Jane Campion went from Oscar favorite to “devious” white feminist in record time.
The New Zealand director, who was favored to win both Best Picture and Best Director for “The Power of the Dog” on March 27, learned a cruel lesson on his way to the Oscars. Miss.
You can never awakened enough.
Campion won Best Director at the recent Critics Choice Awards gala (full disclosure: This reporter/reviewer was a voting member of that group). As a female director, the awards season’s sentiments were in her favor. Only two women have won Best Director Oscars in more than 90 years – Kathryn Bigelow (“The Hurt Locker”) and Chloe Zhao (“The Hurt Locker”).Wandering“).
Today wake up Hollywoodthat means she enters the race a few yards ahead of her opponent.
Campion went high after “Dog” was attacked by veteran actor Sam Elliott, comments that led the news media to focus on her. Elliott slams “The Dog” for it “Homosexuality” and New Zealand wallpaper in a conversation with Marc Maron.
The media has embraced the criticism, giving “Dog” another edge on Oscar night. That news cycle continues as key cast members of the series, as co-stars Jesse Plemonswas asked to comment on the actor’s words “1883”.
Then Campion decided to double his victim status.
She accepted the CCA’s Best Director award on March 13 and ran this line:
“Venus and Serena, you guys are amazing,” said Campion, referring to the remarkable story of the two sisters in the 2021 “King Richard” movie, which is the driving force behind tennis icons in audiences. “However, you don’t play with people like I have to.”
Campion directly called for the feminist vote, knowing it could ignite her Oscar dreams. Her point of view makes sense, on paper, except that the Williams sisters fight a lot of male characters off the field, something “King Richard” illustrated.
However, in the wake-up scene, a white executive says she’s more of a victim than a black woman who broke all the rules.
Quick and furious response. On the Victims leaderboard, Campion couldn’t compete with the famous Williams sisters. And she knows it.
Campion quickly begged for forgiveness, through a statement shared by the Far-Left Hollywood Reporter.
“I made a thoughtless remark by equating what I do in the world of cinema with all that Serena Williams and Venus Williams have achieved. I have no intention of devaluing these two legendary black women and world-class athletes…
“The reality is that the Williams sisters have actually played against men on the court (and off the field), and they have raised the bar and opened the door to what is possible for the women of this world. . The last thing I want to do is minimize noticeable women. I love Serena and Venus.”
Crowds have woken up to have a curious affinity for apologies, no matter how quick or sincere. If it is said that the crowd wants to silence or reduce the voice, like Joe Rogan’sthey are never accepted.
As for Campion, she would likely appear unharmed from the instillation class.
Salon.com took her opinion, making her the poster child for “insidious white feminism.” That’s a racist comment now acceptable under the awakened laws.
While Campion’s apology seems genuine, her earlier comment only highlights the ongoing need to understand the inequality of racism, and that as a powerful white woman with credo, she most likely has benefited from privileges along the way.
The progress piled up, noting that Campion’s parents, actor Edith Campion and theater director Richard M. Campion, made it easier for the director to achieve Hollywood glory.
The irony? Salon pretended not to understand why the director said what she said.
The urge to compare her challenges with others as if it were some sort of competition to see who overcomes more is just one more way to perpetuate the cycle of oppression.
It is, in fact, the DNA of Identity Politics. Your identity is everything and every marginalized group you claim to be your own gives you greater victim status.
It helps explain why Jussie Smollett staged a hate crime in Chicago three years ago.
It’s likely the CCA crash will be a footnote in Campion’s Oscar climb. Her films are garnering serious awards momentum, and her work behind the camera is similarly being honored.
Her alleged tampering is just another example of an industry that celebrates achievement and most Hollywood players know it all too well.
Campion’s gaffe also explains why the modern Oscars ceremony is a cluck, full of lectures. Iis an award-winning star of a lifetime but knows if they get it wrong, under great pressure, their careers can be ruined.