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The first season of HBO's Lovecraft Country is based on Matt Ruff's 2016 novel and explores the horrifying world of H.P. Lovecraft and the very real Jim Crow-era racism that plagued the United States in the 1950s. The series, developed by Misha Green and produced by Jordan Peele, places Black protagonists at the centre of a Lovecraftian horror story. The Black characters have to face shoggoths, grand wizards and magic but they also have to deal with and escape very realistic horror, in the form of racist police violence and white supremacy. By bringing the Black characters into the centre – often the metaphorical villains of Lovecraft's stories – the series allows for a new layer of meaning to Lovecraft's fear of the other. Atticus, Leticia, Uncle George, Hippolyta and the rest of the cast are struggling to escape the everyday real and supernatural manifestations of racism. Their struggle can be seen as a reflection of the actual struggle of the Black communities today, who are trying to liberate themselves from the shackles of oppression and systemic racism once and for all, so all people regardless of the colour of their skin, gender, race and ethnicity can finally be free. Lovecraft Country can be read as a symbolic yet crucial contemporary representation of this struggle for freedom. The series was created before George Floyd's and Breonna Taylor's murders, but it came after the deaths of Trayvon Martin, Philando Castile and Sandra Bland. Once the viewers search deeper and look past the dark mansions, the wicked wizards and the shoggoth monsters, they can understand that the supernatural and fictional land of Lovecraft Country is not a distant place after all.

This chapter examines the framing of the Black Lives Matter (BLM) Movement in mainstream media. An analytic sample of 4,303 articles collected from the Dow Jones Factiva database reveals variation in depth, breadth, and intensity of BLM coverage in the following newspapers between 2012 and 2016: The St. Louis Post-Dispatch, The New York Times, The Washington Post, The Wall Street Journal, and Al Jazeera English. We review contemporary literature on racial inequality and employ Media Framing and Critical Race Theory to discuss the implications of our findings on public perceptions, future policy formation, and contemporary social protest worldwide.

After war, societies can undergo change that extends justice to formerly excluded groups. Using theories of moral exclusion and moral inclusion as a lens, this chapter examines societal change in two consecutive periods after the American Civil War (1861–1865): Reconstruction and Jim Crow. Focusing on the well being of black Americans in the American South, this chapter examines Reconstruction's inclusionary gains and setbacks. It then describes challenges faced by black Americans during Jim Crow, a period of white supremacy and violence, and factors associated with Jim Crow's decline. Applying social psychological theory to these historical periods offers insight into the dynamics of inclusionary and exclusionary change.

In this article Professor Perry argues that Plessy v. Ferguson and the de jure segregation it heralded has overdetermined the discourse on Jim Crow. She demonstrates through a historical analysis of activist movements, popular literature, and case law that private law, specifically property and contract, were significant aspects of Jim Crow law and culture. The failure to understand the significance of private law has limited the breadth of juridical analyses of how to respond to racial divisions and injustices. Perry therefore contends that a paradigmatic shift is necessary in scholarly analyses of the Jim Crow era, to include private law, and moreover that this shift will enrich our understandings of both historic and current inequalities.