For those who want to read more about Everything, Everything and ability, there are stories linked in this sentence that are worth your time. Every person involved in this story is a Black woman: I’m a Black woman editor, Vanessa is a Black woman writer, Amandla Stenberg is a Black queer actress, and Stella Meghie is a Black woman director-one of 11 who has been afforded the opportunity to bring a movie to a national audience. What Vanessa has done here is center Black women, who are rarely, if ever, afforded the opportunity to be the focal point of teen romance dramas. Media texts can be interpreted in a number of ways. What I know is that no criticism is absolute. Intersectionality calls for all of us to acknowledge our blind-spots, call attention to them, and work toward being more inclusive. I am committed to publishing more stories about the intersections of race, gender, class, sexuality, and disability in the future, and welcome any story that explicitly calls attention to the ways that any film, including Everything, Everything, mishandles disability. Editor’s Note: After I ran a review of Everything, Everything, Bitch was rightfully criticized for not acknowledging how the film erases people are chronically ill.
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