My favourite thing about Wuthering Heights is how truly terrible all of the characters are. Like the more important a character the more unredeemable they are. I don’t like any character in that book. It’s great. Such a great book. I love it.
❝ I can’t accept that. I can’t accept that there was only one black woman in the entire film, who delivered one line and who we never saw again. I can’t accept that the bad guys were Asian and that although in China, Lucy’s roommate says, “I mean, who speaks Chinese? I don’t speak Chinese!” I can’t accept that in Hercules, which I also saw this weekend, there were no people of color except for Dwayne Johnson himself and his mixed-race wife, whose skin was almost alabaster. I can’t accept that she got maybe two lines and was then murdered. I can’t accept that the “primitive tribe” in Hercules consisted of dark-haired men painted heavily, blackish green, to give their skin (head-to-toe) a darker appearance, so the audience could easily differentiate between good and bad guys by the white vs. dark skin. I can’t accept that during the previews, Exodus: Gods and Kings, a story about Moses leading the Israelite slaves out of Egypt, where not a single person of color is represented, casts Sigourney Weaver and Joel Edgerton to play Egyptians. I can’t accept that in the preview for Kingsman: The Secret Service, which takes place in London, features a cast of white boys and not a single person of Indian descent, which make up the largest non-white ethnic group in London. I can’t accept that in stories about the end of the world and the apocalypse, that somehow only white people survive. I can’t accept that while my daily life is filled with black and brown women, they are completely absent, erased, when I look at a TV or movie screen. ❞
❝ Storytelling is a political act. It’s making sense of the world and ourselves, and like every other kind of sense-making, it’s as political as it is personal and vice-versa. There is no distinction to be made between the political and the personal. Writing of any kind is political. It’s claimsmaking regarding reality and how to interpret it. Because whenever we’re faced with these things, we’re faced with fundamental truths regarding how creation makes and unmakes the world, regarding whose voices are amplified and whose are lost, between who gets to speak and who is literally silenced. ❞
Years later, I realized it wasn’t [Majel Barrett] I disliked, it was the role. Nurse Chapel was a wimpy, badly written, and ill-conceived character. In ‘The Naked Time,’ all she did was stand around and pine for Mister Spock, much the same as Yeoman Rand did for Captain Kirk. And in ‘Little Girls,’ Nurse Chapel pined for her fiance, mad scientist Dr. Korby. The close-up shots of her eyes misting over and lower lip quivering were beautifully photographed by cameraman Jerry Finnerman, who used special lighting and diffusion lenses. But this only served to emphasize the lack of character written into the character.
In 1987, in ‘Haven,’ a first-season episode of Star Trek: The Next Generation that I produced, Majel created the role of the Betazoid character, Lwaxana Troi, a bold and lusty, irreverent and energetic female alien, and she played the part to the hilt. This new character became popular with viewers - and with me, too. I took pains to tell her of my changed opinion.
— Bob Justman (producer and assistant director of TOS) in Inside Star Trek: The Real Story, 1996. (via trekkiefeminist)