Get Out: Making White People Mad.

I hadn’t even heard of this movie, being under my rock as usual, but I just watched the trailer, prior to reading Antoine Allen’s take on it, and it’s high tension, and manages in seconds to make you hope with all your being, that for once in a horror film, the black person gets to come out alive, and maybe a hero, too. So I’ll be watching this, to be sure. It seems it has white people rather riled up though, who tend to get riled up about some absurd stuff, like claiming the show Luke Cage is racist because the cast is primarily black. Uh…does it really have to be pointed out the 99.9 of all television shows and movies in uStates and other places have casts which are all white, or mostly white? Why is it okay for people of colour to have nothing else to watch for not only their lives, but whole generations of people of colour having no choice there? This extends to books, too. Trust me, white people, you can cope with one or two shows which don’t primarily feature white people. It won’t kill you. Think of every superhero, in comics, television shows, and movies. How many of them are white? Yeah. So you can be quiet now, okay?

The thriller and horror genre has pretty much been drained of all originality. However, Get Out strikes out to bring a new twist to the genre; we are calling this ‘Racism Horror”. Get Out is about an interracial couple going to ‘meet the parents’ for the first time. However, the Black boyfriend is confronted with more than just some ‘Guess Who’s Coming To Dinner” level of racial tensions. He becomes trapped in a town that seemingly has a more sinister agenda towards young black men.  The film is directed by Jordan Peele from the Key and Peele show.

There has been even more shock and social media outrage by a section of the white community and probably a minority of Black people who do not ‘get’ the trailer either. Namely, both of those whom are not or choose not to be aware of the history of racism in America. Yet, there are also some who are aware of the somewhat sensational point this horror film is making. Watch the trailer so you can gauge where their outrage or misunderstanding may have been born from.

The trailer ends with a one-liner that will no doubt be filling meme across the internet before and after people are glued to their seats fearfully watching this thriller:

If there is too many white people I get nervous– Get Out.

As expected this line and the general premise of the film has produced complaints from some people. Some people have been shocked by the trailer and others have said it portrays the genuine fears that black people sometimes have.

But remember, the old adage, it’s ok to be quasi-racist as long as you have a member of the opposite race as a close friend. Jordan Peele is already Black, so he can’t say “my best friend is black”. On the other hand, Peele has more than a best friend whom is white, he is married to a White woman ie he has a super best friend. But, in all seriousness, it can be argued that the film portrays the fear that Peele subconsciously had when he first met his wife’s parents. Are those fears only limited to interracial couples? Are those fears valid or invalid? Probably not! If we look at history we can see how these fears may have manifested over time.

The question becomes, just how far from reality are the themes of this racially charged thriller? Well, here are some examples from history of the mistreatment Black people have faced by sections of the White community; all after the end of slavery.

1. In 1919, in the wake of World War I, Black sharecroppers unionized in Arkansas, unleashing a wave of white vigilantism and mass murder that left 237 Black people dead after mass lynchings.

Four more examples follow, with disturbing photographs. If you aren’t well versed in the history of horrific racism in uStates, you definitely need to click over and read every word of the article. If some white people are so in need of being outraged, you need to get outraged about the right things. I’ve known more than one black person who has mentioned a low level fear when surrounded by white people. There’s a reason for that fear, and there’s a reason for the mistrust which fuels it. These things don’t come out of nowhere for no reason. There’s a deep bedrock of reason, and it you don’t know it, please educate yourself.

[…]

In short, movies like this expose the subconscious fears of the subjugated minority and highlight a lack of awareness from the other members of the same society. Get Out it is basically the horror version of Guess who’s coming to dinner. If people have a basic knowledge of history then they shouldn’t be shocked by this film. It only shows racism from a horror perspective. Therefore, if art is supposed to imitate life, this film is merely a reflection of an aspect of life. Thus, people should find society’s racism more shocking than this film that for the first time depicts an aspect of life from a horror perspective. So, yes it is sensational but that ‘Horror’; people need to discuss the issues it raises- rather than simply complaining for the sake of it.

Click on over and read the whole article, it’s excellent, and contains a lesson that people inclined to complain or be dismissive truly need to learn.

Get Out’s Trailer Is Making White People Mad: Here’s 5 Real Racist Incidents In History Worthy Of Anger.

The 2016 NAMA Winners!

nama

The winners of the 16th Annual Native American Music Awards were announced earlier this month at the Seneca Allegany Resort & Casino Event Center in Salamanca, New York. Rapper and Black Eyed Peas member Taboo was inducted into the NAMA Hall of Fame while acclaimed Flutist Joseph FireCrow and Actor/Motivational Speaker/Writer/Artist Saginaw Grant received the Lifetime Achievement award and Living Legend award respectively. Comedy duo Williams and Ree, who were at the inaugural NAMA show in 1998, were voted Entertainers of the Year.

A highlight of the festivities hosted by Comedian/Actor Paul Rodriguez was a two-part tribute honoring John Trudell by two of his musical collaborators. Annie Humphrey performed DNA followed by Thana Redhawk with Ancestors Song featuring Trudell’s vocals.

A special appearance was made by the family of Joseph Flying Bye, who was nominated posthumously for his Putting The Moccasins Back On recording in the Best Historical/Linguistic Recording and Best Traditional Recording categories. His son, Allen and another ten family members drove from Standing Rock, North Dakota to the event. They received an overwhelming response of solidarity from the attendees supporting their opposition of the Dakota Access Pipeline. Seneca President Maurice John recently visited with Standing Rock Tribal Chairman David Archambault II and NAMA nominees contributed their songs to two free Water Is Life CD compilations to support the Standing Rock Sioux Community.

Twelve year-old hand drummer, Nizhoo Sullivan, the youngest NAMA nominee, was one of several Traditional performances that included Theresa Bear Fox and the Akwesasne Women Singers along with Joseph Fire Crow. Artist of the Year Shelley Morningsong sang and played the flute accompanied by her husband and musical partner Fabian Fontenelle resplendent in his regalia. Best Pop Recording winner Spencer Battiest and his brother Doc impressed the attendees with their renditions of a ballad and hip hop song.

Late singer/songwriter, Chairman of The Confederated Tribes of The Colville Reservation, and Native icon Jim Boyd won Record of the Year for his final recording, Bridge Creek Road. Boyd’s widow Shelly accepted the award accompanied by 15 members of his family including their children. The final performance of the night was a tribute performance to Chairman Boyd by Keith Secola with long-time Boyd drummer Alfonso Kolb, Annie Humphrey, and Sage Bond.

There’s much to check out: http://www.nativeamericanmusicawards.com/nama-16  Also, Women of Heart, who won Best Traditional Recording, have made their winning album free to download.

Via ICTMN.

Disney does something right, more or less.

DisneyStore.com's Halloween costume depicting the Polynesian demigod Maui from the upcoming movie 'Moana.' Disney said it would stop selling the costume which some had compared to blackface. (DisneyStore.com via AP).

DisneyStore.com’s Halloween costume depicting the Polynesian demigod Maui from the upcoming movie ‘Moana.’ Disney said it would stop selling the costume which some had compared to blackface. (DisneyStore.com via AP).

Disney is pulling a Halloween costume from its website and stores after accusations of racism.

The costume, which is based on a character from the upcoming movie “Moana,” is a body suit with Polynesian tattoos. The character, Maui, is inspired by a Polynesian demigod.

In “Moana,” due out in November, the titular character, played by Auli’i Cravalho — a native Hawaiian — follows a teen who meets the muscled Maui, played by Dwayne “The Rock” Johnson, on a journey through the Pacific.

CNN reports that Disney has issued an apology for the costume.

“The team behind Moana has taken great care to respect the cultures of the Pacific Islands that inspired the film, and we regret that the Maui costume has offended some,” the company said in a statement.

I really wish I could believe that last sentence. Once again though, when it comes to an Indigenous people, the thinking is less than stellar. If there was so much care to respect the cultures, then why wasn’t there at least a discussion about the deep significance of the cultural tattoos prior to a costume being manufactured? Where was the discussion of slipping on a cultural skin as a plaything, to be discarded at will? Indigenous people are not costumes.  I’ll just go with the assumption that this was basic Disney, engaging the marketing machine without a single thought in that collective, not so respectful head. I’d really love it if Disney would just fucking stop trying to constantly make more money on the backs of Indigenous people. Try coming up with your own original stuff for once, maybe? At least until you figure out how to deal with Indigenous peoples and cultures in an appropriate manner.

Why yes, I do know there were mixed reactions to the film, I posted about it.

Via NJ.com.

J.K. Rowling: The Colonial Heart of an Indifferent Bigot.

screen-shot-2016-03-07-at-11-31-23-am-e1457368430989

This is not the first time Ms. Rowling’s bigotry has come up, far from it, but it turns out it it’s much worse than I thought. Ms. Rowling is now far past the doubling down stage, she’s pretty much etched her bigotry and indifference in stone now. I would never have read any of the Potter books if it hadn’t been for the astonishing reaction of Christians, all in a frenzy of “Witchcraft and Demons, Oh My!” I was an adult, and don’t have kids. Anything that got Christians so remarkably riled up deserved a look, though. I enjoyed the books, even though they were repetitive, and on the problematic side of seriously white and straight along with tokenism. I probably enjoyed the movies more, which were fun, because who doesn’t like magic? They were fun, a nice nerdy escape. Also, I’m a massive Maggie Smith fan, I’ve had a crush on her since early sproghood. I had planned on seeing Fantastic Beasts and Where to Find Them, but that’s not going to happen now. I already know just how angry and upset that would make me.

In April this year, I posted about Dr. Adrienne Keene’s post on Native Appropriations regarding Magic in North America. If there’s one thing I’d like to make very, very clear, it’s that there are many Indiginerds who love the Potterverse, which makes it all the more heart-breaking and infuriating to see Ms. Rowling’s use of bigotry to further her own ends, and refusal to listen to the many Indigenous fans she has, and her apparent indifference to all the bullying and stereotyping she is subjecting Indigenous people to by sticking to her bigotry. As Dr. Keene said:

It actually makes me kind of want to cry. Harry Potter was such a formative series for me, and holds such a deep place in my heart–and to see and hear this feels like such a slap in the face to me and other Native Potter nerds.

So, if you’re a Potter fan, all prepared to be bristly in offense or defense, don’t. Just listen, please, because these criticisms are not coming from a place of hate. They are coming from a fellow place of love, and a deep well of disappointment. The Problematics of Potter came up on Ask N NDN at ICTMN, and Loralee Sepsey answered, in passionate detail. Here in the States, a great many people think Indians are dead and long gone, an almost mythical race of people, so everyone can play and be as bigoted as they like. I’ve encountered the belief of “oh, I thought Indians were dead” myself. There’s an article up at ICTMN about a young Indian, 12 years old, who wants to cut his braid off, because he lives in a primarily white suburb, and it’s not acceptable to be an ethnic Indian, and he’s tired of being teased, bullied, and stereotyped, at 12 years old. Non-native people, no matter how well intentioned, rarely think about such things. If they happen to be aware of the fact that Indians are not dead, they are rarely interested in the particular cultures, traditions, or languages of Indians. A great many non-natives are content to enthuse about “Native Americans” in the most embarrassing manner. There’s no knowledge to be had there, either. Quite the opposite, in fact. The ignorance can be appalling, and no, enthusiasm does not make up for it. Learning about a particular people, that would be a good thing to do. Understanding that there’s no such thing as one lump of ‘Native Americans’ would be a good thing. Understanding that Indigenous people care about how they are represented, and how their particular mythologies, cultures, and traditions are represented, that would be a great thing.

Ms. Rowling had a great opportunity in front of her. She could have not only learned herself, and met with members of the tribes she planned to write about, she could have helped to empower native people, along with showing basic respect, by allowing natives to own their own stories, their mythologies, their cultures, and their traditions. This story could have been a rich, strong, empowering, respectful, and accurate one. Instead, it’s the same old business of stealing from native people, disrespecting them, and promoting an appalling ignorance, deliberate lies, and propagating stereotypes. What will this latest installment teach children about Indigenous peoples? Nothing true. Ms. Rowling chose to go with using people as costuming, and having the same old colonial, white “saviours”, while not even bothering to give any native character a prominent role, let alone names, as only one native character is deemed worthy of a name. We get to be Ms. Rowling’s red shirts.

J.K. Rowling, with the release of the Ilvermorny School and Magic in North America stories on her website Pottermore, has joined the long list of people who portray indigenous cultures in a contextless and offensive manner, but she could become one of the most dangerous people on that list.

[Read more…]

Miss Hokusai.

img_0_m

Last year we wrote an article about Oei Katsushika, the daughter of the famed Ukiyo-e artist Katsushika Hokusai. What we didn’t know at the time was that a Japanese film on that exact subject was just getting ready to be released. Directed by Keiichi Hara (Colorful) and Production I.G (creators of Ghost in the Shell), “Miss Hokusai” is coming to theaters in the U.S. this fall and the trailer was just released.

As we wrote last year, only about 10 actual works have been attributed to Oei, but considering Katsushika Hokusai created some of his most famous and brilliant works towards the end of his life it seems reasonable to wonder just how much of the work was created by Oei. And the film appears to tree in similar waters:

As all of Edo flocks to see the work of the revered painter Hokusai, his daughter O-Ei toils diligently inside his studio. Her masterful portraits, dragons and erotic sketches – sold under the name of her father – are coveted by upper crust Lords and journeyman print makers alike. Shy and reserved in public, in the studio O-Ei is as brash and uninhibited as her father, smoking a pipe while sketching drawings that would make contemporary Japanese ladies blush. But despite this fiercely independent spirit, O-Ei struggles under the domineering influence of her father and is ridiculed for lacking the life experience that she is attempting to portray in her art. Miss Hokusai‘s bustling Edo (present day Tokyo) is filled with yokai spirits, dragons, and conniving tradesmen, while O-Ei’s relationships with her demanding father and blind younger sister provide a powerful emotional underpinning to this sumptuously-animated coming-of-age tale.

Looking forward to this very much! Via Spoon & Tamago.

Movies: NativeFlix and SkinsPlex.

mov1

mov2

I was reading this article at ICTMN, which linked to two new and growing movie services, Nativeflix and SkinsPlex. I was blown away, browsing, making lists of all the things I want to see. I hope both these young companies grow and grow and grow. While I’m in the group of people whose internet access doesn’t allow for much streaming or video watching, we can break that now and then, and I have the perfect places to do that now.

Give NativeFlix and SkinsPlex a visit, browse around, and if you are able, start watching, they both have great lineups! NativeFlix. SkinsPlex.

Invisible 1 & 2.

In1Not too long ago, Jim C. Hines edited personal essays on representation in SF/F, and it was excellent and eye-opening. It was certainly uncomfortable at times, but that discomfort is just panicked relics of oblivious privilege trying to assert itself. I had more than a few stabs of serious guilt in reading this anthology, particularly the one about Albinism. (Having enjoyed that “evil Albino trope” more than a few times in the past, without ever thinking about actual people.) The essays in the first Invisible are:

Introduction by Alex Dally MacFarlane.

Parched, by Mark Oshiro.

Boys’s Books by Katharine Kerr.

Clicking by Susan Jane Bigelow.

The Princess Problem by Charlotte Ashley.

Autism, Representation, Success by Ada Hoffmann.

Gender in Genre by Kathryn Ryan.

‘Crazy’ About Fiction by Gabriel Cuellar.

Evil Albino Trope is Evil by Nalini Haynes.

Options by Joie Young.

Non-binary and Not Represented by Morgan Dambergs.

Representation Without Understanding by Derek Handley.

Shards of Memory by Ithiliana.

I Don’t See Color by Michi Trota.

SFF Saved My Life by Nonny Blackthorne.

In2If you missed Invisible the first time around, I could not possibly recommend it enough. While happily slumbering away under my rock, I was unaware that Invisible 2 had been put together and published. That’s been remedied, and like the 1st, this is excellent reading. As Jim C. Hines notes in the afterword, “They help us to become better readers, better writers, and better human beings.”

So many of these essays resonated, and others were serious wake up calls to stop being so bloody blinkered. Like the first anthology, this one is littered with highlights, bookmarks, and notes. Too Niche, by Lauren Jankowski about the complete invisibility of asexual people in SF/F was one of those that was a good smack on the head. In her essay, she mentions that Stephen Moffat declared Sherlock Holmes can’t be asexual because he’s too interesting. That left me spluttering and outraged. That’s an incredibly wrong, stupid, thoughtless, and insulting thing to say. Other essays which really hit home were Breaking Mirrors, Fat Chicks in SFF, Not Your Mystical Indian, Exponentially Hoping, and Colonialism, Land, and Speculative Fiction: An Indigenous Perspective. 

The Essays in Invisible 2 are:

Introduction by Aliette de Bodard.

Breaking Mirrors by Diana M. Pho

I’m Not Broken by Annalee Flower Horne.

Next Year in Jerusalem by Gabrielle Harbowy.

I am Not Hispanic, I am Puerto Rican, by Isabel Schechter.

No More Dried Up Spinsters by Nancy Jane Moore.

False Expectations by Matthew Thyer.

Text, Subtext, and Pieced-Together Lives by Angelia Sparrow.

Parenting as a Fan of Color by Kat Tanaka Okopnik.

Alien of Extraordinary Ability? by Bogi Takács.

Accidental Representation by Chrysoula Tzavelas.

Discovering the Other by John Hartness.

Lost in the Margins by Sarah Chorn.

Too Niche by Lauen Jankowski.

Fat Chicks in SFF by Alis Franklin.

Not Your Mystical Indian by Jessica McDonald.

Exponentially Hoping by Merc Rustad.

Colonialism, Land, and Speculative Fiction: An Indigenous Perspective by Ambelin Kwaymullina.

Nobody’s Sidekick: Intersectionality in Protagonists by SL Huang.

The Danger of the False Narrative by LaShawn Wanak.

Both these anthologies are excellent, if often uncomfortable, reading. Seriously recommended if you haven’t read them.

Sausage Party.

A 'Sausage Party' movie moment between ‘Frank’ (Seth Rogen) and an Indian Chief that is a bottle of alcohol labeled ‘Firewater’ (Bill Hader), as well as the Indian’s compatriots, an African American who is a box of grits and a white man who is a Twinkie.

A ‘Sausage Party’ movie moment between ‘Frank’ (Seth Rogen) and an Indian Chief that is a bottle of alcohol labeled ‘Firewater’ (Bill Hader), as well as the Indian’s compatriots, an African American who is a box of grits and a white man who is a Twinkie.

I admire Vincent Schilling for sitting through this mess of juvenile idiocy, sexism, and unabashed racism, so I won’t have to do it. I was absolutely appalled by the 2nd Despicable Me flick, and almost killed my own television set, because we only netflixed that monstrous mess of racism, sexism, and casual violence.

To the excitement of Seth Rogen fans, his toilet-humored animated film “Sausage Party” hit theaters this August. To the dismay of anyone with a social conscience, the movie has a slew of racially charged epithets that seem contrived to offend just for the sake of being offensive.

I am a Native American, and I grew increasingly uneasy watching the moments between ‘Frank’ (Seth Rogen) and an Indian Chief that is a bottle of alcohol labeled ‘Firewater’ (Bill Hader), as well as the Indian’s compatriots, an African American who is a box of grits and a white man who is a Twinkie. (Video Clip – Caution: Strong Language)

https://youtu.be/wRLQ0g9z0P0

The film, directed by Greg Tiernan and Conrad Vernon, and written by Kyle Hunter, Ariel Shaffir, Seth Rogen and Evan Goldberg, is also filled with sexual references involving any phallic shaped foods, and there are a minor few funny moments reminiscent of life during recess in sixth grade, but the racially charged moments only seem to qualify themselves by continuing to attack all races without any real attempt to call forth a social commentary.

Shortly after the film gets started – it was off to the races with racially charged humor. Food products in the Chinese food section had slanted eyes and spoke in broken english, German food products were led by a Hitler looking product screaming “Kill the Juice” and the relationship between a bagel (Edward Norton) and a lavash (David Krumholtz) laid upon the issues of the Jews and Palestinians.

[Read more…]

What’s the Buzz?

moonlight1

A wonderful slate of new LGBT movies and TV shows is up at The Advocate:

The Intervention 
In theaters now

This ensemble comedy is a darkly funny take on relationships. The premise: When four couples go for a weekend getaway, one of the pairs learns that the rest have planned an intervention to tell them they need to get a divorce. The cast is full of talented young comedic actors, including out actress Clea Duvall (Argo, Girl, Interrupted) and lesbian icon Natasha Lyonne (Orange is the New Black, American Pie) playing a couple for the second time (they ended up together in But I’m a Cheerleader). Duvall also directed the film, which is being compared to The Big Chill, and is currently fresh on Rotten Tomatoes.

Spa Night
In theaters now

Spa Night is about a gay Korean-American teenager (Joe Seoh of Gridiron Gang), who struggles with the idea that he can’t live up to his parents’ expectations, while at the same time exploring the underbelly of gay Los Angeles nightlife. The movie is an impressive 93 percent on Rotten Tomatoes, with reviewers calling it an “instant classic” and an “extremely personal film.” It’s also the very rare film that puts gay Asians front and center.

One Mississippi 
September 9, 2016

One Mississippi, brilliant lesbian comic Tig Notaro’s semi-autobiographical Amazon comedy series about returning to her small town following the death of her mother already has its pilot available to watch on Amazon, and it’s fantastic. The show, which is produced by Louis CK, is currently a 90 percent on review aggregator site Rotten Tomatoes, and if the pilot is any indication, the show is the perfect vehicle for Notaro’s incredible talents.

Moonlight
October 21, 2016

Another emotionally charged and aesthetically beautiful film, Moonlight stars relative newcomer Trevante Rhodes (Tyler Perry’s If Loving You is Wrong) at three different points in his life as he tries to reconcile his faith with his sexuality. Playing his love interest is Andre Holland (Selma, The Knick), and the entire supporting cast looks solid. This film looks like it could be the antidote to the #oscarssowhite problem that has plagued Hollywood.

There are four more trailers at The Advocate, click on over to watch.

A Biblical Failure.

The film, which courted Christian viewers and abandoned the gay subtext of the 1959 classic, could lose up to $100 million.

The film, which courted Christian viewers and abandoned the gay subtext of the 1959 classic, could lose up to $100 million.

Bye, Ben-Hur.

The film about betrayal in biblical times was an epic fail at the box office. Its opening weekend, it took in $11.2 million in domestic markets and $10.7 million in international ones, reports Variety, a dismal sum given to its production budget of over $100 million.

Ben-Hur ranked sixth at the box office, failing the cinematic chariot race to a top 5 position. It lost to films in their second and third weekend, including Suicide Squad ($20.9 million), Sausage Party ($15.5 million), and Pete’s Dragon ($11.3 million).

Prior to its release, Ben-Hurwas criticized by The Advocate and other outlets for not including the gay subtext present in the 1959 classic, a critical and commercial success that went on to win a slew of Oscars. In the 1995 documentary The Celluloid Closet, out screenwriter Gore Vidal revealed he had convinced the film’s director to incorporate this subtext in order to explain the tension between the film’s leads, a prince and a Roman soldier who betrays him.

Various excuses were offered as to why the gay subtext was not present in the story’s most recent iteration. At Ben-Hur‘s premiere, star Tony Kebbell (Messala, the soldier) said it wasn’t needed in the present day. In a conflicting report, screenwriter Keith Clarke claimed copyright law prevented him from incorporating it, as he could only adapt what was included in Lew Wallace’s 1880 book Ben-Hur: A Tale of the Christ.

As a result, the film placed more emphasis on the novel’s religious themes and fleshed out the character of Christ. It also marketed heavily to Christian audiences, holding special screenings and releasing promotional videos that featured reviews from religious leaders.

But not even Jesus could save Ben-Hur from bad reviews. The film currently has a score of 29 percent on the film aggregator Rotten Tomatoes. Critics called it “an amateurish effort,” “something soulless and empty,” “a compete snore-fest,” “gutless,” and a “digitalized eyesore hobbled in every department by staggering incompetence.”

“The filmmakers of this stagnant remake display all the technical tools needed to achieve greatness, but they lack that most basic of functions: a reason why this story needs to be retold,” wrote the Washington City Paper.

Wow. Those reviews are beyond scathing, those are brutal. I thought the whole hype of “Christian, Christian, Christian Ben Hur with Added Jesus!” was sheer silliness, but it turns out the film was much worse than the standard Christian silly. Ouch.

Via The Advocate.

Gandalf Doesn’t Do Weddings.

3504

Ian McKellen says he turned down $1.5m (£1.14m) to officiate at Napster billionaire Sean Parker’s wedding dressed as Gandalf the wizard.

McKellen, who played the character in Peter Jackson’s Lord of the Rings trilogy, didn’t know the source of the offer when he was asked to marry Parker and his wife, singer Alexandra Lenas. The request came via a mutual acquaintance of Parker and McKellen’s, according to the Mail on Sunday. McKellen said he would have considered the offer if Parker hadn’t stipulated that he come in character.

“I don’t go dressing up, except in plays and things,” McKellen said. “So I said, ‘I am sorry, Gandalf doesn’t do weddings.’”

[…]

Even though Gandalf didn’t marry Parker,the real McKellen may be available for weddings: the actor qualified as a celebrant in 2013, which allowed him to officiate the civil wedding of actor Patrick Stewart and musician Sunny Ozell.

Via The Guardian.