In a startling turn of events for Netflix’s highly anticipated musical film Emilia Pérez, lead actress Karla Sofía Gascón is at the centre of a social media storm. Controversial tweets from 2020 have resurfaced, revealing remarks that many have labelled racist, Islamophobic, and deeply insensitive—particularly regarding the murder of George Floyd and discussions surrounding the Oscars’ diversity standards. As the backlash intensifies, industry insiders and the broader public are calling for Gascón and the film’s producers to address these allegations with transparency and responsibility.
Emilia Pérez star Karla Sofía Gascón remains at the centre of intense scrutiny following the resurfacing of her controversial tweets, many of which have been deemed racist and Islamophobic. The Spanish actor, who recently became the first openly transgender person to receive an acting nomination at the Oscars, has since deleted several of these tweets after they were rediscovered by various social media users, including writer Sarah Hagi. Both Variety and the Hollywood Reporter have covered the story in depth, offering translations of Gascón’s older posts for a wider audience.
Gascón’s comments regarding George Floyd, made just weeks after his death, provoked particular outrage. She referred to him as “a martyr hero” but went on to write, “I truly believe that very few people ever cared about George Floyd, a drug addict and a hustler, but his death has served to highlight once again that there are those who still consider Black people to be monkeys without rights and those who consider the police to be murderers. All wrong.” She then continued, “It is no longer a question of racism but social classes that feel threatened by each other,” a statement many perceived as dismissive of the widespread calls for racial justice in the wake of Floyd’s murder.
Gascón’s tweets about Muslims also triggered a substantial backlash. In one now-deleted post, she claimed there were “more and more Muslims in Spain,” lamenting, “Every time I go to pick up my daughter from school there are more women with their hair covered and their skirts down to their heels. Maybe next year instead of English we’ll have to teach Arabic.” She also wrote, “Until we ban religions that go against European values and violate human rights, such as Islam, under the protection of freedom of worship, we will not end part of the huge problem we face. Faith manipulates those who cling to faith.” In an even earlier tweet from 2016, she declared, “Islam is becoming a hotbed for infection for humanity that urgently need to be cured.”
Critics argue these posts reveal a pattern of intolerance that conflicts with the public persona of a performer who has, in the past, championed marginalised voices. The controversy grew further in the aftermath of the 2021 Oscars when Gascón appeared to disparage the ceremony’s focus on diversity. She wrote, “More and more the #Oscars are looking like a ceremony for independent and protest films, I didn’t know if I was watching an Afro-Korean festival, a Black Lives Matter demonstration or the 8M. Apart from that, an ugly, ugly gala.” Many saw this as an attack on moves to foster representation across the awards circuit.
While social media users continue to highlight these remarks, Gascón has now released a statement in an apparent attempt to address the uproar. “I want to acknowledge the conversation around my past social media posts that have caused hurt,” she said. “As someone in a marginalised community, I know this suffering all too well and I am deeply sorry to those I have caused pain. All my life I have fought for a better world. I believe light will always triumph over darkness.” Though some have welcomed her remarks, others remain sceptical, urging her to show a more concrete commitment to rectifying the harm they believe these tweets have inflicted.
Netflix, which acquired her film Emilia Pérez during the Cannes Film Festival, has yet to comment on the matter. In the absence of an official response from the streaming giant, many continue to question whether production teams were aware of Gascón’s inflammatory posts prior to casting her, and whether more thorough background checks could have prevented the uproar. The controversy has also prompted debate about the responsibilities of public figures in an era of heightened awareness around racism, Islamophobia, and discrimination. Critics maintain that, given her platform, Gascón owed it to her fans and colleagues to set a better example.
As the outrage persists, industry insiders note that the stakes are particularly high for a project like Emilia Pérez, which had been generating enthusiasm for its inventive musical format and Gascón’s promising lead performance. Now the film risks being overshadowed by its star’s past comments, with some calling for Netflix to demonstrate a commitment to diversity and tolerance that goes beyond casting choices. The question remains whether Gascón’s apology will prove sufficient to restore public trust or if this controversy will permanently mar what was once an eagerly awaited production. For now, Gascón’s future as both an artist and an activist rests on how earnestly she engages with critics, acknowledges her mistakes, and endeavours to foster real change.
Another post from Sept. 2, 2020, attached to photo of a Muslim family in a restaurant, including a woman in a burka, reads: “Islam is marvelous, without any machismo. Women are respected, and when they are so respected they are left with a little squared hole on their faces for their eyes to be visible and their mouths, but only if she behaves. Although they dress this way for their own enjoyment. How DEEPLY DISGUSTING OF HUMANITY.”
A tweet from August 2020, during the COVID-19 pandemic, reads, “The Chinese vaccine, apart from the mandatory chip, comes with two spring rolls, a cat that moves its hand, 2 plastic flowers, a pop-up lantern, 3 telephone lines and one euro for your first controlled purchase.”
Ultimately, the current uproar surrounding Karla Sofía Gascón serves as a stark reminder of the entertainment industry’s collective responsibility to confront discrimination in all its forms. It highlights the tension between personal accountability and the public’s appetite for authenticity, especially when it comes to stars who stand at the forefront of progressive conversations around representation. While Gascón’s apology acknowledges the distress her words have caused, the question remains whether it will suffice to mend the deep rift with audiences and communities who feel wounded by her remarks. This controversy urges both creators and consumers to re-examine Hollywood’s commitment to true inclusivity: whether studios and stars can genuinely embody the ideals of diversity they so often champion, or whether damaging sentiments will continue to find shelter behind social media’s fleeting nature.
