J. August Richards Biography
J. August Richards born as Jaime Augusto Richards III is an American actor best known for his appearance on the WB television series Angel and in the Marvel Cinematic Universe.
J. August Richards Age
Richards was born on 28 August 1973 in Washington, D.C., United States. He is 45 years old as of 2018
J. August Richards Family
He is the son of Afro-Panamanian parents.
J. August Richards Wife
He has kept his dating life so private that it is not known whether he is married or dating
J. August Richards Net Worth
He has an estimated net worth of around $12 million (£9.3m)
J. August Richards Height
He stands at a height of 1.9 meters
J. August Richards Agents Of Shield
Richards was cast as Michael Peterson/Deathlok in the season 1–2 episode 11 and Episode: “The Real Deal” of American television series “Marvel’s Agents of S.H.I.E.L.D”
J. August Richards Arrow
Richards was cast as Mr. Blank in the first season Arrow episode, “Home Invasion” in the American superhero television series “Arrow”
J. August Richards Grey’s Anatomy
Richards was cast as Young Richard Webber in seasons six and eleven of the American medical drama television series “Grey’s Anatomy”
J. August Richards Angel
Richards was cast as Charles Gunn, a young demon hunter who must initially adjust to working with and for a vampire in the American television series “Angel”
J. August Richards Good Burger
Richards was cast as Griffen, one of Kurt’s henchmen in the 1997 American comedy film “Good Burger”
J August Richards Twitter
J August Richards Instagram
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J August Richards Interview
Is Improved Diversity in Television Finally Here to Stay?
Source: /variety.com
In 2000, after the major networks were embarrassed by accusations of a diversity-challenged “whitewash” in their casting, a Los Angeles Times reporter spent more than six months monitoring J. August Richards, through the development season. The story had a happy ending, with the young actor landing a regular role on the WB series “Angel,” and he has worked pretty steadily ever since.
Yet with casting people of color once again in the spotlight thanks to the success this season of programs featuring predominantly African-American casts, most notably “Empire” and “Black-ish,” the question arose as to what that progress looks like for black performers on the ground. Coupled with this week’s upfront presentations, that seemed as good an excuse as any to catch up with Richards, who, for one, says the advances are clear and palpable, calling this “the most exciting pilot season I’ve ever been part of.”
Notably, his enthusiastic appraisal comes after a spring that didn’t yield a significant career breakthrough. Richards remains a recurring character on “Marvel’s Agents of SHIELD,” where he plays the super-powered Deathlok; and has another steady gig in a different kind of series, Bravo’s “Girlfriends’ Guide to Divorce,” as the husband of the protagonist’s brother.
Even so, Richards said he auditioned this year for four lead parts in different pilots, each conceived with an African-American performer in mind. It is, he noted, a far cry from what he calls the “insert black guy here” roles that he has seen with some frequency and has sought to avoid.
“Sometimes you go in for that black character on a mainstream show, and you read it and go, ‘Guys, there’s no character here.’ I didn’t feel that way this year,” he said.
The advances haven’t come without controversy. That included a Deadline article in which agents anonymously griped about how the greater inclusion of minorities had reduced opportunities for white clients while making the secondary point (almost lost in the dust-up that ensued) that a number of high-profile failures could yield a retreat, and threaten those gains already achieved.
Like a lot of people, Richards had an almost visceral reaction to the story, saying it appeared to suggest that casting minorities amounted to a “fad.” While he recognizes that progress could be short-lived, he sees this season’s positive strides as unlikely to be undone by the cycles to which TV is subject, as people inevitably sprint to replicate the most recent hits, often without a clear understanding as to why they worked.
“I kind of believe that this is the turning point,” he said. “I hope that it is.”
For development gurus, the tea-leaf reading this pilot season focused most heavily on “Empire,” a Fox drama whose explosive popularity challenged preconceived notions about the appeal of programs with minority leads. Whatever the future holds, Richards said, those who have eagerly awaited casting to better reflect America’s shifting demographics owe a debt to the creators of that show for “putting characters that have been traditionally marginalized in the front seat.”
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