Above, actors Kerry Washington (Scandal) and Don Cheadle (House of Lies) speak with Variety magazine. The conversation includes the following exchange:
When people reference your race when describing your career, is that a point of pride, or is it something that you think is overplayed in the media as part of your story?
DC: I think I’m somewhat defined by my race for sure, and I’m good with that and I actually want that to be a part. … I think that should be fodder for our work — we should use all aspects of ourselves. I’m always trying to find a place where that’s actually an impact on what I’m doing as opposed to going, “Well, we’re all just people and we’re the same.”
KW: I agree. I think it’s relevant. I think gender is relevant. I bring something to the table as a woman; I bring something to the table as a woman of color. So I feel like, if it’s the only thing you focus on, then it’s a danger, and if you never talk about it then it’s a danger.
The only person of color to score a win at last night’s Golden Globe Awards was probably also the biggest upset: Don Cheadle won Best Actor in a Comedy Series for his starring turn in House Of Lies, over nominees from the likes of 30 Rock, The Big Bang Theory, and critical darling Louis C.K., among others.
He also handled the awkward task of following Quentin Tarantino in addressing the press corps backstage, in which Tarantino dropped an n-bomb to defend it appearing so much in Django Unchained, which netted him the Best Screenplay (Motion Picture) award.
Congrats to Cheadle, of course, but still…the only winner of color? Hollywood stays losing.
Terence Howard (L) and Don Cheadle. Courtesy: Entertainment Weekly.
Former DCP head of fashion and home products Pam Lifford, former chief financial officer Anne Gates, and former DCP HR exec Susan Cole Hill were all represented by the same attorney with the Pasadena law firm Hadsell, Stormer, Keeny, Richardson and Rennick which has sued Disney in other employee rights cases. According to my sources, the three women, who are all African Americans, referred to themselves as “The Help” – a reference to last summer’s hit DreamWorks movie distributed by Disney and set during the civil rights movement about black maids in Mississippi.The reorganization took place in September 2011 but the negotiations for the exit settlements dragged on. Some insiders claim the law firm didn’t return Disney’s calls because it first wanted a story damaging to Perlmutter to appear in the media. An article appeared on Thursday, and Disney and Marvel and Perlmutter now are in damage control mode. Financial Times LA-based correspondent Matthew Garrahan broke the news about these three African-American female execs, their respective job status after their boss Andy Mooney was replaced as the head of DCP, and their hiring an attorney. At the time he wrote that only one of the three women had settled with Disney.
But the FT story also reported that, when African-American actor Terrence Howard was replaced by African-American actor Don Cheadle in the role of Colonel Jim Rhodes for “Iron Man 2″, “Perlmutter apparently told Mr. Mooney the change cut costs. He allegedly added words to the effect that no one would notice because black people ‘look the same’,” Garrahan wrote. A Marvel spokesperson told the FT in a statement: “Mr. Perlmutter and all of Marvel have a long record of diversity in the workplace and on movie sets around the world as evidenced by both Mr. Perlmutter’s own history and Marvel’s management team.”
- From “Disney And Marvel Do Damage Control After Media Scrutiny Of Big Boss Ike Perlmutter,” at Deadline.com
It sounds like a weird complaint, but if anything threatens to be the undoing of Don Cheadle’s new show, House of Lies, it’s the fact that he’s not enough of a villain.
Though Lies officially premieres Sunday on Showtime, you can already watch it online – albeit with blurred-out profanity and people-bits. The (NSWF) episode, as well as SPOILERS, are under the cut. Continue reading →
By Guest Contributor Aymar Jean Christian, cross-posted from Televisual
The New York Times’ recent article on Hollywood’s “whiteout” about the lack of black nominees for the Oscars has caused some controversy, mainly for forgetting to mention Whoopi Goldberg. But there may be an unintended consequence to Hollywood’s race problem — if we concede there is a particularly recent one, which I’m not sure is true:
Are more A-list black actors moving to television?
By Guest Contributor AJ Christian, originally published at Televisual
The New York Times has an interesting interactive feature out that maps the top 50 rentals for 2009 based on the Netflix queues from a dozen US cities: New York, Boston, Chicago, Washington, Milwaukee, Dallas, Miami, San Francisco, Los Angeles, Altanta, Seattle and Denver. The list is a bit skewed because these are all fairly cosmopolitan areas — Benjamin Button and Changeling are at the top of the list — though that probably reflects what I assume is Netflix’s popularity in urban and suburban communities to begin with.
The list reminds us films have long lives. The press focuses almost solely on opening weekend box office returns and forgets films go to the rental market, DVD sales, pay-cable and OnDemand. Often these venues are great for films that couldn’t get people in theaters but are nevertheless intriguing or enjoyable. Movies by and about minorities sometimes can find audiences unwilling to shell out $6-$12+ for ticket (the gay film market has operated for years on this assumption).
I was surprised to see Traitor on the list — in the middle, but still before many popular Hollywood films. Traitor, a Don Cheadle-starrer about an alleged terrorist who may or may not secretly be working for the United States, made a paltry $27 million in theaters, just $23M in the U.S. Don Cheadle doesn’t have the Box Office pull of a Will Smith or Denzel Washington, despite his role in the Ocean’s Eleven films. Yet in the rental market, it seems black communities have taken a small liking to the film. The New York Times‘ map has it markedly popular in Atlanta — with a strong presence in the middle class/Morehouse area inside the perimeter — in D.C. and in neighborhoods like Bed-Stuy in New York.