Oscars So Black?

Every year I offer my take on the Academy Awards, and this year was just WOW! As the title implies, this might have been the blackest Oscar ceremony yet, and yes, I am using the word black to describe how much of a complete 180-degree turn this year was after two straight years of being so white. Here is my (belated) top ten list of great Oscar moments:

1. Jimmy Kimmel: Hands down, one of the funniest hosts of the ceremony in many years. I know how much people love Billy Crystal, Whoopie Goldberg, Ellen DeGeneris, and Steve Martin and I love them all as well. But given how entertaining this new crop of late night talent is, we should never have to sit through another boring four-hour Oscar telecast ever again...

2. Mahershala Ali: Well, I expected this, so my hope is that his moment and enormous talent will not end up wasted like so many other best supporting actors, especially those of color. Hollywood tends to get it right when it comes to this category, with rarely any controversy or undeserved accolades, but then there is the dilemma of how best to showcase that talent beyond that particular film. Here's to hoping for better opportunities for non A-listers who consistently perform on A-list level.

3. The Documentary Film Category: This caught me completely by surprise. I was familiar with a couple of the films that had been nominated, but it did not register that four of the five had African American directors. Perhaps this recognition will offer more opportunities for directing bigger studio projects, which brings me to the significance of...

4. Moonlight: I saw this film on a whim one afternoon and I am so glad that I did. I knew about the film from the heavy promotion it received locally, especially on public radio and ironically, on Facebook. I left the film believing it to be somewhat over-hyped because of its subtlety, but I never felt that it was undeserving of the critical attention it received. Then as the momentum built towards awards season, I watched several interviews with the stars, the screenwriter and the director which offered me the chance to reconsider whether I had missed something. I had. I had completely missed how Moonlight was one of the few films about African American life that was not placed in a historical framework. It was not one of the typical important films, just a really good one that told a story that allowed audiences to discover its merit.

I know that there are various conspiracy theories about the evening's cliffhanger regarding the best picture announcement. I am not all that concerned that Faye Dunaway got it wrong (on purpose or accidentally on purpose)...nor do I feel all that bad about the "lost" moment for the Moonlight cast and crew to bask in the glory of the win. For me, all that matters is that this year a black director got to take home the statuette, and every time that happens, it makes the odds so much more favorable for the next black (brown, Asian, female, gay, etc.) director.

Finally, the Moonlight adapted screenplay win is also very important for future projects. As much as I enjoy historical pieces, it is equally necessary for there to be a variety of options for black directors when it comes to the types of films they get to contribute. If we only hand out statues for so called "important" films that only present black life through struggle and triumph, then we never really move beyond the two-dimensional limits that bring only certain films to wider audiences. I am happy to see a film like Hidden Figures in the mix, but I also want more opportunities to see other films like...

5. Fences: And I will count myself in the minority by arguing that it would have been way too black if Denzel had won (not that I would have objected)...but it is more fitting that Viola Davis finally won for best supporting actress, even if we all know it was a cheat. Denzel probably won't get another Oscar any time soon, but perhaps he can get out-streep Meryl and get nominated for everything he touches, even perhaps earning an Emmy nod for marrying that couple during that bit from the ceremony.

Seriously, I am glad that August Wilson's work will finally be more accessible to audiences beyond the theatre. It is fitting for Viola Davis to finally win an Oscar for Fences since she is one of the many actresses who have brought Wilson's work to life. Denzel now has a stronger platform from which he can help launch some up and coming or undiscovered talent, which is ultimately more important than winning an Academy Award this year.

6. Lin-Manuel Miranda: He is my boo...and as much as I LOVE the Hamilton soundtrack, his song "How Far I'll Go" for Moana sounded a lot like every other song on the Hamilton soundtrack. He is a tremendous talent, though, so he can be forgiven for relying on what works best for him (since it seems to work well for everyone else in the music categories). I am looking forward to watching his career continue to explode.

7. Foreign Language Film: That moment was absolutely the most defiant act of the night! Too bad I never bother to see the foreign language films...of course now, I might have to make an effort. By boycotting the ceremony, Iranian director Asghar Farhadi made the blackest statement ever since Chris Rock's opening monologue last year. Given the injunction against the travel ban, Farhadi could have gotten a visa to come. But it is obvious from his statement that he was far more interested in highlighting how the travel ban had far-reaching implications for various types of visitors to the States. And if protest against injustice is not the epitome of blackness, then I don't know what else is.

8. Emma Stone and Casey Affleck: The two major awardees who aren't hardly black...starring in films that weren't hardly black...but they deserve an honorable mention for being the minorities this year. Congratulations!

9. Gary from Chicago: I mean, yeah. On the tour bus with his boo of 20 years. Grabbing Mahershala's Oscar during a selfie. Getting married by Denzel. Becoming a Twitter sensation and a FB meme. Then being dragged for being a returning citizen. Yep.

10. Halle Barry's Afro: I am absolutely in the minority, but I LOVED her hair! And I think all of the criticism of her choice is a reflection of our need to be more open to unconventional expressions of beauty. On the one hand, we argue that natural hair is mainstream and beautiful, but then we spend half the night dissing Halle for wearing a big fluffy Afro! In the very year that the Oscars were this black, someone needed to rock a fro and why not Halle?

And those are just my initial thoughts on this year's ceremony. I have a little more to offer, so stay tuned.

No Help

This is just my opinion, and I don't mean no harm (to borrow a phrase from my grandma), but I am trying to understand why some smart black folks got all bent out of shape over the movie The Help.

Disclosures: I have not read the book, nor have I seen the movie.  In all likelihood, I probably will not read the book before I see the movie (and knowing me, I may not make it to see the movie until it comes out on cable).  Nevertheless, I detect a lot of knee-jerk hateration going on here, and that has me scratching my head. 

I read an open letter last week written by the National Director of the Association of Black Women Historians.  Two years ago when I was still teaching African American history, I may have looked into joining this austere group, despite the fact that I was just a lawyer teaching history as an adjunct at an online university.  If I were to go back into the classroom, there is a chance that I would still want to affiliate with these women because, well that is what one does--join academic/professional organizations in order to meet other academics and/or professionals.  I can only imagine that the letter now making the internet rounds was written after an especially intense meeting of these academic professionals.

Here is a link to their historically-grounded letter of protest.  And here is my response:
Le siiiiiiiiiggggggghhhhhhh.................................

Reassessing Spike Lee: Part II

It took me a week or so to return to this post, but picking up where I ended the last post, I wanted to weigh in on my reassessment of director Spike Lee and his early films.  The impetus for this was the rotation of Lee films that have been airing on cable lately, which has given me a chance to see them again with older, more mature eyes.

Some background: I was a teenager when Lee's first major films were released (1986-1992).  At first I just thought these were really good black movies.  In college when I chose to critique these films (adding She's Gotta Have It, but not including Malcolm X) for my Images of Women in the Media class, these films were my exhibit A of black male chauvinism in Hollywood.  My indictment of Lee's sexism was harsh--but I was a student at a women's college in the 90s...everybody was a sexist.  Now some 20 years later, I regard these films as heralds of a renaissance of black film and Lee is undeniably the most exalted figure in the pantheon of black directors.

Of course, I still think Spike Lee is sexist and 20 years later, his gratuitous sex scenes and two-dimensional female characters sadden me.  He should not shoulder the burden of uplifting black women on film, but he does deserve some blame for not creating a better model for subsequent filmmakers to emulate.  The only film that breaks this mold is Crooklyn (but that was written by his sister Joie). 

Spike Lee is also too outspoken for his own good, and in many ways, his off-screen arrogance over-shadows his nobler on-screen efforts.  He gets a lot of attention for his high-profile dust-ups: Clint Eastwood, Spike TV, Debbie Allen, Reggie Miller, Charlton Heston, and of course, any team that plays against the New York Knicks.  He came to the defense of Barry Bonds and has earned the ire of Jewish groups for some of his characters.  And then there is Tyler Perry...

But it must be said that Spike Lee is a genius. A flawed, sexist, and arrogant genius.

Reassessing Spike Lee: Part I

For the last few weeks, Encore Indie has been airing old Spike Lee movies.  It has been great to revisit some of the most iconic moments of Lee's classic films such as this one from Jungle Fever (1991):

And this one, also from Jungle Fever:

And who could forget this scene from Mo' Better Blues (1990):

Or this one:

You probably remember what happens in the very next scene (also classic and brilliant)...Another favorite film from Lee's 90's era output was Crooklyn (1994), which produced this nostalgic gem:

And I am ashamed to admit this, but I FINALLY saw all of Clockers (1995), a movie that I'll need to watch a few more times before I call any specific scene iconic. 

By the way, these are not posted in any particular order, except maybe in the order of which scenes I think are most memorable (but not in order of which films I think are best).  But I wanted to post these because they capture something unique about Spike Lee's creative genuis that has not been paralleled and because these scenes highlight why his very public beef with Tyler Perry is so timely.  Check back for my analysis in Part II.

Winners and Losers

I am reluctant to admit that I have been following the recent Charlie Sheen meltdown with the same rubber-necking-on-the-highway curiosity that has enthralled the rest of America.  And I was content not to admit it until I saw the news reports about the actress from "The Wire", Felicia "Snoop" Pearson, and her recent arrest in Baltimore.

The level of attention paid to these stories is not really my issue here, although it kind of is the issue since Charlie Sheen's rapid spiral is seen as "winning" while poor Felicia's situation is downright tragic.  She is probably headed back to jail, while Sheen, who has never been a choir boy, will probably get a reality show.  But hey, that's show biz for you.

I was not a fan of "The Wire" primarily because I do not have HBO.  And as great as I have heard that this show was, I do not have the time to sit through a DVD marathon of episodes, so in all likelihood, I will not know whether Pearson ever had any acting talent.  I do remember her from those Vh1 Black to the Future and I Love the 2000s shows, but that was not exactly the same as acting.  And I thought she was a boy...

I also do not watch "Two and Half Men", so I am missing out on Sheen's apparent weekly brilliance.  Actually, I have seen the show, but it never struck me as "must see", so I've probably only seen it in syndication.  Of course, I have seen his work before...Major League and Hot Shots were riveting!  But honestly, I have had a problem with him even being on TV since his problems with drugs, alcohol and spousal abuse have been so well documented.  Seems like someone who has that many problems should be getting therapy, not millions of dollars in encouragement.

The difference between the outcomes for these two troubled actors is all about how we exploit celebrity.  On the one hand, a lot of people have made millions on Charlie Sheen, and as long as he kept his private life in the tabloids but off the set, no one had any reason to say anything, let alone fire him.  So in a twisted sense, he might actually be right about how the distribution company and the network took full advantage and owe him millions for breach of contract. 

Then on the other hand there is Pearson, a troubled young woman whose real life was as compelling as the character she portrayed.  It might not be fair to suggest that the writers and producers who made money on her have abandoned her, because that is not the case.  But they employed her precisely because she could bring realism to their story; however, Baltimore is no longer the subject of gritty inner-city melodramas (now it is New Orleans), and apparently she turned back to the streets.

Of course, Sheen is a bona fide star who comes from a Hollywood family and who stars in the highest-rated sitcom on network TV.  Almost no one who gets to his level in Hollywood goes to jail, just look at Lindsey Lohan.  Pearson was already a convicted felon when she was cast in the critically acclaimed, but low-rated drama on premium cable.  Why should anyone feel sorry for her? 

Well, if she had been arrested in California and not Maryland, there is a strong likelihood that she would have gotten probation.  Had she been more attractive, she could have gone on Dr. Phil and after a mild tongue-lashing, he would have sent her to rehab with Dr. Drew and she could have appeared on the next season of Sober House or Celebrity Rehab.  Had she been more charismatic and less androgynous, she could have parlayed that into an appearance on Celebrity Apprentice or other stupid reality show that could have given her a few more months of infamy until our attention got pulled in another direction.  But she is not some good-looking rich guy from Malibu...she is poor black kid from Baltimore.  She had already lost before the game even began.

Regina King Proves My Point

I didn't watch the Emmy's because I don't watch a lot of network TV anymore. But this year, everyone raved about Jimmy Fallon as the host and I did enjoy a few of the clips from the telecast. I even looked at one of those lists of best and worst dressed.

Celebritology means that these award shows and the shows that endlessly deconstruct the meaning of award shows have subject matter for at least three weeks. A week later, actress Regina King penned this open letter that I found on Huffington Post.

Now I've been harping on this very topic for years! Not that the people who commented on her thoughts even remotely get the point, but finally, someone had the balls to call out the industry for its non-existent diversity. And this criticism comes from an insider like Regina King who has been in the industry for a long time, no less.

Of course, no one will get it and very little will change because too many people believe diversity is a cry for lowering standards. Because the nation that just elected a black man as its president has no more problems on the racial front (right Dr.Laura?). And because race is a card game...

Let's get a few things clear so that there is no more confusion about why King's article is so timely. There are many actors of every stripe in Hollywood, and most will never achieve any significant name recognition. Which is fine because that is part of the territory--not everyone can be a star. But must every star be white? And the alternative award shows that folks are fond of citing as examples? These shows were created by blacks and Latinos to offer the recognition that typically does NOT come from Hollywood. If given the choice between receiving a BET Award and an Emmy, I'm sure the Emmy would be much better appreciated because the Emmy has career currency that a BET or ALMA award does not. Please point to the winner of an alternative award whose career prospects improved after its receipt.

So, all we are saying is that this current Hollywood white-out needs to be recognized for what it is. Several new shows in the pipeline will feature people of color more prominently, so that is a start, but there needs to be a lot more opportunity all around. Black folks need to escape the ghetto of CW and TBS, Latinos need a similar get out of jail free card from Univision and Telemundo, and Asians need to get on TV period! Guest roles and buddy parts are nice, but you can do better than token walk-ons. (Yes, it worked for Betty White this year, but so what!)

And maybe next year Regina King will get a nomination.

Hollywood Fading

I saw this blog posting about the career of Chiwetel Ejiofor based on this article in the Guardian and after reading it, I have a broader question about the state of Hollywood in general with respect to actors of color. Why the fade out?

The Guardian author suggests that race is not a factor and cites the stuck-in-neutral careers of Naomi Watts and Eric Bana as evidence that the real culprit might be the American film audience (read: we aren't that sophisticated to know and appreciate talent when we see it). OK, that could be true, but Naomi Watts has been off having babies for the last couple of years and that is certain to slow down a film career. And Eric Bana regrettably starred in the first Hulk movie and I am sure that did him no favors. As for Ejiofor, who has consistently been great in every film I've seen with him in it, there are no alternative explanations why he has not become a star except that he is not: (a) under 25; (b) starring in vampire/werewolf teen flicks; or (c) white and waif-like.

(OK, Naomi nor Eric fit any of these either. But read on.)

Ejiofor just might not be star material at this point in his career. Some of the best actors are character actors who enjoyed long careers, so I am not knocking the fact that he might be attempting to build a solid Don Cheadle/DelRoy Lindo supporting "black guy" actor resume. Let's be honest--that is exactly how Morgan Freeman and Samuel L. Jackson got to be A-listers. When the casting calls went out for "a black guy" they always fit the bill. No, Cheadle, Lindo, and most of the others have not made it to Morgan Freeman status yet, but Freeman didn't actually get there until he was almost 70, so there is still time...

Not that the path for other actors of color is any easier. Among Latino actors, Jimmy Smits is probably the biggest TV star and Martin Sheen is definitely the biggest movie star--which would be great if Sheen didn't pass for white in most of his roles. But then again, the other supporting "Latino guy" actors, Edward James Olmos and Hector Elizondo, have had to pass now and then too in order to get regular work, so that might just be part of the deal. As for Asian actors, the best I can think of are John Cho and Kal Penn (Harold and Kumar).

Let's not even go there when it comes to actresses of color because it is even more obvious that there is not much for them. Women generally fare poorly in Hollywood regardless of ethnicity. And no, Madea does not count!

So now that the issue has identified and endlessly debated, what are the solutions? The biggest non-white star in Hollywood is Denzel Washington (who is still fine at 55), but dang someone needs to give that brother a break. Will Smith might be in contention, but let's be honest, Will chooses lousy projects and is more likely to have a career in the mold of Bruce Willis. (Not that there is anything wrong with being an action movie star, but Willis' last movie found him playing straight man to Tracy Morgan...Brian Fellow for goodness sakes!)

Perhaps the problem is that we keep looking for the next black/Latino/Asian superstar when we really just need more opportunity all around for leading and supporting actors (and writers, producers, directors, casting agents, etc.) of color period. Ejiofor gets solid suporting roles because in the mind of the casting directors, he is good enough for them to overlook his race, so he gets that next part--the anti-hero, the sidekick, the "also starring" credit. He is tall, charismatic, British (!) and that gets him work on both sides of the pond, which is miles ahead of just about every other up and coming Morgan Freeman in the business.

The thing about Hollywood is that certain actors have seasons and as such, actors of color are simply not in season at this point. Who ever thought that Mickey Rourke would ever be a star again, so it is possible that actors like Ejiofor, Idris Elba, Jeffrey Wright, Benico de Torro, and Russell Wong will get their chance. (And I'm sorry that I cannot even identify any other male actors of color who aren't black...kind of proves my point in a way).