Three Generations Of Actresses Reflect On Hollywood, Harassment And Hitchcock Actress Tippi Hedren talks with her daughter, actress Melanie Griffith, and her granddaughter, actress Dakota Johnson, about how being a woman in Hollywood has — and hasn't — changed over the years.
In 1963, Alfred Hitchcock had a huge amount of power in Hollywood. That's when he plucked actress Tippi Hedren from relative obscurity to star in his new movie,
That he tormented her; he would drive by her house at all hours, stare at her, and send her baskets of food when he worried she was losing weight. He threatened to ruin her career, keeping her under contract and refusing to let her work.
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Nobody had any real answer for how I was going to solve the problem, Hedren says. Alma, his wife, she said 'I'm so sorry you have to have to go through this. I said, 'Well, can't you stop it?' I was angry, and I was hurt that I had nobody to say OK, we'll help you.
In the weeks since sexual harassment allegations against Harvey Weinstein were first made public, the entertainment industry — along with several other industries — has been reflecting on how the power dynamic between men at the top and the women they work with has been playing out. Actresses like Hedren have pointed out that this is nothing new in Hollywood; it's only now just coming to light.
Hedren is the matriarch of a line of well-known Hollywood actresses. Her daughter is Melanie Griffith, and her granddaughter is Dakota Johnson.
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Brought all three of them together, to talk about their experiences in the industry and discuss how being a woman in Hollywood has — and hasn't — changed across the generations.
Johnson: It's quite similar, to all of the allegations against Harvey, and also a lot of other men. But it's also kind of this weird underbelly of Hollywood that's been there forever, but a light is being shone on it.
Johnson: And it is about time, but that's the other thing, is like, there's all these allegations going around every day it's a new person, but it's almost as if it's becoming redundant, and the person who is at fault is irrelevant. I'm more interested in what the solution is.
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Let's hope for the day when a woman will come out of a business meeting and say, you know what? He didn't make a pass at me.
Johnson: My dad said, Dakota you need to be a wolf, not a lamb. And I was like, okay, well then that's the part of me that is going to be labeled as a bitch or cold, just because if I'm a woman being forthright or I'm saying, No, I don't like that or No, I'm not doing that, then I'm essentially unmanageable, and I'm out of control.
Johnson: I think it's stopping. I think a lot of men are perhaps taking inventory of their lives and their careers ... And I think that dudes are going to be really careful with when and where and how they take meetings with young women. I think that's the beginning, that's the start of it. But it is a lot of, you know, a young actress going to have meetings with producers and studio heads who are predominately male. Still.
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Hedren: Let's hope for the day when a woman will come out of a business meeting and say, you know what? He didn't make a pass at me.
Griffith: I feel for women who, once they're following their passion in school — let's say somebody wants to be a scientist and she goes into work and is sexually harassed, and she quits her job because she can't handle it. And she doesn't get to be a scientist in her life — she doesn't get to follow her passion because of that. That is what we need to rise up against, I think. Make it okay to follow your dreams and make it not okay for people to crush them.
This story was edited and produced for the radio by Kat Lonsdorf and Connor Donevan; Lonsdorf and Petra Mayer adapted it for the Web.Set in Africa, the seven-episode series follows a group ofAfrican A-list celebrities as it desperately tries to replacethe usual stale and stereotypical images of Africa that have ruled Western media for years withvibrant and beautiful depictions.
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The stars — Khanyi Mbau (South Africa), Annie Macaulay-Idibia (Nigeria), Tu Face Idibia(Nigeria), Diamond Platnumz (Tanzania), Zari the Boss Lady (Uganda), Swanky Jerry (Nigeria), Andile Ncube (South Africa), Kayleigh Schwark (South Africa), Naked DJ (South Africa), and Nadia Nakai— showcase glamorous lifestyles amidst a wild luxury ride.
The producers sell angles of Africa which global media rarely project: beautiful sceneries, awesome fashion — such as Swanky's eyepopping styles and accessories — as well as Khanyi's mesmerizing outfits. Not to mentionthe other cast memberslooking like models who have just stepped off the runways from international fashion shows.
Hot takes about the show have broken the internet and left many wondering if the more than seven hours investment intoviewing the seriesis really worth it — beyond the glossy images and satisfying guilty pleasures.
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Swanky and Annie turn up superexcitedly in a car arriving from South Africa. And the rest of the stars are introduced as they prepare for a glamorous ball being organized by Khanyi.
Then the show flings open the doors of disturbing narratives and denigration of women. Rousing more questions amid debates we see and experience every day.
The upsurge in human money-making ritual killings in Nigeria have been linked to movies which project such in the country. Now, there are calls in West Africa's most populous nation for such movies to be banned.
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Young, Famous &African — like these ritual killing movies — reinforces more stereotypes associated with Africa whiletrying to replace bloodstained images of Africans with beautiful ones.
The show reinforces the sexual helplessness and irresponsibility of the African man, with Diamond declaring: I have four kids, maybe five or sixand is unapologetic over his Zari-Diamond-Nadia toxic love-triangle while in the presence of his friends.
In short, this kind of irresponsible living is further reinforced with his example of not throwing away thechewing gum in your mouth over grapes you want to momentarily taste.
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There is so much gossip and bickering to the extent that the disturbing narrative of African men being more united and quick to apologize — and women being the exact opposite — is reinforced.
In one scene, for instance, after an unnecessarily dramatic outburst between Naked DJ and Swanky on the blue train, they subsequently apologizeto each other and reconcile, but Zari would rather die than apologize — even when asked by Nadia if she would like to be friends with the other ladies.
The show reinforces the ugly stereotype of confusion, disunity and crab-syndrome being on full display wherever Africans gather!Hopefully there will be a second season to correct these injustices.
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That is why you can't keep a relationship, Annie yells at Zari in one scene while walking out on her. Zari making reference to Annie's insecurities in her husband's— Tu Face Idibia— presence is the beginnings of a kind of cold war that impacts negatively on the duo throughout the series.
The reality series is making attempts at changing the poor narratives about Africa, yet this shaming lineused to shut up women in Africafinds its way on such a show.
Swanky Jerry (middle) trying to reconcile Annie Macaulay Idibia (left) and Zari the boss lady (right) after a very hot verbal exchangeImage: Netflix/Everett Collection/picture alliance
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It begins with Diamond invitinghis ex-wife Zari — whom he has still not gotten over — and Nadia, his love interest — whom he publicly professed love to — tothe Arabian party he organizes and during which he acts all loved up with Zari, as Nadia looks on.
Diamond Platnumz (right) disrespects Nadia Nakai (left) at the Arabian party he organizes and sees nothing wrong in itImage: Netflix/Everett Collection/picture alliance
Andile also invites his two baby mamas to the party he organized and was all chummy with them. Heeven had Zari as the icing on his cake — with a cherry on top.
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A major disturbing stereotype painted by the show as it attempts to erase the usual global media's gloomy images of Africais the notion that the continent is not, in fact, a continent — but actuallya country.
Although the cast members comefrom different parts of the continent, almost the entirety of the show is set in the Sandton financial district of Johannesburg, South Africa thus making one to wonder if this is Young, Famous & African or Young, Disturbed & Sandton?!
The show lacks a consistent arc with decent and satisfactory resolution, does so much of showing instead of telling, while the incoherent narrative leaves much to be desired. Aside the fact that the cast members are Africans — and the show is set inSandton — nothing makes it unique to the African context it struggles to birth.
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Except if some footages got missing — in a crashed hard drive or an angry crew member ran away with them during post-production — there
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