of.”

She said seeing someone like the Chief on the big screen would be “incredible” to Native audience members who usually don’t see themselves represented. She said an audience member might feel “vindicated and excited to see not only someone who looks like them but is one of them and [is] a character treated with dignity in such a huge film.”

“I’m hoping that this will lead to seeing Chief in other films since as a demigod he’ll live for a long time,” she said.

“I can definitely speak for myself and say that…I felt relieved first of all that he wasn’t just coming in because his name was the Chief,” said Capadona. “You can almost imagine the eyerolling—what’s this character going to be like? But he isn’t what you would expect. Usually when there’s a character called the chief in a movie, there’s a stereotypical headdress, speaking broken English. There are just so many things that are stereotypical and none of that was there. Once I got over the relief portion, I was pretty happy.”

Capadona also hopes the Chief will make more people interested in learning more about the mythology of the nation’s first inhabitants.

“We spend so much time teaching kids Greek mythology and Roman mythology. Since we’ve come out with the Thor movies and The Avengers, there’s been an interest in Norse mythology. [There’s an interest in] Egyptian mythology. There’s never been characters from Native American mythology and every nation has their own creation stories and tales that follow in the realm of mythology,” she said. “I would hope that the chief being a demi-god would spark as much interest in those mythologies and kids don’t get exposed to any of things that are from this land, from this country. Whether you’re Native American or African American, we have our own stories [and] folklore. That was just really exciting for me.”

Upkins said he felt the inclusion of the Chief shows just how inclusive the movie-going experience can be.

“Being part Cherokee, I’m always excited to see this aspect of my culture reflected in the media, particularly in speculative fiction,” he said. “The film’s openness is a reflection of how inclusive Wonder Woman and for that matter the DCEU is. Diana herself is queer/bisexual protagonist which she all but states in the film when she references the fact that men are good for procreating but sexual gratification is best with other women. This is also the film that got to see queer black super heroines get some shine battling the German invaders. This inclusiveness has already paid off in dividends of $700 million worldwide.”

Brave Rock’s portrayal is one of a small number of Indigenous characters or characters played by Indigenous actors to take part in the DCEU. In Suicide Squad, Adam Beach, a member of the Saulteaux First Nations, portrays anti-hero Slipknot, and in Aquaman and Justice League, Jason Momoa, who is of Native Hawaiian, Irish, German, and Native American descent, is portraying Aquaman himself.

Photo credit: Warner Bros./DC

Upkins said that the inclusion of the Chief and the addition of Brave Rock’s characterizations “debunks all excuses” for other films when it comes to a lack of proper representation.

“It shows that you can have Native characters in supporting and leading roles and still have a successful film,” he said. “Any claims to the contrary are dead on arrival.”

You don’t often see Native or people of color during that time period [of Wonder Woman] so it’s sad to say but it’s kind of groundbreaking which is positive but also sad that this type of portrayal is still rare in the 21st century,” he said.

Davis also hopes the film will lead to more casting that accurately portrays the character’s background instead of erasing it.

“…[A]sk [actors] how they can bring their life experience into the role,” she said. “People not only want to see themselves reflected but people both other ethnic/religious background are receptive and interested in seeing new talented faces.”

“I would hope that it would open up another door to not necessarily cast …It’s frustrating, and I know that several people have said this, not just Native Americans…[people] are getting frustrated by roles that are created and they want that character to have a specific look, they have to be Caucasian, this, that or the other,” said Capadona. “The most recent example of someone who is breaking down those barriers is Ava DuVernay’s casting in A Wrinkle in Time. When I was growing up and I read that book, I thought in my mind—because that’s the way everyone portrayed the character to me—that Meg Wallace was a character that should have been white, and here in the film she’s going to be biracial. It’s wonderful the way she’s done that. She’s cast a rainbow of other characters.”

With it being 2017, said Capadona, proper representation and staying away from the “Noble Native” stereotype shouldn’t be an issue. But she hopes accuracy in representation comes “sooner rather than later.”

“I’m just hoping other people will take the hint and do what Patty has done and create more roles and more opportunities for the actors and actresses to enrich these stories they want to tell,” she said.

The roles Capadona, Davis, and Upkins want to see the most involve Native characters living outside of the stereotype.

“I want to see them in the same type of roles that white counterparts have, from playing a bad guy to a hero, to love interest to just being a nuanced human with flaws in all genres,” said Davis.

Upkins said he’d love to see “[q]ueer male leads in speculative fiction.” Capadona said she’d love to have Native characters in all walks of life.

“I would love to see, because I love science-fiction, maybe some science-fiction elements added to a Native American story. I’d love to see a Native American actor or actress play a scientist, somebody who’s beyond the geologist or archeologist—somebody that’s actually doing astrophysics and going into space. We’ve had Native American astronauts; it’d be wonderful to see those kind of characters,” she said. “It’d be wonderful to see a Native American love story on the screen or even interracial, but not something that’s this tragic thing where it’s “My father doesn’t approve of you, I’m going to shame my family because I’m marrying you.” Just something beyond those typical things. Something off the reservation—there are middle class Native Americans in this country. Everybody isn’t on the reservation and dealing with reservation politics and poverty. Something that’s uplifting and showing people as multifaceted.”

“We’re starting to see more facets of Native American culture and I think the role of the chief is starting to turn the gemstone to see those different facets, but we still have a lot of turning to do and I’m really hoping this is the start.”♦

Wonder Woman comes to DVD and Blu-ray Sept. 19. 

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2018 Film Forecast: Looking Into the Abyss

It’s time to look to the near future of film. Just like how the fashion industry has become an industry that relies on trend forecasting, let’s utilize the same concept when discussing what kind of mood the country will be in when we decide to sit in the theaters next year. From where I’m sitting, 2018 is going to be a year of contemplation, a year of gathering one’s bearings after a tumultuous 2017, and overall, a year of figuring out where we in the U.S. and, indeed, the world, are going if we keep on our path towards destruction.

COLOR STORY

The color story that seems to be going on in 2018 is muted blues and black disrupted by explosive, fiery colors–dark red, orange, and gold. My using the word “explosive” is meant in both a descriptive and literal sense; there is a very real sense of literal explosions in our daily life at this point in 2017, what with the threat of North Korea, the growing Cold War-esque tensions between the U.S. and Russia, and the country’s own political explosions with mounting evidence that showcases President Trump and the administration under the sway of Russian Prime Minister Vladimir Putin’s power.

The end of 2017 will see dark red come into play as we transition from this year into the next. Check out these Star Wars: The Last Jedi posters from this year:

 

Dark red is the dominant color, painting each of the characters to show that no matter what side you’re on, everyone’s going to be affected politically, socially, and personally by the upheaval that will happen in this next part of the saga.

All of this year’s colors are featured in The Justice League, which is coming out late 2017. The Zack Snyder-led DCU has been consistently moody, with blues, reds, oranges, and blacks making up the color palette. Perhaps it’s because of this big tentpole that we’ll see a lot more films take on a more Snyder-esque palette for their promotional material. What’s funny is that as much as people have derided Snyder for his bleak palette, 2018 will be the year that we as a culture actually feel it reflected in our collective mood. Maybe Snyder was onto something the whole time.

Red, gold, orange, neon blue and muted blues make their way into several of next year’s movies, both in their posters and in the trailers themselves. The throughline seems to be that humanity wants to find the balance between war and peace, technology and human experiences, existentialism and optimism. The importance of neon blue definitely shows itself in the more futuristic films; in these films, humanity on the precipice of extinction–or at the very least, fighting for some kind of co-existence with a more dominant species– is the main plot point.

ORANGE: Power, the unknown, disturbance

(featured: Proud Mary, Alpha, A Wrinkle in Time, Blade Runner: 2049)

NEON BLUE: Technology, mechanical coldness, human advancement (not always for the better)

(featured: Pacific Rim: Uprising, Ready Player One, Black Panther, Blade Runner: 2049)

RED AND BLACK: Ominous threat, fright, fight for survival

(featured: The Predator, Early Man, Blade Runner: 2049, Pacific Rim: Uprising)

NAVY AND MUTED BLUES: Contemplation, the dark side of technology, lurking threat, existentialism

(featured: Pacific Rim: Uprising, Blade Runner 2049, A Wrinkle in Time, Ready Player One)

GOLD AND BLACK: Personal strength, inner power, intelligence, new beginnings

(featured: Black Panther, A Wrinkle in Time, Blade Runner 2049, Alpha)

2018 MAJOR THEMES

Movie studios will still be making reboots, remakes, and sequels. However there seems to be an even clearer note of nostalgia with some of these films in 2018 aside from Hollywood trying their luck with any book or older film property.

Nostalgia, particularly nostalgia for the ’80s and ’90s (a time when a big chunk of the most catered to media demographic, young people 18-40, were kids or teenagers) will be apparent in 2018. Of course, Blade Runner: 2049 is a big send-up to the ’80s, but there’s also Ready Player One, which will have properties that span the ’80s and ’90s making cameo appearances (such as The Iron Giant, featured above). Other films such as Goosebumps: Horrorland, The Predator, and Jurassic World: Fallen Kingdom keep up the nostalgic ’80s and ’90s trend. Even horror is getting on the bandwagon with the resurgence of killer doll Chucky and Halloween‘s Mike Myers.

Other films, like Barbie, Peter Rabbit, S.C.O.O.B. (a new live-action iteration of Scooby-Doo) and Mary Poppins Returns show that childhood memories from any era are back in play. Overall, the nostalgic trend showcases the longing everyone has to go back to a time when they didn’t have to worry about the fate of the world every. single. day.

A big example of the ’80s trend in mainstream tentpoles is Thor Ragnarok. 

via GIPHY

Thor isn’t a legacy property the same way Barbie, Peter Rabbit, and Mary Poppins are. But, as was apparent in Guardians of the Galaxy Vol. 2, the late ’70s and ’80s are a big influence on Marvel’s intergalactic adventures. I mean, it’s not accident that Bruce Banner shows up wearing a shirt featuring Duran Duran’s RIO album cover, or that ’80s genre it boy Jeff Goldblum is part of the main cast. The bright colors, bombastic feel, and Valkyrie showing up with a fleet of warriors on winged horses smacks of 1970s and 1980s heavy metal, Philip Castle airbrush art, as well as 1980s candy-coated cartoons, which also delved into their share of metal inspiration via He-ManShe-Ra, and ThunderCats. Even the ship that is felled by the fireworks display behind Valkyrie (below) seems to pay homage to the spaceship iconography apparent with the band Electronic Light Orchestra, aka ELO.

(featured: scenes from Thor: Ragnaork, Jeff Goldblum in The Fly, Philip Castle airbrush artwork, ELO spaceship artwork)

In short, film studios want those of us in our 20s and 30s to feel like we did when we’d stay up to watch TGIF or when woke up early to watch Saturday morning cartoons. That feeling of nostalgia is going to be used as a buffer and distraction from the scary times we have yet to enter come 2018.

While we’re all pining for our worry-free childhoods, we’ll also be taking stock of our place in the universe and whether we can keep our planet going for another couple thousand years. Quite a few films will focus on the world at its bleakest and most depleted as well as the world when it was fresh and new. Alpha, starring Kodi Smit-McPhee, is set during the last part of the Ice Age, and Aardman’s Early Man will have its protagonist, a Bronze Age man (voiced by Eddie Redmayne), on a journey to save his beloved city.

On the extinction side of things, Ready Player One takes place in a near future in which Detroit is inundated with trailer-home skyscrapers called The Stacks and Mortal Engines, based on the popular book series by Philip Reeve, shows an earth that is desolate after the “Sixty Minute War,” with cities roaming Laputa-style, attacking and eating smaller cities in its path to replenish supplies. Extinction, which will feature Michael Peña, Mike Colter, and Lizzy Caplan, will see our current world invaded by aliens.

Sci-fi in 2018 will be almost exclusively about the world’s dire straits and how we humans can protect ourselves and the world from becoming extinct. One of Dwayne Johnson’s many projects next year, Rampage, is based on an ’80s video game (yes, nostalgia again), but it’ll be a more serious take on the game, which involved monsters wreaking havoc on cities. In the film, the monsters are animals (endangered or vulnerable animals, no less) that have been mutated by a mad scientist to destroy humanity. Pacific Rim: Uprising continues the story of a world that is constantly at war with underwater aliens, and Jurassic World: Fallen Kingdom takes the dinosaurs out of the park and into the metropolis, creating yet another version of Godzilla. (Also, don’t forget about the sequel to Godzilla, coming in 2019, which will continue the environmentally-conscious trend in sci-fi films).

So why do sci-fi films seem to have a lot of power when it comes to this environmental message? Well, one of the cornerstones of sci-fi film is to discuss our culpability in our own demise and whether we’ll have the smarts to right our wrongs. And while we’ve been fantasizing about aliens wiping us out, the real threat has been us all along–we’ve mutated as many animals and destroyed as much wildlife as any alien in sci-fi has. So the alien threat in most of these films has become nature itself. When there is actual science to back up your sci-fi–yes, the earth is heating up and we’re destroying the ecosystem at all levels and perhaps we’re making our own grave if we don’t invest in sustainable methods of living–then sci-fi’s environmental message becomes that much stronger.

(featured: Jurassic World: Fallen Kingdom, Pacific Rim: Uprising, Rampage)

It’s a little early, but I’ve been looking at the 2019 slate as it stands right now, and it would seem that some more optimistic films are on the horizon after 2018. Perhaps the film industry is banking on us getting out of our present political and social state (we will be getting closer to Trump’s end of his first–and hopefully final–term) and we’ll finally have reason to celebrate. Let’s hope so. But in 2018, we’ll be in the existentialist thick of figuring out how we’re going to keep this world spinning.

We’re at odds with Russia, and more and more people believe that the Russian government has injected itself into our politics and in the country’s presidency. More insidious is the probability that Trump is willingly under Putin’s thumb. We haven’t faced such times as these since President Nixon’s Watergate scandal and the Cold War, which lasted from the lasted from the late ’40s to the ’80s (again, there’s a hint of ’80s nostalgia there). So naturally, 2018 will see an increased focus on ’70s and ’80s politics, the Cold War, Nixon and Watergate, and new interpretations of those themes in present-day stories. Films such as Red Sparrow and Finding Steve McQueen are directly related to Russian/American politics, both in the 1970s and today. The interest in Russia has already in TV, with Channing Tatum’s Comrade Detective and HBO’s Fahrenheit 451 (I’ll get to TV in another post, so don’t worry, I’ll get to the TV trends too). That trend is also already coming to film with this September’s The Death of Stalin, chronicling the days after the Joseph Stalin’s death.

(featured: Red Sparrow book cover, The Death of Stalin, Finding Steve McQueen, The papers set photo)

The Papers is another film that’s about the 1970s (and late 1960s), but it’s handling public distrust of another kind. The Papers is all about the discovery of The Pentagon Papers, which showed that President Johnson lied to the public about the nature of the Vietnam War. While this isn’t directly about Nixon or Watergate, it’s still showing that the film tide is turning towards investigating a lack of trust in authority, particularly in a “post-truth” society.

Eventually, the focus that is beginning to be applied to Russia and the Cold War of the ’80s will also rope in North Korea as well. With North Korea becoming more and more of a nuclear threat each day, screenwriters will no doubt want to turn their attention towards the Hermit Kingdom, and studios will also probably want to capitalize on some of the properties that are already out that focus on nuclear threat. (A possible resurgence of Watchmen, perhaps? Just spit-balling here).

As you can see in this Oceans Eight first look image, women are going to be in power in all kinds of ways. From robbing folks to executing hits to owning stardom, women in unconventional and/or powerful roles will be all over 2018. Some of the films we’ll see next year are Battle Angel AlitaA Wrinkle in Time, Mary Poppins Returns, Mamma Mia: Here We Go Again!, The Nightingale, Red Sparrow, Tomb Raider, Crazy Rich Asians, Proud Mary, Widows, Ant Man and the Wasp, Life of the Party, The Papers, Winchester, The Girl in the Spider’s Web, Annihilation, X-Men: Dark Phoenix, and The Nutcracker and the Four Realms, to name a few.

(featured: Rosa Salazar cast in Alita: Battle Angel, Meryl Streep in The Papers, Taraji P. Henson in Proud Mary, Mindy Kaling, Oprah Winfrey and Reese Witherspoon in A Wrinkle in Time, Gina Rodriguez and Tessa Thompson in Annihilation, Alicia Vikander in Tomb Raider)

Several of the films mentioned have women of color at the forefront, and two such films, like Widows and Proud Mary have black women (Viola Davis and Taraji P. Henson, respectively) taking on roles that require their characters to exact deadly revenge, a micro-trend by itself. Alita: Battle Angel, based on a popular anime and manga about a cyborg brought back to life, stars Rosa Salazar amid a multicultural cast, and Crazy Rich Asians finally ends the drought of a lack of a pan-Asian presence on screen. Zazie Beetz (seen below) will become the first lady of Fox’s Deadpool franchise and, of course, all of that is rounded out by the introduction of Storm Reid in A Wrinkle in Time and the big screen debut of ballerina (or as I like to think of her, my ballerina Barbie come to life) Misty Copeland in The Nutcracker and the Four Realms. (As a huge Nutcracker fan, I can’t wait to see the film’s costumes. Here’s hoping they live up to my expectations.)

The tide has been turning for women in film, what with the outcry of several actresses about the lack of meaningful roles for women, the financial gain studios have seen from hiring women for action and bawdy comedy roles (such as Girls Trip, which became the highest-grossing live-action comedy in 2017), and movie-goers’ own demand for actresses getting equal treatment next to their male counterparts. This has led to the portrayal of women who aren’t just boobs and butts with mouths for male pleasure; Alicia Vikander’s Tomb Raider isn’t the busty woman of the past (who still kicked butt, by the way); she’s now a slimmed-down, more athletic-built woman who is on an existential search for herself as well as she finds out the truth about her father. Meryl Streep plays a newspaper titan who is out to get those Pentagon Papers. Gina Rodriguez and Tessa Thompson are scientists studying another world, with no men in sight.

But, as you can probably infer from the high gross from Girls Trip, that there’s also a racial element at play, too. It’s not just that women as a whole are getting more roles, it’s that there’s slowly more equity for women of color to be seated at the table as well. While women in general don’t have as much play as actors, white women still had the lion’s share of the roles. Technically, they still do, but thankfully, with directors of color like Ava DuVernay and actresses of color-turned-producers like Queen Latifah taking the reins, we’re finally beginning to see films starring actresses of color play in roles that were strictly relegated only to white actresses. Would we have seen Mindy Kaling and Oprah play interdimensional beings if it weren’t for another woman of color like DuVernay? I’m sure someone would have done it, but it wouldn’t have happened so soon, I’d think, and it might not have been done with the same intention of equity. Ditto for A Wrinkle in Time featuring an interracial relationship and what looks like a blended family (from the trailers, it’s seems like Storm’s character has a white brother, leading me to think that it’s her stepbrother).

Is Hollywood really “woke” by including more people of color and more of an LGBT focus in its movies? Let’s just say this is Hollywood’s first dip of its big toe in the water of being “woke.” However, this is still a huge push forward in 2018, with a bigger number of films showcasing either all-POC or mostly POC casts.

Of course, there’s Black Panther, Crazy Rich Asians and A Wrinkle in Time, but there’s also, Triple Threat, starring Tony Jaa, Michael Jai White, Tiger Chen and Uko Uwais, and The Predator, which stars Keegan-Michael Key, Sterling K. Brown, Trevante Rhodes, Olivia Munn and Edward James Olmos.

As mentioned before, Annihilation stars Gina Rodriguez and Tessa Thompson, and several movies, including Deadpool 2, Pacific Rim: Uprising, Skyscraper, Gringo, Creed 2, Mary Poppins Returns, the currently-untitled Han Solo Star Wars filmThe Alchemist, Aladdin and Jurassic Park: Fallen Kingdom will prominently feature POC characters. Just take a look at this compilation of actors:

(Featured: Lin-Manuel Miranda in Mary Poppins Returns, Tessa Thompson in Thor: Ragnarok, the cast of RampageJurassic World: Fallen Kingdom‘s B.D. Wong, Star Wars Han Solo film’s Donald Glover, J.A. Bayona in Jurassic Park: Fallen Kingdom, the cast of The Predator, the cast of Aquaman and director James Wan, Crazy Rich Asians‘ Henry Golding, Aladdin‘s Mena Massoud)

It also doesn’t hurt that there will be some big films directed by directors of color. DuVernay has been mentioned, and James Wan is in charge of Aquaman. Taika Waititi is behind Thor: Ragnarok and Steve McQueen is behind Widows. Jon M. Chu is bringing his directorial vision to Crazy Rich Asians.

There’s also Simon vs. the Homo-Sapien Agenda, which will be the live-action adaptation of a novel focusing on a high schooler taking coming out to his classmates in his own hands.

With all of this progress, there are still some indications Hollywood isn’t as woke as it’d like to be: at least two of the movies on the current slate feature Asian themes (specifically Japanese storytelling) without Japanese characters. As mentioned already, the Alita film adaptation will feature a multicultural cast with a non-Japanese POC lead, and Isle of Dogs will feature a mostly-white, if not all-white, cast (including Scarlett Johansson, whom people still haven’t forgiven for her role in Ghost in the Shell). We’ll see how these films are handled as we get closer to their releases. Also, Simon vs. the Homo-Sapien Agenda is currently the only high-profile film focusing on a gay character. We’ll see exactly how many LGBT characters and stories are a part of 2018, but it looks like Hollywood is, once again, lacking in this area. There’s also no clear word on how disabled people will be represented either. Seeing how disabled people have been represented this year, there’s no reason to think that 2018 will showcase anything different. But we can hope.

Of course, I haven’t mentioned every film coming out in 2018 (partially because not every film has released its promotional info) and, like with anything, there will be outliers that are hard to put into any category. But these are my general thoughts on 2018–an overview, if you will. What do you think 2018 holds for us? Give your thoughts below!

The “Justice League” trailer has hit, and the reaction is mixed at best

Warner Bros/DC Entertainment

The internet went wild over the release of the official Justice League trailer, and it seems like the reaction has been all over the place. If the official Twitter Moment gives you any indication, there’s a camp that’s all about the movie, and a camp that’s not about Zach Snyder’s penchant for muddy blues and dark tones.

If that last sentence didn’t let you know, you can probably tell that I’m in the latter camp. Look, I want to like the movie a lot, but this color scheme doesn’t do anything for me. One thing I learned in art school was that if you take a picture you’ve drawn and you squint your eyes and all you see is one monochromatic color, then you don’t have enough light and dark tones in your piece and you need to add some differentiation STAT. You can do the same with this entire trailer, especially the fight scenes, and all you’d see is blue. I really don’t know what Snyder is trying to pull with this “color palette.”

Three good things we’re getting out of this film are The Flash, Cyborg, and Aquaman. I’ve been a fan of Ezra Miller since The Perks of Being a Wallflower, so I’m excited to see what he’s going to do with this character. I’m also excited to see what Hollywood newcomer Ray Fisher will do with Cyborg who was best defined for me during the character’s role in the Teen Titans cartoon show. And of course, if you’re a person who’s attracted to men and you have a pulse, your probably in the camp that wants that Jason Momoa Aquaman movie to come yesterday. As Jamie of Black Girl Nerds summed up:

Want to see the trailer for yourself and form your own opinions? Here you go:

Now let me know what you think in the comments section!