If you work on theater, read it. "Where is the outrage of the white men who run more than 80 percent of the white American theater? Oh yes, how did one of them put it? They are programming “the plays that their audience like”. They are making the room safe again while making the theater great again." https://open.substack.com/pub/bealadderleader/p/fxck-you-white-american-theatre?utm_source=share&utm_medium=android&r=2hjxio

"I said I wasn't going to share it, but READ THE COMMENTS and come back....I'll wait....I got time today! What's fascinating about this entire conversation is that the people who actually own and operate the theater have remained almost completely silent while a parade of white people rush in to defend them. That's white liberalism in a nutshell. Not accountability. Not action. Not relationship building. Just endless explanations for why marginalized communities are asking for too much, expecting too much, or should simply move on. For years now, people have been asking the same basic question...What has been done to engage the community that was harmed? Not the general community. Not the subscribers. Not the people who were always welcomed in the room. The community that was specifically harmed. And instead of answers, we get lectures. We get told that asking for accountability is "keeping artists from work." We get told that the people harmed should be the ones reaching out. We get told that new leadership "owes us nothing." Well, at least that's honest. Because that's been the reality all along. The issue isn't that they haven't fixed the harm. The issue is that they don't seem particularly interested in understanding it. And the people rushing to defend them don't seem interested either. What I also find interesting is looking at who is agreeing with these dismissive comments. Almost entirely white people and people who have historically benefited from the status quo. People who were never excluded. Never tokenized. Never silenced. Never had their concerns treated as an inconvenience. A few of them will try to say they have or make oppression Olympic comparisons...but that will prove my point further.... And before anyone starts clutching pearls, let's be clear...nobody is asking for permission to exist in these spaces. Nobody is begging for a seat at the table. What we're doing is observing. Observing who gets listened to. Observing who gets defended. Observing whose comfort is prioritized. Observing who is expected to do all the labor of reconciliation while the people with the power and responsibility to initiate it remain silent. The owners/operators could have spoken. The producers could have spoken. The city could have spoken.

Season 5 episode 11 of A Different World's fifth season which was first broadcast on December 5, 1991. In an attempt to get over her break-up with Dwayne, Whitley throws herself into a new project, the dedication ceremonies for her residence hall. Exploring her new African image she assembles an exhibit of black women in History, from "Mammy" to Angela Davis. Her friends, especially Kim, are uncomfortable with the display of Mammy objects. But Whitley insists that Mammy be accepted as part of their past. That is, until she discovers her family once owned slaves. She then feels she no longer deserves to be a part of the sisterhood that's putting on the dedication. At the ceremonies, however, a performance place in which Kim dresses as Aunt Jemima, Freddie as a Mammy, and Lena as an African tribal dancer, wows the audience and helps Whitley find peace with her family's past. And Where’d It Come From? A Black Woman! | by Raymonda Speller | Medium https://www.instagram.com/reel/DOuZoyFj9IY/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==

Many people from the community were concerned the round shape evoked the "jolly" stereotype. Full story: https://igvofficial.com/life/travel/duolingo-redesigns-vikram-character-after-backlash/

K-Pops! is a 2024 family comedy film directed by and starring Anderson .Paak, who plays a washed-up drummer who travels to Seoul for a K-pop competition and discovers the show's star contestant is his estranged son, played by Soul Rasheed. The movie, which blends Black music culture with K-pop, follows their journey as they reconnect and navigate the music industry, with themes of fatherhood, fame, and second chances. It premiered at the Toronto International Film Festival and was released theatrically in February 2026, and is now streaming on Netflix. If you watch it, share your thoughts! https://youtu.be/idqmEVQIVaY?is=oYjcpvEhdU8_26EU