The New York Times – Film:
With “Who We Are,” the lecturer Jeffery Robinson and the directors Emily and Sarah Kunstler follow in the tradition of documentaries that excavate our past.
Category: Race and Ethnicity
-
The Slap Wasn’t the Only Astonishing Thing About the Oscars
The New York Times – Film:
One stretch of the broadcast featured a remarkable convergence of Black celebrities, our critic writes. But in the midst of it all, Will Smith’s victory became a defeat.
-
Campbell Addy Up Close
The New York Times – Fashion & Style:
The photographer of the moment on what it takes to be seen.
-
LeBron Fandom, and the Making of a Friendship in ‘King James’
The New York Times – Sports:
Rajiv Joseph’s new play, which chronicles the bond between two LeBron James fans over 12 years, is having its world premiere at Steppenwolf in Chicago.
-
Akaash Singh and His Case for Bringing Back Apu
The New York Times – Film:
The stand-up comic, whose special has gone viral, takes issue with how some South Asians like Hari Kondabolu portray their experience in the United States.
-
Without the Wonderlic, the N.F.L. Finds Other Ways to Test Football I.Q.
The New York Times – Sports:
The league will not administer the test, which has been criticized for racial bias, to draft prospects at this year’s scouting combine. Instead, teams are deploying other assessments of football acumen.
-
Is There Such a Thing as Black Thought?
The New York Times – Music:
In an uncategorizable new musical, “Black No More,” the rapper Tariq Trotter investigates Black identity — a matter that has occupied his whole career.
-
Tour Companies Aim to Boost Diversity Through Training and Funding
The New York Times – Travel:
After the global reckoning over race in 2020, some group-tour providers made a pledge to improve equity through training, mentoring and funding for minority guides.
-
The Real Surprise of ‘Passing’: A Focus on Black Women’s Inner Lives
The New York Times – Film:
By making the lesbian attraction between the main characters more explicit, the drama moves beyond mainstream Hollywood’s white gaze.