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I didn't really start to think about my white privilege until after moving to Japan, where everyone who's not Japanese is a minority. You get any group of expats together and they're always bitching and complaining about this or that, sometimes it's just the differences in culture. But other times it's stuff like some Japanese people not wanting to sit next to you on a train or bus because you're a foreigner, police stopping you for an ID check because your a foreigner, promotion opportunities being extremely limited in the workplace, or kids pointing at you shouting 'gaijin' (foreigner in Japanese), or the racist stereotypes of foreigners that are all over Japanese television. And a couple of my black friends here find it really quite amusing when their white friends complain about this stuff as it's just a tiny taste of what they have been dealing with their whole lives.Now I am not in any way trying to equate being a white guy in Japan to being a POC in America as the stuff we deal with over here is nothing compared to what goes on in the States. Just saying that being outside of America in a country where I am in the minority has been a real eye opener.
EDIT - I should also say that white privilege is something I benefit from even as a foreigner in Japan as white foreigners often feel the effects of being a foreigner over here less than non-white foreigners.
@anubus21 I think it's both possible for your dad to work his ass off to provide a better life for you and also for you to be the beneficiary of white privilege whether you want it or not. The two ideas are not mutually exclusive.Also, I don't understand how you can look at the history of America up to until now or talk with any number of non-white people for an extended period of time and come away thinking that the idea of white privilege is BS designed by white liberals to help them identify more with non-white groups.
From a Vulture article:
“During the making of Jurassic World, he focused a great deal of his creative energies on asserting his opinion,” the executive explains. “But because he had been personally hired by Spielberg, nobody could say, ‘You’re fired.’ Once that film went through the roof and he chose to do Henry, [Trevorrow] was unbearable. He had an egotistical point of view— and he was always asserting that.”
Then, during preproduction on Episode IX, Trevorrow’s relationship with Lucasfilm top brass became reportedly “unmanageable” over the course of “repeated stabs at multiple drafts” of the script.
“When the reviews for Book of Henry came out, there was immediately conjecture that Kathy was going to dump him because they weren’t thrilled with working with him anyway,” the executive continues. “He’s a difficult guy. He’s really, really, really confident. Let’s call it that.”
I second @CretanBull's recommendation of Alan Moore's run on "The Swamp Thing."
A few that I would recommend that are a little different are "Nausicaa of the Valley of the Wind" by Hayao Miyazaki (The manga version has a lot more depth than the film.), "Seconds" by Bryan Lee O'Malley, and The Complete "Persepolis" by Marjane Satrapi.
I've also just started an interesting series called "Monstress" by Majorie Liu and Sana Takeda.
The only Grant Morrison I've read is "Joe The Barbarian", but I really want to read "The Invisibles."
Another one on my list to catch up on is "Bone". I've heard that's excellent.
Just heard the Instant cast and I don't have as big a problem with Cersei's increase in strategic smarts as A.Ron seemed to have. Maybe I'm alone in this thought, but I never really thought Cersei was stupid. Sure she was brash and arrogant and made some really stupid choices, but I think she has had plenty of quiet time alone to really sit with those choices and learn from them. And I think she learned a lot more from her father than we give her credit for. Plus, because she was a girl, she probably didn't get nearly enough guidance from him growing up. He only started really confiding in her late in the game. It just took her some time to come into her own.