Age: 35
female
Zazie Olivia Beetz (/zəˈsiː ˈbeɪts/ zə-SEE BAYTS; German: [zaˈsiː ˈbeːts]; born June 1, 1991) is a German-American actress. She is known for her role in the FX comedy-drama series Atlanta (2016–2022), for which she received a nomination for the Primetime Emmy Award for Outstanding Supporting Actress in a Comedy Series. She starred in the Netflix anthology series Easy (2016–2019) and has voiced Amber Bennett in the adult animated superhero series Invincible since 2021. In films, Beetz appeared in the disaster film Geostorm (2017) and portrayed the Marvel Comics character Domino in the superhero film Deadpool 2 (2018). She portrayed Arthur Fleck/Joker's neighbour, Sophie, in the psychological thriller Joker (2019) and its sequel Joker: Folie à Deux (2024). Description above from the Wikipedia article Zazie Beetz, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Coonskin is a 1975 American adult animated satirical crime film written and directed by Ralph Bakshi. The film references the Uncle Remus folk tales and satirizes the blaxploitation film genre as well as Disney's racially controversial film Song of the South, also adapted from the Uncle Remus folk tales. The film's narrative concerns three anthropomorphic Uncle Remus characters, Br'er Rabbit (referred to as Brother Rabbit), Br'er Fox (referred to as Preacher Fox), and Br'er Bear (referred to as Brother Bear). They rise to the top of the organized crime racket in Harlem, encountering corrupt law enforcement, con artists, and the Mafia, in a satire of both racism within the Hollywood film system, and America itself. Originally produced under the titles Harlem Nights and Coonskin No More... at Paramount Pictures, Coonskin encountered controversy before its original theatrical release when the Congress of Racial Equality accused the film of being racist. When the film was released, Bryanston gave it limited distribution and it initially received mixed reviews. Later re-released under the titles Bustin' Out and Street Fight, Coonskin has since been re-appraised, recontextualizing the film as the condemnation of racism that the director intended, rather than a product of a racist imagination, as its detractors had claimed.
