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BLERD BINDER: Racebending in live action adaptations.

NNPA NEWSWIRE — In this article, we will talk about Zoe Kravitz’s casting, times when racebent casting was awesome, times when racebent casting failed, why it is an important conversation to have, and how it affects the audience and fans.

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Zoë Kravitz speaking at the 2018 San Diego Comic Con International, for "Fantastic Beasts: The Crimes of Grindelwald", at the San Diego Convention Center in San Diego, California. (Photo: Gage Skidmore / Wikimedia Commons)

Holy Cow Batman! Aquaman is Catwoman’s stepfather!!!”

Blurb: The Blerd Binder covers nerdy news for the Black nerds of the world. We welcome all as we talk about subjects ranging from Movies to Music and Tech to Toys. Today, we will talk about racebent casting in the movie industry.

By Noah Washington, NNPA Newswire Contributor

HOLY COW! Last week, a historic moment happened in Nerd Culture: the casting of Catwoman for director Matt Reeves The Batman.

As far as Blerd Culture is concerned, the casting of Zoe Kravitz (Aquaman, Jason Moama’s stepdaughter) as Catwoman is big news on a number of different levels.

Racebending of fictional characters (changing of a character’s perceived race or ethnicity during the adaptation of a work from one medium to another) has become a hot topic in today’s age of comic book renaissance.

Sometimes, it heavily divides fans. Sometimes, it has fans screaming for joy. Sometimes, nobody cares. But each time the decision is met with commentary.

In this article, we will talk about Zoe Kravitz’s casting, times when racebent casting was awesome, times when racebent casting failed, why it is an important conversation to have, and how it affects the audience and fans.

Zoe Kravitz’s Catwoman casting brings me a feeling of nostalgia as I can’t help but think of Eartha Kitt’s turn as Catwoman from the Batman ‘66 show. Based on what Matt Reeves has said about his interpretation of Batman and his surrounding characters, the film will be a story that harkens back to the Dark Knight’s detective roots.

Kitt was one of the earliest actors who racebent a character when she took over the role from White actress Julie Newmar in the third season of the iconic TV show. The casting change was reportedly made because Newmar was filming another movie at the time.

It’s worth noting that Kitt was one of the most recognizable actors to appear the role during the show’s run. Her personification of the character is as close to perfect and unique as she could have gotten without literally plucking the illustrated character from the pages of a comic book.

Another example of racebending was Marvel’s casting of Samuel L. Jackson as Nick Fury, even though the race of the character has already been changed in the comics before Jackson was even cast.

According to the site, comicbook.com, “I still buy comic books, so I go to this store in L.A., Golden Apple, and I was in there one day and I’m passing the rack and I see this thing, The Ultimates, and I go, ‘Wow, it looks like me,'” Jackson recalled. “So I started looking, and it’s like, Nick Fury looks just like me, and I’m reading, and he goes, ‘Well, if they make a movie about us, who do you want to play you?’ and Nick Fury goes, ‘Samuel L. Jackson.’ I go, ‘I didn’t give anybody my permission to use my image in a comic book.'”

Jackson goes on to explain that, after calling his agent and explaining how and where he discovered his likeness in a comic book, “She said, ‘Let me call somebody,'” the actor shared. “So she calls Marvel and they say, ‘Well, we are thinking about making these movies and, hopefully, if we make them, he would play Nick Fury.’ I’m like, ‘For real?'”

When the news of Jackson being cast was revealed to the public, the internet went into a frenzy. However, after more than 10 years of playing the character, Nick Fury has become indelibly associated with Mr. Jackson.

Eartha Kitt and Samuel L. Jackson are just two examples of how racebending a character with the right actor can deliver amazing results for a television show or feature film.

These two performances were met with the type of acclaim and mainstream success that is indicative of blockbuster hits. Not because they look different from the original presentations of the characters they portrayed, but because they were the right actors to embody the characters transition from 2D comics to television and film.

However, Kitt and Jackson’s success hasn’t changed the underlying controversy and question: Why not just create new diverse characters?

While purists may always have issues with new interpretations of legendary characters, there’s often a business reason driving the decision to change an existing character instead of developing new characters with a focus on diversity.

At a time when comic book properties are seemingly optioned for television, film and theater projects on a weekly basis, the reason that producers and others don’t just go and make new characters is a matter of economics: Financing these projects is expensive, and to ensure adequate return on investment, the most popular characters with highest consumer awareness are usually chosen as the centerpiece of the show or film franchise.

Some existing characters are so popular that it’s almost be impossible to develop a new character with any reasonable hope of achieving a similarly high level of popularity without significant investment.

Investing to make a completely new character popular enough to be a box office draw, just to cast an actor of color in a role, when there is an existing character that is perfect for the story, makes no sense. Especially since, in many cases, the goal is to find the best actor for the role and, frequently, an actor of color is cast that perfectly embodies role.

Of course, there are times when a racebending isn’t only controversial, it’s also wrong. I am talking about in cases of White Washing, where instead of replacing a white character with a minority actor, a minority character is played by a white actor.

I have two very good examples of this.

A significant portion of the cast of M.Night Shyamalan’s The Last Airbender, and the controversial casting of Tilda Swinton as the  ‘Ancient One’ in Marvel’s Doctor Strange.

I’ll start with Doctor Strange. I do not have any problem with Swinton’s performance as The Ancient One. I thought the spin on the character was alright, but I did not appreciate the opportunity it took away from casting an Asian actor who could have been the live-action representation.

This signals a problem because most of the time, in fantasy films where magic is involved, the mystical and powerful elder has always been an old White man. I know that Swinton as a woman, is also a minority, so that is a plus, but what does this say to other minorities? Can only elderly White men hold great power and wisdom?

I love Dumbledore from Harry Potter, The Doctor from Doctor Who, Gandalf from Lord of The Rings, and Professor X from X-Men. But there comes a point when all of these characters tend to blend together. You need diverse casting, like in the case of Djimon Hounsou as “The Wizard Shazam” from Shazam to keep things interesting.

And now that most dreaded moment when the entire collective nerd community cringes: Whenever The Last Airbender is brought up in conversation.

Nearly all of the anime’s/cartoon’s superb characters — heavily based in Asian culture — were replaced with White actors that did not represent those original characters in characteristics, appearance, or even name.

When none of these qualities are present, then they might as well be new characters. This was one case of racebent casting that served no purpose and is insulting to the original material, the creators and the fans that truly love Avatar: The Last Airbender.

This is an issue that shouldn’t be happening in the 21st century. Scarlett Johannson’s casting in Ghost in the Shell should never have happened. I understand that actors should be able to do what they were hired to do and “act.” but some roles were not meant for certain people. We have to be inclusive of the actors that might not be able to find work outside of the roles that are in their perceived purview.

One of the most iconic rumors that ended with rage and fury is when Micheal B.Jordan was rumored to be cast as Superman after Henry Cavill supposedly left the role (these are just internet rumors that have not been made official by DC or Warner Bros).

The internet broke out in such a frenzy that somebody would have thought the world had ended. Numerous online fans said, “Superman can’t be Black.”

All I have to say to that is that Superman has had a history where he indeed was Black so it’s not a stretch to say that one day, we may see a live action adaptation. Calvin Ellis was a black Superman modeled after Barack Obama from the comics, as well as more recently, Val-Zod, who was created in 2014.

On the other side of things, there are times where storyline and lore of the original source material would truly stop a character’s race from being changed. One of the most notable examples is the iconic character, Bruce Wayne.

The Wayne family is said to have had a hand in bringing Gotham City to life and had wealth going back generations as early as the 1700s in America. It would be very hard for an audience to believe that an African American had Wayne family wealth in the 1700s during the period of slavery. That doesn’t mean that Batman can’t be black, but that Bruce Wayne shouldn’t be black.

There is also the old argument that “if you make a character who was already White suddenly Black, why can’t Black Panther be White?” I will happily give you the answer to that question. Some character’s lore and location make the character who they are. T’Challa, the Black Panther, is an African King who is native-born and, similar to the case with Bruce Wayne, it would be very hard to write that character as any other race.

We should save our criticism of racebent casting to situations where the casting excludes marginalized groups that would not have been represented otherwise.

We in nerd culture tend to make judgments before we see the final product. Good or bad, casting choices usually come down to the ability of the actors cast in the role and how they well they embody the interpretation of the character the director envisions.

This is an important discussion as we should just allow these actors to show us their interpretation of these iconic characters before we make judgments. But we also need to have cultural awareness so that we know when a culture is taken advantage of or appropriated, as is too often the case with white washing.

I hope that you keep this in mind the next time you watch a TV show or movie where a familiar character looks a little different. Remember, this is about who the younger generation can look up to with pride and see themselves in.

We now live in an age where superhero Films and TV shows are released in droves. There is plenty of room at the table for everyone to feel welcomed.

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Rep. Al Green Files Articles of Impeachment Against President Trump

BLACKPRESSUSA NEWSWIRE — Rep. Green told Newsweek that he is moving on impeachment now before “tanks are rolling down the street.”

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By Lauren Burke

Congressman Al Green (D-TX) has filed articles of impeachment against President Trump. Rep. Green, 77, has served in Congress since 2005.  President Trump is the only President who has been impeached twice by the U.S. House of Representatives. Rep. Green told Newsweek that he is moving on impeachment now before “tanks are rolling down the street.” The impeachment resolution filed by Rep. Green on May 19, states that President Trump is, “unfit to represent the American values of decency and morality, respectability and civility, honesty, and propriety, reputability, and integrity, is unfit to defend the ideals that have made America great, is unfit to defend liberty and justice for all as extolled in the Pledge of Allegiance, is unfit to defend the American ideal of all persons being created equal as exalted in the Declaration of Independence, is unfit to ensure domestic tranquility, promote the general welfare and to ensure the blessings of liberty to ourselves and our posterity as lauded in the preamble to the United States Constitution, is unfit to protect government of the people…” Whether Rep. Green can force a vote in the U.S. House on impeachment remains an unknown issue. President Trump was impeached on December 18, 2019, for abuse of power and obstruction of Congress. He was then impeached a second time on January 13, 2021, for “Incitement of insurrection” in the wake of the violent January 6, 2021 attack on the U.S. Capitol by Trump’s supporters.

The White House stated Black Press USA on Rep. Green’s effort to impeach the President. “This week, Democrats ousted their DNC ‘leader,’ opposed the largest tax cut in history, and were exposed for actively covering up Joe Biden’s four-year cognitive decline. Now, Democrats have turned their sights to threatening impeachment. We are witnessing the collapse of the Democrat Party before our eyes. Not a single one of these efforts will help the American people. The contrast could not be more clear: President Trump is fighting for historic tax relief for the American people, Democrats are fighting themselves,” said White House Deputy Press Secretary Anna Kelly in a written statement. Several decisions and legal interpretations by the Trump Administration are currently being challenged in federal court. On May 15, the U.S. Supreme Court debated the issue of birthright citizenship after a legal challenge on the issue by the Trump Administration.

During that legal challenge, Justice Ketanji Brown Jackson challenged Trump’s solicitor general Dean John Sauer by saying, “Your argument seems to turn our justice system into a catch-me-if-you-can kind of regime … where everybody has to have a lawyer and file a lawsuit in order for the government to stop violating people’s rights.” Rep. Green’s impeachment resolution also focused on the issue of ignoring judicial orders by the executive branch. A notable example was the deportation case of Maryland father Kilmar Abrego Garcia. Garcia was deported to a prison in El Salvador by federal officials on March 15, 2025.“The Constitution does not tolerate willful disobedience of judicial orders — especially by officials of a coordinate branch who have sworn an oath to uphold it. To permit such officials to freely ‘annul the judgments of the courts of the United States’ would not just ‘destroy the rights acquired under those judgments’; it would make a solemn mockery’ of ‘the constitution itself.’” “You have no mandate,” Congressman Green stood up and yelled at President Trump during his State of the Union Speech on March 4. After the incident, Republicans who control the U.S. House considered sanctioning Rep. Green, but they did not complete an action against him.

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Affordable Childcare Remains a Barrier: Solutions in New Report

BLACKPRESSUSA NEWSWIRE — We also still haven’t put a dent in affordability for working families. That’s why we urgently need increased funding and new solutions.”

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While America’s childcare supply grew nationally, the price of that care continues to rise—placing affordable, high-quality care out of reach for many families. A new report released by Child Care Aware® of America (CCAoA), Child Care in America: 2024 Price & Supply, shows that despite promising signs of increased supply, affordability remains a major barrier — and underscores the need for increased sustained federal and state investment.

From 2023 to 2024, the number of childcare centers increased by 1.6% (to 92,613) and the supply of licensed family childcare (FCC) homes increased by 4.8% (to 98,807). The national growth in FCC homes’ supply is driven largely by four states (CA, KS, MA, VA) and is especially notable as it reverses a year-long downward trend.

At the same time, the national average price for childcare rose by 29% from 2020 to 2024, outpacing inflation and exceeding other major family household expenses like rent or mortgage payments in many states. Childcare is now so expensive that it consumes 10% of a married couple with children’s median household income and a staggering 35% for a single parent. In most states, families pay more for childcare than rent, mortgage payments, or in-state university tuition.

“Childcare supply is increasing, and that is a win—but it’s not enough,” said Susan Gale Perry, Chief Executive Officer of CCAoA. “Recent federal and state pandemic-era investments have stabilized and grown supply in some places, but a significant supply gap still exists — especially in rural communities and for infants and toddlers. We also still haven’t put a dent in affordability for working families. That’s why we urgently need increased funding and new solutions.”

CCAoA’s Childcare in America: 2024 Price & Supply report also found that:

  • The average price of childcare increased by 29% from 2020 to 2024, outpacing the national inflation rate of 22%.
  • In 45 states plus Washington, DC, the average annual price of center-based childcare for two children exceeded mortgage payments, in some states by up to 78%.
  • In 49 states plus Washington, DC, the price of center-based childcare for two children exceeded median rent payments ranging from 19% to over 100%.
  • In 41 states plus Washington, DC, infant care in a center cost more than in-state university tuition.

CCAoA urges policymakers to increase childcare funding at both state and federal levels to maintain the momentum of growing supply, address rising prices, and expand access to childcare for families. Federal funding increases have fallen short of the need and our research shows that total state investments in child care or preschool vary widely from state to state, putting children, families, and communities across America on an uneven playing field. Further, targeted investments in childcare supply building and stabilization and childcare workforce recruitment and retention strategies are essential to help sustain an adequate supply of high-quality childcare options nationwide.

Child Care Aware® of America (CCAoA) is the only national organization that supports every part of the childcare system. Together with an on-the-ground network of people doing the work in states and communities, it helps America become child care strong by providing research that drives effective practice and policy, building strong child care programs and professionals, helping families find and afford quality child care, delivering thought leadership to the military and direct service to its families, and providing a real-world understanding of what works and what doesn’t to spur policymakers into action and help them build solutions.

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Sex, Coercion, and Stardom: Diddy Case Mirrors Music’s Ugly History

BLACKPRESSUSA NEWSWIRE — It started with a Reddit post that didn’t just speculate on Diddy’s fate but questioned the very foundations of the culture that made him

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By Stacy M. Brown
Black Press USA Senior National Correspondent

As Sean “Diddy” Combs faces a federal sex trafficking case and the slow unraveling of his once-untouchable legacy, a larger question looms: Is this the moment the music industry finally confronts its darkest secrets?

It started with a Reddit post that didn’t just speculate on Diddy’s fate but questioned the very foundations of the culture that made him: “How much damage could Diddy do to the state of hip hop?” the user asked. “Supposedly, he has incriminating evidence against those who attended his parties. The same parties that had a lot of bad things happen, to say the least.” The implication was chilling—if Diddy were to cooperate with federal authorities, the fallout might not stop at his feet. Names floated in the post—Jay-Z, Beyoncé, Usher, Justin Bieber—aren’t confirmed in any court filings, but their inclusion highlights the breadth of Diddy’s influence and the potential reach of any revelations. If even a fraction of the speculation proves true, the reverberations wouldn’t stop at hip-hop—they’d hit every corner of the music industry. For his part, Combs denies all allegations. His legal team has described the now-infamous “freak-offs” as consensual encounters, part of his non-monogamous lifestyle. But prosecutors allege something much more sinister: a criminal enterprise powered by the machinery of his music and business empire—one that trafficked women, coerced labor, obstructed justice, and used influence and intimidation to maintain control. Still, for all the headlines Combs generates, his alleged crimes do not exist in isolation. The music industry has long tolerated, enabled, and even glamorized behavior that would trigger career-ending consequences in other arenas. Diddy’s story might be shocking—but it’s not new.

Rock music has its own rogue’s gallery. Jerry Lee Lewis nearly destroyed his career in 1958 after marrying his 13-year-old cousin. Elvis Presley met 14-year-old Priscilla Beaulieu when he was 24 and later moved her into his home in Memphis. In more recent years, Aerosmith’s Steven Tyler faced (and ultimately evaded) a lawsuit from a woman who says he sexually assaulted her in the 1970s when she was 17. A judge dismissed the case due to the statute of limitations. Phil Spector, the genius producer behind the “Wall of Sound,” died in prison after being convicted of murdering actress Lana Clarkson. Gary Glitter was convicted of possessing child pornography and later child sex abuse. Kid Rock and Creed frontman Scott Stapp were filmed with strippers in a sex tape that leaked online in 2006. A new biography of the Rolling Stones claims Mick Jagger had sexual relationships with at least two of his male bandmates, raising further questions about the power dynamics inside even the most celebrated groups.

Journalist Ann Powers, writing for NPR, once noted that the “history of rock turns on moments in which women and young boys were exploited in myriad financial, emotional and sexual ways.” Powers added: “From the teen-scream 1950s onward, one of the music’s fundamental functions has been to frame and express sexual feelings for and from the very young… relating to older men whose glamour and influence encourages trust, not caution.” This brings the spotlight back to Diddy—not just as an accused individual but as a symbol. He was once the archetype of success: Harlem-born mogul, founder of Bad Boy Records, and kingmaker behind artists like Notorious B.I.G., Faith Evans, Ma$e, 112, and French Montana. He transformed hip-hop into a global business and amassed influence far beyond the recording booth. He sold more than 500 million records, earned multiple Grammy Awards, and was honored by MTV, Howard University, and the City of New York—until those honors were swiftly revoked after a video surfaced showing him physically assaulting singer Cassie Ventura. Ventura, his longtime partner and protégé, has accused Combs of brutal physical abuse and psychological control. Her lawsuit and the video evidence ignited a wave of allegations from other women and men, describing similar patterns of coercion, manipulation, and fear. “This is not just about bad behavior. This is about systemic exploitation and abuse made possible by fame, money, and silence,” said one advocate for survivors in the entertainment industry.

While hip-hop has long been a target of criticism for misogyny and violence, what’s now being laid bare is a broader, genre-defying truth: from rock and pop to hip-hop and beyond, the music industry has operated for decades without accountability for its biggest stars. “Sex isn’t the problem,” one Reddit user responded. “Coercion via job opportunities is.” Another added, “Zero [impact], just like R. Kelly and MJ did zero to R&B,” referencing the R&B superstar’s conviction and Michael Jackson’s controversial legacy. Others argued hip hop would endure, regardless of Combs’ fate. Maybe it will. But the Diddy scandal pulls back the curtain—not just on the parties, the rumors, or the headlines—but on an industry-wide culture that has, for too long, allowed power to shield predation. As one survivor put it outside a recent court appearance: “This isn’t just a hip hop problem. It’s not even just a music problem. It’s a power problem.” And now, the music industry has to decide: Will it finally tune in, or will it keep playing the same old song?

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