Breaking Down the #OscarsSoWhite Blowback

When the Oscar nominations were announced earlier this month, people were once again stunned. For the second time in as many years, all the nominees for the acting and directing categories (with one exception) were white. Same goes for the Best Picture nods, which all centered on stories revolving around predominately white casts. As you can imagine in the social media age that we live in these days, the blowback was as swift as it was predictable .

Within hours the #OscarsSoWhite hashtag was trending and a number of people in and outside the Hollywood industry were being asked to opine on the topic at hand. I found it interesting the number of ‘mainstream’ news organizations that were quick to lambaste the Academy Awards for their lack of representation, when in fact many of their own newsrooms aren’t exactly beacons of diversity either. Hey Pot, say hello to my main man Kettle.

This issue of a lack of diversity at the Oscars is hardly a new one. The fact that only a handful of black folks (not to mention Latinos and Asians) have won an Oscar since Hattie McDaniel became the first to do so back in 1940, is sadly not surprising. What is surprising is that The Academy (the group of individuals that vote and determine who is nominated and who wins an Oscar) still does not see the error in its ways.

For starters, The Academy’s membership is overwhelmingly white and male and older than the general population. That right there should tell you something. Now current Academy president Cheryl Boone Issacs (the first person of color to hold this title), was dismayed at the lack of diversity and recently pledged to implement some changes to address the issue. The fact remains however that the Academy Awards are simply a reflection of the Hollywood industry. Which is to say that as the industry currently sits, many people of color simply are not getting the opportunities in front of, as well as behind the camera that many of their white counterparts have no problem acquiring. Much of this can be attributed to who runs the major studios and who they decide to bankroll.

It’s no secret that there is not a single person of color in Hollywood who can Greenlight a film. By Greenlight, that means they have final say on whether or not a picture is made. So when people wonder about the paucity of roles for black folks in the studio system, there’s your Exhibit A. Many of the directors and producers within the studio system just so happen to look like the people who head these same companies, so it’s a bit of an ‘Old Boys Network’ if you will. That’s not to suggest that Hollywood won’t take chances on black actors or directors, they’re just simply not as likely to when compared to whites in the same positions.

Outside of Stallone, CREED was shut out of the Oscars

The old Hollywood system is slowly changing however. While often feeling like their stories weren’t being told, or being told in a way where whiteness still occupied the frame, many creatives of color have been using different avenues to get their material out. One such avenue has been the independent route. Ava DuVernay started AFFRM (which is now called ARRAY) which markets and distributes films by people of color, many of whom whose stories don’t fit the traditional studio model. Groups like ARRAY help amplify the voices of members of communities who for far too long have had their stories silenced for a number of reasons. Speaking of independent projects, “Dope,” one of my 2015 movies of the year, was an independent film.

As much progress continues to be made by black and brown creatives outside the realm of Hollywood, the question must be asked when will they truly be welcomed in from the wilderness so to speak? I don’t have a concrete answer to that, but clearly Hollywood and the The Academy will be tasked with finding the appropriate solutions. Perhaps the studios should start sending some recruiters to HBCUs, like their Silicon Valley brethren have recently started doing. Or maybe investing more in the local communities in the Greater Los Angeles Area to get kids from various backgrounds in the studio pipeline. For before you can get nominations, you need opportunities, and Hollywood right now is failing at both.


My 2015 Movies of the Year

Once again it seems like another year has flown by. It feels the older I get, the quicker time seems to move.

In terms of pure post output, this was my least productive year on the blog since its inception four years ago. I could use the same excuses of work, side projects, and other commitments, but the truth is, I have to be more disciplined in my time management and more consistent in my posts. With that said, though my posts were down considerably this year, I did manage to make it out to see some quality films.

Last year I didn’t have a movie of the year, but there were nevertheless quality films I saw like “Beyond The Lights” for example. For 2015 my movies of the year are “Dope” and “Chef.” I picked these films for very different reasons above the other titles I saw over the last 12 months.

I saw “Dope” while attending the American Black Film Festival last June and the film actually headlined the event. “Dope” centers around a high school senior named Malcolm played by Shameik Moore, and his two friends who are nerds at their local high school in Inglewood, California. Malcolm and his friends get invited to a party where a shootout occurs and Malcolm runs out only to find the drug Molly has been slipped into his bag. To make matters worse, he realizes he must sell the drug without being caught/killed all the while applying to get into Harvard. While the story takes place in the hood and involves drug dealing, I wouldn’t consider this a ‘hood movie.’ The actors and director Rick Famuyiwa do a good job of making this film feel lively and even somewhat innocent despite its serious subject matter. Zoe Kravitz is very good in this film as well.

“Chef” is one of the more heartwarming films I’ve seen in years. The story involves chef Carl Casper, played by Jon Favreau, who works at an upscale L.A. restaurant and wants to change up the menu and inject some of his own style into the meals. When he is denied by the owner and told to follow the menu as is, he follows orders and is subsequently ripped by a noted food critic for being bland and boring. Casper goes off on the food critic in a very public manner befitting our cellphone crazed TMZ reality that is 2015 and ends up quitting his job.

Unemployed and unable to find suitable work, Casper’s ex-wife played by Sofia Vergara, suggests he go down to Miami and rent out a food truck owned by her ex-husband Marvin, played by Robert Downey Jr. Hesitant at first, Casper takes her up on the offer and he begins to build his business. Along the way one of his former co-workers comes along to join him and so too does his son. The three of them start out locally in Miami before taking their show on the road and travelling throughout the South, building buzz along the way via Twitter.

This film is incredibly multi-layered. There’s the father-son dynamic, the following your dreams aspect, and even a touching resolution at the end. I highly recommend this film to anyone, and it’s also a movie that would be appropriate for just about any age group. It’s currently playing on Netflix as of this writing. Here’s to more quality films in 2016.

2015 Honorable Mentions: “The Martian” and “Creed”