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Black trauma should not be mocked or used for distorted conceptions of art.

By Rachael Edwards
Last weekend, I decided to watch the latest season of Orange is the New Black. Admittedly, I felt guilty for succumbing to boredom and pledging my allegiance to a whole weekend of Netflixing with no chill, but why not?  Before season four, I was a devoted fan. However, after watching Black trauma being dangled over our heads and paraded around for good ratings and the sake of staying relevant, I made the premature assumption that I was not going to watch the next season. But I foolishly decided to continue watching. If you watched season four, you know that it ended on a cliffhanger with Daya (Dascha Polanco) pointing a gun at the prison guard, Humps (Michael Torpey). This scene followed the eruption in the cafeteria where Poussey (Samira Wiley) is suffocated to death under the knee of the white, irresponsible, poorly-trained prison guard. I’m still not sure if the scene of Daya pointing a gun at a prison guard was a way to pacify Black viewers after watching Poussey’s limp body on that cold prison floor, but still – fuck ya’ll for that. Season five opens up with Daya still holding the gun and eventually shooting Humps in the leg and as a result, a days-long prison resistance ensues. Taystee (Yvonne Parker) takes on the responsibility of trying to avenge her best friend’s death through negotiations. Pennsatucky (Taryn Manning) is cuddling up to her rapist. Red (Kate Mulgrew) is trying to make sure that Piscatella (Brad William Henke) gets due justice after hurting her and her ducklings.

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