Category Archives: Television

My 2016 Primetime Emmy Wishlist

Photo Credit: Television Academy
Photo Credit: Television Academy

There is so much good TV that nearly any average TV viewer could probably do an Emmy wishlist and put together something that another average TV viewer couldn’t really fault. This is a good thing.

But the glut of goodness does mean that the structural biases and barriers of the Emmys are more present than perhaps they’ve ever been simply because the single biggest factor in getting an Emmy nomination is having gotten one before. The sameness of these awards are partly a function of the way TV is made (shows run for years), but my suspicion is that this (admittedly reasonable) factor is mostly a crutch for Emmy voters who are frequently behind the 8-ball on TV innovation and biased against whole swaths of shows (sci-fi, soap, multi-cam comedy, most anything specifically produced for people of color/or on a POC network).

So why not put together my own dream list? And that’s what this is. This is simply a list of who I would love to see get nominations.  I have no illusions that the Emmys would ever be this awesome and diverse in its tastes.

I kept each category to 6 nominees as is pretty typical of the Emmys. Let me know what you think in the comments.

One note – I didn’t pick episodes for writing or directing because I don’t really have access to all of the episodes and for categories like that I feel like I would have had to rewatch everything to make honest, informed choices. But I think we can all probably agree that the writing and (especially) the directing on American Crime was remarkable.

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Fixing ‘The Boondocks” Huey Freeman Problem

I, like a lot of people of my generation, am excited that The Boondocks is returning because it remains one of the sharpest examples of satire in modern pop culture. And I’m excited to see what cultural moments from the last four years (since Season Three aired) Aaron McGruder will work into the show.

UPDATE 3/28/14: Apparently, McGruder is no longer involved with the show and was not involved in the creation of the upcoming 4th season. I wrote this before that information was available. I hope he still owns the rights. Read his explanation here.

But the one thing I really want him to do is recognize that there’s a problem at the center of the show: Huey Freeman.

Huey, by virtue of being the show’s most passive, reactive character, has all but receded into the background in favor of the more flamboyant active characters like Riley and Uncle Ruckus. This, despite the fact that he’s ostensibly the lead character (e.g. the trailer above).

In the strips, that was sort of the point since the satire in the strips was always deeply rooted in Huey’s observations about the world around him (particularly his brother and the people in Woodcrest). But The Boondocks TV show is different, as Aaron McGruder has found by building out the world around Riley (with the addition of Ed Wuncler III, Gin Rummy, Gangstalicious, and Thugnificent) and Granddad (Uncle Ruckus and the DuBois family).

But Huey is frequently adrift in episodes where he’s not the protagonist (especially Riley-centric stories) and damn near silent in ones where he’s the driving force (i.e. “It’s a Black President, Huey Freeman”).

If Huey is to regain the power he had in the strips and truly move to the forefront of the show, McGruder has to build out the world around Huey as well.

And there’s a way to do this:

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My 13 Favorite Pop Culture Moments of 2013

I don’t have a long preamble for this. This list is just my way of trying to pull together a lot of disparate pop culture moments that struck me in some profound way during the year. I think the more you engage with pop culture the more it can feel like you’re always having the same conversations, with the same people, in the same way. So when something disrupts that monotony, frustrates the dominant ways we think and talk about our relationship to one another, I think it’s important.

Here are the 13 moments this year that made me sit up and look at the world just a little bit differently.

 

Continue reading My 13 Favorite Pop Culture Moments of 2013

On J. August Richards’ Webseries, ‘The Hypnotist’: Black People and Science Fiction

I’m struck by the fact that the great J. August Richards is developing a sci-fi webseries, The Hypnotist, featuring black people that seems to center blackness.

“…African hypnosis. It was essentially lost during the slave trade, but goes back thousands of years.”

I’ve had many a conversation about why it is so uncommon for Black folks who have money to explore science fiction; and how this limits the kinds of stories that black people have access to and how it limits black people’s ability to see themselves as expansively as they could. There has yet to be an adaptation of an Octavia Butler or Tananarive Due novel and yet we make a fair number of romantic comedies, comedies centered around a black comedian, hood tales, and Black American historical epics.

The Hypnotist posterSo good on J. that The Hypnotist seems to not only be a science fiction story but one that plays with blackness and Africanness. This is a teaser so one can’t know how deeply these themes will be explored, but I’m struck by the fact that this 50-second trailer so forthrightly names blackness, Africanness, and slavery. That. is. just. dope.

The question then is: how will this all work?

I’m wondering if The Hypnotist will be a play on Egyptian doctor Imhotep’s “temple sleep” and if part of what is explored is this notion of reconnecting to that subconscious Africanness that was erased by white supremacy and centuries in North America. There is a lot of subtextual room to play here that I think could give the show some deeper resonance that is specific to the Black American experience and psyche.

These are big questions, to be sure. We shall see just what J. has in store.

On Beyoncé’s HBO Documentary, ‘Life Is But A Dream’

beyonce-life-is-but-a-dream-cover

I just finished watching Beyoncé’s documentary, Life Is But A Dream, and I think what I was most struck by is an overwhelming sense that vulnerability is hard for this young woman because she’s trying to live up to an impossible ideal.

I didn’t get the sense that she wasn’t interested in being truly vulnerable so much as unpracticed at  it. I have this profound sense that this is a 31-year old woman who has never allowed herself, or been allowed, to feel deeply.

So this film is an exercise I think in watching Beyoncé learn to be vulnerable. There’s that moment where she says, almost surprising herself, that she can’t do it alone. Or the way she conveyed more deeply the hurt she feels that people would think she would fake a pregnancy than she does relating what it must have been like to have had a miscarriage. 

And then there’s that moment early on when she’s talking about how hard she worked for her father’s approval and how he withheld it, presumably to make her into the very thing she is: this hyper-poised star. This is the most revealing, honest and vulnerable moment in the entire film precisely because I think it cuts to the core, for me, of who Beyoncé is as a figure and a person.

And it helps me understand her vocal approach – the very thing that for me makes her such a frustratingly disappointing artist to listen to. So much talent, but such a profound inability to connect to the emotion of whatever it is she’s singing*. We see her singing “Listen” and “Resentment” and I know it’s supposed to be deep emotion, but it’s not. It’s Beyoncé trying to approximate what she thinks it must feel or sound like, or more accurately, willing herself to get there.

For the first time, I feel genuine empathy and sadness for what it must be like to be Beyoncé. It is just for reasons different than I expected.

 

*There are exceptions of course, “Speechless,” “Lay Up Under Me,” “Crazy Feelings” – and yes through sheer force of will, “Resentment” – chief among them.