Lee Garrett, a contestant on the current season of ABC’s The Bachelorette, has locked his Twitter account after a series of racist, sexist, and Islamophobic tweets from before the show filmed were exposed.
“What’s the difference between the NAACP and the KKK? Wait for it… One has the sense of shame to cover their racist ass faces,” he posted, according to a screenshot from Twitter user @emesola. Garrett also appears to have tweeted a petition to have Black Lives Matter recognized as a terrorist group. In another tweet, he allegedly wrote, “When is the last time you saw a pretty feminist? There is a reason for this,” and in another: “I don’t hate Muslims, I do hate Islam. I just mindfucked a few liberals for standing for something while making reasonable sense.”
Garrett is currently vying for love on of The Bachelorette with Rachel Lindsay, the franchise’s first black lead.
More than a dozen alleged tweets from Garrett throughout 2015 and 2016 have been published by a handful of websites in the last 24 hours.
ABC and Warner Bros. — which produces The Bachelorette — had no comment on the matter, and Garrett did not immediately reply to BuzzFeed News’ request for a comment.
A three-minute promo for what’s to come hinted that Garrett may emerge as this season’s villain.
The announcement that Lindsay had been chosen as the next bachelorette felt like a long overdue decision as the franchise had infamously never featured a black Bachelorette or Bachelor.
Lindsay, who originally appeared opposite Bachelor Nick Viall earlier this year, was instantly a fan favorite and while her search for love got off to an awkward start, it appears that Lindsay’s time on The Bachelorette was well-spent since she — spoiler alert! — posted on Instagram that she is currently engaged.
Jarett Wieselman is a senior entertainment editor for BuzzFeed News and is based in Los Angeles. Wieselman writes about and reports on the television industry.
The critically acclaimed series Underground was canceled by WGN America this week, and Black Twitter is crying foul.
The show, produced by John Legend’s Get Lifted Film Company, trended on Twitter weekly and brought in record ratings for the burgeoning network when it premiered in March 2016. That mixed with the fact that it centered on the Underground Railroad and featured a predominantly black cast has many people unhappy, but the situation is more complicated than what could easily be pointed to as racism in Hollywood.
It all started in mid-April when WGN America canceled its highest-rated drama, Outsiders. Peter Kern, the president and CEO of Tribune Media, WGN’s parent company, gave the following explanation for the cancellation at the time: “We will be reallocating our resources to a more diverse programming strategy and to new structures, enabling us to expand both the quantity and breadth of content aired by WGN America.”
Some took the vague statement as a sign that WGN America was trying to spend less money on scripted series (it is expensive to make period pieces and shoot on location, as we just saw with Netflix’s The Get Down), while others remained optimistic that “more diverse programming” meant more racially diverse programming, like Underground.
It’d be easy to point to that as the reason Underground, a highly publicized hit, got the axe, but the explanation Kern gave on Tuesday reflects his statement about Outsiders. “As WGN America evolves and broadens the scope and scale of its portfolio of series, we recently announced that resources will be reallocated to a new strategy to increase our relevance within the rapidly changing television landscape,” he said. “This move is designed to deliver additional value for our advertising and distribution partners and offer viewers more original content across our air.” TL;DR: Being in the business of prestige drama series is incredibly expensive, and WGN America cleaned house to increase the quantity of original shows on the network. (Undergroundreportedly costs $5 million per episode, according to The Hollywood Reporter.)
WGN America has only had four original scripted series to date, and Underground and Outsiders had marked an upswing for the network. They also had high-profile series in development, like Black Wall Street from Get Lifted and a TV adaptation of DC Comics’ Scalped.
While Underground showrunner Misha Green left the series a week after the Sinclair deal to run Jordan Peele’s new HBO series, Legend still holds onto hope that another network will pick up the groundbreaking series…and he tweeted a not-so-veiled warning about Sinclair.
Sony Pictures Television, which distributes Underground, has a history of saving shows — Community went from NBC to Yahoo Screen, and Damages went from FX to DirecTV Audience Network — but because Hulu has exclusive subscription video-on-demand rights to Underground, it might not end up surviving.
When contacted by BuzzFeed News, Sony TV did not have a comment about the future of the series or the reasons behind the cancellation. Legend and Get Lifted did not immediately reply to BuzzFeed News’ requests for comment.
The album rose to No. 1 on the US Billboard chart in its second week, making Foxx the fourth artist to have ever won an Academy Award for acting, while achieving a No. 1 album on the US Billboard charts. It’s the second of four albums Foxx has blessed us with.
You are a real BOSS just like Frank, and a natural born leader. You are focused, strategic, and very, very smart. Hard work, determination, and perseverance are tools you use to get what you want. Taking “no” for an answer is completely out of the question.
You’re a total badass just like Claire. You are stylish, gorgeous, and always have a plan B. You’re always there to help out people you love, but at the end of the day, you keep your best interest in mind.
You demand trust and respect from those around you. Your circle is tight but your sources are wide. You’re well liked by many, and people come to you for advice whenever they need it and you always deliver.
Not to mention “Head Over Feet,” “All I Want,” “You Learn,” and many more emotionally raw anthems of angst that made then-21-year-old Morissette the youngest ever Album of the Year winner at the Grammys and propelled her to stardom. If you grew up in the ’90s, there’s a very good chance you scrawled these lyrics into a notebook at some point.
In what’s maybe the most gratifyingly funny interlude in Patty Jenkins’ new film, the Amazon — real name Diana (Gal Gadot) — tries on a series of 1910s-London-appropriate outfits at the behest of Steve Trevor (Chris Pine, really as charming as he’s ever been), an American spy working for British intelligence who’s attempting to get his new colleague to do some blending in.
Diana submits herself to the doomed exercise with anthropological curiosity, hoisting up ruffled skirts to see how they perform during kicks, dismissing a high collar as itchy and confining, and finally emerging in an outfit that was clearly intended to come off as prim, but instead looks fabulously bluestocking chic. Steve retaliates by reaching for the go-to accessory of all superheroes in preposterous normcore disguise — glasses. “Really? Specs?” his beleaguered secretary Etta Candy (Lucy Davis) groans. “And suddenly she’s not the most beautiful woman you’ve ever seen?”
Diana is a battle-trained, semi-divine, and, yes, statuesquely lovely princess from a mystical island inhabited only by female warriors. There is no hiding her light under a barrel in Wonder Woman, an endearingly earnest film whose biggest surprises come from how much it diverges in tone and style from the earlier superhero installments with which it shares a fictional world.
In playing catch-up with Marvel’s inescapable franchise of linked movies, DC made the pragmatic choice to skip right from Man of Steel to the big stuff, to supergroup movies Batman v Superman: Dawn of Justice and Suicide Squad — cynical, aggressively dark productions plagued with confounding motivations, odd tonal choices, and too many characters to service. It was in Batman v Superman: Dawn of Justice that Gadot’s Wonder Woman was introduced, in a set of appearances that included a scene in which she sits at a laptop and effectively watches teasers for future DC Extended Universe installments.
Elegantly done it was not, though Diana and her niftily cello-forward musical theme made an impression in even squandered screen time, there amidst the brooding men and their memories of their mothers. She seemed to enjoy herself, something neither the recent, world-weary conceptions of Batman or Superman could say.
What’s striking about her turn in the spotlight in Wonder Woman, beyond its milestone status as a female-centric studio superhero feature directed by a woman, is the movie’s sense of elated lightness. Aside from the clunky framing device featuring a present-day Diana working at the Louvre, Wonder Woman is freed up to tell a straightforward origin story that takes its title character from a childhood on the Amazon island of Themyscira into the tail end of World War I.
It’s a saga, written by Allan Heinberg, with a decent sense of humor, which any story prominently featuring Zeus and a Lasso of Truth demand. Wonder Woman is as outlandish as she is awe-inspiring, and everyone she comes into contact with from the outside world regards her with the appropriate mixture of admiration and disbelief.
That includes Steve, the first man she’s ever met and her eventual romantic interest, who brings that outside world right onto Themyscira’s unspoiled beaches when his plane plummets into the waters nearby, with German forces in pursuit. A fight between the interlopers and the Amazons, led by General Antiope (a brawny, braid-sporting Robin Wright), provides evidence of the women’s leaping, archery-enhanced prowess as well as the ugly power of guns.
It’s enough to spur Diana to act against the wishes of her mother, Queen Hippolyta’s (Connie Nielsen), and leave the island with Steve to fulfill what she believes is her duty and destiny: to kill Ares, the Greek god of war. Ares, she’s convinced, is the cause of the all-consuming conflict Steve’s described to her — World War I. She believes the only reason “the war to end all wars” could be happening is due to Ares’ influence, and that once she defeats him, the violence will be over.
DC’s Wonder Woman, like Marvel’s Captain America, was a character originally conceived during World War II, both of them brawling with Nazis and sporting outfits that evoked the American flag. Wonder Woman’s shift to the first World War feels like an attempt to create some distance from the unavoidable Captain America: The First Avenger comparisons evoked by the plunking of another superhero into period battle, finding comic book–worthy foes hiding amidst the historical ones.
Like Captain America, Diana is an idealist who’s strong in her convictions but also inexperienced, driven by an untested certainty that she knows what’s right. For someone who’s just stepping off the isolated island on which she grew up for the first time, she’s recklessly sure she knows what’s best for everyone else, that all it will take is the destruction of the right bad guy — whether it’s the German Gen. Ludendorff (Danny Huston), his poison gas-manufacturing chemist Doctor Maru (Elena Anaya), or someone else.
War has yet to be eradicated from either the movieverse or the real one, so it’s not news that the situation ends up being more complicated than she assumed. Which comes as a shock to no one but Diana herself, after she finagles a way out to the front with Steve and his trustiest mercenary friends — the silver-tongued Sameer (Saïd Taghmaoui), the Scottish sharpshooter Charlie (Ewen Bremner), and the Native American smuggler Chief (Eugene Brave Rock). They’re a seen-it-all crew who, of course, reveal their hearts of gold right when Diana’s confidence is shaken and, along with it, her conception of mankind as fundamentally good unless tainted by forces of evil.
Diana, with her fantastical Hellenic backstory, has less explicitly patriotic roots than the military-created Captain America, but in Wonder Woman she serves as an affecting riff on American ideology anyway: She’s a well-intended but naive interventionist, an outsider crashing into a political quagmire she doesn’t really understand but is certain she can fix anyway, sure the solution is as simple as the correct baddie getting killed off.
That’s why, perhaps, her first appearance on the battlefield is so moving (while her climactic conflict is bigger but comparatively underwhelming): Stepping out onto no-man’s-land in full regalia and facing down enemy machine guns in order to free an occupied village, she could be a fantasy of the US as we’d like to imagine ourselves — larger than life, always able to ascertain the truth, and driven by a desire to help that is pure and conveniently unambiguous (no endless counterinsurgency campaigns for her!).
It’s the kind of sequence that can give you goosebumps and provoke a few tears — Wonder Woman emerging from the trenches to save the day. She has the staunchness of someone who sees the world in neat black and white…until she’s forced to consider whether she still feels invested in a humanity capable of doing harm without the influence of a god. Naturally, that god does eventually turn up, because a movie like this needs closure, even if the lesson its heroine learns is that there’s no such thing.
Who knows how Diana will handle it when the Nazis — in whose shadow she was created — come along, or what she does during the murky global conflicts that follow World War II. Fortunately for her, for now, the DCEU is intent on skipping forward to the present day to Justice League, and then Aquaman, and on and on to the less defined future, presuming the world doesn’t end. Because of Wonder Woman, the film and the character, that grand corporate plan doesn’t seem quite as hubristic; she doesn’t feel like another bewilderingly warped, barely recognizable take on an iconic character. She feels like a genuine superhero, intent on protecting those in need — you can tell, even when she’s wearing glasses.
“If you’re feeling the weight of expectation—whether it be from your parents, your school, your teachers, or even yourself—please remember you’re worth more than a mark, and there’s a big future ahead waiting for you,” Langford wrote.
“Good luck, and take care of yourselves — you got this!”