Emmys, Oscars, & Other Wins/Snubs

Quinta Brunson made Emmy history, winning Outstanding Lead Actress in a Comedy series for playing Janine Teagues— a character she created. This is her second Emmy after winning for Outstanding Writing in a Comedy Series, 2022. 

Eight years ago, I penned Sixty-Seven Years of White Women in the Lead. This essay reflected on the Emmys historical preference of rewarding the same actresses over and over again in the Outstanding Lead Actress in a Comedy Series category, leaving Black and other women of color nominees as their presenters. At the time, Isabel Sanford and America Ferrera were the only nonwhite winners. 

Legendary actress Marla Gibbs and Quinta Brunson present Niecy Nash with her first Emmy win. 

Yet, the seventy-fifth Primetime Emmy awards (held on Martin Luther King Jr. Day and helmed by Black producers) promoted real change. Abbott Elementary’s Quinta Brunson finally won the coveted prize— forty-two years after Sanford, seventeen years after Ferrera. Other feats included Ayo Edebiri, Outstanding Supporting Actress in a Comedy Series for The Bear (who will be competing as lead next ceremony) and Niecy Nash, Outstanding Supporting Actress in a Limited Series for Monster: The Jeffrey Dahmer Story. Although former favorite actor Steven Yeun (and Ali Wong) also made history as the first Asians to win in their respective categories for the Beef miniseries, their terrible joint statement on the David Choe controversy has left little favor. 

Three women of color acting nominees— America Ferrera, Danielle Brooks, and Da’Vine Joy Randolph.

Unfortunately, it might take the Oscars another hundred years to catch up to what the Emmys did. There were only two Black women nominated for the ninety-sixth annual ceremony, both in the same category for Best Supporting Actress. Black/biracial women filmmakers were not supported despite wins at Sundance Film Festival and the Gotham Awards (the best awards voters after the Independent Spirit Awards).

“It can be very disheartening and draining because it’s like we’re not even given a shot,” A. V. Rockwell said of the film (via Vanity Fair), which has failed to generate buzz in recent months despite winning Sundance’s prestigious Grand Jury Prize. “Even with all the love that’s out there, I think people are kind of set in only certain movies, or only certain filmmakers, getting a chance to be a part of certain conversations.”

Yet, instead of solidarity for the true snubs: unrecognized filmmakers A. V. Rockwell, Ava DuVernay, Savannah Leaf or actors Fantasia Barrino, Teyana Taylor, Greta Lee, Teo Yoo, Will Catlett, or even Vivian Oparah (who scored a surprising BAFTA nomination for a romantic comedy when we know how they feel about the genre)— white women are collectively whining about Greta Gerwig and Margot Robbie. As Barbie producers Gerwig and Robbie are nominated, Gerwig receiving an additional one for Best Screenplay with her husband Noah Baumbach. The only women of color filmmaker Oscar nominee writer/director Celine Song has one nomination for Past Lives. 

Whereas 2022 gave us strong performances in Danielle Deadwyler, Janelle Monae, Michelle Yeoh, Viola Davis, Tang Wei, Lashana Lynch, Angela Bassett, Stephanie Hsu— only three made it to the Oscars, one won. The Andrea Riseborough backlash (and nominating other mediocre actresses) as well as the problematic criticism from anonymous voters ruined its integrity. Meanwhile, the whole 2023 awards season has become tainted by the Barbie versus Oppenheimer film rivalry, poisoning the eighty percent of white voters who more than likely are going to give Ken— Best Original Song. This kind of media frenzy ensured that people of color films would become lost in the vacuum. They do not even support women of color to direct their characters, that’s how apparent these sexist nominations are. 

Ava DuVernay expressed sentiments that mirrored Gina Prince-Blythewood’s remarks: 

“[It’s] unfortunate because we (Black people) watch films from all over the world that have nothing to do with me, and we watch it because we don’t have to be centered, we are used to that because we are so often not centered. I don’t want this to be misconstrued—I’m just saying certain people need a certain kind of invitation, and those of us who are perhaps used to not being centered don’t need that invitation or else we wouldn’t be watching anything.”

To the foolish protesters centering two white women who actually have Oscar nominations for their white feminism film (just not in ALL the categories)— y’all are, once again, banding together for the wrong thing. Until we see certain actresses on the streets handing out “for your consideration” fliers like Aunjanue Ellis-Taylor did, Hollywood remains disrespecting Black women. 

Thus, 2024 promises an ongoing continuation of #OscarsSoWhite. 

Regina King and Her Three Emmy Wins Matter

Regina King now joins an exclusive club of Emmy winning African American actresses.

Monday was a heartbreaking night for the people of color nominees robbed once during a telecast making light of diversity. In a segment entitled "Reparations," co-host Michael Che tracked down black acting heavyweights like Marla Gibbs, Tichina Arnold, John Weatherspoon, Kadeem Hardison, and Jaleel White to hand deliver them stolen Emmys. Although humorous, the skit laid bare historical problems with the Emmys, with white fronted awards shows in general. Still, one of the profound highlights of the night was Regina King receiving her third Emmy win. In the face of likely mostly white voters, this speaks volumes.

A Primetime Emmy nomination is a godsend and to win the actual thing is a small yet vital showing of progress. For the past four years, King has received four consecutive nods-- three for Supporting Actress in a Limited Series for American Crime and one for Leading Actress in a Limited Series for Seven Seconds.

King--having won three of those four nominations-- is in an exclusive club. Rarely has an African American actress won one Emmy, let alone two and three for her acting efforts. So far, Alfre Woodward has four wins out of seventeen nominations and Cicely Tyson has three wins out of fourteen nominations.

Not to discount King's Black Reel or NAACP Image awards and nominations-- those triumphs are significant and valid. However, the Emmys falsely presented themselves as inclusive after the historic nominations were announced last month. During the ceremony itself, "diversity" jokes were sprinkled throughout. King was the first black winner of the night.

"Thank you for creating an opportunity to tell a story and  hold a mirror up to what's going on today," King says in her 2018 Emmys acceptance speech.

When Issa Rae answered, "I'm rooting for everybody black," before last year's ceremony, the white people were on a rampage. Defensive white social media jumped into people's commentary with typical "why make this about race" statements, personally offended by accurate observational assessments. This gaslighting mechanism is designed to keep African Americans silent about what matters during the watching of award shows-- winners representing reflections of themselves. We're at a time now that speaking up for talented actresses and actors. History suggests that African Americans deserve more than to dress up and present to white people. Viewers, especially to those who are avid champions of the nominees, want to see a real change. It obviously doesn't end on the nominations, it ends on the stage with that statuette.

For King, an outstanding actress for decades, a versatile player from dead serious pensive acting to hilarious comedic chops, is worth applauding. With an upcoming turn in Barry Jenkins' adaptation of James Baldwin's If Beale Street Could Talk, here is hoping that the Oscars will knock on her triumphant door soon.

'How to Get Away With Murder' Losing Its Thunder?

Can #HTGAWM bounce back?

How to Get Away With Murder, last part of Shondaland's Thursday lineup, is a killer mysteries and mayhem stunner. With a magnificent, inclusive cast led by Emmy winning Viola Davis, episodes frequently end on juicy, jaw-dropping cliffhangers. Yet since the clumsy finale to season two's big Hapstall case, something seemed amiss about the guilty pleasure drama. Unveiling Caleb as both snitch/murderer and Michaela's nonsensical drunken hookup with prep boy Asher while she was still technically Caleb's girlfriend were limply put together-- sadly unappetizing for a show relying heavily on shock value twists.  

The writers expect us to buy that oddly paired Asher (Matt McGorry) and Michaela (Aja Naomi King) have a romance. Nothing more than tawdry sex mentioned or shown every episode. Are we expected to believe that smart, intelligent, self-sufficient, strong Mrs. Pratt would go for a sleazy, douche-y character who back ends people with their cars? Asher, intolerable, bad-dancing, run on pun, is easily the lamest pick of the Keating 5. Michaela could do so much better.

A bland opened and closed case that left little excitement.

Season three opened with an anonymous person posting Annalise murder posters all around Middleton University's Philadelphia campus. Promos teased for an exciting revelation. The answer to this tawdry riddle, however, was nothing more than a fizzled, predictable outcome. Whereas the other mystery this season is "Who's Under the Sheet." For the first time, the series is showcasing events to the murdered victim as opposed to the events leading to why the person was murdered. So far, it holds steady interest, each episode closing with an alive person. At this point, Oliver, Bonnie, Michaela, and Asher are still breathing with under hospitalized supervision pregnant Laurel (a "Who's the Daddy" came up, but again another easy answer with red flag Meggy being the one who provided the information that Laurel had a bun in the oven).

Wes (Alfred Enoch) and Meggy (Corbin Reid) served nothing more than filler-- at least in Wes's eyes.

The introduction of good girl hospital intern Meggy as Wes's mysterious girlfriend seemed to provide the troubled man distraction away from horrendous events. He had witnessed a bullet strike his rapist father's head, learned his mother really did commit suicide, and gradually no luck came in the romance department. In finding himself a sweet, afro haired bike riding lady (a mirror to his own bike riding ways), he did refrain from being completely honest with her, using their relationship primarily as a scapegoat. Last week's breakup, which he provided all the ammunition to end things, he exhibited cold callous behavior to Meggy (despite her embarrassing "I love you" confession) and had the nerve to bed his friend Laurel seconds after.

Oliver (Conrad Ricamora) broke things off with Connor (Jack Falahee) in the first episode of season three.

Breaking up Connor and Oliver (beloved Coliver) remains to be a complete travesty.
Perhaps it's to ensure that these two characters grow on their own, separate from one another for the time being. Yet Connor has resorted back to his compulsive sex loving ways while Connor, who wanted to be alone, has started seeing someone. This is logical how?

In season three, episode 5's "It's About Frank," Bonnie (Liza Weil) and Frank (Charlie Weber) awkwardly got it on in Coalport, PA.

In the very next episode, "Is Someone Really Dead," Wes (Alfred Enoch) and Laurel (Karla Souza) take a turn between the sheets-- which just as foul as Bonnie/Frank. This results in Laurel's pregnancy. Disgustingly atrocious, but not at all surprising.

The real miss this season is that close platonic bonds have turned grossly sexual. For example, strangely incestuous quadrangle of Bonnie/Frank/Laurel/Wes is a sickening, utterly vapid story line that makes little sense. Chemistry is not something that should be forced down viewer's throats, but each passing episode promises flavorless chewing and vitriolic stomaching. The rotten icing on the cake is Officer Nate getting it on with Annalise's current nemesis, ADA Atwood. Talk about heinous.

A few people hope that Atwood (Miluana Jackson) meets an ala Emily Sinclair demise. That would look suspicious. Best keep her alive and with Annalise besting her in the courtroom time and time again. After all, there are worst things than murder, right?

Well, pushing uncomfortable revolving bed partners aside, two episodes remain before winter break. Prayers that the hugely promoted "Who's Under the Sheet" unravels to a delicious, worthwhile outcome. The other plots are messy and undesirable to watch, in fact cringeworthy is the genuine feeling here. In order to get back to the secret ice cream pint consuming binge joys of yesteryear, it's up to Pete Norwolk and his team of once gutsy writers to invent jolting catalysts that keep a viewer attentive and engaged. Let's wrap up catapulting viewers with unnecessary, baseless hookups and keep them entertained via dark mysteries and tantalizing whodunits. Please.

67 Years of Funny White Women in the Lead

The 68th annual Primetime Emmy Awards aired Sunday night.

For so long, we had waited for a chance to be considered the Best Leading Actress in a Television Series. Cheers came loud and proud from Debbie Allen to Kerry Washington to sistahs in between. Last year, at last, Viola Davis shattered predominantly white glass ceiling by winning coveted Outstanding Actress in a Drama Series trophy for her layered performance as Annalise Keating on ABC's How to Get Away With Murder. It took sixty-seven years to honor a Black woman— which was a lot sooner than the thirty-two years for an Outstanding Leading Actress in a Comedy Series win.
Yet here we are, after sixty-eight years, stuck with pathetic results— one Black woman winner for lead in a drama, one Black woman winner for lead in a comedy.

Isabel Sanford (with Sherman Hensley) with her big Emmy win.

Back in 1981, sixty-four-year-old Isabel Sanford took home the golden statue after her third consecutive nomination in the category for playing Louise "Weezy" Mills-Jefferson on The Jeffersons. She was the first black woman to win Outstanding Leading Actress in a Comedy Series.

So far, she is the only.

Diahann Carroll, Isabel Sanford, Nell Carter, and Phylicia Rashad paved a way. 

On the television screens, they were warm, smart, delightful, and funny-- playing major matriarch role in a slew of uplifting black family sitcoms. Generation after generation found a "mom" to call their own, a maternal hand that playfully slapped common sense into their children's naivety. In moments of despair, attentive audiences counted on these remarkable women to make us chuckle, giggle, and chortle. Sometimes they made us cry. They even made us think, question ourselves, our identities. 

Although other intelligent shows shared comedic chops from A Different World to In Living Single to Girlfriends, not one Black woman could break into the Emmys five to six entry ballot often primarily reserved for white women.

Julia Louis-Dreyfus as Selina Meyer (Veep) for the win. Again.

With Julia Louis-Dreyfus's fifth straight victory in this category, she beats out Mary Tyler Moore and Candice Bergen for most Leading Actress in a Comedy wins. She also holds the record for most Emmy wins out of twenty-two nominations. That almost doubles the amount of total nominees black women have received altogether. Heck, adding fuel to the fire, Louis-Dreyfus, Moore, and Bergen's combined trophies beat them out as well.
TVline's Michael Ausiello's short case for why Louis-Dreyfus needs to exit the race almost seems positive. He mentioned Bergen's polite dropping out:

In 1996, shortly after winning her fifth non-consecutive Lead Actress Emmy for Murphy Brown, Candice Bergen took herself out of the running in order to give one of her peers a shot at the gold statue.

Next sentence in, Ausiello says:

In this era of #PeakTV, a Louis-Dreyfus-less Lead Actress competition would not only allow one of her overdue rivals to grab gold, but it would create a much-needed vacancy in the six-person race, paving the way for the Michaela Watkins’ and Constance Wus and Rachel Blooms of the world to sneak in.

Constance Wu is brilliant in the wickedly humorous Fresh Off the Boat. One of several key snubs robbed of an Emmy nomination this year. Like black women, Asian women are scarcely seen as being capable of delivering weekly humor, let alone seen competition in what is seemed to be known as a white woman's sport. Hence why the yearning to be freed from stereotypical burden has been the strongest initiative in campaigning for the right of television equality and inclusivity. Women of color deserve to play more than pigeonholed constructions. If they can bring out laughs whilst dismantling white supremacy at the same time, they should not be punished or ostracized.

In 1969, Diahann Carroll (Julia) was the first African American to be nominated for Outstanding Leading Actress in a Comedy Series. The role was non stereotypical.

Isabel Sanford (with Sherman Hensley) received seven nominations for Outstanding Leading Actress in a Comedy Series— the most of all for Black actresses. This total also outnumbers the combined amount of the other nominees—a dismal six.

Nell Carter has two nominations for Gimme A Break!

Phylicia Rashad also scored two nominations. She played Claire Huxtable on The Cosby Show for eight seasons.

The 68th Annual Emmy Awards hasn't been inclusive since America Ferrera won an Emmy for Ugly Betty back in 2007. Voters have to stop choosing the same leading white woman year after year. Same selected roster of names are tossed onto ballots each year, the same old finalists— meaning the same old predictable outcome.

Black women and other women of color deserve a real, fighting chance to shine.

“When one of us wins, we all win.”— Taraji P. Henson, 2015