In Missandei’s Final Act, She Reminds Us That It Is Okay For Black Women To Be Angry


Before the final battle begins, a shackled Missandei is on display for Daenerys, Missandei’s lover Grey Worm, and the rest of her army. Refusing to bend the knee and give up the throne, Cersei commands The Mountain, her knights guard, to kill Missandei. When Cersei offers Missandei the opportunity to have any last words, she only has one: “Dracarys.” In the fictional language, High Valyrian, it literally translates to dragonfire. In her final act, the quiet and reserved Missandei tells both her queen and her lover to burn King’s Landing to the ground.

For Black women who love the show, last Sunday’s episode was especially difficult. As the only Black female character on the show, it seemed that Missandei was the only sister in all of the seven kingdoms. Seeing her back in chains was especially rough and, in light of the series’ trajectory, her death felt unnecessary.

Source: In Missandei’s Final Act, She Reminds Us That It Is Okay For Black Women To Be Angry

How the dream of cheap streaming television became a pricey, complicated mess – The Washington Post

“But there is no real debate about the outcome: The dreams of cord cutters are largely unfulfilled. A transition that some hoped would provide more choice, lower prices and more simplicity instead has delivered frustrating levels of complexity. There still may be more choice, but each choice comes with price tags that, taken together, may well approach the cable bills of old.“It’s not going to come for free,” said Michael Powell, president of trade group NCTA, representing pay television and broadband providers. “People want to watch their ‘True Detective,’ ‘Breaking Bad,’ ‘Mad Men,’ and that stuff costs a fortune.”

Source: How the dream of cheap streaming television became a pricey, complicated mess – The Washington Post

The Increasing Danger of Addiction to Video Games in Children

The Increasing Danger of Addiction to Video Games in Children


It is estimated that between 5 and 8 percent of children and teens are addicted to this form of entertainment. In recent days, the World Health Organization (WHO) has categorized video game addiction as a mental health disorder, an opinion that is not shared by all experts on these games.

One of the conditions that make their use attractive for children is that they can be practiced with very few elements, unlike more traditional games. At the same time, they allow children to have an escape from the difficulties and demands of the real world.

Full Article

More articles by:

Dr. Cesar Chelala is a co-winner of the 1979 Overseas Press Club of America award for the article “Missing or Disappeared in Argentina: The Desperate Search for Thousands of Abducted Victims.”

Jesse Williams’ BET Awards 2016 Speech: Watch | Billboard


“Just because we’re magic doesn’t mean we’re not real. Thank you.”

Watch the full speech below:


“Let’s get a couple of things straight. The burden of the brutalized is not to comfort the bystander — that’s not our job so let’s stop with all that. If you have a critique for our resistance then you’d better have an established record, a critique of our oppression.“If you have no interest in equal rights for black people then do not make suggestions to those who do: sit down.“We’ve been floating this country on credit for centuries, and we’re done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind while extracting our culture, our dollars, our entertainment like oil — black gold! — ghettoizing and demeaning our creations and stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit.“Just because we’re magic doesn’t mean we’re not real. Thank you.”

  • Jesse Williams

Jesse Williams accepts the Humanitarian Award onstage during the 2016 BET Awards at the Microsoft Theater on June 26, 2016 in Los Angeles.

It’s safe to say that 34-year-old Grey’s Anatomy star Jesse Williams stole the BET Awards on Sunday night with a wildly inspirational, confrontational speech that is bound to become a cornerstone of the Black Lives Matter movement. Later in the show, Samuel L. Jackson said he hadn’t heard a speech like it since the 1960s.

Williams has appeared in multiple films, but he was honored with BET’s Humanitarian Award for his activism. In October 2014, he joined protests in Ferguson, Missouri to protest the shooting of Michael Brown. He was also an actor and executive producer of Stay Woke, a documentary about the movement that premiered in May. He has written extensively on Black Lives Matter and met with President Obama earlier this year to discuss his humanitarian work.

Watch All the Prince Tributes at the 2016 BET Awards

BET CEO Debra Lee presented his award “for his continued efforts and steadfast commitment to furthering social change.”

He began by thanking BET and all involved in the video that preceded his appearance, his wife and his parents “for teaching me to focus on comprehension over career, they made sure I learned what the schools are afraid to teach us.

“This award is not for me,” he continued. “This is for the real organizers all over the country, the activist, the civil rights attorneys, the struggling parents, the families, the teachers, the students that are realizing that a system built to divide and impoverish and destroy us cannot stand if we do. It’s kinda basic mathematics: the more we learn about who we are and how we got here the more we will mobilize.

“This award is also for the black women in particular who have spent their lives nurturing everyone before themselves — we can and will do better for you.

Beyonce, Kendrick Lamar Open the 2016 BET Awards

“Now, what we’ve been doing is looking at the data and we know that police somehow manage to de-escalate, disarm and not kill white people every day. So what’s going to happen is we’re going to have equal rights and justice in our own country or we will restructure their function and ours. [Standing ovation.]

“I got more, y’all. Yesterday would have been young Tamir Rice’s 14th birthday so I don’t want to hear any more about how far we’ve come when paid public servants can pull a drive-by on a 12-year-old playing alone in a park in broad daylight, killing him on television, and then going home to make a sandwich.

“Tell Rekia Boyd how it’s so much better to live in 2012 than 1612 or 1712. Tell that to Eric Garner, Sandra Bland.

“The thing is though, all of us here are getting money, that alone isn’t going to stop this. Dedicating our lives to getting money just to give it right back to put someone’s brand on our body — when we spent centuries praying with brands on our bodies, and now we pray to get paid for brands on our bodies?

BET Awards Week: See All the Photos

“There has been no war that we have not fought and died on the front lines of. There is no job we haven’t done, there is no tax they haven’t levied against us, and we have paid all of them.

“But freedom is always conditional here. ‘You’re free!’ they keeping telling us. ‘But she would be alive if she hadn’t acted so… free.’ Now, freedom is always coming in the hereafter, but the hereafter is a hustle: We want it now.

“Let’s get a couple of things straight. The burden of the brutalized is not to comfort the bystander — that’s not our job so let’s stop with all that. If you have a critique for our resistance then you’d better have an established record, a critique of our oppression.

“If you have no interest in equal rights for black people then do not make suggestions to those who do: sit down.

“We’ve been floating this country on credit for centuries, and we’re done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind while extracting our culture, our dollars, our entertainment like oil — black gold! — ghettoizing and demeaning our creations and stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit.

“Just because we’re magic doesn’t mean we’re not real. Thank you.”

Watch the full speech  from the link below:

Source: Jesse Williams’ BET Awards 2016 Speech: Watch | Billboard

Why Breaking Bad’s Finale Was Perfect

Why Breaking Bad‘s Finale Was Perfect


There was never any doubt that Breaking Bad cared about its viewers. The show’s most impressive feat to me was its devotion to clarity, no matter how complicated its character dynamics or intricate its plot developments. Breaking Bad explained everything and then re-explained it. Jumps in logic were extremely rare and when they were employed—Jesse’s a-ha ricin moment from earlier this season, in which he deduced way too much given way too little information, and wielded his hunch like a weapon—they sent the plot forward with too much velocity to upset anyone but nitpickers.

The show was so satisfying, at least to me, because it played like a system of rewards. It would introduce a character or concept, allow you to engage and wonder, and then, just as you were getting to the point of Wait, what?: It delivered. Take Walt’s initially mystifying pay-phone conversation from last night’s Breaking Bad series finale, in which he impersonates a New York Times reporter in order to track down Gretchen and Elliott Schwartz, his former partners at Gray Matter. Walt’s ensuing break-in, while Gretchen and Elliott putter around their mansion oblivious to the invasion, is so calm and casual—the resulting suspense fucked with us the audience and only us. (And how about the eventual reveal that Walt’s intentions are not to murder Gretchen and Elliott, but to rope them into distributing his remaining fortune to his children? That show could play with me all night long if it wanted to.)

Another example: Walt’s final meeting with Skyler, preceded by a phone call from her sister Marie, who informs her Walter is in town, that he could be coming for her at any moment. Skyler hangs up, the camera deliberately pulls forward and reveals Walt, who’d been standing in the kitchen the whole time, previously obscured from our vision by a support column.

Breaking Bad made disclosure into a game in which viewers always felt like we were winning. The hang time between introduction and revelation is what we reveled in, and it was complicated further by characters’ participation in the game too, their worlds circumscribed by their own knowledge, ignorance, and willful suspension of disbelief in any given situation. This was not simply in a scene-to-scene way, but in the structure of the entire series. From Walt’s introduction to the meth trade in the pilot episode, his frequently repeated motivation—his risky behavior was all for his family—was dubious. The show allowed us to draw our own conclusions, to fill the small open space in Walt’s motivation and transformation from hero to anti-hero, from mild-mannered high school teacher to Heisenberg. And then, considerately and perfectly, Walt fills out his own understanding of himself: “I did it for me,” he tells Skyler, in a moment of ultimate revelation. “I liked it. I was good at it, and I was really… I was alive.”

No one gets to write his own obituary, but in taking control and revising his life—an existence eaten by cancer, already down and out after a near miss at entrepreneurial glory—Walter White came as close as a man can get to doing so. The tagline on posters advertising this final batch of Season 5 episodes was: “Remember my name.” That kind of egocentrism is fuel for success and ruin. The two existed simultaneously for Walter White. As much as Breaking Bad was the story about a man’s death—and thank god it turned out to be that story via its definitive, satisfying ending (not that I’d expect less)—it was also one of rebirth. Nothing exists in a vacuum: Walter’s selfishness affected everyone close to him, and his generosity was ultimately self-serving. He was a bad man who was attracted to innocence, which is why the only moments of pure joy we saw him experience were spent with his baby Holly (and also, I’d argue, why he saved his basically incompetent and certainly dependent beta counterpart, Jesse).

In the finale, Walt employs Jesse’s cohorts Badger and Skinny Pete to help scare Gretchen and Elliott into delivering Walter’s money to his son. The pair then shares an exchange that’s the most overt shout out to fans in Breaking Bad history:

Badger: I don’t know how to feel about all this.
Skinny Pete: For real, yo; the whole thing felt shady morality-wise.

They feel us. This chamber has an echo.

The finale was tidy, maybe overly so for a show about a man who made a mess of his life. Few questions were left unanswered—the Times points out that we never really got to the bottom of Walt’s departure from Gray Matter, and there was the curious removal of his watch after the aforementioned pay-phone call. (Later, on the post-show Talking Bad, creator Vince Gilligan explained that this was a matter of keeping continuity with the flash-forward that we saw at the beginning of the season, but also provided a more interpretive explanation about Walter’s time being up.) But really, except for henchman Huell (who trended on Twitter last night as a result of being absent from the finale), all T’s were crossed, all I’s dotted as they always were.

Walter’s ending was a happy one, or as happy as one could be engineered from the ruins of his life: He put a plan in place to ensure his kids would get his fortune (thus his meth-making was not in vain), he effectively destroyed the arm of the meth industry he built up, he got to be a hero to Jesse, and he died without suffering, beating his cancer once and for all. Walter got off easily, yes, but in receiving a definitive ending that is both thoughtful and morally straightforward, so did we. Walter’s destruction was not for nothing. We won’t have to argue and debate this to death a la The SopranosBreaking Bad did most of the work for us, as usual.

A Black Feminist Comment on The Sisterhood, The Black Church, Ratchetness and Geist l The Feminist Wire

A Black Feminist Comment on The Sisterhood, The Black Church, Ratchetness and Geist

January 28, 2013


Unknown-1There’s been much talk about TLC’s new show The Sisterhood, a reality show about the lives and struggles of Ivy Couch, Domonique Scott, Christina Murray, DeLana Rutherford, and Tara Lewis, five pastor’s wives in the Atlanta area.  While some critics are threatening to boycott the show, and others are framing it as evidence of black [male] preachers loosing their way (which I guess is synonymous with the Black Church loosing its way, but that’s another issue), millions of others, myself included, a former “first lady” and black feminist scholar of religion, race and media, are flocking faithfully to the television screen on Tuesday nights with popcorn and bottled water in hand.

And let me be clear: like many, I’m “sick and tired of being sick and tired” of the operative mediation of the global racist and sexist imagination through black women’s corporeal realities.  I’m tired of mass mediated notions of “black womanhood” being both the adjective and the noun that modifies and constricts space, time and meanings. I’m tired of black women consistently serving as—through both overdetermination and consent—televisual artifacts for establishing white, black and other “normalcy.”  And yes, I’m sick and tired of black women functioning as cultural mediums for soothing primal fears, representational tropes for suckling the collective fascination with black female sexuality, and work horses for demonstrating a mastery of unscrupulousness and otherness.  I’m tired.

SisterhoodAnd yet, I’m also admittedly drawn in to this show and others like it, week after week.  Like so many others before them, Ivy, Domonique, Christina, DeLana, Tara and many other reality TV women, inspire all kinds of repulsions, attractions and anxieties.  However, they also satiate [some of] our ratchet taste buds.  Can we have a moment of honesty?  The Sisterhood is a hit show.  And this isn’t because no one’s watching it.

So what’s the draw?  The Sisterhood creates a conflict between public politics, private realities and personal taste.  However, this war between the emperors’ coat of high culture and the everydayness of his nakedness is nothing new.  This ongoing juxtaposition highlights the ever increasing tensions between the “cultured” and the “ratchet;” the former drawing attention to so-called taste, tact, refinement, civilization and genius, and the latter calling attention to the so-called vulgar.  While the former is purported to arise out of the Geist – the intellectual inclinations – of our times, the latter is purported to spring forth from the worst of black culture.  However, what better communicates the spirit of the time than the ratchet?  And no, I don’t mean the ways that ratchet gets deployed to project a collage of derogatory meanings onto black women’s bodies.  I’m referring to the ways that ratchetness often undergirds the ricocheting of raw emotions and missiles of unfiltered truths.

The-SisterhoodTo uncritically bash The Sisterhood is to toe the expected party line.  To demonize the show is not only an attempt to maintain a position of moral superiority, but an assay to construct and limit meaning for the audience—an audience that may in fact connect with the human qualities of the ratchetness therein.  And trust me, I get the critiques regarding black female representations in media.  This needs to be called out everyday all day—but not while asphyxiating black women’s complex identities with mythological notions of black women’s heroic genius.  In short, binary oppositions don’t work.  They set up “us” versus “them” politics, which are both totalizing and reductive.  I think a better suggestion might be to think about the heroic qualities of black women’s genius, that is if you buy this argument, as at times being a bit ratchet. Identities and tastes shift in shades of grey, not monochrome.  That said, we don’t need another schemata.  And we damn sure don’t need another exceptionalist social fiction to cancel out our complex subjectivities, which can neither be packaged nor wholesaled, by the way.

images-3The Sisterhood isn’t “hurting the church image…[or] giving God a bad name.” Religious people have already done that.  Neither is it “abominable and offensive to the Christian/African American communities.”  I can think of a few other things, all ending with “isms” or “phobia,” to fit that bill.  And finally, it’s not evidence of black [male] preachers or the historical Black Church loosing its way–I haven’t even mentioned how the eve/gender politics here are troubling at best.  And to be sure, I’m not saying wether the Black Church or the black [male] preacher has lost their way or not.  That’s an entirely different conversation.  For starters, I think I’d first need to know what the “way” once was or imagined to be.  And truly, The Sisterhood isn’t even a representation of the Black Church.  As far as I can see, there are only two wives from historical black churches (hold this thought) on the series–whose church would likely define themselves in such a way, Ivy and Domonique.

The Sisterhood is evidence of our obsession with brown women’s lives and our pornotropic desire to lift their curtains and see everything.  In addition, it’s evidence of the fluidity between religion and culture, and the myriad ways that each cross-pollinates the other, thus broadening, limiting and confusing all kinds of meanings.  An example of this is the construction of the “first lady” concept for the show, a Black Church conception structured in both politics of respectability and patriarchal dominance, aimed at constructing alternative identities–distinct from the hypersexual/sexual savage trope–for black women, particularly during the early twentieth century.  As with the FLOTUS, it’s a title of respect for wives in religious contexts that are often theo-socially hostile to women in general.  With regard to black women, there’s a long history here apropos race, gender, sex, sexuality, respectability and wifehood.  However, I’ll save the politics of race, ladyhood and wifedom for another day.

images(Side note: background, I’d be interested to see how the “first lady” title operates for Christina, a Dominican woman married to a black new wave evangelical pastor, and DeLana, a white southern woman who, akin to her co-pastor husband, seems to fancy all things “plantation” (27:56 mark) and soft Christian rock.  I’d be even more interested in seeing how this works for Tara, a black body builder married to a Jewish Christian former pastor, both of whom appear to be working with a different set of gender politics.  But this, again, is another story.)


Ultimately, The Sisterhood is evidence of not only our obsession with brown women’s lives, the constant interpolation of religion in culture and vice versa and the static nature of meanings in our society, but our very own and ever expanding frailties, contradictions and complexities as human beings.  These women represent the thorny nature of our inner selves, particularly when situated in hostile, novel, and/or uncomfortable environments.  Sure.  Ivy, Domonique, Christina, DeLana, and Tara aren’t really sisterly (or are they?) and they argue like the women in the Basketball Wives and Real Housewives franchise.  But wouldn’t you if pimping your story on reality television somehow became a necessity, or if you found yourself in the midst of a group of others who were geographically, theologically, racially, economically, politically, contextually, and socially different than you?  Would you not have differences of opinions and take up, forcefully at that, different positonalities?  Seriously.  Are we above drama and contradictions?  Have we never been pushed to the edge to the point where we want to or choose to take it there?  Are our lives without mistakes, conflict, struggles, pain, stresses and moments of dehumanization?  Show me a person devoid of these realities and I’ll show you a straight up liar.  Yes.  That simple.

UnknownThe bottom line for me is this: these women are human.  They are women with problems from autonomous churches that differ, at minimum, theologically.  And like it or not, for Christians and others, theology shapes how people understand themselves in the world. Yes, it shapes both Tara’s unyielding “prayerbush” (s/o to Birgitta Johnson) at the 37:18 mark of the 4th episode and Domonique’s ongoing quest to live out and within her own truth.

Consciously or not, theology re-appropriates politics and ways of seeing by constructing a veil that recolours reality with simultaneous taken for granted notions of truth, hope, transcendence, capitalism, injustice and intolerance.  Moreover, the “first lady” position often serves as a protective shield against disagreement.  That is, Ivy, Domonique, Christina, DeLana, and Tara are likely used to participating in discourses where their politics and ways of seeing go unchallenged, especially within their congregations.

images-2But what happens when removed from that context?  Basically, shit goes awry—just as it would with any other group of strangers with different theo-political-socio-cultural-historical backgrounds and value systems.  My favorite on the show is Domonique. Not simply because she keeps it all the way real and clearly isn’t afraid to get it poppin with her co-stars, but because her struggle between the politics of respectability, the structures of dominance that frame her sexual past, and her quest for financial independence and selfhood are real.

Wherever we land in terms of this show being good or bad or something in between, it’s pretty significant to see a reality TV show centered on people of faith who are flawed with real issues.  Perhaps we might interpret The Sisterhood  not as an “abomination,” but as an imperfect, yet useful intervention–for the Black Church, black popular culture and black folk living in various communities.  These ladies disrupt the monolithic image of the puritanical (and irrational) religious person on one hand, and the exemplary religious heroic genius on the other.  These tropes are death-dealing.  No one can live them…or live up to them.  Let’s face it, we are messy inter-subjective beings with troubles, longings, complications, and inconsistencies–just like Ivy, Domonique, Christina, DeLana, and Tara.

And this is why we watch—and yes, with popcorn and bottled water in tow.  Because, unlike the black [male] mega church prosperity gospel preacher constantly being shoved down our throats (pun intended) as the symbol of black churches U.S.A, these folks—these women, are trying to make it and make sense of their messy lives—just like us.  And hey, like so many others in academe, the Black Church and without, they want to do it on TV.  That said, perhaps we’ve all lost our way.

 Dr. Tamura Lomax is an OUR COMMON GROUND Voice. She was guest in our “Black Women in the Prism” series

11-13 Lomax

Critique of ABC’s primetime series, Scandal l SpriritHouse and Johnathan Daniels and Samuel Younge Fellow, Dean Steed

Critique of ABC’s primetime series, Scandal

Written by SpriritHouse and Johnathan Daniels and Samuel Younge Fellow, Dean Steed

A variety of communities, including the Black community, continue to praise the American Broadcasting Channel’s (ABC) latest prime-time television series, Scandal. They celebrate it for being the first one-hour dramatic network television series produced and written by a Black woman (Rhonda Shimes) for an African American woman lead. Among such shows as Basketball Wives, Housewives of Atlanta, and Love and Hip Hop, capitalizing upon the racist mythologies of Black women as Sapphires and Jezebels, Scandal appeared as the beginning or genesis of a new Black woman who does not fit into these stereotypes. Scandal, presents the leading character, Olivia Pope, as an intelligent, independent, and resourceful Black woman. However, contrary to this representation, Olivia is not a new Black woman, Olivia is the quintessential Mammy, Jezebel, and Tragic Mulatto, wrapped into one. As a Mammy figure, she cleans up the messes of White men, covers their flaws, and protects their interests, while overlooking the needs of her own community. Essentially, her work is in the big house. Not only do White men see her as the Mammy, for them she is the tragic Mulatto and Jezebel. With her mulatto-like acceptability, she allows them to think White, while sleeping Black.

John Mayer, a White folk artist, reflects this attitude, when he states in Playboy magazine interview, that he possesses a “white supremacist ‘d–k” and that he would deviate from this and sleep with Kerry Washington, a black woman, because she is “super hot, white girl crazy, and would break your heart like a white girl.”

Although the series presents Olivia as a new woman, the center of gravity remains the same. The real scandal is that we accept the interracial love affair of Olivia Pope and the Republican president without recognizing that the image of Powerful White men, who sexually use Black women, is not new or liberating. It has it’s roots in a racist history that extends back to enslavement.

Olivia is the mistress and not the legitimate heir to the power and status of her White lover. Olivia’s position as mistress, echoes Sally Hemming’s affair with Thomas Jefferson. In season one, Olivia Pope engages in a heated argument with Fitzgerald Grant, over their torrid affair in which she likens their relationship to that of Thomas Jefferson and his slave mistress, Sally Hemming. Although Olivia draws on the example of Sally Hemming, she acts if her relationship with the President exists without a history or context. In other words, in a racialized society, the relationship is stripped of any racial meaning.

Despite the fact that many in the audience view Scandal as a groundbreaking series for it’s position in history as the first primetime series to be written and produced by a Black woman to feature and an African American woman as the lead, the show remains profoundly silent on the issue of race. It ignores that racism and White Supremacy are core values and organizing tools of the Republican party. In reality, members of the Republican party exploit and mobilize White resentment towards the gains that we achieved in the 1960s and 70s, viewing these gains as a loss of White power. Building on this resentment, the Republican party strategically uses codified language, distorted images, and a rhetoric of colorblind post-racialism to cover their racist assaults against our community.

The real scandal is that Olivia Pope, helps these men manipulate the public and to promote an anti-black agenda.

As I became further involved in the series, watching episode after episode, season after season, I slowly became increasingly aware of the incredible deception of the the producers who present the Republican party as supportive of democratic values while using a Black face to encourage the support of a Black audience.

In the first season, we witness Republican President, Fitzgerald Grant and his administration lobbying for the passage of the DREAM Act, a bill providing amnesty for young undocumented residents in the U.S and the support of immigration. In reality, the Republican party vehemently opposed the DREAM Act, executed under President, Barack Obama.

In 2011, Republican presidential candidate, Mitt Romney voiced his opposition to the DREAM Act, vowing to veto it, if elected.

Another prevalent deception in this series is the representation of the Republican party as supportive and accepting of LGBT rights. This is exemplified through the show’s representation of the Republican administration as supportive of the openly gay Chief of Staff, Cyrus. Scandal, presents Cyrus as an out gay Republican who is married to a young, male journalist.

In reality, the Republican party is very vocal in its opposition to gay rights and has strongly advocated against same-sex marriage, adoption by same-sex couples and the existence of gay men and women in the military. It was the Democratic President, Barack Obama who repealed “Don’t Ask, Don’t Tell” along with vocalizing his support of same sex marriage.

Scandal is inspired by the life of co-producer and writer Judy Smith, Washington’s D.C’s crisis management expert and former Deputy Press Secretary and Public Relations consultant to the George H.W. Bush administration.

Judy Smith involved herself in the Clarence Thomas saga, when she provided her services to clear his image during Anita Hill’s charge of sexual harassment.

Judy Smith and actress Kerry Washington, (cast in the role of Olivia Pope) together lend a Black face to a party that builds its platform upon the continued oppression of all people of color.

The real scandal is that we know this and yet we allow this to invade our living room week after week.

(In my next article, I will reveal the ways in which Scandal mask the racist deeds of the Republican party)

Writer, Dean Steed, is the Lead Educator and Youth Organzinger at the Johnathan Daniels and Samuel Younge Institute and Senior at Georgia State University, majoring in African American studies.


What Is the Institute?

Through the program, The SpiritHouse Project: (1) supports and prepares a new generation of peace and justice workers who want to discern a call to social justice and nonviolence; (2) strengthens their courage, hope, resolve, and reason to do this work; (3) prepares them to play leading roles in public policy debates about issues such as racism, poverty, prison industrial complex, militarism, and the shrinking budget for human needs, voting rights, privacy and judicial issues, and neo-conservatism; and (4) helps grassroots communities meet their urgent need for trained and committed volunteers or staff.

Visit The Spirit House


The SpiritHouse Project is a national 501(c)3 non-profit organization that uses the arts, research, education, action, and spirituality to bring diverse peoples together to work for racial, economic, and social justice, as well as for spiritual maturity.

The SpiritHouse Project
1884 N. Ponce de Leon Ave. NE, Unit 1
Atlanta, GA 30307
Phone: (404) 228-1715