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The industry and white feminism do this all the time, they come up with new and asinine ways to validate exclusion in Hollywood and a complete disregard for women of color who are making incredible strides.

By Candice Frederick I’ve tried to bite my tongue about this. After all, it’s just great to be mentioned, right? Because as women, when one of us wins, we all win, right? RIGHT? Wrong. It’s 2018, and I’m tired of seeing women of color show up for then take a back seat to white women whose accomplishments are just as great as their own, yet they must settle for simply being in the same room as them. Nope, not today Satan. Not anymore. Let me be more frank. You know how everyone is going on about "Lady Bird" this and "Wonder Woman" that, Greta Gerwig this and Patty Jenkins that? It seems like every Hollywood pundit is hailing the two for leading the charge for women filmmakers in 2017, as if Dee Rees didn’t just deliver one of the most astounding and technically amazing films of the year with "Mudbound" (her second since 2011’s also criminally underrated "Pariah"). Where is she in the conversation? Why is she not “leading the charge” and a frontrunner for best director this season? Why this year out of all years, when women are finally being centered in major industry discussions, does that not include Rees? This isn’t about taking anything away from Gerwig or Jenkins (because I know that’s exactly where certain minds go when you try to integrate conversation). In fact, "Wonder Woman" is my favorite movie of 2017 and "Lady Bird", well, is a very pleasant film for those hungry to see a simple story about a young white girl on the cusp of adulthood (because the landscape is sorely in need of those, right?). This also isn’t about using white women’s success as a barometer for women of color creatives, because that’s neither necessary or productive. Rather, this is about including women of color as we amplify those who’ve made extraordinary achievements in 2017 film. Is that too difficult of an ask, too outrageous to consider as more and more award nominations are unveiled sans her name?
Related: 2017 IS THE YEAR WHITE FEMINISM CHECKED HERSELF INTO HOSPICE AND REFUSED TO DIE

Don’t pity Tommy Wiseau for not getting a word in at the Golden Globes, both him and Franco are celebrated for nothing more than being overconfident assholes.

By Nicole Froio Once you’re awake, you can’t ever truly enjoy a movie again. That’s the conclusion I got to watching James Franco’s “The Disaster Artist”, a comedy about the production of the worst film ever made turned cult classic “The Room”. Franco, who won a Golden Globe for Best Actor in a Musical and Comedy, set out to tell the bizarre story of Tommy Wiseau, a quirky-looking, strange-acting man whose dream was to be a Hollywood actor, and his quest to write and film his ‘masterpiece’. However, given the continuous revelations of sexual assault and harassment in the last four months and the practices of abuse of power that seem to be pervasive in Hollywood, Franco’s “The Disaster Artist” shows how white male privilege is uplifted in society—even if the ‘artist’ in question is essentially a failure.  The fact that Franco’s movie is billed as a comedy shows how he thinks white male privilege and the abuse that often comes with it is a huge joke. Franco himself was caught trying to pick up a minor in 2014, and is now being accused of taking advantage of actress Sarah Tither-Kaplan. No wonder he made a movie that essentially celebrates white male incompetence and abuse. When Wiseau and his friend Greg Sestero move to LA to try their luck in Hollywood, it is obvious that they are both painfully, objectively untalented. While Sestero can rely on his good looks and youth, Wiseau’s frighteningly pale skin, long greasy black hair and creepy demeanor puts him in an extreme disadvantage when auditioning for parts. His Eastern European accent would perhaps be forgiven if it wasn’t for his insistence that he is 100% American and from New Orleans. From the very moment anyone meets Wiseau, it’s evident that something is off; yet, his strange behavior is forgiven as quirky and eccentric by Sestero.
Related: THE GOLDEN AGE OF TV DOESN’T BEGIN OR END WITH WHITE MEN

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