5 Reasons Why I Watched Netflix’s ‘3%’ Series

Three PercentSource: Agonybooth.com.

I stumbled onto “3%” the same way I find out about a lot of Netflix shows — by previewing the shows recommended to me by its algorithms. Often, I’ll try out a show for an episode or two and decide it’s not worth anything further, but this one got me hooked, and I wanted to spend some time thinking about why exactly that is. Here’s what I decided:

1) It’s super entertaining.

I loved The Hunger Games series, and I have to admit that what initially attracted me to this show was a similar premise — young adults competing against each in a unequal, dystopian world to escape their circumstances of material poverty.

The show follows several characters as they try to reach the end of The Process — a system of puzzles and challenges that determines who will become a part of the elite three percent of the population that lives in the rich Offshore.

The main protagonists are Michele, who is haunted by the loss of her brother to The Process and committed to ideals of justice, and Ezequiel, who is a part of the three percent and runs The Process every year. But one of the strengths of the show is actually its large cast of characters, each of whom has his or her own storyline and background.

To make matters more interesting, there is also a mysterious rebel force known as The Cause that is trying to infiltrate The Process to spy on the Offshore and ultimately take down their system of governance.

I have to give a caveat that 3% is not your typical Hollywood-produced movie. It’s clearly on the low-budget end, but the filmmakers do a lot with what they have.

2) It’s not about the U.S.

As Beth Elderkin says in her Gizmodo article about the show:

It’s vital to support international science fiction in the US. It widens our perspective of how the world is, and more importantly, how it could be.

Watching “3%” reminded me how American and Eurocentric most of my TV-watching habits are. Even though the show isn’t about modern-day Brazil, the cast is clearly Brazilian, and the communities that the “candidates” come from seems to resemble favelas, with their crowding and sanitation challenges. Additionally, there’s an overall pacing to the show that feels different from what I normally watch on TV.

I also enjoyed hearing the Portuguese dialogue, and I’d recommend watching the show with the original audio and subtitles, rather than the dubbed version.

3) It’s diverse.

While Brazil is a highly diverse country, it still struggles with colorism. I imagine it might be an appealing prospect for filmmakers to build a primarily light-skinned cast. I was happy to see that didn’t happen with “3%” for the most part. There’s diversity among both the actors who play the marginalized Inland residents, as well as among the Offshore leadership. (I am giving a little side-eye, however, to the Netflix banner showing most of the darker characters in the back row and out of the light. It’s also worth noting that the biggest roles, Michele and Ezequiel are light-skinned.)

There’s also diversity in terms of gender, class, and physical ability (one character, Fernando, needs a wheelchair to get around). One point I really enjoyed is that Fernando isn’t desexualized the way that many characters with physical disabilities often are. He’s part of a romantic subplot in the show. He’s also not portrayed as an object of pity or as one-dimensional. He clearly has his own strengths and weaknesses outside of his physical body.

4) It shows ‘good’ and ‘bad’ as complex.

One of my pet peeves in fantasy/sci-fi is when characters are made simplistic, with the heroic people on one side and the evil characters on another. “3%” acknowledges that in real life, people have complex motivations for the actions they take. Pretty much every character has a secret or two that impacts why they do what they do and who they are drawn to connect with.

Ezequiel, who seems most clearly to be “the bad guy” at the outset of the show, is revealed to have a heart and his own principles, however twisted. And The Cause, which seems to be a network of underdogs at first glance, also develops nuance as the series progresses.

5) It makes you think about society.

One of the reasons I’ve always been drawn to dystopia as a genre is that it pushes you to think about the founding principles of the society we live in now, as well as how the world would be better or worse with certain changes. It allows you to take reality and ask the question, “what if?”

There is clear commentary in “3%” on wealth inequality, through showing the poverty of the Inland juxtaposed with the elite social life and high living standards of those who live in the Offshore.

Through including the element of The Cause, the show also seems to say that no situation so unequal can hold forever. Mass discontent will always push to the surface, no matter how many surveillance cameras or armed forces the government commands. It felt like there were harkenings to the Arab Spring, current class tensions in the U.S., and other modern-day political pressure cookers.

Perhaps Former President Obama put it best when he said, “Democracy is threatened whenever we take it for granted.”

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Octavia Butler and Margaret Atwood were ready for a Trump world

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“After everything that happened, I’m not reading 1984, I’m not reading Fahrenheit 451, I’m not reading A Handmaid’s Tale. I’m reading Parable of the Sower by Octavia Butler. I feel like if we’re looking for any answers or where we’re going, it’s definitely in Octavia’s work.”

That’s what speculative fiction writer Nnedi Okorafor had to say about what book to reach for in the age of Trump.

Having read Parable of the Sower, I recognized some reasons why Okorafor would point readers to Butler’s work. There’s the portrayal of a world where climate change has progressed enough to cause major problems to habitability and economies. There’s the way that people have split off into walled off communities. How countries have shuttered their borders to other nations.

But I was particularly struck by Okorafor’s reference to a character in Butler’s sequel, Parable of the Talents, whose stated goal is to “make America great again.” As a feminist, I was also interested in reading Atwood’s famous The Handmaid’s Tale. So I picked up both.

Ultimately, I agree that Butler’s works seem to resonate more fully with the current times. The unexpected political success of presidential candidate Andrew Steele Jarret in Talents struck a pretty eerie chord with Trump’s win while using the same tagline. It’s an incredibly layered novel with strong themes of power, purpose, community, and religion all coming together in one story.

But I think The Handmaid’s Tale is worth a read too for different reasons. It’s a meditation on gender roles and a purposeful exaggeration of society’s obsession with commenting on and controlling women’s reproductive choices. The world of Atwood’s story feels much tighter to the protagonist as you navigate her fearful and constrained reality alongside frequent flashbacks to the way things were “before.”

The full video from Al Jazeera on dystopian literature in the modern age is definitely worth a watch if you have time:


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Living Alternate Histories with Underground Airlines

Angela Davis

My grandmother once told me a story that stretched the limits of my understandings of racial fear. Years ago she was relocating with her family for my grandfather’s job. They planned to drive to their new home and considered taking a detour through the South as an add-on to their trip.

At this time however, Angela Davis had just been added to the FBI’s Most Wanted list, and the entire country was focused on the story. My grandmother, who is a light-skinned black woman that used to wear her hair in an Afro, was afraid of being mistaken for Davis, particularly in the South, where they perceived greater hostility. So after some deliberation, she and my grandfather decided not to travel through the South after all, bypassing it on their journey.

Now, aside from being light-skinned, I personally don’t think my grandmother looks anything like Angela Davis. When I first heard the story I had a hard time understanding what it would feel like to be alive and black during that period in time. Because of the relatively safer and calmer context I grew up in, it is almost impossible for me to fully relate to that generalized sense of racial fear. To really understand my grandmother’s story, I had to imagine a completely different world from the one in which I came of age. (Though as #BlackLivesMatter shows, racial fear is still alive and well in the world. Unlike my experience, all too many young black people grow up quite aware of it.)

Underground AirlinesReading Underground Airlines by Ben H. Winters reminded me of my grandmother’s story because it is also about using the imagination to understand another world. It’s about using the tool of speculative fiction to cultivate empathy for what it can be like as a black person living in a geography of racial fear. The particular context here is slavery.

Underground Airlines is told from the perspective of the main character, who goes by Victor. Victor lives in the modern-day U.S. with one big difference — slavery still exists in four states. He’s a black man who works for the U.S. Marshall Service to help find and return escaped slaves from the slave states. As the story goes along you learn more and more about seedy things that have been going on in the background of reputable organizations on all sides. Victor has to face his own past and what he’s willing to do to keep his personal freedom.

Underground Airlines, though a thriller at its core, explores deep moral questions. Winters leads you to think about what you would do to preserve your own safety in such a compromised society. The people you would betray. Those you would manipulate. Just as interesting is the exploration of corruption among modern-day abolitionists. Winters plays with what the desire to be a “savior” can do to the psyche, and how it can corrupt. He suggests that individual people can begin to matter much less than the cause as a whole. The book is a fascinating look at what happens when who we are collides with who we imagine ourselves to be.

I’d be remiss not to mention Octavia Butler’s Kindred in reviewing Underground Airlines. In Kindred, a black woman is involuntarily trapped in a cycle of going back in time to the plantation where her ancestors were enslaved. The book explores the very real and painful ways in which the institution of slavery corrupts all morals and good intentions. Kindred was a groundbreaking mashup of the modern world and the old establishment of slavery, and Winters’ work follows in that tradition. Constance Grady’s article in Vox captures some important ways that Winters draws upon Butler’s cannon.

I am white, and I wrote this book because I think it is incumbent on white people, white authors very much included, to think about racism, to grapple with racism, and to engage with it.
Ben H. Winters

One of the great strengths of speculative fiction, is that the literal worlds it forces you to consider are often based on real world “what if” questions with current day implications. Just as the world of my grandmother’s story pushed me to expand my understandings of what her life experiences encompass, speculative fiction can take you to a new mental place, to a new body. It can play with your world in subtle ways to make you consider new possibilities and perspectives. We have to leave our entrenched beliefs behind a little when reality gets slightly warped. We don’t always know who we would be in the story.


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Note: I received an advance reading copy of this book from the publisher for review.

Image Source: About.com

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Faith, Fat Chances, and Gentrification

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Anyone who follows me on Twitter knows that I’m always talking about gentrification, displacement, and diversity. That’s one of the reasons why I was commenting earlier this month in a #DiverseBookBloggers thread about how we need books by authors of color about neighborhood change. Then I happened to pick up Carla Trujillo’s Faith and Fat Chances and found exactly that conversation on the page.

Faith and Fat Chances takes place in a (as far as I can tell) fictional community right outside of Santa Fe, New Mexico called Dogtown that is being threatened by a winery development that would force most of the residents to relocate elsewhere. Just fyi, for anyone who has read What Night Brings, Trujillo’s first novel about a child growing up in a household of domestic violence, Faith and Fat Chances feels like a much lighter read.

Faith and Fat ChancesI didn’t find the book as riveting as I wanted it to be. Some of the characters seemed underdeveloped and the plot moved slower than I’m used to. That being said, I really loved a couple of the main characters, especially Pepa, an older curandera (a type of folk healer) whom all the residents of Dogtown come to with their ailments, both physical and spiritual.

I also enjoyed Tala, a character whose brother is trying to build the despised winery, and who leads the fight to try and save their town. Tala and several other characters fall on the LGBT spectrum, which is great since more books need gender and sexual orientation diversity. Many of the residents of Dogtown are Latino, and the book has lots of Spanglish going on, which felt important to the story voice.

There’s also a healthy dose of magical realism here, which in my opinion usually makes a book more intriguing. Think: a mysterious rain that menaces the town and won’t stop until people get their *ish* together. A few other details like this add some of the humor and lightness to the book.

I can’t help but wonder if Trujillo was interested to write on this subject matter given that she’s a Bay Area local, where the conversation around gentrification and demographic change has been raging for years. While Dogtown’s landscape looks a lot different from that of Oakland or San Francisco, I kept getting eerie chills on hearing the rhetoric of the developers and the mayor of the fake city. It hits close to home.

While I’ve seen a lot of nonfiction, especially online articles, talking about changing neighborhoods, there are fewer fiction books that I’ve come across that really address the topic. One that does come to mind is Angela Flournoy’s The Turner House, a large family drama set in present-day Detroit (great book, go read it!). But I’m hoping that talking about gentrification is a new trend in literature.

Ghettoside in Los Angeles

downtown los angeles

I just finished working my way through Jill Leovy’s Ghettoside: A True Story of Murder in America, which is a deep dive into the LA Police Department’s homicide detective unit for South LA. I picked this one up at the library thinking it would be a perfect intersection of my interests: black people, urban challenges, and criminal justice, but I have to admit I came away conflicted.

GhettosideGhettoside follows LAPD Detective Skaggs as he tries to solve the murder of a colleague’s son. Leovy spends a lot of time describing Skaggs’ character — how hardworking and dedicated he is to seeing each case through to the end. She also builds a picture of South LA from the point of view of several residents, especially those who have lost loved ones to homicide. She describes the unpredictable certainty of violence for young black men in the area, and all of the complex ways people try to avoid it.

Leovy’s got a lot of great going on here. She embedded with LAPD to really get deep on the story, and as a result, the book is almost like a fictional crime thriller in how close it shadows detectives working homicide cases. She shows the real burnout that detectives face trying to handle massive caseloads and working without optimal funding resources. And she encapsulates some of the real tragedy of losing family members and friends to violence.

But at the same time there’s a not-so-subtle message that Leovy’s putting out through the book, which is the idea that black neighborhoods wouldn’t be such violent and forsaken places if cities put more of their resources into swiftly and harshly punishing black perpetrators of homicide:

When violent people are permitted to operate with impunity, they get their way. Advantage tilts to them. Others are forced to do their bidding. No amount of ‘community’ feeling or activism can eclipse this dynamic […] [Victims] need some powerful outside force to sweep in and take their tormentors away. That’s what the criminal justice system is for.

Of course it’s true that black people in high-crime neighborhoods wish there were less violence. Middle-class blacks in particular move away from neighborhoods all the time because they’ve had experiences with (or fear) community violence. To pretend that fear doesn’t matter would be disrespectful.

However, it’s overly-simplistic to make one factor seem like the sole cause of a massive issue like black-on-black homicide. As Ta-Nehisi Coates eloquently described in his essay The Case for Reparations, black people and black communities have been through countless rounds of violence and marginalization since slavery. A simplistic stroke of “taking tormentors away” would in reality mean gauging more holes into already broken family networks and not solving the root problems that lead to crime, such as unemployment, poor housing, and continued de facto segregation.

Leovy herself notes that when someone is killed in South LA, or when someone snitches, there’s frequently a hit put out on that person. Removing residents to put them in prison wouldn’t stop others from going after the witnesses who put someone behind bars. The cycle would continue.

Again, I think Leovy does have a lot of insightful content here, especially when it comes to noting how black-on-black homicides often get ignored by police structures, and that this kind of violence can thrive within communities that feel abandoned by the rest of the world. It’s just that the abandonment isn’t solely about public safety, it’s about economic empowerment and a host of other issues too.


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