I’m sure you’ve heard, especially if you’re a person of color the (continuous) demand for diversity regarding the Academy Awards (Oscars) and several other things regarding Hollywood. Celebrities/socialitesFrom Jada Pinkett-Smith, Janet Hubert, Will Smith, and several other Black/African-American have voiced their disdain regarding the constantly swept under the rug racism/lack of diversity of Hollywood.
Some have argued: “These are rich people problems. There are far more important things in the world than winning an award.” A subjective statement as what is important in the world can vary from individual, but it does have a splash of rich people’s problems mixed in it.
Stacey Dash stated as reported by the Washington Post:
What Dash failsto convey is that The BET Awards were established to celebrate African Americans and other minorities in music, acting, sports, and other fields of entertainment. I know for some it may be hard to grasp that The BET Awards could bestow awards for any race other than African Americans/Blacks but it has happened. Sam Smith just won last year, 2015, for Best New Artist.
To make an exasperating discussion short hopefully: is anything in life, similar to Hollywood, ever really diverse and fair? If anything, for me, it really seems more about who knows who. If you’re not in, you’re out. I will also admit, from my prospective, It also happens to correlate with the simple fact that for decades the ideal depiction of what perfection and the “American Dream” should be has always been, lets say, on the “fair” shade of the spectrum.
In conclusion: this is nothing new. We continuously face these battles of diversity and reconstruction from a world of often unspoken racism, exclusion, and oppression, to a world in which acceptance and equality aren’t based on your complexion, sexuality, or gender-binary. The media will continue to display content that seemingly lacks depth, factual truth, and EQUAL visibility from both sides of the equation. At the end of the day discussions such as the lack of CONSISTENT representation at the Academy Awards are only an indication that what should be important to all is the uplifting of humanity: the ability to see beyond the exterior and into the micro composition of ones being.
Before I go though, and this will probably stir the pot, to all of the non-people of color whom dare to express something along the lines of what Dash stated, I can’t help but to chuckle at the willingness many of your ancestors (and not too distant family members) failed to exude to honestly admit that this is not about “Us” having a BET: it’s about a unspoken, deeply rooted, fear of the unknown theory of what could happen if there was such a thing as Black Privilege. I wonder if you would have the SAME sentiments if: almost EVERY cover of a magazine you picked up you seen a Black person? If MAJORITY of the millionaires and billionaires were Black? If you had to search high and low to find a decent shade matching foundation for your fair skin tone because Black beauty was the depiction of perfection? If the majority of the people who were murdered due to law enforcement were white? What if your people were the ones whom got enslaved? If MAJORITY of the channels where filled with blacks actors and actresses and you only had a FEW channels PREDOMINANTLY dedicated to the minority white and non-people of color populations? We could go on, but again, we’d be here for awhile.
Remember, diversity is defined as a range of different things. Your only argument regarding Blacks “complaining” about the Academy Awards CAN’T BE the simple fact that we have The BET Awards seeing how The BET Awards were established so that visibility of blacks and other minorities could be increased. However to play devils advocate: blacks do need to increase the support of the establishments already in existence (*coughs* BET AWARDS *coughs).
NAACP Image Awards: Taraji P. Henson Says ‘We Don’t Need to Ask for Acceptance From Anyone’
Hollywood’s elite celebrated the year’s efforts to diversify entertainment Friday night at the NAACP Image Awards, where awards season diversity reigned as a hot topic in the wake of the controversy surrounding 2016’s Oscar nominations.
“We don’t need to ask for acceptance from anyone. We are enough, we’ve been enough and we always will be enough,” said “Empire’s” Taraji P. Henson while accepting her award for outstanding actress in a drama series. “Empire” and “black-ish” topped the television category, both winning three awards.
“Creed’s” Michael B. Jordan also won big, grabbing the awards for outstanding actor in a motion picture and entertainer of the year. “Straight Outta Compton” was honored with the award for outstanding motion picture.
“We need to do away with the myth that black film doesn’t have a foreign market, because it does,” “Scandal’s” Joe Morton told Variety before the show, held at the Pasadena Civic Auditorium. “There needs to be somebody who’s either black or brown who’s in a position to greenlight major motion pictures, to tell those stories on that level. I know that Miss Boone wants to make the [Academy’s] membership more diverse, which will be a big help,” he said. Morton nabbed the NAACP Image Award for outstanding actor in a drama series, which was presented in a non-televised awards ceremony Thursday night.
Ice Cube and Michael B. Jordan at the NAACP Image Awards. Photo by Jim Smeal/REX Shutterstock
Contributing to the diversity conversation, “Master of None’s” Lena Waithe added, “All we can do is continue to create great work, so that way we can continue to rally when we aren’t recognized. If we don’t have the stuff out there, we can’t really complain.”
Image Awards host Anthony Anderson channeled rap group N.W.A in his opening performance, rapping a “Straight Outta Compton” spoof about the lack of diversity in this year’s awards season and snubs including “Beasts of No Nation” and “Creed.” The “black-ish” actor — who picked up the Image Award for outstanding actor in a comedy — donned a hat that read “Nominees With Attitude” during his rap performance.
“Hollywood needs to know that this is what diversity is supposed to look like,” Anderson said following the performance.
Outstanding Performance by a Youth (Series, Special, Television Movie or Mini-Series): Marcus Scribner – “black-ish” (ABC)
Outstanding Host in a News, Talk, Reality, or Variety Program (Series or Special) – Individual or Ensemble: Steve Harvey- “Family Feud” (Syndicated)
Outstanding New Artist: Jussie Smollett (Columbia Records)
Outstanding Male Artist: Pharrell Williams (Columbia Records)
Outstanding Female Artist: Jill Scott (Atlantic Records)
Outstanding Duo, Group or Collaboration: “Conqueror” – Empire Cast feat. Estelle & Jussie Smollett (Columbia Records)
Outstanding Jazz Album:“Miles Davis at Newport 1955-1975: The Bootleg Series Vol.4” – Miles Davis (Columbia Legacy Recordings)
Outstanding Gospel Album (Traditional or Contemporary): “It’s Personal” – Tina Campbell (Gee Tree Creative)
Outstanding Music Video: “Shame” – Tyrese Gibson (Voltron Recordz)
Outstanding Song – Traditional: “Back Together” – Jill Scott (Atlantic Records)
Outstanding Album: “Woman” – Jill Scott (Atlantic Records)
Outstanding Song – Contemporary: “You’re So Beautiful” – Empire Cast feat. Jussie Smollett & Yazz (Columbia Records)
Outstanding Literary Work – Fiction: “Stand Your Ground” – Victoria Christopher Murrary(Touchstone)
Outstanding Literary Work – Nonfiction: “Spectacle: The Astonishing Life of Ota Benga” – Pamela Newkirk (HarperCollins/Amistad)
Outstanding Literary Work – Debut Author: “The Fishermen” – Chigozie Obioma (Little, Brown & Company)
Outstanding Literary Work – Biography/Autobiography: “Between The World and Me” – Ta-Nehisi Coates (Speigel & Grau)
Outstanding Literary Work – Instructional: “Soul Food Love: Healthy Recipes Inspired by One Hundred Years of Cooking in a Black Family” – Alice Randall, Caroline Randall Williams (Clarkson Potter)
Outstanding Literary Work – Poetry: “How to Be Drawn” – Terrance Hayes (Penguin Books/ Penguin Random House)
Outstanding Literary Work – Children: “Gordon Parks: How the Photographer Captured Black and White America” – Carole Boston Weatherford (Author), Jamey Christoph (Illustrator) (Albert Whitman & Company)
Outstanding Literary Work – Youth/Teens: “X: A Novel” – Ilyasah Shabazz with Kekia Magoon(Candlewick Press)
Motion Picture Categories
Outstanding Supporting Actor in a Motion Picture: O’Shea Jackson, Jr. – “Straight Outta Compton” (Universal Pictures)
Outstanding Supporting Actress in a Motion Picture: Phylicia Rashad – “Creed” (Warner Bros. Pictures/Metro-Goldwyn-Mayer Pictures)
Outstanding Independent Motion Picture: “Beasts of No Nation” (Netflix)
Outstanding Documentary – (Film): “The Black Panthers: Vanguard of the Revolution” (PBS Distribution/Firelight Films)
Outstanding Documentary – (Television): “Muhammad Ali: The People’s Champ” (BET)
Outstanding Writing in a Comedy Series: Kenya M. Barris – “black-ish” – The Word (ABC)
Outstanding Writing in a Drama Series: Mara Brack Ali, Jameal Turner, Keli Goff – “Being Mary Jane” – Sparrow (BET)
Outstanding Writing in a Motion Picture (Television): Lawrence Hill, Clement Virgo – “The Book of Negroes”(BET)
Outstanding Writing in a Motion Picture (Film): Ryan Coogler, Aaron Covington – “Creed” (Warner Bros. Pictures/Metro-Goldwyn-Mayer Pictures)
Outstanding Directing in a Comedy Series: Don Cheadle – “House of Lies” – The Urge to Save Humanity is Almost Always a False Front for the Urge to Rule (Showtime)
Outstanding Directing in a Drama Series: John Ridley – “American Crime” – Episode 1 (ABC)
Outstanding Directing in a Motion Picture (Television): Dee Rees – “Bessie” (HBO)
Outstanding Directing in a Motion Picture (Film): Ryan Coogler – “Creed” (Warner Bros. Pictures/Metro-Goldwyn-Mayer Pictures)
Animated or Computer Generated Image (CGI) Category
Outstanding Character Voice-Over Performance (Television or Film)
Talent Agencies Blamed in Lawsuit for Lack of Diversity in Television
Diversity has been a hot topic of late in Hollywood. How much responsibility for a lack of progress falls upon the shoulders of Hollywood’s biggest talent agencies? The subject is now being addressed in an ongoing antitrust lawsuit brought by Charles Lenhoff, who runs the boutique firm Lenhoff & Lenhoff.
Lenhoff is suing UTA and ICM, and what started off as a lawsuit focused on the poaching of a few of his clients has slowly evolved into an examination how UTA and ICM, along with non-defendants WME and CAA, are dominating the scripted television market, whether they’ve impeded fair competition and what has been the impact of what’s occurred. As the litigation has played out, with Lenhoff amending his complaint three times, the focus of his ire has been directed squarely on “package” arrangements.
For many years, talent agents charged clients a flat commission, but as the Big Four have grown bigger and bigger, they’ve dabbled more and more in packaging the key talent for a project before bringing it to a studio — and taking fees and backend profit participation in lieu of commissions.
Lenhoff traces the evolution to the 2002 expiration of Rule 16(g) of the franchise agreement between the Screen Actors Guild and the Association of Talent Agents. Upon the elimination of a rule requiring agents “to be independent” and not “possess any financial interest in a production or distribution company or vice versa,” he asserts that outside investors, private-equity hedge funds and wealthy individuals rushed in to take a stake in the “uber” talent agencies. With newfound billions, the agents then “stockpiled” talent to the detriment of smaller agencies, according to Lenhoff.
And how does this impact diversity?
According to the lawsuit, “an increasing number of writers, actors, directors etc., especially in the diversity category, are finding it more difficult to obtain adequate representation.”
Lenhoff’s lawsuit suggests that minorities are finding their work is “being stifled where they are not the ‘marquee’ element driving the package."
He adds, "Despite being the gatekeepers in the television development process, the Uber Agencies have not produced scripted series packages that promote significant advances in television diversity, and indeed, representation of minorities in between the 2001-2002 and 2014-2015 television seasons has fallen even further. This dismal record with respect to diversity can be attributed to the Uber Agencies shifting their focus from representing the artist/person to 'the package,’ in part to further their co-packaging agreements and fee splitting with each other and to further the exclusion of non-Uber Agencies from the market.”
The talent agencies no doubt take umbrage to the suggestion they’re to blame for diversity woes and will point out their role in staffing shows like Empire and Scandal and winning good roles for minorities like Corey Hawkins in 24: Legacy. (ICM reps him.)
Truthfully, though, the lawsuit isn’t about discrimination. At least not directly. It’s an antitrust lawsuit geared towards addressing supposed impingements to fair competition. If systemic biases are now being discussed, it’s only as the alleged effect of some root cause. By bringing up the entertainment industry’s lack of diversity, Lenhoff can jump upon the topic du jour and frame his lawsuit about being more than just about the loss of some clients to larger rivals. Of course, he’s still challenged in showing a conspiracy between UTA, ICM, WME and CAA. And as much as these talent agencies will probably hate being tarred as anti-diversity, they have and will object foremost to the allegation of any collusive arrangement between them. (In fact, CAA and UTA continue to be engaged in their own war with each other over defections.)
Yes, the lawsuit says that the “uber agencies” control 94 percent of scripted television, but do they really deserve to be labeled a “cartel” as Lenhoff claims?
To make the case, Lenhoff has added to his legal team. He’s hired Maxwell Blecher, an antitrust attorney who once worked at the Justice Department and prosecuted the likes of General Motors on the competition front. Later in his career, after going into private practice, Blecher had headline-making wins against Eastman Kodak, AT&T, Johnson & Johnson and the National Football League. (He represented the Los Angeles Memorial Coliseum Commission when the Oakland Raiders wished against the league’s wishes to move to Los Angeles in the 1980s.)
Despite the impressive résumé, Blecher has an uphill road ahead of him in a case that’s seen a judge respond dubiously to the claims. In December, in granting a motion to dismiss, U.S. District Court Judge Beverly Reid O'Connell wrote, "The Court concludes that Plaintiff has not proffered sufficient factual details surrounding the alleged conspiracies or agreements between Defendants and the other Big 4 Agencies.“
She gave Lenhoff another opportunity to amend.
The new version, filed on Friday, alleges that the "conspiracy was hatched by the ATA’s Strategic Planning Committee,” consisting of leaders of each of the big agencies who wanted to cause the demise of Rule 16(g), that “UTA and ICM have agreed and conspired with the intent to form an oligopoly for the unlawful purpose of allocating amongst themselves the scripted TV relevant market” and that a boycott of non-Uber agencies is supported by agreements to restrict co-packaging scripted deals amongst each other and the “use of veiled threats” against studios, networks and producers.
It’s also alleged that “packages” result in “horizontal integration between the Uber Agencies, who, by virtue of the packages, essentially own overlapping 'stock’ in each other’s packaging products.”
According to a reddit post of a player sharing his feedback and insight on the current design of Chen, we got a blue response from Technical Designer BlizzJohnzee.
Balance-wise, Chen seems to be alright in terms of gameplay. Where flaws kick in are his talents. They will be reworked sometime in the future, similar to the Nova & Rehgar treatments in the latest patch.
This was the culmination of a three month project for Visa’s Everywhere Initiative. I worked with KITE’s analysts and sourced more than 300 startups through a custom online application. From there we cut it down to 15 companies who were invited to pitch to Visa stakeholders, executives and clients. This hugely successful event had an even more impressive outcome than the three pilot programs won by the finalists - each of the finalists were Black owned businesses. In a time when diversity is such a hot issue, these three very deserving companies represent a hugely underserved minority population in the tech industry.
Watch the Sundance Film Festival Opening Press Conference Live
If you can’t be in chilly Park City, Utah, for the Sundance Film Festival opening press conference, don’t worry — you can watch a live stream of all the action here.
Fest founder Robert Redford joins Sundance Institute executive director Keri Putnam and Sundance Film Festival director John Cooper at the Egyptian Theater to talk the current state of indie films and more.
Discussing the philosophy of Sundance, Redford said the point of the fest has always been to discover “new voices.” The slate backs up this claim: of the 123 features at this year’s Sundance, 49 come from first-time filmmakers.
Speaking on the nonfiction portion of Sundance, Redford said he’s always wanted to “elevate documentaries and see they are much closer to narrative films.”
Redford also touched on diversity, a hot topic in the wake of Oscar’s all-white acting nominees for 2016. “Diversity comes out of the word independence,” he said.
Sundance 2016 will run through Jan. 31. Some of the most highly anticipated movies of the fest include Nate Parker’s “The Birth of a Nation,” Kenneth Lonergan’s “Manchester by the Sea” starring Casey Affleck and Michelle Williams, Kim A. Snyder’s Sandy Hook documentary “Newtown” and “Swiss Army Man” starring Daniel Radcliffe and Paul Dano.
PGA Awards: Why ‘The Big Short’ Just Got One Step Closer To Oscar On A Night When Diversity Was The Hot-Button Topic
Paramount’s late season Oscar entry The Big Short winning the Producers Guild’s top film honor, the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures, was not a huge surprise to me. If it were a stock itself, the recommendation at this moment would be a definite buy. This movie has been surging like Donald Trump ever since it opened in December, gaining steam at every stop (well, maybe except the Golden Globes). But you would never know it from the reaction of many in the room. Top Guild officials I spoke with right after the envelope was opened by presenter Michael
B. Jordan seemed genuinely stunned, as did producers Jeremy Kleiner and Dede Gardner (Brad Pitt was absent). Former PGA and Academy President Hawk Koch had the same reaction as he entered the lobby after the show. “I was shocked. I think it just means it is a wide open year and will continue to be,” he told me.
I had heard before and afterwards that the actual vote was very close among several films. That certainly would play into Koch’s theory about this continuing to be a wide open race. Still, pundits are
likely to jump quickly on to the Big Short bandwagon. The PGA has nailed the eventual Oscar Best Picture winner in each of the last eight years. In fact Kleiner and Gardner were on the stage just two years ago accepting the same award for 12 Years A Slave in a tie with Gravity, a result that mirrored the closeness of the two in the Oscar Best Picture race. Movies like last year’s Birdman, along with prior winners The Hurt Locker and The King’s Speech first staged an upset victory at PGA before heading over to the Academy Awards. Whether this is a result of both organizations using the same preferential voting system or just a coincidence can be debated, but they have been right a whopping 19 times in the past quarter century, and often by being the first group to launch the eventual Oscar winner. Impressive. As voting was going on last week the stock market was tanking, riding to its worst New Year opening days in several years. Perhaps that kind of inadvertent publicity gave the 2008 financial crisis movie even more gravitas and importance, the kind awards voters love.
As I walked in to the ballroom I ran into several producers including David Heyman (there to receive the David O. Selznick Achievement Award in Theatrical Motion Pictures) and Scott Bernstein, producer of nominee Straight Outta Compton and both were predicting the winner would likely be The Revenant. That Golden Globe winner took a detour in its Best Picture Oscar campaign by losing this one, as did
Critics Choice Award winner Spotlight which might be Big Short’s most direct rival. They both got the same kind of nominations for Oscar and have similar strong appeal for voters who like important subject matter, though Big Short is considerably lighter.
Both will face off for the Ensemble Cast prize at SAG next weekend, which could be another turning point in a unpredictable year. Then the following week the DGA will weigh in and could go in an entirely different direction by perhaps picking Mad Max’s George Miller or even The Martian’s Ridley Scott, who was personally overlooked in the Oscar directing lineup but could stroll to victory at DGA the same way Ben Affleck did after getting snubbed by Oscar. Part of the strong awards showing so far for The Big Short has been Adam McKay’s entrance in to the major directing contests
at DGA, BAFTA and the Oscars. Plus the movie should sail to victory at the WGA for its Adapted Screenplay, and perhaps with the ACE Eddie Editors next Friday in the less-competitive comedy category (it also , like Spotlight , has a key Film Editing nod from the Academy).
In a night full of great speeches (along with technical gaffes with the teleprompter), the presentation of that most-awaited Best Picture award by Creed star Michael B. Jordan was a strange one as he somehow either skipped over Big Short when reading the ten nominees in alphabetical order or it never came up. Suddenly he mentioned it right at the end and went off to the side as if he was done. Most in the room were confused. Did he just discover he had forgotten to name it among the nominees? At The Big Short table nobody was rushing the stage and finally co-star Hamish Linklater stood up and yelled the $64,000 question , “Did we win?” “Yes you won,” shouted back Jordan. It seemed a fitting moment somehow for an awards season full of such of uncertainty.
The other big topic of the night was, you guessed it, diversity with several presenters mentioning it from the stage in one way or another. And in a room full of stars, the biggest of the night might have been PGA guest and Academy President Cheryl Boone Isaacs, who even got a shout out from PGA co-President Gary Lucchesi in his
and co-President Lori McCreary’s opening remarks as they applauded her efforts in the past week in bringing historic changes in diversifying the membership of the Academy of Motion Picture Arts & Sciences. Boone Isaacs was definitely a popular figure in the room and lobby as many came up to congratulate her and thank her for her efforts, including Kleiner, immediately after his big win.
She told me she’s looking forward to Sunday, where she plans to watch football and not think about movies after one of the most trying periods in Academy history. The group still has to determine how they are going to implement the new 10-year rule that allows new members 10 years and then a review to see if they qualify for renewal for another 10 years providing they are still “active” in movies. It is a major sea change, with the most controversial part being how current members will be affected by it. I was hearing LOTS of strong opinions in the room last night, but the Academy clearly had to do something to put out the building fire and threats of an Oscar boycott.
I think it has done that, but Boone Isaacs will have to face the wrath of some members who feel there should have been more discussion on the topic. I talked to two high powered Board Of Governors members last night who were at Thursday’s meeting and they confirmed the vote was unanimous and much needed to make the Academy truly representative of the way the movie business is today. If the older, retired
members are hit hardest with the new rules, it could decimate the Foreign Language Film Committee, since they are the key group that has the time to actually see those films and vote on them. There’s a slippery slope to climb for Boone Isaacs and CEO Dawn Hudson in figuring out how to handle all of it. My sense after talking to them is they are very aware of it and will proceed with caution and sensitivity. Hudson sat next to me at the dinner and seemed relieved about the good feedback they have been getting. When she got to our table she probably delivered one of the great understatements of all time. “I just want to let everyone know that if I have to leave early please understand. I’ve had a very busy week,” she said, laughing.
As for those speeches, my Deadline colleagues Antonia Blyth and Amanda N’Duka blogged the entire show moment by moment so check it out if you missed it. For my money the best one came from Milestone winner and 20th Century Fox Chairman Jim Gianopulos, whose love of movies was clearly evident in his acceptance speech. Norman Lear Achievement Award Winner in Television Shonda Rhimes also was eloquent and even seemed to borrow charmingly from Shirley MacLaine’s 1984 Best Actress speech when she said, “I deserve this.” She does indeed, and it was perfect timing PGA in a week when everyone was talking diversity. Another great moment was the powerful presentation of the Stanley Kramer Award to the campus rape documentary The Hunting Ground and a haunting performance of its Oscar nominated song, “Til It Happens To You” by Lady Gaga, who was late getting to the stage but made the wait well worth it.
Mike DeLuca and Jennifer Todd were the dinner co-chairs and produced the event held at the Hyatt Regency Century Plaza Hotel.
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Hay que ver como pasa el tiempo y te cambia la mente. Puede que se llame madurez y esas cosas.
Un claro ejemplo es carnaval. Ese día/noche en el que los que adoramos disfrazarnos y jugar a ser otra persona lo gosamos y mucho. Me encanta esta época del año y me encanta currarme los disfraces, hacerlos a mano, pensarlos, maquinarlos, descartar, añadir, cambiar, crear, customizar, soñar…
Pero no os creáis que esto siempre ha sido así, qué va.
Hubo una época en la que prefería no complicarme la vida e ir a la tienda de disfraces de turno y coger el más corto y guarrillo del mercado. Porque eso de ir de (insertar aqui nombre de disfraz) sexy/putilla/hot era lo que molaba. Cualquier cosa tenía su versión sexy, una monja, una hippie, una serial killer, un zombie… Y era lo que nos molaba de los 15 a los 17. Que oye, si carnaval se celebrase en verano, no te digo que no lo seguiría haciendo.
Pero con el frío del invierno… Llegaba un momento en no notabas ni el culo de lo frio que lo tenías todo. Brrrrrr. Y claro, tenías que beber mucho más y la noche acababa siendo un borrón en tu mente (vale eso no es excusa porque aún sigue pasando, si es que mis amiguis y yo somos mujeres esponjas, y a mucha honra). Y llega un punto en que dices “a la mierda, yo quiero ir calentita”.
Así que ahora… cuanto más abrigado, divertido, hortera y extravagante sea el disfraz, mejor. Sin ir más lejos, el año pasado me convertí en un preciooooso unicornio y marcó un antes y un después porque desde entonces se me conoce como Unicornio. (Pero eh, que a mi me molaban antes de que fuese algo cool hahaha).
Y este año… Ayyy que ganas tengo de que llegue el día! Unas ganas locas! Y no voy a desvelar de lo que voy a ir… Tendréis que esperar dos semanitas :3 jujujujujuju (y en verdad me muero de ganas por soltarlo). Solo diré que voy a hacer honor a mi década favorita: los 80.
The 27th PGA awards are over, with The Big Short scooping top prize of the night–best Theatrical Motion Picture. Lady Gaga showed up late to her own performance of original song ’Til It Happens to You, and for an awards show dedicated to producers, they sure had a lot of production issues, such as Amanda Seyfried saying “nobody knows who wins!” when left high and dry by a teleprompter. Best documentary went to Academy nominee Amy, perhaps a foreshadowing of Feb 28th’s honors? And finally, diversity was perfectly addressed by Shonda Rhimes, winner of the Norman Lear Achievement award, when she said, “people of color are never anybody’s sidekicks in real life.” Here’s how it went down.
So between nearly breaking the internet with her show stopping Super Bowl 50 performance, planning a another huge world tour and making Red Lobster’s sales sky rocket, Beyoncefound the time to curate a diverse playlist. Dubbed the “Hot Sauce” playlist, exclusively available on TIDAL, featuring the likes of Tory Lanez, Bryson Tiller, Anderson .Paak Kelela to tracks from A$AP Ferg, Migos, Plies and…
Prolific Australian filmmaker George Miller says the diversity controversy raging in Hollywood has had an impact on him, but story will remain the key driver in casting actors in his projects.
The 70-year-old, along with 150 other nominees for the February 28 Academy Awards, met in Beverly Hills on Monday for the traditional Oscar Nominees Luncheon.
Usually talk at the event centres on the gowns and suits the nominees plan to wear to the Oscar ceremony, the excitement about their nominations and the peers they hoped to chat to and share a drink and canape with at the luncheon.
After two years of black actors being shut out of the acting nominations and calls by prominent actors and directors to boycott the Oscars, “diversity” was the hot topic.
“In terms of the next movies I hope to make, it’s there in the back of your mind,” Miller, nominated for best director and picture for Mad Max: Fury Road, told reporters.
“I think casting is story driven, but I think what’s really good about what’s happened is, if there’s a positive to come out of it, it’s alerted everybody to the problem.”
Sylvester Stallone, who scored a supporting actor nomination for Creed, reprising the Rocky Balboa role he was first nominated for 39 years ago, said he asked the film’s black director Ryan Coogler if he should boycott the Oscars.
Coogler and Creed’s star Michael B Jordan were both snubbed for Oscar nominations.
“I said, ‘If you want me to go I’ll go. If you don’t, I won’t’,” Stallone, recalling the conversation with Coogler, told reporters.
“He said, 'No, we want you to go’.”
Miller, actress Cate Blanchett and the crew of Mad Max: Fury Road helped Australia collect a record 15 nominations for this year’s Oscars.
While Blanchett did not attend the luncheon, other A-list nominees at the Beverly Hilton included Leonardo DiCaprio, Jennifer Lawrence, Matt Damon, Brie Larson, Rooney Mara, Rachel McAdams, Mark Ruffalo and Alejandro Inarritu.
NAACP Image Awards: Taraji P. Henson Says ‘We Don’t Need to Ask for Acceptance from Anyone’
Hollywood’s elite celebrated the year’s efforts to diversify entertainment at the NAACP Image Awards Friday night, where awards season diversity reigned as a hot topic in the wake of the controversy surrounding 2016’s Oscar nominations. “We don’t need to ask for acceptance from anyone. We are enough, we’ve been enough and we always will be enough,” said… Read more »