Tyler Perry, The Academy & Representation
The Academy's decision to honor Tyler Perry shows their values and that is not a good thing.
The 93rd Academy Awards (The Oscars) was much more inclusive than its prior ninety ceremonies — a confluence of fewer movies seen by audiences and critics due to the pandemic, a national conversation about diversity and inclusion, as well as increased calls for accountability of media bodies — it also provides some lessons about management and the shortcomings of purely representational recognition.
Before the first awards were handed out, this past Sundays Oscars were noteworthy for its historic nominations including: women directors (two women were nominated in the category for the first time ever), black talent behind the scenes (Ma Rainey’s Black Bottom was the first nomination of a black team for hair & makeup), and Asian-American actors (Steve Yuen and Riz Ahmed are the first lead actors of Asian heritage nominated in the category).
In the past, the Oscars have been criticized for not being diverse enough — with very few Black actors, directors, and films receiving recognition. While women see “equal representation” (structurally) in lead and supporting acting categories, some categories such as Best Director have seen disproportionate attention paid to male directors. Chloe Zhao’s Best Director win for Nomadland makes her the second woman to ever win the award — after Kathryn Bigelow won for The Hurt Locker (2010).
Ultimately, art and film are subjective forms that create a challenge for pinpointing irrefutable claims of bias. Most of the discussion focuses on the current year, rather than taking a long-term view of the systems that have enabled a status quo that has skewed white and male. In order to realize a more inclusive slate of nominees and winners, deeper analysis of the voting body, the nomination processes, and the Academy itself will be essential.
Peer-nominated categories include several confounding factors including unspoken industry politics, non-representative voting bodies, and other factors that allow the Academy’s management to do little toward reducing bias or pushing for equity. However, there are some awards given by the Academy itself that more clearly reflects its values and in theory its management and political theory.
The core questions for the Academy’s management: does Tyler Perry’s workplace practices align with their organization’s vision, does it negate his humanitarian work, and to what degree is Perry being lauded given the national discourse around diversity and inclusion?
At this year’s ceremony, Tyler Perry was awarded the Jean Hersholt Humanitarian Award, which is given to “individual in the motion picture industry whose humanitarian efforts have brought credit to the industry.” Awarded to its first recipient in 1957, the award is determined by the Academy’s Board of Governors and is not conferred annually. Past recipients of the award include five-time Best Actress nominee and 1-time winner, Audrey Hepburn (1992)1, six-time nominee for Best Score / Song, Quincy Jones (1994)2, and noted philanthropists and Best Actress nominees Oprah Winfrey (2011)3 and Angelina Jolie (2013)4.
Tyler Perry has been recognized for his philanthropy both nationally and internationally; however, his monetary contributions have not explicitly advanced the movie industry (as outlined in the awards criteria). Unlike Winfrey or Jolie, both of whom have been nominated for acting awards, Tyler Perry nor any of his films have ever been nominated for an Academy Award. In fact, he nor his works have been nominated for Primetime Emmy Awards, Screen Actors Guild Awards (SAG), or Golden Globe Awards. [He received the Governor’s Award in 2020 from the Emmys]
In fact, Tyler Perry has been accused of practices that are antithetical to the preservation of film and honoring art. As far back as 2008, Perry’s production company was sued for “unfair labor practice complaint” for firing Black writers seeking union representation.5 In 2020, Perry has bragged about his “work ethic” as he revealed he writes his own television shows — without a writer’s room as is common on most shows.
Creators including writers, directors, and actors often belong to unions to receive healthcare and advocacy for appropriate pay. SAG actors are often guaranteed rates for days or weeks worked, which helps provide pay equity — days worked are days paid. Perry has been noted for shooting his films and television shows on incredibly truncated schedules (including one of his shows filming 19 episodes in just 4 days).6 The impact is potentially a lower production cost and overhead. Across his over 1,200 television episodes, 22 films, and many stage plays, Perry was recognized as a billionaire in 2020.
The core questions for the Academy’s management: does Tyler Perry’s workplace practices align with their organization’s vision, does it negate his humanitarian work, and to what degree is Perry being lauded given the national discourse around diversity and inclusion?
It would seem the answer to this question is very straightforward. The answer in fact tells us about the Academy and why it has not been able to more quickly demonstrate a path toward greater inclusion. In uplifting a Black male billionaire who engages in practices that seem to go against humanitarian — healthcare, fair pay, access to work for writers, and industry-aligned work schedules — who has never been recognized for the quality of his works by the Academy or its peer institutions for contributions to film or television, the Academy has decided just being Black is enough.
The future of representational politics can be as myopic as the Academy Board of Governors, where Blackness is criteria enough to be celebrated. In this future, it is enough to have Black leaders in companies and startups even if their values are not aligned with the Black community “they represent.” In this future, the Fortune 100 would have all Black or women CEOs who have not contributed to closing race or gender pay gaps, providing parental leave, or a myriad of other policies that work for the represented — not just the representer (CEO).
Alternatively, there is a future where representational politics moves beyond tokenism. In this future, organizations re-examine their mission statement, values and practices with the goal of closing existing gaps and focusing on equity. In that future, you can recognize a Black man whose work aligns to uplifting women, a white man whose work reduces pay gaps among races, and straight people who champion workplace policies that positively impact the LGBTQ+ community.
The Academy and its management decisions, similar to a film that captivates audiences, serves as a cautionary tale of a future to avoid.
Audrey Hepburn has won (and been nominated for) 1 Academy Award (of 5), 3 BAFTA Awards (of 5), 1 Emmy Award (of 1), 2 Golden Globes Awards (of 10), 1 Grammy Award (of 1), 1 SAG Awards (of 1), 1 Tony Award (of 1).
Quincy Jones has won (and been nominated for) 28 Grammy Awards (of 80), 0 Academy Award (of 7), 3 BAFTA Awards (of 5), 1 Emmy Award (of 1), 1 Tony Award (of 2).
Oprah Winfrey has won (and been nominated for) 19 Emmy Awards (of 33), 0 Academy Award (of 2), 0 Golden Globes Awards (of 1), 1 Tony Award (of 2).
Angelina Jolie has won (and been nominated for) 1 Academy Award (of 2), 0 BAFTA Awards (of 2), 0 Emmy Award (of 2), 3 Golden Globes Awards (of 8), 2 SAG Awards (of 4).