History Main / FairForItsDay

20th Feb '18 2:15:07 PM RNGeenaDavis
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* ''Series/AllyMcBeal'' aired an episode in 1997 featuring a transgender character named Stephanie. She is well-developed and largely sympathetic, Ally gets her pronouns right for most of the episode even when talking to other people about her, and she is distinguished from a drag queen or cross-dresser and actually identified as suffering gender dysphoria, marking one of the first times that term was used on primetime television. Unfortunately, for all the episode got right, it checked quite a few boxes for negative trans representation: The treatment recommended by a doctor for her gender dysphoria is to embrace her birth sex and live as a man (which, for the record, was a largely discredited stance even at the time), she's played by a cis male actor, and her character is a sex worker and [[spoiler: ends up murdered by the end of the episode because of her gender identity]], which are two of the most unfortunate ([[TruthInTelevision and unfortunately true-to-life]]) tropes regarding trans characters.
11th Feb '18 9:11:04 PM i4wpuw6sh8
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** Indeed, throughout the 1960s and earlier, it's remarkable that the only nonwhite heels in wrestling were either Japanese (who were demonized for political rather than racial reasons) or Ernie "Big Cat" Ladd (who, if anything, ''took pride'' that his character neither sucked up to nor tried to enlighten white audiences). (Also possibly the Sheik, if people from the Levant are to be considered nonwhite; and, as mentioned above, his heroic opposite was a black man anyway.)
11th Feb '18 1:07:42 PM i4wpuw6sh8
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* An example of an attempt at a ''politically'' progressive work would be the 1943 film version of ''Literature/ForWhomTheBellTolls'' featuring Creator/GaryCooper and Creator/IngridBergman. The heroes of the film include a band of Spanish anarchist guerrillas who are treated as, well, heroes, even if their beliefs are whitewashed into "normal" liberal patriotism. This at a time when many people in America and Europe - especially Christians and the wealthy - viewed anarchists as little more than common criminals. Also noteworthy is the lack of sexism within the guerrilla ranks, even if the ActionGirl is [[RealWomenNeverWearDresses a heteronormative tomboy]] and the ''pretty'' female rebel [[FauxActionGirl never actually fights]].
11th Feb '18 12:53:02 PM i4wpuw6sh8
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** ''Film/TheSearchers'' in particular dwells in a strange twilight zone between [[InnocentBigot unconscious racism]], visceral racism, and subtle condemnation of the second element. Apart from a protagonist who's an Indian-hating lunatic yet is treated mostly sympathetically, there are murderous, [[WhereDaWhiteWomenAt rapist]] Comanches and the most likable full-blooded Native is an AbhorrentAdmirer and ButtMonkey. But the film at least decries the slaying of white women who have been defiled by Comanches (the characters who view this as StakingTheLovedOne are portrayed as heartless) and puts in a (somewhat) heroic role the quarter-breed Native Martin Pawley, who can't stomach his adopted uncle's racism and makes that very plain.
9th Feb '18 6:42:50 PM NogaiKhan
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** It should be noted that while Montalban was born in Mexico, he is actually 100% "white"/European. His parents were from Castile, Spain. His features are totally Caucasian and his skin is no darker than your average Spaniard or Greek (a tannish/olive skin tone), bar "Space Seed" when he was in BrownFace.
3rd Feb '18 8:26:57 PM smasll_lordvoice
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* ''Film/{{Philadelphia}}'' is heavily criticized by contemporary critics for falling heavily into the ButNotTooGay trope when it comes to its depiction of homosexuality, and for pretty much making Andrew into a saint who is flawless in every way except for being gay and having AIDS. Both of these elements were essentially forced onto the production by the [[ExecutiveMeddling studio]] in order to get the film made at all, and the studio also forced them to delete scenes showing Andrew and his partner Miguel in a more intimate light. Not to mention that it remains a ''massive'' step forward in the history of LGBT portrayals in cinema, to this very date.
1st Feb '18 11:45:43 AM Omeganian
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*** There is an alternate view on pork. It's not the fact that it's particularly dangerous (the parasites are seldom lethal, but anthrax is, and pork is a type of meat that doesn't have it, unlike, for example, beef), but the fact that it's hard to raise pigs in the Palestine climate, so eating pork meant the society wasting money on foreign luxury items.

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*** There is an alternate view on pork. It's not the fact that it's particularly dangerous (the parasites are seldom lethal, but anthrax is, and pork is a type of meat that doesn't have it, unlike, for example, beef), but the fact that it's hard to raise pigs in the Palestine Canaan climate, so eating pork meant the society wasting money on foreign luxury items.
1st Feb '18 9:00:06 AM DustSnitch
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* In ''Literature/TheDivineComedy'', Creator/DanteAlighieri shows a surprisingly progressive (for the time) view on homosexuals: he does condemn the sin theologically, as the [[MoralGuardians Moral Guardians]] of the time required, by putting unrepentant sodomites in {{Hell}}, but treats individual characters with humanity, sympathy, respect and, in the case of his former teacher, Brunetto Latini, even affection. He goes as far as giving Brunetto Latini pivotal junks of exposition and, in Purgatory, repenting lustful souls share the same fate whether heterosexual or homosexual, just walking in opposite directions, with no extra punishment for the repentant sodomites. Compare it to the scholars not only of Dante's own time, but from ''subsequent centuries'', who [[EpilepticTrees wrote extensively]] to justify Dante's not-so-negative attitude towards what they view as one of the worst sins imaginable; some even went as far as claiming that Brunetto Latini's sin [[AssPull wasn't sodomy after all]], because such a sin would supposedly strip him of any respect and affection Dante might have had for him.

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* In ''Literature/TheDivineComedy'', Creator/DanteAlighieri shows a surprisingly progressive (for the time) view on homosexuals: he does condemn the sin theologically, as the [[MoralGuardians Moral Guardians]] of the time required, theologically by putting unrepentant sodomites in {{Hell}}, but treats individual characters with humanity, sympathy, respect and, in the case of his former teacher, Brunetto Latini, even affection. He goes as far as giving Brunetto Latini pivotal junks of exposition and, in In Purgatory, repenting lustful souls share the same fate whether heterosexual or homosexual, just walking in opposite directions, with no extra punishment for the repentant sodomites. Compare it to the scholars not only of Dante's own time, but from ''subsequent centuries'', who [[EpilepticTrees wrote extensively]] to justify Dante's not-so-negative attitude towards what they view as one of the worst sins imaginable; some even went as far as claiming that Brunetto Latini's sin [[AssPull wasn't sodomy after all]], because such a sin would supposedly strip him of any respect and affection Dante might have had for him.sodomites.
31st Jan '18 12:54:28 PM VanHohenheimOfXerxes
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** "The Talons of Weng-Chiang" was ''somewhat'' progressive by the standards of TwoFistedTales YellowPeril {{pastiche}}, portraying its campy Chinese supervillain Chang as a highly intelligent NobleDemon whose reasons for resenting white Victorian society are shown to be justified; he also possesses a genuinely funny, DeadpanSnarker sense of humour, and is generally portrayed as the Doctor's WorthyOpponent. Even his opium use is shown in a context that makes it somewhat sympathetic. His boss Magnus Greel is a white man who could be read as a villainous cultural appropriator, a bellowing, misogynistic idiot who collects tacky Oriental junk out of his own pursuit of vanity. In the 70s, when mainstream comedy shows used music hall orientalist stereotypes to mock the Chinese, even this was unusual, as the {{Camp}}, ironic tone would have been enough to indicate it was a GenreThrowback to Literature/FuManchu stories. This said, Chang is played by a white man in YellowFace; he and his Chinese cronies are all hopelessly duped by Greel pretending to be their God, even though Greel is portrayed as an idiot; the racist idea that Chinese people all look the same is a plot point; and every character, including ''the Doctor'', makes constant racist remarks which are supposed to be funny ("[he's in trouble] right up to his [[InherentlyFunnyWords epicanthic eyebrows]]"). It has been observed that "Talons" follows StrictlyFormula ''Doctor Who'' tropes, only instead of using AlwaysChaoticEvil alien races as the monster, it uses a real-world race. It aired in the UK, but in Canada, anti-defamation groups prevented its airing, and few today would find it an unfair decision.

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** "The Talons of Weng-Chiang" was ''somewhat'' progressive by the standards of TwoFistedTales YellowPeril {{pastiche}}, portraying its campy Chinese supervillain Chang as a highly intelligent NobleDemon whose reasons for resenting white Victorian society are shown to be justified; he also possesses a genuinely funny, DeadpanSnarker sense of humour, and is generally portrayed as the Doctor's WorthyOpponent. Even his opium use is shown in a context that makes it somewhat sympathetic. His boss Magnus Greel is a white man who could be read as a villainous cultural appropriator, a bellowing, misogynistic idiot who collects tacky Oriental junk out of his own pursuit of vanity. In the 70s, when mainstream comedy shows used music hall orientalist stereotypes to mock the Chinese, even this was unusual, as the {{Camp}}, {{camp}}y ironic tone would have been enough to indicate it was a GenreThrowback to Literature/FuManchu stories. This said, Chang is played by a white man in YellowFace; he and his Chinese cronies are all hopelessly duped by Greel pretending to be their God, Greel's GodGuise even though Greel is portrayed as an idiot; the racist idea that Chinese people all look the same is a plot point; and every character, including ''the Doctor'', makes constant racist remarks which are supposed to be funny ("[he's in trouble] right up to his [[InherentlyFunnyWords epicanthic eyebrows]]"). It has been observed that "Talons" follows StrictlyFormula ''Doctor Who'' tropes, only instead of using AlwaysChaoticEvil alien races as the monster, it uses a real-world race. It aired in the UK, but in Canada, anti-defamation groups prevented its airing, and few today would find it an unfair decision.



* The first stanza of the German National Anthem sounds ultra-nationalistic today, with a line that translates as "Germany above everything in the world..." Yet it was written at a time when Germany was scattered between various prince states, and thinking about Germany first rather than various regional conflicts and issues was pretty ahead of its time.
* "Lola" by Music/{{The Kinks}} uses a few transphobic stereotypes, like the UnsettlingGenderReveal when the narrator calls Lola a man. Nonetheless, it was a pretty positive portrayal for TheSixties, as the lyrics characterise Lola as attractive and imply that the narrator accepts her identity even after TheReveal.

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* The first stanza of the German National Anthem UsefulNotes/{{Germany}}'s national anthem sounds ultra-nationalistic today, with a line that translates as "Germany above everything in the world..." Yet it was written at a time when Germany was scattered between various prince states, and thinking about Germany first rather than various before UsefulNotes/AllTheLittleGermanies had even united, so looking past regional conflicts and issues toward a common German identity was pretty ahead of its time.
* "Lola" by Music/{{The Kinks}} uses a few transphobic stereotypes, like the UnsettlingGenderReveal when the narrator calls Lola a man. Nonetheless, it was a pretty positive portrayal for TheSixties, as the lyrics characterise characterising Lola as attractive and imply implying that the narrator accepts her identity even after TheReveal.
31st Jan '18 12:50:36 PM VanHohenheimOfXerxes
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* "Lola," by Music/{{The Kinks}}, while falling victim to a few stereotypes, was an extremely fair and even positive portrayal of a transgender character; the narrator still finds her attractive after finding out, and even though he calls her a man, seems to accept that Lola's image of herself is that of a woman.

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* "Lola," "Lola" by Music/{{The Kinks}}, while falling victim to Kinks}} uses a few transphobic stereotypes, like the UnsettlingGenderReveal when the narrator calls Lola a man. Nonetheless, it was an extremely fair and even a pretty positive portrayal of a transgender character; for TheSixties, as the lyrics characterise Lola as attractive and imply that the narrator still finds accepts her attractive identity even after finding out, and even though he calls her a man, seems to accept that Lola's image of herself is that of a woman.TheReveal.
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