John Ridley
John Ridley
John Ridley IV is an American screenwriter, film director, novelist, and showrunner, known for 12 Years a Slave, for which he won an Academy Award for Best Adapted Screenplay...
NationalityAmerican
ProfessionDirector
CountryUnited States of America
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I don't think I'm alarmist. I'm more disappointed by the euphemisms in some instances than outright bigotry. Now, to me, you walk around with a Klan hat on or you've got a swastika on you arm, you just look like a dope, you know what I mean?
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To this day, the only argument against Obama that critics can seem to come up with involves admitting he's better than them - though they certainly season it with some racism. You know, he's that lucky black man who actually appeals to the populace. He's that elitist who got himself off food stamps and into Harvard.
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The hypocrisy and false piety of the deniers aside, the relationships of gays have no effect on heteros. Especially all the heteros who've done such a marvelous job of debasing marriage on their own all these many years.
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Why don't we hear more about and from Asians when it comes to race in America? Are Asians the new Invisible Man - there but not there? In some ways, yeah. Blacks and whites are always carping about the metrics of racism. And any conversation about immigration reform is immediately flipped into a referendum on Hispanics.
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When I go to business meetings, I'm still told way too often by some receptionist, 'The mail room is downstairs,' to believe that racial perceptions don't still exist. But I figure there are always going to be knuckleheads no matter how many of their herd get stuck in the tar pits of progress.
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If the Olympic Games ever served a true altruistic purpose, they have long since outlived it. Yeah, the pursuit of athletic excellence, sportsmanship and international goodwill is plenty noble. But the modern Olympics are at best a vehicle for agitprop; at worst, a scandal magnet.
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Governmental intervention and personal responsibility are not mutually exclusive issues, but they do frame a 'do it ourselves' vs. 'what are you doing for us' debate. For the black community, that's a debate that's been raging at least as far back as the W.E.B. Du Bois, Booker T. Washington philosophical grudge matches.
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The thing about working in Hollywood is that, at some point, you really get tired of hearing how godless you are, and how if you and the rest of the heathens in Tinsel town would put more God-centric shows on TV, people wouldn't be abandoning prime time in favor of their Bible study classes.
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With comics, you don't have to worry so much about budgetary constraints. In film and television, however fanciful you want to be, someone can come up to you and go, 'Okay, this is going to cost X amount of dollars, and we only have so many days to film this.' With graphic novels, you can have that alien invasion you've always wanted to see.
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Why is it that the very people who have fought so hard and so long for the simple entitlement to love whom they choose to love are the very ones denied that right by those who routinely take their vows for granted?
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Why do we cling to bigotry? Because bigotry, plainly, is convenient. It is a near-effortless way to both elevate one's stature and make a pity grab in this culture of victims that we have become.
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While most trudge through their days straight-jacketed in the social compact, living for others as much as or more than for themselves, a select few excel.
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Fact is, awards shows were never really about recognizing achievement. They were a publicity ploy cooked up in the late 1920s by MGM topper Louie Mayer and his newly formed Academy of Motion Picture Arts and Sciences which was itself, back in the day, nothing but a front organization to discourage unionizing.
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Fanboys are a creator's blessing and curse. If a fanboy likes you, they love you. Obsessively. If you cross them with some plot point or story direction they reject, expect to be wholly and continually eviscerated across the Internet.