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Media Madness
Unless you have been living under a rock or on a remote island with no media access, you would have been made aware of the controversy of Russell Brand and his alleged ‘historic’ problematic behaviour. If we think about Russell Brand in the early 2000s he displayed provocative and eccentric behaviour, which contributed to his rise to fame as a comedian, actor, and television presenter. During this period, he gained popularity for his unique style, which combined sharp wit, a proclivity for wordplay, and a rebellious, countercultural persona.
Brand’s stand-up comedy routines was very much intertwined with his personality, which was littered with controversy, something that was welcomed by the general public and bosses at big media corporations. Hence his never-ending media opportunities, book deals and sell out shows.
In recent years Brand has reinvented (or evolved) himself and his public image which has seen a move towards introspectivity, spirituality and sobriety. Brand has collected millions of followers that praise him for his activist work, he has been vocal on mental health issues, and he encourages his followers to hold government and big corporations to an account.
The media’s cancellation of Russell Brand without any criminal charges being brought against him raises important questions about the boundaries of cancel culture and the presumption of innocence. Brand, a controversial and outspoken comedian, has faced severe backlash for his provocative statements and unconventional views on various topics. While his comments have undoubtedly sparked controversy and debate, the absence of any criminal charges against him highlights the growing trend of public figures being held to account in the court of public opinion, often without a legal basis.
This situation underscores the importance of distinguishing between free speech and harmful behaviour. Cancel culture can sometimes blur these lines, leading to consequences that may seem disproportionate to the alleged transgressions. The case of Russell Brand serves as a reminder of the need for nuanced discussions around cancel culture, ensuring that individuals are held accountable for their actions while also upholding the principle of innocent until proven guilty in a court of law. It raises questions about how society should navigate the complex intersection of free expression, public accountability, and the potential consequences for individuals in the public eye.
There is also an important topic that seems to be forgotten in this web of madness……..what about the alleged victims. There seems to be a theme that continuously needs to be highlighted when criminality and victimisation is presented. There is little discussion or coverage on the alleged victims. The lack of media sensitivity and lay discussion on this topic either dehumanises the alleged victims by using lines such as ‘Brand is another victim of MeToo’ and comparing him to Cliff Richard and Kevin Spacey, two celebrities that were accused of sexual crimes and were later found not guilty, which in essence creates a narrative that does not challenge Brand’s conduct, on the basis of previous cases that have no connection to one another.
We also need to be mindful on the medias framing of the alleged witch hunt against Russell Brand and the problematic involvement that the UK government. The letter penned by Dame Dinenage sent to social media platforms in an attempt to demonetize Brand’s content should also be highlighted. While I support Brand being held accountable for any proven crimes he has committed, I feel these actions by UK government are hasty, and problematic considering there have been many opportunities for the government to step in on serious allegations about media personalities on the BBC and other news stations and they have not chosen to act. The step made by Dame Dinenage has contributed to the media madness and contributes to the out of hand and in many ways, nasty discussion around freedom of speech. The government’s involvement has deflected the importance of the victimisation and criminality. Instead, it has replaced the discussion around the governments overarching punitive control over society.
Brand has become a beacon of understanding to is 6.6 million followers during Covid 19 lockdowns, mask mandates and vaccinations. This was at a time when many people questioned government intentions and challenged the mainstream narratives around autonomy. Because Brand has been propped up as a hero to his ‘awakened’ followers the shift around his conduct and alleged crimes have been erased from conversation and debates around BIG BROTHER and CONTROL continue to shape the media narrative………
The True Crime Genre and Me
I have always enjoyed the true crime genre, I enjoyed the who dunnit aspect that the genre feeds into, I also enjoyed “learning” about these crimes, and why people committed them. I grew up with an avid interest in homicide, and the genre as a result. So, studying criminology felt like it was the best path for me. Throughout the three years, this interest has stayed with me, resulting in me writing my dissertation on how the true crime genre presents homicide cases, and how this presentation influences people’s engagement with the genre and homicides in general.
With this being my main interest within the field of criminology, it was natural that True Crime and Other Fictions (CRI1006) module in first year caught my attention. This module showed me that my interest can be applied to the wider study of criminology, and that the genre does extend into different areas of media and has been around for many years. Although this module only lasted the year, and not many other modules- at least of the ones that I took- allowed me to continue exploring this area, the other modules taught me the skills I would need to explore the true crime genre by myself. Something- in hindsight- I much prefer.
I continued to engage with the wider true crime genre in a different way than I did before studying criminology- using the new skills I had learnt. Watching inaccurate and insensitive true crime dramas on Netflix, watching YouTubers doing their makeup whilst talking about the torture of a young girl, podcasts about a tragic loss a family suffered intercut with cheery adverts. This acts as a small snapshot of what the genre is really like, whereas when I originally engaged with it, it was simple retellings of a range of cases, each portrayed in slightly different ways- but each as entertaining as the next. To me, I think this is where the genre begins to fall apart, when the creators see what they are producing as entertainment, with characters, rather than retellings of real-life events, that affects real people.
Having spent so much time engaging with the genre and having the skills and outlook that comes with studying criminology, you can’t help but to be critical of the genre, and what you are watching. You begin to look at the reasoning behind why the creators of this content choose to present it in such ways, why they skip out on key pieces of information. It all makes a bit more sense. Its just entertainment. A sensationalist retelling of tragic events.
Although studying criminology may have ruined how I enjoy my favourite genre of media, it also taught me so many skills, and allowed me to develop my understating in an area I’ve always been interested in. These skills can be applied in any area, and I think that is the biggest take away from my degree. Considering I now work as the Vice President of Welfare at the Students Union– and getting some odd looks when I say what my degree was- I have no regrets. Even if I walk away from my time at university and never use the knowledge I gained from my studies, I can walk away and know that my time was not wasted, as the skills I have learnt can be applied to whatever I do moving forward.
Rise of the machines: fall of humankind
May is a pretty important month for me: Birthdays, graduations, what feels like a thousand Bank Holidays, marking deadlines, end of Semester 2 and potentially some annual leave (if I haven’t crashed and crumbled beforehand). And all of the above is impacted by, or reliant on the use of machines. Their programming, technology, assistance, and even hindrance will all have a large impact on my month of May and what I am finding, increasingly so, is that the reliance on the machines for pretty much everything in relation to my list above is making my quite anxious for the days to come…
Employment, education, shopping, leisure activities are all reliant on trusty ol’ machines and technology (which fuels the machines). The CRI1003 cohort can vouch, when I claim that machines and technology, in relation to higher education, can be quite frustrating. Systems not working, or going slow, connecting and disconnecting, machines which need updates to process the technology. They are also fabulous: online submissions, lecture slides shown across the entirety of the room not just one teeny tiny screen, remote working, access to hundreds of online sources, videos, typing, all sorts! I think the convoluted point I am trying to get too is that the rise of the reliance on machines and technology has taken humankind by storm, and it has come with some frustrations and some moments of bliss and appreciation. But unfortunately the moments of frustration have become somewhat etched onto the souls of humankind… will my laptop connect? Will my phone connect to the internet? Will my e-tickets download properly? Will my banking app load?
Why am I pondering about this now?
I am quite ‘old school’ in relation to somethings. I am holding on strong to paper books (despite the glowing recommendations from friends on Kindles and E-readers), I use cash pretty much all the time (unless it is not accepted in which case it is a VERY RARE occasion that the business will receive my custom), and I refuse to purchase a new phone or update the current coal fuelled device I use (not literally but trying to be creative). Why am I so committed to refusing to be swept along in the rise of the machines? Simple: I don’t trust them.
I have raised views about using card/contactless to purchase goods elsewhere and I fully appreciate I am in a minority when it comes to the reliance on cash. However, what happens when the card reader fails? What happens when the machine needs an update which will take 40mins and the back up machine also requires an update? Do traders and businesses just stop? What happens when the connection is weak, or the connection fails? What happens when my e-tickets don’t load or my reservation which went through on my end, didn’t actually go through on their end? See, if I had spoken to someone and got their name and confirmed the reservation, or had the physical tickets, or the cash: then I would be ok. The reliance on machines removes the human touch. And often adds an element of confusion when things go wrong: human error we can explain, but machine error? Harder to explain unless you’re in the know.
May should be a month of celebrations and joy: Birthdays, graduations, end of the Semester, for some students the end of their studies. But all of this hinders of machines. Yes, it requires humans to organise and use the technology but very little of it is actually reliant on humans themselves. I am oversimplifying. But I am also anxious. Anxious that a number of things we enjoy, rely on and require for daily life is becoming more and more machine-like by the day. I have an issue, can I talk to a human- nope! Talk to a bot first then see if a human is needed. So much of our lives are becoming reliant on machines and I’m concerned it means more will go wrong…
A race to the bottom
Happy new year to one and all, although I suspect for many it will be a new year of trepidation rather than hope and excitement.
It seems that every way we turn there is a strike or a threat of a strike in this country, reminiscent, according to the media, of the 1970s. It also seems that every public service we think about (I mean this in the wider context so would include Royal Mail for example,) is failing in one way or another. The one thing that strikes me though, pardon the pun, is that none of this has suddenly happened. And yet, if you were to believe media reporting, this is something that is caused by those pesky unions and intransigent workers or is it the other way round? Anyway, the constant rhetoric of there is ‘no money’, if said often enough by politicians and echoed by media pundits becomes the lingua franca. Watch the news and you will see those ordinary members of the public saying the same thing. They may prefix this with ‘I understand why they are striking’ and then add…’but there is no money’.
When I listen to the radio or watch the news on television (a bit outdated I know), I am incensed by questions aimed at representatives of the railway unions or the nurses’ union, amongst others, along the lines of ‘what have you got to say to those businesses that are losing money as a result of your strikes or what would you like to say to patients that have yet again had their operations cancelled’? This is usually coupled with an interview of a suffering business owner or potential patient. I know what I would like to say to the ignorant idiot that asked the question and I’m sure most of you, especially those that know me, know what that is. Ignorant, because they have ignored the core and complex issues, wittingly or unwittingly, and an idiot because you already know the answer to the question but also know the power of the media. Unbiased, my ….
When we look at all the different services, we see that there is one thing in common, a continuous, often political ideologically uncompromising drive to reduce real time funding for public services. As much as politicians will argue about the amount of money ploughed into the services, they know that the funding has been woefully inadequate over the years. I don’t blame the current government for this, it is a succession of governments and I’m afraid Labour laying the blame at the Tory governments’ door just won’t wash. Social care, for example, has been constantly ignored or prevaricated over, long before the current Tories came to power, and the inability of social care to respond to current needs has a significant knock-on effect to health care. I do however think the present government is intransigent in failing to address the issues that have caused the strikes. Let us be clear though, this is not just about pay as many in government and the media would have you believe. I’m sure, if it was, many would, as one rather despicable individual interviewed on the radio stated, ‘suck it up and get on with it’. I have to add, I nearly crashed the car when I heard that, and the air turned blue. Another ignoramus I’m afraid.
Speak to most workers and they will tell you it is more about conditions rather than pay per se. Unfortunately, those increasingly unbearable and unworkable conditions have been caused by a lack of funding, budget restraints and pay restraints. We now have a situation where people don’t want to work in such conditions and are voting with their feet, exacerbating the conditions. People don’t want to join those services because of poor pay coupled with unworkable conditions. The government’s answer, well to the nurses anyway, is that they are abiding by the independent pay review body. That’s like putting two fingers up to the nurses, the health service and the public. When I was in policing it had an independent pay review body, the government didn’t always abide by it, notably, they sometimes opted to award less than was recommended. The word recommendation only seems to work in favour of government. Now look at the police service, underfunded, in chaos and failing to meet the increasing demands. Some of those demands caused by an underfunded social and health care service, particularly mental health care.
Over the years it has become clear that successive governments’ policies of waste, wasted opportunity, poor decision making, vote chasing, and corruption have led us to where we are now. The difference between first and third world country governments seems to only be a matter of degree of ineptitude. It has been a race to the bottom, a race to provide cheap, inadequate services to those that can’t afford any better and a race to suck everyone other than the rich into the abyss.
A government minister was quoted as saying that by paying wage increases it would cost the average household a thousand pound a year. I’d pay an extra thousand pound, in fact I’d pay two if it would allow me to see my doctor in a timely manner, if it gave me confidence that the ambulance would turn up promptly when needed, if it meant a trip to A&E wouldn’t involve a whole day’s wait or being turned away or if I could get to see a dentist rather than having to attempt DIY dentistry in desperation. I’d like to think the police would turn up promptly when needed and that my post and parcels would be delivered on time by someone that had the time to say hello rather than rushing off because they are on an unforgiving clock (particularly pertinent for elderly and vulnerable people).
And I’m not poor but like so many people I look at the new year with trepidation. I don’t blame the strikers; they just want to improve their conditions and vis a vis our conditions. Blaming them is like blaming cows for global warming, its nonsensical.
And as a footnote, I wonder why we never hear about our ex-prime minister Liz Truss and her erstwhile Chancellor Kwasi Kwarteng; what a fine mess they caused. But yesterday’s news is no news and yet it is yesterday’s news that got us to where we are now. Maybe the media could report on that, although I suspect they probably won’t.
The dance of the vampires
We value youth. There is greater currency in youth, far greater than wisdom, despite most people when they are looking back wishing they had more wisdom in life. Modernity brought us the era of the picture and since then we have become captivated with images. Pictures, first black and white, then replaced by moving images, and further replaced by colour became an antidote to a verbose society that now didn’t need to talk about it…it simply became a case of look and don’t talk!
The image became even more important when people turned the cameras on themselves. The selfie, originally a self-portrait of reclusive artists evolved into a statement, a visual signature for millions of people using it every day on social media. Enter youth! The engagement with social media is regarded the gift of computer scientists to the youth of today. I wonder how many people know that one of the first images sent as a jpeg was that of a Swedish Playboy playmate the ‘lady with the feathers’. This “captivating” image was the start of the virtual exchange of pictures that led to billions of downloads every day and social media storing an ever-expanding array of images.
The selfie, brought with it a series of challenges. How many times can you take a picture, even of the most beautiful person, before you become accustomed to it. Before you say, well yes that is nice, but I have seen it before. To resolve the continuous exposure the introduction of filters, backgrounds and themes seems to add a sense of variety. The selfie stick (banned from many museums the world over) became the equipment, along with the tripod, the lamp and the must have camera, with the better lens in the pursue of the better selfie. Vanity never had so many accessories!
The stick is an interesting tool. It tells the individual nature of the selfie. The voyage that youthful representation takes across social media is not easy, it is quite a solitary one. In the representation of the image, youth seem to prefer. The top “influencers” are young, who mostly like to pose and sometimes even offer some advice to their followers. Their followers, their contemporaries or even older individuals consume their images like their ‘daily (visual) bread’. This seems to be a continuous routine, where the influencer produces images, and the followers watch them and comment. What, if anything, is peculiar about that? Nothing! We live in a society build on consumption and the industry of youth is growing. So, this is a perfect marriage of supply and demand. Period!
Or is it? In the last 30 years in the UK alone the law on protecting children and their naivety from exploitation has been centre stage of several successive governments. Even when discussing civil partnerships for same sex couples, Baroness Young, argued against the proposed act, citing the protection of children. Youth became a precious age that needed protection and nurturing. The law created a layer of support for children, particularly those regarded vulnerable. and social services were drafted in to keep them safe and away from harm. In instances when the system failed, there has been public outrage only to reinforce the original notion that children and young people are to be protected in our society.
That is exactly the issue here! In the Criminology of the selfie! Governments introducing policies to generate a social insulation of moral righteousness that is predicated on individual – mostly parental – responsibility. The years of protective services and we do not seem to move passed them. In fact, their need is greater than ever. Are we creating bad parents through bad parenting or are people confronted with social forces that they cannot cope with? The reality is that youth is more exposed than ever before. The images produced, unlike the black and white photos of the past, will never fade away. Those who regret the image they posted, can delete it from their account, but the image is not gone. It shall hover over them for the eternity of the internet. There is little to console and even less to help. During the lockdown, I read the story of the social carer who left their job and opened an OnlyFans account. These are private images provided to those who are willing to pay. The reason this experience became a story, was the claim that the carer earned in one month of OnlyFans, more than their previous annual income. I saw the story being shared by many young people, tagging each other as if saying, look at this. The image that captures their youth that can become a trap to contain them in a circle of youth. Because in life, before the certainty of death there is another one, that of aging and in a society that values youth so much, can anyone be ready to age?
As for the declared care for the young, would a society that cares have been closing the doors to HE, to quality apprenticeships, a living wage and a place to live? The same society that stirs emotions about protection, wants young people to stay young so that they cannot ask for their share in their future. The social outrage about paedophiles is countered with high exposure to a particular genre in the movies and literature that promotes it. The vampire that has been fashioned as young adult literature is the proverbial story of an (considerably) older man who deflowers a young innocent girl until she becomes infatuated with him. The movies can be visually stunning because it involves the images of young beautiful people but there is hardly any mention of consent or care!
It is one of the greatest ironies to revive the vampire image in youth culture. A cultural representation of a male prototype that is manipulative, intruding into the lives of seemingly innocent young people who become his prey. There is something incredibly unsettling to explore the semiology of an immortal that is made through a blood ritual. A reverse Peter Pan who consumes the youth of his victims. The popularity of this Victorian literary character, originally conceived in the era of industrial advancement,at a time when modernity challenged tradition, resurfaces with other monsters at times of great uncertainty. The era of the picture has not made everyday life easier, and modernity did not improve quality of life to the degree it proclaimed. Instead, whilst people are becoming captivated by ephemera they are focused on the appearance and missing substance. An old experience man, dark, mysterious with white skin may be an appealing character in literature but in real life a someone who feeds on young people’s blood is hardly an exciting proposition.
The blood sacrifice demanded by a vampire is a metaphor of what our society requires for those who wish to retain youth and save their image into the ether of the cyberworld as a permanent Portrait of Dorian Gray. In this context, the vampire is not only a man in power, using his privilege to dominate, but a social representation of what a consumer society places as the highest value. It is life’s greatest irony that the devouring power of a vampire is becoming a representation of how little value we place on both youth and life! A society focused on appearance, ignoring the substance. Youth looking but not youth caring!
The Color Purple, The Musical: What in the Misogynoir?!
TW: mentions of rape, child rape, racism, and misogynoir.
Alice Walker’s novel The Color Purple is a story loved around the world. So, when I saw that it was adapted to stage and touring the UK, my interest was peaked just enough to consider a visit to my local theatre the Royal & Derngate in Northampton. A Curve and Birmingham Hippodrome co-production, it came to Northampton in the first week of October. Largely, audiences that frequent my local theatre are overwhelmingly white – thus, watching The Color Purple it was a joy to my heart to hear Black people in my community engaging with the arts, because the last time I heard so many Black people attended, was for Our Lady of Kibeho as part of the R&D’s Made in Northampton season. This dates back to 2019, a production I reviewed for The Nenequirer showing that Northampton(shire) arts has work to do.
Social media platforms like Twitter and Instagram showed me the pretty unanimous positive praise for the Leicester-Birmingham co-production, while local critics also enjoyed it – including reviews from The Chronicle & Echo and The Nenequirer as well as further reviews by The Real Chris Sparkle and Northampton Town Centre BID. However, there were elements of the show that caused me great distress, no less than the perpetuation of misogynoir and racist stereotypes against Black men. It was deeply triggering, showing how historical trauma and vicarious trauma are ever present, including when white organisations have not done the work of protecting Black mental health when producing “Black-centred media.”
At the head of this cast, Me’sha Bryan gives a knockout performance as Celie (previous played by Whoopi Goldberg in the film) accompanied by Aaliya Zhané as Nettie, with Bree Smith as Shug Avery, and brilliant musical numbers grounded in the traditions of blues music that finds its origins in the trauma of enslaved Africans in the American South. They sang when “they got the blues” … and as far as performance and the commitment from the cast, I couldn’t ask for better.
However, whilst I have praised the musical numbers above, I did not believe it fitted with the tones of The Color Purple curating a rift between what the actors were saying and doing on stage, and the intonations of the music – as well as the lighting design. And despite the directorial position deciding the rape of a child wasn’t musical material (rightly so), the choice to have it as a passing detail with no further discussion, I found particularly off-key. This is one of the moments that highlights that The Color Purple may not have been musical material and better considered as a serious drama. I did not walk away feeling that bleak, much ado with contradictory lighting choices to character moods. The characters were feeling one away and lights did something else. By the by, rather than skip over the rape to maintain “the musicalness”, it may have been more effective to have done this story as a stage drama (with musical elements, if at all). The horrors depicted at the beginning of the novel are pretty nonexistent in musical.
So, this recent adaptation was a disappointment. Not from an acting point of view but behind-the-scenes pre-production elements like direction. The start of story includes a fourteen year-old who births two children after being raped by her father. So, the amount of trauma that exists around child sexual abuse and rape appear unconsidered when they glossed over these parts of the story. Furthermore, I do question if they consulted with any survivors when doing research for this adaptation. A ‘sensitivity consultant’ would not have gone amiss either, further to considerations of intersectionality and how cultural nuances in global, but still different Black communities, will be interpreted by white people, especially in provincial Little England.
Blown away by the musical abilities of the cast, stage productions (like much art) are often labelled as “escapist” so is not afforded the same criticality as for example – policing, education, sport and so on – we are all guilty of this and we can do better. This may be art; there were no redeeming Black characters, and Black men calling Black women “ugly” (written into the script) in full face of a white audience is cultural violence. In Northampton, the large white audience laughed at this example of ableist misogynoir, and in many ways this production felt to be played up for white audiences. Lots of white people are not used to seeing Black people as full human beings, and I do feel the play draws out our humanity. And by proxy centres white comfort with a Black aesthetic reinforced by white supremacy in media.
Disability justice activist Talia Lewis has released definitions of ableism every year since 2019. In January 2022, she discussed ableism as a violent social discourse that values people’s bodies and minds according to societally constructed ideas of “normalcy, productivity, desirability, intelligence, excellence and fitness …” Lewis (2022) states that these ideas are embedded in other violent discourses such as eugenics, capitalism, misogyny and white supremacy. The adaptation of these characters is only part of this debate, where another part may want to consider how this play has informed everpresent white superemacism pervasive across Northamptonnshire. It may impact how local white audiences may view Black people when they perceive that in this cultural text – ‘this is how Black people talk and act around each other.’
“This systemic oppression leads to people and society determining people’s value based on their culture, age, language, appearance, religion, birth or living place, “health/wellness”, and/or their ability to satisfactory re/produce, “excel” and “behave.” You do not have to be disabled to experience ableism.”
Talia Lewis (2022)
In Homegrown (hooks and Mesa-Bains, 2017), bell hooks tell us “We have to constantly critique imperialist white supremacist patriarchal culture because it is so normalized by mass media and rendered unproblematic. The products of mass media offer the tools of the new pedagogy.” Theatre is no different to films, literature or television programmes. Watching the musical, it struck me how the numbers of people who haven’t done the work of unlearning their own white supremacy would be impacted by such an adaptation (yes, as we know all humans can reproduce these isms but in a global western context, however, white supremacy has put white people on the top of that racial hierarchy).
One instance of misogynoir and ableism was underpinned by the three Black women singers (their character names escape me) who were written as Sassy Black Women inherently “comedifying” Black womanhood. Brilliant singers, but were written lazily reinforcing a damaging cultural media narrative that diminishes the three-dimensional personhoods of Black women. This was offered with no alternative. The Hypersexual Jezebel (named after the “sinful” Biblical character) appears in numbers of characters while Sofia was written as the Strong Black Woman. Black men were then written as violent, comedic relief, illiterate, and other harmful stereotypes, and domestic abuser Mr Albert is redeemed to the sound of musical harmonies and joyful lighting.
At a Northampton level, the critics from local media revisited a culture of uncritically discussing art. Stories aren’t just stories but a product of the society that created them, and we are a society that finds it easier to challenge the criminal justice system than it does liberal arts institutions, in spite of both having a say in how Black people are viewed and treated. Despite “Black theatre” not being genre, we need more shows at the Derngate that centre Blackness in Britain. And whilst commissioning and hosting shows about ‘Black issues’ is not evidence of an anti-racist commitment, it would be nice to see more shows locally about Black people in the UK by Black people.
When we do get “Black stories”, they so often centre the US, most recently The Color Purple (Oct, 2022) and Two Trains Running (Sept, 2019) – denying local audiences a context for Blackness within the United Kingdom, while recentring American Blacknesses is gaslighting through art. In November, Dreamgirls centring American Blackness is coming to the Derngate. A co-production between The Curve and the Birmingham Hippodrome, this adaptation of The Color Purple was deeply problematic on many levels that local white critics may not have picked up on because of their whiteness – drawn in by a spectacle of a “Black show”, viewed through a white gaze that is unused to talking about white supremacy as a political structure.
The white audience for these misogynoir tropes specifically – largely one of laughter – reminded me of the white gaze, with white laughter as eased white supremacy. Whiteness continues to pervade through ‘acceptable racism’ where serious digs made at Black people in-text laughed at by white people may show how white people may think about Black people in designated white spaces. A Black man seriously calling a Black woman ugly and a white audience laughing at that is incredibly revealing – a comfortableness in spaces coded as white … and how white people may act when thinking and talking about Black people in private (i.e in spaces coded as culturally white and desgined to their comfort).
“I grew up in a culture of bantering and, ngl, I love a caustic riposte. And while in certain ways I resent the current policing of language, there is a distinction. I hate to break it to you, but a “joke” in which the gag is that the person is black isn’t a joke, it’s just racism disguised as humor. A joke told to a white audience where the punch line is a racist stereotype isn’t a joke, again it’s just racism; if there is only one black person present, it’s also cowardly and it’s bullying. Jokes of this nature probably aren’t funny for black people.”
Emma Dabiri (2021: 98)
Art imitating life is one thing, but when life imitates art is another. White laughter at Black people in cultural media texts goes back to the days when blackface was on the BBC (until 1978). To see this platformed by a local arts institution then profiting from it, is revealing of how whiteness is performed and profited from, when white people think they’re not being watched. Creatives have a responsibility and so do those institutions that platform them.
Myself and fellow blogger @haleysread discuss this further in our prior entries about the scandal surrounding Jimmy Carr and Netflix. On that October evening, being one of the few Black people in the audience, it was incredibly uncomfortable. To consider art uncritically is to be entertained from a vantage point of privilege (or ignorance). Attending with my friend, to see unanimous positive feedback from the public made us feel a way, no less than from many Black people. We must always be critical; being critical is not the same as criticising, and those who are critical only take the time to be so because we care.
It is not about individual actors but about the lack of critique of institutional platforming in producing “art” that goes on to cause harm. Another fellow blogger Stephanie @svr2727 talked about misogynoir and the media in her recent webinar with the Criminology Team and Black Criminology Network. Violent mistakes in arts productions show a need not for more historical consultants, but sensitivity readers and empathy viewers. One cannot teach empathy, you either have it or you do not. Extending this gaze to screen media texts as well like Bridgerton and others, it is a further reminder that social scientists are needed at the very top of media … especially those of us that research about race, racism, and other forms of violence.
These cultural texts are rehearsed, edited, and considered by multiple hands before any public audience sees them. So, why are we still having to challenge? Simple: misogynoir, ableism, and whiteness are institutionalised and normalised socially and culturally into our day-to-day practice. No less than in “liberal” arts institutions.
“Nothing but a circus, with clowns and all.” – Malcolm X
The Good Doctor has me thinking…
Recently I have begun watching ABC’s The Good Doctor, which is a medical drama based in the fictional, yet prestigious, San Jose St Bonaventure Hospital and follows the professional and personal journeys of a number of characters. The show is based on a South Korean tv medical drama called Good Doctor and is produced by Daniel Dae Kim and developed by David Shore (creator of House). The main character is Dr Shaun Murphy who has Autism. He is a surgical resident in the early seasons and the show focuses on how Dr Murphy navigates his professional and personal life, as well as how the hospital and other doctors, surgeons, nurses and patients navigate Dr Murphy’s style of communication and respond to him. As a medical drama, in my humble opinion, it is highly entertaining with the usual mix of interesting medical cases and personal drama required. The characters are also relatable in a number of different areas. As a springboard for a platform to talk about equality, equity and fairness, it is accessible and thought-provoking.
A key focus of the programme is the difficulty Dr Murphy has with communication. Well, I say difficulty in communicating, but in actuality I would say he communicates differently to what is recognised as an ‘accepted’ or ‘normal’ form of communication. Dr Murphy struggles to express emotions and becomes overwhelmed when things change and are not within his controlled environment. A number of his colleagues adapt their responses and ways of interacting with him in order to support and include him, whereas others do not and argue that despite his medical brilliance, and first-rate surgical skills, he should not be treated differently to the other surgical residents, as this is deemed unfair.
Whilst watching, the claims of treating all surgical residents equally, and ensuring the hospital higher-ups are being fair; notions of John Rawls’ writing scream out at me. Students who have studied Crime and Justice should be familiar with Rawls’ veil of ignorance, liberty principles and difference principle, in particular with its reference to ‘justice’. But the difference principle weighs heavily when looking at how Dr Murphy functions within the hospital institution with its rules, procedures and power dynamics which clearly benefit and align with some people more so than others. Under the veil of ignorance, maybe an empathetic doctor or surgeon is not required, but a competent and successful one is? Maybe being empathetic is a personal circumstance rather than an objective trait? For Rawls, it is important that the opportunity to prosper is equal for all: and this might mean the way this opportunity is presented is different for different individuals. Rawls asks us to consider a parallel universe and what could be (a popular stance to take within the philosophical realm): why can’t people with autism be given the chance to save lives and perform surgeries just because they cannot communicate in a way deemed ‘the norm’ when dealing with patients.
It is possible that I am over-thinking this. And when I ask my partner about it, they raise questions about why Dr Murphy should be given different opportunities to the other residents and the harm Dr Murphy’s communication barriers could and do cause within the series. But I feel they are missing the point: it is not about different opportunities, its about different methods to ensure they all have the same opportunity to succeed as surgeons. It is not about treating everyone the same, which might on the surface appear to be fair, it is about recognising that equal treatment involves taking account for the differences. Why should Dr Murphy be measured against norms and values from an institution which is historically white, non-disabled, male, and cis-gendered? This might appear to be a lot of thought for a fictional medical drama, but to reiterate it’s an excellent programme with plenty to think about…
Bibliography:
Rawls, J. (1971) A Theory of Justice. Oxford: Oxford University Press.
Ryan, A. (1993) Justice. Oxford: Oxford University Press.