Zoe Saldana slammed for calling her Emilia Perez Oscar ‘gender fluid'
Zoe Saldana has been criticized after she referred to the Academy Award she won for her role in Emilia Prez 'gender fluid'.
The actress played Rita Mora Castro - a Mexican lawyer tasked with helping a cartel boss transition into a woman, and recently spoke with People about winning her first ever Academy Award for the role.
In speaking about her Oscar for Best Supporting Actress, she mentioned that she keeps the statue in her office and that it was 'gender fluid.'
SCROLL DOWN FOR VIDEO
She then went on to say that the award was 'trans' and goes by 'they/them.'
But the admission did not go over well with the general public.
Although Emilia Pérez won several awards, the movie - which features other actors including trans actress Karla Sofia Gascon and Selena Gomez - was met with massive controversy.
On one hand, members of the LGBTQ community were upset at the movie's 'retrograde' portrayal of a trans woman.
Others took issue with the representation of Mexican culture in the film, which featured an oversimplified take on drug violence in the nation, as well as a mixture of inaccurate accents and dialects.
And then, some of Gascon's old tweets were resurfaced, which featured racist and discriminatory views against Muslims, China, and George Floyd - for which she later apologized.
On top of all of this controversy laid critic's biggest issue: Not once during any award speech or discussion about the film did any of the actors involved mention the issues that plague trans people in their communities.
So Saldaña saying months later that her Oscar award was 'trans,' caused a rehashing of the uproar the film faced when it first came out.
'We have Latinos/Hispanics fighting for their rights at this moment and this woman and the whole cast of Emilia Perez have been silent about their support to the community they profited from, clear as water they only cared for the award,' one X (formerly Twitter) user shared, referencing the ongoing protests taking place against ICE.
Another user brought attention to how much the act felt like an afterthought.
'Yet she could barely speak about trans rights during her acceptance speeches,' they said.
Others mirrored the same sentiment, with one user saying, 'She's so nasty where was this energy making the movie or during the awards campaign lol.'
Some users clapped back at the choice to call her award trans.
'She's calling her Oscar… trans????' one user questioned.
And finally, some users were just upset to have to see anything about the film on their timelines again.
'I thought I wouldn't have to hear about this movie again,' another X user shared.
While Emilia Pérez itself may be in the best, it's no telling what its cast might say in the future to bring it back into the headlines.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Guardian
22 minutes ago
- The Guardian
Death Stranding 2: On the Beach review – a hypnotising arthouse game with an A-list cast
What is Death Stranding 2 trying to say? It's a question you will ask yourself on many occasions during the second instalment of Hideo Kojima's hypnotising, mystifying, and provocatively slow-paced cargo management simulator series. First, because during the many long and uneventful treks across its supernatural vision of Mexico and Australia, you have all the headspace in the world to ponder its small details and decipher the perplexing things you just witnessed. And second, because the question so often reveals something profound. That it can stand up to such extended contemplation is a marker of the fine craftsmanship that went into this game. Nobody is scribbling down notes to uncover what Doom: The Dark Ages is getting at or poring over Marvel Rivals' cutscenes for clues, fantastic as those games are. It is rare for any game to invite this kind of scrutiny, let alone hold up to it. But Death Stranding 2 has the atmosphere and narrative delivery of arthouse cinema. It's light of touch in its storytelling but exhaustive in its gameplay systems, and the tension between the two makes it so compelling. At first you brave one for the other; then, over time, you savour both. For anyone who missed the first Death Stranding, yes, this really is the second in a series of games about moving cargo between waypoints, on foot or by vehicle; delivering packages of food, tech and luxury items, like a post-apocalyptic Amazon driver. A mysterious event fundamentally changed the world at the start of the first game, allowing the dead to return to the realm of the living as spectral entities known as Beached Things (BTs). When a BT kills a human, it creates a disastrous event called a 'voidout', a kind of supernatural nuclear bomb explosion that leaves behind nothing but a vast crater. With humanity fragmented and sequestered in underground bunkers, protagonist Sam Porter Bridges (Norman Reedus) was entrusted with connecting the remaining pockets of civilisation in the US to a global tech infrastructure called 'the chiral network', restoring hope for a better tomorrow. He managed it, too, making it across the entire continent with a sort of supernatural infant, Lou, carried in an artificial womb. As this sequel begins he is enjoying a secluded life in Mexico with Lou, now a toddler. And believe me, those are the scantest cliff notes possible. Death Stranding 2 begins with six solid minutes of cutscenes that attempt to convey the strange world of sci-fi and poetic metaphors that Kojima has constructed, and even that feels like a cursory summary. Decrypting the mysteries is half the fun here (the other half being the box-shifting) but even if you don't engage that deeply with the world, it follows its own kind of dreamlike logic and starts to make intuitive sense. It is not clear whether Death Stranding 2's Australian once looked like the one we know, for example, or whether it was always a patchwork of Icelandic tundra, snowcapped mountains and multicoloured desert. What matters is that it feels consistent. Meditative it may be, but this isn't a game about watching Sam enjoy retirement and fatherhood for 50 hours. He is inevitably called back into action, this time reconnecting the Mexican and Australian populations to the chiral network for an outfit called Drawbridge, a logistics company funded by an unknown benefactor and headed by returning character Fragile (Léa Seydoux). If that sounds a bit dry, what if I told you that Fragile wears a pair of long Greta Garbo gloves around her neck, which she can move like a second set of hands? A swashbuckling gang of assists Sam on his mission, following him around on the DHV Magellan, a ship with more A-listers on board than a Cannes red carpet. Seydoux, George Miller, Guillermo del Toro, Nicolas Winding Refn, Elle Fanning and Shioli Kutsuna all give brilliant performances, as does veteran game actor Troy Baker as chief baddie Higgs. The major characters exist primarily as poetic devices and morbid metaphors: Rainy (Kutsuna) is an ostracised optimist who makes it rain whenever she goes outside; Tarman (Miller) lost a hand to supernatural tar, and can now use it to guide the ship through its currents; Heartman (Darren Jacobs) dies and is reborn every few minutes. By rights, they should all be simply too strange to invoke pathos, but there are rare moments when the allegory is dialled down and they interact in human and poignant ways. If you don't feel a lump in your throat watching Rainy and Tomorrow (Fanning) sing together, it's not just Deadman who is dead inside. Package delivery is, strangely, depicted to the highest of gameplay standards. It sounds boring, but you can't help get pulled in by the magnetic draw of these detailed systems. In the last game, combat felt like an afterthought, but there is more of it this time as missions bring you into conflict with both BTs and other humans, and it is supported by typically slick mechanics that make launching a grenade or snapping a neck feel equally gratifying. You can fabricate tools to take with you – ladders and climbing ropes for mountainous routes, assault rifles and grenades when a fight is likely. The pleasure is as much in the preparation as it is in the action; it feels good to impose some order on an otherwise chaotic and unknowable world. That's probably why we all baked so much banana bread during lockdown. Kojima had a draft for Death Stranding 2's story before the Covid-19 pandemic, but rewrote it from scratch after being locked down along with the rest of the world. You don't have to look too hard to see the influences – a population that is too scared to go outside, governments that promise to save you by putting an end to travel and physical contact, the profound loneliness of Sam's job as a porter travelling solo across barren landscapes. Fittingly, you can interact with other players, but only at a distance, sharing equipment, building structures and leaving holographic signs and likes for other players in their own games. This ends up being a biting piece of lockdown satire – as time goes by the world becomes clogged up with flickering icons, and as more structures appear you are confronted by constant 'like' symbols. It feels like the mind-numbing attention spam of social media, and there's no way this is an accident. The first game had the advantage of surprise. Death Stranding 2 does not. Much of what is good – and what is tedious – about this game was also true of the last, but at the same time it has refined each bizarre element. Combat feels punchier, the world map more hand-crafted, missions more varied. Asking you to do all of that schlepping about all over again in a whole new game should feel like a practical joke, but it is so mechanically rich and loaded with meaning, you just nod and don the backpack a second time. Of the many things Death Stranding 2 is trying to say, the message that comes to the fore is: you are never truly alone. Global disasters, big tech, even death itself – these things might abstract the way we connect to one another, but they can't sever the connection altogether. Not bad for a game about delivering boxes. Death Stranding 2 is released on 26 June, £69.99/US$69.99/A$124.95
The Sun
2 hours ago
- The Sun
Jake Paul vs Julio Cesar Chavez Jr undercard: Who else is fighting on huge bill?
YOUTUBER-turned-boxer Jake Paul and Mexican icon Julio Cesar Chavez Jr will fight at the top of a Honda Center bill - and the undercard is just as thrilling! The Problem Child suffered a lot of criticism the last time he competitively stepped foot in the ring. 2 Paul, 28, outpointed boxing legend Mike Tyson, who is 30 years his senior. It was a fight that ended with unanimous boos in the AT&T Stadium and one fan even labelled the bout "the saddest watch in boxing history". However, Paul has a huge chance to get boxing lovers on his side once again as he takes on the son of pound-for-pound legend Julio Cesar Chavez. But before these two cruiserweights dance in the ring, there are several scintillating fights on the undercard. Who is on the Jake Paul vs Chavez Jr undercard? Gilberto "Zurdo" Ramirez and Yuniel Corticos will leave it all in the ring for the WBA and WBO cruiserweight titles. Holly Holm makes her official return to the ring after a decade away to fight Mexican star Yolanda Vega. And undefeated Raul Curiel goes toe-to-toe with Victor Ezquiel, who boasts an unblemished record of 16 wins and one draw. 2 Jake Paul vs Julio Cesar Chavez Jr JAKE PAUL'S controversial boxing career rolls on this weekend with the Problem Child facing boxing royalty in Anaheim, California. Paul will face Julio Cesar Chavez Jr, a highly-decorated former world middleweight champion. The Mexican, 39, has fought just once in the last four years but has the best boxing resume of any fighter to step into a ring with Paul - bar Mike Tyson, who was aged 58 at the time they fought. INFO Everything you need to know about Paul vs Chavez Jr LATEST NEWS & FEATURES How to watch Jake Paul vs Chavez Jr? Jake Paul vs Julio César Chávez Jr. will be shown LIVE on DAZN Pay-Per-View in over 200 countries around the globe, priced at £24.99 in the UK and $59.99 in the US. DAZN PPV Bundle options are also available, with fight fans able to choose to buy two PPV events for the special price of £39.99 UK and $94.99 US. Choose either Paul vs Chávez Jr and Oleksandr Usyk v Daniel Dubois 2 and (July 19) PPV's; or Paul vs Chávez Jr and The Ring III - Edgar Berlanga vs. Hamzah Sheeraz & Shakur Stevenson vs. William Zepeda (July 12) PPV's. Buying a PPV fight with DAZN also provides seven-days free access to the entire DAZN platform. Alternatively, SunSport will live blog the event as it happens.
Daily Mail
3 hours ago
- Daily Mail
Marion Cotillard and partner Guillaume Canet break up after 18 years
Published: | Updated: Oscar-winner Marion Cotillard and her partner Guillaume Canet revealed on Friday that they had ended their longtime relationship. The actress, 49, and the 52-year-old, had been in a relationship going back to 2007, but they announced in a terse statement that they were going their separate ways. Although Cotillard has starred in numerous acclaimed French films, she has established herself as one of the country's biggest international stars thanks to major roles in high-profile English-language movies, including Christopher Nolan 's Inception and The Dark Knight Rises. She won the Academy Award for Best Actress for the 2007 biopic La Vie en Rose, in which she portrayed the legendary French singer Édith Piaf. Cotillard — who walked the red carpet alone at the Berlin International Film Festival earlier this year — and Canet represented a star couple in France, where he is also an acclaimed actor, writer, and director. They announced that they had ended their relationship in a statement to the Agence France-Presse news agency in which they said they were publicly revealing their breakup 'to avoid all speculation, rumors and risky interpretations.' The former couple didn't share why they were separating, but they said it was by 'common accord' and was with 'mutual goodwill.' The two had known each other for a decade before then, and they had appeared on screen together in the French-language film Love Me If You Dare from 2003. Despite having apparently never tied the knot, Cotillard and Canet were forced to deny that they were married multiple times over the years. Adding to the confusion was the actress's habit of wearing a diamond ring on her left ring finger, which her partner had given her as a present. However, they clarified that it didn't signify that they were engaged. In 2011, they welcomed their first child, a son named Marcel, and they later welcomed a daughter named Louise in 2017. In addition to a long-running romantic relationship, Cotillard and Canet continued a years-long professional collaboration. He directed her in his movies Little White Lies (2010), Blood Ties (2013), its 2019 sequel, Rock'n Roll (2017), and 2023's Asterix & Obelix: The Middle Kingdom, with Canet appearing on screen with Cotillard in the latter two. The couple also took the lead roles in the 2009 drama The Last Flight, which was directed by Karim Dridi. Cotillard and Canet collaborated again earlier this year when he directed her in the upcoming film Karma, which reportedly finished shooting in May.
