Angelina Jolie Shows Support at THR’s Women in Entertainment Breakfast

Photos: Owen Kolasinski/BFAnyc.com

Angelina Jolie, Khloe Kardashian, Melissa Rivers, and Giuliana Rancic were among guests at The Hollywood Reporter’s 23rd annual Women in Entertainment breakfast honoring the golden woman of prime time, Shonda Rhimes. The honor coincided with the mag’s ranking of the 100 most powerful women in the industry.

Jolie, who is ranked ninth on the list has been busy directing Unbroken, a film that chronicles the life of Louis Zamperini, an Olympic runner who was taken prisoner by Japanese forces during World War II. Check below to see who sipped lattes in celebration of Women in Entertainment.

1. Darby StanchfieldShonda Rhimes and Joel McHaleBFA_11057_1346798

2. Khloe Kardashian and Kris JennerBFA_11057_1346809

3. Melissa Rivers The 2014 HOLLYWOOD REPORTER Women in Entertainment Event

4. Jay LenoThe 2014 HOLLYWOOD REPORTER Women in Entertainment Event

5. Giuliana RancicThe 2014 HOLLYWOOD REPORTER Women in Entertainment Event

6. Angelina Jolie and Donna Langley The 2014 HOLLYWOOD REPORTER Women in Entertainment Event

‘Awkward Black Girl’ Creator Issa Rae Talks About Her Webseries and Television Ambitions

The second season of “The Mis-Adventures of an Awkward Black Girl,” the popular web series created, produced, written and staring 28-year-old Issa Rae, came to an end last Thursday. Since this viral, award-winning show debuted back in 2011, we’ve watched J, the endearing socially inept lead character, fumble her way through her relationship with White Jay, a dead-end job, and the mundane occurrencesthat make up her days. “Long hallways are the epitome of discomfort. I already said hi to this woman, what other interaction can we possibly have? ” J asks in her voice-over. “Am I supposed to look at her the whole time? Do I act like the blank walls are interesting enough to stare at?”

Such are the awkward trials and tribulations of J’s life and, for that matter, many of ours, regardless of race, which explains why a diverse segment of viewers were instantly drawn to this hilariously relatable show and why, after having run out of money in the midst of the first season, Rae managed to rack up $56,000 in donations to complete the season from fans through a Kickstarter campaign.

“Awkward Black Girl” has garnered much praise and attention not only for its brand of relevant situational comedy in the vein of Curb Your Enthusiasm and Seinfeld but also for its refreshing lead character that debunks all the ubiquitous stereotypes associated with African-Americans on the small or big screen. J is far from the one-dimensional roles we are accustomed to watching most black actresses play. She’s neither a comforting girlfriend, nor is she the overcompensating strong, got-it-together shot-caller or the angry sassy sista. Instead, she is the almost never seen vulnerable, self-conscious black woman that the mainstream media would like you to believe doesn’t exist.

“We’ve been denied a normal reflection of ourselves for so long. Not an overly dramatic, cool, or violent one, but just a normal character,” explains Rae over the phone from L.A. where she lives and shoots the series. “With ‘Awkward Black Girl,’ I sought to create a girl who just happens to be black that goes through the same things that everybody else goes through. Being awkward and black is never seen as a good thing.”

Rae should know.

When her family moved from Potomac, Maryland to L.A., Rae first understood there was a narrow definition of blackness and being awkward wasn’t one of the conventional identifiable descriptors. In Potomac she attended a diverse school for gifted and talented kids and was accustomed to being herself with no reproach, but at her predominantly black high school in L.A., a nerdy Rae’s blackness, or lack thereof, was up for debate. “I just did not fit in all. I wore my hair nappy; I didn’t have a perm like everyone else. To them I talked white and my sense of humor was white,” recalls Rae, who kept a low profile and sought refuge in theater class where she uncovered a budding interest for acting, writing, and producing, which then developed into her passion when she attended Stanford University. While in college Rae wrote and produced plays, and in 2007 she created her first hit web series, “Dorm Diaries,” which took a look at being black at a prestigious school.

“In college, the black, white, Latina friends I made all had the same specific kind of humor I had,” Rae says. “I realized then that it was universal, even if I didn’t see any people of color on Seinfeld. I knew we could and should all be included.” But not everyone agrees. After ‘Awkward Black Girl’ won the 2012 Shorty Award for Best Web Show, Rae was bombarded by racist tweets questioning the show’s merits. Some of them came from fellow web series creators stunned that they had “lost to a niggerette,” as one so cleverly pointed out to Rae. The tweets included such shocking and tasteless gems as, “#ThingsBetterThanAwkwardBlackGirl the smell coming from Trayvon Martin,” “Congrats on winning do you get 3/5 of the award?” and, “Of course the black one wins. Fuck the Shorty Awards.”

“The bewilderment that our show not only exists, but that it could actually be good is indicative of how mainstream media thinks,” Rae pointed out in an essay on XOJane following the show’s backlash. “This mindset is exactly why creative shows of color don’t get to exist on television anymore. There’s an overbearing sense of entitlement that refuses to allow shows of color to thrive. How dare we even try.”

“Some people are really closed minded,” says Rae. “It shows how brave other people are who got passed the word black in the title and watched and related to the show. I wanted to put black in the title. Why not? Why ignore it? It’s obvious, right? I’m black.” But that’s not where her identity ends. “At its core, the show is about this awkward girl who goes through ridiculous situations that forces everyone to relate,” Rae explains. “When people dismiss it as a black show, they just don’t get it.” The show also co-stars a racially diverse group of actors.

Grammy award-winning hip-hop producer Pharrell Williams, who in his own right has broadened hip-hop’s musical and stylistic landscape with his eclectic beats and whose rock band N.E.R.D. helped redefine the meaning of cool for a generation of young black males, reached out to Rae during the first season. “He was like, ‘I’m awkward and nobody believes that people like us exist,’” she remembers of their first conversation. “Awkward Black Girl” was exactly the sort of content Williams was after for his new video network web site, IAMOTHER.com. “Pharrell told me he wanted to be part of ‘Awkward Black Girl,’” she says. IAMOTHER.com is now funding the show, with the recently wrapped second season being the start of Williams and Rae’s thriving partnership. “He is the best,” she says. “The first thing he told me is that he wouldn’t change anything about the show. That’s exactly what I wanted to hear.”

Following Williams’s call, the offers have kept coming in from TV executives eager to develop this unique show. While bringing “Awkward Black Girl” over from the internet to the small screen is a very exciting prospect for Rae, she’s wary of losing the creative control that comes with producing your own work for the web. “The raw expression gets filtered ‘cause so many people get their hands on it,” she says. “It becomes about what is going to make money, and that’s not what is really important on the web.” Rae also admits that “Awkward Black Girl” is “just too close to me to just hand it off to anybody.”

Although she would be open to having the show air on a cable network. When she got a call from Shonda Rimes, the creator behind the wildly successful Grey’s Anatomy andScandal, Rae expressed her fears that “Awkward Black Girl” couldn’t work on network television; Rimes agreed and asked Rae for some more ideas. Rae pitched her a show she briefly worked on as a minisode on the web. “I wrote ‘I Hate L.A. Dudes,’” she says. “I had no idea where I was going with it, but I just knew that it was true to my life.” The short featured an L.A. man’s lengthy grooming session in front of the mirror before heading out on a date. “I do hate L.A. men tremendously, and Shonda does too,” she laments. “They suck! They are really sipping on their own Kool-Aid, and they swear they are the best thing since sliced bread.” Rimes loved the pitch, and she sold the half-hour comedy show about a young aspiring journalist navigating the L.A. dating scene to ABC. Rae will write and co-produce (but in which she will not star).

“I’ve been enjoying branching out and doing other things,” says Rae. This includes not only making the jump to network television but also creating content for other web series. Rae is in high demand, but despite her busy schedule, “Awkward Black Girl” continues to be her priority. The second season finale ends with a very big announcement—well possibly. “Next on Awkward Black Girl: An ABG Movie?” flashes on the screen before the credits role. “We are trying to make a feature-length film happen,” says Rae. She wants to create the kind of cult classic that she loved watching in the ‘90s, when movies starring black actors were more prevalent. “Love Jones and Love & Basketball were the kind stuff I wanted to write when I was younger,” she says. “It wasn’t about the struggle. They were basic love stories.”

Rae will no doubt add a healthy dose of clumsiness to her big-screen love story. This season ends with White Jay professing his love, following a relationship hiatus, to J, who has been missing him and waiting for his call. A self-conscious J uneasily responds with, “Oh, thank you! That’s what’s up. That’s great. High-five!” Awkward!
 

Photo by Elton Anderson for Rolling Stone.

‘NY Times’ Dares To Suggest ‘Scandal’ Is ‘Post-Racial’

In a piece about the success of ABC’s hit show Scandal — it ranks first in its Thursday, 10p.m. time slot — the New York Times dares suggest the Shonda Rhimes creation might be popular because its "postracial," "cast members are ethnically diverse but are not defined by their race or ethnicity."

The reporter is presumably referring to how the show’s interracial relationship is scarcely mentioned. Black actress Kerry Washington plays Washington, D.C. scandal "fixer" Olivia Pope, a former White House employee who left the Administration following a long romance with the president, President Fitz Grand, played by Tony Goldwyn, who is white. The Times quotes black feminist author Joan Morgan, who said,  “It’s not about this being a black show. It’s about seeing the show where black women and other women are represented less about race and more about who they are.”

That’s true, in a sense. But "postracial" is always such a squicky term because it suggests on some level that we’re past the point where race matters — which, of course, is naive. And simply not true: Pope’s character may not be defined on the show by her race or ethnicity, but the very fact Scandal is such a hit with African-Americans suggests its a huge draw for the program. The Times reports that over 10 percent of black households tune in for Scandal. Even if the show is breaking racial barriers by not addressing race directly — perhaps because it doesn’t have to — it is still meaningful that Oliva Pope is black.

Contact the author of this post at Jessica.Wakeman@Gmail.com. Follow me on Twitter.

‘Bunheads’ Is the New Lady-Show With No Diversity

Last night was the season finale of Girls. Phew! Did you think we’d make it through the entire season? What is everyone going to write about on the internet now that we’ll have to wait several more months for Lena Dunham’s narcissistic characters to head back to our TV screens? Well, thankfully, there is ABC Family’s Bunheads, which is probably the only time I will ever write that phrase. The ballet-centered show is already causing controversy after Grey’s Anatomy creator Shonda Rhimes called it out for its lack of ethnic diversity.

Rhimes tweeted on Friday, "You couldn’t cast even ONE young dancer of color so I could feel good about my kid watching this show? NOT ONE?" It’s probably a fair thing to say! The show, co-written by Gilmore Girls creator Amy Sherman-Palladino and starring Broadway triple-threat Sutton Foster as a former ballet dancer finding herself teaching the art of dance to a group of small-town, would-be black swans, does indeed seem to be missing any African-American faces (or, honestly, any other actors with hyphenated descriptors). 

But Sherman-Palladino, who responded to the allegations in an interview with Media Mayhem, claims that Rhimes is unfairly attacking her.

"Look, I’m not going to get into a pissing match with Shonda Rhimes because she has 15,000 shows on the air, and she’s doing just fine for herself,” the former Gilmore Girls creator told Media Mayhem in an interview posted on YouTube. “[But] I’ve always felt that women, in a general sense, have never supported other women the way they should…I think it’s a shame, but to me, it is what it is.”

You can watch the full interview below:

Would Rory Gilmore pull the feminism card? Probably not! She’d be too busy dating idiots and throwing 1940s-themed parties for the Daughters of the American Revolution. (But maybe she would say, "I’m not racist! My best friend is Korean!") Perhaps Sherman-Palladino can take a lesson from Rhimes and do what she did with Grey’s Anatomy: just keep adding more and more insufferable characters to the show, both filling the ethnicity quota and complicating the plotlines! (Let us not forget that we should take anything that Rhimes says with a grain of salt, as she is pretty much single-handedly responsible for the career of Katherine Heigl.)

Here’s what I’d like to ask Sherman-Palladino: why the hell isn’t "bunheads" spelled as "bunheadz." That would have convinced me to watch this show.