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This, by the way, is precisely what Slate’s Lara Bazelon recently argued may save the Roberts Court from becoming a rubber stamp for the incoming Trump administration.Īnd so she pushes, and she keeps pushing, even when it’s impolite, even when it makes white people uncomfortable. She convinces him that they both have an interest in history not remembering him as a retrograde bigot. “Out of all the cases you hear today, which one’s gonna make you the first?” Jackson asks, making his decision a question of judicial legacy. When Jackson needs a court order to allow her to take night classes at an all-white school so that she can enter NASA’s engineering program, she appeals to the ego of the judge in the case. When Johnson needs a security clearance to get her work done faster, it’s Harrison who grants it over Stafford’s protests because they have a common interest in meeting the government’s stringent deadlines. Mary Jackson (Janelle Monae) offers some help to NASA mission specialist Karl Zielinski (Olek Krupa). Johnson’s prickly boss, Al Harrison (Kevin Costner) comes to her aid in working with Stafford, not because he’s sympathetic, or even aware of her specific plight as the only black woman in the department, but because he’s in a hurry to put a guy in earth’s orbit before the Soviets do. He redacts the calculations Johnson needs to see to do her job. He barely conceals his contempt for her in their interactions. When Johnson is tapped to double-check the work of Paul Stafford (Jim Parsons), he tries his best to sabotage her. It wasn’t because their white colleagues suddenly decided to stop being racist, but because it was in NASA’s interest for them to do so. Over and over, Hidden Figures demonstrates how these women, especially Johnson, were able to ascend through NASA. But Johnson, Vaughn, and Jackson have a couple of factors on their side: confidence in their abilities that is reinforced by friendship, and the deadline pressure of an actual race to space with the Soviets. They’re segregated away from the white computers, they’re hired on as temp employees, and Vaughn, the de facto leader of the black computers, isn’t recognized as a supervisor even though she clearly performs supervisory work. The conditions of their employment are not ideal. They compute complex math problems as part of a group of black women hired to do the same. Johnson, Vaughn, and Jackson are friends who work as (human) computers for NASA. It’s a glimpse at how you win civil rights victories even if you don’t win hearts and minds. Henson), Dorothy Vaughn (Octavia Spencer), and Mary Jackson (Janelle Monáe) endured while working at NASA’s racially segregated Langley Research Center in Hampton, Virginia, in the 1960s, provides a beacon of hope in a modern era that feels marked by uncertainty and despair. The pragmatism that flows through Hidden Figures, combined with its upbeat-yet-straightforward approach to showcasing the racist nastiness that Katherine Johnson (Taraji P. It’s about winning battles as a result of common interests even as your adversaries have trouble seeing you as a person who is just like them. Instead, it’s a glimpse at how you win civil rights victories even if you don’t win hearts and minds. Hidden Figures, which is based on a true story, is decidedly less idealistic. Gravity, The Martian, and Arrival all dealt with humanity on a massive, existential scale, with the people of Earth pulling together to save one of their own (or, in the case of Arrival, the entire human race), because it’s simply The Right Thing To Do. However, its approach is more local in scope. This year, we have Hidden Figures, which opens nationally Friday, and has as much to say about our common humanity as it does about the space race and the previously unsung individuals who helped power it.
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Google’s Code Next searches for next black and Hispanic tech leaders.
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How did North Carolina A&T become the country’s leading producer of black engineers? Care.
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I’m including the recent Arrival, too, even though, admittedly, it’s more of an alien movie than a space one. We’ve had some grand, engulfing ones make appearances in late fall/early winter over the past few years with 2013’s Gravity and 2015’s The Martian.