Craig Hodges, a former NBA champion with the Chicago Bulls and a renowned activist, has long fought for social justice. However, his latest battle is not on the basketball court but in Hollywood, where his attempt to share his story has been caught in a power struggle over creative control and racial representation. The controversy involves actor and producer Justin Baldoni, whose production company, Wayfarer, initially backed a film project about Hodges but later withdrew, citing issues with the chosen director’s racial background.

A Story Worth Telling

Hodges is widely recognized not only for his incredible three-point shooting ability but also for his willingness to stand up for what he believed in. In 1992, fresh off two NBA championships with Michael Jordan and the Chicago Bulls, he made headlines when he visited the White House wearing a dashiki and handed President George H.W. Bush a letter criticizing the administration’s treatment of Black and poor communities. That act of defiance, coupled with his outspokenness on racial injustice, led to what many believe was an unofficial blackballing by the NBA.

His career ended prematurely despite his continued excellence on the court, a subject he explored in his 2017 autobiography, Long Shot: The Triumphs and Struggles of an NBA Freedom Fighter. Following the success of The Last Dance, ESPN’s documentary on the Bulls dynasty, Hollywood took an interest in Hodges’ life story, and a deal was made with Wayfarer to develop a film.

The Battle Over Creative Control

British-Indian producer Jivi Singh, inspired by Hodges’ book, led the effort to bring the story to the screen. The project, tentatively titled Whiteballed or The Lost Dance, was envisioned as a way to spotlight the injustices Hodges faced. However, according to both Singh and Hodges, Wayfarer executives, including Baldoni and CEO Jamey Heath, took issue with Singh directing the film, citing concerns over his racial identity.

During a recorded Zoom call, Heath reportedly questioned Singh’s ability to fully understand Hodges’ experiences as a Black man. Baldoni echoed this sentiment, suggesting that non-Black people should not be responsible for telling Black stories. This stance led to tensions, as Singh and Hodges pushed back against what they saw as an arbitrary and exclusionary decision.

“I promise you that as much as I feel you feel, no one knows (Hodges’ life) better, no one knows it better than me,” Heath said in the call, attempting to justify their position. But Hodges saw it differently.

“They’re coming at it from the standpoint of ‘He’s not Black enough?’” Hodges recalled. “That’s ridiculous.”

The Hypocrisy of Hollywood

Singh pointed out the contradiction in Baldoni’s stance. While Baldoni, who is not a woman, had no reservations about directing It Ends With Us, a film about a female survivor of domestic abuse, he and Heath had no problem dismissing Singh’s ability to direct a story about a Black athlete simply because of his racial background.

“The hypocrisy really struck a chord,” Singh said.

Despite attempts to negotiate, Wayfarer eventually withdrew from the project, yet retained the rights, demanding $175,000 from Hodges to reclaim ownership of his own story. This financial hurdle has stalled the project, frustrating both Hodges and Singh, who believe the film deserves to be seen.

The Bigger Picture: Representation and Gatekeeping

This dispute is emblematic of larger issues in Hollywood, where people of color often struggle to control their own narratives. Ricky Clemons, a sports media lecturer at Howard University, noted that decision-making power in the industry frequently rests in the hands of non-Black executives who determine how Black stories are told.

“From producing to directing to deciding on creative vision, Black and Brown people in Hollywood are consistently being overruled and written out of the process,” Clemons said.

For Hodges, the injustice is clear. He maintains that his story is not an attack on the NBA or Michael Jordan, but rather an honest depiction of his life as an athlete and activist. He has shown a rough cut of the film to former teammates and industry insiders, all of whom have expressed strong support.

What’s Next?

Hodges and Singh continue to push forward, hoping to reclaim the rights and secure funding to complete the project on their terms. They believe that Hollywood’s reluctance to fully support Whiteballed is yet another example of the systemic silencing that Hodges has experienced since his NBA days.

Despite the setbacks, Hodges remains determined.

“Everybody who sees it—Horace Grant, John Paxton, all of them—they all say the same thing: ‘When is it coming out?’” he said.

For Hodges, this is not just about a film; it is about owning his own history and ensuring that the next generation understands the sacrifices made by athletes who dared to speak out.