![]() It was notable to many, when Time’s Up launched on New Year’s Day 2018, that some of its founding female members worked in a place that had once enabled Weinstein’s predation. At least eight CAA agents, according to the paper, had been informed by their clients of Weinstein’s behavior over the years and had not taken action (CAA issued an unprecedented apology not long after the revelations, to “any person the agency let down. ![]() ![]() Time’s Up (the industry-specific sister to its predecessor, Tarana Burke’s Me Too movement, with its dress codes, its pins, and its hashtags, has become shorthand for Hollywood’s burgeoning feminist transformation).īut Dakhil, Kydd Lee, Queally, and Haubegger also happen to work for the behemoth Creative Artists Agency (CAA), so closely associated with Weinstein during the height of his clout that the company was named as part of his “complicity machine” by The New York Times. They were among the 300 total women in entertainment who established a legal defense fund that has since amassed more than $20 million for low-income women to secure representation in workplace disputes. They were women who walk down red carpets and command crews, writers rooms, and increasingly high (if not yet quite equal) salaries but they were also, crucially, agents, those behind-the-scenes wheeler-dealers found in the background of almost every silver screen success-and, America had learned, more than their fair share of casting couch degradations.įour powerhouse female agents and agency executives-Maha Dakhil, Michelle Kydd Lee, Hylda Queally, and Christy Haubegger, who are among the agents Vogue photographed here-were some of the first industry heavyweights who scrambled to react structurally to Weinstein’s fall from power, and the gender-based discrimination, abuse, and harassment it exposed, with the creation of Time’s Up. They were actresses, writers, producers, and directors, both past and present, some popular and some heretofore forgotten. In the five months since Weinstein was brought down by the testimonies of his victims in The New York Times and The New Yorker, Casting Couch was a well-timed reminder ahead of the industry’s biggest night that the producer was once its golden god-before it finally tossed him out.īut a steady rain washed Casting Couch from its corner before the Oscars began, which served as a different kind of reminder-that of the sweeping tide of voices that had turned on Weinstein and on many men after him: a rousing chorus of the women of Hollywood. Whether he was in the act of closing or opening it depended on how you felt about Hollywood. Titled Casting Couch, it depicted a seated, bare-chested Weinstein, one hand hovering ominously over the belt of his robe. Four days before the 2018 Academy Awards, at an intersection a few blocks away from the Dolby Theatre, a different type of gold statue appeared: a life-size Harvey Weinstein.
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