If you skipped last night’s ceremony, we certainly don’t blame you. But, Kendra and Arturo were live-snarking throughout the night, and you can catch their recap of the highs and awkward lows under the cut.
By Arturo R. García
How to describe the reaction to Boyhood winning the Best Picture (Drama) award over Selma at Sunday’s Golden Globe Awards? Let Lance Reddick sum it up:
And it’s hard to argue. At a time when Ava DuVernay’s look at the Civil Rights Movement is resonating almost eerily with the atmosphere surrounding social justice fights today, it lost out to a Coming-Of-Age Story. David Oyelowo, who led the film’s ensemble cast as Dr. Martin Luther King Jr., lost the Best Actor (Drama) award to Eddie Redmayne’s portrayal of Professor Stephen Hawking in The Theory Of Everything.
So in the aftermath of the show, when people were wondering how Selma could have been shut out of the major awards, it was interesting to get this nugget from Vox culture editor Todd VanDerWerff:
Basically, Paramount apparently ONLY sent screeners for Selma to the Academy. If it pays off in lots of Oscar noms, great. But VERY risky.
— Todd VanDerWerff (@tvoti) January 12, 2015
VanDerWerff followed it up by saying this was a rumor. But just the thought is mind-boggling: If the theory holds up, Paramount Pictures basically punted on its own potential Golden Globes contender for the sake of taking a shot at the Oscars.
So now, when the movie is getting raked over the coals for being “historically inaccurate” — because James Cameron’s Titanic and Ridley Scott’s Gladiator were documentaries, don’t you know — it’s already losing ground in the Academy Awards horse race to Boyhood.
The lone bright spot for the film on Sunday was Common and John Legend’s win in the Best Original Song category for their collaboration on “Glory.” The victory was capped off by one of the best acceptance speeches of the evening.
“As I got to know the people of the Civil Rights Movement, I realized I am the hopeful black woman who was denied her right to vote,” Common said. “I am the caring white supporter killed on the front lines of freedom. I am the unarmed black kid who maybe needed a hand, but instead was given a bullet. I am the two fallen police officers murdered in the line of duty. Selma has awakened my humanity.”
The speech, as posted online, can be seen below.
by Guest Contributor Jon Gosier, originally published at Gosier.org
When I tell people I used to work for Tyler Perry there are overwhelmingly two reactions. The first is the number of people around the world who haven’t ever heard of him or his work. The second reaction is laughter or condescension:
“The guy who dresses like a woman?”
“The guy who makes those black films?”
“The guy who puts his name in the title of all his films?”
Yes. That guy.
Regardless of whether or not you think he’s a creative genius, he is a genius of a different type and a lot smarter than people seem to give him credit for, especially when it comes to business.
First, some background. I only worked for Tyler Perry Studios briefly from 2006 to 2007. It was just after he had closed a deal for $200 million dollars to build his studio in Atlanta and produce his first set of TV Shows, HOUSE OF PAYNE and MEET THE BROWNS, for TBS. I was a Sound Designer and Audio Engineer at the time and not involved in any business dealings so nothing I’m saying here is confidential. In fact, much of what I write here can be discovered through a few searches on Google, Wikipedia or Variety.com.
In any case, through following Perry over the years and reflecting on my own observations at his studio, I learned a lot that I later used to find success in the tech industry. What are some of these lessons?
1- He Knows the Business He’s In
The secret to Tyler Perry’s success is really in that second group of people I mentioned. The smug people who underestimate him.
The first lesson I learned is, rarely are successful people in the business of the things their critics think they are.
People think Tyler Perry is in the business of pleasing the public or critics. He’s not. He’s not even in the business of speaking to his ‘niche’ audience. No, Tyler Perry is in the business of making movies that earn returns for his financiers. Yes, he speaks to an audience he understands but he’s always been smart enough to focus on what matters most which is the bottom-line. Continue reading
This story is best read with the appropriate musical accompanyment:
ONE YEAR BEFORE EPISODE SEVEN
It was a momentous occasion. The sight of John Boyega in the first moments of the teaser for “Star Wars Episode VII: The Force Awakens” was a victory — a much-needed statement after the parade of racist caricatures that haunted the series’ three prequels, and a sign that director J.J. Abrams could really be on the right track toward blunting the memory of Jar-Jar Binks from fans’ minds.
But Boyega’s appearance also caused an ugliness to stir from within the Internet’s own hives of scum and villainy — comments sections and the most basic of Twitter accounts — from people who are apparently ready to believe in 7-foot wooly smugglers, diminutive green mystics and swords made of light that are drawn from a person’s connection to an all-encompassing universal essence, while being aghast at the thought that a member of a galactic military brigade can be Black.
As The Mary Sue reported, just seeing Boyega was enough to scare people. Consider these no-doubt well-adjusted individuals:
These bros are apparently freaking out because Boyega appears wearing Stormtrooper armor. This ignores the fact that Jango Fett, the bounty hunter who provided the blueprint for the original troopers, was played by Temuera Morrison, who is of Maori, Irish and Scottish descent. These “fans” also forgot that the actor who played the young Boba Fett, Daniel Logan, is also Maori.
As The Atlantic points out, there’s also an in-canon reason for Boyega to play a Stormtrooper (that is, unless his character is just posing as one):
Even if Morrison and Fett (and all of his clones) choose to pass as white, by the time of the events of “Episode IV: A New Hope,” the Empire has been recruiting from general populations for years. That’s why it makes sense that a young Luke Skywalker, lured by a galaxy larger than the humble moisture farm he calls home on Tatooine, dreams of enlisting in the Imperial Navy.
Luckily, Boyega himself is handling things just fine, going by this Instagram post over the weekend:
On the plus side, we now have an idea of how comments section racists are going to react whenever Lupita Nyong’o appears in any of the Episode VII trailers:
by Guest Contributor Mario Fitzgerald
In one of the many footnotes in The Brief Wondrous Life of Oscar Wao, Yunior opines:
“Rushdie claims that tyrants and scribblers are natural antagonists, but I think that’s too simple; it lets writers off pretty easy. Dictators, in my opinion, just know competition when they see it. Same with writers. Like, after all, recognizes like.”
Through the mind of Yunior, Junot Diaz expresses a core truth about writing: Despite being a tool of dissent for justice and equality, writing is also a powerful and thoroughly successful method of erasure, revision, and domination.
Through his first feature film, Dear White People, director Justin Simien has demonstrated how film can similarly be a tool for either justice or domination. Through the characters of Helmut West, a reality television show producer and Sam White, an independent documentary filmmaker, Justin Simien dramatizes the different ways in which the film industry has responded to racism and white supremacy.
Helmut West drifts in and out of the film searching for “conflicts” on the campus of Winchester University from which he can create a reality television show. Despite the title of the film directing viewers’ attention towards the many documented micro-aggressions of White characters towards the film’s Black characters, West is a Black man.
His presence raises a critique against the constant search for anti-Black racist acts committed by White people rather than manifestations of White supremacist thinking which, as bell hooks has so eloquently written, operates within us all. Continue reading
By Guest Contributor Sunny Huang
Two weeks ago, Big Hero 6 premiered to critical acclaim at the Tokyo International Film Festival. Even earlier, it made a big splash at New York Comic Con. And it will open tomorrow as a likely box-office success — a projected $51 million in its first weekend — in the U.S. But with less than a full day to go, I am surprised by the lack of substantial criticism for it.
Frozen generateda firestorm of controversybefore it was released in mass and niche publications, yet there is little for Big Hero 6, which goes to show just how much Asians and Asian-inspired media are pushed out of the conversation. And the only criticisms that have appeared focus on the film’s episodic storytelling and choice of Fall Out Boy for the soundtrack, instead of its lackluster Asian representation and continued cultural appropriation by Disney. In fact, Big Hero 6 is being lauded for transcending these problems, when it is the very embodiment.
After spending my childhood barely seeing myself and my people represented on screen, I immediately made my brother watch the trailer. As a 20-year old, I was so happy that my 10-year old brother would have the chance to grow up without self-resentment. I was so grateful to know he would have the chance to not loathe his race because he would see characters who looked like him be appreciated. It was a chance I did not have.
When the trailer was over, I yelled at him. Look, look!An Asian character! Another character who’s Asian besides Mulan! From the biggest animation studio today! Do you know how many people like us will see how progressive this movie is?! To that, he just stared at me and said—
What? I thought he was white.
It was then I realized something was wrong. This movie was being marketed as progressive and beyond its time for giving its studio the opportunity to address “its historical reputation for ethnic homogeneity and cultural appropriation.” But if an Asian-American kid could not identify the main character as Asian, as part of his own group, then what else was wrong?
Turns out, a lot. The protagonist’s racial ambiguity just started the conversation.
The film is based off the Marvel Comics characters of the same name, but with major differences—many of them questionable, and some of them outright wrong.
SPOILERS for both the movie and the comic under the cut.
By Arturo R. García
It was easy to approach Marvel Entertainment’s Phase 3 announcement Tuesday morning somewhat skeptically. After all, the 24 hours leading into it were consumed by the rumor that Benedict Cumberbatch had been cast as Doctor Strange.
Then came the news:
BREAKING: CHADWICK BOSEMAN CAST AS BLACK PANTHER #MarvelEvent
— Arturo R. Garcia (@aboynamedart) October 28, 2014
Coupled with the news that Marvel was finally moving forward with a Captain Marvel film, the day ended with not only widespread anticipation, but the question: where do we — fans of diversity in the superhero movie realm — go from here?
Let’s try to answer that question by asking another: Which actors and character/brands benefit from Tuesday’s news?
By Arturo R. García
The final day of the Comic Fest opened with one of the most far-ranging topics in speculative fiction in Afrofuturism. And true to form, the speakers reached into the past and toward the future in discussing not only their interpretation of the concept, but how it has influenced their fandom and their work.