According to Variety.com, all four winners in the guest actor categories were black for the first time in Television Academy Awards history.
Presented tonight at the Creative Arts Emmy Awards ceremony, Tiffany Haddish won best guest actress in a comedy for hosting “Saturday Night Live,”Samira Wiley won best guest actress in a drama for “The Handmaid’s Tale,”Ron Cephas Jones won best guest actor in a drama for “This Is Us,” and Katt Williams won best guest actor in a comedy for “Atlanta.”
Comedians Williams and Haddish won in their first year being nominated, while both Jones and Wiley had been nominated previously.
As Variety noted when this year’s Emmy nominees were announced, 36 actors of color were nominated this for the 70th Primetime Emmy Awards, up 20% from the year before, amid a larger push in the entertainment industry for diversity and inclusion in television, in front of and behind the camera.
Producer/director Deon Taylor and his Hidden Empire Film Group have launched a new shingle, Dark Circus, that will produce film and television content aimed towards urban audiences, with a focus on the comedy and horror genres.
The first project set up under the banner is a Snoop Dogg-produced horror anthology series, The Thrill. It centers on a mysterious hotel, The Last Stop Inn, situated on a lonely stretch of foreboding highway, where the unlucky guests who check in each week struggle to understand the supernatural events that unfold during their stay.
The first feature release under the new label will be The House Next Door, the previously announced sequel to Meet the Blacks. Taylor directed the comedy that stars Mike Epps and Katt Williams.
“We have the resources and market expertise to deliver branded content with a unique voice — one that speaks to an urban audience,” said Taylor. “I won’t say that this market is underserved, as there are a great deal of films still finding their way to the marketplace. However, our intention is to raise the bar with Dark Circus and create an enduring brand. Partnering with Snoop on this first anthology series will have us coming out of the gates strong, and we couldn’t be more excited.”
Taylor — who directed and produced the upcoming Paula Patton-starrer Traffik and is attached to direct the police drama .38 — runs Hidden Empire with partners Roxanne Avent and Robert F. Smith.
Netflix announced on Thursday that it will produce “Def Comedy Jam 25” to mark the 25th anniversary of the comedy show, to air this fall. “Def Comedy Jam” originally ran from 1992 to 1996 before being revived in 2006. The show, which was produced by Russell Simmons, helped to launch the careers of the likes of Martin Lawrence, Cedric the Entertainer and Sheryl Underwood.
The lineup of performers for the special thus far include: Lawrence, Underwood, Bill Bellamy, Cedric the Entertainer, Dave Chappelle, Mike Epps, Adele Givens, Eddie Griffin, Tiffany Haddish, Kevin Hart, Steve Harvey, D.L. Hughley, Kid Capri, Tracy Morgan, Craig Robinson, JB Smoove, Sommore, Joe Torry and Katt Williams.
On TV talk shows, the host introduces a guest, then music plays while the guest emerges from backstage. On podcasts, the etiquette is still being worked out. The host often launches into an introduction while the guest sits quietly in the same sound booth. A couple of years ago, the co-hosts of a podcast called “Alias Smith and LeRoi” began this way, speaking about their guest, the comedian Leslie Jones, as if she were not there.
“This is gonna be kind of a hot one,” Ali LeRoi said.
“I’ve been waiting to sit her ass down for a minute,” Owen Smith said. “One of the funniest women in the game.”
“Funniest comedian in the game,” Jones interrupted. “Not just woman. I hate that shit.” End of introduction.
Comedians are combatants: they “kill,” they “bomb,” they “destroy.” Such bluster can mask insecurity, and Jones had good reason to feel defensive. She was forty-six, and had been a standup comedian for more than a quarter century; her peers respected her, but that respect rarely translated into high-paying gigs. “I remember some nights where I was, like, ‘All right, this comedy shit just ain’t working out,’ ” she told me recently. “And not just when I was twenty-five. Like, when I was forty-five.” She was a woman in a field dominated by men, and an African-American in an industry that remained disturbingly segregated.
Although she had opened for Katt Williams and Dave Chappelle, acted in movies alongside Ice Cube and Martin Lawrence, recorded a standup special for Showtime, and made several appearances on HBO’s “Def Comedy Jam” and BET’s “ComicView,” she worried that the gatekeepers of mainstream comedy—bookers for the “Tonight Show,” casting directors of big-budget films—had never heard her name. “Every black comedian in the country knew what I could do,” she said. “But that doesn’t mean everyone else is paying attention.” Chris Rock, who met Jones when they were both road comics in the late eighties, told me, “Black women have the hardest gig in show business. You hear Jennifer Lawrence complaining about getting paid less because she’s a woman—if she was black, she’d really have something to complain about.”
Jones spent much of her career performing in what she calls “shitty chitlin-circuit-ass rooms, where you’re just hoping the promoter pays you.” She told me that, around 2010, “I stopped only doing black clubs. I stopped doing what I call ‘nigger nights’—the Chocolate Sundays, the Mo’ Better Mondays. I knew how to relate to that audience, and I was winning where I was, but I wasn’t moving forward.” She lived in Los Angeles at the time, and she began asking for spots at the Comedy Store, where David Letterman and Robin Williams got their starts. A comedian named Erik Marino, who befriended her there, said, “She felt very strongly that she was being pigeonholed as a black comic—a BET comic.”
For a while, Jones performed at the Store at odd hours. Then, she said, “I went to the booker and I threw the race card at him. ‘Why you won’t let me go up at ten on a Friday? ’Cause I’m black?’ ” The booker gave her a prime-time slot. “She destroyed, obviously,” Marino said. “Bookers are the ones who care about black rooms versus white rooms. To us comedians, it’s, like, if you know what you’re doing and you can connect with an audience, they’re gonna laugh.”
Rock saw Jones perform at the Store in 2012. After her set, he told her, “You were always funny, but you’re at a new level now.”
“You’re right,” she responded. “But I’m not gonna really make it unless someone like you puts me on.” Rock took out his iPhone and added her name to a list labelled “Funny people.”
According to The Hollywood Reporter, “Saturday Night Live” cast member Leslie Jones is in final negotiations to sign on for the all-female version of the classic 1980s film “Ghostbusters.”
Joining Jones for the reboot will be her fellow SNL’ers Kristen Wiig and Kate McKinnon, in addition to “Bridesmaids” and “The Heat” star Melissa McCarthy. Although negotiations are still ongoing, the film’s director Paul Feig (“Bridesmaids”) tweeted a picture of the ladies, which suggests they’re in it for the long run.
Jones’ involvement in the “Ghostbusters” reboot could mark a major milestone for the funny lady, who has been making people laugh for more than 30 years. Jones’ achievements, as noted by Vulture.com, include opening for Jamie Foxx and Katt Williams as well as starring in her own Showtime stand-up comedy special in 2011. Last January, Jones joined the cast of SNL, becoming one of two Black female cast members currently on the show’s roster. Jones also recently appeared in Chris Rock’s film “Top Five.”
Mike Epps and Katt Williams will face off in Blazin Four, a Blazing Saddles-style action comedy. The independent film revolves around a ragtag quartet of gunslingers hired to protect a small town from marauding Mexican bandits. John Luessenhop and Gabriel Casseus, who produced Sony Screen Gems’Takers, optioned the project and will produce. Luessenhop, who also helmed 2010’s Takers and this year’s Texas Chainsaw 3D, is considering taking the helm on Blazin Four. Epps is playing Noah, a lowlife preacher who takes the job on in the hopes of finding redemption. Williams is El Loco, the menacing leader of the Mexican bandits. Found as a baby on a Mexican family’s doorstep, El Loco has no idea he is black — and none of his bandits has the nerve to tell him. The producers are shopping the project around town.