“There is no one way to tell the story of slavery or to chronicle the black experience. It is not that slavery and struggle narratives shouldn’t be shared but these narratives are not enough anymore. Audiences are ready for more from black film — more narrative complexity, more black experiences being represented in contemporary film, more artistic experimentation, more black screenwriters and directors allowed to use their creative talents beyond the struggle narrative. We’re ready for more of everything but the same, singular stories we’ve seen for so long.”—12 Years a Slave and Black Oscar Bait — Vulture
“With the recent high-profile failures in mind, studio executives will undoubtedly be more cautious. But that won’t do anything to make them less reliant on blockbusters bets — it will only lead them to raise the stakes when they pursue more established properties. In today’s marketplace, having the movie that everyone wants to see means making big bets on superheroes, vampires, and other properties and talent connected to past hits.”—
It took almost five full seasons to happen, but the extended, minute-plus-long version of Dave Porter's “Breaking Bad” theme music has finally been broadcast on an episode. It was used as background music in the final minutes of last night’s episode.
“Cyrus’s twerk act gives minstrelsy a postmodern careerist spin. Cyrus is annexing working-class black “ratchet” culture, the potent sexual symbolism of black female bodies, to the cause of her reinvention: her transformation from squeaky-clean Disney-pop poster girl to grown-up hipster-provocateur. (Want to wipe away the sickly-sweet scent of the Magic Kingdom? Go slumming in a black strip club.) Cyrus may indeed feel a cosmic connection to Lil’ Kim and the music of “the hood.” But the reason that these affinities are coming out now, at the VMAs and elsewhere, is because it’s good for business.”—Rosen on the 2013 VMAs and Miley’s Minstrel Show — Vulture