If You Don’t Care for Satire, Beware of This Greek Director Filming Rabbits
The Verdict: The Favourite is full of shitty people, shitty behavior, and shit. It is a magnificent film about that most favored form of disability: crippling whilst posh. It centers a disabled woman fucking and then fucks with your head about disabled women fucking. So. It’s complex. It portrays a disabled woman being sexual and a jackhole. Also: I laughed. A lot.
(The 18th Century; The Court of Queen Anne But Not Really) If you took Tony Richardson’s Tom Jones, and Kubrick’s Dr. Strangelove, shoved them into Watership Down with any of John Waters’s pre-Hairspray films, the surviving film that hopped out might be Yorgos Lanthimos’ The Favourite.
Christ on a cracker, the FuckAbility™ Research Council hates being serious but needs must on the issue of casting and representation. Olivia Colman has a disability history that is, in fact, relevant to her role in The Favourite. Ruling that she’s not disabled enough, or has the wrong disabilities to qualify her for the role, reduces us to our diagnoses — something we have long fought against.
Bawdy without any ameliorating jolliness, The Favourite has an essential meatiness that’s mostly missing from the lives of bodies on the mainstream screen, including physically disabled, ill, or aging bodies. It got to me. The night after I watched it, I had a dream that I went to use the toilet and found I had shit smeared all under my clothes. When I woke up I knew it was because the reeking sensibility of The Favourite had made a powerful impression on me.
RJ Mitte Will Present at the 2019 Palme d’Visage Awards, Signaling That The Upside Will Win Most Condescending
Matt Damon, Master of Diversity, Hails RJ Mitte’s Commitment to Avoiding Discussion About The Upside‘s Discriminatory Casting Practices and His Unstinting Support for the Status Quo That Blocks Disabled Actors From Competing for Roles
(Battlecreek, MI) NoVariety announced today that RJ Mitte will present the inaugural “RJ Mitte Award for Most Half-Assed Casting in a Film Depicting a Disabled Character.” Emma Stone will portray RJ Mitte at the March awards ceremony in beautiful downtown Switzerland now that Jennifer Lawrence, who had been a lock, became uncastable after a recent injury left her with difficulty walking.
“I can’t imagine a situation where I’d tell Bryan — who’s been like a father to me — that, while I know he cares about me and wants to help me, I can’t let him use that as an excuse for a business decision that hurts others.”
Mitte has been vocal on social media about his support of Bryan Cranston’s casting in The Upside. “Disability stories need to be told and films like this wouldn’t be made without a star like Bryan Cranston. Conflicting messages about inclusion that reach as many people as we can are how we change mindsets and remove the stigmas around disabilities. As a disabled actor, I am proud of his performance in The Upside and I can’t wait to see Emma Stone’s portrayal of me presenting him with the award.” Continue reading
Issue No. 4: The It’s Not Just That You Used a Slur, It’s That You Doubled-Down on Your Offensive Language Edition
In which The Crip responds to
a Daily Kos writer’s post and subsequent comments America’s Next Top Jackhole, Louis CK, who ordinarily one would have thought came from was Republican author, given the writer’s intransigence to making a change that was so easy, obvious, and respectful. would shut the fuck up, in general, and definitely about disabled people, in particular.
The Top 5 Reasons Why Everyone (Me) Knows You Never Use the R-Word in a Careless and Lazy Fashion and Also Just Don’t Use It
1. Presumably, you want people to respond to the actual topic of your article, which you’ll notice I’m not doing.
Going to see The Upside?
Don’t miss an opportunity to share your feelings about the film’s bold casting decisions. #CastBoldly
Print the graphic above and hand it out at the theater!
Sample messages for sharing your excitement:
“I haven’t seen such bold half-assed casting like this since last year’s Palme d’Visage winner gave us A Pair of Raybans as the lead in Blind: Based on a Mall Store Called The Sun-Glass Hut by The Food Court.”
“Do you think Streep could do what The Wheelchair did: Cradle Cranston’s ass while wordlessly conveying every stereotypical cliche about living with a disability? I scoff at that!”
“Matt Damon said it was okay!”
See you in beautiful downtown Switzerland in March for the Palme d’Visage Awards!
FuckAbility™ Research Council (FARC) is a piece of letterhead housed on the Tales From the Crip website. FARC’s mission is to raise awareness of hollywood’s lack of awareness that many disabled adults fuck in groups of one or more. All views expressed are subject to change and denial.
The inconvenient truth about The Upside is that its misguided casting is based in a biased business decision, not creative expression.
As in Me Before You, Breathe, and He Won’t Get Far on Foot, The Upside failed to cast a wheelchair-using actor and instead chose Bryan Cranston, who does not have a visible disability. Admittedly, I hadn’t expected Cranston to have actually been “the one who knocks” in his own life when he played the role of a drug dealer. But I am critical of him deciding to take the role of a recently disabled man — and, more importantly, I’m critical of how systems protected him from having to face serious competition from wheelchair-using actors. He recently defended his choice, saying it was a “business decision.”
Many disabled people disagree. Cranston, and many others, scoff at the criticism, saying that movies are a commercial venture and that, moreover, disability is just another fictional experience to portray. Actors act, after all…unless the actor has a visible disability, in which case their talent could never sway an audience — or a producer.
Muddling these arguments together is a mistake. The first is about business practices and the second is about creative expression. For actors, creative expression requires industry access — and that’s why casting norms need to change before debates about representation and creative expression can be anything but theoretical.
If the industry is going to limit nearly all physically disabled actors to roles defined by physical disability, non disabled actors shouldn’t be surprised when there’s anger at seeing those roles lost to actors who are not physically disabled. If only 2% of roles are disabled characters, to begin with, and 95% are played by actors without disabilities, that’s a systemic employment barrier.
Creative expression has different bases. Some of us experience disability as an event that affects our lives and some experience it as a component of our identity. Many of us experience both.
In creating disability narratives, this difference positions disability either as an event that drives the plot forward or as a component of identity that contributes to a character. Both are valid and both can lead to high- or low-quality work.
That difference is not going to be resolved. It’s not even a problem to be solved. In terms of acting, I would say it’s even a mistake right now to be drawn into too much arguing about the specifics of who’s “allowed” to play what roles.
The problem is that actors with visible disabilities are shut out of casting and that prevents careers — and clout.
One reason is that it too easily reduces us to diagnoses. Another it that it risks inhibiting imagination and empathy. I have muscular dystrophy and use a wheelchair now. I spent my childhood misdiagnosed with cerebral palsy. I’ve had agitated depression. And I swear to god I don’t know if I’m sweating right now from frustration or menopause. I have also had colds, pneumonia, and tummy-aches. What types of disabilities are “appropriate” for me to play? Should only people like me, who grew up with a disability, play roles of characters who had disabilities in childhood? And where does this leave the vast numbers of actors with invisible disabilities who have succeeded in passing as non disabled?
It’s an interesting discussion — what constitutes “enough” experience — but it’s currently entangled with the real issue to be confronted: biased business practices.
Trying to avoid thThe argument that a non disabled actor — in this case, Bryan Cranston — is simply the superior artist doesn’t hold up. What are all of these roles that visibly disabled actors have performed in such an inferior fashion? Spoiler alert: They don’t exist so you have no actual comparison. Just an assumption that visibly disabled actors wouldn’t be as good or better.
And, in terms of artistry, here’s a question: To what degree does the non disabled actor depend upon a prop to get the acting job done? Because when it comes to physical disability, I’m not sure audiences would buy him as a wheelchair-user if he weren’t sitting in a wheelchair. Props are important, yes, but they’re not a substitute for an actor.
The problem is that actors with visible disabilities are shut out of casting and that prevents careers — and clout. That’s the problem in the business of show. That’s why Cranston’s casting is being called out.
This is why losing one more exceedingly rare lead role — a wheelchair-using character — is so infuriating. Using the tired “Because BUSINESS” is a sloppy excuse for systemic bias that produces abysmal hiring rates. Casting is currently a business that effectively places its every office on the second floor of an elevator-less building and then says no wheelchair-using actors showed up so they just don’t want it enough, etc., etc..
Visibly disabled actors are not considered “appropriate” for casting in roles where there’s no mention of disability. The truth is that, had he been a visibly disabled actor, casting statistics show how unlikely it is that Cranston would have been cast in the many, many roles that, together, have built his career and now provide his clout.
If the industry is going to limit nearly all physically disabled actors to roles defined by physical disability, non disabled actors shouldn’t be surprised when there’s anger at seeing those roles lost to actors who are not physically disabled. If only 2% of roles are disabled characters, to begin with, and 95% are played by actors without disabilities, that’s a systemic employment barrier. Starvation seldom breeds generosity.
This is why losing one more exceedingly rare lead role — a wheelchair-using character — is so infuriating. Using the tired “Because BUSINESS” is a sloppy excuse for systemic bias that produces abysmal hiring rates.
Casting is currently a business that effectively places its every office on the second floor of an elevator-less building and then says no wheelchair-using actors showed up so they just don’t want it enough, etc., etc..
When an actor like Bryan Cranston finally has to actually compete with physically disabled actors who are in his casting echelon, then we can have that thoughtful discussion about balancing representation and artistic expression. Until then, it’s just another business getting away with unfair practices. And not even very creatively.