#bedwench

"Y" is a Margaret Sanger pipe dream. I have a problem with the last black man alive dying in space and the only black woman in the book being a masculine foil tasked to protect the titular hero. Oh, and whenever she decides to activate her feminity, she's either bedwenching for Y or in line to wed her 007 trainer. And when she's not selling out that way, she finds a way to sell out by playing butch to the asian lesbian doctor ("Doctor Mann, go figure) that is in Y's traveling troupe. I liked the quest idea. That's Tolkein at it's best. The pop culture references were cool. The random factoids dropped by the characters that would make for a killer icebreaker conversation, these are all high points of K. Vaughn's work in "Y". It's just that I didn't read this story to come to the end and see the world populated by Brown and Mann, but I didn't see one brown man at the end of "Y". I liked this book flipping the U.N. relations between Israel and the U.S. I didn't like Y's decisions in the final issue to let the Israeli leader live after she murdered both his mother and 355. This further makes 355's existence in the book fucking pointless. Y got so many passes ending up wifing up and having a child with an aryan broad. Gave his ex-fiance to his sister. Yorick Brown aka Y had a Peter Parker track record of dating and mating by the end of K. Vaughn's tale and that doesn't sit right with me. Pia Guerrera's art was dope, the image of that bullet in 355's head still is fresh on my mind. The female with the afro who was a member of the Daughter of The Amazon who went Hollywood was a fun character … That's what, three black characters including the astronaut. Guerrera could have added way more, for such a "progressive" series.

Plus all of those characters died and the main (355) was a bedwench at worst, dyke at best. Lame and played out stereotypes for what was branded as "woke" media.

*Damn I was waiting for this to happen FOREVER :

Nothing like watching Zelina getting her bedwench, "black when it's convenient" - ass whooped.

Zoe Saldana has hit a rough patch in her career since deciding to star in "Absence of Eden". "Emilia Perez" has just extended the missteps in her filmography into what is now a full downward spiral.

There's something to say about a Latina actress who is so adamant to portray nationalities across the Latin diaspora, aside from her own - which is decidedly D.R. - yet as in "...Eden", Saldana once again portrays a Mexican on the big screen.

To further complicate identity politics, the film sees Saldana portray a lawyer who gets wrapped up in assisting a cartel boss' sex change.

In "... Eden" Saldana played an illegal immigrant, in "... Perez", she's a crooked lawyer that has the nerve to give aid to the Mexican cartel.

With illicit pharmaceuticals flooding the States as well as illegal immigration being hot button issues in my country of origin, I don't believe that Saldana's latest films should have had a theatrical U.S. release.

The medium of film should be used to tell unsung stories and should be used as a tool to make public unspoken truths. I disagree with the film industry being used as a blatant propaganda tool to destabilize nations, which I believe "Perez" and "Eden" share in common, other than just their once A-list starlet.

Like Sammy Sosa (a prominent D.R. celebrity before her), Saldana has been unashamed to follow the eugenics agenda ascribed to the Latin Diaspora via Jose Vasconcelos - not in the sense of bleaching her skin, but by mating on and off-screen with white-identifying latinos, in an effort to bleach her bloodline.

Since she's unashamed to do this, she should not have a right to complain about black social issues, even if briefly in a song number featured at the start of "Emilia Perez".

Saldana's lawyer character states that the reasons of her perception of being held back in her otherwise prestigious career is because of her age, her attractive curves (that she underlines in the musical number but can contribute to her indeginious Taino lineage), and blatantly states because she's black, she can't open up a law firm.

I had to pump the brakes there.

In a North American country such as Mexico, the agenda of Euro-colonization is as present as it is anywhere else in this world.

In the late 2010's, Mexico began recognizing their indigenous Afro-Latino population within their countries census. "Emilia Perez" was shot in 2023.

The film opens with Castro (Saldana) helping a wealthy Euro-Latino getting off uxoricide. Then her next case is with the cartel head who wants a sex change.

In "Eden", Saldana opens the film as a stripper and - surprise, surprise - gets mixed up with the cartel, and is now on the run from organized crime more than ICE.

The disconnect between making Saldana a sympathetic lead in these films is that she is constantly in bed with a criminal element that furthers the destabilization of my country of origin and further pushes my ethnic group within it lower down it's colorist caste system.

But then the biggest problem is that she tethers herself to the plight of the African diaspora while supporting Euro-colonization through her choices off-screen for roles on-screen that are supportive of Euro-Latin crime organizations - whether it be the under the table deals made with the U.S.' illegal immigrant population or the outright defense of Cartel members and assisting them with their every whim.

This film wasn't advertised as a musical and the ill-timed trailer of the film prior to it's screening made no mention of the glaring LGBTQ+ subplot.

As a heterosexual man, I felt bamboozled into even sitting through the hour of "Emilia Perez" that I did.

I was glad I didn't pay to see it. Just as well, I found it in good fortune that now local theaters with unoccupied screens end up having a film such as "Emilia Perez" shut off halfway through - because why waste a projector on a picture no one wants to pay for.

I see why no one wanted to pay to see "Emilia Perez" despite the bait of Saldana on the bill.

Saldana's choices have now resulted in her not being qualified to attach herself to any black struggle since on and off screen she wants to side with Euro-Latinos and their agendas which are inherently against the Afrocentric.

Her self-hatred is a disappoinment to the point I've felt physically uncomfortable seeing her on-screen since "Amsterdam". Had I been taught ethnopolitics as a child, Saldana would have made me sick since "Curse of The Black Pearl". "Emilia Perez" was the reminder I didn't need that at least on "Avatar", Cameron had the since to have Saldana bedwench in blue to at least put a few degrees of separation between the plot of the film and her own self-hatred.

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C.V.R. The Bard

21st/Jan.2k25