Following the 2015 Academy Awards, E!’s Fashion Police held their usual post-Oscars fashion rundown. The former Disney star Zendaya Coleman was up for discussion. Coleman had worn a satin Vivienne Westwood gown, Chopard jewels, and her hair in locs. Fashion Police co-host Giuliana Rancic disparaged the look, commenting that Coleman must have smelled of “patchouli” and “weed.” Coleman took the comments as racially charged. She posted an eloquent response on Twitter, prompting Rancic to publically apologize. Coleman had the final tweet on the issue, writing “I have so many people looking up to me, that I couldn’t be scared, wait it out, nor could I just stand up for me; I had to do it for WE.”
Coleman’s sentiment anticipated the 2016 Oscar season. The Oscars will occur within a media landscape that also includes the hashtag #OscarsSoWhite, itself prescient of USC’s major study “Inclusion or Invisibility? Comprehensive Annenberg Report on Diversity in Entertainment” that finds an “inclusion crisis” across the entertainment industry. Meanwhile FX’s The People v. OJ Simpson: American Crime Story taps recent history to engage with attitudes about race, public opinion, and policing. The miniseries recalls Rodney King's invocation of "we" and the positional shift from King to Coleman is clear.
Whereas King wondered if “we” all might get along nearly 25 years ago, Coleman’s “WE” recognizes difference and positions Coleman as a voice for the group. This move to collectivize responds to what Angela McRobbie has called “post-feminist symbolic violence.” McRobbie suggests that in the post-feminist climate the bonds among women are “noisily disavowed in favor of what seems like a more ‘modern’ set of behaviors including competitiveness, bitchiness, and verbal violence.” Coleman’s tweet thus signals a response of solidarity against Fashion Police that recalls King’s plea for peace and togetherness during the violence that followed the police acquittals in his case. The difference, however, is difference. Coleman’s “WE” sees difference and the inclusion crisis rampant in Hollywood as it excludes both people of color and women. In marking this, Coleman politicizes the red carpet and uses a platform dominated by women to enter into a discussion about the intersections among race, gender, and the media. Coleman demonstrates how fashion and the red carpet are deeply ideological spaces from which to stake a position.
 Angela McRobbie, The Aftermath of Feminism Gender, Culture, and Social Change, LA:Sage (2009): 127.