Every Friday we dedicate this page to post whatever is going on in pop culture, arts & entertainment, or the writing community that we are 'into' or want to put on blast. Posts include: movie reviews, shout outs to other artists, interviews, profiles, or just really cool awesome sh*t.
Submissions:
We also encourage and desire posts from other artists about topics aforementioned. Please email us with your submission for consideration. We look forward to hearing from you!
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GUEST CONTRIBUTOR
3/21/14 More to Be Said: Women's Roles in Film
by Catherine Weingarten
When
it comes to 2013 movies that moved me, I’d have to say Nicole
Holofcener’s “Enough Said” is at the top
of my list. Since seeing it, I literally cannot get the film out of my
head. Full disclosure: I’ve long been obsessed with Julia Louis Dreyfus
and
love her dorky Jew-girl humor and her slap-stick use of physical
comedy. But her performance in this film stood out because it was both
hilarious and painfully real.
As a young female
artist, I am continually frustrated by the depiction of women in entertainment
and the typical roles they occupy. I have read too many plays by men with one
random hot chick who works in a bar and makes out with someone and then runs
away. I was in a playwriting group in New York and one writer brought
in a script which focused on an intriguingly strange man, but only cursorily featured his
nagging wife and a random slutty girl who hooks up with him on a bus. It seems that women are doomed to play the
romantic interest and never make big, bold, scary
choices.
I want to see stories about
women that aren’t just pretty and friendly. I want to read and see plays with female characters that are surprising, like female janitors
or female rats or even female wannabe wrestlers.
The sad thing is a lot of male
theater artists do not even notice it or if they do, choose to ignore it. So I feel like it is my duty as a
female playwright to advocate for the expansion of female roles. The
roles for actresses have become bleak and that’s why this film felt like such an important step forward.
Nicole Holofcener is a daring and subtle film-maker who explores the female
experience and truly gives women center-stage in her films to explore their
humanity.
“Enough Said” explores what it’s
like to have your chosen life fall apart and figure out how to move
forward. As women, there is so much pressure on us to find the perfect
relationship and start a family. But then if someone gets a divorce, they
feel ashamed and like they failed this cute feminine monogamous sexy bubble
that is marriage.
Eva
(Julia Louis Dreyfus), a masseuse, gets into a
relationship with a recently divorced awkward, down to earth chubby
dude, Albert (played
by the late James Gandolfini) but soon finds herself in an uncomfortable
situation. Her new client is Albert’s ex-wife and she now has access to
the reasons
why their relationship failed. The film gorgeously explores the pressure
of being yourself in a relationship and learning to let go of
gender/relationship ideals. Go see it y’all and bring some tissues and a
friendly feminine friend!!
Like Catherine's article? Follow Her @sarahkaneissexy on Twitter!
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March 14, 2014
“Submit All Ethnicities”
by Row
If you’re a writer this phrase probably means nothing to you, but if you’re a casting director (CD) or an actor especially, then this phrase is one you know all too well. If you happen to be a lucky member of the “all ethnicities” group, then you most certainly know it’s underlying meaning and affects.
In case you haven’t figured it out, the default ethnicity is Caucasian, which we like to call a PONC. The phrase “submit all ethnicities,” usually written like this: SUBMIT ALL ETHNICITIES on the breakdowns, is used when casting call character descriptions ask those who can submit (agents and managers) to be colorblind and submit any actors they have on their rosters that fit regardless of race.
Why does “submit all ethnicities” exist? Furthermore, why is it assumed that submitting all ethnicities means to not just submit PONCs? To press the issue even further – why don’t CDs just list the race they wish to cast? If you can clearly mark a role for a Caucasian, then why not specifically ask for an African-American, Asian-American, Latino, and so on? Is it because the network and CDs don’t believe in the power of the diverse actor to deliver, so they cast the widest net possible to ensure that at least ONE out of the hundreds of resumes received will work out? Is it because when shows are green lit and thrown into casting the only color they actually do see is WHITE, and the reason why a role is cast for diversity is out of necessity and not necessarily because it’s inherent to the ethos of the show?
I say this because can a Black woman, Asian woman and a Hispanic woman play the same role, especially one originally named Jennifer Carter or another PONC name? Perhaps the options are so broad and the request is so open that it creates more of an issue for CDs than it helps? I also wonder how it affects an actor's mental prep knowing they are submitting to a role that is an open race – what sort of identity does that shape in the casting and auditioning process – can an actor really bring his true self to an audition or is his game plan to merely be that token splash of color and act as PONC as possible to be more palatable for a middle American audience?
In my experience reviewing breakdowns, roles that typically call for specific races are shows/films that are clearly Urban (black), Latino/Mexican (for Spanish speaking audiences), or Asian film and produced by and for the market they are casting. I think it would be an interesting study to statistically analyze roles cast under the “submit all ethnicities” label and how many actually end up being diverse when aired.
Finally, the last marker that a show isn’t necessarily focused on casting for diversity and more concerned with another policy called CYA is when this disclaimer is posted at the end of a breakdown:
We are committed to diversity, inclusive casting. Please submit qualified performers, without regard to disability, race, age, national origin, ethnic origin or any other basis prohibited by law unless otherwise specifically indicated.
Should this stop you from submitting? Of course not! If you get an audition you should go in guns blazing as prepared as possible, give them no reason to pass you up! But understand that no matter how great you do, the role you auditioned for may end up cast as something entirely different when it airs.
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3/7/14
Honorable Mentions, Not Winners
by Chanel
[Proviso: I am not and will probably never be a film buff capable of reciting every Oscar winner in its eighty-six year history. Nor do I pretend to be an expert in its eligibility requirements. And most importantly, I was indeed ecstatic while watching Lupita Nyong’o give her acceptance speech…]
…I am oddly delighted that Mother
of George was neither nominated, nor won an Oscar, otherwise known
as/from hereon referred to as Film Trophies Awarded to Individuals PONC &
Big Money Believe Worthy (FTAIPONCBMBW). This is of course assuming Mother
of George was even eligible for nomination. Let’s just rest on that
assumption.
Too often it seems black films (most POC films) that do garner the attention of FTAIPONCBMBW, and even on the rare occasion walk away with a heavy trophy, are (1) films that tastefully indict PONC (12 Years a Slave, The Help), or (2) films that uphold or perpetuate black (other POC) stereotypes (Training Day, Dreamgirls). Every now and then a celebrity musician biopic slips in (Ray). Or Whoopi’s undeniable talent causes pause, and pressure mounts to award her for something (Ghosts).
(Dreamgirls perpetuated stereotypes? Jennifer Hudson received a standing O for singing her behind off. She was awarded a FTAIPONCBMBW for doing what black women have been known and made to do for decades: sang. Sing like her life depended on it. Sing like she was saving a child from drowning…)
These are of course mostly movies that I do enjoy. Either stories or actors that I find intriguing. But I’m admittedly sick of FTAIPONCBMBW. Well, I really dislike all award shows. And often favor the underdog. I find the movies/plays that garner little Hollywood/Broadway buzz, are the very ones worthy of honorable mentions (not winners). And as a playwright who has a small, itty-bitty chance at a Tony, I know I cannot wait around for a PONC to toss me an award so my work can be validated.
Yes, awards shows can be truly inspiring at times (Lupita Nyong’o’s moving and poetic acceptance speech), and also unexpected and relevant (Jared Leto’s touching acceptance speech). But award shows often overlook (The Color Purple). Awards shows are wholly political. Award shows are too often swayed by relevancy rather than art. (Even though art is often a sign o’ the times.)
The idea of judging art still sends me on an unwanted high. Why not just have honorable mentions instead of winners? It’s not as if art can be scaled or measured. It’s not as if art can be won by scoring more shots.
The Color Purple doesn’t directly indict PONC, or uphold or perpetuate particular stereotypes. It’s a touching story about family, love, sexuality, freedom, abuse, friendship, gender and so much more. A story that explores what it means to be human, not necessarily what it means to be black, or enslaved. Award shows often get it wrong. And when they do, it punches a gaping hole in their legitimacy. (The need to constantly have art legitimized by Western culture is sickening, and another post.)
So I will not make wild personal claims that Mother of George is the best movie in 2013. You should draw your own conclusions, but in your analysis, please pay close attention to: screenplay, costume design, cinematography, directing, film editing, and ACTING. You will be mesmerized by Danai Gurira’s performance, will fall in love with the colors elegantly painted on the screen, and will ride an emotionally rewarding wave with the story and its characters. And might jump on my tiny soapbox to end the FTAIPONCBMBW for good. (One can dream.)
_______________________________________________________________________________ Too often it seems black films (most POC films) that do garner the attention of FTAIPONCBMBW, and even on the rare occasion walk away with a heavy trophy, are (1) films that tastefully indict PONC (12 Years a Slave, The Help), or (2) films that uphold or perpetuate black (other POC) stereotypes (Training Day, Dreamgirls). Every now and then a celebrity musician biopic slips in (Ray). Or Whoopi’s undeniable talent causes pause, and pressure mounts to award her for something (Ghosts).
(Dreamgirls perpetuated stereotypes? Jennifer Hudson received a standing O for singing her behind off. She was awarded a FTAIPONCBMBW for doing what black women have been known and made to do for decades: sang. Sing like her life depended on it. Sing like she was saving a child from drowning…)
These are of course mostly movies that I do enjoy. Either stories or actors that I find intriguing. But I’m admittedly sick of FTAIPONCBMBW. Well, I really dislike all award shows. And often favor the underdog. I find the movies/plays that garner little Hollywood/Broadway buzz, are the very ones worthy of honorable mentions (not winners). And as a playwright who has a small, itty-bitty chance at a Tony, I know I cannot wait around for a PONC to toss me an award so my work can be validated.
Yes, awards shows can be truly inspiring at times (Lupita Nyong’o’s moving and poetic acceptance speech), and also unexpected and relevant (Jared Leto’s touching acceptance speech). But award shows often overlook (The Color Purple). Awards shows are wholly political. Award shows are too often swayed by relevancy rather than art. (Even though art is often a sign o’ the times.)
The idea of judging art still sends me on an unwanted high. Why not just have honorable mentions instead of winners? It’s not as if art can be scaled or measured. It’s not as if art can be won by scoring more shots.
The Color Purple doesn’t directly indict PONC, or uphold or perpetuate particular stereotypes. It’s a touching story about family, love, sexuality, freedom, abuse, friendship, gender and so much more. A story that explores what it means to be human, not necessarily what it means to be black, or enslaved. Award shows often get it wrong. And when they do, it punches a gaping hole in their legitimacy. (The need to constantly have art legitimized by Western culture is sickening, and another post.)
So I will not make wild personal claims that Mother of George is the best movie in 2013. You should draw your own conclusions, but in your analysis, please pay close attention to: screenplay, costume design, cinematography, directing, film editing, and ACTING. You will be mesmerized by Danai Gurira’s performance, will fall in love with the colors elegantly painted on the screen, and will ride an emotionally rewarding wave with the story and its characters. And might jump on my tiny soapbox to end the FTAIPONCBMBW for good. (One can dream.)
2/14/14
Can Black People Ever Just Be People In Our Stories?
by Chanel
I often come toe to toe with a writer friend about ‘black’ plays, ‘black’ TV series, and ‘black’ films. More specifically, those stories that may appear to be reinforcing (negative) black stereotypes, reinvigorating the black power movement, or retelling or revealing a moment in black American or African history… I find myself not only defending these stories against my friend’s constant reproach, but also defending my stories as well. (Please don’t read this as any sort of endorsement for Madea-type movies.) My friend’s belief that black artists should be creating stories where we are just ‘normal’ people, and not recreating stories originally born from a white intentioned storyline, or not creating stories that highlight the black struggle, either today or yesterday…does not go unfounded.
I often come toe to toe with a writer friend about ‘black’ plays, ‘black’ TV series, and ‘black’ films. More specifically, those stories that may appear to be reinforcing (negative) black stereotypes, reinvigorating the black power movement, or retelling or revealing a moment in black American or African history… I find myself not only defending these stories against my friend’s constant reproach, but also defending my stories as well. (Please don’t read this as any sort of endorsement for Madea-type movies.) My friend’s belief that black artists should be creating stories where we are just ‘normal’ people, and not recreating stories originally born from a white intentioned storyline, or not creating stories that highlight the black struggle, either today or yesterday…does not go unfounded.
Admittedly, I have gone through and probably am still going through a phase where in every full-length play I scribe I have to make mention of at least one superhero from the civil rights movement, here and abroad. Ella Baker. Malcolm X. Garvey. Angela. Lumumba… I have to create a least one storyline where a suburban-raised kid (like myself) labors to connect to the struggles of his/her forebears. And black militancy, no matter how comedic or absurd, runs rampant throughout my work. I constantly walk the tight rope of appropriate and actionable dialogue for a character versus preachy discourse. I’m trying to shake the idea that every word my characters utter is a chance for change and progress in the black community. Idealistic, much? I certainly am.
But I also recognize the responsibility that comes with
being a black writer. It’s almost impossible to shake August Wilson’s charge
for us to tell black stories. Because if we don’t write it, who else will? And
when others write our stories because we feel the longing or need to move past
our past, then can we rightfully be indignant of its inaccurate or misguided portrayal?
I have yet to meet a writer who enjoys writing a scene where
an enslaved person is harshly whipped for being ‘insubordinate,’ or a narrative
exploring the effects of the prison industrial complex. It’s painful. But isn’t
that the least we as writers, the truth seekers, the history keepers must do in
order to honor our ancestors, explore the past, and change our present, so the
future doesn’t look like a page ripped from the history books?
I would love to paint a stage with images of black people
without struggle, without pain, without black experience in relation to white
America, without poverty, without prisons, without any sort of negativity… But
now, that wouldn’t make for great drama, would it? And it would also be
ignoring realities of the black community, and struggles and triumphs that have
made us who we are collectively and individually.
Sure I am guilty for not running to the movie theater to see
Idris Elba portray the superhero Nelson Mandela because I felt after watching The Butler and 12 Years a Slave within several months of one another was ‘black
struggle’ overkill. But what luxury I have by even parsing out the viewing of
the painful stories of our past. Stories that I comfortably watch in
well-padded seats, as I look up at a big screen that no matter how ginormous it
is, I can escape from the tragedy happening on film by just averting or closing
my eyes. I can easily dodge our troubling past, by merely deciding not to fork
over fifteen bucks to AMC.
So yes, while we may be tired of these damn depressing black
films relaying one sad slavery or Jim Crow struggle after another, I try to
remember the luxury I have to even complain. The luxury I have to write about
something else other than the latest lynching. The luxury I have to enjoy and
dissect a play or film with a friend. The luxury I have to READ Chimananda
Ngozi Adichie’s latest novel.
The luxuries WE have to travel freely to the store. The luxuries we have to
make snarky skits
about slavery and black history month. The luxuries...
And while it would be nice for black arts & media to
portray ALL of who black folks are: comedic, absurd, quirky, loving, angry, nerdy, kind, hip,
etc., the fact is art often imitates life. Art often observes life and serves
as witness. Art often moves us to change. Art often is a weapon against
oppression. Art often is a tool for empowerment. When life starts reflecting a
society that is all-inclusive and loving, maybe black arts & media will
start reflecting that as well.
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Where’s our Asian sitcom?
by Row
It’s been 20 years now that we haven’t had a network sitcom – not since Margaret Cho’s All American Girl, which at the time seemed progressive, and it was. The sheer fact that a Korean American family and all Asian cast was depicted on ABC in the mid 90’s WAS progressive, however it’s representational validity to this day is still debated. Google it. There are thesis papers on this show and it’s affect on shaping Asian-American identity through media.
Personally, I don’t think the debate exists because it was actually offensive – if you actually WATCH Margaret Cho – she’s one offensive bitch, and I’m sure if she read this she would be proud because it’s true and I mean that in a good way. It’s debated because it’s THE ONLY reference point we have and it’s not a very strong one. The show was green lit and thrown into production literally on her back and on the wave of her success and visibility as a comedian. Pretty much all sitcoms from the 80’s-90’s are built on the backs of comedic personas (Cosby, Will Smith, Ray Romano, Kevin James, to name a few) – even today, both of Louis CK’s shows (Lucky Louis, Louis) are his jokes played out in long form. Thanks to Vince Vaughn’s Wild West Picture Show prodco, again, another Asian-American comic (who is also Korean) Steve Byrne has a show Sullivan & Son on TBS, which takes the Asian-American narrative further by using a blended family (Steve is half white half Korean). But wanna know the kicker? Jodi Long, who plays his mother – played Cho’s mom 20 years ago. Just an indication that “brown don’t frown” the Asian version of the adage "black don't crack".
Personally, I don’t think the debate exists because it was actually offensive – if you actually WATCH Margaret Cho – she’s one offensive bitch, and I’m sure if she read this she would be proud because it’s true and I mean that in a good way. It’s debated because it’s THE ONLY reference point we have and it’s not a very strong one. The show was green lit and thrown into production literally on her back and on the wave of her success and visibility as a comedian. Pretty much all sitcoms from the 80’s-90’s are built on the backs of comedic personas (Cosby, Will Smith, Ray Romano, Kevin James, to name a few) – even today, both of Louis CK’s shows (Lucky Louis, Louis) are his jokes played out in long form. Thanks to Vince Vaughn’s Wild West Picture Show prodco, again, another Asian-American comic (who is also Korean) Steve Byrne has a show Sullivan & Son on TBS, which takes the Asian-American narrative further by using a blended family (Steve is half white half Korean). But wanna know the kicker? Jodi Long, who plays his mother – played Cho’s mom 20 years ago. Just an indication that “brown don’t frown” the Asian version of the adage "black don't crack".
At the end of the day I think there is too much over thinking with regard to the racial tension of Asians on the small screen. There are countless rants/lists/articles on how offensively Asian’s are being written and portrayed on TV and the fact is if there isn’t Asian representation in the writer’s room, the director pools, the executive offices, the talent pool, and the advertising sponsors then nothing will change. The question of accurate media portrayal shouldn’t have to be asked by viewers the morning after the show airs. Furthermore, it shouldn't have to be rescinded and apologized for AFTER it's been shot – it should be a continued dialog throughout the development and writing process by content creators, from all backgrounds - not just the Asian ones.
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1/31/14
'You Are What You Settle For'
by Chanel
I’m mildly obsessed with Janis Joplin. Only mildly because I
don’t know enough about her story to qualify as a Janis aficionado. I mean I
don’t know her favorite color. If she loved peanut butter on wheat toast with
the crust cut off, or if she preferred grilled cheese. You know, that type of
Elvis Presley obsession. I don’t have that. But I respect and admire her
braveness and brashness. Sure some of it was the byproduct of her childhood, and
a lot of it led to her death. BUT her words on rejection and success have stuck
with me.
And granted, I know Janis had short-lived ‘success,’
roughly two years in the ultimate spotlight, she hoarded a great deal of wisdom
by living in her own truth. Yes, again some of this truth might have caused her
early death, but isn’t that the life of an intensely raw soul? Through their
genius talent they struggle to impart truth upon us, eventually surrendering when
no one seems to be listening and the world only appears to be growing worse. So
their souls become tortured. Amy Winehouse. Jimi Hendrix. Whitney Houston…
Rather than badly paraphrasing Janis, have a listen:
Blocking out the Noise
by Row
Awesome sound bite from producer, David Heyman (Harry Potter) on focusing on your project and making it the best and blocking out noise. There's no way to predict critical acclaim, sales, or reviews, just stay in the moment and work on your film/sketch/script/play and keep on making it the best it can be without trying to balance outside influences. Just own it, make the work yours and assume 100% of the risk and however successful it is (commercially) is 100% due to your efforts.
Broadening Our Experiences
by Chanel Glover
So before the incomparable Sasheer Zamata was tapped for SNL, I was silently wishing and
campaigning (in my head) that The Daily
Show’s Jessica R. Williams would be chosen. Not quite sure why I cared or
care. I pretty much never watch SNL.
And the one time I have in a long while was the episode Kerry Washington
hosted. Unlike most people who laughed uproariously at Kerry’s skits, I
cringed.
I already wanted to throw a Good Burger at Kenan Thompson
for having the gall to say that not enough black actresses try out for SNL and the ones who do aren’t ready.
Nevermind if Kenan’s ready to be on SNL
himself, right? (That’s probably another post.) The only way minorities—including superstar Kerry
Washington—are cast is to essentially ‘portray’ the minority perspective.
Sure impersonating Oprah, FLOTUS, or the stereotypical angry black woman
provide comedic relief, but is that the only role a black actress can play? Is
that the only reason to have a POC on SNL?
I’ll proffer Sasheer’s wide range
of material in response…
…But this was supposed to be about Jessica R. Williams,
wasn’t it?
I wanted to curtsey Ms. Williams’s obvious, but true
words she shared with Mother Jones. When recently asked about the diversity
‘issue’ on Girls, she responded: “…[I]t's
[Lena Dunham’s] voice. It's not her responsibility to write from my
experience.”
I did initially want to boycott Girls for the lack of diversity when the show first premiered. That
was until I examined my own group of close friends. If I were writing from
my experience, would my characters be predominately POC?
Maybe we should be asking: how do we enhance and
broaden our experiences, so that mass media begins to reflect the rest of the
world? It really isn’t’ Lena Dunham’s or any other showrunner’s responsibility
to write my experience. I sure the hell hope they won’t ever try (again).
I'm
repulsed when they do. BUT one can attempt
to be more inclusive and
innovative in their storytelling, so one’s skin color is not a prerequisite
of the show’s premise. There is always that.
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1/10/14In Due Time
by Row
From The Hollywood Reporter Roundtable sessions "The Actresses". Below is a fantastic clip where Octavia Spencer is asked if it was hard for her to crew on sets behind the scenes early in her career despite her desire to be an actress in front of the camera.
"Octavia Spencer, on being green and wanting to join 'caa' - CAA (Creative Artists Agency)"
Do You Believe in Creative Karma?
by Chanel
I know I’m never quite up on pop culture news and gossip, so
excuse the lateness if this discovery is no surprise to anyone else. While
perusing through iTunes, I happened upon a new EP by an artist I’m quite fond
of, Aloe Blacc, vocalist for the popular song, I Need a Dollar.
His new EP is titled Wake
Me Up, same lyrics and title to the fall hit song primarily credited to Avicii.
I don’t normally listen to the radio. Because listening to the radio is like being
trapped in a white room with a broken record player. Katy Perry roars, Drake patronizes
his lady by calling her a ‘good girl,’ Robin Thicke attempts to bed a stranger
by suggesting she’s a ‘good girl,’ Lorde proclaims her ignoble destiny (which
is a song I don’t mind over the others), Jay-Z and JT runneth over their cups, and
then Katy Perry roars again… But I LOVE Wake
Me Up. I love it so much I had to investigate. It seemed almost too
beautiful to be true that this soothing voice was someone I’ve never heard before.
Yes, I’m aware of how musically snobbish that might have sounded, but have you
listened to the radio lately?
…Avicii’s name is everywhere. The radio stations—I’m freely
generalizing—and other mass media channels often do not credit Aloe Blacc as
co-writer and vocalist. I know the back of the CD cover does not. And well, who
buys actual CDs anymore, except me? But still… iTunes does credit Aloe in their
description, Wikipedia does the same, Rolling Stone gives a shout out, but Avicii does NOT, or so it seems. (Yes, he has a two second cameo
in the official video. But only Aloe Blacc enthusiasts know his face.)
Now I don’t pretend to know what’s happening behind the
scenes, but it all seems very Phil Spector-esque when he vocally abducted Darlene
Love back in the 60s, and as many producers did well before then and
unfortunately still do now. Again, yes Aloe has a peek-a-boo shot in the video
and probably, hopefully was/is compensated sufficiently, but I have to employ just
some irrationality and embellishment here to make my point…
While normally I selfishly detest when my favorite
underground artists are shared with the mass media machine and become household
names—Janelle Monae, Amy Winehouse, Alice Smith (almost)—I detest it even more
when someone does not get their due credit! As a writer, I feel that just
evokes bad creative karma. And maybe Aloe doesn’t want the intensity that comes
with being a Beyonce, but the brother has a gift, vocally and lyrically. And
the more folks he reaches, the better.
Is there even such a thing as creative karma?
While you do some pondering, enjoy Aloe Blacc’s rawer
version of Wake Me Up. I think I may
like this version better.
Hollywood’s Old Boys' Club
by Row
Women make less than men, that’s not news. Women are also the majority jobholders in nurturing career fields such as Registered Nurses (91%), Elementary and Middle School teachers (82%) and Medical and Health Service Managers (73%)*, and not just a slight majority but a sweeping overload. That’s not news either. But what about big money? Women can nurture the future, raise kids, teach them life lessons and guide them from the womb through their formative years... but they can't be trusted with big budget ‘high risk’ jobs… a mere 4.5% of Fortune 1000 CEO positions are held by women. And Variety's article linked below details that women directors don't get shots at mega budget movies because putting large sums of monies in their hands to shoot the next Spider Man - is "too risky". But being responsible for a room of 28 six-year olds isn't a risk? Is that what Hollywood is trying to tell women? Especially minority women? What’s more staggering are these stats from the DGA on scripted series’ directed in 2013
So the question now is, as the social climate and demographics are changing – is it viable that 72% of all television viewers are white males or are interested in shows from a white male perspective? The take away: Chanel and I – as female minorities have a 2% chance of directing a TV show, which is the same percentage as a varsity athlete getting an NCAA Div 1 scholarship. Who said Hollywood's like being back in high school all over again... DGA Minorities and Women Report - shows and stats Variety's Article on women absent from 2013 Awards Season *job stats provided by Dept of Labor