MONEY Oscars

Patricia Arquette Wants You to Get a Raise — Here’s How to Make It Happen

The Oscar winner gave a shout-out to American women—and called for fair pay regardless of sex.

videoid= 4075421234001]

An exciting moment for many Oscar viewers on Sunday was Patricia Arquette’s Best Supporting Actress acceptance speech for her role as the protagonist’s mother in the film Boyhood.

“To every woman who gave birth, to every taxpayer and citizen of this nation, we have fought for everybody else’s equal rights,” Arquette said. “It is our time to have wage equality once and for all, and equal rights for women in the United States of America!”

Those words, which drew cheers from fellow actresses Meryl Streep and Jennifer Lopez, reflect growing tensions in Hollywood over the way women in the industry are represented and compensated. Not only do actresses have fewer roles available to them than men—only 30% of speaking characters—but they are paid less across the board. Even Academy Award-winning women face a huge pay gap: They get an extra $500,000 on average tacked on to their salary after winning an Oscar, compared with a $3.9 million bump for men.

Of course, pay discrimination is not limited to La-La Land. Women still make only 78¢ for every dollar a man makes, the Census reports, and that’s true across all wage levels, for everyone from truck drivers to top executives.

If you’re frustrated by your salary (or the pay earned by a woman in your life) and Arquette’s words resonated with you, here are some ways to change things right now.

1. Talk to a man whose job you want

A recent study found that women tend to express satisfaction with low pay because they compare themselves with female peers, and therefore never get a full picture of how underpaid they are relative to men.

Finding a male mentor in a position a notch or three above you can be a huge asset for many reasons, but one of the biggest is that he can give you an unbiased idea of what salary you should be asking for when you seek a promotion or new job.

2. Don’t say “yes” without making a counteroffer

Whether because of social expectations or a hesitation to appear too aggressive (a fear that is not unfounded given proven workplace biases), women are less likely to negotiate than men. One study revealed that only 31% of women countered the salary offer for their first job after grad school, versus 50% of men.

When you are asking for a raise or naming your salary expectations for a new job, it helps to come prepared. You’ll want to be ready with a clear description of your successes and how you have added value in your current position. And you should have an exact dollar figure in mind; research shows negotiating with a specific number makes you sound more authoritative than using a ballpark one.

If you get a resounding “no,” don’t just give up: Consider asking for a one-time bonus instead.

3. Become a mentor

It’s obvious advice to seek out strong mentors to get ahead at work. But taking subordinates under your wing can be just as effective for increasing your status.

Wharton professor Adam Grant has shown that women and men alike tend to be most successful when they balance both giving and taking at work. And women in particular can get a leg up as negotiators when they are in a mentor position, Grant found.

When the higher ups see you as a person who gives a lot and supports the people around you, it’s easier for you to take a little back—in the form of higher pay.

 

TIME celebrities

Don’t Tear Down Patricia Arquette for a Well-Intentioned Speech

It's important to find a way to critique her comments about the rights of others without dismissing her feminist message

When Patricia Arquette took the stage to accept her Academy Award last night for Best Supporting Actress in Boyhood, she made a brave political statement and demanded gender equality. “To every woman who gave birth to every taxpayer and citizen of this nation, we have fought for everybody else’s equal rights,” Arquette said in her speech. “It’s our time to have wage equality once and for all and equal rights for women in the United States of America.”

Her words were initially greeted with with loud cheers, especially from Meryl Streep and Jennifer Lopez, whose enthusiasm culminated in one of the most-shared memes of the evening.

But no good deed goes unpunished — especially on social media — and within hours of the ceremony, Arquette was being attacked by people who said she was prioritizing the rights of white women over those of LGBTQ people and people of color. These criticisms are legitimate and deserve to be heard. Still, Arquette’s heart was in the right place and it’s not right to completely dismiss one of feminism’s most visible advocates.

It wasn’t Arquette’s speech that came under fire so much as her comments in the pressroom later.

“It’s time for women. Equal means equal. The truth is the older women get, the less money they make. The highest percentage of children living in poverty are in female-headed households. It’s inexcusable that we go around the world and we talk about equal rights for women in other countries and we don’t,” she said. “It’s time for all the women in America, and all the men that love women and all the gay people and all the people of color that we’ve all fought for to fight for us now.”

Many people on Twitter, including feminists like Roxane Gay and Morgan Jerkins, wrote that Arquette’s plea was tone-deaf for suggesting that gay people and people of color have achieved equality while women have not. They’re absolutely right. Feminism has often come under fire for being a movement for white women’s rights, not all women’s rights. Comments like these make queer women and women of color hesitant about joining the mainstream movement, which can seem exclusionary and oblivious to intersectionality.

But out of last night’s winners, few used their time onstage to get political. Director Alejandro González Iñárritu begged for respect for Mexican immigrants; John Legend and Common spoke about why the messages of Selma still resonate today; and Arquette made a plea for women’s rights. The rest of the show was dull and occasionally verged on racism. On a night when the nominees were overwhelmingly white, Octavia Spencer was forced to stay in her seat and stare at a box, Sean Penn made an offensive green card joke about Iñárritu and Neil Patrick Harris managed to botch the names of both Chiwetel Ejiofor and David Oyelowo.

There was a lot to criticize at this year’s ceremonies, and the well-meaning Patricia Arquette should rank a lot lower on that list than, for example, Sean Penn.

MORE Watch Sean Penn’s Oscars ‘Green Card’ Joke That Sparked Controversy

Let’s state the obvious: the wage gap exists and needs to be closed. According to the White House, full-time working women earn just 77% of what their male counterparts earn. (That number is under dispute — the Pew Research center recently estimated it’s closer to 84%, but that’s still a significant gap.) Though some politicians might have you believe that women just work lower-paying jobs, studies show this gap persists within industries: female lawyers make 82% of what their male peers earn; physicians 77%; financial specialists 66%. And research shows the pay gap exists for women without children — women who don’t take time off to have babies and raise them.

The wage gap affects women of all races, and Arquette didn’t demand that we only close it for white women. Arquette’s message was that women ought not subordinate the fight for their own rights over fights for other people’s rights. As she wrote on Twitter today, we can fight for rights for different groups of people simultaneously; we just shouldn’t forget women along the way. Sure, her speech wasn’t perfect, but she had the right intentions.

While Gay and others had more nuanced takes on Arquette’s comments — supporting her message while critiquing her phrasing — folks on Twitter are dismissing her entirely, and that’s dangerous. Even while we recognize the problems with her speech, feminists should be careful not to tear down their best and most visible advocates.

MORE These Are the Worst Paying Jobs for Women

Last year, Lena Dunham — perhaps the most famous feminist in Hollywood — endured a similar backlash. In a strange turn of events, feminists joined conservatives in attacking the Girls creator over a section of her book in which she describes her seven-year-old self looking at her little sister’s vagina. They called her a sex offender and attacked the feminists who tried to defend Dunham’s actions as normal childhood behavior. A group of feminists even wrote an open letter to Planned Parenthood asking them to drop Dunham as a rep.

Love her or hate her, there’s no greater public advocate for feminism in pop culture than Lena Dunham. Dunham personally convinced Taylor Swift (and therefore millions of tweens) that calling yourself a feminist is okay; she wrote about her own sexual assault so that other victims would feel comfortable talking about their experiences and reporting them to the authorities; she created a show with explicitly feminist themes. Joining conservatives in attacking people like Dunham and Arquette only serves to hobble the movement.

Different women can choose to express their feminism in different ways. But when women begin to tear down their best, most popular advocates, we hurt our own cause. As Sally Kohn wrote at The New Republic after the Dunham incident: “The minute feminism becomes hypercritical and humorless, it becomes too easy for the mainstream to dismiss our more valid complaints.”

Let’s take to social media to protest the fact that Selma director Ava DuVernay was overlooked for an Oscar nomination and that red carpet interviewers insist on asking women about the dresses they are wearing instead of their work — and let’s not vilify the people actively trying to create change, even when they do it imperfectly.

This post was updated to include Monday’s tweets from Patricia Arquette.

Read next: Lady Gaga’s Performance at the Oscars Could Redefine Her Career

Listen to the most important stories of the day.

TIME movies

Making the ‘In Memoriam’ Montage at the Oscars Is More Complicated Than It Seems

78th Annual Academy Awards - Arrivals
Frazer Harrison—Getty Images Television host Joan Rivers arrives to the 78th Annual Academy Awards at the Kodak Theatre on March 5, 2006 in Hollywood.

Did Joan Rivers get snubbed?

Even as the Oscars hangover subsides, some film fans are still worked up about one particular snub — and this time it’s not a nominee. Rather, it’s the fact that the annual ‘In Memoriam’ montage reel failed to include Joan Rivers. The late legend’s exclusion from the reel led to angry reactions, full of the indignation that Rivers herself so often used to comedic effect.

An Academy spokesperson told The Hollywood Reporter that yes, Rivers was one of the many people who must be left out in any given year, but that she was included in a remembrance gallery on the Oscars website. However, Rivers (like Elaine Stritch, another comedian who was missed by many viewers) is also absent from the official Academy list of members who died in 2014. Though Rivers, who was better known for her TV work than for film roles, had plenty of big-screen credits, from Space Balls to The Smurfs, Academy membership is not automatic, so it’s entirely possible that she was not part of the group; there is no official, public list of members.

Still, an in-depth 2013 investigation by the New York Times into what goes into the making of the Oscars memorial reel — which has been a feature of the telecast since 1994 — revealed that inclusion or exclusion from the montage is not so simple as “members in, non-members out.”

For one thing, non-members are eligible for inclusion, though positive involvement with the organization always helps. (Some conspiracy theorists guessed that Rivers’ acid tongue on the red carpet might have tipped the scales against her.) For another, it’s clear that, though the committee that makes the calls is anonymous, even death isn’t the end of the Hollywood publicity race. Attempting to get a client onto that list can be the last act of PR goodwill for many a publicist.

In fact, that publicity race suggests one possible reason for the exclusion of a major name like Rivers or Stritch. The family and friends of a lesser-known Academy member may push hard to get their loved one on the memorial list, but those who speak for the most famous of the dead are less likely to think a campaign is necessary. It’s only on Oscars night that they learn the extra push might have helped.

Read next: Joan Rivers’ Daughter Writes a Book About Her Life

Listen to the most important stories of the day.

 

 

MONEY Workplace

Wage Equality Takes Center Stage at the Oscars

Patricia Arquette's acceptance speech at the Academy Awards put the gender wage gap at the forefront of discussion.

TIME movies

Birdman Soared, But Selma Stole the Show at the Oscars

In an elephantine spectacle with few awards surprises, the Martin Luther King, Jr. movie provided a song and two acceptance speeches for the ages

Neil Patrick Harris looks better in tighty whities than Michael Keaton does. Lady Gaga has a secure enough soprano voice to sing four numbers from The Sound of Music, as Julie Andrews awaits offstage. One of the Birdman screenwriters has a dog named Larry, to whom he dedicated his award. If you want acceptance-speech rhetoric to soar into political eloquence, call on two of the most soulful men in music. And the institution of the Academy Awards can keep that mythical audience of “one billion viewers” tuned in, through interest or inertia, for prizes given to movies seen by perhaps only four million cinematic zealots.

In a show that clocked in at 3 hours and 40 minutes — the running time of Gone With the Wind, and about an hour longer than it took Ellar Coltrane to get through a dozen years of Boyhood — Alejandro G. Iñárritu’s inside-showbiz Birdman copped the major awards for Picture, Director and Original Screenplay, leaving its prime competitor, Richard Linklater’s Boyhood, with only the sure-thing: a Supporting Actress prize for Patricia Arquette.

Your local prognosticator went six for seven in the major awards (missing out on the Birdman Screenplay win), in a year of heavy or prohibitive favorites. Julianne Moore earned Best Actress for Still Alice, J.K. Simmons won Supporting Actor for Whiplash and Eddie Redmayne took Best Actor for The Theory of Everything. That meant no Oscar for Keaton, who during the climactic onstage Best Picture revelry affected a Beetlejuice shrug and said, “Look, it’s just great to be here, who am I kiddin’?” This was in keeping with his fatalist modesty this Saturday at the Independent Spirit Awards. When Keaton was asked where he’d put his Oscar statuette, he drily replied, “Next to my Nobel.”

For the first time in a year with more than five Best Picture nominees, each of the eight finalists went home with a little or a lot of Oscar love: Birdman with a big four, including Cinematography; The Grand Budapest Hotel with four on the craft side (Costume, Makeup and Hair, Production Design and Original Score); Whiplash with a surprising three (Sound Mixing and Film Editing in addition to Simmons’ lock); and one each for American Sniper (Sound Editing), Boyhood (Supporting Actress), The Imitation Game (Adapted Screenplay), Selma (Original Song) and The Theory of Everything (Actor).

On a TV evening whose commercials — for Samsung (home movies), Cadillac (“Dare greatly” to an Edith Piaf theme), xfinity (a blind child imagines her own Wizard of Oz movie) and iPad (illustrating a Martin Scorsese speech) — often showed more heart and craft than the onstage shenanigans, the Oscars show worked best, as TIME’s James Poniewozik suggested in his review of the show, when it was the Grammys.

Highlights: Harris’s clever opening song (written by Frozen composers Robert Lopez and Kristen Anderson-Lopez), The Lonely Island’s droll take on The LEGO Movie’s “Everything Is Awesome,” Tim McGraw’s plangent rendition of Glen Campbell’s Alzheimer’s song “I’m Not Gonna Miss You,” Gaga’s Maria von Trappezoid and, most powerfully, a choral performance of “Glory,” from Selma, that packed more emotion that the movie it represented. A few minutes later, Common and John Legend (who won the “Glory” Oscar under their real names, Lonnie Lynn and John Stephens) truly elevated the discourse with their acceptance speeches.

Common spoke of the Edmund Pettus Bridge in Selma, where Martin Luther King Jr. assembled his nonviolent protestors against the violent Alabama police 50 years ago next week. “The spirit of this bridge connects the kid from the South side of Chicago [himself], dreaming of a better life, to those in France standing up for their freedom of expression to the people in Hong Kong protesting for democracy,” Common said. “This bridge was built on hope, welded with compassion and elevated by love for all human beings.” Legend, pointedly applying the lessons of last year’s Best Picture winner 12 Years a Slave to 2015, noted that “There are more black men under correctional control today than were under slavery in 1850. When people are marching with our song, we want to tell you that we are with you, we see you, we love you — and march on.” David Oyelowo, who played King, was in tears in the audience. Chris Pine too.

The other political messages, much commented on by bloggers, were in the service of moderate causes that only Fox News could take exception to. The Imitation Game screenwriter Graham Moore, who revealed he had attempted suicide at 16, advised insecure teens to be proud and “Stay weird.” Simmons: Call your parents, and don’t hang up till they’re done talking. Arquette plumped for equal wages for women. Redmayne: Be nice to people with ALS. Moore: Be nice to people with Alzheimer’s and ALS.

Recognizing sufferers of these diseases not only helps mend the social fabric — it wins Oscars for worthy stars. Moore became the fifth consecutive Best Actress — after Natalie Portman in Black Swan, Meryl Streep in The Iron Lady, Jennifer Lawrence in Silver Linings Playbook and Cate Blanchett in Blue Jasmine — to play a woman with Alzheimer’s or some other severe emotional disturbance. And Redmayne took the My Left Foot award for contorting himself into a genius with extraordinary physical limitations.

Yet these two winners seemed genuinely ecstatic when they won their predicted awards. Moore managed to remain poised through her giddiness, but Redmayne interrupted himself mid-speech with a whooping “Wow!” and nearly ripped off his tuxedo tie. Congratulations to both of them. Coming during the titanic maelstrom of an overlong awards show, that’s Acting.

Watch the full clip below:

Read next: Lady Gaga’s Oscar Performance: Love It or Hate It?

Listen to the most important stories of the day.

TIME Music

Lady Gaga’s Oscar Performance: Love It or Hate It?

Julie Andrews loved Lady Gaga's performance at the Oscars, but did you?

Fans were skeptical when they learned Lady Gaga would be honoring The Sound of Music at the Oscars with a medley of songs from the musical that’s set to celebrate its 50th anniversary next month.

Reactions on social media were mixed, though Julie Andrews, the film’s original star, seemed pleased with the variety of songs that included “The Sound of Music,” “My Favorite Things,” “Edelweiss,” and “Climb Every Mountain.”

Check out the performance below and cast your vote.

Read next: Lady Gaga’s Performance at the Oscars Could Redefine Her Career

Listen to the most important stories of the day.

TIME viral

Watch Jimmy Kimmel Prove No One Knows Anything About Oscar Movies

But they'll pretend they do

How could Benedict Cumberbatch not take home an Oscar after all of those hilarious celebrity impression in the Immitation Game? And how could the Academy overlook Angelina Jolie’s heartbreaking performance as Rosa Parks in Selma?

No idea what we’re talking about?

In Sunday’s Oscar edition of Jimmy Kimmel Live, the comedian sent a camera crew to the streets to ask people on Hollywood Boulevard what they thought about made-up moments from nominated films. This proves that just because people didn’t see the Academy Award-nominated films doesn’t mean that they won’t pretend to have very strong opinions about them.

Watch the full segment below:

TIME movies

Review: An Oscars Telecast Saved by the Music

87th Annual Academy Awards - Show
Kevin Winter—Getty Images Lady Gaga performs onstage during the 87th Annual Academy Awards at Dolby Theatre on February 22, 2015 in Hollywood, California.

Stellar performances from John Legend, Lady Gaga and others injected excitement into an often moribund show

It’s not as if the Oscars didn’t have material to work with. In many ways, 2014 was an interesting and vital year in movies — not just artistically, but in terms of engaging viewers and giving them things to talk about. The end of the year in particular saw movies like American Sniper, Selma — even The Interview — that spurred conversations and controversies and reminded us that movies can have effects beyond their running times. (The same was true of the nominations and omissions.)

The 2015 Oscars broadcast, though, had a hard time capturing that excitement — or anything else. It certainly had a big enough net: the show was 3 hours and 40 minutes long. But as a TV broadcast, it struggled not just with length but tone, trying alternately to be light entertainment and a meaningful statement. Sometimes it was delightfully one, sometimes it was affectingly the other. But often the two collided painfully.

There were high hopes from the beginning, because of host Neil Patrick Harris, generally a delightful stage performer who’s done a reliably terrific job hosting the Tony Awards. And he started off in fine form. His first joke immediately addressed the white elephant in the room: the dearth of minority nominees for this year’s awards: “Tonight we honor Hollywood’s best and whitest — sorry, brightest.” Then he ditched a traditional monologue to do his thing: musical comedy, a rapid-fire, playful celebration of “moving pictures” that was both sweet and funny: “Check out the glamor and glitter/ People tweeting on the Twitter / And no one’s drunk and bitter yet ’cause no one’s lost.”

Sometimes, though, the organism that is the Oscars is bigger than the host, and Harris seemed to lose his grip on it, thanks largely to some badly written material. Several jokes razzing celebs in the audience fell flat, including one that involved getting Selma star David Oyelowo to trash the remake of Annie, which Oyelowo reacted to with a memorable “meh” gesture.

Harris is nothing if not game, but he often seemed disconnected from the limp material. He followed up one winner’s story of her son’s suicide with a dissonant joke about the puffy orbs on her gown: “Takes a lot of balls to wear a dress like that!” (though it’s not clear if he caught the suicide reference before making the joke). But when he had the chance, he rallied, romping through the wings onto the stage in his tighty-whities in a bit that recalled Oscar winner Birdman, and reviving when he had the right material. (“Benedict Cumberbatch,” he said, was “the sound you get when you ask John Travolta to introduce Ben Affleck.”) But then there was the running gag, about Harris’ Oscar predictions having been locked in a box onstage, that ran so long and with so little payoff it could have been redeemed only if the box contained a $10 million check made out in my name.

When the scripted material falters, you hope for the unscripted moments to deliver, and the acceptance speeches often did. It was a year of earnestness, inspiration and exhortation. Patricia Arquette of Boyhood urged pay equality for women. Best Song winner John Legend insisted that “Selma is now, because the struggle for justice is right now.” Best Adapted Screenplay winner Graham Moore — for The Imitation Game, about British cryptography genius Alan Turing who was persecuted for being gay — recalled considering suicide at age 16, and offered hope to young people feeling the same way. “Stay weird,” he said. “Stay different.”

Fittingly for an Oscars that began with a song, it was often the music that salvaged this one. Tegan and Sara with The Lonely Island delivered a joyous, hallucinatory “Everything Is Awesome” from The Lego Movie (the performers handing out Lego statuettes that several guests clutched through the ceremony). Lady Gaga performed an incendiary medley from The Sound of Music — seemed like a strange idea, but totally worked — ending with a salute from Julie Andrews, who pronounced “Lady Gaga” as though it were a royal title. And Legend’s performance of “Glory” with Common was the rare Oscar musical number that — with a recreation of the march across the Edmund Pettus Bridge — managed to reproduce the emotion of the movie onstage.

MORE Watch Common and John Legend Perform ‘Glory’ at the Oscars

But Selma was largely outside of the major Oscar running, as was the much-talked-about American Sniper. Much of the night involved jockeying between boutique films like Birdman, Boyhood and The Grand Budapest Hotel — which is no fault of the broadcast but may not have helped with mass viewer engagement. There was also a general lack of momentum to the night — exemplified by staid choices, like having the Best Animated Film nominees represented by still drawings, as opposed to something, well, animated.

In the end, this Oscars was neither brilliant or a disaster; like many Hollywood productions, it was just a long thing that felt put together by committee. There were moving moments and tedious moments — but there were also just tons and tons of moments (and yet, somehow, there wasn’t room in the In Memoriam reel for comedian, actress, writer-director and red-carpet fixture Joan Rivers).

That said, I’d be glad to see the very musical Harris get another shot at hosting the Academy Awards. And there’s nothing wrong with a telecast that plays up all the incredible music that gets written for the movies. But the music was never the problem. This year, it was the orchestration that left something to be desired.

Read next: The Oscars Were a Night of Mild Surprises, Including Neil Patrick Harris

Listen to the most important stories of the day.

TIME celebrities

Watch John Travolta Finally Get Idina Menzel’s Name Right at the Oscars

Travolta redeemed himself after "Adele Dazeem" — sort of

After taking a seriously creepy picture with Scarlett Johansson on the red carpet, John Travolta went on to make things even more awkward at the Academy Awards.

To his credit, John Travolta co-presented the award for Best Original Song with Idina Menzel, whose name he memorably botched at last year’s Oscars, and actually managed to get her name right this time. But he held his face in her hands while saying that name, and it was, frankly, a little uncomfortable.

Still, props to the guy for having a sense of humor about it. Watch up top.

TIME celebrities

Meryl Streep and Jennifer Lopez Took an Amazing Selfie at the Oscars

The pair bonded over Patricia Arquette's call-to-arms over wage equality

MERYL STREEP #oscars #oscarlegend #needsomeofthatoscarjuju lol

A photo posted by Jennifer Lopez (@jlo) on

A budding friendship emerged from this year’s Academy Awards. Meryl Streep and Jennifer Lopez were (for some reason) seated next to one another during Patricia Arquette’s Best Supporting Actress acceptance speech and bonded over their mutual enthusiasm for Arquette’s feminist bid for equal pay.

Their cheering has already created an Internet-breaking meme — but then the two stopped to take a selfie. As Lopez herself wrote on her Instagram: “MERYL STREEP #oscars #oscarlegend #needsomeofthatoscarjuju lol”

Let’s be honest, Streep was probably asking Lopez for some acting tips after seeing The Boy Next Door.

Your browser is out of date. Please update your browser at http://update.microsoft.com