The Netflix original film Barry is set to be released on the streaming service on Dec. 16, just under a month before Barack Obama leaves office.
The film follows a young Obama as he finds his way through New York City during his junior year at Columbia University.
Man, we are going to miss Obama so much come January.
Anyway, check out the new trailer for the film:
RISE NEWS is a grassroots journalism news organization that is working to change the way young people become informed and engaged in the world. You can write for us.
What Do You Think?
You Might also like
By Allyn Farach
A visually impaired man is suing McDonald’s for their drive thrus lack of accessibility, reports NBC NEWS.
According to the affidavit, Scott Magee was refused admission to a McDonald’s after hours, which made him unable to purchase food.
On the date in question, Mr. Magee approached the McDonald’s restaurant and attempted to enter its interior for the purpose of purchasing goods and services.
However, the lobby doors were locked and Mr. Magee was unable to enter Mr. Magee then attempted to walk up to the drive-thru.
The McDonald’s personnel therein refused service to him, laughed, and told him to go away.
Various McDonald’s have driven through service only after a certain time, which would impede customers who cannot drive, according to NBC.
“While McDonald’s sighted customers can independently browse, select, and pay for products at Defendant’s drive-thrus without the assistance of others, blind people must hope for a companion with a car or paid taxi services to assist them in selecting and purchasing McDonald’s food,” the suit claims.
Like this? You can write for us too!
Lindsey Wagner, a lawyer who covers various areas of law, including discrimination, explained, “Likely, McDonalds’ position will be either that they’re not denying (the prosecution) access because they could have access with a driver or that changing their drive through services would be an undue burden on them.”
Undue burden is mentioned in section 12182 of the Americans With Disabilities Act, and is described by the ADA’s ‘Reaching Out’ section of their website as “significant difficulty or expense.”
Wagner also said that if the outcome falls in the prosecution’s favor, it may bring some changes.
“If it does go to trial, and if the plaintiff is successful in their claim, it would likely mean that McDonald’s would need to make changes for accommodations for those who are blind,” Wagner said. “This might be a new wave of the way that businesses provide services to also make sure that the drive through access also has accommodations for individuals that are visually impaired.”
RISE NEWS is a grassroots journalism news organization that is working to change the way young people become informed and engaged in public affairs. You can write for us.Post Views: 182
What Do You Think?
I’m not going to pretend to have watched the Miss America pageant. But something somewhat interesting did take place late last night.
Miss Alabama Meg McGuffin- a 22-year-old Auburn University graduate had some choice words for the Republican front-runner Donald Trump.
Take a watch for yourself courtesy of the War Eagle Reader:
That comb over is ablaze. Well, not really. But at least her answer was better constructed that this:
Photo Credit: Screenshot-War Eagle Reader/Youtube (ABC TV)Post Views: 203
What Do You Think?
By Mariam Ansar
Last week’s MTV Video Music Awards will likely be remembered as a hot-bed of drama, social issues, and controversy, spurned by the likes of Miley Cyrus, Nicki Minaj, and Kanye West. The slightest mention of the awards show is enough to disturb the silence in any room. This is the effect of popular culture at its finest.
But, there is one music video which can be distinguished as emblematic of the whole controversy, released during the award show and drawing attention to the reflective nature of said popular culture: it is fuelled by the cues of our society and what we deem to be acceptable. Or, in this case, what can not be deemed acceptable.
The plot-line of Taylor Swift’s ‘Wildest Dreams’ is easy to understand: intended to complement the sorrowful lamentations of a doomed relationship, Sunday night was witness to a dark-haired Swift posing sadly as the star of a 1950s Hollywood film against a backdrop of what can only be described as the most colonial of images of Africa.
With Scott Eastwood as the object of her affection, her relentless glances at him are not enough to provide the pair with a happy ending and so, the glamour is for nought and the drive into the sunset is non-existent. So too, as many of us have picked up on, is the presence of non-white Africans.
Reductionist at best, Swift’s ‘Africa’ is stereotypically conveyed with all the patronising ignorance of someone imagining what would constitute as The Exotic Land of Africa, a colonial illustration leaving out the knowledge of it being a continent, complex, rich in many histories, and therefore difficult to package and sell so neatly. Still, it did not stop Swift’s creative team from trying.
So Taylor Swift’s Wildest Dreams video was filmed in “Africa” but what country? Also, why does it only contain animals and white ppl #Taylor
— Lena Olson (@LeynuhPawp) August 31, 2015
From the depiction of rolling grasslands, wild animals in migration patterns, dry dust flying as Swift kisses her co-star in her throwback hunter outfit, the video enables the audience to see all of these things as mere accessories.
The romanticism of this history is a clumsy, heavy-handed act which calls to attention an out-dated racial hierarchy and is scarily reminiscent of colonial attitudes
They are ambiguously, stereotypically ‘African’ enough to contribute to not only the myth of Africa, more at home in a historically out-dated periodical, and ambiguously, stereotypically ‘African’ enough to warrant more attention on Swift and her lover. It would be easy to make the argument that indeed, she is the star and this is her music video. But what must be recognised is the fact that the spot-light is on a truly horrifying image: Swift’s Africa features white people, complicit in acting the role of colonial settlers under the facade of the creation of a film.
Watch The Video:
— Sydney Murray (@sydmurray) September 1, 2015
The romanticism of this history is a clumsy, heavy-handed act which calls to attention an out-dated racial hierarchy and is scarily reminiscent of colonial attitudes: ‘Africa’ can be groomed to fit an image the white person deems acceptable, can be plundered for its beauty whilst the locals remain invisible, and can become the mythical image of exoticism anyone fed on racist stereotypes sees it as.
The video casts a hazy, rose-tinted glow to the white imperialist presence in the African continent, romanticising it so that Swift does achieve that old Hollywood ’50s colonialist film vibe she’s looking for
“Africa is big: fifty-four countries, 900 million people who are too busy starving and dying and warring and emigrating to read your book. The continent is full of deserts, jungles, highlands, savannahs and many other things, but your reader doesn’t care about all that, so keep your descriptions romantic and evocative and unparticular.”
Swift is not a stranger to the romantic, the evocative, and the unparticular. In fact, these qualities seem to be a staple of her song-writing style, and yet, within the context of the ‘Wildest Dreams’ video, these are not qualities which can be dismissed as simply indicative of her personality.
The video casts a hazy, rose-tinted glow to the white imperialist presence in the African continent, romanticising it so that Swift does achieve that old Hollywood ’50s colonialist film vibe she’s looking for: ‘Wildest Dreams’ can easily be recognised as an example of Western media providing a propagandistic image of the exotic frontier playground, sitting comfortably alongside John Huston’s The African Queen and Sydney Pollack’s Out of Africa in these efforts. It is an achieved goal Swift has every reason to not be proud of.
The video is deceptively portrayed as simply detailing a complicated love-affair. As Zak Cheney-Rice concisely explained for Mic:
“It is remarkable that the insidious nature of the African colonial fantasy is so seamlessly glossed over. This matters. When a pop culture product reaches as many people as a Taylor Swift video does, the images it presents have implications beyond their immediate purview.”
Cheney-Rice has every reason to be wary of Swift’s creative products in light of her influence as one of the world’s biggest female popstars, and especially so when said creative products are as disastrously constructed as ‘Wildest Dreams’.
When it comes to influence, it is a by-product of fame which must be handled with responsibility.
It is exactly this which is lacking in this music video, and while director Joseph Kahn may be comfortable to shirk this one must recognise the importance of contentious, important historical landmarks, like the African continent having to suffer under European colonialism, being treated with more respect and awareness and less lazy nonchalance.
Ultimately, it is the fact that these attitudes surfaced so casually in our modern age omitting the truth of Africa’s history and the Black African presence, whether intentionally or not, in the place of romantic fantasy which deserves to be called to attention.
In this case, Swift’s love-story stopped short of occurring between her protagonists and began to cast back to a part of history which needs no affection. It is this which is truly distressing about ‘Wildest Dreams.’
Cover Photo Credit: GabboT/Flickr (CC By 2.0)Post Views: 251
What Do You Think?