Entertainment
Sidney Poitier – Hollywood’s first Black leading man reflected the civil rights movement on screen
Aram Goudsouzian, University of Memphis
In the summer of 1967, Martin Luther King Jr. introduced the keynote speaker for the 10th-anniversary convention banquet of the Southern Christian Leadership Conference. Their guest, he said, was his “soul brother.”
“He has carved for himself an imperishable niche in the annals of our nation’s history,” King told the audience of 2,000 delegates. “I consider him a friend. I consider him a great friend of humanity.”
That man was Sidney Poitier.
Poitier, who died at 94 on Jan. 7, 2022, broke the mold of what a Black actor could be in Hollywood. Before the 1950s, Black movie characters generally reflected racist stereotypes such as lazy servants and beefy mammies. Then came Poitier, the only Black man to consistently win leading roles in major films from the late 1950s through the late 1960s. Like King, Poitier projected ideals of respectability and integrity. He attracted not only the loyalty of African Americans, but also the goodwill of white liberals.
In my biography of him, titled “Sidney Poitier: Man, Actor, Icon,” I sought to capture his whole life, including his incredible rags-to-riches arc, his sizzling vitality on screen, his personal triumphs and foibles and his quest to live up to the values set forth by his Bahamian parents. But the most fascinating aspect of Poitier’s career, to me, was his political and racial symbolism. In many ways, his screen life intertwined with that of the civil rights movement – and King himself.
An age of protests
In three separate columns in 1957, 1961 and 1962, a New York Daily News columnist named Dorothy Masters marveled that Poitier had the warmth and charisma of a minister. Poitier lent his name and resources to King’s causes, and he participated in demonstrations such as the 1957 Prayer Pilgrimage and the 1963 March on Washington. In this era of sit-ins, Freedom Rides and mass marches, activists engaged in nonviolent sacrifice not only to highlight racist oppression, but also to win broader sympathy for the cause of civil rights.
In that same vein, Poitier deliberately chose to portray characters who radiated goodness. They had decent values and helped white characters, and they often sacrificed themselves. He earned his first star billing in 1958, in “The Defiant Ones,” in which he played an escaped prisoner handcuffed to a racist played by Tony Curtis. At the end, with the chain unbound, Poitier jumps off a train to stick with his new white friend. Writer James Baldwin reported seeing the film on Broadway, where white audiences clapped with reassurance, their racial guilt alleviated. When he saw it again in Harlem, members of the predominantly Black audience yelled “Get back on the train, you fool!”
King won the Nobel Peace Prize in 1964. In that same year, Poitier won the Oscar for Best Actor for “Lilies of the Field,” in which he played Homer Smith, a traveling handyman who builds a chapel for German nuns out of the goodness of his heart. The sweet, low-budget movie was a surprise hit. In its own way, like the horrifying footage of water hoses and police dogs attacking civil rights activists, it fostered swelling support for racial integration.
A better man
By the time of the actor’s Southern Christian Leadership Conference speech, both King and Poitier seemed to have a slipping grip on the American public. Bloody and destructive riots plagued the nation’s cities, reflecting the enduring discontent of many poor African Americans. The swelling calls for “Black Power” challenged the ideals of nonviolence and racial brotherhood – ideals associated with both King and Poitier.
When Poitier stepped to the lectern that evening, he lamented the “greed, selfishness, indifference to the suffering of others, corruption of our value system, and a moral deterioration that has already scarred our souls irrevocably.” “On my bad days,” he said, “I am guilty of suspecting that there is a national death wish.”
By the late 1960s, both King and Poitier had reached a crossroads. Federal legislation was dismantling Jim Crow in the South, but African Americans still suffered from limited opportunity. King prescribed a “revolution of values,” denounced the Vietnam War, and launched a Poor People’s Campaign. Poitier, in his 1967 speech for the SCLC, said that King, by adhering to his convictions for social justice and human dignity, “has made a better man of me.”
Exceptional characters
Poitier tried to adhere to his own convictions. As long as he was the only Black leading man, he insisted on playing the same kind of hero. But in the era of Black Power, had Poitier’s saintly hero become another stereotype? His rage was repressed, his sexuality stifled. A Black critic, writing in The New York Times, asked “Why Does White America Love Sidney Poitier So?”
That critic had a point: As Poitier himself knew, his films created too-perfect characters. Although the films allowed white audiences to appreciate a Black man, they also implied that racial equality depends on such exceptional characters, stripped of any racial baggage. From late 1967 into early 1968, three of Poitier’s movies owned the top spot at the box office, and a poll ranked him the most bankable star in Hollywood.
Each film provided a hero who soothed the liberal center. His mannered schoolteacher in “To Sir, With Love” tames a class of teenage ruffians in London’s East End. His razor-sharp detective in “In the Heat of the Night” helps a crotchety white Southern sheriff solve a murder. His world-renowned doctor in “Guess Who’s Coming to Dinner” marries a white woman, but only after winning the blessing of her parents.
“I try to make movies about the dignity, nobility, the magnificence of human life,” he insisted. Audiences flocked to his films, in part, because he transcended racial division and social despair – even as more African Americans, baby boomers and film critics tired of the old-fashioned do-gooder spirit of these movies.
Intertwined lives
And then, the lives of Martin Luther King Jr. and Sidney Poitier intersected one final time. After King’s assassination on April 4, 1968, Poitier was a stand-in for the ideal that King embodied. When he presented at the Academy Awards, Poitier won a massive ovation. “In the Heat of the Night” and “Guess Who’s Coming to Dinner” captured most of the major awards. Hollywood again dealt with the nation’s racial upheaval through Poitier movies.
But after King’s violent murder, the Poitier icon no longer captured the national mood. In the 1970s, a generation of “Blaxploitation” films featured violent, sexually charged heroes. They were a reaction against the image of a Black leading man associated with Poitier. Although his career evolved, Poitier was no longer a superstar, and he no longer bore the burden of representing the Black freedom movement. Yet for a generation, he had served as popular culture’s preeminent expression of the ideals of Martin Luther King.
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Aram Goudsouzian, Bizot Family Professor of History, University of Memphis
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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News
CES 2026: The Exhibitors and Moments That Stood Out for Entertainment + Tech Fans
CES 2026 delivered big entertainment-tech moments—from Sony Honda’s AFEELA to streaming, smart glasses, AI PCs, and robots that stole the show.
CES 2026 (Jan. 6–9 in Las Vegas) didn’t feel like a “future tech” show as much as a “right now” show. The big shift: AI wasn’t treated like a standalone product category anymore. It was the invisible layer powering everything from streaming discovery to robots that can actually do work.
For STM Daily News readers who live in the overlap of Entertainment and Tech, here are the exhibitors and trends that stood out most—plus why they matter beyond the show floor.
1) Sony Honda Mobility (AFEELA): The car as a rolling entertainment platform
Sony Honda Mobility’s AFEELA presence reinforced a direction CES keeps leaning into: the next generation of vehicles is competing as much on software and in-cabin experience as it is on horsepower.
What made it stand out:
- AFEELA represents the “car as a connected device” idea taken seriously—where the cabin becomes a screen-first, service-driven environment.
- It’s a clean example of how mobility and entertainment are merging: navigation, safety, personalization, and media all living in one interface.
2) Netflix + Amazon Prime Video + Roku + Xumo: Streaming is evolving into ecosystems
CES 2026’s Content & Entertainment story wasn’t about “who has the most subscribers.” It was about streaming as an ecosystem: bundling, ad-supported growth, and smarter discovery.
What made it stand out:
- CES highlighted how streaming platforms are pushing beyond simple libraries into bundles, premium originals, and integrated experiences.
- FAST (free ad-supported streaming TV) continues to gain traction, and device/platform players are positioning themselves as the front door.
3) Dolby: The quiet power behind the best-looking, best-sounding experiences
Dolby isn’t always the flashiest booth, but it consistently shows up as the tech that makes everything else feel “premium.”
What made it stand out:
- In a year where screens, XR, and immersive venues are everywhere, audio and imaging standards are the difference between “cool demo” and “wow.”
- Dolby’s relevance keeps growing as entertainment moves across phones, living rooms, cars, and wearables.
4) Meta + XREAL: Smart glasses keep inching toward mainstream
Wearables at CES 2026 weren’t just about steps and sleep. The momentum was in smart glasses and AR—especially as generative AI voice interfaces make hands-free use feel more natural.
What made it stand out:
- CES noted smart/AR glasses evolving with features like real-time translation, recording, and AI voice interfaces.
- For entertainment fans, this is where “watching” and “doing” start to blend—live overlays, creator tools, and new ways to capture experiences.
5) Samsung + LG + TCL: Screens are still the show’s main stage
Even in an AI-everywhere year, CES still belongs to display tech. Big brands kept proving that TVs aren’t just TVs—they’re hubs for gaming, streaming, smart home control, and ambient experiences.
What made it stand out:
- Display leaders continue to set the tone for how entertainment is consumed at home.
- The conversation is shifting from specs to experience: personalization, AI-powered recommendations, and multi-device continuity.
6) NVIDIA + AMD + Lenovo: The “AI PC” era is no longer theoretical
CES 2026 made it clear that the next wave of consumer computing is built around on-device AI. That matters for creators, editors, and anyone who lives in content.
What made it stand out:
- CES highlighted AI’s move from “digital transformation” to “intelligent transformation,” including edge/enterprise and physical AI in robotics.
- AMD’s CES keynote emphasized AI across devices from PCs to data centers, underscoring how quickly this is becoming standard.
7) Unitree + Richtech Robotics + Hyundai: Robots were the surprise crowd-pleaser
If CES 2026 had a “you had to see it” category, it was robotics. Not just novelty bots—machines built for real environments.
What made it stand out:
- CES framed robotics as “physical AI,” where generative AI and simulation training help robots learn faster than traditional programming.
- Humanoid robots, in particular, are moving from single-task demos toward more collaborative assistant roles.
The big takeaway for STM Daily News readers
CES 2026 wasn’t about one killer gadget. It was about convergence:
- Entertainment is becoming more interactive, more personalized, and more portable.
- Cars are becoming screens.
- Wearables are becoming interfaces.
- Robots are becoming the next “device category” people actually want to watch.
And underneath it all: AI is becoming less of a headline and more of the operating system for modern life.
Here’s a list of what stood out to us at CES 2026:
- Sony Honda Mobility (AFEELA): The car as a rolling entertainment platform
- Netflix + Amazon Prime Video + Roku + Xumo: Streaming is evolving into ecosystems
- Dolby: The quiet power behind the best-looking, best-sounding experiences
- Meta + XREAL: Smart glasses keep inching toward mainstream
- Samsung + LG + TCL: Screens are still the show’s main stage
- NVIDIA + AMD + Lenovo: The “AI PC” era is no longer theoretical
- Unitree + Richtech Robotics + Hyundai: Robots were the surprise crowd-pleaser
Sources
- CES press release recap and exhibitor/topic highlights (Jan. 9, 2026): https://www.ces.tech/press-releases/ces-2026-the-future-is-here
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actors & performers
T.K. Carter, The Thing and Punky Brewster Actor, Dies at 69
Actor T.K. Carter, known for The Thing and Punky Brewster, has died at age 69. A look at his career and lasting legacy in film and television.
T.K. Carter in Punky Brewster (1984) Image: IMDB
Veteran actor T.K. Carter, best known for his roles in The Thing and the popular 1980s television series Punky Brewster, has died at the age of 69.
Authorities confirmed Carter was found unresponsive at his home in Duarte, California. No foul play is suspected, and an official cause of death has not yet been released.
A Career Spanning Decades
Born Thomas Kent Carter, T.K. Carter built a career in film and television that spanned more than four decades. He became a cult favorite portraying Nauls in John Carpenter’s 1982 horror classic The Thing, a film that continues to influence the genre today.
Television audiences widely remember Carter for his role as Mike Fulton on Punky Brewster, where his comedic timing and grounded performances helped make the show a lasting favorite of the era.
Film and Television Legacy
In addition to his best-known roles, Carter appeared in films such as Runaway Train, Ski Patrol, and Space Jam. His television work included guest appearances on a wide range of series throughout the 1980s, 1990s, and beyond.
Known within the industry as a reliable and versatile performer, Carter often brought authenticity and warmth to supporting roles that left a lasting impression, even in brief appearances.
Remembering T.K. Carter
As news of his passing spreads, fans and colleagues alike are reflecting on T.K. Carter’s contributions to film and television. While he may not have always been the leading name on the marquee, his work helped shape stories that continue to be watched and appreciated by new generations.
T.K. Carter is remembered for his enduring performances, professional dedication, and the quiet but meaningful legacy he leaves behind.
Related Coverage
- Los Angeles Times: Actor T.K. Carter Dies at 69
- People Magazine: T.K. Carter, ‘The Thing’ and ‘Punky Brewster’ Actor, Dead at 69
- Entertainment Weekly: T.K. Carter, ‘Punky Brewster’ and ‘The Thing’ Actor, Dies
- ABC News: Veteran Actor T.K. Carter Dies at 69
Stay with STM Daily News for updates to this developing story and more independent coverage of entertainment, history, and culture. Visit www.stmdailynews.com for the latest.
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actors & performers
Pat Finn: Remembering the Familiar Face Who Made Us Laugh
Pat Finn, the familiar face from The Middle, Seinfeld, Friends, and Toyota commercials, has passed away at 60. We remember his career, legacy, and lasting impact.
Pat Finn: Remembering the Familiar Face Who Made Us Laugh
Many people may not have known his name right away, but they knew his face. Pat Finn was one of those rare actors who quietly became part of America’s shared television experience—popping up in beloved sitcoms, memorable commercials, and scene-stealing guest roles for more than three decades.
In December 2025, Finn passed away at the age of 60 after a battle with bladder cancer, leaving behind a body of work that continues to resonate with audiences who grew up watching network television’s golden era of sitcoms.
A Career Built on Consistency and Craft
Pat Finn wasn’t a headline-chasing star. Instead, he was the definition of a working actor—someone whose talent and reliability kept him in steady demand across generations of television.
He appeared in some of the most recognizable shows in TV history, including Seinfeld, Friends, Murphy Brown, 3rd Rock from the Sun, That ’70s Show, The King of Queens, Curb Your Enthusiasm, and The Goldbergs. To many fans, he was especially memorable as Bill Norwood, the occasionally awkward and often hilarious boss on ABC’s long-running sitcom The Middle.
These weren’t flashy roles—but they were essential ones. Finn had a gift for grounding comedy in reality, playing characters who felt like people you actually knew: coworkers, neighbors, or that guy you’d see at the store every week.
From Chicago Improv to National Screens
Born in Evanston, Illinois, Pat Finn came out of Chicago’s legendary improv scene, training and performing with The Second City and the iO Theater. That background gave him sharp comedic instincts and impeccable timing—skills that translated effortlessly to television.
He was also a contemporary and friend of Chris Farley, and like many performers from that era, Finn carried the Chicago improv tradition of generosity, collaboration, and humility throughout his career.
The Toyota Commercials—and Being “That Guy”
In later years, a new generation came to recognize Finn from Toyota commercials, particularly regional dealership ads. Once again, he became “that guy” everyone recognized but couldn’t quite place—a testament to just how deeply embedded he was in pop culture.
Commercial work is often overlooked, but Finn approached it with the same professionalism and charm as his television roles, making even short appearances feel authentic and memorable.
A Teacher, Mentor, and Family Man
Beyond acting, Pat Finn was also a teacher and mentor, sharing his experience with aspiring performers and encouraging young actors to respect the craft rather than chase fame.
He was married to his wife, Donna, for more than three decades, and together they raised three children. In tributes following his passing, family and colleagues alike emphasized not just his talent, but his kindness, humor, and generosity.
A Quiet Legacy That Lasts
Pat Finn’s passing is a reminder that television history isn’t shaped only by superstars. It’s built by dependable, talented performers who show up, deliver, and elevate every project they touch.
If you’ve ever laughed at a scene and later realized, “Hey, I’ve seen that guy before,” there’s a good chance it was Pat Finn.
His work lives on—in reruns, streaming libraries, commercials, and the memories of audiences who didn’t always know his name, but never forgot his presence.
Rest in peace, Pat Finn. And thank you for the laughs.
Related Coverage
- People.com — Pat Finn, ‘The Middle’ and ‘Friends’ Actor, Dies at 60
- TVLine — Pat Finn Dead: The Middle, Seinfeld, Friends Actor Remembered
- Entertainment Weekly — Pat Finn, Veteran TV Character Actor, Dead at 60
- Variety — Pat Finn, Second City Alum and TV Staple, Dies at 60
- Wikipedia — Pat Finn (Actor Biography & Filmography
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