…and in so doing has probably alienated the Netflix marketing honchos who are seemingly invested in selling the idea that the 52-year-old Gascon is a major Best Actress contender.
Not only do Lisa Taback and Kyle Buchanan apparently disagree with Poland, but the entire community of whoo-whoo trans celebrationists are almost certainly enraged by this admission, and are possibly up in arms.
HE truly respects Poland for defiantly posting the truth about Gascon and the film’s real lead, played by Zoe Saldana.
In THB #595: Emilia Perez, Poland declares that Saldana’s Rita Moro Castro, a Mexico City attorney (Poland calls her a “functionary”) whom Gascon hires to help facilitate his/her gender transition and organize his/her disappearance, “happens to be the lead of the film…the only absolute truth-teller…the only one who knows pretty much everything.”
The bottom line is that any award-season columnist who disputes the validity of Gascon’s Best Actress campaign has more or less slit his or her throat as far as a Netflix Emilia Perez ad buy is concerned.
I said the same thing in a 6.19 post, to wit:
Netflix marketers can still change their minds by pushing Gascon for a Best Supporting Actress Oscar, which she would obviously and absolutely win hands down, just as Killers of the Flower Moon’s Lily Gladstone would have easily won if she had decided to campaign in supporting rather than lead.
I’m presuming that running a Gladstone-styled identity campaign by way of a reality-denying Best Actress assertion is what Gascon and Netflix have in mind.
Winning isn’t the point — the idea is to game the system in order to validate and celebrate the identity of the contender (i.e., the first trans actress to mount a game-changing bid for a Best Actress Oscar).
If James Carville was a woke-minded Netflix marketing consultant, his Emilia Perez slogan would be “it ain’t the performance, stupid…it’s the woke-trans bounce of it all.”Poland excerpts:
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