A couple of weeks ago, I posted quite a bit online about interracial relationships featuring black women and Asian men. Even with the popularity of the Twitter conversation, I was still surprised when I was sent an opportunity to watch a new short film featuring a black-Asian couple!
Underneath the Grey, directed by Patrick Chen and starring Michael Rosete and Tia DeShazor, is a short film that has received tons of love from film festivals including the San Francisco Black Film Festival, the Denton Black Film Fest and the Urban Mediamaker Film Fest. Underneath the Grey has also been accepted to Asians on Film and the Queens World Film Fest.
I was able to watch the short film and I can tell you that once it’s out to the public, you’ll love it. As the two leads, Rosete and DeShazor have amazing chemistry and you instantly root for their characters’ relationship to work. While Rosete himself isn’t blind, he does play his character Ethan as a well-rounded character, not a one-dimensional caricature whose characterization is exclusively about his blindness. DeShazor’s Jessica exhibits the inner battle that plagues many who are trying to make it in the arts –is a person’s “worth” about their inner selves or their bank account? At one point in the film, Jessica feels Ethan won’t want her around because she’s gotten laid off from her job. But Ethan makes it clear to her that it doesn’t matter how much money she has–it was her soul that he fell in love with, not material possessions. Overall, at the heart of the film is love, heart, and the message that time waits for no one, so make sure to share your life with people you hold dear. (A spoiler you’ll be happy to know: Ethan and Jessica do spend their lives together, as evidenced by their talk about getting their first grey hairs.)
So how’d this short film come about? I emailed Chen to learn more about the genesis of the film. He wrote that the inspiration came to him while he was learning more about film color grading and “wanted to create a black and white picture with a blind person as the main protagonist,” exploring how a person with blindness adapted their senses and imagination to a world catered towards those with sight.
“The opportunity presented itself with my involvement with Asian American Film Lab’s annual competition,” wrote Chen. “It challenges filmmakers to produce a five-minute film with a designated theme spanning three days.”
The resulting film changed from the original black and white idea, but the focus on a man who has lost his sight and his adaptation to his new life remained a core feature and, even better, a romance between him and an aspiring Broadway star was added, giving the film a driving storytelling force.
“I gathered up my research and team with the confidence of producing this unique perspective of a blind (Asian) man falling with a (Black) woman,” wrote Chen. “I wanted to have a diverse cast and a story that doesn’t focus on the separation of race, religion or gender; and in this scenario, being handicapped. I wanted the world to see that we are not just one color but also a beautiful blend of lives.”
“Underneath The Grey is the discovery of inner beauty through self-acceptance. The challenge was not only producing quality work in 72 hours but to also have characters that felt lifelike and inseparable,” he wrote. “With the support from EnMaze Pictures and the opportunity given by the Asian Americans Film Lab, the production was given form. The 5-minute version was given praises by an audience of different ethnic groups. With this encouragement, I expanded the film to 15 mins with a small backstory and additional scenes of the characters’ relationship. I feel this story is now completed to further serve the audience’s fulfillment of these two wonderful characters.”
Thanks to Chen, I was able to ask Rosete and DeShazor some questions about their characters. I also asked Chen some questions via email about his directorial process.
What was it like to be a part of this short film?
Rosete: Patrick, Shannon, Tia, Joe, everyone involved was so professional, so easy to get along with, and open to each other’s opinions. It felt like a bunch of friends getting together to tell a story, a truly collaborative effort. There was a lot of support for each other, and a vibe that we were all there because this is what we love to do.
DeShazor: Being a part of this film was very exciting. We definitely had some fun times on set. I don’t know if Patrick told you that there was an original version that was shot in 24 hours. That was a crazy, but everyone was completely committed to telling a beautiful story. Patrick and his team are incredible to work with, so I enjoyed every moment of the process.
How did you get into character? Particularly, how did y’all develop the chemistry between your two characters (because it seemed like there was a genuine connection/friendship between y’all off-screen).
Rosete: Tia is such an open, loving and kind person; she was able to let those qualities shine through on this project, which made it very easy to connect with her. We spent a little bit of time before shooting and in between takes getting to know one another like you would in any job; I would find qualities in her that I could connect with. We both knew with this story that if there was no chemistry, it wouldn’t work, so I think we were both mindful of that throughout the process.
DeShazor: Regarding chemistry with Michael, he is a very generous actor. We were able to meet beforehand and we used our time off camera to get to know each other, and we have a lot in common. We also both know what it is like to experience love, be vulnerable and open to it. We are both married now (to other people), and I think having the understanding of what true commitment feels like informed our performances. Also, Patrick created a very safe environment where we were able to feel comfortable in more intimate moments.
What kind of preparation/research did you do to portray Ethan’s blindness?
Rosete: I had a very limited amount of time to prepare, so I called various centers for the blind to ask questions, read articles about what it is to be blind or visually impaired, watched clips of various blind people sharing their experiences online, watched movies that portrayed blind characters, and observed people on the street. Patrick also provided a walking cane, which I would spend hours on using at home and in the street to practice.
This short film is about how love can transcend all the barriers people think can limit love, such as race, disability, career choices (i.e. when Jessica felt like Ethan wouldn’t want her staying at his place because she’d been let go from the bar). Why do you think this message is something we as an audience need to always be reminded of?
Rosete: I don’t think we set out to make a statement about the power of love so much as telling a story of this particular man and woman’s journey together. But anytime we as audience members can be reminded about love, and the power of it—in all of its forms—I’m all for it. Everyone, intentionally or not, has put up barriers out of fear of the unknown or what is not fully understood. I think it’s important not to “look past” whatever we think these “barriers” are, but to acknowledge them, be open as to why we even see them as “barriers,” learn about them, and eventually free ourselves from seeing them as “barriers” at all.
DeShazor: This story is so relevant today because we always need to be reminded that love transcends abilities, careers and ethnicity. We hear that a lot, but there are still so many barriers that make it difficult to really live out. We receive so many messages, whether we are aware of them or not, about love, status and stability that make us fearful to take chances. And it is our nature to choose the safest route, protecting ourselves from the heartbreak of falling in love, from the failure that could come from following our callings or from the isolation and ridicule that could come from choosing to be with someone who is different. We will always need to see people from different backgrounds taking these risks.
What do you think of the positive response to the film?
Rosete: I am thrilled by the positive response; we set out to tell a story that we thought would be interesting, and did the project out of love for what we do, so to see people react positively to what we made is a great feeling.
DeShazor: Having made this film so long ago, I can honestly say that it is the gift that keeps on giving, and I am so thrilled when people connect with the story!♦
Into the Badlands is coming into its second season March 19, and even though we’re psyched about the level of action and and suspense, we’re also focused on the family aspect of the show, which is worrying about how Sunny’s going to get back to his family, Veil and their newborn baby. Check out the trailer for an insight into what we can expect this season:
One of the elements I’ve loved the most about Into the Badlands is the relationship between Sunny and Veil, especially the backstory behind why Daniel Wu specifically wanted Sunny and Veil (Madeleine Mantock) to be an interracial Asian man/black woman relationship.
As he told Slate:
“…[I]t felt especially important to show an Asian male as having a sensual side. We all know the story of Romeo Must Die, how Jet Li is the movie’s hero, and the whole time you see this connection developing between him and Aaliyah, who played the female lead. And in the last scene, Li was supposed to kiss her, but when they showed the movie to test audiences, people said they found that disgusting. In the version they released, you just see them give each other a hug. So I don’t want to say this is groundbreaking, because we need to make this a success yet, but it’s cool that we were able to right that wrong too. It’s been 15 years since Romeo Must Die, and 40 years since Kung Fu. That’s just ridiculous. But it’s Hollywood, so I’ll take it.”
This point comes up a bit on this site, but Wu’s insistence on redoing Romeo Must Die in his own way is important, since the only other times (at least in my memory) that we’ve seen an interracial AM/BW relationship on TV was during Rodgers and Hammerstein’s Cinderella in 1997, with Brandy as the titular character and Paolo Montalban as the prince:
And 2009’s Flash Forward with John Cho as Demetri Noh (who I believe saw his own death??) and Gabrielle Union as his fiancee Zoey Andata:
And until the recent boom in shows featuring Asian American men like Fresh Off the Boat and Crazy Ex-Girlfriend, the most recent example of an Asian man as the love interest on a show was, once again, Cho in Selfie.
In short, Into the Badlands is super important to the discussion of representation for interracial relationships, particularly interracial relationships between two non-white individuals and, of course, relationships between Asian men and African American women.
There’s a whole host of other things that makes Sunny and Veil great, so to list them all, I asked the good folks on Twitter why they love Sunny and Veil’s relationship.
— Mediaversity Reviews (@mediaversityrev) March 17, 2017
Its good to see an IR w/ 2 poc esp when black women and asian men are rarely portrayed as desirable or love interests
— Kay🐫 (@beguilingpearls) March 17, 2017
Veil and Sunny aren't stereotypes and I love seeing a black woman in a fantasy thats loved but also has her own agency
— Kay🐫 (@beguilingpearls) March 17, 2017
they are layered human beings. pic.twitter.com/YPAfebuIiS
— no moss gatherer (@morning_ambler) March 17, 2017
So many reasons, but the biggest for me is that they've got some of the most natural, physical chemistry on screen right now. https://t.co/RAC0HiICZn
— Studio Glibly (@NoTotally) March 17, 2017
Because they are beautiful together and their respect for each other is tangible❤️ https://t.co/6EFTucg6kX
— jahkotta 🚀🌒🖖🏾 (@Jahkotta) March 17, 2017
These two have a natural chemistry that you don't find often in series like this. Veil is a viable character separately and with Sunny. https://t.co/kYF985i8mD
— BluePhoenix (@BluePhoenix1) March 17, 2017
💙 the opposites dynamic. She's a healer, he's a mercenary; his boss killed her parents. It's beyond against all odds.
And they're pretty. https://t.co/dGBnfy4ZCZ
— The Hon. Tiffany (@WhoIsTiffIsMe) March 17, 2017
I like that the smart woman gets the hot guy.
— Shana Hartmann (@ShanaHartmann) March 17, 2017
Because they're a couple that TALK TO ONE ANOTHER when something dodgy happens. So rare in drama.
— Sy Almans (@syalmans) March 17, 2017
They're both very independent but aren't afraid to express their fears which is refreshing to see in a character like Sunny #IntoTheBadlands
— CarolynH. (@CarrieCnh12) March 17, 2017
I'm a believer in be with the person that makes you a Better person, I like that what he lacks she has in spades and vice versa, he lacks
— BLACK girl Friday (@CandiLand808) March 17, 2017
Mercy and compassion (and literacy) she gives it to him and if it hadn't been for Veil I don't think Sunny would've had the capacity 2 take
— BLACK girl Friday (@CandiLand808) March 17, 2017
On MK as a colt… and where she might not be able to physically protect herself especially being prefers WHOOP Sunny can and I think she
— BLACK girl Friday (@CandiLand808) March 17, 2017
Gleaned some courage and the ability to stand and face evil and threats and enemies from him, obviously their communication needs work
— BLACK girl Friday (@CandiLand808) March 17, 2017
(Don't we all) but together they're learning how to open up and it's a BEAUTIFUL thing 😍 I LOVE this TV couple and I Swear no one better
— BLACK girl Friday (@CandiLand808) March 17, 2017
Hurt that Baby!!!! 😠😢😢
— BLACK girl Friday (@CandiLand808) March 17, 2017
its a nice reminder that interracial couple doesnt mean 1 white person/1 non-white person. Most importantly Veil has agency
— Queer Kaur (@QueerKaur) March 17, 2017
Veil/Sunny are equals. she has her own motivations/ideas/thoughts and communicates them. It's such a refreshing relationship
— Queer Kaur (@QueerKaur) March 17, 2017
THEY'RE SO ATTRACTIVE
— Eunice Yooni Kim (@euniceyoonikim) March 17, 2017
@madeleinemgm love their honest relationship and it's so rare to have a love story between 2POC. And their chemistry is
— Isaïla (@Hinss4) March 17, 2017
amazing. I can't wait to see what season 2 has in store for them (and the whole show)
— Isaïla (@Hinss4) March 17, 2017
— Vivian (@fallenrobin6) March 17, 2017
Why do you love Sunny and Veil? Give your reasons in the comments section!
It’s official: Zendaya is playing Mary Jane Watson in the upcoming Marvel film, Spider-Man: Homecoming. But why is everyone quick to assume that Mary Jane is black? What if it turns out that Mary Jane is biracial, like the actress playing her? And if this is true, how will this positively affect other biracial girls of African-American and Caucasian heritage that see her on-screen?
There has been plenty of talk about the lack of mono-racial people of color (for lack of a better word) for a while now. But it seems like most people don’t turn that conversation to a group of people of color who have been unrepresented, sometimes twice or many times over: biracial and multiracial people of color.
Technically, most of us in the U.S. have at least one other ethnicity in our heritage. But most of us claim just one. In many respects, the “one drop rule” still applies, even in the mouths of people who state that they don’t believe it. If you look black, you’re black. If you look Asian, you’re Asian, etc. Halle Berry famously said that her mother, who is white, told her to accept that she’s black, because that’s all anyone would see. Even President Barack Obama, who is biracial, is constantly called the first black president, even though that title negates the other half of his heritage. The same is happening with Zendaya’s Mary Jane; most people assume she’s playing a black Mary Jane, when it could be that she’s playing a biracial Mary Jane, a character that could draw on Zendaya’s own experiences as a biracial woman.
I should stress that I’m putting asterisks and air-quotes around the word “could.” Knowing how Marvel is at representation sometimes, there’s the overwhelming possibility that Zendaya is playing a black character. However, this particular film has the most inclusive casting of a Marvel film, and none of it seems like stunt casting. This film, as far as I’m concerned, is a watershed moment for Marvel and could signal a higher degree of focus and sensitivity towards casting. This sensitivity might also be applied to characterization. If it is, that would be a boon for biracial people, specifically those of African-American and Caucasian heritage, because biracial and multiracial people are hardly ever showcased in the media, and when they are, they are usually shown in an objectifying and dehumanizing light.
According to The Critical Media Project, the 19th and 20th centuries generally showcased biracial people as the “tragic mulatto,” the byproduct of a sordid relationship between a white and black couple. These characters were usually seen in a binary light, being tragic figures because they couldn’t fit into either the white or black worlds. The context in which these characters were viewed was from a white point of view; the only value these characters had were if they could pass as white, and if they couldn’t then their supposed tragedy made them unfit to exist in a world that only viewed race in terms of “undesirable” blackness and “exceptional” whiteness. There are several films like this that have been shown on TCM, but the most popular one has to be Imitation of Life, in which the biracial woman rejects her black mother, passes as white, and remains as such until her boyfriend leaves her because of her black heritage. (Spoiler alert: Her mother dies of a broken heart after her daughter tells her she hates her; the daughter only comes to her senses after her mother has died and she flings herself onto her mother’s casket during her funeral procession.)
Today though, biracial and multiracial people are now thought of as the product of an exotic, idealized future. This sounds like it should be positive, but it still puts biracial and multiracial people in terms of theory, not reality. To quote The Critical Media Project:
“…[T]he increasingly globalized nature of identity means that the conversation around mixed race tends to move beyond an isolated focus on black/white issues to incorporate other racial and ethnic identities. Mixed race individuals are often talked about in futuristic terms, conceptualized as modern hybrid beings that signal a faster, stronger and better world ahead. They are also often sexualized and fetishized as mysterious, exotic, sexy and extraordinary looking.”
Even though the tone of the conversation has shifted, biracial and multiracial people are still afflicted with stereotyping and objectification. Maybe one reason we rarely see biracial and multiracial people represented in the media is because too many people still view the idea of a multiracial society as a futuristic, sci-fi world that isn’t here yet, when in fact, it is here. It’s been here for centuries. In short, things have got to get out of the theoretical and into the practical when it comes to representing biracial and multiracial people as people, people who live in the now. Zendaya’s Mary Jane could go a long way in beginning to right that wrong.
The biggest film featuring an interracial family in recent memory is Infinitely Polar Bear, starring Zoe Saldana and Mark Ruffalo. Mirren Lyell for Mixed Nation also cites Nickelodeon shows Sanjay and Craig and The Haunted Hathaways as recent TV shows depicting interracial families. But there should be more films like this. Indeed, there should be more media of all types about multiracial and biracial people. As John Paul Brammer of Blue Nation Review wrote:
In the context of the media diversity debate, multiracial people exist in a precarious place. On the one hand, they seem to be left out for the sake of a more direct approach to criticism of media representation of minorities. “We need more black characters” or “We need more Asian characters” are strong demands with a history of mischaracterization and discrimination behind them. “We need more multiracial people of color” is seen as a level of intersectionality that Hollywood simply can’t process.
On the other hand, multiracial characters are often employed as copouts in the media, used to represent ethnic minorities in a more “palatable” way for mainstream audiences. Multiracial black actors with light skin are hired over black actors with darker skin. White Latinos are hired over Latinos with ethnic features.
Even films with progressive racial themes have come under fire for this. The film Dear White People, a film created to represent black people and discuss white racism, was criticized for casting as its protagonist a biracial, light-skinned black woman.
More representations of biracial and multiracial characters could help quell Hollywood’s usage of actors and actresses of mixed heritage as social and political wedges. More representations would also help build the self-esteem of many kids who don’t see characters who represent all of their heritage on screen. According to this article by Astrea Greig, MA for the American Psychological Association:
“Despite large growth, the multiracial population still comprises a very small fraction of the U.S. population (Humes, Jones, & Ramirez, 2011). Moreover, multiracial people in the media are often depicted as monoracial (CNPAAEMI, 2009; Dalmage, 2000; Shih & Sanchez, 2005). As a result of the small population and lack of media representation, multiracial youth may feel that they do not have a multiracial community and lack role models to help them understand their mixed identity (Dalmage, 2000; Shih & Sanchez, 2005). Multiracial role models are thus extremely helpful for mixed children and teens (Shih & Sanchez, 2005). Moreover, having a community of others with a mixed racial and/or ethnic background has shown to help improve psychological well-being (Iijima Hall, 2004; Sanchez & Garcia, 2009).”
If Marvel allowed it, Mary Jane Watson could be one such role model for biracial children. Her story, which as many have said is independent of race, would go a long way to represent biracial and multiracial people not as an ideal or as a tragedy, but as an ordinary person who faces personal and social issues big and small. A biracial Mary Jane would be yet a further stepping stone towards true identity equality in Hollywood and in society.
What do you think about a biracial Mary Jane? Write about it in the comments section below!
I’ve suddenly come to a realization. I am Saved by the Bell’s Lisa Turtle.
I’m not her in the sense that I’m fabulously wealthy. The way I’m like Lisa Turtle is that on paper, I have what every guy is supposedly looking for (or so they say): brains, looks (if I may say so myself), talent, and likability. I’m nice, caring, goal-oriented and respectful of my elders. I’m the woman that, supposedly, every guy would like to find to take home to their mother. Even better, I think I’m a pretty good role model, something Lisa also was to many black girls who had never seen a rich black girl portrayed on television and felt represented by this new portrayal of blackness.
The only problem is that the guys haven’t been knocking down my door. Like Lisa Turtle, I am dateless. Perhaps unlike Lisa Turtle, I actually wonder why.
Urban legend has it that Lisa was actually written to be a snobby Jewish (read: white) girl, but Lark Voorhies impressed the Saved by the Bell folks so much they gave the role to her. After learning that tidbit, I have to wonder if the writing department then decided to change other aspects of Lisa’s characterization, such as who she’d wind up with in the dating department. For a show that came on in the late ’80s and early ’90s, it wouldn’t surprise me if they then decided that Lisa wasn’t the right kind of girl to end up with someone like Zack or Slater. As a black girl, she might work best with another outcast, like the terminally nerdy Screech.
“But Lisa dated Zack that one time!” Yes, that was that one time, a time so brief I don’t even remember it; I read about it online. Apparently it was only for one episode, and the reason they split up was to save the fragile emotions of Screech.
Instead, Lisa —fashion-forward, stylish, popular, cool, rich Lisa—was fated to always become Screech’s main crush. And even then, it would seem that Screech actually moved on from Lisa to a little-seen character named Violet Anne Bickerstaff, leaving Lisa officially the only character on the show who had never had a long-term relationship.
What was Lisa missing that denied her the opportunity to be a part of an It Couple like Zack and Kelly or Slater and Jessie? How come Lisa couldn’t have a relationship that showcased her femininity, vulnerability, and otherwise humanness? Why was she relegated to just being the rich snob?
I have to assume that race played a role in the writers’ inability to see Lisa as anything beyond just a joke character. I assume that because not only does it play a role in how characters are designed, but it also plays a role in how we choose our own potential partners and how we see ourselves in relation to said partners.
In an earlier article about Sleepy Hollow‘s Abbie Mills, I wrote about the trope called the Strong Black Woman. You can see many characters that fit this trope, even in a character like Lisa. So what is the Strong Black Woman? Allow me to quote myself:
the Strong Black Woman trope that became associated with positivity happened in the late ’60s and early ’70s, with a prime example being Caroline Bird’s 1969 New York Magazine essay on black womanhood. Alternet rightly calls the article “flawed” since, as the site states:
[The essay] deems black women capable and independent (read: strong) by necessity. Black women fight, Bird says, because they have no one to fight for them, unlike white women with proximity to white, patriarchal power. “Whatever the reasons, the fact is that Negro women in America have escaped some of the psyche-crippling education of white girls. They haven’t been carefully taught how not to fight. On the contrary, some of them fight hard and develop a personal style of fighting that suggests that ‘grace under pressure’ which is supposed to be the essence of courage.”
Bird’s piece spins allegedly distinctive black female strength as a powerful weapon, giving African American women an edge over white women and black men–a dubious message. It also paints black women as possessing a durability that is nearly inhuman. For instance, Bird asserts that “The absence of Negro fathers hurts growing boys more than girls, and saved Negro girls from some of the dissatisfactions with their sex that brought many white women to psychoanalysis.” Abandoning black girls does not hurt them, this suggests; instead, it makes them stronger.
This article by Bird means well, but it basically does a good job of reinforcing the original Strong Black Woman stereotype from slavery times; that black women don’t have feelings and are immune to the societal and familial pressures others are. Somehow, they are more powerful than everyone, yet they are still the mule of the world because going by this analysis, the black woman still takes in society’s ills and is still burdened by them. However, the burden, according to Bird’s essay, is the pressure that makes the diamond form. In Bird’s words, the burden is necessary, not something that should be alleviated by society coming to grips with itself and uplifting black women as women and human beings.
Lisa has shades of the Strong Black Woman because, despite having everything a character could ask for and despite the fact that she would be seen as desirable because of it if she were white, Lisa’s instead relegated to being an emotionally invulnerable character. Despite being neglected by potential suitors, broken up with by Zack to save his friendship with Screech, or denied any other position other than “that black girl,” she’s somehow never broken up about the role society has given her. She doesn’t get hurt. Instead, as Bird suggests, she becomes stronger, more Lisa Turtle-y than she was before. She becomes the invincible rich girl who doesn’t need anyone because she’s going to become a fashion superstar.
I mainlined Saved by the Bell growing up, and I believe much of that subconscious Strong Black Woman programming triggered me. I saw myself as Lisa, as the girl who had everything going for her, but for some reason, couldn’t get the boys to like her. I wasn’t like Kelly or Jessie, who were white, therefore seen as more desirable. I was as smart as Jessie, so I wondered if I, as a Lisa, would ever get a guy like Slater, who was apparently into smart girls who wore mom jeans. However, what if the one thing Jessie had over me was her race? To be fair to Jessie and Slater, their relationship meant a lot to me because I could actually see that interracial dating was possible. Maybe it wouldn’t happen for me, but it was, at the very least, possible. But I still wondered how much more work than Jessie I’d have to do to get a Slater. Once again, white privilege allows you to be seen as more attractive than you might actually be. Case in point: the many black male athletes who tote their white trophy wives around. The most egregious example of this: Tiger Woods liking no one but white, blonde women.
I definitely had no illusions about being a Kelly; I knew I would never be America’s vision of an “All-American Girl”; I’m not white. I immediately saw someone like Zack as the unattainable fruit growing high on a tree I wasn’t allowed to pick from. Even still, I wondered if Lisa would ever truly get with Zack, since they always seemed to vibrate around each other (apparently, Voorhies and Mark-Paul Gosselaar were dating in real life). But despite their off-screen romance, Lisa and Zack would never date on the show, save for that one time that hardly anyone remembers. Even in that brief dalliance, Lisa’s heart had to take a back seat to Zack’s supposed deep friendship with Screech. Even then, Lisa is thought of as the Strong Black Woman, whose emotional state is never considered because, as a Strong Black Woman, she’s thought of not having any.
Lisa and Zack’s unrealized potential as a couple also taught me something else: that racial divisions were still alive and well when it came to on-screen relationships. Seeing Lisa never getting a Zack or a Slater-type character made me worry about my own well-being in the dating department. Lisa was my avatar into the world of Saved by the Bell; if she, who had the money, style, glamour, popularity and rich-kid access to any and everything, couldn’t get the guy of her dreams regardless of his race, then what hope did I, a glasses-wearing kid who felt self-conscious about her weight have? I might have been as smart as Jessie and heck, I was just as lovable as Kelly, but if my black sister-in-arms wasn’t seen as desirable, what did the world think about me?
The first time I distinctly remember seeing a black girl with a white boy was on Boy Meets World, when Shawn dated Angela. Even though Angela annoyed me at times, I viewed their relationship as something that reaffirmed what I’d been taught about loving all people (back in the ’90s, the buzzword we were all taught in elementary school was “colorblindness”). It made me think that I was finally seeing what had been preached to me —about love knowing no color –actually being put into practice. The actress who played Angela, Trina McGee Davis, wrote about her Boy Meets World experiences to the Los Angeles Times in 1999. She wrote that most of the responses she received, particularly from the younger audience members, were positive, with many young viewers asking her when Angela and Shawn would reconcile.
“My character, Angela, has intimately kissed Shawn (Rider Strong) a number of times, and the show’s creators have never made an issue of our race,” she wrote. “…The black kids are not asking, ‘Why are you with that white boy?’ When I attended the NAACP Image Awards, a black girl lamented to me that Shawn and Angela are a perfect couple and should be back together. The next day, a white girl in a mall begged to know if Shawn and Angela are still in love…They are the new face of tolerance. These kids are not looking at race; they’re absorbing the love story.”
Shawn and Angela’s relationship was revolutionary not just in the interracial dating department; it also positioned Shawn as just a guy, not the unattainable white guy that all non-white girls would have to work hard to get. If there’s one thing that was taught early in ’90s television, it was that The Beautiful People were white, despite some of the Beautiful People also being black, like Lisa Turtle. Lisa could use her popularity to become a satellite of the group of chosen ones, but the true chosen ones were the white ones, the ones who would immediately be crowned Prom King and Prom Queen.
Kelly and Zack exuded that classic white teenager trope of being good-looking, desirable, congenial, popular, and amenable to everyone while still having an invisible, bulletproof shield of white privilege surrounding them. In fact, it was white, able-bodied privilege that made them seem desirable. Because of that intangible privilege, they had a leg up on the nerds of all races and the minority kids like Lisa and Slater. Kelly—the head cheerleader and volleyball, swim, and softball captain, and Zack—lovable class clown—were the highest recipients of of this intangible privilege, allowing them to rule the school without having to work hard for respect; it was just given to them. As Lisa Turtle, I’d have to work twice as hard just to be seen as competent.
Developing this mindset at a very young age has left me paranoid in the love department. Sometimes I do wonder if race plays any part in why I’m not with anyone. I distinctly remember a high school classmate of mine saying, as if it was the most normal and self-empowering thing to say, that she wouldn’t marry a black man because she wanted her kids to look like her. I didn’t say anything, even though I was furious, and the guy I did like—who was basically Zack Morris—did his best to try to get her to shut up for my sake. But I wondered since she could say that out in the open, for my ears to hear, if a guy, particularly the guy I liked, felt the same about black women. I wondered if too many guys felt that way about black women. In fact, I limited myself from my chance to tell the guy I liked that I actually liked him for fear of being rejected—either because of my inflated idea of my own nerdiness, my weight (which wasn’t bad in hindsight; I was a size 10), my emotional sensitivity or —the big reason—because I was black. I saw myself as Lisa Turtle, and Lisa never got with Zack Morris.
Sometimes people don’t realize how sneakily racial discrimination can worm its way into a child’s mind. They don’t get how truly menacing white privilege can be. When you see images of yourself constantly alone, you begin to think that that’s what you should expect. Nowadays, it’s even worse; not only are young girls afflicted by the white privilege happily flaunted by the Taylor Swifts and Gigi Hadids of the world, the It Girls who have magazines falling on themselves to cover every moment of their lives, but they are seeing how people treat actresses like Leslie Jones, who was actually removed herself from Twitter for a short time to escape trolls sending her demeaning comments solely because of her dark skin.
Girls growing up today not only worry about how their race affects how people view them, but how their bodies are being judged as well; everyone wants a Kim Kardashian-esque big butt, and you can read how I feel about that. The pressure on girls is immense, and the pressure they place on themselves is even bigger. Thankfully, there are more examples of black women in relationships of all kinds than there were when I was growing up. But there need to be more. There needs to be enough examples of black women being treasured to stamp out the persistent question many black girls have growing up: “Am I enough?”
So what can I say to the other Lisa Turtles out there? I actually wish I could give you the step-by-step of “Here’s what I did to get over my self-imposed stigmatization.” The truth is that I still struggle with my dating paranoia. I still imagine what it’s like to be a Lisa Turtle that actually gets the guy. But perhaps, I can say this: You are not what society deems you to be. Dating sites can make all of the studies they want to “prove” how black women and Asian men are deemed the least desirable to prospective dates, but do your best to let none of that affect you. No matter what anyone or any site says, you are a beautiful, vibrant, complex, vulnerable, emotional, and loving black woman. You have everything you need to have. Keep being you, because you are everything the man or woman of your dreams is looking for. America—and for that matter, the Western World at large—might not realize it, but you, Lisa Turtle, have earned your right to be here.
Loving looks like it’s going to be a film that will not only tug at the heartstrings, but will also tug at the Academy’s strings as well. It truly looks like Loving is going to be that film that blows everyone away, especially in these hate-filled times. It’d the nice to be reminded about how simple and pure love is and that we should utilize more of it when we interact with each other.
The new trailer for Loving has been released, and if you’re like me and already love this movie, check the trailer out below, as well as the new trailer. Here’s more about the movie.
From acclaimed writer/director Jeff Nichols, Loving celebrates the real-life courage and commitment of an interracial couple, Richard and Mildred Loving (portrayed by Joel Edgerton and Ruth Negga), who married and then spent the next nine years fighting for the right to live as a family in their hometown. Their civil rights case, Loving v. Virginia, went all the way to the Supreme Court, which in 1967 reaffirmed the very foundation of the right to marry – and their love story has become an inspiration to couples ever since.
Loving will open in theaters in select cities on November 4, and will expand across the country later in November.
Lovers in Their Right Mind is a film looking to change the conversation about interracial and interfaith relationships. Much of the interracial conversation revolves around the black-white dynamic, even though there are tons of other types of interracial, intercultural, and interfaith relationships out there. Lovers in Their Right Mind, written by journalist-author Janice Rhoshalle Littlejohn and screenwriter Barrington Smith-Seetachitt, focuses on the love between a black woman and an Iranian immigrant and the learning curves both go through in the relationship.
I’ve already covered Lovers in Their Right Mind on JUST ADD COLOR, so I was excited to speak with Littlejohn about the film and how her experiences influenced the film. Lovers in Their Right Mind is still in pre-production. A crowdfunding campaign will be announced later this summer. Keep up with Lovers in Their Right Mind on Facebook, Twitter, and Instagram.
How did you come up with the story for Lovers in their Right Mind?
I had co-authored a book [with Christelyn Karazin] called Swirling: How to Date, Mate, and Relate, Mixing Race, Culture, and Creed, which was on interracial, intercultural and interfaith dating and relationships. It had been optioned by a company and they offered me an opportunity to write my vision. As I was trying to come up with the character that spoke to both the three factors of race, culture, and religion, I was looking for a singular couple that would inhabit that. While [with] that particular [book] option, they decided to go in a different direction with everybody swirling, I felt like what I had created spoke to what I wanted to see on screen, which was a different kind of conversation about black women and who they have opportunities to date. I felt like we had seen so much of black women and white men in television and film that we never get sense of black women outside of the black and white coupling. The options for black women are so much more vast…and from my own experience, that was true.
I began to look at my own dating habits…I had been dating a Persian man and the conversation of meeting families had come up. The thing he said was, they wouldn’t have a problem with you because you’re black, but because you’re American, you don’t speak Farsi, and various other things. So that’s where the idea for the outline came from, and when it was turned down, there was an actor who I knew and had interviewed, and I was talking to him about it because he was asking me what was swirling (because it was in my signature in my email account). I told him I was trying to explore this idea of an African American woman with a Persian man, and his comment was, “Well, I am Persian!” So we had a really good conversation.
I had dated some Persian men before, and…when I began to look back on my own dating [experiences], it became a really great source of narrative tension and drama, comedy and romance. As I continued to research, there are a lot of wonderful similarities between the two cultures and, at least here in southern California, Iranian Americans tend to be more insular, black people live in their communities and never the ‘twain meet, it became a really great story to talk about my city that I grew up in and people in my city that never get seen on screen.
You mentioned Swirling; since the book discusses interracial relationships, what do you think America needs to know to become more educated about interracial relationships?
I think that swirling has become a hot topic because we are seeing the demographic shifts of our people. We are more a multicultural, multiracial America and globally, people are intermixing and intermarrying. You look at films like My Big Fat Greek Wedding, and how that was really popular; it’s not lost on pop culture that these things are happening in our own world. I think the thing I wanted to bring to the table was a different dynamic that you haven’t seen. I think with Swirling as a book, it became interesting in that it invited black women to open up their options. Many times, the books we had read previously and that I had seen were very regal-focused or focused on biology or the dearth of black men.
What I wanted to bring was a different discussion…what are some of the reasons black women don’t [date outside of their race] because black women are still the least likely to date outside of their race or culture out of any other ethnic group. What were some of the factors that were keeping black women from reaching outside of their comfort zone? I think those discussions are important to have, particularly when we look at issues like black love and black lives matter. All these things are interconnected with us socially, but what does it mean when we are looking for a mate, for someone who speaks to our heart’s desire?
Oftentimes, that social construct of race doesn’t hold up when you’re looking for someone to partner with. It’s important to look at factors beyond race when considering a mate, and I wanted to present a non-apologetic narrative that it’s okay for black women to date [outside of their race], because of the hundreds of women I spoke with, it was always [discussed] with shame, or controversy, or “My momma won’t jive with this,” or “My daddy won’t think this is great” or “My cousins will think I’m crazy.” It’s very rooted in fear. So the thing that is important to me about the book and about this movie is to see how we can reach beyond the lines of fear, beyond even the rhetoric of our own cultures and explore who we are as people and what we want; what fulfills us as people instead of subscribing to a group-think mentality.
One thing you said reminded me of Jungle Fever; in one part of the movie; you have Wesley Snipes’ character’s girlfriend hanging out with her friends, and they’re talking amongst themselves about whether they would date outside of their race. Wesley Snipes’ girlfriend says that she wouldn’t because she’s a strong black woman and feels that she should only date strong black men. It seems like she puts a very racially-charged focus on why she only dates black men, as if to prove her blackness, not whoever I might like if they aren’t black. With that said, how do you feel about some black women who feel like they need to date inside the race to prove their blackness to themselves and to the world?
Well, we [Littlejohn and Smith-Seetachitt] address this in the book and in the film. I do think that there is an identity concern among black women, that if they’re dating someone that’s not black that it somehow negates or dilutes their blackness, but that’s overwhelmingly not true. The black women that we spoke to for the book and interviewed for the film are, very definitely, black women, and own their blackness and blackness is not given or taken based on who you’re partnered with. Blackness is who you are, and they bring that sense of who they are into their relationships and give that sense of themselves into their children, they pass along that history to their children.
Rarely have I encountered women who completely buy into or absorb into another cultural…or racial construct because they have now partnered with a man who is non-black. You are who you are, and you bring that into your relationship. That’s an important thing with a relationship with anybody, whether they’re black, Latino, Persian, what have you. When you’re in a relationship, it’s not that you’re negating who you are racially. It’s that you’re sharing a part of yourself with someone. The thing that I find really exciting about interracial and intercultural dating, both personally and writing, about it is that people learn to appreciate people as people. They learn to understand different cultural traditions and understanding. There was a woman I was interviewing for the book, and she was dating a Swedish man. They eventually married and she learned how to speak Swedish and they now live in Sweden. She learned a lot about another culture that has broadened her, both in her life and work experiences.
I think there’s value in that. If we’re going to be this global community we keep saying we are, if we’re going to be this post-racial community we say we want to be, then we need to learn how to talk to people, and address people and learn about people who are different than us, in ways that allow us to appreciate people as people instead of under this blanket of colorblindness. You see my color when you see me; it’s not about being colorblind. I’m quoting Mellody Hobson here–it’s really about being color brave. It’s about looking at my color, my experiences, my heritage, my people, and getting to know that as a part of who I am. This black construct isn’t all of who I am; there are so many other things about me that are worth getting to know and that’s an important part of loosening the shackles of fear and being able to open yourself and your mind to something different. It doesn’t change who you are; it just gives you an opportunity to know who somebody else is.
Now I’m going to play Devil’s Advocate—
Sure, go ahead!
What about fetish? Because I’ve been several online forums and Facebook groups about interracial dating and experiences with interracial dating, and a topic that always comes up is when some fetishize another race. For some, it seems like the line between fetish and a regular relationship is muddied. What do you make of this issue and how it comes into the discussion?
Well, if you find that your partner is fetishizing you, then that’s a relationship you don’t want. Then to say, I’ve dated a white man, an Italian man, a Mexican man, and they fetishized me, therefore I’m not going to date any more white or Italian or Mexican men, is pretty sad! You may be missing out on some white or Italian or Mexican man somewhere down the line that adores you for who you are.
I think any kind of new experience, if there is something you’re concerned about—be it a same-race relationship or an interracial relationship—you need to talk about it. If you don’t get the answers you need or deserve, then that’s not the type of relationship you should be in with that person instead of [labeling] that race of people. I was married to a black man, but that wasn’t my cue to then say, “I will no longer date any black men.” I date men of all races and of all cultures. I date people who I find appealing and attractive, interesting, invigorating, and worthwhile. A lot of the relationships I’ve had have led me to this particular moment and to this particular story. Had I not had those experiences and turned them down, not only would I have not had those experiences, but I’d also be sitting around saying, “I don’t have any love in my life.”
Men have fetishes, women have fetishes, that’s not cool; if you feel like that’s what’s happening to you in your relationship, then move on from that relationship; don’t label the whole race of people, the whole culture of people as such and such because you’ve had one bad experience. You never know what wonderful experiences you could have with someone who appreciates you for you.
Since Lovers in their Right Mind also includes the interfaith element, how would you suggest people approach tackling interfaith issues in relationships?
I think for all of these questions, it can be summed up to talk about it [with your partner]. My religious needs and wants may be different from someone else’s, and it’s a part of being upfront in that relationships. I know a lot of Jewish-Christian relationships, a lot of Muslim-Christian relationships. It’s about what you want and need from your religion, your faith, your relationship, and what you want for your children.
I’m not going to say that I’m a dating expert–I’m a filmmaker and a journalist who’s writing about a situation that I find intriguing, and after a ton of research and this is what I came up with–but the throughline in all of it is communication. Talk about it. I think we’re so fearful of having those conversations. The same conversation you need to have with your partner about STDs and how you want to have sexual practice are the same type of conversations you need to have with your partner about faith and what your faith means to you.
I go back to My Big Fat Greek Wedding; Ian wanted [Toula], and she wanted to be married in a Greek Orthodox Church and he got that done; they got married in a Greek Orthodox Church because he felt like it was worth it for him. For other couples, it goes further; will we celebrate Christmas or will we celebrate Jewish holidays and how do we do that with our children? I think those are very individual, personal discussions, and once the couple has had them and comes to terms with what they want in their marriage, that’s between them, their God, their marriage, and their children, and nobody else really has any say in that because that’s what they decided as a couple.
…This conversation comes up for same-race people as well because they may be from different cultures. When we talk about this issue of interracial, interfaith, and intercultural, you can have intercultural experiences with people who are racially the same with you. These are conversations are still things you’d have to have.
Lovers in their Right Mind was chosen to be part of the DreamAgo’s 2016 Plume & Pellicule screenwriting atelier. How does it feel to have been chosen for that?
I’m still happy dancing! It’s a wonderful validation of the work we wanted to do. It’s really gratifying that an international workshop believed there was something valid in the story we wanted to tell. Here’s the wonderful thing; as we’ve been going through the process and getting all of our updates on things we needed to do, one of the gentlemen we’d been corresponding with…said he was very intrigued to read our script because he’s a French man married to a Persian woman.
It said to me a couple of things; that this was not an isolated story or just a cute little love story. This was something that resonated not only in the bounds of where it’s set, in Los Angeles, but it reached someone in France and the folks of DreamAgo in Switzerland. It’s not just an LA story. It’s not just a U.S. story. It’s a global story. It goes back to what I was saying; if we’re going to be this global nation of people who understand one another and work together…it makes sense to know who we are. It’s a super special honor. Hopefully, it’ll take us far. ♦
The world is swirling. With sites like Interracial Dating Central, Interracial People Meet, Interracial Match, Interracial Cupid, and tons more (some of which you can compare and contrast at this Ask Men article), and tons of online interracial appreciation groups (like this one), it’s clear the interest in interracial dating and relationships is high. But movies aren’t really delving into that as much as they should. Something New is one of the most prominent films about an interracial relationship, but it’s already quite old and it only touches on the bare bones of just one type of interracial relationship. Lovers in Their Right Mind is a new film that’s hoping to help close Hollywood’s gap of interracial dating films.
Lovers in Their Right Mind is a film by Janice Rhoshalle Littlejohn, journalist and co-author of Swirling: How to Date, Mate, and Relate, Mixing Race, Culture, and Creed, and Barrington Smith-Seetachitt, screenwriter of Children of Others. The film is one of the 10 films chosen from the DreamAgo’s 2016 Plume & Pellicule screenwriting atelier held in Sierre, Switzerland. The film is also the only U.S. and English-language submission accepted into the program, joining the ranks of projects chosen from France, Cuba, Spain, Columbia, and the host country Switzerland. The screenplay was also a second round contender in the 2014 Sundance Screenwriters Lab as well as the 2015 Austin Film Festival Screenwriting Competition.
The film focuses on the relationship between a black woman and an Iranian man, and all the learning experiences that come with it.
Set in contemporary Los Angeles, “Lovers in Their Right Mind” follows the story of an African American woman as she weighs the consequences of pursuing an interracial, cross-cultural, mixed-faith romance with an Iranian immigrant. Its narrative aligns with DreamAgo’s goal to “choose scripts that transform, provoke and entertain while dealing with issues vital to us all.”
With increased media attention on diverse storytelling and inclusion in Hollywood, “Lovers in Their Right Mind” answers the call for characters not often featured in cinema. The film’s multicultural narrative is deliciously peppered with the savory delights of black Southern and Persian cuisines, and underscored by a jazz-Middle Eastern fusion soundtrack that evokes both the tradition and modernity of the protagonists’ two worlds as they come together.
Littlejohn and Smith-Seetachitt are spearheading development on the project and serving as producers with actor Navid Negahban (“American Sniper,” “Homeland”) who is also attached.
— LoversITRM (@LoversITRM) December 31, 2015
Hip hop hooray, Richonne (Rick and Michonne) is now officially canon in The Walking Dead! And, as luck would have it, such a development has happened in one of the most hallowed of months, Black History Month. This didn’t go unnoticed by many on Twitter:
— Film Fatale NYC (@FilmFatale_NYC) February 22, 2016
— Reagan Gomez (@ReaganGomez) February 22, 2016
So why is this the Black History Month gift we didn’t know we were going to get? Three reasons:
1. Finally, the truth is acknowledged
Richonne has been a long time coming. Probably too long, according to some fans. The purpose was for the slow build, but with that slow build came dull love interests for Rick. Finally, Rick has figured out that he needs to be with Michonne, someone who is at his caliber of zombie-killing as well as a viable, intelligent leader.
— ⭐unicorn haven⭐ (@RaVEns_mERe) February 17, 2016
— Richonne News (@RichonneNews) February 22, 2016
— Jenny (@OnPointe82) February 22, 2016
2. Richonne made racists mad
Now, let’s just say for the record that #notallRichonnehaters are racists. Some just genuinely don’t like it, and that’s cool. However, some don’t like Richonne (or The Flash‘s WestAllen or Sleepy Hollow‘s Ichabbie) purely for the reason that it’s a white man with a black woman.
I’ve written before about the multiple viewpoints surrounding black woman/white man interracial relationships on television (and an article outlining more viewpoints around interracial fetishism is in this month’s issue of COLORBLOCK Magazine). But overall, a relationship like Richonne is progress. For example, Richonne shows that:
- The Walking Dead reflects its audience. Sure, the show still has a problem with killing off black guys. But at the very least, the inclusion of Rick and Michonne’s relationship (along with Glenn and Maggie) represents a large quantity of the audience (and America in general) who are in interracial relationships. They want to see themselves represented on screen, and what better power couple is there than Richonne?
- Michonne is treated as any other woman on The Walking Dead. That is to say, she’s treated like a love interest. More detail on this later in the post.
- Most audience members want to see diversity in all forms, including in their love stories. For the longest, The Walking Dead‘s only interracial love story has been Glenn and Maggie. For them to be the only ones out of all of the characters that have been on The Walking Dead (well, the only ones that are still alive, anyways) is quite astounding and, demographically speaking, doesn’t make sense. Richonne adds some much-needed diverse realism to the proceedings.
But, despite all of the positives that Richonne have going for it, there are some folks in the fandom who are pissed because Michonne is a black woman. There’s still a color barrier when it comes to relationships on television, and that color barrier seems to get even tougher in genre television. But Richonne has helped break that barrier, and those who are mad about it for the wrong reasons can fall back.
When Haters said “Rick should grieve for Jessie. too soon 4 Richonne happen” Hell IDIOT! #Richonne bonded far deeper than Jessick.
— DamonLilWitch (@NickNameYet) February 22, 2016
the haters aint about to ruin this night for me. they can cry their eyes out and have several seats while they’re at it #Richonne
— Beyonseoul (@MimieZaforas) February 22, 2016
|Want to read more about diverse entertainment? Read the February issue of COLOR BLOCK Magazine!|
• Black women are shown to be viable love interests for the white male lead
Black women have had a history of either being desexualized or hypersexualized, and both depictions act as reasons why they aren’t seen as viable love interests for the main character, especially if that main character is a white man. For example:
- Julia Baker from the 1970s show Julia is an example I use a lot for everything, but the character is perplexing in how chaste she is. First, it’s written that her husband was killed in the Vietnam War; writing out the husband and portraying a black family without a two-parent household is an issue in itself, but Julia herself is portrayed as being the perfect black woman, a woman who is “clear” enough in attitude and personality that she can be accepted by her white neighbors, but in order to stay outwardly virtuous, she must remain unwed. She’s a symbol of black respectability rather than just being a multifaceted black woman. Diahann Carroll herself, who played Julia, called her character a “white Negro” with little to do with the black experience.
- Grantchester featured a troubling storyline in one of its episodes. The episode featured an American jazz group that was touring England, and the jazz singer, Gloria Dee, falls in love with Sidney and sleeps with him. However, the next day, Sidney comes to regret the decision, since he only slept with her to forget about the love he had for his best friend, Amanda, who was marrying a rich jerk. Gloria’s heartbreak is touched upon, but it’s also portrayed as if heartbreak for her is par for the course. She was also depicted as being a stereotype of a black woman jazz singer; every line was hilariously cartoonish, her voice had a Mae West lilt, and her persona was that of the “bad girl.” Sidney’s disgust with himself for sleeping with Gloria gets so bad that he throws out his jazz records; while his character was throwing them out because it reminded him of his personal and moral transgressions (he’s not one to just sleep with anyone), the act could also be interpreted as him believing that jazz (a black medium) and the singer herself led him astray, not his own actions.
- Michonne herself has been touted by some as a “strong black woman,” even though such a stereotype-laden description strips her of her roundedness as a character. There are pockets of people who feel that, in order for the show to have a feminist angle, Michonne should stay the silent warrior. But these demands aren’t placed on other women (usually white women), like Carol (who is just as deadly with weapons as Michonne) or Maggie (who is, as has been written earlier in this post, in a relationship).
The reason for this distaste and exoticism of black women has its roots in the slave trade. As Paula Byrne wrote in her book about the life of Dido Elizabeth Belle, Belle: The Slave Daughter and the Lord Chief Justice, many sailors and sea captains would rape African women and girls on the ship, later claiming that black females’ supposed hypersexuality made them do it (instead of taking responsibility for a lack of morality). The myth of hypersexuality continued throughout slavery, with white plantation owners blaming their victims for their own sexual abuse. Slave owners also helped with desexualization (and a slave’s further removal from personhood) by employing slaves as caretakers, which led to the “Mammy” stereotype. Today, the remnants of both stereotypes make it hard for black women characters, and black actresses, to exist in a fully realized way. Either black characters are “tough” (desexualized), a “Mammy” or caretaker (“desexualized”) or they are a Jezebel (hypersexualized). Hardly ever have they been portrayed as human beings.
The feeling of bias towards black women in television, especially when it comes to black women characters possibly being the love interest for white male characters, also has antebellum roots. One of the many excuses for slavery was that it kept black men in line and kept their “prey,” white women, safe. Black women were also seen as threats, but the threat was based on a black woman gaining the same rights and status as a white woman. White women during this time benefited from this white supremacist view by being uplifted as genteel prizes.
White supremacy is a dirty word today, but white women characters (and actresses, to a certain extent) are still lifted above other characters (and actresses) for no reason other than race. The fear of a black woman “stealing” a white man, especially the white male character, still holds true for some viewers of The Walking Dead, Sleepy Hollow, The Flash and other shows that have a black female lead who shows interest in the white male lead. Because of unresolved historical issues, which has led to us seeing mostly white men/white women pairings in the first place, a black woman character with a white male lead might seem to some as a black woman not knowing her station. If Michonne wasn’t who she is, there wouldn’t be any problem.
Sharon, a guest post writer for Black Girl Nerds, summed it up succinctly:
Here’s what it comes down to: if Michonne weren’t a dark-skinned black woman, many of the people who were so surprised by Richonne would have expected it a long time ago. Were it a white actress (the kind we’re used to seeing as love interests on TV and in movies) playing the role of Michonne, sharing intimate scenes with Rick, we wouldn’t even be having this conversation. It wouldn’t have been a case of if Rick and Michonne get together, but when.”
The thought that white goes with white and black goes with black is dying, thanks to the rise of black-white interracial relationships. But television still shows that pockets of this ideology is still alive and well. There are still moments when the media decides to portray black women as objects or obstacles instead of people. But thankfully, Richonne isn’t one of those moments. Richonne does the opposite; it turns the trope of the “strong black woman” on its head. Not only can a black woman be strong and kickass, but she can also be nurturing (like how Michonne is to Carl) and woman worthy of love. Basically, a black woman can be a human being.
As Rick himself, Andrew Lincoln, told TV Line:
“When we [shot it], we wanted it to have a feeling like these two great friends just looked at each other and realized, “Of course.” It was natural…and Michonne has been a mother figure and best friend to Carl for so long. And she saved Rick’s life and Carl’s life on countless occasions. There’s something rather moving about these two warriors getting together.”
So there you have it.
What do you think of Richonne? Give your opinions in the comments section below!
In my last Sleepy Hollow recap, I wrote this small passage:
[W]hat I do know is that the whole situation and my look at the Twitterings online about Betsy Ross (whom I’m getting to) made me think about why we want Abbie to get with Ichabod in the first place. I mean, I get the argument that black women need to be at the center of main-tier relationships in TV shows. That’s a completely valid thing and I get behind that so don’t misunderstand me. BUT, is there a dangerous element of wanting a black woman to be “validated” as it were, by the white male gaze, after centuries of being denied and/or wrongfully exoticized by it? I’ll write more on this in the coming days, but I just want to throw that out there, because sometimes, certain discussions about Ichabbie makes me slightly uncomfortable, to be frank, and because Danabbie is still a very real possibility as well. If Ichabod can have his woman for the moment, then Abbie can certainly have Danny for a moment as well.
I wrote I’d have an article about it, and here it is.