It is glaring that amongst soap opera supercouples, there are few pairings with people of color, especially interracial couples. … In 2016, interracial couples only scratch the surface of storylines on daytime television.
By not blatantly focusing on the racial disparity between Jackie and Max, it speaks volumes in regards to who the film is about. … It is silently implied that as a Black woman, she divorces her identity from the men in her life — including a man who, as a white male maintains a sense of privilege in society — and reclaims it for her own.
Directors Amma Asante and Gina Prince-Bythewood illustrate that when a story is told through the eyes of the second sex, themes, such as romance, self-worth, and identity are fully fleshed out. By examining an 18th century British aristocrat and a 21st century pop superstar, it proves that in the span of three centuries, women still face adversity in establishing a firm identity, apart from the façade, amongst the white noise of societal expectations.
Turtle reminds Vince that “the movie is called ‘Aquaman,’ not ‘Aquagirl.'” This line is indicative of the “boys club” that continues to thrive in Hollywood. An actress’s livelihood in the industry is dependent on her co-star.
Because of their position in the church as a figure that facilitates human connection to a higher power, people usually disconnect priest, vicars, etc. from human emotions. Being sexless or promiscuous is also attributed to female characters in media who are fat, or overweight…
One of the exciting things about ‘The Vicar of Dibley’ is that Geraldine is not a sexless and humorless character—as a vicar and a woman with a fat body.
When I searched my mental rolodex for Black female characters in film or television who are unlikable my mind continued to circle. I was lost.
The story of Eve also elevates the image of Black women as the foundation of families. This element becomes most important as the film progresses.
The nightmare that Jack and George share signifies their innate fear—the possibility of destroying the family they, as men, have built.
In my experience, people who have seen this film often mistake Sophie’s actions as abandoning Frances for her boyfriend, Patch. The fact that it happens differently is a breath of fresh air. Rather, it represents an early point in which audiences experience the divide between Frances and Sophie in physical and emotional aspects. Sophie sees the opportunity to move on and fulfill her dreams, while Frances’ dream is fractured. The story of “us” that precedes this action becomes their separate, respective stories: “the story of Frances” and “the story of Sophie.”