{"id":480974,"date":"2021-10-13T01:17:10","date_gmt":"2021-10-13T08:17:10","guid":{"rendered":"https:\/\/disabilityvisibilityproject.com\/?p=480974"},"modified":"2026-02-12T17:19:11","modified_gmt":"2026-02-13T01:19:11","slug":"accessibility-and-the-lack-thereof-in-the-film-industry","status":"publish","type":"post","link":"https:\/\/disabilityvisibilityproject.com\/2021\/10\/13\/accessibility-and-the-lack-thereof-in-the-film-industry\/","title":{"rendered":"Accessibility and the Lack Thereof in the Film Industry"},"content":{"rendered":"<h3><b>Accessibility and the Lack Thereof in the Film Industry<\/b><\/h3>\n<p>&nbsp;<\/p>\n<h4><b>Carolyn Hinds<\/b><\/h4>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Being a Black woman means there isn\u2019t a day that goes by where I don\u2019t worry that every action I make, every word I say won\u2019t be judged, misconstrued, and dismissed. As a Black female film critic and journalist, I have these same worries, but they\u2019re intensified with the apprehension that what I do and say on social media may end up costing me the access I need in order to do this work that I love so much. As a Black woman who\u2019s disabled and immunocompromised, I also have to think about how this limits what I can do because the COVID-19 pandemic has revealed all the ways in which the aforementioned parts of my identity are seen by those with power in the film industry.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In an article <\/span><a href=\"https:\/\/nofilmschool.com\/villeneuve-covid-dune\"><span style=\"font-weight: 400;\">published on August 17, 2021<\/span><\/a><span style=\"font-weight: 400;\">, notable Hollywood filmmaker Denis Villeneuve, is quoted as calling the pandemic \u201cthe enemy of cinema\u201d because he shudders at the thought of his most recent film <\/span><i><span style=\"font-weight: 400;\">Dune<\/span><\/i><span style=\"font-weight: 400;\">, being seen on regular TVs, and not in cinemas. To Villeneuve, <\/span><a href=\"https:\/\/www.gamesradar.com\/patty-jenkins-says-streaming-movies-look-fake\/\"><span style=\"font-weight: 400;\">Patty Jenkins<\/span><span style=\"font-weight: 400;\">, the director of <\/span><i><span style=\"font-weight: 400;\">Wonder Woman 1984<\/span><\/i><\/a><i><span style=\"font-weight: 400;\">,<\/span><\/i><span style=\"font-weight: 400;\"> other filmmakers like them, and many in the film criticism sphere the worst thing about the pandemic seems to be not being able to sit in a dark theatre with hundreds of other patrons, breathing the same air, muttering, and munching away on noisy snacks. Before the pandemic, I would\u2019ve said the \u201ctheatre experience\u201d is the best way to see a film, any film. But once I learned how dangerous COVID-19 and its many other mutations, coupled with growing anti-vax and anti-mask sentiment, my priorities shifted.<\/span><\/p>\n<blockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n<p lang=\"en\" dir=\"ltr\">So I take it they don&#39;t intend to ever release Dune on DVD or Blu-Ray, because it&#39;s TVs and laptops that are used to watch them. <br \/>This argument that he and other directors are making is so elitist and nonsensical. Without TVs the film industry would&#39;ve died out long ago. <a href=\"https:\/\/t.co\/KStxQLJJWA\">https:\/\/t.co\/KStxQLJJWA<\/a><\/p>\n<p>&mdash; Carolyn Hinds \ud83c\udde7\ud83c\udde7 &#8211; Respect Black Women (@CarrieCnh12) <a href=\"https:\/\/twitter.com\/CarrieCnh12\/status\/1427696064774164485?ref_src=twsrc%5Etfw\">August 17, 2021<\/a><\/p><\/blockquote>\n<p><script async src=\"https:\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"><\/script><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Personally I became more concerned about protecting myself and my loved ones. And once I became infected with a moderate case of the virus it was personal and no longer abstract. In April of 2017 I received my official diagnosis of having <\/span><a href=\"https:\/\/www.msconnections.ca\/en_CA\/home\/understanding-ms.html?gclid=CjwKCAjw7--KBhAMEiwAxfpkWFWZylbwdhzsHHnomvMZQPZos4AXxJMGmErHURw1Kl1w_U8Kumn8VhoC1SMQAvD_BwE\"><span style=\"font-weight: 400;\">Relapse Remitting Multiple Sclerosis<\/span><\/a><span style=\"font-weight: 400;\">, the same year I began doing film criticism. Learning to navigate the ways MS was changing my body, and the ways the film industry works for critics as a Black woman has been challenging from the beginning. I never expected that the path I chose to take doing this work would be reflected in how I\u2019m learning to live my life disabled. And I certainly never expected that the pandemic would highlight just how much the lack of accessibility for Black women and disabled people affects us in the same ways.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I know you\u2019re probably wondering why I\u2019m saying all of this. I\u2019m saying it because I want to share what it\u2019s been like for the last 18 months (and counting) to see all the ways the North American film industry says it wants to be more diverse, inclusive and accessible, but the actions and words of those with the power to make sustainable and substantive changes proves otherwise.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In 2020 it appeared that the change critics from marginalized communities had been advocating for for years was finally happening. With COVID-19 spreading like wildfire across the globe, countries closed their borders, and cities and towns became quiet as mandatory lockdown went into effect everywhere. All industries were impacted, including the film industry. As international travel was no longer possible, the industry &#8211; particularly film festivals, began making changes to the way they operated, the most notable being virtual accessibility. What this meant is that all film festivals like <\/span><a href=\"https:\/\/tiff.net\/about-tiff-20\"><span style=\"font-weight: 400;\">TIFF<\/span><\/a><span style=\"font-weight: 400;\"> and <\/span><a href=\"https:\/\/www.sltrib.com\/artsliving\/2020\/12\/02\/sundance-film-festival\/\"><span style=\"font-weight: 400;\">Sundance<\/span><\/a><span style=\"font-weight: 400;\">, created and launched digital platforms where critics, journalists, audiences, and creatives could view the year\u2019s new cinematic offerings from the safety and comfort of their homes. For critics like me, disabled, immunocompromised, a Person of Color, and also broke, this was the moment we\u2019d been hoping for. The moment of INCLUSION and ACCESSIBILITY!<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Not only were we able to attend and have access through online portals during the festivals, for the first time we were receiving access to digital screeners with almost no hesitation from publicists, and the studios they represented. Landing interviews with cast and creative teams of upcoming releases was easier and very convenient as everything was being conducted via Zoom. We had finally found a new, safer and cheaper way of doing things. Requesting a digital link for a screener didn\u2019t seem like such a long shot anymore because studios realized that being more accommodating to a wider pool of critics meant more promotion for their films in a time when cinema attendance was an impossibility. You\u2019d think they would\u2019ve figured out before, but no.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">All seemed fine, relatively speaking, until the world started to move again in May of 2021. Travel bans were getting looser, stadiums began filling up again, and people began acting like the world was back to normal. It was not and it still isn\u2019t no matter what people would like to tell themselves. People like Villenueve, movie theatre chains and studio publicists. It has been quite jarring and disturbing to see how hard those in the film industry have been pushing the public to attend cinemas again.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">A critically-acclaimed director whose work is well known, and loved by cinephiles and casual theatre goers, essentially saying that the cinema is the only worthwhile way to experience a film, isn\u2019t as innocuous as it may seem. To many it\u2019s just him talking about appreciating the experience and hard work that\u2019s gone into creating his film&#8230;which is&#8230;fair enough. I\u2019m never one to dismiss the hundreds of hours or years that goes into creating one film. But I\u2019m also not one to ignore this statement by Villeneuve: <\/span><i><span style=\"font-weight: 400;\">\u00a0&#8220;That\u2019s the thing. We understand that the cinema industry is under tremendous pressure right now. That I get. The way it happened, I\u2019m still not happy. Frankly, to watch Dune on a television, the best way I can compare it is to drive a speedboat in your bathtub. For me, it\u2019s ridiculous. It\u2019s a movie that has been made as a tribute to the big-screen experience.&#8221; <\/span><\/i><span style=\"font-weight: 400;\">This dismisses how the advent of the TV, DVD and more recently digital streaming platforms like HBO Max, Netflix and PrimeVideo have been a blessing for disabled people, and those without the financial means to go to a theatre for every film that drops.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Statements like that to me reveal directors don\u2019t really consider what the real \u201ctheatre experience\u201d is for most people. For those not privileged to attend private industry screenings, or theatres in clean, swanky, upscale locations, attending the cinema is not a simple task or even comfortable. It can be a pretty sizable financial undertaking for those working minimum wage or below jobs and those who live in households with multiple adults and children, and this is before you take in travel time and costs. For disabled people being able to see a film on the big screen can be physically impossible as the nearest theatre may not have accommodations to suit<\/span> <a href=\"https:\/\/gizmodo.com\/marvels-eternals-star-lauren-ridloff-wants-movie-theate-1847689778\"><span style=\"font-weight: 400;\">their specific needs<\/span><\/a><span style=\"font-weight: 400;\">. In countries outside of North America going to the theatre might even be a completely different experience culturally. In Barbados where I\u2019m from, it\u2019s tradition to talk to the screen and your neighbour. People give running commentary on what\u2019s happening on-screen, and in the drive-in it\u2019s customary to honk your horn when you approve of a big action set piece, or a funny bit of dialogue. I may be wrong, but I don\u2019t think directors, if they haven\u2019t grown up in settings where these situations occur, consider them at all.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And that was before COVID-19 was an additional issue. Now, going to the theatre could literally be a matter of life or death, and that\u2019s nothing to dismiss as an unnecessary concern.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Since June, it has been nigh impossible to get digital screening links for any of the big budget and \u201cauteur\u201d films. With all the talk of the pandemic making things more inclusive and easier for everyone in the industry, things seem to have not only gone back to the status quo where Black female critics are struggling to do our jobs while others get easy sailing through advance screeners and coveted interviews, I believe they are even worse now because the studios seem to be making it a point to deny access unless critics are willing to prove how dedicated we are to our jobs by going to a theatre during an ongoing pandemic.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As someone who\u2019s not only immunocompromised but was lucky enough to survive a moderate case of COVID-19 (though I still have long term side-effects like altered taste and decreased sense of smell), the thought of attending a cinema packed with people even if they\u2019re all masked and vaccinated, fills me with anxiety and dread. And because of this I, and many other disabled critics and journalists are prevented from being able to provide coverage for many of the films being released in cinemas, as that\u2019s the only option being offered to us. It\u2019s ableist and unacceptable.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It\u2019s quite disconcerting and hurtful to be told screener links aren\u2019t available, but to let the publicist know if I enjoy the requested film in the cinema, even after I\u2019ve informed them I\u2019m an immunocompromised critic and unable to attend an in-person event for health reasons.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">But this isn\u2019t limited to just individual screeners, it\u2019s happening with film festivals as well. In August the <\/span><a href=\"https:\/\/nypost.com\/2021\/08\/10\/new-york-film-festival-reveals-lineup-in-person-screenings\/\"><span style=\"font-weight: 400;\">Venice Film Festival was strictly in-person and the New York Film Festival held outdoor screenings and virtual events, but no virtual screenings<\/span><\/a><span style=\"font-weight: 400;\">. For NYFF the decision to bar critics unable to attend in-person from access was <\/span><span style=\"font-weight: 400;\">\u201cin response to distributor and filmmaker partners and in light of festivals returning and theaters reopening across the country.\u201d Yet again, this is ableist as those with the power in the industry to show they understand and care about accessibility and inclusivity, do the exact opposite of what those words mean.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I believe it would behoove directors, studios and festival directors to acknowledge that we\u2019re still in an ongoing pandemic where over 700,000 Americans, and over 28,000 Canadians where I am, have died, with more dying daily from this virus. It would serve them &#8211; and the society as a whole &#8211; well to stop pretending that everything is back to normal, as their words are seen as a litmus test by regular citizens of how things should be.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Something I think that also needs to change is the way directors view accessibility, or the lack thereof in the industry. An example of this is how Closed Captioning &#8211; its presence and the creation of a universal format for the font and screen placement &#8211; for digital screeners have yet to be standardized. It\u2019s beyond me why in 2021 all screeners don\u2019t come with the option for critics, journalists and others in the industry to access them aren\u2019t afforded this. It\u2019s not only a matter of making the job easier for those of us with auditory and visual processing issues and disabilities, it just makes the job easier for everyone in general. And denigrating or dismissing the pivotal role at-home viewing has played in the success of the film industry globally, seems rather elitist to me. It\u2019s through the use of convenient personal devices such as TVs and laptops that the majority of the world even becomes aware of the works these same directors hold up in such high regard. Films like <\/span><i><span style=\"font-weight: 400;\">Jaws<\/span><\/i><span style=\"font-weight: 400;\">, the <\/span><i><span style=\"font-weight: 400;\">Star Wars<\/span><\/i><span style=\"font-weight: 400;\"> series, <\/span><i><span style=\"font-weight: 400;\">The Thing<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Wizard of Oz<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Blade Runner<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">The Terminator<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Arrival<\/span><\/i><span style=\"font-weight: 400;\"> and so on and so forth were and are still first being seen from the comfort of people\u2019s homes. Before it was on Sundays through programs like Turner Classic Movie specials, and rented VHS tapes from the local video store (again only accessible if you had access to cable channels to start with whether in North America or any other country), then once those started to become less of an interest to younger generations the switch to digital streaming platforms like Netflix and Amazon PrimeVideo, and BlueRays, became the industry\u2019s saving grace. Though I\u2019m not sure if the powers that be have even recognized this.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Now don\u2019t get me wrong, I\u2019m not saying films shouldn\u2019t be seen in cinemas, far from it, but I think it\u2019s important to point out that without the accessibility and convenience at-home viewing provides, the film industry as a whole wouldn\u2019t be where it is today. Yes, all filmmakers make their films with the intention for them to be seen on the big screen, and yes all audiences would love to be able to do so, but the reality is that\u2019s not possible and not at all realistic for every film made, for a myriad of reasons, some of which I\u2019ve pointed out.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It\u2019s my earnest wish that the powers that be in the film industry recognize the value the work of freelance critics and journalists from marginalised communities play in the success of the industry. To keep ignoring our values perpetuates ableism, racism, and sexism, and is counterproductive. Our perspectives, input and presence matter just as much as our non-disabled and white counterparts in all things related to this work, and not just films or shows created by and starring people who look like us. Though even when that\u2019s the case priority for coverage is still given to staffed white writers from the bigger trades.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">True accessibility and inclusivity means seeing us for who we are, showing respect for this by making space and access for our bodies and voices and what we can bring to the table, even if it has to be done virtually.\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<h4><b>ABOUT<\/b><\/h4>\n<figure id=\"attachment_480973\" aria-describedby=\"caption-attachment-480973\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"480973\" data-permalink=\"https:\/\/disabilityvisibilityproject.com\/2021\/10\/13\/accessibility-and-the-lack-thereof-in-the-film-industry\/carolyn-hinds-profile-image\/\" data-orig-file=\"https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?fit=1440%2C1440&amp;ssl=1\" data-orig-size=\"1440,1440\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Carolyn Hinds &amp;#8211; Profile Image\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Photo of a Black female\u00a0with dark brown complexion, close cropped black hair, wearing a wide smile, clear plastic\u00a0glass frames and sweater with a geometric\u00a0pattern in eggplant, sky blue, white and light peach colors.&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?fit=1024%2C1024&amp;ssl=1\" class=\"wp-image-480973 size-large\" src=\"https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?resize=1024%2C1024&#038;ssl=1\" alt=\"Photo of a Black female\u00a0with dark brown complexion, close cropped black hair, wearing a wide smile, clear plastic\u00a0glass frames and sweater with a geometric\u00a0pattern in eggplant, sky blue, white and light peach colors.\" width=\"1024\" height=\"1024\" srcset=\"https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?resize=1024%2C1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?resize=768%2C768&amp;ssl=1 768w, https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?resize=250%2C250&amp;ssl=1 250w, https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?resize=50%2C50&amp;ssl=1 50w, https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Hinds-Profile-Image.jpg?w=1440&amp;ssl=1 1440w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment-480973\" class=\"wp-caption-text\">Photo of a Black female\u00a0with dark brown complexion, close cropped black hair, wearing a wide smile, clear plastic\u00a0glass frames and sweater with a geometric\u00a0pattern in eggplant, sky blue, white and light peach colors.<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\"><strong>Carolyn Hinds<\/strong> is a Tomatometer-Approved freelance Film Critic, Journalist and Podcaster. Her published work can be found on ButWhyTho?, Observer, Atom Tickets and many other online publications, as well as in print as a contributing writer for the 2021 Canada Media Fund\u2019s Annual Trends Report. She\u2019s a member of the African\u00a0 American Film Critics Association (AAFCA), Time UP Critical, and obtained her Diploma in Paralegal Studies from Seneca College.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As a critic, I believe my personal experiences such as being a Barbadian immigrant living in Toronto, and outlook on life, gives readers and listeners a different\u00a0 perspective they can appreciate, and help them to see things in a new light. I\u2019m the proud host of <\/span><b>Beyond The Romance Drama Podcast <\/b><span style=\"font-weight: 400;\">&#8211; a podcast dedicated to\u00a0 discussing Korean and other Asian dramas, <\/span><b>Carolyn Talks\u2026, <\/b><span style=\"font-weight: 400;\">my own YouTube\u00a0 channel, and Co-host of <\/span><b>So Here&#8217;s What Happened! Podcast <\/b><span style=\"font-weight: 400;\">(<a href=\"https:\/\/twitter.com\/SHWH_Pod\">@SHWH_Pod<\/a>). I also Co-host the weekly science fiction film and TV live tweet event <\/span><b>#SaturdayNightSciFi<\/b><span style=\"font-weight: 400;\">. You can also find me regularly tweeting reactions for my\u00a0 current drama watches with <\/span><b>#DramasWithCarrie<\/b><span style=\"font-weight: 400;\">, and my social media handle is <a href=\"https:\/\/twitter.com\/CarrieCnh12\">@CarrieCnh1<\/a>2.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><b>Support Disability Media and Culture<\/b><\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/disabilityvisibilityproject.com\/donate\/\"><b>DONATE<\/b><\/a><b>\u00a0to the Disability Visibility Project\u00ae<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Accessibility and the Lack Thereof in the Film Industry &nbsp; Carolyn Hinds &nbsp; Being a Black woman means there isn\u2019t a day that goes by where I don\u2019t worry that &hellip; <a href=\"https:\/\/disabilityvisibilityproject.com\/2021\/10\/13\/accessibility-and-the-lack-thereof-in-the-film-industry\/\" class=\"read-more\">Continue Reading <span class=\"screen-reader-text\">Accessibility and the Lack Thereof in the Film Industry<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":480972,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false,"jetpack_post_was_ever_published":false},"categories":[6701202],"tags":[159346,3471,140316959,587152443,587152853,587153082,125414435,587152459,587152492,117331,587153083,147862,28454,587152493,190,587152847,587152836,587152623,5386,587153084],"class_list":["post-480974","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guest-blog-posts","tag-ableism","tag-accessibility","tag-black-disabled-people","tag-black-disabled-women","tag-covid19","tag-disabled-film-critics","tag-disabled-people-of-color","tag-entertainment-industry","tag-film-criticism","tag-film-festivals","tag-high-risk-people","tag-inclusion","tag-marvel","tag-movie-theaters","tag-movies","tag-pandemic","tag-sundance-film-festival","tag-systemic-ableism","tag-theatre","tag-tiff","post-has-thumbnail"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/disabilityvisibilityproject.com\/wp-content\/uploads\/2021\/10\/Carolyn-Twitter.png?fit=1600%2C900&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4H7t1-217E","jetpack_likes_enabled":true,"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/posts\/480974","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/comments?post=480974"}],"version-history":[{"count":0,"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/posts\/480974\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/media\/480972"}],"wp:attachment":[{"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/media?parent=480974"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/categories?post=480974"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/disabilityvisibilityproject.com\/wp-json\/wp\/v2\/tags?post=480974"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}