By Kyle Smith
Monday, February 10, 2020
The Oscar ceremony used to command high ground in
American culture. This year it proved beyond doubt that it has become a hostage
to Twitter. It shrank itself to the size of one of those meaningless 36-hour
virtual hissy fits that exists solely in the campus-like enclosed environment
that is Twitter. In so doing, Oscar ushered himself further toward the point of
total irrelevance.
Every year when the Oscar nominations come out, angry
people on Twitter get a bit angrier than usual because this or that sub-group
didn’t meet this or that benchmark in this or that category. The Academy of
Motion Picture Arts and Sciences and the near-century of Oscar tradition it
represents is now, in cultural terms, a wholly owned subsidiary of Twitter Inc.
(né 2006). Twitter got Kevin Hart fired as Oscar host a couple of years ago,
and when other comics’ names were suggested as replacements, Twitter pointed out
that all of them had (like Hart) made rude jokes at the expense of this or that
protected class. So the Oscar ceremony went without a host last year, and this.
This year Twitter ruled that the Oscars had sinned in two
ways: inadequate representation of blacks (one out of 20 acting nominees) and
no women nominated for Best Director. In response, the producers of the
ceremony ordered up an evening of cringing and self-flagellation, begging
America’s forgiveness for its own members’ sinful secret-ballot choices.
To sing “A Beautiful Day in the Neighborhood,” associated
with the extremely white man Fred Rogers, the Oscars rolled out Janelle Monáe,
who paused in mid-song to say, “We celebrate all the women who directed
phenomenal films,” as the broadcast cut accusingly to Little Women
director Greta Gerwig, who didn’t get nominated because Little Women is
not a phenomenal film. (She was nominated for two Oscars just two years ago by
the same group of people for the far better Lady Bird, which tends to
undermine any suggestion that the Academy is insufficiently respectful to her).
Monáe added, “I’m proud to be standing here as a black, queer artist,” and
shared the number with Billy Porter, another gay black performer, who was on
hand to do a song by the very white Elton John.
The Academy torches its mystique and glamour when it
comes across, as it did last night, as more like a haunted associate professor
in Dockers who is desperate to stave off student ire by assuring the glowering
undergraduates that he thinks everything they think, only more so. The Oscars’
theme was Please don’t think we’re racist, please don’t think we’re racist,
interrupted by moments of Please don’t think we’re sexist, please don’t
think we’re sexist.
Steve Martin sarcastically noted that, the first year the
Oscars were given out, there were no black acting nominees, and this year there
was only one—“Amazing growth,” he said. So what? One in 20 is 5 percent. Last
year there were two (10 percent). The year before, four (20 percent). So, over
the past three years, the percentage of black nominees (11.7 percent) is almost
exactly the black proportion of the population is (12.6 percent). Three years ago
there were six black acting nominees, or 30 percent, meaning blacks are
overrepresented among acting Oscar nominees over the past four years. Over
those past several years, by the way, the Academy has been rushing to offer
membership to black film professionals, and as a result, the voting membership
has a much larger proportion of voters of color than it did five years ago. If
a much more diverse membership didn’t award lots of acting nominations to black
performers this year, maybe there . . . just weren’t a lot of great black
performances this year.
Yet the Academy can’t even consider the possibility that
its members put merit above identity politics. “I would never consider
diversity in matters of art,” one prominent voting member, Stephen King, said
on Twitter. “Only quality. It seems to me that to do otherwise would be wrong.”
King must have thought that a long history of being an outspoken liberal would
save him from the Twitter mob, or that saying something obviously true would
not cause undue consternation. But instead, many celebrities took after him,
led by Selma director Ava DuVernay, who called him “backward” and
“ignorant” in a tweet of her own. King backtracked, nonsensically, with a
cringe-tweet saying, “The most important thing we can do as artists and
creative people is make sure everyone has the same fair shot, regardless of
sex, color, or orientation. Right now such people are badly under-represented,
and not only in the arts.” Who does “such people” refer to? Never mind, the
Academy threw itself into representation that was very regardful of sex, color
or, orientation, filling up Oscar night by handing the mike to obscure
performers such as Anthony Ramos, Utkarsh Ambudkar, and Zazie Beetz.
Twitter was the uncredited producer of the show. How else
to explain the prominent presence of the third-tier actress Kelly Marie Tran,
who is almost completely unknown outside Twitter? In 2017, Twitter debated
about how annoying she was and concluded she was very annoying indeed, in a
small part in Star Wars: The Last Jedi. Other users insisted she was the
victim of racism/sexism, because no woman of color can possibly be annoying,
ever. Chris Rock and Steve Martin singled out black members in the audience
(Mahershala Ali and Cynthia Erivo, whose name Martin mispronounced, igniting a
fresh round of Twitter dudgeon during the show) to set up some tired race
jokes. Later Maya Rudolph and Kristen Wiig did a long, grueling bit in which
they pretended to be angry about everything, then insisted they weren’t angry
because, they said, they wanted directors to hire them.
Rock and Martin can usually be relied on to tell the
truth in jokes, but instead they came off as P.O.W.s who knew exactly what was
and was not permitted by their captors. Perhaps they blinked out better jokes
in Morse code, but aloud they did things like wonder what was missing from the
Best Director category (“Vaginas,” was Rock’s answer). When Rock said, “They
decided to go hostless this year,” and Martin asked, “Why is that?” Rock
replied, “Twitter.” Alas, there is no joke there.
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