Rest In Power, Chadwick Boseman. 1976 – 2020

Chadwick Boseman
theatlantic.com

In 2018, during the press tour for Marvel’s upcoming release Black Panther, the film’s star Chadwick Boseman gave a heartfelt interview with SiriusXM Radio during which he shared with viewers a story from his time filming the Afrofuturist superhero epic, which would go on to become a cultural milestone and a critically acclaimed celebration of Black pride and joy. The story was that of two young boys, named Ian and Taylor, both suffering from terminal cancer, whom Boseman had exchanged letters with: the boys were trying to hold out long enough to see Black Panther finally come to life onscreen, but tragically they passed before they had the chance. Boseman broke down in tears while telling the story, but used the moment to talk about the larger cultural impact of Black Panther and the ways in which movies and media can help to empower and inspire communities that often never see themselves represented onscreen in sympathetic roles.

At the time, none of us in the general public knew that Chadwick Boseman had himself been diagnosed with colon cancer just two years prior to that touching conversation. We found that out the hard way last night, when it was announced by Boseman’s family that the star, aged 43, had passed away after an exhausting four-year long battle with the disease, during which he had never ceased in his fight to change Hollywood from the ground up. Last night, we lost a true legend, a man who “radiated power and peace”, whose talent for acting was rivaled only by his talent for effortlessly spreading love, happiness and a sense of pride and dignity to marginalized communities around the globe. As Simu Liu, who would have been his Marvel co-star starting next year, put it: “Without Chadwick, and what he gave to his character, there is no Shang-Chi. Period.”

He was T’Challa, the poised, elegant King of Wakanda that audiences first fell in love with after his thrilling Marvel debut in Captain America: Civil War. But he was also baseball pioneer Jackie Robinson in 42, a role that cemented him as one of the great actors of our time. He was Supreme Court Justice Thurgood Marshall in 2017’s Marshall. He was the “Godfather of Soul”, James Brown, in Get On Up. He was the fictionalized, almost god-like Vietnam War-era soldier “Stormin'” Norman in Da 5 Bloods. He would have been the African samurai Yasuke in an upcoming biopic about the 16th Century warrior. To embody so many of Black history’s most celebrated figures in so little time takes a special kind of dedication and determination – two virtues with which Chadwick Boseman was blessed, beyond a doubt.

Chadwick Boseman
indiewire.com

It’s been hard for me to process the grief I feel over losing Boseman so early – far too early – to a disease as malignant as cancer, when he clearly had so many years left in him, so much art and talent he still could have shared with the world. But processing this pain has been made easier by seeing the genuine joy that Chadwick Boseman inspired, especially in children who looked up to his persona as the Black Panther, but also in Black audiences of all ages and all walks of life, who saw in that groundbreaking character something so much more than just a Marvel superhero with a flashy suit. Reading the tributes to Boseman from Black individuals for whom Black Panther revitalized their interest and pride in their cultural heritage (whether that expressed itself in the action of wearing traditional African clothing or studying Afrofuturistic philosophies, or anything else in between) has been both powerful and humbling.

In the absence of Boseman’s commanding presence, we are left with the legacy he leaves behind and with the urgent opportunity to carry on with that legacy, thus ensuring that future generations will remember Chadwick Boseman as a true king, an honor he deserves after the hard work he put into each and every one of his performances. At the same time we are left with his incredible body of work, which we must preserve so that it may continue to inspire future generations as it did us. We are also left with a sobering reminder to be kind: several months ago, although it wasn’t known at the time that Boseman was battling cancer, the actor appeared in public for a photo that quickly went viral for all the wrong reasons, with people on social media making jokes about his dramatic weight loss. Words have power, no matter how well-intentioned. It never hurts to be kind.

Chadwick Boseman
etonline.com

After winning the Screen Actors Guild Award for an Outstanding Ensemble Cast, the cast of Black Panther, led by Chadwick Boseman, took the stage; and Boseman spoke passionately and eloquently in the space of just a few minutes about the experience of being “young, gifted and Black” in Hollywood at such a crucial time, and how special, how life-changing it was for him to be able to work alongside so many other gifted Black professionals in the business and to give something back to pop culture, something that ultimately redefined the film industry in more ways than he would have ever thought possible. The background music signaling that his speaking time was up played too soon, cutting him off midway through his speech – but Boseman kept talking, refusing to allow that rare, unique, powerful moment to pass until he had made his point loud and clear.

But now, his life and career have been cut short, and he, despite his best efforts to fight colon cancer, is gone too soon: it is understandable and entirely acceptable that many (especially in the Black community) will feel devastated, and will need time for self-care. I cannot and will not dissuade you from taking as much time as you need to absorb this news and process it however you please. But we can’t allow this rare, unique, powerful moment in which we live to pass by either: our world – our society – is at a point where we need to firmly and unequivocally repeat that Black Lives Matter (in our writing, in our speech, in our actions most importantly) until they actually do in the eyes of the law and the institutions that constantly resist that simple statement, or worse, actively seek to violate the freedoms of Black people around the globe, through acts of violence and intimidation. Don’t let the moment pass. Don’t let the music play until we’ve said what has to be said, until we’ve done what needs to be done. Instead, let us all continue to do what Chadwick Boseman would have done: fight to protect Black lives, and fight to see the Black community represented in the media we consume by consuming that media responsibly and uplifting Black voices wherever and whenever possible.

Chadwick Boseman
bbc.com

Rest In Power, Chadwick Boseman.

“Hollywood” Review!

I never reviewed The Politician, Ryan Murphy’s last big, melodramatic Netflix spectacle. For the record, I thought it was actually fairly good – a bit oddly paced, but not a bad series to binge-watch, and it was bolstered by a last-minute cameo from Bette Midler which served as setup for that series’ upcoming second season. But I made the choice not to officially review it, and, occasionally, I regret that decision. I will not make that same mistake with Murphy’s Hollywood, all seven episodes of which dropped on the streaming service yesterday. And that’s because Hollywood isn’t just a soapy drama about cutthroat political activists trying to outsmart each other in a Californian college campus Game Of Thrones – it actually is saying something. It has a hard time saying that something, a lot of the time, and it basically takes a sledgehammer to its own message, but it is trying. It is important, which The Politican never was, in my opinion.

Hollywood
footwearnews.com

It’d be hard to miss what that something is, to be quite clear, considering that, to put it nicely, the story’s themes are unmistakably interwoven into the plot (to put it not quite so nicely, the theme is a giant neon sign flashing in your face every couple of seconds, from beginning until end). It’s a good theme, thankfully: basically boiling down to the idea that movies and media can change the world, and that that’s why representation in those areas matters, because introducing audiences to what they would think of as “radical” ideas – such as, for instance, a black actress starring in a Hollywood blockbuster, or two men walking down the Oscars red carpet hand-in-hand – can help, subtly, to undermine bigotry and forms of prejudice wherever they lurk. In fact, it’s a really good theme – representation is something I have always tried to fight for, using what little platform I have, because I too understand the power of movies and TV. It’s the way in which Murphy goes about expressing this theme – by looking at an alternate reality in which a small group of diverse, idealistic dreamers and free-thinkers worked to radically change the structure of Hollywood in the late 1940’s or early 50’s, placing women, LGBTQ+ individuals and people of color in charge of the corrupt studio system – that can feel uncomfortably idealistic, as if Murphy is diminishing the stories of the real-life heroes and heroines who fought for social justice and equality in favor of his fictional cast. Murphy does get it right on multiple occasions, but it’s a very mixed bag, as you’ll see.

The series’ greatest asset is its all-star cast, which makes it ironic that its greatest weakness is its refusal to trust in their talents. Instead, an all-too-large number of scenes lean on clunky, hammy dialogue and monologuing, even though the actors delivering said dialogue are perfectly capable of conveying what they’re being asked to say with simple looks and gestures. Murphy’s fictional cast got the memo – one character in the show even directs her star to act with his eyes rather than using excessive hand-flailing – but somehow his real cast didn’t. For instance, one particularly cringy scene (which, let me emphasize, is cringy not because of what’s being said, but because of how it’s being said) involves a main character, black actress Camille Washington (Laura Harrier) turning to her white costar Claire Wood (Samara Weaving) and telling her “I don’t need you to fight my battles for me”, after experiencing racism from an auditorium usher. Such a sentiment could easily have been spoken with a single, meaningful glance: but the unnecessarily stilted language makes the scene fall flat, meaning that the good message gets lost or overshadowed. Far more powerful are the tense, largely silent scenes of diverse families across America tuning into an Oscars ceremony via radio to hear the winners announced, waiting through long lists of nominees (something Murphy gets right is poking fun at the ceremony for its excessive length and slow, pondering pace) to hear the names of their favorite movie-stars.

Hollywood
elle.com

Speaking of the stars, let’s talk about them. David Corenswet’s Jack Castello, despite being a lovable and charming character, is, as a straight white male, probably not the best choice to lead a series that (a) aims to be all about diversity, and (b) has plenty of diverse supporting talent who could easily have been upped to the lead role: Laura Harrier, for instance, is often sidelined despite having the intriguing responsibility of playing a character playing a character playing a character, and many of her most exciting opportunities for development never even happen on camera – for instance, Oscar winner Hattie McDaniel (Queen Latifah) counsels the young actress at one point to fight a tooth-and-nails campaign for her first Academy Award, which sounds like it would be a lot of fun to watch and pretty empowering: but we never see it. Michelle Krusiec plays Anna May Wong, a Chinese actress who, in real life, lost out on a pivotal lead role in The Good Earth to a white actress who would go on to win an Oscar for the part: Krusiec’s take on the historical figure is promising in the first couple of episodes, and she’s set up to be a major character – but then she just disappears into the background cast. Other members of the ensemble include Darren Criss as white-passing, half-Filipino director Raymond Ainsley; Jeremy Pope as an idealistic young black, gay screenwriter named Archie Coleman; Jake Picking as closeted gay actor Rock Hudson; and Patti LuPone as Avis Amberg, the Jewish wife of a movie mogul (played by Rob Reiner in just three epiodes) who unwillingly settles into a position of power after her husband has a heart attack, only to discover she has a talent for business – Amberg’s small group of advisors, most notably Joe Mantello’s Dick and Holland Taylor’s Ellen Kincaid, are also lovely additions to the cast, and bring a good deal of genuine warmth and good-natured humor to the series. But I’d be lying if I said that one of my favorite cameos, for purely personal reasons, wasn’t an unexpected performance by The Lord Of The Rings‘ Billy Boyd as one of many closeted gay film executives at a party where we also meet notable Hollywood celebrities such as Tallulah Bankhead and Vivien Leigh (the former portrayed as flighty and fun-loving, the latter as a woman struggling with bipolar disorder).

So the cast is fantastic, of course. So is the series’ production design, costume design, cinematography – everything feels historically accurate…well, except for the actual story. If you ignore everything else, the series is actually a really fun look into the workings of the studio system, and what went into the casting process, and the making of movies. And there’s plenty of fun references to contemporary events and characters – one character derides Disney’s Song Of The South for its racist overtones; we meet the editor who secretly stowed away a copy of The Wizard Of Oz with the iconic “Somewhere Over The Rainbow” musical number intact after a producer insisted it be cut from the film; former First Lady Eleanor Roosevelt (Harriet Sansom Harris) shows up to make a characteristically memorable speech; the movie that Raymond Ainsley and his crew are making is a story about Peg Entwistle, an actress who committed suicide by throwing herself from the H in the Hollywoodland sign – though I find it very strange that, despite how prominent the story is and how frequently it gets referenced, despite the fact that the movie crew even builds a giant version of the H for their film set, despite the fact that the series intro even features all the main cast frantically climbing the Hollywoodland sign…in all seven episodes, no one actually attempts to commit suicide by jumping off the H. They build the entire set, and no one so much as threatens to climb to the top. I call that a wasted opportunity.

Hollywood
stylecaster.com

But now for the bad. In any story about Hollywood, #MeToo issues have to be brought up, and this series has a peculiar, even disturbing way of handling them. Jim Parsons delivers an unquestionably good performance as predatory talent manager Henry Willson, but that’s also part of the problem – he is unquestionably good. No matter how many times he sexually assaults and abuses his clients, manipulating, demeaning and blackmailing them, preying on people powerless to stop him, he is always portrayed as a good character, someone who finds himself on the right side of history because…why? Because he has a sob story that he monologues to Rock Hudson? Is that seriously all he had to redeem himself? Not to give away too many spoilers, but the fact that this series has the audacity to end with the resolution of Henry Willson’s storyline is repugnant: did no one behind the scenes think about what they were doing? Did no one stop and realize that the series cast also includes Mira Sorvino, herself an outspoken victim of sexual assault by Harvey Weinstein? Did no one think before making Henry Willson a major, sympathetic, character in a story about fighting Hollywood’s corrupt system? The fact that the jury is (at least according to some historians) still out on whether or not the real Willson actually abused his clients possibly makes it even worse: because that means Murphy made the choice to depict Willson a sexual predator in his series, and still decided to redeem him.

It’s an especially upsetting situation sad because so much of Hollywood is actually good and important: especially right now, with setbacks occurring every day.  Representation in mainstream media is crucial, if we are to progress as a society – watching Hollywood reminded me of that, not only because we need more quality content with messages like the one in this series, but also because we need more quality content that doesn’t willfully undermine its own message by inexcusably apologizing for sexual abusers.

We’ve gotten to the point where a black woman can, potentially, win the Oscar for Best Lead Actress in a major studio production – but only one, Halle Berry, ever has, in the ceremony’s entire history. We still have a long way to go before it happens again, and I don’t know if a romanticized, fictionalized look into the past is the best way to ensure that it ever will.

Series Rating: 6.3/10