This post is part of a year-long series. If my work is helpful for you, consider a contribution through Venmo to keep the anti-racism work going.
Last week, I shared a bit about what it can feel like when such a dense, thorny space exists between the world and oneself. About the tension black parents feel knowing how much we love and cherish our children, and how all-consuming our concern for their wellbeing can be – so much that volumes and tomes and essays and songs have been written to express our collective and individual grief, and our sorrow.
I asked you about your feelings and thoughts regarding reparations. I asked in part because until 2004, I did not realize that Japanese Americans were interned during World War II, and it was at least a decade after that before I realized a minimal amount had been paid to this group of citizens in the form of reparations. Because of the hot, contentious emotional aura that tends to surround conversations about this particular idea, I thought until relatively recently that the U.S. had set no historical precedent for issuing reparations to wronged people groups. That assumption was incorrect. While there may be little precedent of the U.S. Government issuing reparations, it isn’t unheard of. It’s happened before.
It can happen again.
This week, I want to reflect briefly on homophobia, LGBTQ stereotypes, and the role both have played in American entertainment.
I think I was aware of Laverne Cox as an actress before I saw her on Netflix’s “Orange is the New Black.” I vaguely remembered seeing her on an episode of “The Mindy Project,” but I don’t think I really took notice of her. Recently, Cox returned to Netflix for a documentary about the portrayal of trans people in film: Disclosure. This documentary took me to school. Not only did I learn a great deal about films and shows I wasn’t familiar with from having seen them myself, but I also began to see with fresh eyes the movies and shows I was familiar with. How is it that the media I’ve taken in over the course of my life has managed to simultaneously villainize, fetishize, and dehumanize transgender human beings? If ever you’ve needed to see clear evidence that as a culture we must do better, Disclosure offers such evidence in abundance. This makes Disclosure my first suggested resource this week.
For my second suggested resource this week, let’s turn our attention from a truth-illuminating documentary to a scripted drama. “Pose” is a gift, y’all. Billy Porter and MJ Rodriguez lead a dazzling cast of characters in this drama set at the incarnation of New York’s ballroom scene in the 1980s & 90s. Watching this show, I’ve learned so much about how early-days HIV and AIDS patients of color were ignored and maltreated, glimpsed the heartbreak of young people ousted from their houses after coming out to their families, marvelled at the beauty of framily that can emerge from the ashes of transphobia. “Pose” allows its viewing public to pause at the mirror long enough to reflect on the culture we’ve built, the people groups we’ve cast aside, and the resilience that our hetero-worshiping culture couldn’t snuff out.
The last resource I suggest this week is Moonlight. A few years ago, shortly after the #oscarssowhite fiasco, Warren Beatty and Faye Dunaway presented the Oscar for best picture to LaLa Land, the film that – aside from not being a great love story – struck some viewers as a white-centered introduction to the jazz music genre, which has origins that are decidedly not white. The best picture announcement was made, the cast, directors, etc. took to the stage and began their thank you speeches, and then somebody lifted the needle off the record.
LaLa Land, the almost entirely white movie, did not actually win best picture; rather, that honor went to the almost if not entirely black cast of Moonlight.
I cried. The imagery and poetry of the moment were stunning.
But let me back up and talk about the movie itself and not the moment it won such an honor.
Moonlight chronicles the childhood of Chiron, our protagonist. Chiron grows up with an uncertain home life. Local drug dealer Juan becomes a mentor and gently ushers Chiron through his uncertainty about his identity and sexuality. One of my favorite scenes in the movie depicts Juan assuring Chiron that he doesn’t have to have answers about his sexuality at his young age. As the movie progresses, a story unfolds that is utterly unlike any other I’ve seen before or since: a deeply human, uniquely black, intensely relatable coming-of age tale of a young man discovering and trying to come to terms with his homosexual identity.
As you peruse this week’s suggested sources, I hope you’ll do so with an open mind while you consider these questions:
- What one-dimensional depictions of LGBTQ individuals have you seen in the media and on some level believed to be true?
- Where in your own mind and heart have you turned a blind eye and deaf ear to the struggles of LGBTQ people because you believe in some way their “lifestyle choices” have created their struggles, not our culture’s wrongheaded portrayal of them?
- How can you begin inner work today to unlearn the biases you’ve held against LGBTQ people – biases that aren’t based in truth but in lopsided media narratives?
I hope will join you on this journey to keep learning about our siblings who share a gender and/or sexual identity other than our own. It’s a long journey, but in my experiences, such journeys generally prove to be the ones that are truly worth taking. Let’s continue on this journey together, trekking the winding, arduous path to peace, one piece at a time.