Connect with us

Arts & Entertainment

Kevin Hart steps aside as 2019 Oscar host after protests

In the age of #MeToo, a controversial host is toast

Published

on

Kevin Hart. (Photo Facebook)

UPDATE: Comedian and actor Kevin Hart says he has stepped down from hosting the 2019 Oscars following a controversy over homophobic tweets and comments from his stand up act from as far back as 2009.

Hart said he does not wish to be a distraction and that he is “sorry he had hurt people” after calls for the Academy to drop him went viral.

Hart had said hosting the Oscars was “a goal on my list for a long time.”

On Thursday, Hart initially responded to outcry over his being named by the Academy as host of the ceremony with a video posted on Instagram, in which he said, “Guys, I’m nearly 40 years old. If you don’t believe that people change, grow, evolve as they get older, I don’t know what to tell you. If you want to hold people in a position where they always have to justify the past, do you. I’m the wrong guy, man.”

This was followed later on Thursday evening with another video, in which the comedian told followers the Academy had called him and offered him an ultimatum: apologize for the tweets or step down as host.  He refused to apologize, saying he had “addressed this several times.  This is not the first time this has come up.  I’ve addressed it.  I’ve spoken on it.”

Finally, late in the day, Hart announced via Twitter that he had chosen to step down “because I do not want to be a distraction on a night that should be celebrated by so many amazing talented artists.”

“I sincerely apologise to the LGBTQ community for my insensitive words of the past,” he said.

As its much-criticized (and now recanted) decision to add a “Best Popular Film” category to its awards roster earlier this year clearly revealed, the Oscars are desperate to increase their ever-declining ratings.

Has the Academy Award lost its way? That question is increasingly being asked.

For the broadcast of the Academy Awards’ 90th annual ceremony in 2018, viewership was about 26.5 million people – around 20% lower than the previous year, it was the first time the figure had dropped below 30 million and the lowest number since Nielsen started tracking Oscar ratings in 1974.

The Hart fiasco was born of a reckless effort to boost its relevance and regain audience.

At first glance, it seemed like the perfect solution to their problem. Hart is immensely popular, performing to sell-out crowds in huge venues like the 69,000-seat Lincoln Financial Field in his hometown of Philadelphia. He topped Forbes’ 2016 list of the highest-paid comedians, and he’s proven his appeal to movie crowds with box-office hits, like this year’s “Night School” and “Jumanji: Welcome to the Jungle.”

His films have grossed $3.5 billion worldwide, and his social media presence (35 million followers on Twitter, 65 million on Instagram) is impressive. The chance to see what he does as an Oscar host obviously had the potential to draw a lot of viewers that wouldn’t normally tune in.

In addition, Hart had been vocal about his desire to host the Oscars for several years now.

It’s a job that has proven thankless for many celebrities who have done it in the past – from Chevy Chase to David Letterman to Seth McFarlane, the ceremony has been fronted by a long list of popular comedians who were deemed to have failed spectacularly, and there’s an even longer list of personalities who have been asked and turned it down (as detailed in a recent piece by the Hollywood Reporter).

But Hart had actively been after the gig since at least 2015, when the Los Angeles Times reported him as saying, “If I can start the campaign now and get them into it, I’m all for it. I would just jump at the opportunity.”

Lastly, as only the fourth African-American person ever to host the ceremony (following Richard Pryor, Chris Rock, and four-time host Whoopi Goldberg), Hart would potentially have helped to smooth over the lingering criticism stemming from the #OscarsSoWhite controversy of two years ago, when the lack of diversity among the Academy’s award nominations – and onstage at its ceremony – underscored the inadequate representation of non-whites within the content produced by the Hollywood film industry. In a year when most of the apparent front-runners seem, yet again, to be white, having a black host might be a way to stave off any resurgence of backlash.

Unfortunately, this solution failed to take into account the messaging it sent on another front.

 

View this post on Instagram

 

Stop looking for reasons to be negative…Stop searching for reasons to be angry….I swear I wish you guys could see/feel/understand the mental place that I am in. I am truly happy people….there is nothing that you can do to change that…NOTHING. I work hard on a daily basis to spread positivity to all….with that being said. If u want to search my history or past and anger yourselves with what u find that is fine with me. I’m almost 40 years old and I’m in love with the man that I am becoming. You LIVE and YOU LEARN & YOU GROW & YOU MATURE. I live to Love….Please take your negative energy and put it into something constructive. Please….What’s understood should never have to be said. I LOVE EVERYBODY…..ONCE AGAIN EVERYBODY. If you choose to not believe me then that’s on you….Have a beautiful day

A post shared by Kevin Hart (@kevinhart4real) on

The Academy – in typically tone-deaf fashion – may have chosen a host who checks off several important boxes for image-conscious Hollywood, but in doing so it ignored Hart’s problematic history of homophobia.

And as you can see from the Instagram post above, Hart is now positioning himself as a victim of PC culture run amok.

It’s not all that different from the notorious comedy routine for his 2010 TV special, “Seriously Funny,” Hart joked that as a parent, “one of my biggest fears is my son growing up and being gay.” After quickly adding that he had “nothing against gay people,” he went on to say that “as a heterosexual male, if I can prevent my son from being gay, I will.” He went on to joke that every kid has a “gay moment… but when it happens, you gotta nip it in the bud.”

In a 2015 interview with Rolling Stone, Hart confessed that he “wouldn’t tell the joke today.” His reasons, however, had nothing to do with the obvious anti-gay bias involved; instead, he deflected by saying, “the times weren’t as sensitive as they are now. I think we love to make big deals out of things that aren’t necessarily big deals, because we can. These things become public spectacles. So why set yourself up for failure?”

He also responded in an interview with Parade, by saying, “I had one gay joke in my career and it was about my son at a birthday party, and it was before things got as PC as they are now.”

In other words, his only remorse was over how it affected his image.

Blaming the current #MeToo movement for creating this atmosphere is not a show of remorse. Neither is saying it’s something he’s sorry about while he keeps doing it.

Apparently, that remorse has not been strong enough to keep him from making more homophobic comments. His Twitter feed has been laced with them throughout his career – things like “Yo if my son comes home & try’s 2 play with my daughter’s doll house I’m going 2 break it over his head % say n my voice ‘stop that’s gay.’”

In one particularly offensive tweet, he called out another Twitter user by saying their profile picture looked “like a gay billboard for AIDS.”

He has repeatedly used phrases like “no homo” and “no homo gay,” and lambasted his critics by calling them such names as “f*g boy,” “gay face,” “fat faced f*g,” and “man bitch.”

According to an article published by Queerty just this morning, Hart had been deleting many of these posts – most of which had already been re-Tweeted in protest by thousands of Twitter users after news broke of his Oscar gig.

There’s also the matter of his treatment of ex-wife Torrei Hart, to whom he admitted being physically abusive in his 2017 memoir, “I Can’t Make This Up.” He also confessed in a radio interview last year to having cheated on his current wife, Eniko Parrish, just a few months earlier – while she was pregnant.

With LGBTQ-focused films like “Boy Erased” and “Bohemian Rhapsody” predicted to be in the running, as well as “A Star Is Born,” which features gay icon Lady Gaga, this year’s Oscars are shaping up to have a strong queer presence. With this in mind, placing Hart in the center of the proceedings – when his long track record of homophobic remarks was already well-documented and should have been taken into account by the Academy before offering him the job – was always a bad idea.

Whether or not the comedian really believes the homophobic viewpoints he has projected in his comedy – which, for the record, he has repeatedly insisted he does not – his selection as host sent a mixed message from the Academy to its membership and to its millions of avid followers, many of whom are either LGBTQ or allies.

It’s not the first time the organization has faced this issue.  In 2011, Brett Ratner was forced to resign as producer of that year’s Oscar ceremony due to his record of homophobic slurs.

As for the Hart debacle, the Academy has yet to issue a statement.

Advertisement
FUND LGBTQ JOURNALISM
SIGN UP FOR E-BLAST

Theater

Reggie White relishing first season as artistic director of Woolly Mammoth

First five shows a reminder that ‘pressure is a privilege’

Published

on

Reggie D. White (Photo by Ambe J. Williams)

Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.

White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.

A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.

White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?” 

Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor. 

“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.” 

WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?

REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real. 

BLADE: Are you curating the upcoming 2026–2027 season? 

WHITE: Yes, I am.  It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard. 

I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work. 

These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV. 

Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.

BLADE: As a queer artistic director, what makes you unique? 

WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.

I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].

BLADE: Will we see familiar faces?

WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work. 

BLADE: How do you think queer audiences will receive the season? 

WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.

Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.

Continue Reading

Photos

PHOTOS: Amsterdam Pride Canal Parade

Annual LGBTQ celebration held in Dutch city during World Pride

Published

on

A scene from the 2026 Amsterdam Pride Canal Parade. (Washington Blade photo by Michael Key)

Editor’s note: International News Editor Michael K. Lavers and Photo Editor Michael Key are on assignment in the Netherlands through Aug. 10.

AMSTERDAM — The 2026 Amsterdam Pride Canal Parade was held on Saturday, Aug. 1.

(Washington Blade photos by Michael Key and Michael K. Lavers)

View on Threads
Continue Reading

Photos

PHOTOS: Lambda Legal in the Pines

Fundraiser held at ‘Normal Heart’ house

Published

on

A scene from the 'Lambda Legal in the Pines' fundraiser on July 25. (Photo by Santiago Felipe)

The LGBTQ organization Lambda Legal held its annual “Lambda Legal in the Pines” fundraiser on Saturday, July 25. The event was held at a house on Fire Island featured in Ryan Murphy’s 2014 HBO film, “The Normal Heart.”

Organizers say over $500,000 was raised to support Lambda Legal’s national litigation and advocacy work.

(Photos by Santiago Felipe)

Continue Reading

Popular