Chapter 280: We Are Black

"This is your first leading role in a major commercial film."

Inside a mansion in Beverly Hills, a bald black man was persuading a woman of black heritage who didn't quite look the part, "Halle, winning an Oscar is an honor, it's why you got the role of Catwoman and twenty million dollars. But don't forget how realistic this industry is, don't forget how hard it is for a black person to maintain their status. If this movie tanks too hard, you'll never get another chance to lead a major blockbuster on your own, and you'll never become a true superstar!"

Halle Berry paced back and forth in the living room, pondering these words.

She knew her Oscar win for Best Actress was somewhat fortuitous, more a product of the external environment than anything else. The industry itself didn't take her win all that seriously; after all, some truths were universally acknowledged within the circle.

Defying the opposition from Twentieth Century Fox and Marvel Comics, and temporarily abandoning the role of Storm for Warner Brothers and DC Comics to take on Catwoman, what was it all for?

Other companies and producers simply wouldn't offer a black woman a chance to carry a movie on her shoulders alone, only Warner Brothers reached out.

To be precise, it took weeks of her effort to secure this opportunity, one she hoped would propel her to true stardom.

Everyone knows that an Oscar can significantly advance an actress's career but doesn't guarantee superstar status. The market appeal required of a superstar is entirely different from winning an Oscar.

But this opportunity... Halle Berry's pacing quickened, her impatience evident, given Catwoman's dismal test screenings.

"Is there any hope for this movie?" Halle Berry seemed to lose confidence, "All the preliminary ratings are too poor."

"Test screenings and public releases are two different things," the bald man encouraged. "There are plenty of films that failed at test screenings but succeeded publicly. What we need now is to draw potential audience's attention away from 'Deadpool.'"

Halle Berry sighed and sat down across from her agent.

The bald man coughed softly and continued, "To step back, even if 'Catwoman' really might fail, it can't be the disaster it was in test screenings. If that happens, your career is over. You'll be forever stuck in the role of Storm and won't break through to more."

"So..." Halle Berry wasn't the brightest, but she grasped her agent's meaning, "I need to fully support Warner Brothers and Bruce Berman, do my best to push down 'Deadpool' and elevate 'Catwoman,' to draw public attention."

"Exactly," the bald agent nodded.

Halle Berry still had doubts, "Can this really work?"

"Don't forget, we're black!" the bald man laughed coldly, "In Hollywood, it's natural for black people to play significant roles; the absence is racial discrimination!"

Halle Berry scratched her head, unsure if racial discrimination could really be interpreted this way.

The bald man came over and patted Halle Berry's shoulder gently, "We can't afford the consequences of a major failure."

As the new week began, the internet buzzed with discussions about Murphy and DC Comics. "Deadpool" effortlessly gave "Hellboy" a dramatic box office plunge, and the media continually compared it with the upcoming "Catwoman," both superhero movies, making comparisons inevitable.

By Monday afternoon, new forces joined the fray.

Halle Berry's blog updated with a post directly targeting Murphy.

"Some people really should keep their mouths shut. One successful movie and they get arrogant, recklessly attacking others' hard work. It's disgraceful! I want to remind everyone that this director has issues. Remember 'Hard Candy,' 'Saw,' 'Planet Terror,' 'Sin City'? Was there a significant black actor in any of them? It's said that Murphy Stanton had the final say on casting!"

This scathing blog post immediately caught the media's attention.

By Tuesday, many entertainment news headlines boldly asked—Is Murphy Stanton guilty of racial discrimination?

In Hollywood, racial discrimination is not just prevalent but can be quite severe. However, acknowledging its existence is one thing; openly displaying it is another.

Just as in this so-called land of freedom and democracy, where anti-discrimination slogans are loudly proclaimed, the reality is known worldwide.

Such a topic required a direct response.

"Some people accuse me of racial discrimination? That's hilarious," Murphy immediately responded in an interview. "Count how many Asian and Latino actors, among other non-white actors, are in my films and crew!"

With Bill Rosas's coordination, Jessica Alba was quick to defend Murphy, "I've never heard anything more laughable. Look at me, am I a white actor? Am I not the female lead in 'Sin City' and 'Deadpool'?"

Chen Hu, a well-known figure in North America, also spoke up, "I don't understand some people's logic. Does every key position in a crew have to be filled by a black person? If not, is it racial discrimination?"

He pointed to himself, "I'd like to ask, if these roles should all be replaced by black actors, aren't they also guilty of discrimination?"

Indeed, due to his extended stay in a southeastern province, Murphy didn't necessarily discriminate against black individuals, but neither did he harbor the saintly notion that they were brethren. Some beliefs are deeply ingrained and don't change just because one crosses the Pacific.

But Murphy was also aware that in Hollywood, the logic of some black individuals was bizarre, defying normal reasoning.

In a large crew, not including important black characters is considered discrimination; including an important role that's a villain is discrimination; a director scolding a black actor for poor performance is discrimination; not directing black actors and casually shooting their scenes is discrimination; no black nominees at the Oscars is discrimination; too few black nominees is discrimination; enough nominees but no acting award nominations is discrimination; nominated but not winning the Oscar is still discrimination...

These are the realities of Hollywood, a mindset prevailing among a significant number of black actors since the nineties, including notable figures like Will Smith and his wife.

It seems in Hollywood, anything black people want but don't get is deemed racial discrimination.

Sometimes, Murphy wondered where they placed actors of Asian or Latino heritage, who often had even less status within the industry.

So, whenever possible, he preferred Asian or Latino actors over black actors, never denying his preference for Asian actors over the so-called political correctness of Hollywood's fragile black egos.

Besides "Hard Candy," which had only two main actors, starting from "Saw," Murphy employed numerous Asian and Latino crew members, especially focusing on nurturing Jessica Alba, a Latina superstar, partly to avoid being easily accused of discrimination.

Even Steven Spielberg's "Saving Private Ryan," a quintessentially American film, was attacked for racial discrimination because it lacked a black character in the rescue squad, regardless of the actual historical context of World War II.

Regarding Asian and Latino actors, black individuals often displayed a superiority complex, seemingly disregarding these groups entirely.

Halle Berry's ignoring her film's Latino and Asian actors wasn't surprising to Murphy; it perfectly aligned with the thought patterns of some within the black community.

Such accusations of discrimination were easily dismissed with the help of CAA and Bill Rosas, who needed only to contact a few long-standing media partners.

But Murphy never believed in not responding to aggression.

However, he didn't step forward himself. Twentieth Century Fox and CAA had a vast array of internet influencers at their disposal, not only continuing to heat up discussions and promote "Deadpool" but also, within the bounds of the rules, not hesitating to suppress "Catwoman."

If "Catwoman's" box office exploded, not only would it impact audience choices, but the screening rates at theaters for "Deadpool" would be affected due to the exclusive screening model, which, after all, could only be applied in a few regions and not become the mainstream distribution model.

It's a simple truth: the wider a film is shown and the more screens it has, the more audience it attracts, and the higher the box office potential. Without sufficient screenings and screens, even the best films can't achieve explosive growth in box office revenue.

"Theater chains won't reduce our screening numbers," Bill Rosas stated, standing before the office's floor-to-ceiling windows, speaking to Murphy who lounged casually, "After 'Catwoman's' Thursday previews, it will open in nearly 3200 theaters from Friday. 'Deadpool's' screenings will definitely be impacted."

This was inevitable. Although the number of screens in North America was increasing, the total available in the short term was finite.

"Have you thought of an appropriate way to retaliate?" Bill Rosas asked.

Murphy stood up, raising a finger, "The feedback from 'Catwoman's' test screenings made one thing very clear. We just need to focus on that point!"

In the ensuing days, Twentieth Century Fox and CAA's online forces began a strategic campaign. While continuing to stir the pot around "Deadpool," they also began a targeted suppression of "Catwoman" within the limits of fair competition.

The battle wasn't just about "Deadpool" anymore; it had escalated into a broader confrontation, testing strategies, market influence, and public opinion manipulation skills. It was a clash not just of movies but of ideologies and marketing genius.

As the skirmishes unfolded across social media, blogs, and news outlets, the central theme emerged clearly: in Hollywood's high-stakes game, the winners write the history, and the narrative is theirs to control.

For Murphy, this wasn't just about vindicating "Deadpool" or defending against baseless accusations; it was about demonstrating his resolve and resourcefulness in the face of industry politics and social controversies.

As the drama played out, both "Deadpool" and "Catwoman" prepared for their respective openings, their fates intertwined with the complex dynamics of Hollywood's race relations, marketing strategies, and the ever-changing tastes of the global audience.

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