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Desires aren't fixed. They breathe, unfold, and transform as you do. If you're like @spaceflop and have been thinking about desires lately, consider this your ✨sign✨ to try our new self-discovery tool, Reflections. Unpack what you want, and how you want to be met at the #linkinbio

exactly one person told me to make a tiktok, so i did. #londonnightlife #substack #clubbing

dispatches lives in the real world now!! a lil birdy told me that physical copies of the june issue will be available at the next @get__heated 🫦

come say hello, grab a copy, and if you haven’t already, read, like, share & subscribe etc etc via the link in bio

dispatches lives in the real world now!! a lil birdy told me that physical copies of the june issue will be available at the next @get__heated 🫦

come say hello, grab a copy, and if you haven’t already, read, like, share & subscribe etc etc via the link in bio

dispatches lives in the real world now!! a lil birdy told me that physical copies of the june issue will be available at the next @get__heated 🫦

come say hello, grab a copy, and if you haven’t already, read, like, share & subscribe etc etc via the link in bio

dispatches lives in the real world now!! a lil birdy told me that physical copies of the june issue will be available at the next @get__heated 🫦

come say hello, grab a copy, and if you haven’t already, read, like, share & subscribe etc etc via the link in bio

I lick the sleepy warm salt off their skin, adamantly kissing my way to their mouth despite their warnings of sour morning breath. I do not care. I will never care.
(I am smiling.)
Author’s note: I was recently asked whether all the stories I tell are true and, of course, they’re all true! Except for all the bits that aren’t.

(a sneak peak of may’s dispatch which is MAYBE being turned into the messy and tragic and queer clubbing love story we all want!!!!!)

UPDATE: Due to unforeseen circumstances, tomorrow’s COMMONPLACE evening at Bistrotheque will now take place on the 24th of June.

COMMONPLACE: Margins will take place next month instead.

All tickets will automatically transfer to the new date, and refunds are available for anyone unable to attend.

We’re sorry for the short notice, and very grateful for all the support around COMMONPLACE so far. We’re looking forward to gathering properly in June.

More details soon.

our dear @willhunterr has made something stunning with @commonplace.x! he’s coming for u **** reading series

gorge food & drinks from @bistrotheque

long live the hot literati

our dear @willhunterr has made something stunning with @commonplace.x! he’s coming for u **** reading series

gorge food & drinks from @bistrotheque

long live the hot literati

our dear @willhunterr has made something stunning with @commonplace.x! he’s coming for u **** reading series

gorge food & drinks from @bistrotheque

long live the hot literati

our dear @willhunterr has made something stunning with @commonplace.x! he’s coming for u **** reading series

gorge food & drinks from @bistrotheque

long live the hot literati

our dear @willhunterr has made something stunning with @commonplace.x! he’s coming for u **** reading series

gorge food & drinks from @bistrotheque

long live the hot literati

our dear @willhunterr has made something stunning with @commonplace.x! he’s coming for u **** reading series

gorge food & drinks from @bistrotheque

long live the hot literati

our dear @willhunterr has made something stunning with @commonplace.x! he’s coming for u **** reading series

gorge food & drinks from @bistrotheque

long live the hot literati

over the weekend someone told me i was born with an umbilical cord round my neck and a green room pass on my wrist! this month’s dispatch is aboutsex & drugs, cos that’s rock n roll baby 🤘🏾 also includes some thoughts on fanfiction & as always, how much i love my friends

(yes, those are poppers that looks like the activator from the substance)

📸 @ez_roberts_

over the weekend someone told me i was born with an umbilical cord round my neck and a green room pass on my wrist! this month’s dispatch is aboutsex & drugs, cos that’s rock n roll baby 🤘🏾 also includes some thoughts on fanfiction & as always, how much i love my friends

(yes, those are poppers that looks like the activator from the substance)

📸 @ez_roberts_

over the weekend someone told me i was born with an umbilical cord round my neck and a green room pass on my wrist! this month’s dispatch is aboutsex & drugs, cos that’s rock n roll baby 🤘🏾 also includes some thoughts on fanfiction & as always, how much i love my friends

(yes, those are poppers that looks like the activator from the substance)

📸 @ez_roberts_

over the weekend someone told me i was born with an umbilical cord round my neck and a green room pass on my wrist! this month’s dispatch is aboutsex & drugs, cos that’s rock n roll baby 🤘🏾 also includes some thoughts on fanfiction & as always, how much i love my friends

(yes, those are poppers that looks like the activator from the substance)

📸 @ez_roberts_

over the weekend someone told me i was born with an umbilical cord round my neck and a green room pass on my wrist! this month’s dispatch is aboutsex & drugs, cos that’s rock n roll baby 🤘🏾 also includes some thoughts on fanfiction & as always, how much i love my friends

(yes, those are poppers that looks like the activator from the substance)

📸 @ez_roberts_

over the weekend someone told me i was born with an umbilical cord round my neck and a green room pass on my wrist! this month’s dispatch is aboutsex & drugs, cos that’s rock n roll baby 🤘🏾 also includes some thoughts on fanfiction & as always, how much i love my friends

(yes, those are poppers that looks like the activator from the substance)

📸 @ez_roberts_

over the weekend someone told me i was born with an umbilical cord round my neck and a green room pass on my wrist! this month’s dispatch is aboutsex & drugs, cos that’s rock n roll baby 🤘🏾 also includes some thoughts on fanfiction & as always, how much i love my friends

(yes, those are poppers that looks like the activator from the substance)

📸 @ez_roberts_

over the weekend someone told me i was born with an umbilical cord round my neck and a green room pass on my wrist! this month’s dispatch is aboutsex & drugs, cos that’s rock n roll baby 🤘🏾 also includes some thoughts on fanfiction & as always, how much i love my friends

(yes, those are poppers that looks like the activator from the substance)

📸 @ez_roberts_

over the weekend someone told me i was born with an umbilical cord round my neck and a green room pass on my wrist! this month’s dispatch is aboutsex & drugs, cos that’s rock n roll baby 🤘🏾 also includes some thoughts on fanfiction & as always, how much i love my friends

(yes, those are poppers that looks like the activator from the substance)

📸 @ez_roberts_

last week i read an old essay about covid and ORGASMS for softer/harder at @set.stage.gallery alongside some deeply touching, humorous, silly, sad and beautiful works. the impact of @galdemzine still looms over my work today and may she forever rest in perfect peace and power 🫶🏾 (link to original essay in bio)

thanks @thereturnofshe & @aaronybailey for having meand thanks to the loves of my lives for cumming & staying when all there was a peckham wide power cut

last week i read an old essay about covid and ORGASMS for softer/harder at @set.stage.gallery alongside some deeply touching, humorous, silly, sad and beautiful works. the impact of @galdemzine still looms over my work today and may she forever rest in perfect peace and power 🫶🏾 (link to original essay in bio)

thanks @thereturnofshe & @aaronybailey for having meand thanks to the loves of my lives for cumming & staying when all there was a peckham wide power cut

last week i read an old essay about covid and ORGASMS for softer/harder at @set.stage.gallery alongside some deeply touching, humorous, silly, sad and beautiful works. the impact of @galdemzine still looms over my work today and may she forever rest in perfect peace and power 🫶🏾 (link to original essay in bio)

thanks @thereturnofshe & @aaronybailey for having meand thanks to the loves of my lives for cumming & staying when all there was a peckham wide power cut

last week i read an old essay about covid and ORGASMS for softer/harder at @set.stage.gallery alongside some deeply touching, humorous, silly, sad and beautiful works. the impact of @galdemzine still looms over my work today and may she forever rest in perfect peace and power 🫶🏾 (link to original essay in bio)

thanks @thereturnofshe & @aaronybailey for having meand thanks to the loves of my lives for cumming & staying when all there was a peckham wide power cut

last week i read an old essay about covid and ORGASMS for softer/harder at @set.stage.gallery alongside some deeply touching, humorous, silly, sad and beautiful works. the impact of @galdemzine still looms over my work today and may she forever rest in perfect peace and power 🫶🏾 (link to original essay in bio)

thanks @thereturnofshe & @aaronybailey for having meand thanks to the loves of my lives for cumming & staying when all there was a peckham wide power cut

last week i read an old essay about covid and ORGASMS for softer/harder at @set.stage.gallery alongside some deeply touching, humorous, silly, sad and beautiful works. the impact of @galdemzine still looms over my work today and may she forever rest in perfect peace and power 🫶🏾 (link to original essay in bio)

thanks @thereturnofshe & @aaronybailey for having meand thanks to the loves of my lives for cumming & staying when all there was a peckham wide power cut

last week i read an old essay about covid and ORGASMS for softer/harder at @set.stage.gallery alongside some deeply touching, humorous, silly, sad and beautiful works. the impact of @galdemzine still looms over my work today and may she forever rest in perfect peace and power 🫶🏾 (link to original essay in bio)

thanks @thereturnofshe & @aaronybailey for having meand thanks to the loves of my lives for cumming & staying when all there was a peckham wide power cut

last week i read an old essay about covid and ORGASMS for softer/harder at @set.stage.gallery alongside some deeply touching, humorous, silly, sad and beautiful works. the impact of @galdemzine still looms over my work today and may she forever rest in perfect peace and power 🫶🏾 (link to original essay in bio)

thanks @thereturnofshe & @aaronybailey for having meand thanks to the loves of my lives for cumming & staying when all there was a peckham wide power cut

last week i read an old essay about covid and ORGASMS for softer/harder at @set.stage.gallery alongside some deeply touching, humorous, silly, sad and beautiful works. the impact of @galdemzine still looms over my work today and may she forever rest in perfect peace and power 🫶🏾 (link to original essay in bio)

thanks @thereturnofshe & @aaronybailey for having meand thanks to the loves of my lives for cumming & staying when all there was a peckham wide power cut

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

As the dust settled on My Father’s Shadow’s historic BAFTAs win, @spaceflop sat down with @akinoladaviesjr to talk about the film (which he directed and co-wrote with his brother Wale) that is blazing a trail for Nigerian cinema. “Despite not having returned to the motherland in over two decades, I could still smell this film,” Fopé writes. “The searing heat, the dust of Lagos streets, the fried akara at a roadside stall, the busyness of it all.”

“Watching Akinola’s rendition of Nigeria, I felt the strangeness of the familiarity: how memory of a place can linger in you even when you are so far away, and how it can travel with you, sink into your bones and your imagination, and how a film, at its best, can make that transposition tangible for anyone watching.”

Design @nn.aa.ii
📸 @zeeeeeea

https://shado-mag.com/articles/see/the-nigeria-we-carry-with-us/

Blending diary, essay, and late-night confession, Fopé writes on sex, intimacy, and belonging, mapping the emotional textures of queer life, with work featuring in Dazed, The FACE, i-D, Stylist, and The Guardian.

For Softer Harder, they revisit a piece from lockdown, where the absence of touch sharpened desire, and longing became impossible to ignore.

Limited tickets left via the link in bio 🔗

Blending diary, essay, and late-night confession, Fopé writes on sex, intimacy, and belonging, mapping the emotional textures of queer life, with work featuring in Dazed, The FACE, i-D, Stylist, and The Guardian.

For Softer Harder, they revisit a piece from lockdown, where the absence of touch sharpened desire, and longing became impossible to ignore.

Limited tickets left via the link in bio 🔗

Blending diary, essay, and late-night confession, Fopé writes on sex, intimacy, and belonging, mapping the emotional textures of queer life, with work featuring in Dazed, The FACE, i-D, Stylist, and The Guardian.

For Softer Harder, they revisit a piece from lockdown, where the absence of touch sharpened desire, and longing became impossible to ignore.

Limited tickets left via the link in bio 🔗

thirty!!!!!!!!!!!!!!!!!!!!!!!!!!!!

thirty!!!!!!!!!!!!!!!!!!!!!!!!!!!!

thirty!!!!!!!!!!!!!!!!!!!!!!!!!!!!

thirty!!!!!!!!!!!!!!!!!!!!!!!!!!!!

thirty!!!!!!!!!!!!!!!!!!!!!!!!!!!!

thirty!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/

Dearest gentle reader,

As fans impatiently wait for the second half of Bridgerton’s fourth season to hit Netflix this week, discourse has been circulating online to fill its gap. @spaceflop answers one of the questions that has been floating round the internet: Can Bridgerton, with its colour-blind casting, be considered Afrofuturism?

Well, Fopé says... no. “Is it actually progressive to reimagine society, but simply with more of us positioned on the other side of it? As my friend put it, “the idea that it’s [Afro]futuristic to have a diverse wealthy class while there is a diverse working/slave class is not progressive at all. I do not care if the elites are queer, women, or transcend borders; it is just rebranding inequality.”

Every imaginative framework has its constraints. Alternate history, Afrofuturism, political cinema, romantic fantasy – each opens certain doors while quietly closing others. The question is less whether a text fits neatly into a label, and more what kind of world it is willing to imagine, and for whom.”

🎨 @tinuke.illustration

https://shado-mag.com/articles/see/bridgerton-afrofuturism-or-ahistorical-nonsense/