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George Floyd One Year Anniversary: ​​How Hollywood Changed Forever

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George Floyd One Year Anniversary: ​​How Hollywood Changed Forever


For 8 minutes and 46 seconds, the world seemed to realize what black people had been saying over the past century when George Floyd was killed a year ago by former police officer and convicted murderer Derek Chauvin. They realized why NFL quarterback Colin Kaepernick was on his knees during the national anthem. They understood what Kevin Powell, the original cast member of “Real World” New York, said in 1992 when the series first aired.

In the third month of nationwide lockdown due to the COVID-19 pandemic, the majority of the country, with nowhere to escape, has seen a man struggling to breathe in real time, calling for, protecting and serving his dead mother’s knee. this was not new “Face of Death” movie franchise. This was Monday.

The entertainment environment was responsive, but it wasn’t just the ordinary soldiers we’d expect to hear, like LeBron James and Ava DuVernay. Late night presenters like James Corden have been honest about not knowing what to do with this new feeling, saying, “I want to learn more and I want that to be a start.” Eminent musicians like Harry Styles, who in the past have been criticized by black fans for being lukewarm on racial and political issues, have finally made their mark.

Living in the post-George Floyd world, the way industry creatives photograph and the way consumers digest these works of art takes on new meaning. Hollywood, at least ostensibly, has established itself as a haven for storytellers, home to artists who can express themselves. It is still unclear whether the industry has fully grasped or evaluated its role. It’s not about the inequalities black people face, it’s about portraying them. The industry is celebrating the achievements and recognition of films like Steve McQueen’s “12 Years a Slave,” while the art is “how-to” at intimate parties with wine and cheese. Familiar It is not current.

Shaka King’s ‘Judas and the Black Messiah’ shows the police and the FBI hunting down and successfully killing Black Pan office president Fred Hampton. Industry executives and viewers see Oscar-nominated films as a thing of the past. They did not see a connection that the same “knock” tactic used to kill the Hamptons was the same one used by the Louisville Metro Police Department in March 2020, resulting in the death of Breonna Taylor. The murder did not result in any government or law enforcement liability.

This is closely related to movies like “America vs. Billy Holiday”. The song icon is arrested and handcuffed to the bed, showing him dying. Or “A Night in Miami” depicts a dialogue and discussion between four black characters. It all signals the prominent white people that the black struggle is over and that it hasn’t been fully explored by the artists who live in them.

The television landscape allowed Michaela Coel to show the immense dangers against black women on HBO’s “I May Destroy You.” It fell almost two weeks after Floyd died. We even got to see the Emmy knelt down and praised Zendaya (for HBO’s “Euphoria”) for being the second black woman in 72 years to win the lead actress drama.

When we lost “Black Panther” star Chadwick Boseman in August 2020, the Black community mourned one of the only positive media symbols we’ve seen in recent memory, so we desperately need more representation for our children and the next generation of artists. reflected. The pioneers of modern cinema, Steven Spielberg and Martin Scorsese, won the title. As you move through old age, you will eventually have to hand the baton to the next generation of storytellers. Spike Lee, OG in the Black filmmaking space, is still going strong and shows no signs of slowing down. The question is, how many black creatives will “try to fill the void” if Lee is no longer with us? People will point to great figures like Ava DuVernay and Barry Jenkins (you’d be right), but the pipeline for black filmmakers is much smaller than for us white filmmakers.

Boseman’s legacy was so sacred to the black community that he couldn’t please any other actor playing T’Challa in a future film. Think how much those two mean to us. One of the few black superhero characters who will play a big role in the future of the biggest franchise in the world should not be portrayed by anyone else because of what he intended. Plenty. For many who saw the public reaction to his death, the definition did not sink.

Protesters walk peacefully on the streets of Hollywood in Los Angeles, California on June 2, 2020 in response to the killing of George Floyd by Minnesota police.
Michael Burkner /Variety

In all of this we also approached “black burnout”. In the entertainment industry and beyond, companies were flooding their already marginal pool of black employees with conferences to help “explain” and “better understanding” racial injustice. Your co-workers, former classmates, and your white friends have reached out to Catholic-like reconciliation to acknowledge the privilege, begging for an apology and “check out how you’re doing all this.” Tired.

Nevertheless, cultural opponents and restless whites have starred in the movie year and wrote it as a “reaction” to Floyd and Black Lives Matter rather than a truly progressive act. Even the award strategists who led the campaign for this groundbreaking achievement misread the importance of this social flash and used the Oscar campaign equivalent of “look, I have a Black friend.”

Incidentally, it was the same industry behind it that rocked itself for every “opportunity” POC offers. I remember the day an AMPAS member who forgot or didn’t realize that I was half-black said, “There are too many black movies.” Four or five people who had serious debates over the Oscars were “too many” for him to look at. Instead, he longed for the comfort of old-fashioned films that didn’t focus on race.

That academy member’s thoughts are the feelings blacks often feel after the tragedy of our “alliance”. It is a desire to “return to normal” and not have to face the daily truth about our inequalities and shortcomings against black people worldwide. Hearing phrases like “It’s all we say” or “Not everything is about race” tends to follow and is a small sample of how these experiences vary from person to person.

As for the POC, there are those who still think that’s not the case. Our Problem. Four days before the jury deliberated Chauvin’s trial, bardicam footage showed Chicago police officer Eric Stillman shooting an unindicted 13-year-old Latino Adam Toledo. Pennsylvania police killed 19-year-old Asian-American Christian Hall, who was in a mental health crisis, and deemed “justifiable”. This is happening amid an increase in hate crimes in the United States with no relief plan in sight.

Paramount Plus’ ‘The Real World: Homecoming’ season finale aired in April, with moments of perfect encapsulation filmed in the middle of the pandemic. Following an argument with his ex-roommate Becky (can’t be racist because he took African-Brazilian dance classes), writer and activist Kevin Powell breaks into tears and tells how his friend Norman talks about the painful experience of stroking his head. talk about what you did. On the toilet because he was gay. “It doesn’t turn off the conversation,” Powell said. “I don’t run away. I have to listen to him. That’s all black people say. will you listen Us and stop shooting Us?”

The aftermath of a tragedy is where sadness is most prevalent. When the cameras disappear and the industry moves on to the next big spectacle, we are left with only thoughts and open wounds, even if we have a respite. Today will be as hard as yesterday and tomorrow and the next day will be. We must be there for each other. It is listening and learning. That’s the beginning.





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Central Partnership, BF Films Partner on Horror Film ‘Schizophrenic’

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Central Partnership, BF Films Partner on Horror Film 'Schizophrenic'


Russian production and distribution powerhouse Central Partnership and Latin American film group BF Films announced their first co-production. Variety can be exposed.

“Schizophrenia” is a psychological horror film set in the real world of a serious mental disorder. Dark stories from real patients will be inspiring, and various schizophrenic symptoms, including conspiracy theories and altered reality perception, are part of the script.

The story was created by JP Jacobsen and the script is being written by Hernanny Perla (“Blink, “Revelation”, “Santería”), who has appeared twice on Hollywood’s blacklist. Perla is represented by Verve, Anonymous Content and attorney Marios Rush.

The film’s director and cast is currently scouting and will be announced in the coming months. The project will be filmed in English by an international team working in Russia at the end of 2021 or early 2022. Executive producers include Carlos Hansen, Partner and CEO of BF Films, Juliana da Cunha Jacobsen, Partner and Head of Acquisitions at the company, and Vadim Vereschagin, CEO of Central Partnership. .

“For over 15 years, we’ve been looking for the world’s best film projects and distributing them widely in Latin America,” Hansen said. “We know what works on our territory. Now is the time to work with our favorite international partners to develop and produce BF’s projects for the global market.”

Jacobsen said, “’schizophrenia’ is a vivid example of what BF Films is pursuing. “We all know that the horror genre is exploding around the world, and the challenge is to do something fresh to stand out in a complex market. This story has an interesting premise, two iconic female protagonists, and a lot of creative potential that we are sure will attract world-class talent.”

The film is distributed in Latin America by Central Partnership in Russia and BF Distribution. The company is also working as a partner to sell rights to other territories.

Vereshchagin said, “We are excited to start a new chapter in the history of Central Partnership and to start a joint project with our outstanding partner BF Distribution, one of the largest independent content distributors and creators in Latin America.” “’Schizophrenia’ makes a strong statement and is perfectly positioned to be a successful horror film. This story appeals to one of the most relatable human fears. It will be understood and felt by a wide audience not only in Russia and Latin America, but also around the world.”

The project was announced at the Key Buyers Event held online from June 8-10. Also on the slate of the Central Partnership during the KBE is “The World Champion” (pictured), a drama based on the legendary 1978 chess match between Soviet world champion Anatoly Karpov and dissident Viktor Korchnoi. the 1920s drama “December”, which follows the last days of Sergei Yesenin, a famous Russian poet and American dancer in love with Isadora Duncan; ‘Row 19’ is a psychological thriller centered on a young doctor and a 6-year-old daughter who is caught in a storm by her 6-year-old daughter on a red-eye flight.





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‘Love, Victor’ Season 2 Captures Parents’ Struggle to Accept Gay Son

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'Love, Victor' Season 2 Captures Parents' Struggle to Accept Gay Son


Spoiler warning: Don’t read if you haven’t seen season 2 of “Love, Victor” streaming on Hulu right now.

The second season of ‘Love, Victor’ (a spin-off series on the 2018 groundbreaking feature ‘Love, Simon’) begins where Atlanta teenager Victor Salazar (Michael Cimino) tells his parents he’s gay, where the first stops. Start. . After waiting a year, audiences will finally see how Armando (James Martinez) and Isabel (Ana Ortiz) react to their son’s announcement.

no scary – No tears or screams, no accusations or rejections. But at first, neither parent accepts who Victor is. Armando at least awkwardly asks about his girlfriend (i.e. an attempt to convince him that Victor can be with a girl) and wonders out loud when he decides he’s gay.

But Isabel remains silent. When Victor finally asks her to say something, she whitens.

“Well, I think I should get some rest,” she said, barely listening. “And we can talk about it tomorrow.”

When the episode ended 10 weeks later, Victor and Isabel still hadn’t talked about it. As the season begins, Armando attends a meeting of the local chapter of the LGBTQIA+ alliance support group led by Simon’s father Jack (Josh Duhamel), working to understand his son, while Isabel tries to accept the fact that Victor is gay. really struggling for

Co-showrunner Brian Tanen said, “It’s dishonest when he comes out and everything goes well. “In 2021, parents just want to hug their children and say that everything will be fine. But our job on this show was to tell a different opening story than what Simon had in the movie.” – Simon’s parents understood and embraced him almost immediately.

“Love, Victor” shows a different course, which is a bit more subtle. When Victor begins his first same-sex relationship with boyfriend Benji (George Sheer), Isabel doesn’t spend time with Benji, not to mention flinching and admitting that she’s dating her son.

Ortiz said about Isabel’s arc in season 2, “It’s going to sound a little weird, but I was actually a little excited when they told me,” Ortiz says. “It was really exciting to play. It was really different.”

In the stories that usually come up, a mother is someone who understands and is committed to her LGBTQIA+ children. Ortiz played the role perfectly as Hilda Suarez, fiercely protecting her young gay son Justin (Mark Indelicato) in ABC’s beloved telenovela “Ugly Betty.” So she enjoyed the twist.

“I thought Continuously” Ortiz says about the difference between Hilda and Isabel. “They are two sides of the same coin, right? Hilda will fight anyone who sees Justin in the eye. Isabel, on the other hand, thinks people are too clingy to her, her family, and to thinking of her as a mother. ‘How can you raise a gay son? If it were me, I wouldn’t make him gay. ‘ I’ve heard quite a bit from people in my community. ‘I do not know, no — Say he can’t be gay. Tell her you can’t do that. ‘”

Ortiz saw these dynamics at work within his family. She conveys how her late cousin Freddy devoted herself to her paternal grandmother Ramona, even though for a long time Ramona could not accept the fact that Freddy was gay. That dynamism helped inform Ortiz’s understanding of why it took Isabelle so long to support Victor.

“She’s not a monster,” Ortiz says. “She loves her son and loves her family. The road that got me in was to think about Freddie and Ramona and how much we all loved her in spite of its flaws. She was still there for Freddy, but there was always a little thing until it wasn’t there. Until the light changes.”

Ana Ortiz as Victor’s mother Isabel and George Sear as Victor’s boyfriend Benji in “Love, Victor”
Courtesy of Michael Desmond/Hulu

The “Love, Victor” writers also mined personal experiences that come to their parents as they craft Isabel’s journey this season. Postpone a difficult conversation with Victor to another day with Isabel’s initial reaction.

“The idea that there is no answer to people who don’t accept the idea that their parents are coming out right away is something we hear over and over,” Tanen says. “The idea that the parents are just hesitant and don’t want to say one side or the other is a bit shocking for A and B doesn’t want to say anything negative, but they are traveling.”

One of the biggest stubbornnesses between Victor and Isabel is Victor’s refusal to tell his brother Adrian (Mateo Fernandez) that he is gay. This is a development that stemmed from a small argument when “Love, Victor” first moved out of their home. From Disney Plus to Hulu Before Season 1

Tanen said this move helped the show, allowing Season 2 to portray the sex life of Victor and Benji in a rare, candid way, but decided that “Love, Victor” couldn’t be on a more “family-friendly” Disney Plus. “It sparked an interesting conversation in the writer’s room about whether LGBT issues are inherently more adult.”

“They are in some ways a discussion of sexuality, and sexuality is more of an adult subject,” he continues. “We wanted Isabel to think about whether it’s okay to have these conversations with the kids. Of course it is. This is a conversation about people. are.”

When Adrian learns that Victor is gay, he accepts it without thinking again, and Isabel faces the biggest obstacle between her and Victor: a lifelong commitment to the Catholic Church. Early in season 2, Isabel also asks her bride about Victor. He advises her to help her son get back to Jesus, that is, stop homosexuality.

“When Victor agrees to be reluctant to come out, she doesn’t want to hear it,” Tanen says. “Looking at her face, she wants the bride to turn her around on this matter. Her heart and mind are elsewhere.”

Later, when Adrian tells Isabel that the bride hinted that Victor’s soul is in danger, there is the same light switch moment Ortiz’s grandmother had with Ortiz’s cousin Freddy, and she marched into the bride’s room to announce him. do.

“I was brought up to believe in a lot of ugly things, Dad,” she says. “It seems like it will take me to forget the rest of my life, but I will.”

Ortiz liked the scene, but said the director had to keep reminding her to reverse her reaction. “My instinct is, ‘Free me!'” she said with a laugh. “But that’s not Isabel. She still conquers a lot more about it.” (Still, Tanen remembers “people clapping” after the scene ended while she was reading the table for the episode.)

Tanen, who’s been writing Ortiz’s scenes after “Ugly Betty,” wrote the second episode of the season, in which Isabel finally tells Victor the desperate story he wants to hear: “I accept you, Victor. I love every part of you.”

That kind of happy ending doesn’t reflect every parent’s reaction to their child’s sexuality, but Tanen says it fits the larger mandate for “Love, Victor” to avoid the trauma of coming out.

“We want to feel inspired and uplifted at the heart of the show,” he says. “It can be an emotion in a writer’s room when people recall their journey, but it can also be incredibly cathartic. And it’s also a chance to make some wishes come true. Even if it’s not perfect, it’s an opportunity to rewrite history to show the LGBT audience, ‘This is the way to go.'”

Even telling queer stories in place empathy can lead to unexpected places.

“It is now a little easier to talk to someone in the family. [homophobic] Look,” she says. “Before I go to dinner and have a screaming argument. Now I think we can talk to them and take a closer look at them from their side.”

“I think it’s really important to have those conversations. “Now everyone is so angry. I mean, the world is upside down. But when it comes to family, when it’s a loved one… You can keep these conversations calm. And you can watch the show with them and say, ‘Now we can talk about it.’”





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‘Catch up on Kardashian’ is over, but the marathon continues at E!

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'Catch up on Kardashian' is over, but the marathon continues at E!


After 20 seasons, the Kardashian-Jenner family signed “Keeping Up With the Kardashians,” with the series finale airing Thursday night heralding the end of the reality TV era. But that’s good news. Dolls: Long after the family moves to Hulu, fans can watch the “KUWTK” marathon on E!

E! reserves the rights to the juggernaut franchise Variety I found out that the NBCUniversal cable company owns the “Keeping Up” library and can continue to air episodes even if the family is deeply involved in their new contract with Hulu.

In addition to being able to air on E!, seasons 1 through 19 will continue to stream on Peacock and Hulu, with season 20 available on both services in 2022 under existing streaming deals.

Throughout the original run of “KUWTK,” the reality show was able to binge on Hulu. Hulu’s high engagement among its consumer base has proven to be a good synergy and is part of the reason families are moving to Disney-owned streaming services.

Kardashian-Jenners is expected to bring new shows to Hulu and Disney’s Star international streaming service starting later this year, but details about the content, format, or number of projects have not been announced. Announced in December 2020, the deal was set up with the families of Kris, Kim, Kourtney, Khloe, Kendall and Kylie.

“Keeping Up” aired in 2007 and revolutionized reality TV, popular culture, and celebrity definition. The flagship show ran 20 seasons and 9 spin-offs, featuring 440 episodes and approximately 20,000 hours of footage for a total of 38 seasons. E!’s smash hit “KUWTK” was a major player on Cabler in its final season, and as the series aired in 90 and 20 countries, it garnered an impressive audience and major advertising dollars not only domestically but also worldwide. other languages.

Last deal the Kardashian-Jenners made with E! Networks and families have commented on the sizable salary, but it was reported at $100 million in 2017. Hulu trading terms were not disclosed.

Although it cost the family quite a bit, E!’s return on investment has been worthwhile not only for its fresh content, but also from its well-received iterations, even if it’s already aired multiple times. The marathon in “Keeping Up” has been a staple of E!, filling a lot of airtime almost every day.

E! Although they haven’t made any programming announcements about how the “Keeping Up” iteration will fit into their future schedule, the show’s immense success and deep-rooted fan base will likely allow cable producers to take advantage of franchise ownership for years to come. will come

Actually the series is over, but E! There’s more Kardashians content to catch up with. Before the family officially leaves for Hulu, Andy Cohen will be reuniting with the family for the first time. June 17th at 8pm and June 20th at 9pm Part 2 special broadcast





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