Current Events I:

One of the most recent phenomena that I feel needs to be addressed is the echoing effect of the Black Lives Matter movement on the movie industry. I am in full support of equality for all, however as noble as the movement’s goals are, it is certainly a possibility that the concept became a cite of commercial exploitation for many companies allegedly in the name of those pure intentions. 

Although a highly controversial topic for some, tokenism is arguably quite prevalent in historical drama as of late. Such may be present in many not only fictional works that claim to portray reality, such as Bridgeton, but also stories that are based on real history, such as Mary, Queen of Scots. One of my all-time favourite shows – The Last Kingdom – seems to have fallen into the same category. The story is set in 9^th century not quite yet England, that essentially tells a tale of a protagonist Uhtred of Bebbanburg, who indeed was based off a real individual, and his place in the historical events and battles, such as the Battle of Edington, that formed the history of slowly emerging England as a single country. What became a subject of debate in this series is the new member of the cast that was introduced in the latest season. The character is a 9^th century priest, namely Father Benedict, who was portrayed by Patrick Robinson, who is in fact black. The character is apparently absent from the original story, however, for those who called the historical accuracy into question, claimed by Netflix to be loosely based on a North African real life figure – St. Adrian of Canterbury, to prove the validity of their casting choice. However, it appears that although this individual was ‘African by birth’ he was not of black race, ethnically belonging to Berbers. According to blackpost.org the very first black people recorded arrived as a part of the Roman army in 2^nd and 3^rd centuries AD, however the likelihood of black priests emerging in Anglo-Saxon kingdoms remains miniscule. 

Such disfigurement of obvious facts may serve as an aggressive attempt to put a ‘check’ next to the word ‘diversity’ in film productions, becoming in fact counterproductive to the alleged goal. I believe a change in human perception asks for subtler strategies as those particularly resistant to change will take such brute attempts as an attack, cultivating even more resistance, if it is indeed diversity that the film industry is striving for. 

Any discussion is welcome!