That version of "Slippery Slope" is really off-putting, in a truly great way.
Something I love about Siddig el Fadil's career trajectory is that he started out in a place where he was literally told to Westernize his name or he'd never work again, and over the years, that bullshit has been simply worn away: he is who he is, can call himself what he wants, full stop. And while I love Christian Bale, I too see no earthly good reason for his casting in Exodus (let alone Edgerton's--he's a great actor, but Egyptian he's just fucking not). The juxtaposition of these two facts really says something about the way Hollywood still consistently refuses to engage honestly with race as an issue, mostly to its own detriment.
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Something I love about Siddig el Fadil's career trajectory is that he started out in a place where he was literally told to Westernize his name or he'd never work again, and over the years, that bullshit has been simply worn away: he is who he is, can call himself what he wants, full stop. And while I love Christian Bale, I too see no earthly good reason for his casting in Exodus (let alone Edgerton's--he's a great actor, but Egyptian he's just fucking not). The juxtaposition of these two facts really says something about the way Hollywood still consistently refuses to engage honestly with race as an issue, mostly to its own detriment.