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<\/a><\/p>\n\u00a7<\/p>\n
Dass Viola Davis eine Ausnahmeschauspielerin ist, wurde mir erst durch ihre Hauptrolle in der Fernsehserie How to Get Away with Murder<\/i> klar – unter anderem, weil ich noch nie eine schwarze Schauspielerin in solch einer Rolle gesehen hatte. Dass das kein Zufall ist, sondern Davis’ direkter Einfluss, lernte ich aus einem ausf\u00fchrlichen Portrait dieser Frau im New Yorker<\/i>: The show and her character were hatched in close collaboration with the series\u2019 creator, Peter Nowalk. From the start, Davis pushed him to dramatize Annalise\u2019s interior world and to show the private moments of this tough, brilliant professional, who has a difficult, and promiscuous, past. \u201cI\u2019m trying, within the confines of the narrative that I\u2019ve been given, to show her pathology,\u201d she told me. \u201cI don\u2019t see acting as hiding. I see it as stepping up buck naked in front of a group of people that you don\u2019t know. Every single time. It\u2019s about exposing. If you\u2019re not doing that, you\u2019re basically not doing anything.\u201d Nowalk elaborated, \u201cFrom our very first phone call, she said, \u2018I want to be a woman who takes off her wig and wipes off her makeup, and you see who she is underneath.\u2019 She made the character frankly more complex, more interesting. Taking off her wig\u2014that is the show\u2019s most famous moment, and it is all hers.\u201d<\/p><\/blockquote>\n Als Aktivistin fiel Davis mir – wie vielen – durch ihre Emmy-Rede auf:<\/p>\n When she became the first African-American to win an Emmy for Best Leading Actress on a television series, in 2015, she quoted Harriet Tubman in her acceptance speech: \u201c \u2018In my mind, I see a line. And over that line I see green fields and lovely flowers and beautiful white women with their arms stretched out to me over that line. But I can\u2019t seem to get there no-how.\u2019 \u201d Davis went on, \u201cThe only thing that separates women of color from anyone else is opportunity. You cannot win an Emmy for roles that are simply not there.\u201d<\/p><\/blockquote>\n Nun sorgt Davis daf\u00fcr, dass Alltagsdetails schwarzen Lebens in Fernsehfiktion sichtbar werden – das h\u00e4usliche Abnehmen der Per\u00fccke, f\u00fcr viele African American<\/i>-Frauen ein t\u00e4glicher Handgriff, ist nur eines davon. Das Abbilden scharzer Sprache (z.B. in der ber\u00fchmten Auseinandersetzung der #HTGAWM-Figur Annalise mit ihrer Mutter) ein anderes. via @ruhepuls<\/a><\/p>\n \u00a7<\/p>\n Laurie Penny erkl\u00e4rt Treating Melania as a real human being, rather than an empty symbol, is one more way of opposing everything her husband stands for.<\/p><\/blockquote>\n (…)<\/p>\n Attacking any woman in order to hurt her husband is lazy sexism, and doing it by way of her figure or fashion choices is lazier and more sexist still. This puts me and any other writer with feminist principles at a disadvantage, because at first glance there\u2019s nothing else to Melania: over the years, she has been systematically stripped of all personality signifiers whatsoever beyond her body and what she puts on it.<\/p><\/blockquote>\n (…)<\/p>\n Patriarchy is not a game any woman can win, and Melania is playing it on nightmare mode, in the version where you have to sleep with the end-level boss. The man she is married to has a thug\u2019s understanding of consent and every intention of screwing the world, violently if necessary. How we treat his First Victim sets the tone for the fight to come. Be kind.<\/p><\/blockquote>\n \u00a7<\/p>\n Ein Thema, das alle Eltern angeht:<\/p>\n If you don’t talk to your kids about quantum computing… Lesen Sie deshalb aufmerksam die Bildergeschichte
\n“Viola Davis’ call to adventure”.<\/a><\/p>\n
\nDas Portrait im New Yorker<\/i> geht zudem ausf\u00fchrlich auf Viola Davis’ bitterarme Kindheit in den 60ern ein, mit schier unvorstellbaren Details.<\/p>\n
\n“We should be kind to America’s First Victim \u2014 Melania Trump”.<\/a><\/p>\n
\nsomeone else will.<\/p><\/blockquote>\n
\n“The Talk”.<\/a><\/p>\n