Chris Rock is right – Hollywood has a race problem. Photo: Kevin Winter/Getty Images for BET
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Why Hollywood needs to listen to Chris Rock about its race problems

On screen and off, Hollywood is terrible at giving opportunities to anyone who isn’t white, and one of the US’s biggest stars is calling them out on it.

In a scathing editorial in the Hollywood Reporter, Chris Rock has confronted some issues that though obvious, are being blatantly ignored. He quite rightly points out that Hollywood is an exclusive, white industry that is terrible at giving opportunities to black and Latino people other than as the janitor. You only have to open your eyes to see this, but nobody, whether it be studio executives, producers, directors, other actors or critics, has been proactive in changing things. It’s OK to say it – Hollywood doesn’t care about black people.

In Rock’s piece, he references a scene that was cut out of his upcoming film Top Five. The line goes “I'm the only black agent here. They never invite me to anything, and these people are liberals. This isn't the Klan.” It cuts to the heart of the bullshit that is liberalism – they don’t think they’re racist just because they don’t wear white hoods and call themselves “Grand Wizard”. You can count on one hand the number of black actors who are currently genuine stars in Hollywood: Denzel Washington, Will Smith and Samuel L Jackson. Halle Berry got relegated to television, Eddie Murphy’s career imploded, Jamie Foxx isn’t quite “it”, Tyler Perry’s an embarrassment and the likes of Idris Elba, Chiwetel Ejiofor, Kerry Washington, Don Cheadle and Anthony Mackie are mostly kept to supporting roles which wouldn’t be the case if they were white.

As Rock states, you can go for weeks without seeing a significant black character on screen. Change doesn’t happen on its own – it has to be pushed and it certainly doesn’t happen overnight. I don’t know what the solution is or even if there is one aside from making it mandatory for you to have a certain amount of speaking roles for minorities in films. But I do know that nobody apart from racists would care if Batman was played by Idris Elba or if Seth Rogen’s loveable sidekick was Kevin Hart, even though black actors never even get considered for these roles. Every man and woman in the western hemisphere was under consideration for the two leading roles in Fifty Shades of Grey, except for black actors and actresses. What would be the difference if Christian Grey was black? There wouldn’t be one. What they’re saying is that people don’t find black people sexy, but as Rock puts it: “More women want to fuck Tyrese than Jamie Dornan, and it’s not even close. It’s not a contest. Even Jamie would go, ‘OK, you got it’.” It’s so absurd it’s almost impossible to comprehend.

The key decision-makers in Hollywood are all white: every studio head is white, all the significant producers are white. Only Will Packer, responsible for things like Think Like a Man, Ride Along, No Good Deed and Takers is a notable black producer working on mainstream projects. All black talent needs is an opportunity and it’s not really getting one. Steve McQueen gave Chiwetel Ejiofor the leading role in 12 Years a Slave, which resulted in one of the best performances I’ve ever seen. Ejiofor  has been waiting his entire career for a leading role and he proved all those people wrong who thought he “didn’t quite fit the part”, and would do so again if he ever gets another one.

Chris Rock, probably the leading stand-up comedian of the last twenty years and second only to Richard Pryor at his craft, is right. Nobody wants to admit it, but he is. Race has always been integral to his stand-up act but he hasn’t attacked the medium he works in quite like he did in this editorial.  An optimist would suggest that because such a high-profile figure has attacked the industry, change will follow, but I’m not an optimist and the fact is Hollywood is a white industry that doesn’t even pretend to care about black people. Of course, the irony is that Hollywood’s ignorance and discrimination is costing them millions – they’re alienating a massive demographic that could have helped out the worst US box-office in over a decade. You listen to Chris Rock and you’ll usually be in hysterics, but for once, he is being entirely serious. He’s speaking the truth that Hollywood doesn’t want to hear.

Iain Cameron
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Meet Scotland's 300-year-old snow patch, the Sphinx

Snow patch watchers expect it to melt away by the weekend. 

This weekend, Scotland's most resilient snow patch, dubbed Sphinx, is expected to melt away. The news has been met with a surprising outpouring of emotion and nationwide coverage. Even The Financial Times covered the story with the headline "The end is nigh for Britain's last snow". The story has also gone international, featuring in radio reports as far away as New Zealand.

So what is it about Sphinx that has captured the public’s imagination?  Some have suggested it could be symbolic. The Sphinx represents how we all feel, helpless and doomed to a fate determined by leaders like Donald Trump and Kim Jong Un. 

Regular contributors to the Facebook page “Snow Patches in Scotland”  have their own, more prosaic theories. One tells me that the British are “generally a bit obsessed with weather and climate”, while another says snow-patches are "more interesting than anything Trump/May/Boris or Vladimir have to say”.

Those more interested in patches of snow than the existential consequences of international relations could be dismissed as having seriously skewed priorities, but there's more to the story of Sphinx than lies on the surface. 

For a start it's thought to be 300 years old, covering a small square of the Cairngorms for centuries with just six brief interruptions. Last time the Sphinx disappeared was 11 years ago. Though it may melt away this weekend, it is expected to be back by winter. 

Iain Cameron, the man who set up the Facebook page "Snow Patches in Scotland" and someone who has recorded and measured snow patches since he was a young boy, says that Sphinx has shrunk to the size of a large dinner table and he expects it will have melted entirely by this Saturday.

It came close to disappearing in 2011 as well, he adds. In October of that year, Sphinx at around its current size and only a heavy snowstorm revived it.

"They tend to keep the same shape and form every year," Cameron tells me. "It might sound weird to say, but it’s like seeing an elderly relative or an old friend. You’re slightly disappointed if it’s not in as good a condition."

But why has Sphinx survived for so long? The patch of land that Sphinx lies above faces towards the North East, meaning it is sheltered from the elements by large natural formations called Corries and avoids the bulk of what sunlight northern Scotland has to offer. 

It also sits on a bid of soil rather than boulder-fields, unlike the snow patches on Britain's highest mountain Ben Nevis. Boulder-fields allow air through them, but the soil does not, meaning the Sphinx melts only from the top.

Cameron is hesistant to attribute the increased rate of Sphinx's melting to climate change. He says meterologists can decide the causes based on the data which he and his fellow anoraks (as he calls them) collect. 

That data shows that over the past 11 years since Sphinx last melted it has changed size each year, not following any discernable pattern. “There is no rhyme or reason because of the vagaries of the Scottish climate," says Cameron.

One thing that has changed is Sphinx's title is no longer quite so secure. There is another snow patch in near Ben Nevis vying for the position of the last in Scotland. Cameron says that it is 50:50 as to which one will go first.