The American Society of Magical Negroes stirred controversy with its unapologetic portrayal of ‘White People’ as “the most dangerous animal on the planet.”
Marking comedian Kobi Libii’s directorial debut, the movie produced under Focus Features has Justice Smith (Dungeons & Dragons: Honor Among Thieves) and David Alan Grier leading the cast. The film’s official synopsis and trailer set the tone, revolving around a young man named Aren. He finds himself recruited into a clandestine society of magical Black individuals committed to a peculiar cause: making white people’s lives easier.
The recently released trailer introduces audiences to Smith’s character and the mythology of the plot. Smith’s Aren is a novice member of the titular Society of Magical Negroes being mentored by Grier’s character. There is a vibe similar to the Harry Potter series and similar films from the 2000s such as The Sorcerer’s Apprentice and Percy Jackson.
[EXCLUSIVE] If you love satirical comedy that deals with being Black in America, the upcoming film, “The American Society of Magical Negroes,” is definitely for you. Check out this hilarious trailer and interview with Kobi Libii. 🤣
https://t.co/YYc9ZO1Hpi— BET (@BET) December 15, 2023
The central difference, of course, is the satirical take on the “Magical Negro” trope. In one pivotal moment in the trailer, Grier’s character labeled White People as ‘dangerous animals.’ This statement comes as he elaborates on the Society’s mission, emphasizing their goal of ensuring the happiness of white people. Grier introduces the notion of measuring white discomfort in “white tears” (with a magical floating meter), asserting that the Society’s continuous struggle against white people’s unhappiness is essential for their own safety.
In an interview with Black Entertainment Television (BET), director Kobi Libii shared insights into his motivation behind creating “The American Society of Magical Negroes.” He expressed his disdain for the trope, characterizing it as a stock Black character solely dedicated to assisting the white hero, lacking an inner life or personal pursuits. For context, examples of this trope would be Morgan Freeman’s role as God in Bruce Almighty and Laurence Fishburne’s Morpheus in The Matrix films.
Libii found the concept absurd and saw an opportunity to critique it while exploring the challenges faced by Black individuals in society. Libii acknowledged the term “Magical Negro” and its originator, Spike Lee, describing the trope as a Black character serving a nebulous background role. Despite the potential for misunderstanding, he remains unfazed, confident that audiences will resonate with the shared experience of being sidelined in favor of others.
The director clarified that his intent is not to create a divisive narrative but rather to use satire as a vehicle for discussing the peculiarities of growing up as a Black person in contemporary culture. For Libii, “The American Society of Magical Negroes” serves as a platform to examine the fantastical measures Black individuals may resort to in order to navigate societal expectations.
However, the film’s trailer has faced significant backlash from viewers, with criticisms targeting its premise, perceived lack of tact, and accusations of promoting racial division.
Online comments reflect a general disapproval, with some predicting the movie’s commercial failure. For instance, a YouTube user with the handle @lainistyping commented:
“The writing trope of The Magical Negro is actually really fascinating. It’s a shame someone took it and turned it into what is undoubtedly going to be a movie that offends black AND white people… I’m black and my husband is white and after 12 years of arguing on whats considered a bad movie, I’m happy to report we finally found something we can [say] is garbage.”
As “The American Society of Magical Negroes” prepares for its release, it remains to be seen whether the controversial satire will successfully navigate the delicate balance between critique and entertainment, humor and social commentary, while sparking meaningful conversations.
But what do you think of the film’s premise? Do you think it can be executed well in this current era of societal factions? Or will it be another casualty in the so-called “go woke AND go broke” trend that plagued recent Hollywood productions like The Marvels?
