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Rupert Everett reminds us homophobia persists in Hollywood

New memoir arrives as two virtual LGBTQ film fests debut

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Rupert Everett, gay news, Washington Blade
Rupert Everett tells the story of his derailed comeback vehicle ‘The Happy Prince’ in a new memoir. (Photo courtesy of 20th Century Fox)

HOLLYWOOD – October, as you might already know, is the month when at least two major LGBTQ+ film/media festivals – QueerX in Los Angeles and NewFest in New York – normally take place, and although COVID has presented challenges for these kinds of events, both are rising to the challenge, following the example set earlier this year by others and making most of their scheduled content available virtually.

It’s also LGBT History Month, and in light of this year’s unique position in the middle of a world-changing crisis, it seems appropriate to observe that within this practical adaptation lies the seed of a future in which queer content is more accessible than ever. For the first time, fans of LGBTQ film and television can participate in these kinds of festivals regardless of where they are, and in a post-COVID world it’s highly likely that’s an innovation that will stick, which could be good news for queer visibility, offering potentially millions of people access to content that was once denied them by geography and economics. Looking back at how far we’ve already come in that struggle, such a thing can only be viewed as remarkable.

And yet, in looking back, we might also want to take note of what we’ve learned about the real enemy of visibility – the homophobia that has long existed in the entertainment industry itself, and the insidious way it works behind the scenes, thriving in the shadows even as the content we see becomes ever more inclusive.

Conveniently enough, we can find a stark reminder in the story of out actor Rupert Everett – a poster boy for the way gay performers are sidelined by the mainstream industry – who is dropping a new memoir (his third) this month.

Like many British thespians, Everett had begun his career onstage, rising to prominence as a gay public school student in the Julian Mitchell play “Another Country.” When the play was adapted for the big screen, Everett reprised his role and became a rising star – but while playing a gay character might have been “brave” in Hollywood, actually being gay was quite another thing, and when the actor officially came out in 1989, the offers stopped coming.

It was a reversal of fortune that prompted him, 20 years later, to comment in an interview with The Guardian, “It’s not that advisable to be honest. It’s not very easy. And, honestly, I would not advise any actor necessarily, if he was really thinking of his career, to come out.”

Thanks in part to those remarks, the handsome actor can hardly be called a beloved figure within the LGBTQ+ community – but his experience has relevance here, nonetheless.

Despite his continuing presence on stage and screen in the UK, and a brief career resurgence that came in the ‘90s from a pair of GBF roles opposite Madonna (“The Next Best Thing”) and Julia Roberts (“My Best Friend’s Wedding’), the kind of superstardom for which he once seemed destined has been beyond his grasp ever since coming out; with that in mind, though it might not have been in step with the message we wanted to hear, his cynical advice for young gay actors to stay in the closet cannot be said to have been unwise.

At least, that was the case when he made those comments, a little over a decade ago – but is it still true now? Another recent celebrity disclosure seems to offer a disappointingly affirmative answer to that question.

In an interview last week, actor Charlie Carver disclosed a shocking story about a gay colleague who took extreme measures to warn him about revealing his sexuality publicly. Carver, who first garnered attention for his television roles in “Desperate Housewives” and “Teen Wolf,” has been open about his sexuality since 2016, but he told Variety that an unnamed industry associate – someone with whom he has worked before, but not onscreen – had made comments to him at the 2015 Emmy Awards about his “effeminate” acting, and that he “needed to ‘get it under control’ around people in the business.”

Carver says he later approached this gay former co-worker at the valet station outside, asking him for clarification about what he meant; in response, he claims, the unnamed man slapped him across the face.

“It wasn’t playful but intentional, pointed and meant to be instructive. A slap,” says the now-32-year-old actor. “I told him that if he ever touched me again, I would name him.”

The experience led to an epiphany for Carver (“That was the moment when I said to myself, ‘I can’t do this. I cannot police myself in that way,” he told Variety), and he came out publicly via his Instagram account a few weeks later. At the moment, it would seem he has no reason to regret that choice; he’s currently in the spotlight for roles in two high-profile Netflix offerings, “Ratched” and “The Boys in the Band,” and he’s slated to appear opposite Robert Pattinson in next year’s “The Batman.”

How he fares after that is something to keep an eye on. Up until now, his exposure has largely taken place in front of a queer or queer-friendly audience, but the newest film iteration of an iconic superhero will unquestionably draw a much wider crowd; if they don’t respond well, it’s not far-fetched to imagine that Hollywood might blame Carver’s out status, at least partly, for that failure.

Even if the movie is a hit, it’s no guarantee he can overcome what has historically been a persistent and deeply ingrained stigma to achieve future success in the mainstream industry. Everett can attest to that.

In a preview excerpt from his upcoming book, the British actor dishes sardonically about the frustrations of his years-long effort to get a screenplay he wrote (“The Happy Prince,” about queer literary icon Oscar Wilde) made in Hollywood. Among the insights he reveals is the fact that things went sour when he declined producer Scott Rudin’s suggestion that the straight Philip Seymour Hoffman should play Wilde instead of Everett himself.

“And here is where I made my greatest mistake,” Everett writes. “I should have said yes.”

Rudin initially relented, but eventually pulled out of the project after a long list of directors also declined. Everett, once a Hollywood golden boy, was now officially persona non grata.

“The Happy Prince” was eventually produced, but not without Herculean effort from Everett and a lot of help from his friends. Well-received but sparsely released, it’s now available, like so many other LGBTQ stories, on streaming platforms across the globe. A happy ending, perhaps, but not quite the comeback success it was intended to be.

None of this takes away from the triumph of living in a world where an entire multi-million dollar industry exists around the production and distribution of queer content.

Yet as we celebrate that victory, we cannot ignore the warning embedded in the stories of these two out actors, a generation apart. The entertainment industry may be willing to present a friendly mask to LGBTQ+ audiences, as long as it brings a profit – but we must always be aware that, lurking behind it, is the familiar face of homophobia.

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Legendary activist gets his due in ‘Hating Peter Tatchell’

‘Peter’s journey over the past half-century highlights the advances in the gay liberation movement. That gives me hope for the future.’

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Peter Tatchell being arrested in Moscow. (Image courtesy of Wildbear Entertainment)

LONDON – Looking at the fight for LGBTQ equality from inside the bubble of the United States, it’s easy to get the impression that the movement essentially started at Stonewall, and that most of our progress is the result of work from our own homegrown activists. That’s obviously not the case; though there have been plenty of American heroes that have done more than their fair share in the effort, the contributions of others who join the fight on the international front deserve recognition, too.  

“Hating Peter Tatchell,” available now on Netflix, is a great introduction to one of them.

It’s a documentary from director Christopher Amos that chronicles the life and work of a tireless champion for LGBTQ rights – and human rights in general – whose six decades of campaigning have made him simultaneously one of the most lauded and loathed men in the world. He has shaken up the British establishment with his radical acts of civil disobedience, aggressively pushed for change in global attitudes about homosexuality, and stood up against tyrannical world leaders – and he’s done it all from the front lines.

Amos’ brisk but informative film takes us on a tour of Tatchell’s career, bolstered by plenty of archival footage (much of which only exists because Tatchell saved the VHS tapes himself) and given perspective through evocative interviews with the likes of activist Angela Mason, actor Stephen Fry, and Tatchell himself, who also engages in an ongoing conversation with actor and fellow LGBTQ activist Ian McKellen about what motivates his lifelong fight for equality. Along the way, we get insights into Tatchell’s personal life, in particular his relationship with his deeply religious mother. The film culminates with his riskiest crusade yet, the disruption of 2018’s FIFA World Cup in Moscow to draw attention to the persecution of LGBTQ+ people in Russia and Chechnya.

Tatchell, we’re happy to say, survived that journey, and is still fighting tirelessly through the Peter Tatchell Foundation, a small London-based human rights organization that also supports democracy, LGBTQ+ and human rights movements in countries like Russia, Uganda, Iran and Pakistan. But busy as he is, he took time to join director Christopher Amos for a conversation with the Blade about the film.

BLADE: Peter, a lot of hard-working activists often struggle with burnout. How do you find a balance between your activism and your day-to-day life?

PETER TATCHELL: My life has been tough. I’ve campaigned 12+ hours a day for 54 years, been violently assaulted over 300 times and still receive masses of hate mail and death threats, mostly from homophobes and far right extremists. I’m perpetually tired. It’s made relationships difficult to sustain. But I love the human rights work that I do. What motivates and sustains me is my many successes and the positive feedback from the 20,000+ individuals and campaigners that I’ve helped over the last five decades.  

BLADE: Your activism even extends into your relationship with your mom.

TATCHELL: I’ve seen my mother’s regressive views as a challenge and never ceased engaging with her. As a result, she’s been on a journey of growing understanding and acceptance. Although homosexuality is against her Christian beliefs, she doesn’t see it as a major sin. Moreover, she mostly supports my LGBTQ+ work, says LGBTQ people should be treated with respect and has accepted my partner. It shows that patience and perseverance can change hearts and minds.

BLADE: On that subject, the movie features a lot of footage from an era when a lot of people were opposed to your confrontational methods. Some of that persists even in the contemporary interviews. Christopher, was that an intentional choice?

CHRISTOPHER AMOS: As much as I support Peter’s work, achievements, and sensibilities, I knew it was important to also present opposing opinions. It’s important, for progress, to listen to opinions that are different from our own, even when we disagree. And it’s important that we don’t hide history, we can learn from it. When I was watching the hundreds of hours of archives, I was shocked by some of the views which made it onto television talk shows at the time. Hindsight is a powerful way of highlighting just how much progress has been made.

BLADE: In this case, it certainly highlights that some of Peter’s more “radical” positions have been vindicated over the years, in spite of the naysayers. 

AMOS: Peter was ahead of his time. He has a natural instinct for what is fair and equal in society.

BLADE: Is that what drew you to him as a subject for a film?

AMOS: Peter’s activism inspires me, and perhaps identifying with the journey of an Aussie moving to London made his story especially significant to me. We first met in 2000, when I was editor of Bent magazine, and Peter regularly contributed articles. I was always surprised by how many of the LGBTQ community derided his work, despite the huge contribution he was making to advancing our rights. This struck me as an interesting premise for a story about his life, something which adds a layer to the biographical account of his life. I wanted to highlight his achievements but also explore his motivations.

BLADE: What do you want audiences to take away from his story?

AMOS: Peter’s journey over the past half-century highlights the advances in the gay liberation movement. That gives me hope for the future and I hope will give others hope too. But it can also inspire us to take action, to use our voice. I want viewers to be moved, but also feel motivated to carry on this fight for equality. Many people often ask what they can do, but Peter doesn’t wonder, he just does something.

BLADE: Peter, is there an action you’ve taken that you are particularly proud of? 

TATCHELL: I don’t spend much time relishing my successes. Once a victory has been secured, I focus my mind on the next challenge. But I’m pleased that I ambushed Mike Tyson and got him to express his opposition to homophobic discrimination, and that I staged the first LGBT+ protest in a communist country (East Germany, 1973). And also, I twice attempted a citizen’s arrest of the Zimbabwean dictator and homophobe, Robert Mugabe.

BLADE: What do you think is currently the most crucial fight or fights for the future of queer rights?

TATCHELL: In the West, the biggest battles are to ban conversion therapy, defend the trans community and support other progressive movements, like Black Lives Matter and #MeToo. Globally, the main challenge is to decriminalize homosexuality in the 70 countries that still outlaw it, and then to secure legislation against anti-LGBT+ discrimination and hate crimes.

BLADE: What would you say to people who want to become more involved but don’t know where or how to start?

TATCHELL: Join a LGBT+ organization. There is strength in numbers. All our gains are the result of our collective efforts. Don’t accept the world as it is. Dream of what the world could be — and then join with others to help make it happen.

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Summer film and TV preview

The LGBTQ productions that will take you to the ‘Heights’

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Summer is coming, once again, and this time it feels like a pretty big deal. For the first time in more than a year, we can look forward (fingers crossed) to a return to semi-normalcy, and it’s reasonable to make plans for enjoying at least some of our time outside the socially distanced safety of our living rooms.

That said, the waning of COVID also means that the television and film industry has an embarrassment of accumulated riches ready to offer us – and even if we have binge-watched our way through the past 14 months, we say, “Bring it on!”

There’s so much queer-flavored entertainment on deck in the coming few weeks that it can be a bewildering task to keep track of it all. Fortunately, the Blade is here to help, with our list of the movies and shows that seem likely to represent the cream of the crop.

First, the television:

PRIDE (May 14, FX)

Summer LGBTQ film
A scene from ‘PRIDE.’ (Screen capture via YouTube)

This six-part documentary series from VICE studios may have already started, but it’s a great kick off to Pride Season – and thanks to “FX on Hulu,” it’s easy to catch up at your leisure. Chronicling the struggle for LGBTQ+ civil rights in America from the 1950s through the 2000s, seven renowned LGBTQ+ directors explore stories of queer experience, from the FBI surveillance of homosexuals during the 1950s “Lavender Scare” to the “Culture Wars” of the 1990s and beyond, exploring the queer legacy of the Civil Rights movement and the battle over marriage equality. Offering profiles of familiar heroes like Bayard Rustin and Christine Jorgensen, as well as of lesser-known figures like Madeleine Tress and Nelson Sullivan, the show charts the evolution of LGBTQ+ rights and identities through interviews and archival footage to provide a valuable perspective on queer history, just in time for Pride month.

SPECIAL (May 20, Netflix)

Max Jenkins and Ryan O’Connell in ‘Special.’ (Photo courtesy Netflix)

Freshly dropped is the second and final season of this surprise hit series from Ryan O’Connell, a semi-autobiographical comedy about a writer with cerebral palsy (played by O’Connell himself) trying to navigate life in the Los Angeles “scene” as a gay man with a disability. The abbreviated (only four episodes) final arc follows Ryan as he tries to “get his shit together” after the disastrous events of season one – including a fight with his mother Karen (Jessica Hecht) that has left them estranged ever since – that have left him with a nasty case of writer’s block. New relationships are also on the horizon for both Ryan and BFF Kim (Punam Patel), and the journey toward self-discovery and self-actualization takes center stage as this disarmingly charming and refreshingly unsentimental comedy – currently the only show on television to feature a disabled LGBTQ person as its main character – comes to a close. Max Jenkins, Charlie Barnett, Ana Ortiz, Utkarsh Ambudkar, Lauren Weedman, and Leslie Jordan are among those joining the show for season two, alongside returning cast members Marla Mindelle, Gina Hughes, and Patrick Fabian.

MASTER OF NONE (May 23, Netflix)

Naomi Ackie and Lena Waithe in ‘Master of None.’ (Photo courtesy Netflix)

Returning for a much-anticipated season 3 is this acclaimed series, co-created by Aziz Ansari and Emmy-winner Alan Yang. Always strongly “queer-adjacent” thanks largely to the involvement of Lena Waithe, who played the lesbian character of Denise throughout the first two seasons and became the first Black woman to win a writing Emmy for the episode “Thanksgiving,” based partly on her own experience coming out to her mother. In its third installment, the show takes a radical departure from following Ansari’s lead character (struggling actor Dev Shah) and instead focuses all of its five-episode run on the relationship between Denise and partner Alicia (played by BAFTA-winner Naomi Ackie).

Directed by Ansari, who also co-wrote with Waithe, this new season touts itself as “a modern love story that intimately illustrates the ups and downs of marriage, struggles with fertility, and personal growth both together and apart.” Judging from its past excellence, this new installment is likely to be one of the summer’s best bets.

BALLERINA BOYS (June 4, PBS)

“American Masters” presents a portrait of Les Ballets Trockadero de Monte Carlo (“The Trocks”), an all-male ballet company that has captivated audiences for over 45 years with their signature style – classical ballet en pointe and in drag, delivered with a blend of rigorous technique and satire that challenges the rigid gender norms of the art form – while also delivering a message of equality, inclusion and social justice. This profile from director Chana Gazit follows the legendary troupe as they tour the Carolinas, and culminates with their 2019 performance at the Stonewall 50th anniversary concert in NYC. The hour-long doc broadcasts on June 4 (check your local listings), but it will also be available via the PBS video app in honor of Pride Month.

LOVE, VICTOR (June 11, Hulu)

George Sear and Michael Cimino in ‘Love, Victor.’ (Photo courtesy of Hulu)

The popular teen dramedy, inspired by the hit LGBTQ teen romance “Love, Simon,” returns for season two as the newly out Victor (Michael Cimino) enters his junior year at Creekwood High. As his story continues, Victor faces challenges such as a family struggling with his revelation, his heartbroken ex-girlfriend Mia (Rachel Hilson), and the difficulties of being an openly gay star athlete – all while navigating the excitement of his relationship with new boyfriend Benji (George Sear). Odds are good that this continuation will deliver more of the same blend of heart, humor, and diversity that helped the first season become one of last summer’s must-see highlights. Anthony Turpel, Bebe Wood, Mason Gooding, Isabella Ferreira, Mateo Fernandez, James Martinez, and Ana Ortiz also star.

REUNION ROAD TRIP: QUEER EYE FOR THE STRAIGHT GUY (June 17, E! Entertainment)

As part of the network’s special event series, “Reunion Road Trip,” the original “Fab Five” – Thom Filicia, Ted Allen, Kyan Douglas, Carson Kressley and Jai Rodriguez – reassemble in Los Angeles to do a makeover for Jai on his 40th birthday. As the group works their magic, they think back to their most heartfelt, meaningful makeovers and the impact on the LGBTQ community then and now, delivering a satisfying (and long overdue) trip down memory lane for fans of one of the most important and influential queer shows in television history. Airs at 9pm PT/ET.

Now for the movies:

PINK – ALL I KNOW SO FAR (May 21, Amazon Prime)
Amazon Studios launches its summer with this intimate documentary about award-winning performer and musician Pink as she embarks on her record-breaking 2019 “Beautiful Trauma” world tour and welcomes audiences to join her chosen family while trying to balance being a mom, a wife, a boss, and a performer. Directed by Michael Gracey (“The Greatest Showman”), this look into the private and public sides of a trailblazing artist – who is also a fierce and vocal advocate for the LGBTQ community, where she has long been a fan favorite – mixes footage from the road with behind-the-scenes interviews and personal material, giving audiences a glimpse behind the curtain of “the circus that she calls life.”

THE SOUND OF IDENTITY (June 1, VOD)

Lucia Lucas in ‘The Sound of Identity.’ (Screen capture via YouTube)

This award-winning documentary from director James Kicklighter profiles international opera star Lucia Lucas as she becomes the first known transgender woman in opera history to perform a principal role. Capturing Lucas on the cusp of international stardom as she prepares for her historic performance at the Tulsa Opera, it showcases the collaborative process between Lucas and her mentor (renowned composer Tobias Picker), as they bring Mozart’s “Don Giovanni” to life – with Lucas, a world-renowned baritone, taking the spotlight and all the pressures that come with it. Along the way, Lucas provides fresh insights into her transition, the professional risk she is taking, and what it means for those who follow. A must-see exploration of the role played by identity in our personal and professional lives, as well as a portrait of an artist at the height of her career.

JULIA SCOTTI: FUNNY THAT WAY (June 1, VOD)

Another documentary profile of a pioneering trans artist, this Susan Sandler-directed film takes audiences on an entertaining but emotional roller coaster as it follows the comeback of Julia Scotti – formerly Rick Scotti, who appeared on bills with Jerry Seinfeld and Chris Rock – after her transition during “a time when the words gender dysphoria and gender reassignment surgery were rarely heard.” Shot over a period of five years, this inspirational doc tracks Julia’s triumphant comeback, the rough life on the road, and the complex process of reuniting with her children, as her comedy becomes a shared language of identity, healing, and joy.

SUBLET (June 11, VOD)

John Benjamin Hickey in ‘Sublet.’ (Screen capture via YouTube)

Fans of steamy international LGBTQ cinema can look forward to this film from Israeli director Eytan Fox, whose haunting gay military romance “Yossi & Jagger” broke ground in expanding support for LGBTQ movies in Israel when it was released in 2002. In his latest offering, 50-something American writer Michael (John Benjamin Hickey) travels to Tel Aviv on assignment, where he sublets an apartment from local student – and sexual free spirit – Tomer (Niv Nissim). The young man quickly becomes his tour guide, and as the two spend time together, they soon find themselves exploring more than just the city – despite the clash of generational attitudes between them. Slated to debut at the cancelled-due-to-COVID 2020 Tribeca Film Festival, it’s getting the release it deserves, as a reminder that Pride stretches across all borders.

RITA MORENO: JUST A GIRL WHO DECIDED TO GO FOR IT (June 18, in Theaters)

Directed by Mariem Pérez Riera, this documentary profiles its EGOT-winning subject with a look at her 70+ year career, following the beloved performer from her poverty-stricken youth in Puerto Rico, through her time as an all-purpose “ethnic stock player” in Hollywood (even after the triumph of becoming the first Latina actress to win an Oscar for her role in “West Side Story”), and her eventual rise to the iconic status she enjoys today. It also chronicles not only Hollywood’s not-so-hidden history of racism, sexism, and abuse, but Moreno’s personal struggles – including a toxic relationship with Marlon Brando and her own bout with serious depression – before her talent and resilience allowed her to triumph over adversity, break barriers, and forge a path for new generations of artists to come. The film features extensive interviews with Moreno, as well as George Chakiris, Héctor Elizondo, Gloria Estefan, Tom Fontana, Morgan Freeman, Mitzi Gaynor, Whoopi Goldberg, Norman Lear, Eva Longoria, Justina Machado, Terrence McNally, Lin-Manuel Miranda and Karen Olivo.

IN THE HEIGHTS (June 18, HBO Max and in Theaters)

Anthony Ramos and Melissa Barrera in ‘In the Heights.’ (Photo courtesy Warner Brothers Pictures)

Make no mistake, the long-awaited film adaptation of the 2005 Broadway musical by Lin-Manuel “Hamilton” Miranda and Quiara Alegria Hughes is sure to be the big-ticket movie of the summer. With charismatic bodega-owner Usnavi (Anthony Ramos) at its center, this sweeping musical portrait of Manhattan’s Washington Heights – a neighborhood mostly populated by immigrant people of color and their families – showcases a remarkable and diverse cast that also includes Corey Hawkins, Leslie Grace, Melissa Barrera, Daphne Rubin-Vega, Stephanie Beatriz, Gregory Diaz IV, Dascha Polanco, Jimmy Smits, Marc Anthony, and Olga Merediz reprising her Broadway role.

The show was a Tony-winning smash onstage for its infectious celebration of community, as well as its uplifting message of following your dreams in the face of adversity. On film, as helmed by “Crazy Rich Asians” director Jon M. Chu, it’s a return to triumphant form for the Hollywood musical, executed with breathtaking cinematic vision and a healthy dose of “magical realism” that does nothing to undercut its streetwise swagger – and it’s probably something you should plan to see on the big screen.

After so many months of isolation, you deserve a special treat.

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NBC Universal cancels Golden Globe awards broadcast for 2022

NBC Universal announced the network would not broadcast the 2022 Golden Globes awards ceremony

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Screenshot NBC coverage of the Golden Globes from previous years on YouTube

BURBANK – In the wake of an in-depth investigation into the Hollywood Foreign Press Association (HFPA), the organization responsible for the Golden Globes by the Los Angeles Times, which revealed a lack of racial diversity among its voting members and various other ethical concerns, NBC Universal announced Monday the network would not broadcast the 2022 Golden Globes ceremony.

This past February ahead of the HFPA’s 78th Annual Golden Globes ceremony, HFPA board chair Meher Tatna told Variety magazine that the organization that the organization of international journalists which covers the film, television, and entertainment industry has not had any Black members in at least 20 years.

Actor Sterling K. Brown,  a Golden Globe winner and two-time nominee, posted to Instagram; 

Criticism of the HFPA, which puts on the Globes and has been denounced for a lack of diversity and for ethical impropriates, reached such a pitch this week that actor and superstar celebrity Tom Cruise returned his three Globes to the press association’s headquarters, according to a person who was granted anonymity because they weren’t authorized to speak publicly about the decision, the Associated Press reported.

“We continue to believe that the HFPA is committed to meaningful reform. However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right,” a spokesperson for NBC said in a statement.

“As such, NBC will not air the 2022 Golden Globes,” the spokesperson added. “Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”

NBC’s decision comes as Vogue reported that the backlash to the HFPA came swiftly and decisively. Some of Hollywood’s biggest studios, including Netflix, Amazon, and WarnerMedia, announced they were severing ties with the organization until efforts were made to increase diversity and stamp out corruption, while a group of more than 100 of the industry’s biggest PR firms released a statement in March in which they pledged to boycott the ceremony for the foreseeable future. 

The HFPA did not immediately respond to inquiries by media outlets requesting comment about NBC’s decision.

In February, the organization said it was “fully committed to ensuring our membership is reflective of the communities around the world who love film, TV, and the artists inspiring and educating them.”

“We understand that we need to bring in Black members as well as members from other underrepresented backgrounds, and we will immediately work to implement an action plan to achieve these goals as soon as possible,” it said.

HFPA also announced a full timetable through this summer for implementing promised reform initiatives in response to NBC’s decision.

“Regardless of the next air date of the Golden Globes, implementing transformational changes as quickly — and as thoughtfully — as possible remains the top priority,” the HFPA board said in a statement. “We invite our partners in the industry to the table to work with us on the systemic reform that is long overdue, both in our organization as well as within the industry at large.”

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