Dropping Like Flies

Who remembers Who Is Killing the Great Chefs of Europe? A trifle, 45 years ago, barely recalled but a catchy title. Right now it’s nonsensically coming to mind because the burning question of the moment is “who or what is behind the departures of all those DEI (diversity, equity, inclusion) executives?”

Four have ankled over the last ten days or so, and three since last Wednesday.

Disney’s chief diversity officer and senior vp Latondra Newton, hired in 2017, exited on 6.20 to pursue “other endeavors.” A symbolic beheading over the somewhat disappointing returns on Disney’s The Little Mermaid (especially in China and South Korea), which could arguably be blamed on the casting of Halle Bailey? Or is that a reach?

Eight days later (6.28) the ankling of Vernā Myers, Netflix’s chief of inclusion strategy since 2018, was announced. She’ll apparently remain as an advisor to Netflix as she focuses her attention on her consulting company, The Vernā Myers Company.

Two more diversity execs flew or otherwise exited the coop on Friday, 6.30. Karen Horne, Warner Bros. Discovery’s SVP of diversity, equity and inclusion since March 2020, was laid off, and the contributions of Jeanell English, EVP of Impact and Inclusion with the Academy of Motion Picture Arts and Sciences since July 2022, came to a sudden and mysterious end.

You can call this activity a coincidence and maybe it is, but if this was a thriller of some sort you’d be saying to yourself “something seems to be up.” A case for a latter-day Hercule Poirot a la Clayton Davis with a long pointy moustache?

Two Different Films

And they both stink. Did Jacques Tourneur’s 1949 release partially inspire Chloe Zhao’s The Rider and Darren Aronofsky’s The Wrestler? It took me years to catch up with Easy Living, which is basically about a football player with a bad heart (Victor Mature) who’s married to a conniving bitch (Lizabeth Scott).

“Barbie” Tracking “Skewing Almost Entirely Female”

“And particularly to females 35 and under” — from Pamela McLintock’s 6.29 THR boxoffice report about the 7.21-to-7.23 weekend, which foresees Greta Gerwig’s social-metaphor comedy trouncing Chris Nolan’s historical horror film about the A-bomb by at least $25 to $30 million.

Congrats to Team Barbie for achieving a successful sell, even as they privately acknowledge what I’ve been saying all along, which is that Barbie’s mostly Millennial and Zoomer female fans will be lining up “for the wrong reasons,” or certainly going in.