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Sigh. Here come the stories that Wonder Woman 1984 is going to be delayed yet again, because Tenet didn’t exactly do well in the American market (just about $20.2 million in the U.S.). Right now, the world of movies is very uncertain, which … yeah, everything is, and instead of just waiting until things are safe for theatrical releases, studios are trying to push movies out and it … clearly isn’t working.

Tenet, which would have made well more than $20 million if this were a normal year (despite bad reviews), wasn’t as successful in the European market as they’d hoped, and without the benefit of also doing a VOD release, the movie was completely reliant on its theatrical box office haul.

And now, with Wonder Woman 1984, they’re looking at pushing it from an October release date into maybe even December—which would then push Dune, which just released a first trailer, into 2021, and … you get the problem here right? We just keep going in a circle with these movie release dates.

And look, I don’t want movies to be released on VOD. I want to see Black Widow and Wonder Woman 1984 in theaters, but right now, it feels like we’re either in an outrage about movie theaters being open or we’re talking about a movie release getting pushed. Those are the two moods. That’s it. I’ve said it before and I’ll say it again: EVERYTHING SHOULD WAIT. We’re so set on trying to return to normal that we’re all being put in danger and delaying that very return by making things worse.

Look, I want nothing more than to go see Tenet and not be afraid. I’d love to be getting ready for Wonder Woman 1984 and not be worried that I could end up getting sick, or get someone else sick, because I want to go to the theater to see it. It’s rough out there right now, and the little joy we do have, in my opinion, is knowing that if we stop and do what we’re supposed to, we can go back to the movies one day and get to see our faves onscreen again.

So yes, Wonder Woman 1984 is probably going to get pushed again, and honestly, it should. I don’t want cases to be connected with people rushing to see Diana Prince. I don’t want that to be her legacy. The world needs to be smart and safe, and if that means waiting until there’s some kind of normalcy again, then fine.

The reality is that the United States is kind of ruining it for everyone because movie studios aren’t going to keep losing money, and so it means the rest of the world, who kind of has their shit together, is also going to have to wait. So … hopefully the U.S. starts to take it seriously (highly doubtful when our president is tweeting ridiculous things about letting kids go back to school when teachers are dying), but until then, we don’t deserve to go to the movies.

(image: Warner Bros.)

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Last week, Octavia Butler reached the New York Times Best Seller list for her novel Parable of the Sower—an incredible achievement, made even more remarkable by the fact that this is Butler’s first time on the list.

Like, ever.

That’s shocking because, in many ways, Octavia Butler almost doesn’t even need an introduction. Her work has powerfully influenced and shaped SFF in groundbreaking ways, and many consider her the “mother” of AfroFuturism. In addition to that, she’s won multiple Hugo and Nebula awards and is the inaugural recipient of the MacArthur “Genius Grant.” Heck, an asteroid and a mountain on Charon (one of Pluto’s moons) are even named after her.

So why is it only now, nearly 15 years after her death, that she is finally being given her commercial accolades?

The issue, I believe, lies in the larger disparity present in traditional publishing and the science-fiction/fantasy genres. Science-fiction has historically been a very homogeneous landscape dominated by white, cis male voices, and traditional publishing has, in the past, grappled with criticism over its accessibility to readers and writers of marginalized identities. Putting these two shortcomings together makes it quite easy to understand the obstacles that Butler faced during her tenure as a Black writer.

(Image: Warner Books)

To begin with, the stories that were often published focused on a very narrow scope of experience that excluded the opportunity for other perspectives/identities to be taken into account. In her essay “Lost Races Of Science Fiction,” Butler herself speaks on the subtle racism that was perpetuated by both her teachers and colleagues when it came to writing stories that featured characters that were anything other than white: “The presence of blacks, my teacher felt, changed the focus of a story, drew attention from the intended subject.” (Lost Races of Science Fiction, 1980). 

In addition to that, the publishing industry itself often fell short in its efforts to change the landscape into something more inclusive and welcoming to marginalized writers; Butler had the covers of her books whitewashed on more than one occasion and constantly grappled with questions of how marketable her books could be, simply because she was a Black woman. While white male authors like Isaac Asimov, Philip K. Dick, and Arthur Clarke were household names, Butler still retained a level of obscurity that wouldn’t fully dissipate until her untimely death in 2006.

I personally didn’t come across Butler until I was a sophomore in college, but the moment I got a hand on her stories, I drank them up with a thirst I hadn’t even realized was there, marveling at the sheer genius embedded in every single word of her work. Why haven’t I heard of her before? I remember thinking.

Well, that speaks to the entire elephant in the room, doesn’t it?

The problem certainly isn’t Octavia Butler’s writing; truly, she is one of the most phenomenal and talented authors I’ve had the pleasure to read, but the environment she navigated wasn’t fair to her or the work she put out. It often boxed her in as a niche within a niche or overshadowed her completely.

It treated her, in many ways, as a novelty and an exception, rather than an equal. With all the barriers she already had to face as a Black woman from a working-class family, the inaccessibility of science-fiction and the publishing industry most likely made it nearly impossible, at times, to truly experience the accolades her work deserved, simply because the playing ground hadn’t created room for it.

(image: Abrams Books)

We still see echoes of these issues playing out today: Nnedi Okorafor has spoken out about her own book covers being whitewashed, while N.K Jemisin had to battle racist pushback in the SFF Awards community after winning 3 consecutive Hugo awards for her Broken Earth trilogy. Then, there was the whole debacle of this year’s Hugos and the disrespect that was leveled at the Black literary magazine FIYAH and authors of color.

Just as recently as last week, there was discourse in the book community after a white blogger called The Poppy War boring, opening up the conversation on how easily stories penned by PoC authors are dismissed simply because certain audiences can’t “connect with the voice”.

So why, with all of Octavia Butler’s critical acclaim and far-reaching merit, has she not experienced the same commercial success as her white counterparts? Some might argue that Butler’s appearance on the NYT Best Seller list coincides with the unsettling timeliness of Parable of the Sower‘s themes with the current chaos that is 2020. Others might point to the rush of interest in Black works following the Black Lives Matter protests in June.

But I might argue that it shouldn’t take collective mayhem and Black pain in order to make Black stories successful. It shouldn’t be that Black writers—and writers of color in general—are only afforded proper respect and accessibility when something devastating occurs.

There needs to be an active willingness to shift the climate into one that is open and welcoming to true diversity and inclusion. There are still many layers of racism, discrimination, and plain ignorance to reckon with in order to make that happen, but if there’s anything to take away from this, it’s that Octavia Butler’s foray into the NYT Best Sellers sparks an important question: What would it look like if she’d been there earlier?

And what could it look like now, if we asked the same question about the other authors of color who remain unspoken?

Let’s do our best to create a literary future that reflects that answer.

(featured image: Abrams Books)

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I am a stickler for zombie films. I just try to do right by George A. Romero, rest his soul. Romero’s Dawn of the Dead, as well as Zack Snyder’s remake, hold an incredibly important place in my zombie infested heart. I think a filmmaker who endeavors to shoot a zombie flick is only as […]

Kirstie Alley went from the lovable Rebecca Howe on Cheers to … I guess being a vocal and angry Trump supporter on the Internet? I’m not really sure, she blocked me on Twitter ages ago, which feels like a point of pride. Because Kirstie Alley is often spouting off on Twitter, and like her fellow Trump-loving celebrities Scott Baio and Dean Cain, I delight in calling out their nonsense on social media.

But this latest endeavor for Alley does not involve the president. No, today has been about her faux outrage over the new Oscar rules—which are about making movies more inclusive from the jump and holding studios and the films themselves responsible for certain requirements. Never nominated for an Oscar, Kirstie Alley really didn’t like the idea of “art” having rules?

In a since-deleted tweet, Alley wrote, “This is a disgrace to artists everywhere…can you imagine telling Picasso what had to be in his fucking paintings. You people have lost your minds. Control artists, control individual thought .. OSCAR ORWELL”.

Which … that’s not what the rules are saying at all? It’s encouraging filmmakers to look at the stories they’re telling and be more inclusive, behind the scenes and onscreen. That’s all, and the Academy’s new requirements are not even going into effect until 2024. No one is dictating content or controlling anyone.

For once, we’re seeing a step in the right direction from the Academy of Motion Picture Arts and Sciences, but people like Kirstie Alley (and I think maybe Justine Bateman? I don’t understand her tweet) are mad because—the rules will give studios incentive to usher in a new crowd of creatives? They’re attempting to level playing fields that have been dominated by mostly white men for decades?

Sorry, Kirstie. I don’t understand the outrage. When looking at the list, I think that even The Irishman counts with these new rules so … it’s a system that doesn’t change everything that much but is a necessary push in the right direction overall. But people like Kirstie Alley are convinced this is “PC bullshit,” and they’re never going to get past that.

Pajiba also collected tweets of Alley also fighting with comic book writer Ethan Sacks about the entire situation. We appreciate Sacks advocating for #TeamDianeChambers.

All we really need to know about this situation is this tweet from Ava DuVernay though.

pic.twitter.com/0Bcmw5YHz3

— Ava DuVernay (@ava) September 9, 2020

(image: CBS)

Here are some other things we saw out there today:

• Mike Pence … is attending an event hosted by QAnon backers.  (via AP News)
• Even more employees have come out against Ellen DeGeneres. (via Pajiba)

• Anyway this woman who re-enacts SATC scenes with her cat as Samantha is my only joy pic.twitter.com/vEovoLlpxC

  — Alanna Bennett (@AlannaBennett) September 9, 2020

• Climbers fly Black Lives Matter and rainbow flags. (via Boston Globe)

• A special message from the cast and crew of SOUND OF METAL. Coming November 20th to theaters, and to @PrimeVideo December 4th. pic.twitter.com/JhIP9SHFSG

  — Amazon Studios (@AmazonStudios) September 9, 2020

Anything we missed? Let us know what you saw in the comments below!

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 —The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—