Connect with us

News

Editorial: No, Jordan Peele Isn’t a Racist for Not Wanting to Cast White Leads

Published

on

Jordan Peele

In a recent speaking engagement with the Upright Citizens Brigade, writer/director Jordan Peele, while addressing a group of students, was quoted as saying, “I don’t see myself casting a white dude as the lead in my movie. Not that I don’t like white dudes, but I’ve seen that movie.”

Naturally, a vocal portion of the white internet blew up, proclaiming the statement was racist and that the director of US and Get Out, himself, was obviously a racist for his remarks.

Sigh…

It’s hard to believe that in 2019, we have to have this discussion. You’d think, by now, that diversity would be the rule instead of the exception. Instead, every time a director, writer, author, actor, politician, fill-in-the-blank, speaks about diversifying the landscape, people get angry, loud, and mean while simultaneously contradicting statements they’ve previously made themselves.

What do I mean?

As a gay man, I have spent a great deal of time writing about the need for more diverse characters and portrayals in genre filmmaking. Not only does this give us new stories, but it also serves the wider audience, allowing fans to see themselves more clearly included in their favorite genre.

Seemingly every time I do this, however, I’m met with the pushback of straight, white, cis, (predominantly) male voices commenting that the very idea is anything from “gross” to “unnecessary” to “a political agenda.” These are the same people, by the way, who whine about nothing new or original ever being made.

The other point they make is “If you want to see it, go make your own movies.”

Jordan Peele Get Out

Peele won an Oscar for his debut horror film, Get Out. The film was lauded for its story and earned more than $250 million worldwide.

This is, in essence, what Jordan Peele is doing. As he said, he has “seen that movie” and so he is making something different.

But let’s look at some statistics. According to a diversity report by UCLA in 2018, it was estimated that white leads were cast three times more often than any other ethnicity in film and the same number holds true for white directors over directors of other ethnic groups.

Last Sunday, I posted a review of the new iteration of The Twilight Zone, which Peele is hosting, and the comments immediately began to fill about Peele being a racist. They defended their point of view by saying, “If a white man had said he was only casting white leads, he would be called a racist.”

The point is, looking back at the numbers above, white men don’t have to say it. They don’t have to say it because they’ve been actively doing it since cinema began.

Peele spoke to this and the privileged place he has found himself in since the release of Get Out after his statement about casting black leads in his films.

“The way I look at it, I get to cast black people in my films,” he said. “I feel fortunate to be in this position where I can say to Universal, ‘I want to make a $20 million horror movie with a black family’ and they say yes.”

It’s a position in which few black filmmakers in the studio system have found themselves, but most people didn’t read this portion of the statement because they never got past the “not hiring white dudes” quote which was included in almost every single headline from media covering the event that night.

Jordan Peele Us

Peele’s followup film, Us, opened to record sales for its first weekend.

Do I think if the headline read “Jordan Peele Discusses Diversity at Event” would have appeased those who are determined to be angry about it? No, but I do think most of them would have rolled their eyes and kept scrolling instead of jumping to the conclusion that the man was a racist.

I’ve spoken to numerous screenwriters and directors over the years who have bemoaned the fact that they’ve been told that they can’t get a film make with non-white leads in Hollywood because studios tell them they can’t sell and “urban” film overseas.

“Urban” is one of those fun little catchwords used to denote that the lead isn’t white, if you’re wondering.

Take, for instance, Lucy Cruell.

The award-winning screenwriter has a fantastic award-winning script for a film called 7 Magpies which she has been shopping for years. Despite the accolades the script has received, she simply cannot get the funding to move ahead in production, and predominantly because she’s been told that the studios just don’t know how to sell it.

Why?

It’s a horror anthology script based on stories by black authors, written by a black screenwriter, to be directed by black female directors, starring a predominantly black cast.

That, white folks, is racism. It is systemic. It is a part of the DNA of what goes on in Hollywood, and while things are changing, they are hardly equal.

Movies with big screen releases are still predominantly white and about straight white characters. Jordan Peele making films with black leads isn’t going to take away from that dominance, but it does add color to the landscape. It adds diversity to the conversation.

But most importantly, the appearance of more films featuring people of color, queer people, etc. is not going to slow down the production of predominantly white led films.

As a wise man said, this isn’t pie, so what are you really worried about?

'Ghostbusters: Frozen Empire' Popcorn Bucket

Click to comment

You must be logged in to post a comment Login

Leave a Reply

News

‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

Published

on

Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

'Ghostbusters: Frozen Empire' Popcorn Bucket

Continue Reading

News

Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

Published

on

Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

'Ghostbusters: Frozen Empire' Popcorn Bucket

Continue Reading

News

‘The First Omen’ Almost Received an NC-17 Rating

Published

on

the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

'Ghostbusters: Frozen Empire' Popcorn Bucket

Continue Reading

Embed Gif with Clickable Title