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This was a very useful source even before writing my paper because it allowed me to really watch and enjoy the movie without having to really take notes. I was able to remember the most memorable quotes by myself and having this source allowed me to insert the quotes I found powerful for my paper.

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Starring: Taraji P. Henson, Octavia Spencer, Janelle Monáe, Kevin Costner, Kirsten Dunst, Jim Parsons, Glen Powell, Mahershala Ali, Karan Kendrick, Aldis Hodge

OUR RATING: ★★★★☆

Bio-drama directed and co-written by Theodore Melfi which tells the untold true story of three brilliant African-American women, Katherine G. Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monáe), working at NASA, who served as the brains behind one of the greatest operations in history: the launch of astronaut John Glenn (Glenn Powell) into orbit and guaranteeing his safe return, a stunning achievement that restored the nation's confidence and turned around the Space Race. The visionary trio crossed all gender and race lines to inspire generations to dream big.

[White Sulphur Spring, West Virginia, 1926 - Katherine's parents are meeting with Katherine's principal and teacher]
Marion Smithson: West Virginia Collegiate Institute is the best school for Negros in the state.
Ms. Sumner: It's the only school past the eighth grade anywhere near here.
[we see young Katherine sitting outside talking to herself as she does math calculations]

Young Katherine Coleman: Isosceles. Scalene. Equilateral. Rhombus. Trapezoid.
Joshua Coleman: Katherine's in the sixth grade.
Ms. Sumner: They want to take her early.
Young Katherine Coleman: Tetrahedron. Dodecahedron. Marion Smithson: They're offering a full scholarship. All you have to do is get there.

[whilst Katherine is in class]
Professor Graves: Ms. Coleman, why don't you solve the equation on the board?
[back to Katherine's parents with her principal and teacher]

Ms. Sumner: We took up a collection amongst the teachers and such. It's not a lot, but it's enough to help get you settled in. Younger Joylette Coleman: That's more than kind, Ms. Sumner.

[to her class after solving the math equation]
Young Katherine Coleman: If the product of two terms is zero then common sense says at least one of the two terms has to be zero to start with. So if you move all the terms over to one side, you can put the quadratics into a form that can be factored allowing that side of the equation to equal zero. Once you've done that, it's pretty straightforward from there.

[to the Coleman's]
Ms. Sumner: In all my years of teaching I've never seen a mind like the one your daughter has.

[referring to their meeting with Jim Webb]
Al Harrison: Howdid that feel in there, Paul? You think you enlightened the administrator? Hm? No, he didn't look enlightened to me. He look enlightened to you, Sam?
Sam Turner: Not particularly.
Al Harrison: And just so you know, he's not wrong about what he said in there. You know that, right? Because now that they can get up there, a bomb will follow. It's what happens to all our good ideas. I imagine theirs too. Where's... Where's the machine?
Ruth: Any day now, Mr. Harrison.
Al Harrison: Any day now.
Ruth: Yes, sir.
Al Harrison: What's it called? The initials?
Ruth: The IBM.
Paul Stafford: International Business Machines.
Al Harrison: Space is a business. I need a mathematician.
Ruth: I'll put in another request, sir.
Al Harrison: Another request. Jesus Christ. We don't have a single person in this entire building that can handle analytic geometry?
Ruth: That's what I've been told.
Al Harrison: Tell me something else, Ruth, like we're going to find such a person before the Russians plant a flag on the damn moon.

[escorting Katherine to the Space Task Group]
Vivian Mitchell: Skirts must be worn past the knee. Sweaters are preferred to blouses. No jewelry. A simple pearl necklace is the exception. Your supervisor is Mr. Al Harrison, Director of the Space Task Group. You'll write research, proof calculations, so forth. Do not talk to Mr. Harrison unless he talks to you. Not many computers last more than a few days. He's been through a dozen in as many months. Come on, keep up. Things move fast around here. Your clearance.
[she gives Katherine her ID badge]
Vivian Mitchell: They've never had a colored in here before, Katherine. Don't embarrass me.

[Katherine enters the Space Task Group offices, as she look around in amazement Sam walks up to her and gives her a garbage bin]
Sam Turner: This wasn't emptied last night.
Katherine Johnson: I'm sorry, I'm not the...custodian.
[Katherine puts the bin down and walk over to Ruth]
Katherine Johnson: Excuse me, ma'am. Mr. Harrison's computer reporting.

Ruth: Take the desk in the back, I'll get your work in a bit. Mr. Harrison won't warm up to you, don't expect it. Do your work, keep your head down.
Katherine Johnson: Thank you. Ruth: Go on. Get settled.

Al Harrison: Ruth, what's the status on that computer?
Ruth: She's right behind you, Mr. Harrison.
[he turns and sees Katherine]
Al Harrison: Does she handle Analytic Geometry?
Ruth: Absolutely, and she speaks.
Katherine Johnson: Yes, sir, I do.
Al Harrison: Which one?
Katherine Johnson: Both. Geometry and speaking.
Al Harrison: Ruth, get me the...
[Ruth hands him a piece of paper]

Al Harrison: You think you, uh, you think you can find me the Frenet Frame for this data using the Gram-Schmidt...
Katherine Johnson: Orthogonalization algorithm. Yes, sir. I prefer it over Euclidean coordinates.
Al Harrison: Okay, good. Good, then I'm going to need it by the end of the day.
Katherine Johnson: Yes.
Al Harrison: I'm also going to ask you to check Mr. Stafford's math as well as others' on this floor from time to time.
Paul Stafford: I can, I can handle that, Al. Al Harrison: I'm sure you can, Paul. I'm sure they all can. But if that were the case shingles wouldn't be flying off the heat shield, now would they?

Levi Jackson: [to Mary] I don't want to see you get hurt. NASA's never ever given you guys your due. Having a couple of extra degree ain't gonna change that. Civil rights ain't always civil.

Dorothy Vaughan: Separate and equal are two different things. Just cause it's the way, doesn't make it right. Understand?
Leonard Vaughan: Yes, mama.
Dorothy Vaughan: You act right, you are right. That's for certain.

Colonel Jim Johnson: I believe I owe you an apology.
Katherine Johnson: Well, was that it?
Colonel Jim Johnson: Can I make it while we dance?
[Jim offers Katherine his hand, she finally decides to take it and dance with him]
Colonel Jim Johnson: I'm afraid I simply misspoke the other day, Mrs. Goble. I've been away for a long time. I imagine I'm just out of practice.
Katherine Johnson: Mm-hmm.
Colonel Jim Johnson: I was hoping you'd allow me to start over.
Katherine Johnson: Mm-hmm.
Colonel Jim Johnson: See, the thing is I have an interest in getting to know you better.
Katherine Johnson: Mm-hmm.
Colonel Jim Johnson: You're one tough customer, huh?
Katherine Johnson: You haven't said you're sorry yet.
Colonel Jim Johnson: Right. Of course. I'm sorry, Katherine.
Katherine Johnson: For what, Jim?
Colonel Jim Johnson: Underestimating you, and any other woman like you, though I don't imagine there's many.
Katherine Johnson: That's good practice, right there.

Al Harrison: We're in the fight of our lives, people. We're not on some epic joy ride. I just saw seven faces who aren't sure that we can get there. This is our problem, and so as of right now there's only two things you need to know going forward. One is staying here, working late, that's going to be a fact of life. And two, don't expect your paychecks to reflect the extra time it's going to take to catch up and pass those bastards. For those of you who can't work that way, I understand and thank you for what you've done. For everyone else, I suggest you call your wives and tell them how it's going to be. I'll start with mine.

[taking down the signs for "colored ladies room"]
Al Harrison: There you have it. No more colored restrooms. No more white restrooms. Just plain old toilets. Go wherever you damn well please. Preferably closer to your desk. Here at NASA, we all pee the same color.

[as Stafford is explaining to the other NASA engineers]
Katherine Johnson: So the capsule will spin around the Earth forever because there's nothing to slow it down?
Paul Stafford: That's right. Slowing it down at precisely the right moment, at precisely the right amount, that's the task.
[Katherine puts up her hand]

Paul Stafford: Yes, Katherine.
Katherine Johnson: So it needs to move from an elliptical orbit to a parabolic orbit.
Paul Stafford: Yes. That's the Go-No-Go. Now at this point, it's a pin head. We bring him in too soon...
Sam Turner: He burns up on reentry.
Paul Stafford: That's right. We bring him in too late, he's pushed out of Earth's gravity.
Katherine Johnson: And any changes to mass, weight, speed, time, distance, friction, or a puff of wind would alter the Go-No-Go and we'd start our calculations over. Paul Stafford: Yes. So we need to be able to choose this reentry point. Now this Go-No-Go, this has to be exact.

Katherine Johnson: Sir, if I could attend the briefings, I could stay current.
Paul Stafford: Katherine, we have been through this. It is not possible. There is no protocol for women attending.
Katherine Johnson: There's no protocol for a man circling the Earth either, sir.
Paul Stafford: Okay. That is just the way things are.

Al Harrison: We're orbiting the Earth at what speed now?
Paul Stafford: Uh...
[looks through his papers]
Katherine Johnson: Seventeen thousand five hundred and forty-four miles per hour, at the time the rocket delivers the capsule into low space orbit.
John Glenn: Well, that's one hell of a speeding ticket.
[the men in the room laugh]

Jim Webb: Okay. So we have vehicle speed in the launch window and, for arguments sake, the landing zone is the Bahamas, should be enough to figure the Go-No-Go?
Paul Stafford: Yeah, in theory, sir.
Jim Webb: We need to be past theory at this point.
Al Harrison: We'll be able to calculate a Go-No-Go with that information.
Jim Webb: When exactly is that going to happen?
Al Harrison: Katherine, have a go at it. [he hands her the white chalk and she goes over to the board]

[goes over to the map and points to the area] Katherine Johnson: The go point for re-entry is two thousand nine hundred ninety miles from where we want Colonel Glenn to land. If we assume that's the Bahamas, at seventeen thousand five hundred and forty-four miles per hour, upon re-entry three hundred seventy feet, at a descent angle of 46.56 degrees. The distance velocity squared, sine gravity squared. Sine, thirty-two feet, and the distance would be twenty million five hundred and thirty thousand three hundred seventy-two feet, or two thousand nine hundred ninety miles or 46.33 degrees. Okay, so that puts your landing zone at 5.0667 degrees North, 77.3333 degrees West. Which is here.

Katherine Johnson: Right here. Give or take twenty square miles. John Glenn: I like her numbers.

Al Harrison: You know what your job is, Paul? Find the genius among those geniuses, to pull us all up. We all get to the peak together or we don't get there at all.

[going to her night class]
Mary Jackson: I'm Mary Jackson. I'm enrolled.
Night School Professor: Well, the curriculum is not designed for teaching a woman.

Mary Jackson: Well I imagine it's the same as teaching a man. I don't see a colored section. Should I just take any seat? [the professor indicates yes]
Mary Jackson: Thank you.

Vivian Mitchell: You know, Dorothy, despite what you may think I have nothing against y'all.
Dorothy Vaughan: I know. I know you probably believe that.

Total Quotes: 47
Trailer:

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Hidden Figures Best Quotes - 'Every time we have a chance to get ahead, they move the finish line.'

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Starring: Taraji P. Henson, Octavia Spencer, Janelle Monáe, Kevin Costner, Kirsten Dunst, Jim Parsons, Glen Powell, Mahershala Ali, Karan Kendrick, Aldis Hodge OUR RATING: ★★★★☆ Bio-drama directed and co-written by Theodore Melfi which tells the untold true story of three brilliant African-American women, Katherine G. Johnson (Taraji P.

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This article breaks down what Mary Jackson did with her argument to the judge. It breaks down her winning argument into sections of personal, emotional and questions. In addition, this article also brought to my attention that this scene  never did actually happen to the real Mary Jackson.

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Again, the judges decision here is not being driven by facts. The law is very straightforward on this case. It would be very easy to say "no" to Ms. Jackson and move on.

But because Ms. Jackson has already established with the judge that he is someone who prides himself on being a trailblazer, the judge has no choice but to stay consistent with that self-image. And the way to stay consistent is to allow her to attend the all-white school.

How To Use This In Your Next Enrollment Conversation

When you are in a sales situation, the best thing you can do is show the other person how saying yes to you will allow them to stay consistent with how they view themselves.

Any time you're speaking to a potential client, you need to be thinking, "How does this person define their life? What's the most important thing to them?" Once you know the answer to that, you can position your investment as an opportunity to reinforce that identity (assuming that it actually does).

In other words: if you help someone see that saying "no" will take them further away from the person they want to be, you will make the sale.

**

Note: Mary Jackson didn't actually have to get a court order to attend the all-white high school in real life. But she did have to ask the city of Hampton for an exception. It was granted and in 1958 she became NASA's first black female engineer.

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This Clip From "Hidden Figures" Teaches You Everything You Need To Know About Sales

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In the movie Hidden Figures , Marie Jackson must persuade a skeptical judge to allow her to attend night classes at an all-white school. In the process, she gives one of the best sales pitches ever. And it works.

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This was pretty useful in refreshing my memory after days after watching it and the continuation of writing my paper. It allowed for my paper to have order in the sequence of events in the movie. It was also kind of a example for me of what not to do because I didn't want my paper to be a summary of the entire movie just the major scenes that are important to my thesis.

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Hidden Figures (2016) on IMDb: Plot summary, synopsis, and more...

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This article explains greatly that the movie wasn't just showing the audience that segregation is just an injustice, it was also showing it as an obstacle preventing America’s best and brightest from achieving their goals. It even goes more into depth on the bathroom scenes significance as a key landmark in the civil-rights fight. Also, as a zone onto which people project their anxieties about social change, and locus where the personal and political intersect.

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It says something that the most memorable scenes in Theodore Melfi's Hidden Figures, the new biopic about the black women of NASA's Langley Research Center, take place not in the starry reaches of outer space, but in and around a women's bathroom.

Hidden Figures, based on the book by Margot Lee Shetterly, tells the story of three brilliant mathematicians - Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer), and Mary Jackson ( Janelle Monáe) - who worked as "human computers" in the all-black "West Computing" group of NASA's Langley research lab in Hampton, Virginia, in the late 1950s and '60s. Confined to a cramped basement office on Langley's west campus (the white computers worked on the east campus), these women used their intellect and ingenuity to go where no women of color had ever gone before, while being routinely denied opportunities for advancement and confined to segregated dining areas and bathrooms.

Our protagonist is Katherine, a numerical genius who hand-calculated the spacecraft trajectories that helped astronaut John Glenn become the first American to orbit the Earth. (Her narrative is intercut with the amazing stories of her colleagues: Dorothy Vaughan became NASA's first black supervisor and an expert programmer in the early days of computers, while Mary Jackson would go on to become NASA's first African-American female engineer.) But it's not an easy road. When Katherine is assigned to help calculate launch and landing trajectories at NASA's Space Task Group on east campus, she asks her white female colleague (and the only other woman working there) where the bathroom is located. The woman chides: "I have no idea where your bathroom is." Thus commences Katherine's humiliating daily cardio routine. Each day, stack of papers in hand, high heels wobbling, Katherine must belt half a mile across Langley to use the dilapidated "colored bathroom" on west campus (often to the soundtrack of Pharrell's "Runnin'"). Saddled with a stack of calculations, we watch her hunched over on the toilet seat, pen in hand, as she tries not to waste even a second away from her desk. The film's brilliance lies in bringing the fundamental injustices of segregation down to a bodily level, manifesting its evils through the most routine of daily activities.

Co-screenwriter Allison Schroeder tells me that she was inspired by an anecdote from Shetterly's book, in which Mary Jackson's white female colleagues laughed at her when she asked where the bathroom was. "It just hit me, because I had just read about their dress code, that as a woman, it's Virginia summer: pantyhose, heels, walking half a mile to pee. And then Virginia winter: pantyhose, heels, and a skirt," she recalls. "It was just so appalling to me. There were bikes on campus that the guys could use, but the girls couldn't because they had skirts on. And it just struck me as the greatest indignity that you couldn't even pee, how disrespectful it is."

The impact of these scenes stems in part from the tension between Katherine's urgent work - racing against the clock to engineer one of the most grandiose achievements of humankind - and the illogical hurdles that bigotry puts in her way. Here segregation isn't just an injustice; it's an obstacle preventing America's best and brightest from achieving their goals. Watching other engineers put out a separate "colored" coffee pot for her, the audience can't help shaking their heads: You're building a rocket-ship and that's what you're worried about? No wonder you need Katherine to check your math.

Eventually, Katherine's superior, Al Harrison ( Kevin Costner), confronts her about her unexplained absences from her desk. The result is a scorching speech in which Katherine, soaking wet from running back and forth in the rain, lists the many daily humiliations that he and her other (white, male) co-workers fail to notice. "There are no colored bathrooms here, or anywhere except the west campus," she says, through tears. "And I work like a dog living off a pot of coffee the rest of you don't want to touch." This is a feel-good movie, so her speech has a feel-good conclusion: Harrison marches over to west campus, bashes the bathroom sign down with a sledgehammer, and declares, "Here at NASA, we all pee the same color!"

"I worried people would think this was the craziest story line, but for me it represented both racism and being a woman," Schroeder explains."Because of course the guys don't realize what's going on. [Harrison's] not an outright villain, he's just oblivious, and it would never occur to him in a million years that she didn't have a ladies' room."

In fact, it's not so surprising that a movie about breaking race and gender barriers would address bathroom politics. As we've seen in the recent debate over anti-trans bathroom bills, public restrooms are a unique liminal space where abstract ideas about justice and access play out in intimate ways. Public bathrooms have long been a key landmark in the civil-rights fight, a zone onto which people project their anxieties about social change, a locus where the personal and political intersect.

We see this again later in the film, when a women's bathroom becomes the scene of another pivotal moment: a confrontation between Dorothy Vaughan and her supervisor Vivian (Kirsten Dunst). It's the first time Dorothy has been allowed in the "white bathroom," and the difference is striking. The "colored bathroom" was gray and dilapidated, with no paper towels or soap. The "white bathroom" is clean and well-appointed, bathed in a lamp's rosy light - a visual embodiment of separate but not equal.

Throughout the film, Vivian has consistently disrespected Dorothy and failed to give her the promotion she deserves. But in this private women-only space, where everyone pees the same color, we see for the first time, Vivian engaging her co-worker as a human being. "Despite what you think, I don't have anything against y'all," Vivian says. It's one of the film's most resonant moments: America may not have racially segregated bathrooms anymore, but it's still rife with Vivian's way of thinking, with the cognitive dissonance that allows people to support racist policies while decrying racism, or to cheer a film like Hidden Figures while believing that trans people shouldn't be allowed equal access to public restrooms. In response, Dorothy fixes Vivian with a pitying gaze and delivers one of the film's most stirring lines: "I know you probably believe that."

Hidden Figures is an important act of counter-history, about inscribing forgotten heroines into the public record. But it's also an important reminder of how blinding prejudice can be: how many hidden things are actually just things we choose not to see.

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Hidden Figures Shows How a Bathroom Break Can Change History

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It says something that the most memorable scenes in Theodore Melfi's Hidden Figures, the new biopic about the black women of NASA's Langley Research Center, take place not in the starry reaches of outer space, but in and around a women's bathroom.

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I think I will be using this to summarize what I will be watching. This source is great in telling me what to expect and allowing me to be confident in my choice of movie. I also am understanding how historic this moment is, but how I am also unaware of it makes me understand the title of the movie.

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Contra Costa Community College District - Portal Login

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This was useful in really breaking down one of the memorable scenes I included in my paper. This source used quotes which were sided by the quotes being analyzed for a clear understanding. There was also an interview attached of the three women explaining the roles of their powerful characters.

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In the lead-up to this year's Academy Awards on Feb. 26, EW is taking a closer look at some of the screenplays honored in the original and adapted categories. The nominated writers will break down select pages that were essential to the stories they were telling.
Hidden Figures, the first adapted screenplay in our Oscar series, may give some of its biggest moments to NASA mathematician Katherine Johnson (Taraji P. Henson), but it's really the story of three women and each of their individual struggles to get recognition within the space program. Aside from Octavia Spencer's Dorothy Vaughan, there's also Mary Jackson, who's played by Janelle Monáe and is the subject of the scene co-writer Allison Schroeder and co-writer and director Theodore Melfi analyzed for EW.

In the scene, Mary petitions a judge in a segregated courtroom for the ability to attend extension courses at a all-white high school in order to become an engineer.

ALLISON SCHROEDER: W e didn't have Margot Lee Shetterly's book yet when we started writing this. We just had her book proposal.

THEODORE MELFI: We had 55 pages.

AS: It was just a true story. Mary actually had to petition this judge. The content of it and what actually happened, that's where Ted and I had to use our imagination starts there. We knew the judge said, "Yes." One of the things that we started with was that even the courtroom was segregated. There's the scene leading up to it, and you have to establish that even in the courtroom, she's at a disadvantage.

TM: By that point in the movie, you're so personally connected to Mary - you know her as a human being and you know her personality - to see her go the opposite way of her personality kept it fresh. You expect her to be feisty and fiery like she's been the whole movie, and here she tries a completely different tact, so it's unexpected for you in my mind.

TM: We had one version where she appealed to his sense of fear about the Russians.

AS: Right, as a military man. There was one when someone from the white computing school had given her some tip-off to his backstory and what would appeal to him. We thought, "No, it should all be able Mary. She did it all on her own. Does it appeal the need to get over the Russians?" But then that ultimately ended up being the opening scene of the film. We didn't want to hit that beat twice. Then it became, "What would convince the judge?"

TM: Another key word for us was the word "first" and appealing to the judge's sense of history and being on the right side of it. Knowing that Mary ends up becoming the first African-American female aeronautical engineer at NASA and in the country, we kind of worked backwards and used this word "first" to propel the scene. She uses this to appeal to his first and her first and how they could do it together.

AS: Courtroom scenes tend to focus on the judge or the lawyer. This is Mary's scene. She's the hero of this scene, and she works this judge to get him to give her what she wants. She's not screaming. She's not on a huge preaching monologue to the jury. She looked him in the eye, pled her case and won.

TM: Not often do you get to see someone petitioning a judge and presenting the judge a case that's not an attorney. It's based on human emotions.

AS: Also, that she was only allowed at the night classes, that was sort of the judge having a little bit of a leg to stand on.

AS: It was important that she was very dignified in the courtroom and very in-control, but the moment that she left it, you saw her erupt in joy. That was very important. You got her dignity, and then you got to feel her let out this scream that she's been holding inside. Janelle Monáe played that adorably. You scream with her. When you're in the audience, you can feel the audience be excited with her.

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'Hidden Figures' Writers Analyze Janelle Monáe's Triumphant Scene

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In the lead-up to this year's Academy Awards on Feb. 26, EW is taking a closer look at some of the screenplays honored in the original and adapted categories. The nominated writers will break down select pages that were essential to the stories they were telling.

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It’s a redemptive telling of American achievement that gives talented individuals who’ve been erased from history the heroic treatment they deserve. It places black women at the center of their own narratives, doing the work to advance themselves and their fellow mistreated employees. Hidden Figures is pro-science, pro–smart people, pro-woman, anti-racism, and anti-Russia. It’s an eminently feel-good corrective to much of the doom that’s descended over contemporary politics.

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Hidden Figures, the new film about black female NASA mathematicians that's pulling in bonkers numbers at the box office, is the perfect escape from the existential dread of inauguration week.

It's a redemptive telling of American achievement that gives talented individuals who've been erased from history the heroic treatment they deserve. It places black women at the center of their own narratives, doing the work to advance themselves and their fellow mistreated employees. Hidden Figures is pro-science, pro-smart people, pro-woman, anti-racism, and anti-Russia. It's an eminently feel-good (if highly sensationalized) corrective to much of the doom that's descended over contemporary politics.

The film is also an unmistakable statement in support of bathroom access. Taraji P. Henson plays the brilliant real-life physicist Katherine Johnson, who calculated the trajectories for John Glenn's orbit of the earth. In the movie, Katherine is forced to walk half a mile from her desk across the NASA campus to use the "colored" women's restroom. Most of the black women at NASA at the time were relegated to a room for human "computers," the women who did much of the agency's calculations by hand. When Katherine is assigned to work in a different building with an elite task force of mostly white male physicists, she finds that there's no place for her to pee. So she runs back and forth with her stack of binders and papers, in rain and sun, every time she needs a bathroom break.

Katherine's frequent trips are played for laughs, with Henson hustling through parking lots to producer Pharrell Williams' " Runnin'." But the mounting toll it takes on her body and mind is an incisive illustration of the indignities large and small imposed on black women under segregation. Until Katherine complains to her boss (Kevin Costner, playing something of a white savior) and he desegregates the bathrooms so she can work more efficiently, she is put through a grueling ordeal of bladder-holding, running in heels, and showing up at her desk soaked in rain or sweat, all in the daily course of the job she's been assigned.

This was common practice for black women who worked outside the home in those days. But even after the demise of Jim Crow laws, bathroom access remained a pressing workplace issue for women. In Good Girls Revolt, Amazon's now-canceled fictionalization of the 1970 Newsweek sex discrimination lawsuit, then-pregnant ACLU lawyer Eleanor Holmes Norton (Joy Bryant) recounts having to walk up and down several flights of stairs each time she wanted to use the women's restroom. Bathrooms weren't segregated by race in 1970s New York, but male-dominated law offices didn't often prioritize the needs of their female employees. Women expended precious time and energy during their workdays going to and from the few available bathrooms. Some likely endangered their health by limiting their liquid intake or holding it.

I feel comfortable making that assumption because several surveys have shown that transgender people-today's victims of restricted bathroom access-often would rather wait to use a gender-neutral or private bathroom than risk assault, harassment, or arrest by using a restroom that corresponds to their gender. In a 2015 survey of more than 27,000 transgender adults, 31 percent reported eating and drinking less so they wouldn't have to use the restroom outside of their homes. Eight percent said they'd sustained urinary tract infections or kidney-related problems as a result.

Bathroom access has always been a political issue; restricting bathroom access has always been a means of inflicting physical and mental distress on members of marginalized groups. In Hidden Figures, a more convenient bathroom location supports Katherine's hard work to get an American in orbit after the Soviets' success. When schools and state governments keep trans people from using public restrooms-or when anti-trans agitators incite hate that makes restrooms sites of violence-they cause more than an inconvenience. They present a public health threat and prevent people from reaching their full potential at school or work. Whether or not they're tragically underappreciated math geniuses, every person deserves an accessible place to pee.

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Hidden Figures Is a Powerful Statement Against Bathroom Discrimination

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Hidden Figures, the new film about black female NASA mathematicians that's pulling in bonkers numbers at the box office, is the perfect escape from the existential dread of inauguration week. It's a redemptive telling of American achievement that gives talented individuals who've been erased from history the heroic treatment they deserve.

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In this article I am able to get some references from the book that I can choice to incorporate in my essay. This article also looks to bring out the highlights of the book that I find helpful if I feel the need to get extra insight I would be unable to get from the movie. I am able to beforehand make my own understanding with my won visuals before the movie.

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Contra Costa Community College District - Portal Login

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This article discuss the scene of Mary Jackson's husband Levi Jackson as an example of the encouragement these women didn't have. It also heavily implies that women need men to support them. I do agree with this, but the point of this is that Marry Jackson needed that support in the beginning but still carried threw without her husbands support for the beginning process.

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Men. Need. Role. Models.

There are so many wonderful men around me that really want more women to succeed, but our society doesn't show men how to do that.

This essay is not about men taking women's power. Not at all. Nor is it about men helping helpless women. This is about how the system prevents women from having power - power men do have. Men can wield that power to help women break through.

Make no mistake: the true heroes of Hidden Figures were the amazing women who were crucial to the space program, who were hidden and almost forgotten. However, I will leave it to others to write about these amazing women.

The unsung, overlooked heroes in Hidden Figures were the men who took a stand for the women in the movie (spoiler alert!):

Al Harrison (Kevin Costner) was desperate for a specialist in analytic geometry to help the Space Task Group solve the flight trajectories for the rockets NASA was trying to launch on a desperate mission to beat the (then) Soviet Union to space. Over time, he saw the worth that Katherine Goble (Taraji P. Henson) brought to his team. She had to make herself seen, but he had to have willing, open eyes to see her.

Katherine Goble figured out why the Red Stone launches were failing, and what Atlas needed to succeed - by holding the inked out documents up to the light so she could read the classified data. That data could reveal America's capability to carry a nuclear warhead to the Soviet Union - the data was very sensitive at the height of the Cold War era. Harrison gave his permission for her to have access to that data and work on the problem directly. She needed his permission, because he held that power.

When Goble needed to be in the briefings because the data changed too fast to wait, Harrison brought her in on the strength of his authority. "You're the boss...if you'd act like one!" She said. And he did - no doubt it was difficult for him too. It was a courageous act for him to put himself on the line for her, in front of other men even more powerful than he was.

When, at the last minute, Katherine Goble brought her work to the Mercury Mission Launch Control room, she got the door slammed in her face. Harrison went back for her, opened the door, and gave her clearance to be there - even though her work was done.

Harrison pulls off the coffee pot the "Colored" sign when he realized the other engineers wouldn't drink after her.

And, of course, the most iconic scene in the movie, Al Harrison smashes the "Colored Women's Restroom" sign because Katherine Goble had to run a half mile in high heels just to relieve herself.

Women need men of power to use their power to open doors.

Karl Zielinski (Olek Krupa), the Mercury engineer that worked with Mary Jackson (Janelle Monáe) calls to her when she gets her heel stuck in the grate in the wind tunnel, "no shoe is worth your life."

As Zielenski and Jackson study the module together, he openly asks for her assessment and advice, respecting her opinion. This simple act - asking for her opinion - can help a woman feel comfortable and respected enough to speak openly.

And a crucial turning point in Mary Jackson's career, is where Zielenski tells her she's an excellent engineer, and strongly encourages her to pursue engineering. When she reminds him of her place - something she would never do with her women friends - he says, "we are doing the impossible." For Mary Jackson, his encouragement drove her to become an engineer. She may not have had the courage without his words helping her believe it was not impossible.

Women need men to support them

The two husbands in the movie (one proposed during the movie) both made important personal transitions - and each became the hidden champions of their heroic wives.

Levi Jackson, Mary Jackson's husband, at first tries to talk Mary out of becoming an engineer. "All I'm saying, don't play a fool. I don't want to see you get hurt. NASA's never given you gals your due, having another degree won't change that. Civil rights ain't always civil," he says. But he makes an important transformation when Mary heads out to her first day of class - giving her both class supplies...and his love, support, and encouragement.

Aldis Hodge describes Levi Jackson as a "kind-natured soul, as a family man," and how he loved portraying the support he gave his wife, especially given the difficult times they lived in during the Civil Rights Movement.

Colonel Jim Johnson, at first, is openly surprised at Katherine's math abilities, when he says, "that's pretty heady stuff - do they let women handle that sort of work?" He likes her and is interested in her, but this admission puts her off, rightly so. He has a hard time winning her over, until he realizes his mistake. His own transformation is important. He finally says to her, "I'm sorry I underestimated you," then adds, "and all women like you." The apology makes all the difference to Katherine - especially the last part, which is when she finally is able to warm to him. That last part is the most important part - he's not making concessions just for her, but has opened his eyes to the fact that many woman have skills that are commonly underestimated. He's not just trying to win her over, but has really changed.

These women had the support and strength of these open-minded, and loving men behind them. That support can make the difference in being able to keep up the courage against a constant barrage of barriers and discouragement. Only those who know you deeply and love you can really give you the honest and heartfelt respect that can be the solid rock, the backbone of facing the challenges of being a black woman in a white male dominated field that already has its own inherent challenges.

Women engineers need this kind of open encouragement.

So much of society tells us we can't. It's powerful when we hear the words out loud that we can. Even when men respect us, expressing that respect in the open can make a much greater difference. And encouragement from men has its own, different power than hearing it from other women.

I was so warmed by the valiant portrayal of John Glenn, who had passed away Dec. 8, 2016, just weeks before the movie's release. The actor, Glen Powell, so clearly enjoyed playing such an inspiring role for boys and men, girls and women.

When the Mercury team arrives at Langley, he makes a point to walk farther down the line, after shaking hands with the Caucasian women, to shake the hands of the African American women who are also working so hard. He literally pays his respects by not just shaking their hands, but asking how they contribute to the program. He knew he was seen as a hero, and he knew giving them his attention was just as meaningful and inspiring for them - they were putting him into space. He was depending on them.

And his wonderful scene where he asks Al Harrison to bring Katherine Goble back to check the Go/No Go numbers to verify the flight path. And how adamant he was that if she said they were good, then he trusted them.
Women need the open respect of men - for men to assume competence of the women around them.
Even the judge, who granted permission to Mary Jackson to take engineering classes at a segregated high school, was able to set his prejudices aside, and grant her that critical permission she needed to take those classes.
Women need men willing to change their perceptions.
Women need men's power to break certain barriers

Could Katherine Gobel have taken a crowbar to the "Colored Women's Bathroom" sign? Could any of these women have taken the steps that the men took for their sake?

Nope.

Men can be champions in the right way - by using their own unfair advantages to pave the way to equality.

To do that, it takes understanding of what the challenges are for women.

We need meaningful dialog

So many men around me want me and other women to succeed in tech, but they are also afraid to engage in feminist discussion. There is so much frustration and rage that it invariably comes out, misdirected, towards these men in these discussions, that they have learned not to bring it up, or to be tentative in their thoughts.
Men want to help, but too often get slammed when they try to have an open dialog.
This leads to a very shallow understanding of what sexism (and racism) is - because open and frank dialog is painful and difficult for everyone.
No doubt I'm going to get backlash for this essay, but the dialog needs to be opened, even if it's painful.
I'm certainly guilty of feminist rage myself, but I can also feel guys' pain in this - and, frankly, to be heard, you do have to listen first. You can't have true communication until both sides are listening.

Isn't that unfair? That women have to listen first? Of course it is, but how can men listen if we don't listen first?

Sexism and racism are complicated. Modern men are beyond simple outright sexism. But what holds women back now is much more subtle and difficult to define. We need to be able to hold it to the light, and to do that, we need dialog that runs both directions, not just to be heard.

In the words of John Glenn in the movie: "It's hard to trust something you can't look in the eyes."

Men need more male feminist role models

The women in Hidden Figures are amazing role models for the way to remain strong against adversity, to hold true to your natural gifts, to gracefully navigate a male-dominated world. Women and girls need role models to learn how to act  - as strong, intelligent women.

Just as women need strong role models for how to feel strong in the world, men need them too - as courageous champions for equality.

And we need not to be afraid to recognize when those men use their power to act courageously for equality.

This is not about giving men yet more attention. It is about giving men attention they deserve - and the effect that that attention has on the boys and men who watch the movie. This is not just a women's movie. It is an inspiring movie with role models for all of us.

The women were center stage. The male champions were the hidden figures in this movie.

(In the spirit of the recent Women's March, and the men behind the women who supported us. Thank you, men! You can't change your gender, but you can make a difference.)

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Men. Need. Role. Models. There are so many wonderful men around me that really want more women to succeed, but our society doesn't show men how to do that. This essay is not about men taking women's power. Not at all. Nor is it about men helping helpless women.

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This source was kind of a dummy outline for myself because I always struggle to plan out my essay and transitions, but this was helpful for me when starting the process of my essay.

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Movie Analysis Essay

Writing a movie analysis requires critical thinking and analysis skills when supporting an articulated argument. Movie review highlights features of the film stating the work of other writers. The analysis may also examine the various aspects of the movie element, the production history, the context, how the movie is received and consumed by different audiences and issues related to its distribution.

How to start

Before writing a good analysis, it is advisable to watch and reflect on the movie themes. Take note of important elements like symbolism, the mood, the themes, photography, the plot and anything that makes the movie worth mentioning. An excellent movie analysis should start by clarifying the thesis, the author needs to state the claim, followed by the interpretation and its effect on the audience. It is also important to point out any interesting ideas about the movie that makes it worth investigating.

A good introduction should be short, and the opening paragraph should mention the background, including who directed the movie, the key actors when the movie was produced, whether the movie is based on a book and the intention of the movie. The introduction should contain contextual information that may be of value to the target audience. The first paragraph provides a summary of the movie giving the reader some basic explanation more so the plot that would be relevant to the discussion of the themes.

How to write an outline

To write an outline, gather up the information you have, and transpose it into the framework of the essay you are going to use. You can use the outline as it suits you - to play with the subjects in the paragraphs or to remember important information.

Example of an outline for a movie analysis
Introduction

Background information about the movie

The movie director and main characters

Thesis statement and the reason for analysis

Plot Synopsis

Brief plot summary of the movie

Present competent knowledge about the movie.

Themes

Highlight the main theme of the movie

The significance of the themes

Visual element

Describe the visual appearance, impressive camera work, the angles, the shot the set designs like costumes, location, and lighting
Conclusion

Review of opinion about the movie

Rate the movie and present your recommendations.

How to write an introduction

Writing an introduction is easy if you have all your information - some people write the introduction last for this reason. To compose an introduction, get your arguments together, write a thesis statement, and then put them all onto one paragraph which not only introduces the subject but also encourages readers to keep reading.

1. Write your thesis statement.

2. Make sure that all of your arguments are referenced.

3. Hook your readers in to encourage them to keep reading.

4. Don't make any original arguments.

5. Write coherently.

How to write a thesis statement

Developing a thesis statement is to either support of the film or not recommending the film. A good argument should the one that the author can defend with a valid explanation, good examples and logic sentences. A good thesis should be brief, you can simply write about a specific segment of the movie instead of writing about every aspect of the movie.

Example of an introduction for a movie analysis essay

'The Blindside' by John Hancock

There comes a moment when we have to stand for what we believe in. In the movie "The Blindside" by John Hancock, Michael, the main character, is interviewed by the sports investigator. The investigator alleged that Michael was assisted by Tuohys who helped him play for the college team they support. Michael is forced to review his relationship with the Tuohy's family not to ruin his future career in sports. Going against the Tuohys is the turning point for him. Michael shows how far he can go without their support. However, the turning point is crucial because the preconception of others could threaten his future career. Using different production skills Hancock draws the audience into tension to highlight the significant themes of being assertive.

How to write body paragraphs

Writing body paragraphs requires the author to specifically focus on the elements mentioned in the introduction and the thesis. A good essay body should interpret, analyze and evaluate the movie. The essay body should be organized and logically discuss the specific elements like non-technical and technical aspects of the production. These can be the acting, the directing, the sceneries, costumes, and even lighting.

Tips for writing body paragraphs

1. Don't get distracted from the main point you are making.

2. One argument per paragraph.

3. Make sure each paragraph is introduced with a topic sentence and ended with a concluding sentence.

4. Make sure that the paragraphs flow smoothly together to form a coherent argument.

5. Refer to the thesis statement in each paragraph.

Example of body paragraphs for a movie analysis essay
Paragraph one

'The Blindside' is a slightly biographical movie about Michael Oher, a man who beat the odds to reach the position he is in now, in the football team. The movie follows him throughout his life, culminating in his pick by the Ravens team. This movie uses flashbacks and memories quite effectively.

Paragraph two

The themes of this movie include hard work, family, and growing up, shown through Michael, at various ages, attempting to navigate the world. The main theme is family, as shown by the ending. These themes are all significant because it shows how difficult it can be for people to grow up under conflicting expectations.

Paragraph three

This movie makes use of different lighting and color for the flashbacks, to differentiate them from the main plotline. These changes not only make it easier for the audience to know when the main storyline is in effect, but it also provides a visual shorthand as to how the main character is feeling at the time.

How to conclude

A movie analysis conclusion should no recapitulate the thesis, but try to show why the movie was of interest to the author, but based on what is described in the body paragraph. Concluding a movie analysis includes reviewing your opinion about the movie to try to persuade the reader to either watch the film or not.

Example of conclusion for a movie analysis

The Blindside is a good movie for themes of coming of age themes, and themes of family. It also showcases some good work on characters and visual, making it a movie which stands out among other movies with similar themes.

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How To Make a Movie Analysis Essay - Custom essay blog

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Movie Analysis Essay How to start How to write an outline Example of an outline for a movie analysis How to write an introduction How to write a thesis statement Example of an introduction for a movie analysis How to write body paragraphs Tips for writing body paragraphs Example of body paragraphs for a movie analysis essay How to

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This discusses the impact that Dorothy Vaughan had on NASA entire old way of doing things into the progressional times with machines. I want to say this source gave me a summary of what the real Dorothy did and this really helped in my essay because in the movie I was more focused on the other two characters.

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Dorothy Vaughan, one of the hidden figures in American space history that has long been swept under the rug is now out in the open and being told in the blockbuster movie, Hidden Figures, starring Taraji P. Henson and Janelle Monae as the unsung Black women who were instrumental in getting the first men on the moon. Dorothy is played by award-winning actress, Octavia Spencer.

Those who speak of NASA's pioneers rarely mention the name Dorothy Vaughan, but as the head of the NACA's segregated West Area Computing Unit, Vaughan was both a respected mathematician and NASA's first African-American manager.

As a college graduate and a teacher, Dorothy stood near the top of what most Negro women could hope to achieve. Teachers were considered the "upper level of training and intelligence in the race," a ground force of educators who would not just impart book learning but live in the Negro community and "direct its thoughts and head its social movements." She had earned a full-tuition scholarship to Wilberforce University, the country's old private Negro college, in Xenia, Ohio. At Wilberforce, Dorothy earned "splendid grades" and chose math as her major. When she was an upperclassman, one of Dorothy's professors at Wilberforce recommended her for graduate study in mathematics at Howard University, in what would be the inaugural class for a master's degree in the subject.

But since the family's money was low, she opted to earn a degree in education and pursue teaching, the most stable career for a black woman with a college degree.

In the first week of May 1943, the Norfolk Journal and Guide published an article that would call to Dorothy like a signpost for the road not taken. "Paving the Way for Women Engineers," read the headline. The accompanying photo showed 11 well-dressed Negro women in front of Hampton Institute's Bemis Laboratory, graduates of Engineering for Women, a war training class.

So that spring, Dorothy Vaughan carefully filled out and mailed two job applications: one to work at Camp Pickett, where the need for labor was so great, so undifferentiated, that there was virtually no possibility that they would not hire her. The other, much longer application reviewed her qualifications in detail. Work history. Personal references. Schools attended: high school and college. Courses taken, grades received. Languages spoken (French). Foreign travels (none). Would you be willing to accept a position abroad? (No.) Would you be willing to accept a position in Washington, D.C.? (Yes.) How soon could you be ready to start work? She knew the answer before her fingers carved it into the blank: Forty-eight hours, she wrote. I can be ready to go within 48 hours.

Dorothy Vaughan came to the Langley Memorial Aeronautical Laboratory in 1943, during the height of World War II, leaving her position as the math teacher at Robert Russa Moton High School in Farmville, VA to take what she believed would be a temporary war job. Two years after President Roosevelt signed Executive Order 8802 into law, prohibiting racial, religious and ethnic discrimination in the country's defense industry, the laboratory began hiring black women to meet the skyrocketing demand for processing aeronautical research data. Urgency and twenty-four hour shifts prevailed, as did Jim Crow laws which required newly-hired "colored" mathematicians to work separately from their white female counterparts. But...

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'Hidden Figures' No More: Meet Human Computer Dorothy Vaughan

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Dorothy Vaughan, one of the hidden figures in American space history that has long been swept under the rug is now out in the open and being told in the blockbuster movie, Hidden Figures, starring Taraji P. Henson and Janelle Monae as the unsung Black women who were instrumental in getting the first men on the moon.

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This source discusses the period of time as not just the massive scientific and technological change, but also as a time of serious social and political transformation. Understands through the book that it puts the beginning of the Space Race in the context of the Civil Rights movement.

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In February 1960, as NASA progresses on the Mercury Project, four students from North Carolina Agricultural and Technical, a black college in Greensboro, North Carolina stage a sit-in at a segregated lunch counter. Inspired by Mahatma Gandhi, the movement spreads across the South, with protestors often violently arrested. Hampton Institute is the first school outside North Carolina to stage a protest. Many of the students know Rosa Parks because she'd taken a job at the university after being blacklisted from employment in Montgomery, Alabama, where she refused to give up her seat on a bus to a white man.

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In February 1960, as NASA progresses on the Mercury Project, four students from North Carolina Agricultural and Technical, a black college in Greensboro, North Carolina stage a sit-in at a segregated lunch counter. Inspired by Mahatma Gandhi, the movement spreads across the South, with protestors often violently arrested.

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This article is useful in analyzing the hardships these women faced as examples we wish to represent in the work place. It gives a plain understanding of the actions and not the persons identity.  This can be used when making my conclusion because it connects to the movie and to positive present  actions that are a message to society.

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There is a reason Hidden Figures has been the top-grossing film for the last two weeks: beyond great performances, this is a story of empowerment, of black women overcoming the double barriers of race and gender. They not only succeed, but in their journey they become heroes in America's race to space against Russia.

Based on the historically accurate book by Margot Lee Shetterly, the movie tells the story of three African-American women in the 1960s who worked as mathematicians at NASA's Langley Research Center in Hampton, Virginia.

While the movie is a fictional interpretation of the book bearing the same title, many of the historical details are preserved, portraying events that triggered the initial breakdown of racial barriers during a key period of the Civil Rights Movement.

The movie is full of gems that inspire those striving to achieve diversity and inclusion in the workplace. Here are nine lessons from Hidden Figures that leaders can put into action today.
1. Remove obstacles for your workers.
After realizing that Katherine Goble (played by Taraji P. Henson) had to spend half an hour walking across Langley each time she needed to use the bathroom, Al Harrison (played by Kevin Costner) uses a crowbar to smash down the sign that identifies the only bathroom at Langley reserved for women of color, and then quips "here at NASA we all pee the same color!" In so doing, he effectively removes a significant obstacle to make Goble's work easier. And, as is often the case, by identifying and fixing the problem for one person, he removed an obstacle that was impacting a large number of talented people.
2. Strive to be more inclusive to gain access to a greater talent pool.
In the movie, the storyline justifies Katherine Goble's appointment simply by mentioning that Harrison's Space Task Group was looking for a new "computer" (literally, a person to perform manual calculations). However, as explained in the book, the United State's involvement in World War II created huge demand for skilled labor in the Defense Sector. Women began being recruited at Langley in 1935, but by 1943 the need for talent was becoming desperate. Just two years earlier, President Roosevelt had signed Executive Order 8802, ordering the desegregation of the defense industry. This opened the door for Langley to expand their talent search to include women of color, with spectacular results.
3. Dare to be "first" to break new ground.
In one of the most powerful scenes in the movie, Mary Jackson (played by Janelle Monáe) needs a judge's permission to attend classes at a local white school - at a time when Virginia was still segregated. Faced with monumental odds against her, she asks the judge: "Out of all the cases you are going to hear today, which one is going to make you the first?" No matter how daunting the challenge may seem, you should not be afraid to be the first, and you should support those on your team who have the desire to break new ground.
4. Small gestures go a long way in creating a sense of belonging.
When a team of astronauts visits Langley, the entire staff is lined up outside to greet them, with the women of color relegated to the far end of the line. Rather than skipping them, John Glenn (played by Glen Powell) walks over to shake hands with them. This small gesture makes a significant impression on the women, and gives them a greater sense of inclusion and belonging.
5. Even with the best intentions, bias can make your talent feel unwelcome.
Just as we were getting used to the shocking depictions of discrimination fueled by racism and bigotry, the movie threw us a bit of a curve. As Colonel Jim Johnson (played by Mahershala Ali) is trying to woo Katherine Goble, he learns that she works as a computer at NASA. Without thinking he says "that's pretty heady stuff - do they let women handle that sort of work?" In the middle of a movie that highlights racial discrimination, this bit of gender bias shows that discrimination can take many forms.
6. When we mess up, it's important to apologize.
Colonel Johnson's remarks elicit a rather fiery reaction from Katherine Goble. And although his initial attempt to apologize makes things even more awkward, he later comes back with a sincere apology, and eventually wins her heart. While it is almost impossible to get rid of all of our unconscious biases, being ready to acknowledge our mistakes can help to defuse potentially damaging situations.
7. Use your privilege to empower someone.
Toward the end of the movie, as John Glenn is preparing for his historic flight, he specifically asks Al Harrison whether Katherine Goble had checked all the figures. In the movie, this is a critical moment because Goble, who had recently been moved to a different group, is catapulted into a prominent role. Without Glenn's support, she would no longer have been in the Space Task Group.
8. Supporting others is the best way to help yourself.
When Dorothy Vaughan (played by Octavia Spencer) learns that a new IBM computer has been installed on the base, she takes it upon herself to learn how to use it. However, instead of keeping that knowledge to herself, she gets all of her colleagues to learn how to use it. Building up the team places her in a position of strength when the Langley managers realize they need personnel who can operate the new computing machines.
9. When we focus on performance, diversity emerges naturally.
The entire movie sends a clear message: when it comes to driving for success, neither skin color nor gender should matter. The only thing that can make a difference is performance. And it is the performance of individuals like Katherine Goble, Mary Jackson, Dorothy Vaughan and countless other African American women, that began to pave the way for greater equality in the workplace. In short, performance is the great equalizer .
What lessons did you learn from the movie? Let us know in the comments section.

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9 Leadership Lessons From 'Hidden Figures' About Workplace Diversity And Inclusion

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There is a reason Hidden Figures has been the top-grossing film for the last two weeks: beyond great performances, this is a story of empowerment, of black women overcoming the double barriers of race and gender. They not only succeed, but in their journey they become heroes in America's race to space against Russia.

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This resource is very useful in my essay and in understanding more messages that could be interpreted from the movie. This could be used for my conclusion because I plan to end that with the messages made in the movie. In reading this I was able to understand a different message that I can't seem to forget that the brightest minds were not free to share and engage in strong society positions.

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I saw the movie Hidden Figures over the weekend. I watched from several perspectives: former NASA scientist, an African-American working in a scientific field in which unfortunately I am still a "1st" or "2nd" too often, and a fan of the drama-space film genre. I have this annoying habit of not being able to watch certain movies without thinking more deeply than the intended entertainment value. This is why watching Twister, Sharknado or The Day After Tomorrow with me, an atmospheric scientist, can be a bit fascinating (and tiring). Hidden Figures is a story about the contributions of three African-American women to the early space program. It was familiar to me because I spent 12 years as a research meteorologist at NASA Goddard Space Flight Center before joining the faculty at the University of Georgia. Though their contributions were "hidden" to many, the movie exposed some important lessons for science and society.

Assumptions. I resonated strongly with a scene in the movie in which mathematician Katherine Johnson was assumed to be in the room to empty the trash rather than crunch numbers for NASA. Both professions are equally admirable and important, but the point is simply that she was only assumed to be there in one capacity. Last year, I was an invited speaker at one of the largest scientific conferences in the world. African-Americans have traditionally lagged in the science fields so there were not many at this particular conference. I have written previously in FORBES on why the numbers are lower. As I walked the conference hotel halls for only one day, I was asked four or five times if I was with the hotel staff or if I could help direct them somewhere. I suppose it was because I was in a suit (although I did have a conference badge on that said "speaker"). The hotel staff was wearing red blazers that day. I finally shared a joke about it with a staffer. He actually wanted to share a picture (below).

Something similar happened during my tenure as President of the American Meteorological Society, the largest U.S. professional society within my field. I was with a group of colleagues in a hotel lobby but only I was asked if I was the airport shuttle driver. Much of my family worked for years (and still does) in the service industry. They are vital and admirable careers that provide a living for my family's upbringing and others so please don't miss my point here. The point is that assumptions were made because of the lack of representativeness of some groups in science, technology, engineering, and math fields (STEM). In these instances, I honestly don't believe there was ill-intent. It was simply related to the inertia of what some perceive a "scientist" to look like. This is why mentorship and exposing kids to broader groups of scientists is so important.

What advances did we miss? Hidden Figures also made me wonder how many other great ideas or advances that could benefit society were missed out on because a large percentage of the country's brightest minds were not free to share and engage in science, business and policy during the time of segregation. One scene in the movie showed the pride of every person, irrespective of their race or gender, when John Glenn was attempting to become the first American to orbit the Earth. One lesson is that different perspectives bring fresh ideas and approaches to problems. Another lesson is that people may be different than you or your core ideology but take just as much pride in our great country.

Choices and Focus. Hidden Figures also provided an interesting look at the struggles that we all face when grappling with what to do when we know certain things are not right. Do we turn a blind eye or work to change it? This can be particularly challenging when there is pressure to "go with the flow." Throughout my career, I have often taken the less-traveled road or the unpopular road in terms of collegiate major, career choices, AMS presidency and so forth. A valuable lesson is to keep focused on your goals and objectives rather than being distracted by the "small stuff." The women in Hidden Figures stayed focused on their goals and didn't let others' insecurities, deficiencies or fears be a distraction. This exemplary advice will serve any student, young scientist, or professional well.

Teamwork doesn't care about our differences. One of the most powerful messages from Hidden Figures was that teamwork doesn't care about our differences. The women featured in the movie were very different from many of the employees at NASA in the early 1960s. Culture, race, gender nor economic status prevented them from working with others to achieve a common goal--getting the first U.S. astronauts to space. Once characters in the movie overcame their own biases about who "belonged in the room," the shared talents of all flourished to achieve their goals. This is a great lesson as we move forward within our broader society today.

There are a lot of other "hidden figures" and stories that will not become a book or movie. One of my scientific mentors was Dr. George Washington Carver. Many are not familiar with his genius (even though they likely benefited from it) and all of the things that he did with peanuts. Edward Teller once said,

The science of today is the technology of tomorrow.

To get the best science and technology, no one should be hidden anymore.
Dr. Marshall Shepherd, Dir., Atmospheric Sciences Program/GA Athletic Assoc. Distinguished Professor (Univ of Georgia), Host, Weather Channel's Popular Podcast, Weather Geeks, 2013 AMS President

Dr. J. Marshall Shepherd, a leading international expert in weather and climate, was the 2013 President of American Meteorological Society (AMS) and is Director of the U...

Read More

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'Hidden Figures' Reveals Four Great Lessons For Science And Society

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I saw the movie Hidden Figures over the weekend. I watched from several perspectives: former NASA scientist, an African-American working in a scientific field in which unfortunately I am still a "1st" or "2nd" too often, and a fan of the drama-space film genre.

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This source provided the scene of Mary Jackson in the courthouse so I can rewatch the scene. It also discussed how the film illustrates the notion of working twice as hard to get half as far in the past. Allowing the understanding of the opportunities these women didn't have and the opportunities available now for other women of color.

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If there's one movie you need to see this weekend, it's Hidden Figures. The film tells the important story of real life super computers Katherine Johnson and her colleagues Dorothy Vaughan and Mary Jackson, who worked for NASA in the segregated West Area Computers division of the Langley Research Center in the 1960s. With Russia successfully launching a man into space, the pressure was on for America to respond in kind. Enter Johnson, Vaughan and Jackson: It's their calculations which helped launch astronaut John Glenn into space, allowing him to become the first American to orbit the Earth.

In honor of the film's wide release on January 6, 20th Century Fox shared a clip featuring Janelle Monáe (who plays Mary Jackson) in court making a plea to be able to take engineering classes at an all-white high school in Virginia. In order for her to become an actual NASA engineer, she needs to get her engineering degree. The problem is, those classes were not available at the black schools she was allowed to attend. We like to think that the Civil Rights Movement was forever ago, but there are still people alive today who remember being in her shoes and denied the opportunity to further their education because of institutionalized racism.

This clip, and to a further extent the film, illustrates the notion of working twice as hard to get half as far. Jackson had to go to court and fight for her education in order to create a level playing field with white men, some of whom didn't even need to have the same qualifications in order to get the same job. Johnson had to run a mile just to get to the nearest "colored" bathroom in order to relieve herself. And Vaughan was working as a supervisor without the title or pay, and had been repeatedly rejected when she applied for said title. Despite all of these obstacles, they succeeded and that is pure black girl magic.

The black girl magic reigning throughout this movie is important for so many reasons. For one, it's an opportunity for young black girls to see that people who look like them do exist in STEM and that it's not a "whites only" club. If they can do it, so can you. It also brings awareness to the fact that yes, African Americans have contributed to this country outside of human rights atrocities like slavery and entertainment like basketball and rap music. Johnson, Vaughan and Jackson had such an impact on one of the biggest moments of American history and while it angers me that most of us had never heard of them before, I'm glad their story is finally getting told in such a big way. I beg you, go out and support this movie so we can get more like it.

And if you feel like diving deeper, Margot Lee Shetterly's book of the same name has even more details on the incredible lives these extraordinary women have led. Hidden Figures is out in theaters now.

(via 20th Century Fox, image via screencap)
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Inspiring Hidden Figures Clip Will Remind You to Never Take Your Education for Granted

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In honor of the film's wide release on January 6, 20th Century Fox shared a clip featuring Janelle Monáe (who plays Mary Jackson) in court making a plea to be able to take engineering classes at an all-white high school in Virginia.