Remember, early on in the Black Lives Matter protests, the speculation as to how deflating it would be if those chants waned abruptly before our eyes? I do. There was deep anxiety to break the mould, push for equal narratives and to right the wrongs of our history that has long dominated a power economy – of the media and the entertainment sector – reliant on supremacist labour. It’s no surprise that centuries of amnesia towards Black history have downplayed ethnic minorities’ successes. It’s for precisely this reason that the endemic nature of assimilationist thinking – the idea that specific cultures are superior, and that others should therefore adopt them – is a racist philosophy. In society, the pressure to downplay a culture or, put another way, to downplay a cultural scenario to gain popular approval, tends to ignite the toxic politics of exclusion.
In Hollywood, the pattern is clear. Seldom away from the spotlights, many aspects cripple Hollywood, yet it’s the most covetable destination for artists seeking everlasting glory.
In September 2015, How to Get Away With Murder star Viola Davis became the first African-American woman to win an Emmy for best lead actress in a drama. In her powerful acceptance speech, Davis placed a systemic reflection of inequality in plain view. “The only thing that separates women of colour from anyone else is opportunity. You cannot win an Emmy for roles that are simply not there,” she said. Davis’s cogent case explains the rife and long-standing history of inequalities in Hollywood. And beyond the film industry, it’s a pressure that many of us recognise.
To see the depletion of inequality taken to wider proportions, look to the fashion industry. It’s a resounding sentiment that is very much echoed at the heart of the fashion system, which has a close affinity with Hollywood’s power players (for example, brands that dress celebrities in one-of-a-kind pieces for important occasions, creating costumes for lavish productions and so on). But beyond the glamour, fashion’s intersection with the film industry plays a huge role in the recalibration of an equal playground, which could and should help redress the systematic disenfranchisement that exists within the fashion and entertainment landscape. This frustration is compounded by seeing brands and corporations that have historically excluded and marginalised Black people (in most cases, luxury maisons) share messages of solidarity with fake slogans and banners of support that are nothing but short-sighted. Where are these banners of solidarity when brands refuse to work with Black celebrities (such as Black women who do not fit into the typical sizing unleashed by the runway) who, in turn, point out the lack of diversity – and at times outright racism – within the industry? These messages mean nothing if they’re not backed by concrete action to dismantle long-standing practices that have stifled Black people in the fashion and entertainment sectors. And fashion’s role needs to be to actively share commendable sources and amplify conversations by way of campaigning, advocating and supporting talents at all levels. It is not enough to put one Black person on a billboard or in an expensive couture gown. As I and others have argued before, Hollywood has been limited in a one-dimensional representation of blackness, where Black characters are often downgraded to being the sidekick, the wise mentor, mammy or criminals created from a stereotype of Black culture.
If there is one thing the entertainment industry can do, it is to bridge the gap between whitewashing and blackfishing. And that raises the question: in an industry that claims progressiveness, is it just another fad? There’s a simple answer, and a complex one.
The straightforward explanation emerges in a 2020 report from Stacy L. Smith, Marc Choueiti, Katherine Pieper and the Annenberg Inclusion Initiative at the USC Annenberg School for Communication and Journalism. The study, which examined 56,629 characters in 1,300 top films from 2007 to 2019, reveals that progress towards inclusion remains slow among major movies with regard to women, under-represented racial/ethnic groups, the LGBTQIA+ community and individuals with disabilities. To add some context, in the 100 top films of 2019, 65.7 per cent of characters were white, 15.7 per cent were Black, 4.9 per cent were Hispanic/Latino, 7.2 per cent were Asian, and 6.6 per cent were of other ethnicities. Black actors face a difficult quandary in the face of these shocking statistics. Either they act in roles that demean Black people, or they may not work at all. The rise and success of increasingly Black casting – in films such as Girls Trip, Hidden Figures and Fences – is a testament to the fact that Black narratives aren’t just made for Black audiences. Black Panther is further proof. From the sincere and brilliant portrayal of Africa to the relatability of the characters and unapologetic candour of its plot (very much African), it’s a fictional film that shines a light on a multifaceted layer of blackness by having an all-Black cast embodying strength and fragility.
In spite of the system’s ever-changing demographics, Hollywood’s most powerful leaders have been slow to respond to the demand for a system that reflects long-underway cultural and racial shifts. Recent studies have argued that Hollywood’s reluctance to fund films like Selma, 12 Years a Slave and Lee Daniels’ The Butler is an indication of racism not only within the entertainment industry, but also within society. Because film and entertainment are deeply rooted in the world we live in, the implications of a lack of diversity within the entertainment industry are ever-present.
But thanks to global profiles like Daniel Kaluuya, Idris Elba, Jordan Peele, Kevin Hart, Damson Idris, John Boyega, Kailand Morris and Italian talents such as Haroun Fall and Madior Fall, Hollywood and the overall entertainment industry is now being challenged for its lack of diversity. Important change is often radical, but that doesn’t mean it’s cynical. And thankfully, in order to satisfy both the storytelling process and audience demand, sleepy heads are slowly waking up. These are people the entertainment industry should take more seriously. But without systemic efforts, diversity is an impossible target to reach. While leaders claim to be pro-inclusion, its strategies make this far harder.
As performer, songwriter and producer Zebra Katz recounts: “If you can change the system from the outside, you can change it from the inside too. I went to audition in Hollywood in 2007, and I had someone quite frankly say that I could play the role of a funny Black guy. In these instances, you just have to be your authentic self and make as many strides as possible on your own terms. In terms of colourism, I see it, because as a person of colour I know that we’re coming out from the age of wokeness from the last two years. That’s why topics like blackfishing are so prevalent in today’s media. But my question is: are the present conversations a means to an end, or are we going to continue having a positive dialogue? Like most situations – particularly in the entertainment sector – colourism, racism and gender-gap issues come in waves. Accent-shaming is another slippery slope that falls within the inclusion facade of things, so depending on the role one has to play, the vernacular might differ (that’s if the character is able to adapt to a specific script). The question of talent over clout is something that’s a big issue in this arena, like the new film, television or TikTok stars (depending on their profile, they could gain more success than others). We must continue to question the narrative and share more stories of joy that we fail to see. I want to take the things I’ve learnt and make it as digestible as possible, creating things that look like me and for under-represented voices, because I want to reflect the times we live in. Conveniently, Black talents are now invited to dinner, but I assure you we don’t want a seat at the token table.”
If the “token table” is the case, then the entertainment industry is far from absolving the role of supremacy from its core structures. Rather, it’s the power leader’s duty to promote racial equality and offer greater safety to the groups at higher risk (or, put simply, Black and brown people). Suffice to say that these thoughts are not just relics from the past, but part and parcel of a system in which we live and breathe. Without understanding the value of Black voices, not just in the form of race, but from a social perspective, it’s impossible to protect Black people’s narratives over the long haul.
This is a reckoning that should have happened decades ago. And like everything racism touches, the outcomes of neglecting to face up to it are now exposed for all to see. Let’s get to work.
A selection of Black excellence in movies through history, with posters ranging from the first all-black movie production company, The Lincoln Motion Picture Company, to classic masterpieces like “The Color Purple” and “Black Panther”, up until groundbreaking tv series such as “How to Get Away with Murder” .
