Best Supporting Actress Winner Lupita Nyong’o (“12 Years A Slave”)
Well, that was a lot to take in. Some of the highlights:
Maybe the night’s sentimental favorite, Lupita Nyong’o, won the Best Supporting Actress award for her work on 12 Years A Slave, which went on to win Best Picture.
John Ridley also won Best Adapted Script for his work on 12 Years, though … was it us, or was there some shade going between him and director Steve McQueen?
Robert Lopez, a Filipino-American, won Best Original Song along with his wife Kristen Anderson-Lopez for “Let It Go,” from Frozen.
Mexican-born Alfonso Cuarón, who some felt was snubbed for the Best Director award after Children of Men, made good Sunday and won for Gravity.
Cis-hetero actor Jared Leto won Best Supporting Actor for playing a trans woman in Dallas Buyers Club, and seemed to omit mentioning the trans community during his far-flung acceptance speech. As Autostraddle notes, it’s not like he can claim ignorance of his actions at this point.
Feel free to add your thoughts in the comments and check out the full storify below, but under the cut, some video, and some more observations from the evening.
LAPD Chief Charlie Beck Tuesday pledged to review disciplinary cases of fired cops who believe they’ve been wrongfully terminated, so long as their claims “appear to have substance.”
The pledge was inspired by at least six ex-LAPD officers who asked the officer’s union to urge the chief to relook at their cases in wake of his reopening accused murderer Christopher Dorner’s case.
Dorner blamed the LAPD for ruining his life after the department fired him in 2008 for falsely accusing a superior officer of misconduct. In a now-famous online manifesto, Dorner said he was treated unfairly during LAPD’s disciplinary process. He later allegedly murdered Monica Quan, the daughter of the attorney who represented him during the process, as well as her fiance, Keith Lawrence in Irvine.
After Dorner’s death during a standoff with San Bernardino sheriff’s deputies in a mountain cabin, Beck pledged to continue his review of Dorner’s case, hoping to prove that the system is fair.
The thing is I feel like Black women spend an inordinate amount of time on Facebook & Twitter rebuffing ignorant acts of racism & sexism. I’ve grown weary of venting and posting and retweeting dumbasses to put them on blast. It’s time to take a different approach. I feel like action is necessary for me to survive in a society that cares less and less about me. I mean who in their right mind could call a child such a heinous and monstrously dehumanizing, not to mention sexualized word? Who!
The Onion has since apologized, but believe me that is not enough! The time has come for us to stop getting mad and get smart. This kind of anger rooted in smarts and strategy is rooted in Audre Lorde’s fantastic essay: “Uses of Anger.” Before social media I wrote letters, made phone calls and would fax the press & politicians. Recently I was reminded of the potency found in that agency by fellow writer dream hampton who went to DC to do this. Tweets are cool and they are effective to a certain extent, but it seems if we want more than an apology (and we do) it’s time to start writing letters again. It’s time to call folks out, point fingers and make a ruckus and that especially goes for women who may look like us.
So it broke my heart when I saw The Onion’s “joke” calling Quvenzhané Wallis one of the most hateful words you can call a girl or a woman in the English language. On top of being sad and appalled for Wallis and her family, I also couldn’t help but think of my daughter and the inevitable day that she will hear that word directed at her for the first time.
I obviously don’t speak for everyone, but it’s safe to say that I’m not the only black person who feels a particular affection for Wallis. She’s charmed many with her lively and precocious personality. For black audiences specifically, there’s a sense of connection and identification with her, even feeling protective towards her. People baffled by the vehemence of the reactions to The Onion’s tweet perhaps don’t get this context, or the particular implications of the slur for young black girls. For many, seeing Quvenzhané Wallis succeed and thrive in an industry that is especially hostile to women of color is deeply personal.
We all get that this was meant as a joke, that the writer doesn’t actually revile Quvenzhané Wallis. I can see thatthe intent was perhaps to send a message about the vicious scrutiny of girls and women in the public eye. What he or she (let’s be real, probably a he) was really thinking, however, is entirely beside the point. What they did was call a girl a gendered and sexualized slur. What they did was send the message, yet again, that girls and women are open game when it comes to sexual jokes and jokes about our bodies, and that it’s extra funny if the target is a very young girl.
EDITOR’S NOTE: The next link carries a TRIGGER WARNING
TWO Republicans running for Congressional seats last year offered opinions on “legitimate rape” or God-approved conceptions during rape, tainting their party with misogyny. Their candidacies tanked. Words matter.
Having lost the votes of many women, Republicans now have the chance to recover some trust. The Senate last week voted resoundingly to reauthorize the Violence Against Women Act, the 1994 law that recognized crimes like rape, domestic abuse and stalking as matters of human rights.
But House Republicans, who are scheduled to take up the bill today and vote on it Thursday, have objected to provisions that would enhance protections for American Indians, undocumented immigrants and gay, lesbian, bisexual and transgender youth, among other vulnerable populations.
Here in Minneapolis, a growing number of Native American women wear red shawls to powwows to honor survivors of sexual violence. The shawls, a traditional symbol of nurturing, flow toward the earth. The women seem cloaked in blood. People hush. Everyone rises, not only in respect, for we are jolted into personal memories and griefs. Men and children hold hands, acknowledging the outward spiral of the violations women suffer.
Refusing to learn how to pronounce Quvenzhané’s name says, pointedly, you are not worth the effort. The problem is not that she has an unpronounceable name, because she doesn’t. The problem is that white Hollywood, from Ryan Seacrest and his homies to the AP reporter who decided to call her “Annie” rather than her real name, doesn’t deem her as important as, say, Renee Zellwegger, or Zach Galifinakis, or Arnold Schwarzenegger, all of whom have names that are difficult to pronounce–but they manage. The message sent is this: you, young, black, female child, are not worth the time and energy it will take me to learn to spell and pronounce your name. You will be who and what I want you to be; you be be who and what makes me more comfortable. I will allow you to exist and acknowledge that existence, but only on my terms.
Quvenzhane Wallis and Halle Berry bond at The Oscars. Image via Buzzfeed.
We’re trying something new here at The R. In coverage of awards shows I’ve noticed fashion writers tend to completely ignore people of color, since there are so few nominated for the big awards. This holds true much more so for white-centric awards like The Oscars–less so for The Grammys. Unless you’re Halle Berry (and even then), beautiful people of color have to clamor for the spotlight. That’s where I come in.
There’s so much beauty in the world and, while I love Jennifer, Anne, and Jessica, I would like to shine a light on Inocente, Quvenzhane, and Octavia–some of the best dresses of the night. Beauty in color, under the cut.
We are not running The Onion’s tweet involving the misogynist slur about Quvenzhané Wallis here. Because she’s a nine-year-old girl and we’re not reprinting that language. (A screencap of the tweet can be found here.)
But for many fans and supporters of the Best Actress nominee, Sunday’s Academy Awards turned into a horror show.
Update: The Onion has posted an apology for its actions Sunday night. A transcript is available under the cut.
Another Monday, another post-awards show morning, another day of waking up and asking myself if I really just saw what I thought I saw. Because there’s absolutely no way that I really saw Billy Crystal in blackface on national television the night before.
And for all I know, maybe I didn’t. No one’s talking about it. It didn’t seem to have made any morning news show headlines. I didn’t hear Kelly Ripa and Neil Patrick Harris mention it and I missed seeing what the women of The View had to say, but given Whoopi’s track record with the hot topics of the day I’m guessing I wouldn’t have been impressed.
Oh, but wait, a quick dive into the comments section at Jezebel (why do I do this to myself?) confirms that I did not, in fact, dream up what I saw last night. Not only did it happen, but it seems to have already been rationalised by the general public. You see, blackface is apparently no longer offensive, especially if it’s not being done to intentionally hurt anyone’s feelings. We’re in post-racial America! These things no longer carry the weight they once did. There’s no need to analyse it to death. It was just a sketch!
Foolishness like this is making it really hard for me to get my fill of pretty red-carpet dresses.
With apologies to fans of Michael Fassbender, Ryan Gosling, et al., by far the most pleasant surprise of this week’s Academy Awards nominee announcements was seeing Demián Bichir get nominated for Best Actor–alongside “conventional” choices like George Clooney and Brad Pitt–for his role as an undocumented single father in A Better Life.
As Colorlines noted, Bichir’s nomination was one of several nods for Latinos in this year’s Oscar race: cinematographer Emmanuel Lubezki, also from Mexico, was nominated for Best Cinematography for Terence Malick’s The Tree of Life; Bérénice Bejo, a native of Argentina, earned a Best Supporting Actress nomination for her turn in the The Artist; Brazilian Sérgio Mendes was nominated for Best Song for “Real in Rio,” his collaboration with Siedah Garrett, of “Man In The Mirror” fame, from the animated film Rio.
But a look at some relevant figures further illustrates how painfully rare Bichir’s accomplishment is.
2: The number of Mexican-born nominees for Best Actor, with Bichir joining Anthony Quinn, who was nominated on two separate occasions, for Wild Is The Wind (1957) and Zorba The Greek (1964).
2: The number of white actors nominated for this category for playing Latino characters (Marlon Brando, 1952, Viva Zapata! and Spencer Tracy, 1958, The Old Man and the Sea).
47: The number of years between Quinn’s nomination for Zorba and Bichir’s nomination.
61: The number of years since a Latino actor born outside of Mexico and the United States was nominated for Best Actor; José Ferrer (born in Puerto Rico in 1912, before it became a U.S. territory) earned the honor in 1950 for Cyrano De Bergerac.
1: The number of:
Latino actors (going into this year’s ceremony) to win Best Actor, with Ferrer taking the Oscar home.
Latino actors born in the U.S. to be nominated for the category (Edward James Olmos, 1988, Stand and Deliver.)
Latinas in Oscars history to win the Best Actress award (Rita Moreno, 1961, West Side Story.)
Mexican-born actresses ever nominated in that category (Salma Hayek, 2002, Frida.)
0: The number of Latina actresses born in the U.S. to be nominated for Best Actress.
Sunday’s Academy Awards telecast didn’t do much to challenge Idris Elba’s recent assertion that the Oscars “aren’t designed for us.” But there were a couple of bright spots for PoCs during the show, and one in particular had a massive award haul – but probably not the kind he was looking for. Details, and some feel-good music, are under the cut.