Rock lays into Hollywood
“Is Hollywood racist? You're damn right it's racist,” said Rock, who then took a measurement of the problem. “Hollywood is sorority racist. It's like: We like you Wanda, but you're not a Kappa.”
Rock immediately launched into the topic Sunday. “If they nominated a host, I wouldn't even get this job,” he said.
Rock had stayed quiet before the ceremony as the diversity controversy raged over the second-straight year of all-white acting nominees, leaving Hollywood and viewers eagerly waiting his one-liners. Rock, drawing largely hearty laughs at the Dolby Theatre, didn't disappoint.
Aside from pleading for more opportunity for black actors, Rock also sought to add perspective to the turmoil, which included a protest outside the Dolby on Sunday led by the Rev. Al Sharpton. Rock said this year didn't differ much from Oscar history, but black people in earlier decades were “too busy being raped and lynched to worry about who won best cinematographer.”
Best supporting actress went Alicia Vikander for the transgender pioneer tale “The Danish Girl.” Vikander, the 27-year-old Sweden-born actress was ubiquitous in 2015, also winning awards for her performance in the sci-fi “Ex Machina.”
Other early awards went as expected, including to two movies that may be vying for the night's top honor.
Best original screenplay went to the newsroom drama “Spotlight,” an ode to hard-nose, methodical investigative journalism penned by Tom McCarthy and Josh Singer. Backstage, a cord from a light suddenly fell behind the winners, prompting McCarthy, whose film shows the discovery of extensive sex abuse by Catholic priests, to exclaim in mock paranoia, “That is the power of the Catholic Church, ladies and gentlemen!”
Adam McKay and Charles Randolph took best adapted screenplay for their self-described “trauma-dy” “The Big Short” about the mortgage meltdown of 2008. McKay thanked Paramount Pictures for taking a risk on a movie about “financial esoterica.”
McKay, best known for broader comedies like “Anchorman” and “Step Brothers,” gave an election-year warning to power of “big money” in the presidential campaign and government.
“Big money is taking over our government,” McKay said backstage.
The Academy Awards, normally decorous and predictable, are this year charged with enough politics and uncertainty to rival an election debate.
Down the street from the Dolby Theatre, Sharpton led several dozen demonstrators in protest against a two-year run of all-white acting nominees. Demonstrators held signs reading “Hollywood Must Do Better” and “Shame on You.”
“This will be the last night of an all-white Oscars,” Sharpton vowed at the rally.
Oscar headlines this year haven't been driven by the nominated films and performances nearly as much as the ones that weren't.
The nominees restored the hashtag “OscarsSoWhite” to prominence and led Spike Lee (an honorary Oscar winner this year) and Jada Pinkett Smith to announce that they would not attend the show. Several top African-American directors — Ryan Coogler (whose “Creed” is expected to land Sylvester Stallone a best supporting actor) — weren't at the Oscars, instead hosting a live benefit in Flint, Mich., for the water-contaminated city.
In a quick response to the growing crisis, Cheryl Boone Isaacs, president of the Academy of Motion Pictures Arts and Sciences, pushed ahead reforms to the academy intended to diversify its overwhelming white and male membership. But those changes (which included stripping older, out-of-work members of their voting rights) precipitated a backlash of its own. A chorus of academy members challenged the reforms. Others have cast doubt on how effective the changes will be.
Isaacs defended the changes on the red carpet ahead of the show. “We are going to continue to take action and not just speak,” Isaacs told ABC.
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