Stefani Robinson had wandered over to listen in. She brought up "
Twelve Years a Slave," the 2013 film that won the Academy Award for Best Picture. "It's all about Benedict Cumberbatch, but white people don't see that," she said.
Glover nodded. "If black people had made that movie," he said, "they wouldn't focus on the evil white dude, Michael Fassbender, but on Cumberbatch, who
knows slavery is wrong, but who still takes advantage of it—which makes him the more painful, horrible monster. On our show, we sometimes have a problem with white actors playing what they think we want them to be: the villain. But it's more painful if you think you're not the villain." Returning to the film, he said, "And there definitely wouldn't be a Brad Pitt character who comes in and saves the black guy and makes white people feel good about themselves." A low murmur came from the den.
Didn't black people actually make "Twelve Years a Slave"? "Yeah," Glover said. "But in the white system." He picked up a rock from the fire pit, then dropped it and blew on his fingers. "If 'Atlanta' was made just for black people, it would be a very different show. But I can't even begin to tell you how, because blackness is always seen through a lens of whiteness—the lens of what white people can profit from at that moment. That hasn't changed through slavery and Jim Crow and civil-rights marches and housing laws and 'We'll shoot you.' Whiteness is equally liquid, but you get to decide your narrative." For the moment, he suggested, white America likes seeing itself through a black lens. "Right now, black is up, and so white America is looking to us to know what's funny." In "Get Out," a blind white art dealer tells Chris, a black photographer whose body has been auctioned off for use by whites, "I want your eye, man—I want those things you see through."