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Amanda Seales Says ‘White Leadership’ at ‘The Real’ is Not ‘Connected’ to the Culture [VIDEO]



amanda seales

Amanda Seales - the real welcome

*Amanda Seales has opened up about her decision to walk away from “The Real.”

We previously reported, Seales claims it was her decision alone to not renew her co-host contract for the award-winning daytime talk show. 

Meanwhile, the streets are saying that the producers didn’t invite her back.

During an interview with Jason Lee of Hollywood Unlocked, Seales explained further that she walked away because of poor leadership. 

Below is a transcript of their conversation via MadameNoire.

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Amanda Seales (screenshot)

Jason Lee: Did you think when you got the job that they were really going to embrace you being as woke as you were?

Amanda Seales: When you say they, who do you mean?

Jason: The network, the production company…unless it was the hosts. Was it your co-hosts? I don’t know…

Amanda: No. Because when you say they. It ends up being bigger than a lot of us ever really think about. There’s a whole audience that ends up being accustomed to a certain kind of content and a certain format. You do have your co-hosts, then you have the actual crew. That’s your showrunner, the producers and all that and then there’s the network. So, there’s a lot of facets at work. Then there’s also your own people.

So a lot of times you can overshoot your own security into spaces that you don’t really know. For me, I had been a guest on “The Real” so many times and I had had a great time and it felt like a really safe space. And it felt like when I was there, they understood my voice and I was going to have the opportunity to just be my honest self. And listen, I don’t run from an adventure. I’ve never been on…I’ve never even had a job that happens every day.

I was going through a time when I was feeling very unsettled and I welcomed the opportunity to be going somewhere everyday, where I would have my own space, my own dressing room, my glam squad that I love. I would have a certain level of regimen. And I welcomed the opportunity to be on a platform speaking honestly and I really am, oftentimes, in isolated spaces. So I was like I get to be with other women where we can share ideas.

Jason: Loni has a White man and Tamera has a White husband that treats her like a house Negro. So did you really feel like you were going to connect with them as a Black woman?

Amanda: I don’t know how Tamera’s husband treats her. And whether Loni dates a White man or not, that’s none of my business. What I did respect though was that they respected me every time I had been there prior. So there was no reason for me to consider that to be any different. And for what it’s worth, I think a lot of people also don’t understand we work in these spaces as coworkers. We don’t always get along at every moment, at every time with your coworkers.

There’s going to be distractions, disagreements, there’s also going to be the learning curve of each other. So I’m not going to say that everyday was roses but I will say it’s very important that when we bring new people into new spaces, we make everybody feel safe. And that’s up to the production company and the network.

Jeannie Mai, Amanda Seales

Jeannie Mai, Amanda Seales

Jason: Where would you say was the broken chain for you?

Amanda: Leadership. And that was a lesson I learned. I think for anybody who’s watching, who’s working in this space, a lot of times we are only considering the people that we are going to be on camera with. We don’t necessarily vet the production company, or the network or the showrunner. We kind of just feel like we’ll figure that out. But these are the people who are actually going to be choosing the content that you’re doing. They’re the ones who are talking about the projection of the show and where it goes, which means you and where you go.

So you have to do your due diligence in that space. And I didn’t.

And again, for the most part, people have the best of intentions. But I think that what we really realize is what is going on in this nation is White people waking up to understanding the limitations of their abilities. And understanding no, you don’t know everything. You’re not the best at everything. There is a lot that you have not been privy to simply by just ignoring it. 

And once you have that awareness, you have to fill in those spaces with people who have been privy to that. I was on a show that on its core base, this is a group of diverse women that are talking about things and keeping it real for a diverse audience. When in reality, it’s being run by a White woman who doesn’t have that connection to that experience. 

Our topics are being picked by someone who doesn’t. Our chat is produced by a White man—who even if he has the best of intentions, he has a disconnect from his experience in the world from what we’re going to be addressing. And then we have executives all the way up who are all White women. They have the best of intentions for their company and for their network but not necessarily for the culture. How could they? They’re not connected to this.

Which is why having Black folks and people of all colors in these executive positions is so necessary. And oftentimes in these executive positions, where they’ve only made room for one VP. They’ve only made room for one executive producer. Sometimes you’re going to need to vary that so there’s not one person in power making those decisions who doesn’t have enough understanding of the limitations of their vantage point.

So there’s that and then there’s the audience. The audience got accustomed to a whole specific type of content and that’s out of my control. When I say leadership, it’s because—if you’re going to upset the apple cart, you got to brace it. So that comes in a number of different ways. You’re going to have to support the people who are already there, the people coming in and the audience who is expecting something.

That comes through planning, thoughtfulness and foresight. And when those things are lacking people feel betrayed. And the audience felt betrayed. ‘Who is this new broad? She’s changing our content. She’s talking about race everyday.’ And they took that out on me in really painful ways, really painful ways.

You can watch the full interview in the video below.


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Black Celebrity Gossip - Gossip

Aurora Police Video Shows Black Woman Hogtied in Back of Patrol Car [WATCH]



Aurora Police Video Released Of Woman Cuffed, Hogtied In Back Of Patrol Car - screenshot

*The Colorado police force under scrutiny for the August 2019 death of Elijah McClain is catching heat once again over recently released video of a Black woman hogtied in a patrol car. 

The woman is seen riding upside down for more than 20 minutes following her arrest in August 2019. She even calls the white officer “master” and begs him to lift her from the floorboard.

Aurora Police Chief Vanessa Wilson said former officer Levi Huffine appears to be “punishing” the woman.

“In my opinion she was just tortured back there. It makes me sick,” said Wilson of the video Tuesday, during a civil service commission appeal hearing for Huffine, who was fired over the incident. He appealed his termination. 

“We are not judge, jury and executer,” said Wilson. “We are not to treat people inhumanely like they don’t matter.

“And he is lucky she did not die in the backseat of that car. Because he would be — in my opinion — in an orange jumpsuit right now,” said Wilson.

READ MORE: Reparations Closer to Becoming Reality with AB3121 Study California

Here’s more from CBS 4 Denver

Huffine arrested Shataean Kelly, 28, on Aug. 27, 2019, on municipal charges resulting from a fight. On his bodycam video, Officer Huffine decides to hobble Kelly — tying her handcuffed hands to her feet when he said she tried to escape from his patrol car by trying to open door handles in the backseat.

Wilson testified the door handles in the backseat are inoperable and in her opinion, hobbling Kelly was unnecessary. She said she felt Huffine was “punishing” the prisoner who had also been verbally abusive toward the officer.

“The hobbling in my opinion was another form of punishment,” said Wilson, notin that Kelly could have easily died of positional asphyxia.

The video played at the hear Tuesday shows Kelly begging for help during the drive to jail. 

“Officer please, I can’t breathe,” she says. “I don’t want to die like this. I’m about to break my neck,” cries Kelly.  “My neck is killing me dude. Help me, I can’t breathe.”

Officer Huffine does not appear to respond to Kelly. At one point Kelly says, “I beg you master.”

“As an African-American female she denigrates herself to the point she actually calls him ‘master.’ To me that is disgusting,” said Wilson.

In February, Wilson fired Huffine. All criminal charges were dropped against Kelly. She did not suffer serious injuries during the ride to jail.

“It’s beyond human decency for me,” said the chief of the video. “It’s unacceptable. I don’t know what else to say.”

Scroll up and watch the disturbing footage via the YouTube video above. 

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Black Celebrity Gossip - Gossip

First Look at Chadwick Boseman and Viola Davis in Netflix’s ‘Ma Rainey’s Black Bottom’



Ma Rainey's Black Bottom, Chadwick Boseman's Final Movie


*Netflix released images of Chadwick Boseman in his final film, “Ma Rainey’s Black Bottom,” which debuts on Dec. 18. 

The film stars Viola Davis, and is based on August Wilson’s award-winning play from director George C. Wolfe and producer Denzel Washington, the streamer announced on social media Thursday.

The official synopsis from Netflix reads; “Tensions and temperatures rise over the course of an afternoon recording session in 1920s Chicago as a band of musicians await trailblazing performer, the legendary Mother of the Blues, Ma Rainey (Academy Award winner Viola Davis). Boseman plays an ambitious trumpeter named Levee. 

Check out the newly released images from the drama feature below. 

READ MORE: Sienna Miller Reveals Chadwick Boseman Gave Her Part of His ’21 Bridges’ Salary

The film also stars Colman Domingo, Glynn Turman and Michael Potts. Multiple Tony Award-winner George C. Wolfe (“Lackawanna Blues,” “The Immortal Life of Henrietta Lacks”) directed the film from a script adapted by Ruben Santiago-Hudson. 

Boseman died in late August after a private battle with colon cancer. He was 43.

According to a family statement, the “Black Panther” star was diagnosed with Stage III colon cancer in 2016.

“A true fighter, Chadwick persevered through it all, and brought you many of the films you have come to love so much,” the statement read. “From Marshall to Da 5 Bloods, August Wilson’s Ma Rainey’s Black Bottom and several more — all were filmed during and between countless surgeries and chemotherapy. It was the honor of his career to bring King T’Challa to life in Black Panther.”

Ma Rainey's Black Bottom, Chadwick Boseman's Final Movie EjMreSvUcAAE_Rq EjM6jwUXkAACSCl (1)

Davis discussed Boseman’s passing with the New York Times, praising the actor’s humility.

“A lot of actors mistake their presence for the event,” Davis said. “An actor of Chadwick’s status usually comes on and it’s their ego who comes on before them: This is what they want, this is what they’re not going to do. That was absolutely, 150 percent off the table with Chadwick. He could completely discard whatever ego he had, whatever vanity he had, and welcome Levee in.”

Boseman’s last on-screen role was in Spike Lee’s film “Da 5 Bloods.”

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Jay-Z Taps Jesse Collins as First Black Super Bowl Halftime Show Executive Producer



Jesse Collins - twitter
Jesse Collins - twitter


*Emmy-nominated live event producer Jesse Collins has become the first Black executive producer of the Super Bowl halftime show. 

The NFL, Jay-Z’s RocNation and Pepsi said Tuesday that Collins will join longtime director Hamish Hamilton for the Pepsi Super Bowl LV Halftime Show on Feb. 7 in Tampa Florida, according to The Hollywood Reporter.

“Jesse Collins is innovative, creative and one of the only executive producers that speak fluent ‘artist vision.’ He‘s a true artist,” said RocNation’s Nation chief operating officer Jay-Z. “Jesse’s insight and understanding create both extraordinary shows and true cultural moments. After working with Jesse for so many years, I look forward to all there is to come.”

“It is an honor to be part of such an iconic show at such an important time in our history,” Collins said in a statement, per Variety. “I am grateful to JAY-Z, Desiree Perez, and the entire Roc Nation family and the NFL for granting me this opportunity.”

READ MORE: Jay Z Allegedly Sold Kanye’s Masters to Get His Own Masters Back

In his own statement, Jay-Z praised Collins for being “one of the only executive producers that speak fluent ‘artist vision,’” noting that his “insight and understanding create both extraordinary shows and true cultural moments.” 

Last August, Roc Nation, Jay-Z’s entertainment and sports company, signed a deal with the NFL to consult on the halftime show as their “live music entertainment strategist.” 

This past February, Roc Nation caught major heat over its first Super Bowl halftime show in Miami featuring Jennifer Lopez and Shakira. 

Uncle Luke called on JAY-Z to “fix” the Super Bowl halftime line-up to include performers from Miami. 

“[The NFL is] basically showing that, ‘Aye look, let me go get a token black guy, throw him out there, say we’re dealing with systemic racism and say we’re having him involved with the entertainment,” Luke told TMZ at the time. “It specifically said that JAY-Z would be involved with the systemic racism and the entertainment. Right now, that’s an F.”

Luke also hit up his Instagram to criticize Jay and the NFL for choosing Shakira and Lopez as Super Bowl halftime performers.

“I have a serious problem with the @NFL and the people they pick to perform at the Super Bowl, Uncle Luke captioned a video posted on his Instagram page. “The @NFL has totally disrespected the African American along with Miami entertainment community. Jay-Z this your first job.”

He was referring to Jay’s partnership with the NFL to curate the Super Bowl halftime shows. 

Jay-Z’s appointment of Collins makes him the first-ever Black executive producer of the halftime show.

Collins called it “an honor to be a part of such an iconic show at such an important time in our history.”

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