will the 2025 oscars peak black women?

Will the Upcoming 2025 Oscars Finally Peak Black Women if Carlos Gascón wins Best Actress Over Cynthia Erivo?

By TSR

Brooklyn, NY - The 2025 Academy Awards are shaping up to be one of the most highly anticipated ceremonies in recent history, with the Best Actress category drawing significant attention. This year’s nominees include Cynthia Erivo for "Wicked," Demi Moore for "The Substance," Mikey Madison for "Anora," Fernanda Torres for "I’m Still Here," and Carlos Gascon, a man for his leading performance in "Emilia Perez."

Cynthia Erivo stands out, not just for her exceptional performance but for the broader cultural significance of her nomination. Cynthia Erivo's nod for her role in "Wicked" further solidifies her status as one of the most formidable talents of her generation. Erivo, already an established force in both theater and film, brings a unique gravitas to the role of Elphaba, captivating audiences with her extraordinary vocal prowess and dramatic intensity. 

While all of the female nominees have delivered commendable performances, Carlos Gascon’s inclusion in the Best Actress category has ignited controversy—not only due to the fact that he is a man, but more importantly because of the widely perceived shortcomings of his performance. Critics and audiences alike have pointed to his lackluster portrayal, questioning whether his nomination was truly earned based on merit or if it reflects a broader push for inclusivity at the expense of artistic excellence.

The nomination of a male actor in a female role in Emilia Pérez has reignited debates around representation and fairness. Many Black women who have celebrated Cynthia Erivo’s groundbreaking achievements are now facing an uncomfortable dilemma. Cynthia Erivo's journey represents not only personal success but a broader victory for Black women in entertainment. 

Cynthia Erivo, a Black woman, potentially losing to Carlos Gascon, a Spanish male, brings to light the intricate and often asymmetrical relationship between Black women and the broader trans movement. Over the years, many Black women have demonstrated a visible alliance with trans ideology—an alliance that is not rooted in genuine acceptance but often stems from social and cultural pressures to conform.

The fear of being labeled as exclusionary or transphobic has compelled many Black women to align themselves with a movement that often offers little in return beyond performative allyship, superficial gestures, and forced associations. Despite their unwavering support, Black women frequently find themselves on the receiving end of virtue signaling and tokenistic inclusivity, rather than meaningful solidarity or advocacy that addresses their unique struggles and lived experiences. 

For example, the assertion by some Black women that trans women face greater threats of violence than they do is a prime example of this phenomenon of forced solidarity and misplaced advocacy. Black women, in their efforts to be seen as inclusive and supportive, often amplify narratives that center trans experiences, even at the expense of their own harsh realities. Yet, this support is rarely reciprocated; the trans community remains largely silent on the staggering rates of violence that Black women face, particularly at the hands of Black men. Instead of addressing these critical issues, the discourse is frequently skewed to prioritize trans victimhood, with Black women willingly positioning themselves as secondary in their own struggle for safety and recognition.

Back to the Oscars, not all films in contention this year have received universal acclaim. "Emilia Pérez," which has garnered significant attention, has been widely criticized for its lackluster storytelling and inconsistent execution. Its underwhelming narrative structure, uneven pacing, and a failure to deliver the emotional resonance expected from such a high-profile project is heavily apparent in the film. 

One of the most significant criticisms aimed at Carlos Gascón’s performance is his limited emotional range. In a film that hinges on the transformation of a ruthless cartel leader into a new identity, highly problematic at offset, audiences expected a layered and dynamic portrayal. Instead, Gascón often delivers his lines with a stiffness that makes it difficult to fully connect with his character’s nonsense struggle. 

Hollywood’s decision to nominate a man performing womanface in a film that portrays a criminal disguising himself as a woman speaks volumes about the current cultural landscape. The very fact that such a plot was not only supported but brought to fruition and celebrated through awards recognition highlights the unsettling reality of how womanhood is increasingly being reduced to a mere facade—one that can be appropriated and exploited for ulterior motives.

Emilia Perez presents a troubling narrative to the world, reinforcing the idea that womanhood can serve as a convenient cover for reprehensible behavior and criminality. This normalization of “womanface” not only undermines the authenticity of female identity but also perpetuates harmful stereotypes that depict womanhood as something that can be worn, manipulated, and discarded at will. The film’s success in gaining mainstream acceptance serves as a stark reminder of the broader societal shift that continues to  slap women in the face, while the camera is rolling. 

Will Cynthia Erivo be able to handle a potential loss to Carlos Gascon gracefully, despite the fact that many Black women around the world believe she delivered a far superior performance?  Gascon’s nomination and  subpar performance, reflects a broader push for greater representation of trans identified males in the industry. 

The nomination of Gascon, a male actor in a role that is derogatory to women, raises concerns about the fairness and integrity of the competition. It diminishes the hard work, dedication, and authenticity that female actors bring to their craft, as they navigate an industry that has historically marginalized them. This situation highlights a broader issue of representation, where opportunities for women—particularly those who have spent their entire careers perfecting their artistry—are being overshadowed by what some see as performative inclusivity. 

Gascon’s nomination serves as yet another indicator that the trans movement, at its core, is a men’s rights movement—one where the rules are bent to favor male interests, and the erasure of women becomes a byproduct of its advancement. The pattern of prioritizing trans-identifying males in spaces traditionally reserved for women suggests that the movement thrives on circumventing boundaries and redefining womanhood on male terms. In this landscape, what emerges is not progress or inclusivity, but a troubling dynamic where the real disdain for women manifests through systemic displacement and appropriation. By allowing biological men to infiltrate and dominate female spaces under the guise of progress, the deeper issue becomes clear: the exploitation of womanhood for personal gain and validation, ultimately sidelining the very women who built these spaces and fought for recognition in the first place.