I should probably finish watching the whole season before I comment, but I thought this essay made some great points about how diverse casting can backfire. In this case, despite The OA’s multicultural (sorta) cast and crew, the underlying message is that POCs only serve to move the white protagonist’s story forward. This essay in particular evokes the “magical negro” trope which is a plot device in which a black character, oftentimes socially or physically constrained/impaired/disabled, magically appears, often with no back story, and helps the white character overcome obstacles. I’m not sure if that’s 100% relevant here, but I also haven’t finished watching all the episodes.

This is a surprising turn of events given that the show director and co-creator is Zal Batmanglij, an American film director and screenwriter of Iranian descent, you would think he’d be more sensitive to that as a POC himself. But one never knows how much Hollywood politics comes into play with these sorts of things, so we can’t really point fingers, blame, or accuse anyone of doing this intentionally. Also, Brit Marling is credited as a co-creator of the show, so it makes sense that she would want to play the lead. I’m still committed to finishing season 1 (eventually), so I’ll reserve my personal opinions until I’ve actually done that. Either way, as prefaced, I still think this essay is worth the read, catch it on io9


Hollywood showrunners are actively taking control of their writer’s rooms by banning sexual assault as a plot device — FINALLY! Rape has become a go-to for writers trying to explain a character’s trauma or development, and it’s lazy and obvious at this point. Yes, we can all agree that rape is awful, but it’s not the only way to develop a character or move a storyline along. It’s very encouraging that some showrunners like Bryan Fuller are completely banning sexual violence as a plot point (as he did on the set of Hannibal, freakin’ love that show) in order to spur creativity and promote new, fresh, narratives. I’m tired of seeing females dragged (both literally and metaphorically) on TV for the sake of providing motivation for some male character to go off and be the hero, villain, vigilante, etc. that he needs to be.

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