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COMMENTARY: Golden Globe Awards Blackout — Travesty or Testament?

NNPA NEWSWIRE — Black talent being shut out of the Golden Globes is not just a travesty but also a testament to the power of the work and the narratives being told that challenge the status quo. Why folks assume that awards shows invested in the same media industries that continue to perpetuate and recycle the vilest stereotypes of black identity and behavior would somehow acknowledge the stories, performances and behind-the-scenes work that challenges dominant ways of thinking about Black people on and off-screen is befuddling.

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Historically, the Golden Globes and similar award shows have not been good at identifying, acknowledging or rewarding black talent, much like the entertainment industries themselves.

By Nsenga K. Burton, Ph.D., NNPA Newswire Entertainment and Culture Editor

Many cultural critics and pundits were in an uproar over the shutout of black talent at the 2020 Golden Globe Awards held Jan. 5. The Golden Globes are voted on by the Hollywood Foreign Press, which is a non-profit organization composed of journalists, photographers and media professionals who report on the entertainment industry.

Last year actress/director Regina King took home a Golden Globe for Best Performance by an Actress in a Supporting Role for If Beale Street Could Talk and Best Performance by an Actress in a Limited Series or Motion Picture Made for Television for Seven Seconds (Netflix). Mahershala Ali won for Best Performance by an actor in a Motion Picture for Green Book in 2019.

These were the awards despite the tremendous amount of black talent on and off-screen in 2019 in major motion pictures like Black Panther and BlacKkKlansman and a litany of amazing performances in front of and behind the small screen on network and cable television.

Black folks fared even worse at the 2020 Golden Globes not taking home one statue, even with compelling television and film like The Last Black Man in San Francisco (A24), Black and Blue (Screen Gems), Queen & Slim, Raising Dion (Netflix), American Gods (Starz) , Southside (Comedy Central), Pose (F/X), Dear White People (Netflix), Claws (TNT), Snowfall (F/X), When They See Us (Netflix), not to mention outstanding web series like Giants and Pillow Talk.

Suffice it to say the Golden Globes still aren’t feeling Black talent, so why are audiences so invested in this show and others?

Black talent being shut out of the Golden Globes is not just a travesty but also a testament to the power of the work and the narratives being told that challenge the status quo. Why folks assume that awards shows invested in the same media industries that continue to perpetuate and recycle the vilest stereotypes of black identity and behavior would somehow acknowledge the stories, performances and behind-the-scenes work that challenges dominant ways of thinking about Black people on and off-screen is befuddling.

Black folks aren’t the only historically marginalized group snubbed by the Golden Globes. No women directors were nominated for any directing awards this year.

Only five women have ever been nominated for directing in the 77-year history of the Golden Globes. Most recently was Ava DuVernay (Selma) in 2015; Barbra Streisand (Yentl and The Prince of Tides), Jane Campion (The Piano), Sofia Coppola (Lost in Translation) and Kathryn Bigelow (The Hurt Locker and Zero Dark Thirty). How is it possible for Greta Gerwig (Little Women) and Lulu Wang (The Farewell) and Ava DuVernay (When They See Us) to not be nominated this year?

It is entirely possible in an industry that has yet to catch up to a century of overlooking and further marginalizing members of historically disenfranchised groups. There is a reason Black showrunners and filmmakers like Shonda Rhimes and Kenya Barris are moving to Netflix. They want to tell compelling stories and have power over final edits that don’t dilute the power of their prose by elevating the feelings and needs of White viewers over all others.

According to the University of Southern California’s Inclusion in the Director’s Chair Study, only 4.9 percent of top films were directed by women in Hollywood 2007-2019. Twenty percent of Netflix’s 53 U.S. films was directed by women in 2019. Of the 4.9 percent of women directors in Hollywood, less than 1 percent were directed by women of color.

Netflix has also aggressively diversified its staff to reflect the changing demographics of society while Hollywood slowly makes hiring changes through pipeline programs with abysmal full-time job conversions.

The Farewell actress Awkwafina made Golden Globes history by becoming the first performer of Asian descent to win a Golden Globe award in a lead actress in a musical or comedy, which is a triumph in some ways, but could also be considered a travesty with the amount of influential and amazing work that has come from people of Asian descent on-screen and off-screen in the United States and abroad.

Mainstream award shows like The Golden Globe Awards, The Academy Awards, The BAFTA Awards aren’t really for us and were not created with Black talent in mind.

Black talent will continue kicking down doors in Hollywood and telling stories as members of the Hollywood establishment and outside of the Hollywood establishment, which is how change is created.

Historically, the Golden Globes and similar award shows have not been good at identifying, acknowledging or rewarding black talent, much like the entertainment industries themselves.

Change is slow but sure, but there is no need to be a glutton for punishment. Tune into the NAACP Image Awards, the African American Film Critics Association Awards and the BET Awards if you want to see a greater representation and acknowledgement of black talent in the entertainment industry that is actually celebrated and rewarded.

Hope springs eternal but to continue hoping mainstream awards shows will give a damn about Black talent and audiences is an exercise in disappointment. The overlooking of black talent by mainstream awards shows is a travesty, but it is also a testament to the power and influence of the work by black writers, directors, producers and performers. To reflect the sentiment of a favorite internet meme — make it happen, clap for your damned self and keep it moving.

This article was written by Nsenga K. Burton, Ph.D., entertainment and culture editor for NNPA/Black Press USA. Nsenga is also founder & editor-in-chief of the award-winning news blog The Burton Wire, which covers news of the African Diaspora. Follow her on Twitter @Ntellectual.

Nsenga K. Burton Ph.D.

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

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The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.


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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

 

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