The American Society of Magical Negroes: criticizing white entitlement, or erasing gay people from the world?

 

Members of marginalized groups -- racial minorities, religious minorities, women, and LGBT people -- are often stereotyped as mystical.  They may be presented as superstitious (the Italian "evil eye") or psychic (women's intuition), but sometimes they have fully-formed paranormal powers. like the "magical Negro" who zaps around time and space to help the white protagonist. There's a helpful Wikipedia page with dozens of recent examples: Bruce Almighty, Hitch, Sex and the City, The Dark Knight, The Matrix, The Martian, The Green Book, La La Land and Aladdin.   According to the conflict theory of criminology, the ruling class promotes these stereotypes deliberately, to justify the groups' lack of power and wealth -- they "can't function" in the hard, logical, materialistic world of goverment and business.

The American Society of Magical Negroes (2024) presents this stereotype as real. Aren (Justice Smith) is recruited into an Illuminati-like society of African-Americans with paranormal powers, which they use to control world events.  He is assisted by his white best friend (Drew Tarver).  Justice Smith is gay and Drew Tarver is bi, so this movie has to be LGBTQ-friendly.  

But, whenever possible, I watch trailers and read plot synopses before watching a movie, to check for nasty surprises like queerbaiting or deathbed scenes. 

Scene 1: Aren sees a lot of people standing in line outside a building, and is zapped into a magical space.  A woman says "I know you can feel their discomfort," as he sees a half-naked white girl looking at him.   He walks through a giant gallery space while white people stare at him.  The woman: "Watching you walk through a roomful of white people is the most painful thing I've ever seen."

Scene 2: David Alan Grier recruits him into the American Society of Magical Negroes.  We see a lot of classrooms where students are learning to use their powers, sort of like Hogwarts. Then Grier transports him to a streetcorner and asks "What's the most dangerous animal on the planet?"  The answer: "White people, when they feel uncomfortable."  Gemstone connection: Tim Baltz plays a white cop who feels uncomfortable upon encountering two black guys.

Grier continues: The job of the society is fight white discomfort, because the happier they are, the safer we are."  I thought they were like the Illuminati, controlling governments. 

I can see not wanting to get shot, but is it really the black person's responsibility to make white people feel comfortable?  If they feel uncomfortable, isn't it on them?  Maybe I'm being over-optimistic, but shouldn't the society be fighting the institutional racism that internalizes the stereotypes and results in perceiving the black person as a potential threat?

Scene 3: Aren becomes the coworker of his first client, Jason (Drew Tarver).  They bond over pingpong and video games.  He also meets his Love Interest. Unfortunately, Jason thinks that he is trying to set them up.  Drama! Hey, Drew Tarver is bi, and plays gay guys all the time.  Why is he straight here?  Boo!

The boss gets mad, too, because Aren won't be able to concentrate on making Jason comfortable with black people if he's busy courting Love Interest.  They're already best friends; he looks pretty comfortable.  

Scene 4: Well, Love Interest is white, so why take on her as a client instead  She seemed fine, too.  Aren goes all out on his courtship.  Scenes of the two falling in love, while the boss warns that he could have his memory erased for breaking society rules.  Meanwhile the motto of the movie splashes across the screen: "Some connections are stronger than magic." 

Will I Watch:  Heck no.  I'm interested in the political implications of "making white people comfortable" as a social movement agenda, but this movie is actually just a regular heterosexist heterosexual romance, with the magical stuff just added to create a "forbidden love" drama.   And it's heterosexuals all the way down, to make sure that straight viewers don't feel uncomfortable. How ironic is that?

Bonus dicks after the break

Veep Episode 3.4: Tim Baltz, penis jokes, queerbaiting, and an obnoxious level of homophobia

 I watched the first season or so of Veep (2012-2019), with Julia Louise-Dreyfuss as a scheming, acerbic Vice President of the U.S. (political party unspecified), but got annoyed with the excessive amorality of the characters and their interminable petty squabbles. 

But I'm back to review Episode 3.4, "Clovis," because it reputedly has a gay theme. There's a huge cast of middle-aged white men with interchangeable personalities and identical names, so it will be easier to refer to them by job title.

Scene 1; Palo Alto, California.  The Veep (Julia Louise Dreyfuss) is speaking at Stanford.  Her Strategist (Gary Cole, below) notes that tickets are $5000.  Tomorrow she's speaking at Clovis, a company worth $4.3 billion ("more than I make in a year!").  Darn, I thought she would be going to New Mexico.

While she is holding a baby and talking baby-talk, its mother asks why she backflipped on fracking. They get into an argument.  The team tries to disengage, but you can't just walk away while holding a baby.

Scene 2: The VP Chief of Staff is yelling at the Communications Director (Matt Walsh, left), asking why he didn't disengage quicker.  Meanwhile the Veep and her Assistant Gary (Tony Hale) discuss the damage: "You're going to alienate women in their 30s."  "Oh, no!" she exclaims. "I'm left with gay Latinos and Jews at college."  A very precise fan base.

Scene 3: At the Veep's office, the staff watches tv: Danny Chung  (Randall Park, below) is talking about the fracking fiasco (gleefully; he must be an enemy).  Deputy Director of Communications (Reid Scott, top photo, left, and below) wants to "take the fucker out."  

To add to his woes, on his computer, his frenemy Jonah is rapping about the fiasco, having the Veep say "And that's why drinking chemical sludge is good for you."

Jonah calls the Deputy Director to gloat. White House Chief of Staff yells at him, then tells the Deputy Director that they have to take out the mother (the lady who argued with the Veep about fracking).  Find some dirt on her.  Make her out to be a bad mom.  Wait, I thought they wanted to destroy their enemy, Danny Chung.  They want to destroy the Mother too?  That's a lot of personal assassinations for 23 minutes.

Scene 4: White House Chief of Staff has a beer with the Deputy Director  and complains about his job, "going from 6-pack abs to this keg.  I ain't seen my penis since the Gulf War." Has anyone else seen it?  

The Deputy Director wants to be the Veep's campaign manager.  It's doable, the Chief of Staff tells him, if he is willing to get "down and dirty," like finding some dirt on Danny Chung: there's a rumor that when he was in Iraq, his squad tortured a prisoner.  Ok, back to destroying Danny Chang.

More after the break

History of the World, Part II: Homophobic jokes and gay subtexts during the Civil War. Plus Nick Robinson nude.

 

History of the World, Part I (1981) was a Mel Brooks vehicle involving sketches parodying various historic periods, from the Stone Age to the Spanish Inquisition, featuring nearly every comedian in the business.  To the infinite confusion of audiences, no Part II was intended.

Until 2022, when Part II appeared as a tv series on Hulu, again (mostly) produced, written, directed, and narrated by the 96 year old Mel Brooks.  Many more historic eras are parodied, but I'm going to review only the Civil War.

Episode 1: 1865. In the waning days of the War, President Lincoln asks the drunken Ulysses S. Grant (Ike Barinholtz, below) to take charge of his son, Robert Todd (Nick Robinson): the 22-year old Harvard student has been begging to enlist, and now that the war is nearly over, he can do so safely. This is historically accurate: Robert Todd did serve on Grant's staff for several months in 1865.  But he was a "dandy," and Lincoln was gay; both are closeted here. 

Every soldier in Virginia has been ordered to deny Grant alcohol, so he decides to take RT on a "dangerous mission."

"I would follow you to the gates of Hell," RT says. Awww, how sweet.

"It's worse than that.  We're going to West Virginia."  Har, har. 

Episode 2:  In Rock Ridge, West Virginia, stylized as an Old West town out of Blazing Saddles, RT and Grant try to fit in because "They don't like our kind." He means Yankees, of course, but.... In  a tavern, we get a shot of the two holding hands as they both look at the same menu.  That's a queer code.

Their cover is blown when Grant tries to use Union currency, and his face is on the bill!  Grant is on the $50 bill today, but of course he wasn't during the Civil War. "We hate Yankees!"  The scene dissolves when a Red Sox fan starts to complain (the baseball team opposed to the New York Yankees).  

The mob (led by Gemstones alum Scotty McArthur) leads them out to be hanged. Actually, West Virginia was almost entirely Union-occupied through the war.

Episode 3: Three expendable Union soldiers  (top photo) are sent to rescue them. Lt. Henry Honeybeard (Tim Baltz), being white, is made their leader.  The others are the black Mason Dixon (Tyler James Williams) and the Native American Mingoes  (Zahn McClarnon, left).  As they leave, we see two pairs of legs protruding from a tent (guys having sex, har har).  

They are all dumb as a stump, and can't figure out which way West Virginia is. They end up the Underground Railroad, which is actually a subway run by Harriet Tubman, going the wrong direction.

More gay subtexts after the break