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najmetender:


Why did the BBC cast a black Porthos in The Musketeers?
Studs in leather? Check. Swordplay? Check. Buckled swash? Check. Medieval cleavages? Check. Over-complicated facial hair? Check. Dead-eyed Peter Capaldi as Louis XIII’s enforcer Cardinal Richelieu, that 17th-century prototype of Capaldi’s Malcolm Tucker in The Thick of It? Check.
There’s so much diverting stuff in BBC1’s current adaptation of The Musketeers that you might have missed perhaps its most intriguing aspect. One Telegraph reader didn’t during their below-the-line rant against what they called a “dumbed down romp”. “And,” they sighed, mid-tirade, “there is the one obligatory part-black character to prove that multiculti [sic] political correctness outweighs historical accuracy.”
What’s the problem? That in the new adaptation, Porthos, traditionally a fat white comedy turn (think: Oliver Platt in the 1993 comedy The Three Musketeers) is a trim, sexy musketeer of colour played by Howard Charles.
But should Porthos be black? In one sense, sure, why not? If a black actor such as David Harewood, say, can play the (probably white) English nobleman Sir Harry Hotspur in the National Theatre production of Shakespeare’s King Henry IV without critics whining about the historical accuracy (trickier in fact for a white actor to play Othello since the colour of the Moor’s skin is inscribed deep in Shakespeare’s verse), surely a black musketeer isn’t a stretch.
But that isn’t the issue. Rather, the casting of Porthos works as a homage to the parentage and race of Alexandre Dumas père, author of The Three Musketeers and The Count of Monte Cristo (and father of Alexandre Dumas fils, who wrote La Dame aux Camélias). Alexandre père’s father (or, if you prefer, the père’s père), General Alexandre (Alex) Dumas, was black Haitian, the son of an aristocratic French father, Marquis Alexandre Davy de la Pailleterie, and a freed slave, Marie-Cesette Dumas. And he was a general in Napoleon’sgrande armée.
Certainly, Howard Charles is aware of that ancestry. In arecent interview in the Cambridge Newsthe actor said he had been inspired by reading The Black Count, Tom Reiss’s recent book on the life of General Alexandre (Alex) Dumas. “He was a general, when I guess there weren’t many brown people around in uniform, so I was really attracted to that element,” said Charles. Alex’s dad sold the boy as a slave to pay for his passage to France (that’s remedial parenting classes for you, Marquis de la Pailleterie) before buying his freedom. Later, Alex rose through the ranks of the army to become a general before he was 30. He was so effective that that the Austrians called him Der schwarze Teufel (“the Black Devil”). During the French revolution fought with other black men in a unit called the African Legion.
But does any of this legitimise having a black Porthos? If it confounds the unwarranted presumption that he was white, then why not? What the black Porthos does, helpfully, is challenge the increasingly implausible myth of a Europe that was altogether white before large-scale 20th-century immigration from former colonies. The “historical accuracy” that some people want from Sunday-night costume dramas may demand that Europe was whitewashed, but that doesn’t mean the rest of us have to follow suit.
We’ve been here before. I once wrote about claims that George III’s consort Charlotte had African ancestry. We’d had theories – shattering to white supremacists, intriguing to the rest of us – that Beethoven was black, so why not a black queen of England? What was most striking to me in all this was that the US city named after her (Charlotte, North Carolina) had used these claims to help improve race relations. Perhaps Queen Charlotte’s story could, I argued then, do the same over here. It hasn’t, as you’ll have noticed. That, I suspect, is why it’s worth casting a black actor as Porthos – to shake some Europeans out of their racist delusions.

Stuart Jeffries, The Guardian
jfc it’s 2014 and apparently this is still an issue to some people. I think long story short is why the fuck not
Also Howard Charles happens to be doing an excellent job bringing life and exuberance to the character of Porthos so stfu and enjoy this series

najmetender:

Why did the BBC cast a black Porthos in The Musketeers?

Studs in leather? Check. Swordplay? Check. Buckled swash? Check. Medieval cleavages? Check. Over-complicated facial hair? Check. Dead-eyed Peter Capaldi as Louis XIII’s enforcer Cardinal Richelieu, that 17th-century prototype of Capaldi’s Malcolm Tucker in The Thick of It? Check.

There’s so much diverting stuff in BBC1’s current adaptation of The Musketeers that you might have missed perhaps its most intriguing aspect. One Telegraph reader didn’t during their below-the-line rant against what they called a “dumbed down romp”. “And,” they sighed, mid-tirade, “there is the one obligatory part-black character to prove that multiculti [sic] political correctness outweighs historical accuracy.”

What’s the problem? That in the new adaptation, Porthos, traditionally a fat white comedy turn (think: Oliver Platt in the 1993 comedy The Three Musketeers) is a trim, sexy musketeer of colour played by Howard Charles.

But should Porthos be black? In one sense, sure, why not? If a black actor such as David Harewood, say, can play the (probably white) English nobleman Sir Harry Hotspur in the National Theatre production of Shakespeare’s King Henry IV without critics whining about the historical accuracy (trickier in fact for a white actor to play Othello since the colour of the Moor’s skin is inscribed deep in Shakespeare’s verse), surely a black musketeer isn’t a stretch.

But that isn’t the issue. Rather, the casting of Porthos works as a homage to the parentage and race of Alexandre Dumas père, author of The Three Musketeers and The Count of Monte Cristo (and father of Alexandre Dumas fils, who wrote La Dame aux Camélias). Alexandre père’s father (or, if you prefer, the père’s père), General Alexandre (Alex) Dumas, was black Haitian, the son of an aristocratic French father, Marquis Alexandre Davy de la Pailleterie, and a freed slave, Marie-Cesette Dumas. And he was a general in Napoleon’sgrande armée.

Certainly, Howard Charles is aware of that ancestry. In arecent interview in the Cambridge Newsthe actor said he had been inspired by reading The Black Count, Tom Reiss’s recent book on the life of General Alexandre (Alex) Dumas. “He was a general, when I guess there weren’t many brown people around in uniform, so I was really attracted to that element,” said Charles. Alex’s dad sold the boy as a slave to pay for his passage to France (that’s remedial parenting classes for you, Marquis de la Pailleterie) before buying his freedom. Later, Alex rose through the ranks of the army to become a general before he was 30. He was so effective that that the Austrians called him Der schwarze Teufel (“the Black Devil”). During the French revolution fought with other black men in a unit called the African Legion.

But does any of this legitimise having a black Porthos? If it confounds the unwarranted presumption that he was white, then why not? What the black Porthos does, helpfully, is challenge the increasingly implausible myth of a Europe that was altogether white before large-scale 20th-century immigration from former colonies. The “historical accuracy” that some people want from Sunday-night costume dramas may demand that Europe was whitewashed, but that doesn’t mean the rest of us have to follow suit.

We’ve been here before. I once wrote about claims that George III’s consort Charlotte had African ancestry. We’d had theories – shattering to white supremacists, intriguing to the rest of us – that Beethoven was black, so why not a black queen of England? What was most striking to me in all this was that the US city named after her (Charlotte, North Carolina) had used these claims to help improve race relations. Perhaps Queen Charlotte’s story could, I argued then, do the same over here. It hasn’t, as you’ll have noticed. That, I suspect, is why it’s worth casting a black actor as Porthos – to shake some Europeans out of their racist delusions.

Stuart Jeffries, The Guardian

jfc it’s 2014 and apparently this is still an issue to some people. I think long story short is why the fuck not

Also Howard Charles happens to be doing an excellent job bringing life and exuberance to the character of Porthos so stfu and enjoy this series

(via feminismitmakessense)

queerfabulousmermaid:

sourcedumal:

Michael K. Williams talks about an emotional moment on the set of ‘12 Years a Slave’, moving Arsenio Hall to tears.

The emotional and spiritual toll that this film must have taken on every single Black cast member…..

Lord….

he caught the spirit of the ancestors. wow.

(Source: klchaps, via blueklectic)

nietzschesghost:

kawaii-kekki:

minn2x:

As a black person this makes me really proud but at the same time it really frustrates me because the news never focus on the positive qualities of blacks which in reality actually out weighs the negatives but the media only focus on the negatives.. why does a 4 year old black boy cussing makes huge media headlines but a 4 year black girl genius does not……that’s what really frustrates me. 

signal boosting because no matter what that stuff is really impressive and deserves to be recognized! like dang, you go!!

And yet the youngest lady to pass the bar was covered…at least on british news outlets…not sure why other countries would cover it though.

(via ceedling)

lucipherous:

girlsrule-subsdrool:

The Nu Project

Your body is normal. Repeat after me: “My body is normal. My body is wonderful. My body is beautiful.”

Most importantly though, “My body is mine.”

(Source: slutintheory, via feminismitmakessense)

827:

logging on to tumblr

827:

logging on to tumblr

(Source: lipsyncforyourlife, via onlylolgifs)

birdsy-purplefishes:

thebaconsandwichofregret:

i want to force like 75% of male nerddom to watch this conversation

Have you seen them miss the point though? They miss it so hard.

(Source: emmajstones)

theblolg:

"I like that I stick out. I was watching “Valentine’s Day” on the plane recently. I have a tiny part in that movie. I was watching all the women — Jessica Biel, and Emma Roberts, and Jennifer Garner and Julia Roberts. They are gorgeous women, and I don’t want to take anything away from them, but they all do have a very classical look, with a very thin nose. I’m watching this parade of these faces and then, boom, it was my face, and I was taken aback. I was like, “Oh, my nose is so big!” I have never in my life thought I had a big nose, but, well, there it was.
The first time I was on TV, on “Flight of the Conchords,” someone put up a YouTube clip and said, “You’re too ugly to be on TV.” And I was like, “That is exactly why it’s a good thing that I’m on TV.” - Kristen Schaal, goddess

theblolg:

"I like that I stick out. I was watching “Valentine’s Day” on the plane recently. I have a tiny part in that movie. I was watching all the women — Jessica Biel, and Emma Roberts, and Jennifer Garner and Julia Roberts. They are gorgeous women, and I don’t want to take anything away from them, but they all do have a very classical look, with a very thin nose. I’m watching this parade of these faces and then, boom, it was my face, and I was taken aback. I was like, “Oh, my nose is so big!” I have never in my life thought I had a big nose, but, well, there it was.

The first time I was on TV, on “Flight of the Conchords,” someone put up a YouTube clip and said, “You’re too ugly to be on TV.” And I was like, “That is exactly why it’s a good thing that I’m on TV.” - Kristen Schaal, goddess

(via feminismitmakessense)

(Source: extinto, via dddark-paradise)

"as an African…" [x] - Chimamanda Adichie’s “The Danger of a Single Story”gif

(Source: drunkandgiffing, via facebooksexism)