Writer's Circle: BLACK PANTHER ROUNDTABLE hosted by Marc Bernardin & Evan Narcisse
- Thread starter playahaitian
- Start date
This will be great to listen to on the way to work tomorrow. And, on the way home from work since it's like 2 hours.
Thanks
I posed to you all another question:
What could Black Panther 2 possibly be about? What direction would you go as a writer?
Do you think it HURT Black Panther that T'Challa wasn't really a STAND OUT?
@8:00
@8:00
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Introduce Fantastic Four. No origin needed really, similar to how they did Spider-Man. They could work at the Science Facility Shuri will be in charge of. Enemy will be Doom.
No. Because they had to cover a lot of ground. The story in the beginning was a good way to cover most of it, but you still had to introduce certain characters, that will also show up in Infinity War. Gotta have that Character development. We got a sense of who T'Challa was in Civil War.
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Nah. It didn't hurt. The Supporting Cast is more than enough to carry, but you will see more of him in part 2. I don't know if I've ever seen a movie that seemed to Star the bad guy more than the guy that movie was titled after
I was wondering why they needed the white boy, Ross, and then it came to me.
Ross was needed as an outsider to further the story. By using an outsider, Shuri had to explain things to him, which in turn the explained things to us. Had they used someone from Wakanda there would have almost been a need for a narrator to explain certain details that we got in a few seconds of conversation between Shuri and The Colonizer
http://www.syfy.com/syfywire/marc-bernardin-should-be-your-geek-career-role-model-fandom-files-22
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Why Aren't 'Star Wars' Filmmakers as Inclusive as Its Universe? (Guest Column)
Courtesy of Walt Disney Studios Motion Pictures (Still); Kevin Winter/Getty Images (Benioff and Weiss)
John Boyega and Kelly Marie Tran in 'Star Wars: The Last Jedi' (Inset: D.B. Weiss and David Benioff)
give them a trilogy, too.
None of those calls by Lucasfilm’s Queen of All She Surveys, Kathleen Kennedy, are inherently bad. (Although a few — namely, Miller and Lord, Colin Trevorrow, Josh Trank — didn’t quite work out in the end.) It’s just that, when every recruit into the Star Wars Universe looked like they rolled off an assembly line that just makes pale men in baseball hats, it makes you wonder.
Does no one else have a passion to make a Star Wars movie?
Are there no female storytellers, no artists of color, no gender-fluid creators who would kill to get to play in the sandbox George Lucas built? And would the stories themselves not benefit by being told through a different set of lenses? Why are the people getting to tell Star Wars stories not as wildly diverse as the Star Wars Universe itself?
It’s not as if recent movie history doesn’t make a compelling case for the broadening of horizons. The Fast and the Furious movies started as a 21 Jump Street for gearheads, but in the hands of filmmakers like Justin Lin, James Wan and F. Gary Gray, they have turned into global, billion-dollar powerhouses. The Harry Potter movies might have kept going after director Chris Columbus’ first two outings — The Sorcerer’s Stone and Chamber of Secrets — but no one can deny that Potter movies didn’t get interesting until Alfonso Cuaron unlocked the enterprise’s artistic potential with The Prisoner of Azkaban. Guillermo del Toro’s Oscar-nominated Creature From the Black Lagoon riff The Shape of Water should have been the monster movie that Universal used to kick off their Dark Universe, instead of the Tom Cruise misfire The Mummy, which effectively tanked that initiative.
Marvel is getting the best reviews (and the highest ticket presales) they have ever had for Black Panther, a story about a black hero, made with a predominately black cast, written, directed and produced by black artists — which comes on the heels of Thor: Ragnarok, which breathed new life into a moribund character thanks to Maori iconoclast Taika Waititi. And DC’s one true breakout has been Wonder Woman, whose director, Patty Jenkins, had to fight tooth and nail for the very elements that audiences responded to — because the fellas in charge just couldn’t see it.
And yet, Star Wars remains a boys’ club, despite having a woman in charge of the membership. Despite there being proven storytellers like Ava DuVernay, Shonda Rhimes, Mira Nair, Michelle MacLaren, Karyn Kusama, Dee Rees, Lexi Alexander, Kathryn Bigelow, Ana Lily Amirpour, the Wachowskis — all working at the height of their powers, all with genre experience or deep genre love. And that’s just the female bench.
There’s no way of knowing the conversations Kennedy might have had that didn’t go anywhere; if there were overtures made and rebuffed. The giant Star Wars machine isn’t for everyone. And it’s entirely possible that there are women and people of color currently engaged to write and/or direct a Star Wars movie, but they just haven’t told us yet.
But the talent is out there, you just have to want to find it — or open your eyes when it’s staring you in the face.
https://www.hollywoodreporter.com/h...t-filmmakers-as-inclusive-as-universe-1082736
Courtesy of Walt Disney Studios Motion Pictures (Still); Kevin Winter/Getty Images (Benioff and Weiss)
John Boyega and Kelly Marie Tran in 'Star Wars: The Last Jedi' (Inset: D.B. Weiss and David Benioff)
give them a trilogy, too.
None of those calls by Lucasfilm’s Queen of All She Surveys, Kathleen Kennedy, are inherently bad. (Although a few — namely, Miller and Lord, Colin Trevorrow, Josh Trank — didn’t quite work out in the end.) It’s just that, when every recruit into the Star Wars Universe looked like they rolled off an assembly line that just makes pale men in baseball hats, it makes you wonder.
Does no one else have a passion to make a Star Wars movie?
Are there no female storytellers, no artists of color, no gender-fluid creators who would kill to get to play in the sandbox George Lucas built? And would the stories themselves not benefit by being told through a different set of lenses? Why are the people getting to tell Star Wars stories not as wildly diverse as the Star Wars Universe itself?
It’s not as if recent movie history doesn’t make a compelling case for the broadening of horizons. The Fast and the Furious movies started as a 21 Jump Street for gearheads, but in the hands of filmmakers like Justin Lin, James Wan and F. Gary Gray, they have turned into global, billion-dollar powerhouses. The Harry Potter movies might have kept going after director Chris Columbus’ first two outings — The Sorcerer’s Stone and Chamber of Secrets — but no one can deny that Potter movies didn’t get interesting until Alfonso Cuaron unlocked the enterprise’s artistic potential with The Prisoner of Azkaban. Guillermo del Toro’s Oscar-nominated Creature From the Black Lagoon riff The Shape of Water should have been the monster movie that Universal used to kick off their Dark Universe, instead of the Tom Cruise misfire The Mummy, which effectively tanked that initiative.
Marvel is getting the best reviews (and the highest ticket presales) they have ever had for Black Panther, a story about a black hero, made with a predominately black cast, written, directed and produced by black artists — which comes on the heels of Thor: Ragnarok, which breathed new life into a moribund character thanks to Maori iconoclast Taika Waititi. And DC’s one true breakout has been Wonder Woman, whose director, Patty Jenkins, had to fight tooth and nail for the very elements that audiences responded to — because the fellas in charge just couldn’t see it.
And yet, Star Wars remains a boys’ club, despite having a woman in charge of the membership. Despite there being proven storytellers like Ava DuVernay, Shonda Rhimes, Mira Nair, Michelle MacLaren, Karyn Kusama, Dee Rees, Lexi Alexander, Kathryn Bigelow, Ana Lily Amirpour, the Wachowskis — all working at the height of their powers, all with genre experience or deep genre love. And that’s just the female bench.
There’s no way of knowing the conversations Kennedy might have had that didn’t go anywhere; if there were overtures made and rebuffed. The giant Star Wars machine isn’t for everyone. And it’s entirely possible that there are women and people of color currently engaged to write and/or direct a Star Wars movie, but they just haven’t told us yet.
But the talent is out there, you just have to want to find it — or open your eyes when it’s staring you in the face.
https://www.hollywoodreporter.com/h...t-filmmakers-as-inclusive-as-universe-1082736
Toxic Fandom Is Killing 'Star Wars'
Racist harassment of 'Last Jedi' star Kelly Marie Tran and the 'Solo' backlash: Lucasfilm’s problem isn’t the movies, it’s trolls who want only the nostalgia of their youth, like "old Luke Skywalker hiding on an island from everything new," writes columnist Marc Bernardin.
Fandom has always been an us versus them proposition. In the early days, it was because you loved something that the world at large found silly, be it comic books or Doctor Who. It was you and those who felt like you, against everyone else. Star Wars redefined fandom because it built a bigger tent than had ever existed before. Suddenly, the "everyone else" also loved Star Wars. Your mom knew what The Force was. Mark Hamill was on The Tonight Show. There was Yoda underwear. It was the first real “fan” thing that exploded into a phenomenon. But fandom always needs a “them.”
Star Wars is in an interesting place right now. The most recent film, Solo: A Star Wars Story, has been drastically underperforming at the box office. After two weeks in release, it had pulled in a mere $271 million worldwide. Analysts believe Disney will lose $50 million or more on the film, and Solo comes on the heels of Star Wars: The Last Jedi, which — despite making $1.3 billion worldwide — proved itself an incredibly divisive film. While critics loved it (judging by the 91 percent score on Rotten Tomatoes), fans were split.
Some loved the bold liberties of writer-director Rian Johnson. They understood that there was room under that big tent for characters like Vice Admiral Holdo (Laura Dern) and Rose Tico (Kelly Marie Tran), women placed alongside Carrie Fisher’s Leia and Ridley’s Rey at the center of the Star Wars drama.
But others hated it. Hated everything it stood for. Hated what they saw as a social justice warrior remix of the Star Wars they grew up with. And they hated Tran’s Rose most of all because they decided that she was the avatar for all that was wrong with the franchise. Those fans — a minority but a loud one — found their “them” in the very thing they used to love.
Those who chose this particular vein of the Dark Side, emboldened by the faceless intoxication of the internet, went hard on Tran. Racist invective, misogyny, rape and death threats all hurled at her constantly, unrelentingly, transforming what had been a Cinderella story — The Last Jedi was Tran’s first major film — into a modern-day nightmare. On June 4, she all but quit social media, stripping everything from her Instagram save for a profile picture and a bio that says “Afraid, but still doing it anyway.”
(It shouldn’t go unnoticed that when this stripe of fan decides they don’t like a new take on an old favorite, they level their hate on the woman of color. Leslie Jones bore the brunt of the backlash to the 2016 reboot of Ghostbusters and the racist, sexually violent tweets she got also caused her to withdraw from social media to find her balance.)
All of this raises the question: What exactly do Star Wars fans want? For so long, all they were asking for was more. It was 16 years between Return of the Jedi and The Phantom Menace, and then 10 years between Revenge of the Sith and The Force Awakens. Just getting Star Wars on the big screen was enough … at first. But then fans wheeled on the prequels: too much Jar Jar, too convoluted. (The vitriol was strong enough to chase Lucas away from directing and perhaps from Star Wars altogether.)
When J.J. Abrams signed on for The Force Awakens and built his narrative around a young woman with The Force and her black friend, it triggered the anti-SJW brigades. (Never mind it also gave them Han Solo, Chewbacca, Leia and a pair of familiar droids.) The #BoycottEpisodeVII hashtag spread, targeting Ridley and John Boyega, though it probably had more headlines than effect, as the film topped $2 billion worldwide.
But if The Force Awakens and The Last Jedi were too progressive for some fans, why didn’t they comfort themselves in the warm blanket of Solo, co-written by Star Wars standard-bearer Lawrence Kasdan and directed by Lucas’ Willow collaborator Ron Howard? It should’ve been everything they wanted in the prequels they didn’t get, without the “too many ladies and people of color” issues they claimed hurt the new films. But judging by the gross, they didn’t want Solo either.
What is Star Wars fandom against? Turns out, the answer: itself. Or, rather, the realization that Star Wars is and always has been for children, and they aren’t children any more. Star Wars fans — I count myself among them — look to the original trilogy as an anchor of youth. They want anything Star Wars to make them feel the way they did when they saw “a long time ago in a galaxy far, far away …” roll across the screen 40 years ago.
No diehard fan wants to imagine himself as old Luke Skywalker, hiding on an island from everything new, anything that might shake his steadfast belief in how the world is supposed to be. But if you saw the original Star Wars in the theater, that’s who you are, unless you find a way to open yourself to heroes designed to hook a new generation while still resonating with yours. Those who haven’t are lashing out at everything that reminds them that they’re no longer young Luke, staring off into the horizon of a future still dawning, like twin suns.
They are forgetting the very things that spoke to them about Star Wars in the first place — and the warnings of a little green puppet about the perils of anger.
@4:30
great story about how a WHITE guy gets treated when he gets pulled over vs a Black man.
New graphic novel Adora and the Distance is a heroic fantasy about living with autism
By Christian Holub
July 17, 2019 at 05:40 PM EDT
FBTwitter
COMIXOLOGY
Marc Bernardin has written about many things in his career as a journalist. Recently, he wrote a cover story for EW about Black Panther‘s journey to becoming a cultural phenomenon and major Oscar contender (it eventually scored Marvel Studios’ first Oscars, though not the big ones). But his new comic, Adora and the Distance, tackles a topic he never thought he’d write about: His daughter’s life with autism.
“There are millions of parents of kids on the autism spectrum and there are millions of children with siblings on the spectrum,” Bernardin says in a statement. “This isn’t a book about how hard it is to be a parent or a sibling, it’s one that imagines the unknowable: What’s going on inside the mind of a loved one who has never been able to tell us?”
ADVERTISING
inRead invented by Teads
Adora and the Distance — which is illustrated by Ariela Kristantina, colored by Jessica Kholinne, and lettered by Bernardo Brice — focuses on the titular young girl Adora, a brave young woman who lives in a fantasy world filled with underground pirates, ghosts, and “The Distance.” As suggested by its placement in the title, The Distance is a mysterious force that is set to play a major role in Adora’s life.
Below, check out exclusive preview pages of the graphic novel, which will debut digitally on Comixology Originals this winter. You can also read Bernardin’s author note about how and why he decided to tackle this story in this way.
COMIXOLOGY
COMIXOLOGY
COMIXOLOGY
COMIXOLOGY
COMIXOLOGY
Related content:
By Christian Holub
July 17, 2019 at 05:40 PM EDT
FBTwitter
COMIXOLOGY
Marc Bernardin has written about many things in his career as a journalist. Recently, he wrote a cover story for EW about Black Panther‘s journey to becoming a cultural phenomenon and major Oscar contender (it eventually scored Marvel Studios’ first Oscars, though not the big ones). But his new comic, Adora and the Distance, tackles a topic he never thought he’d write about: His daughter’s life with autism.
“There are millions of parents of kids on the autism spectrum and there are millions of children with siblings on the spectrum,” Bernardin says in a statement. “This isn’t a book about how hard it is to be a parent or a sibling, it’s one that imagines the unknowable: What’s going on inside the mind of a loved one who has never been able to tell us?”
ADVERTISING
inRead invented by Teads
Adora and the Distance — which is illustrated by Ariela Kristantina, colored by Jessica Kholinne, and lettered by Bernardo Brice — focuses on the titular young girl Adora, a brave young woman who lives in a fantasy world filled with underground pirates, ghosts, and “The Distance.” As suggested by its placement in the title, The Distance is a mysterious force that is set to play a major role in Adora’s life.
Below, check out exclusive preview pages of the graphic novel, which will debut digitally on Comixology Originals this winter. You can also read Bernardin’s author note about how and why he decided to tackle this story in this way.
COMIXOLOGY
COMIXOLOGY
COMIXOLOGY
COMIXOLOGY
COMIXOLOGY
Related content:
Shiznit
Fo shizzle.