The Academy of Motion Picture Arts And Science signed the death warrant of the Oscars, or, in the alternative, the film industry itself. This would warrant the “Madness! Madness!” clip, but I’m getting sick of it since that last moment in “Bridge Over The River Kwai” been relevant almost every day since early June.
It was in June, in fact, that the Academy said it would add a diversity component to the Oscar requirements. I wrote than that it was an anti-artistic development. Yesterday, the dreaded other shoe dropped, and it was far more dilapidated and stinky metaphorical footwear than I could have imagined, even with the complete contempt for Hollywood and the intellect of its leadership I have developed over the years. I am certain the race-hucksters and minority activists are dancing with joy, having destroyed the Oscars in order to “save” them. Yes, it’s a victory: the Woke Mob has succeeded in wrecking another American institution and source of enjoyment for the public. The only question is which institution: merely the Awards, or Hollywood itself.
To be optimistic, I assume it’s just the Oscars, in which case the Academy just committed suicide. The Awards show once was a shared cultural experience, then the actors started getting political and partisan, then the integrity of the process began to look fishy, and over time, culminating in the nominations miraculously including more African American nominees because a activists complained about too many white people receiving the honors. If I had bothered to think about the Oscars at all, they would have been high on my list of casualties of the George Floyd Ethics Train Wreck. Of course Hollywood would leap at the invitation to mandate the “right” kind of discrimination.
When you read the hilariously pompously named “Academy Aperture 2025” below, it should become immediately clear that the Academy has abandoned its mission of encouraging, promoting and rewarding excellence in cinema, and now will be giving out awards for meeting interest group dictated quotas and dubious social justice criteria. Whether the movies are any good or not will be secondary. Artists are being given incentive to seek political objectives at the cost of artistic integrity and worth. Well, good luck with that: I doubt many Americans will care about such awards, especially since they barely care about the Oscars now. The Academy Awards seem to be following the doomed path of the Miss America Pageant, which capitulated to the feminists, ceased to be about attractive women in bathing suits, and thus eliminated the only justification, already slim, for its existence.
I think I understand how the Academy came to make such a bone-headed decision: it is dominated by progressives, and as they have devolved from passion to fanaticism to obsession, progressives have become deluded into accepting the concept that politics and political correctness determines virtue and value in all things. It is an indefensible decision that betrays the essence of art, but I understand it.
I assume that most film-makers, and all of those with integrity— will choose to follow their artistic vision whether it allows the requisite number of “diversity” boxes to be checked or not. I assume that eventually, maybe quickly, a widely praised and a hugely successful film will be snubbed for not having the required number of handicapped and trans key grips, and the Awards will be mocked out of existence. We shall see: the studios, being award-hungry and run my morons, will initially insist that films meet the Oscars’ restrictive criteria, and then, when the box office suffers, most of them sill conclude, “To Hell with this: let’s make movies people want to see.”
Hollywood has bet its chips on joining the Black Lives Matter mission of creating a race-based culture where color and ethnicity, and secondarily gender, dictate advancement, financial rewards, influence and power. This is part of the indoctrination process, and if it results in bad art, so be it.
I think it’s a foolish bet, but time will tell.
Now hold on to your butts, as Samuel L. Jackson says in my favorite dinosaur movie: here are the standards that, beginning in 2024, films will have to meet on order to to qualify for the Best Picture category…
STANDARD A: ON-SCREEN REPRESENTATION, THEMES AND NARRATIVES
To achieve Standard A, the film must meet ONE of the following criteria:A1. Lead or significant supporting actors
At least one of the lead actors or significant supporting actors is from an underrepresented racial or ethnic group.
- Asian
• Hispanic/Latinx
• Black/African American
• Indigenous/Native American/Alaskan Native
• Middle Eastern/North African
• Native Hawaiian or other Pacific Islander
• Other underrepresented race or ethnicityA2. General ensemble cast
At least 30% of all actors in secondary and more minor roles are from at least two of the following underrepresented groups:
- Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearingA3. Main storyline/subject matter
The main storyline(s), theme or narrative of the film is centered on an underrepresented group(s).
- Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearingSTANDARD B: CREATIVE LEADERSHIP AND PROJECT TEAM
To achieve Standard B, the film must meet ONE of the criteria below:B1. Creative leadership and department heads
At least two of the following creative leadership positions and department heads—Casting Director, Cinematographer, Composer, Costume Designer, Director, Editor, Hairstylist, Makeup Artist, Producer, Production Designer, Set Decorator, Sound, VFX Supervisor, Writer—are from the following underrepresented groups:
- Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearingAt least one of those positions must belong to the following underrepresented racial or ethnic group:
- Asian
• Hispanic/Latinx
• Black/African American
• Indigenous/Native American/Alaskan Native
• Middle Eastern/North African
• Native Hawaiian or other Pacific Islander
• Other underrepresented race or ethnicityB2. Other key roles
At least six other crew/team and technical positions (excluding Production Assistants) are from an underrepresented racial or ethnic group. These positions include but are not limited to First AD, Gaffer, Script Supervisor, etc.
B3. Overall crew composition
At least 30% of the film’s crew is from the following underrepresented groups:
- Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearingSTANDARD C: INDUSTRY ACCESS AND OPPORTUNITIES
To achieve Standard C, the film must meet BOTH criteria below:C1. Paid apprenticeship and internship opportunities
The film’s distribution or financing company has paid apprenticeships or internships that are from the following underrepresented groups and satisfy the criteria below:
- Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearingThe major studios/distributors are required to have substantive, ongoing paid apprenticeships/internships inclusive of underrepresented groups (must also include racial or ethnic groups) in most of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.
The mini-major or independent studios/distributors must have a minimum of two apprentices/interns from the above underrepresented groups (at least one from an underrepresented racial or ethnic group) in at least one of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.
C2. Training opportunities and skills development (crew)
The film’s production, distribution and/or financing company offers training and/or work opportunities for below-the-line skill development to people from the following underrepresented groups:
- Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearingSTANDARD D: AUDIENCE DEVELOPMENT
To achieve Standard D, the film must meet the criterion below:D1. Representation in marketing, publicity, and distribution
The studio and/or film company has multiple in-house senior executives from among the following underrepresented groups (must include individuals from underrepresented racial or ethnic groups) on their marketing, publicity, and/or distribution teams.
-
Women• Racial or ethnic group:
-
Asian
-
Hispanic/Latinx
-
Black/African American
-
Indigenous/Native American/Alaskan Native
-
Middle Eastern/North African
-
Native Hawaiian or other Pacific Islander
-
Other underrepresented race or ethnicity
-
LGBTQ+• People with cognitive or physical disabilities, or who are deaf or hard of hearing
___________________________________
Sources: New York Times, Deadline
Oh, rats…I can’t resist…
Ethics Alarms 
Guess we won’t be seeing a sequel to “Master and Commander,” eh?
That was never going to happen anyway, director Peter Weir said as much 15 years ago – the profit wasn’t the kind that generates one. It joins The Spiderwick Chronicles, A Series of Unfortunate Events, His Dark Materials, The Chronicles of Narnia, The League of Extraordinary Gentlemen, Green Lantern, Justice League, and a few other attempts to start franchises that never got off the ground or sputtered.
Then again, none of those were exactly politically correct, either. Sci-fi and fantasy are not terribly diverse fields of fiction.
“At least one of the lead actors or significant supporting actors is from an underrepresented racial or ethnic group…
At least 30% of all actors in secondary and more minor roles are from at least two of the following underrepresented groups…
The main storyline(s), theme or narrative of the film is centered on an underrepresented group(s)…
Hey remember that movie that was just Ryan Reynolds in a box
Well, they have completed the process of making the snob awards. How many of the great productions and directors of the last century will not pass muster? I’m probably pretty typical viewer of the oscars twenty years ago: movie goer, dating, middle of the road (Ie annoyed at both parties at times) politically, and a desired demographic as college educated female with disposable income in a tech field. But I started avoiding the show over a decade ago.
As the speechifying and ‘messages’ began to detract more and more from the actual tribute and awards, the ceremonies lost any enjoyment. I still wanted to watch the obit essay, but that was honestly the only part I miss as even there political incorrectness overtook influence on the industry. I really miss when the art was allowed to stand on its own, even when celebrating the year. I don’t think today’s activists in the industry understand how dated and pathetic yesterday’s causes seem a generation later. That will be them. Niven’s aplomb made far more impact than the exhibitionist.
More good news from Tinseltown:
“Disney’s Mulan likely to bomb in China. Hit by coronavirus, boycotts and controversy, Liu Yifei film fails to inspire mainland audiences”
Disney genuflected to receive PRC/CCP approval for an updated script. And now people in the PRC are giving Mulan 4.7/10 ratings and claiming that the movie “mishandled Chinese culture”. Opening day receipts: $US 300,000. And folks in Hong Kong are boycotting the movie because the lead actress publicly supported the crackdown against democracy protesters last year.
Walt’s probably spinning around in his cryogenic capsule these days.
https://www.scmp.com/lifestyle/entertainment/article/3100799/disneys-mulan-likely-bomb-china-hit-coronavirus-boycotts
I’ve read non-ranty articles on the historical inaccuracies in this adaptation. One of the biggest general complaints is making Mulan less human and removing her honest struggles in learning to be a soldier. In the attempt to make a historical, pro-woman movie Disney did the opposite.
Wow. I haven’t seen the movie but it’s pretty remarkable that after 10,000 “empowering” movies with boring, no-personality, flawless female action heroes, they keep making that same mistake. Heroes are supposed to be out of their league at first; that’s what makes them relatable.
Yes, even superheroes have to learn how. It’s what makes them someone who inspires.
Honest question: are Jews going to be counted among underrepresented ethnicities? Because if they are, I don’t think the woke forces behind the push are going to like it, and if they aren’t… well, it’ll make for some interesting interpretations of Fiddler On The Roof.
I suspect major studios and production outfits will scramble to hire Directors of Diversity, as have the colleges and universities. And those guys and gals won’t come cheap. And as Jack suggests, over time, that cost will be eliminated from the budget as the waste of money it is.
Well, if it means anything, actress Kirstie Alley is slamming the new standards.
https://www.aol.com/2020-09-09-kirstie-alley-calls-new-dversity-rules-for-best-picture-oscar-a-disgrace-to-artists-everywhere-24616110.html
Like mariedowd, I used to watch the Oscars, then slowly gave it up over time due to its bloated, smug, self-congratulatory hypocrisy. The In Memoriam segments I watch online the day after so I can rage over which forgotten luminaries were overlooked in favor of demographic appeal.
The Oscars: A large attention grabbing event hosted and attended by people compelled to the point of professionalism to grab attention.
Isn’t it ironic?
But, then, what other industries televise their awards ceremonies?
Exactly! All these people that produce and act in films and television shows get to do a show all about them producing and acting in films and television shows. It’s essentially reality TV. They’re all ACTING! But are we surprised? That’s what they DO!
Hilarious.
My recollection is that quotas such as these are specifically proscribed under Title VII, except in extremely limited circumstances. I think some California employment lawyers are going to be very busy…
I was going to make the same comment. However, the the judges are not hiring anyone. That is what makes this insidious.
If you want to be eligible to compete you must follow our hiring quotas, of course such decisions are purely voluntary and we do not advocate any form of discrimination. This is Orwellian double speak.
That won’t save the producers, though. There’s plenty of case law that says you can’t engage in discriminatory conduct even if your customers or other third parties require it.
“I’m getting sick of it since that last moment in “Bridge Over The River Kwai” been relevant almost every day since early June.”
I think that this one from River Kwai has limitless upside:
Funny thing…. Bridge won (or so Wikipedia tells me) 7 of the 8 Academy Awards it was nominated for.
Would it pass the Diversity Requirement? It might pass A2 because of all the Asian extras, but I can’t imagine it passing C or D.
What about the aged and the blind. I don’t see a place for them! Will the criteria change when the white, heterosexual male becomes the minority!
White hetero males are a minority relative to BIPOC and women.
Forget them, why are Southern Africans omitted? Is that to punish South Africa or Botswana? Jerks. Have you seen the work coming out of Soweto lately?
As a practical matter I have neither cared nor watched the Oscars in decades. I tired of the mutual admiration society and gave up watching it.
jvb
This is hilarious. Where in Hollywood are you going to find a homosexual Costume Designer or Hairstylist, much less one who is black or Hispanic?
But, it would be interesting to see if any of the prior winners would have qualified (you have to meet all four standards, right?)
If Spike Lee had any integrity, he would put together a movie with an all-white cast, just to get snubbed.
Or, maybe we will see Madea movies sweeping the Oscars for the next decade. I would love to see that.
-Jut
Just like with the Bechdel test (A test that asks if two named women in a film talk to eachother about something other than a man), which feminists twittered about but never actually became a requirement to anything, this Oscar Diversity test will lead to some absolutely absurd outcomes.
I mean, think about it, Gravity fails the Bechdel test. So does The Avengers, Jackie Brown, The Girl With The Dragon Tattoo, Laura Croft, and The Imitation Game. That list represents a not-exhaustive list of failures that happen to have some pretty woke undertonees. You want to know what passes? Any lesbian porn where the two named women moan about how much they love eachother’s pussy.
What fails this Oscar Diversity requirement? Schindler’s List. Gravity (again!). La La Land. The Departed. A Beautiful Mind. Titanic. Braveheart. The Silence of The Lambs. Rocky. The Godfather. Hell…. What passes?
Maybe Chicago.
-Jut
I expect that directors/producers who want to create art and the Oscars be damned will soon have to enter ‘re-education’ camps. Sorry, but we are heading in that direction. Humble Talent’s list is a good one, but incomplete. Is ‘Casablanca,’ ‘Mrs. Miniver,’ ‘Jurassic Park,’ ‘The Best Days of their Lives’ will become non-art, not shown on TCM and relegated to the trash heap. I do hope TCM has the guts to speak out against this madness. Any others? Don’t have to think too hard, but I’m tired. Looking for others…
What happens if no film is good enough that meets this newly established criteria?
What happens to foreign films? Would Parasite be excluded because of the lack of diversity?
easy solution.
Just whoever is white can say they identify as a minority. Right?
Would be consistent with the rest of changes.
I’m going to identify as Eddie Murphy so I can play the old white Jewish guy in the remake of “Coming to America.”
The stupid is more virulent than Wuhan virus.