Recently by Byshera Williams:

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I don’t watch horror movies. Most of them involve demons, too much gore, and unrealistic stupidity that makes you think that the characters must have wanted to get murdered by the serial killer. I also don’t care for the trope of the black character (usually a man) dying first. But once your Twitter is being flooded with everyone talking about a film, it becomes something that you have to see. There was something about Get Out that seemed more complex and even more dangerous than the average man-in-mask-chasing-teens-through-woods kind of movie.

More… “Flipping the Script”

Byshera Williams is a Pre-Junior English Major at Drexel University and the current Assistant Editor for The Smart Set.
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We enter Panem, home of The Hunger Games, a dystopian film and book franchise that centers on the oppression of the 12 mostly impoverished Districts controlled by the Capital. Every year, the Capital holds an event called The Reaping where they make each one of the Districts sacrifice two children to The Hunger Games. During the event, they are forced to kill one another until there is only one left standing. That last child is the “victor” and wins a year’s worth of food for their district. We enter during the 74th Hunger Games, where the focus is on a young, white teenage girl named Katniss. All but two of the 24 tributes are white.

Mainstream dystopian fiction focuses primarily on the white protagonist and white-dominated societies — The Hunger Games is no exception. This trend can be seen in both Divergent (which has a white, female lead) and The Maze Runner (which has a white, male lead). Dystopian literature is defined as a sub-genre most commonly used within speculative fiction and science fiction. It shows a fictional world that explores social and political structures of a world in peril. To live in a dystopia is to be a part of a world that is impoverished, living in squalor, and/or highly oppressed. Dystopian fiction is that which dramatizes what it is like to be a marginalized within a culture, a body, and a world. Which is why it is so shocking that, at the margins, every character is white. More… “The Reality of Rebellion”

Byshera Williams is a Pre-Junior English Major at Drexel University and the current Assistant Editor for The Smart Set.
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I met with Valerie Graves before her interview with Paula Marantz Cohen on The Drexel Interview. She exuded a calm and poised excitement about having so many people discussing her new book. Her memoir, Pressure Makes Diamonds: Becoming the Woman I Pretended to Be, takes a new approach to the average rags-to-riches story — mostly because Graves doesn’t come from rags at all. She starts off in a middle-class, loving family that supported her intelligence and her journey to becoming the woman she is now. Her story isn’t just about gaining success, but about how to reach back and create spaces for other women of color in advertising. Our interview was conducted in two parts, both before and after her interview with Dean Cohen. This interview was edited for length and clarity.

More… “Pressure Makes Perfect”

Byshera Williams is a Pre-Junior English Major at Drexel University and the current Assistant Editor for The Smart Set.
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