So, how 'bout that Independence Day sequel? Roland Emmerich has been planning on it for a long time, and almost everyone except Will Smith is reprising their roles because he's apparently too good for it (yet not too good to team up with Shyamalan). Go figure.
Will's...complicated. I'm looking forward to seeing him in Suicide Squad, but I love him best as Agent J. That's kinda why I was a little disappointed about hearing they were going to reboot that franchise when they can easily just keep J and K there and pass it on to other letters of the alphabet. Can't say I'm huge into Independence Day, but these odd sequels of decade(s) old movies have been wildly hit or miss. Sure, Jurassic World packed them in and Star Wars is Star Wars, but those seem to be exceptions.
Actually, I once heard Roland Emmerich talk about the movie and said that he got a lot of flack from the studio for having Will Smith in the lead because they apparently didn't like that the hero of the movie was a black man. And you know how "racist" Hollywood is right now.
Not so much Hollywood. With all the non-troversy about racelifting comic book characters, it's obvious these filmmakers do this because (and this is what I'll get into later) you just know that there's a problem with making films based on non-Caucasian super heroes and making them appealing to the public. I'm very intrigued by them making a Black Panther film, but I think it would do DC a world of good to make a Static Shock film (I'd go see it). And frankly, a black Human Torch wasn't the reason Fan4stic sucked. Plus, the aforementioned agent J? White guy in the comics.
Now, the problem isn't so much the film makers and Hollywood so much as the audience. That's why it took forever to get another sitcom starring an Asian family (let alone two). I remember Cedric the Entertainer's show got canned
because the audience isn't white enough. Not to mention the fact that it took forever to get Wonder Woman on the screen. That's chalked up partly due to a series of terrible female hero starring films (Ultra Violet and Aeon Flux which doesn't even work in live action), and also the
idiotic labyrinth of copyright red tape in Wonder Woman's license (she can't appear as anything
less than a main character for one). There has to be an audience for these things, and that's where it becomes a
painful Catch 22. They always want the
entire audience, not just a specialized racial group that can sympathize with the characters. Except when they don't, except when they do, but only if.
As for the Oscars, that's on the judging rules. They're screwed up. They go for "experience" (read: old people who are old) rather than relevance, and among other reasons, that's why anime films always get screwed over among other reasons.