Hysterical on FX: Press Conference with Female Stand-Up Comics

Hysterical on FX: Press Conference with Female Stand-Up Comics

Posted on March 29, 2021 at 7:00 am

Copyright 2021 FX

Hysterical” is a new documentary about female stand-up comics premiering April 2, 2021 on FX. Director Andrea Nevins (Tiny Shoulders: Rethinking Barbie), journeys backstage and on the road with veteran comedians, rising stars and novices to discover how an intrepid group of boundary-breaking females are changing the game and exploring what it takes to become the voices of their generation and their gender, featuring Kelly Bachman, Margaret Cho, Fortune Feimster, Rachel Feinstein, Marina Franklin, Nikki Glaser, Judy Gold, Kathy Griffin, Jessica Kirson, Lisa Lampanelli, Wendy Liebman, Carmen Lynch, Bonnie McFarlane, Sherri Shepherd and Iliza Shlesinger.

I was lucky enough to attend a press conference with Nevins and some of the comics featured in the film, where new talked about “cancel culture,” hecklers, turning real life into comedy, and why no one should film their acts with their phones. Some highlights (lightly edited for clarity):

Adapting — or apologizing for past jokes that are now considered inappropriate:

Judy Gold

It was way different, and I think it’s because we thought differently then. So, things that were funny then, because of the way we’ve evolved, aren’t as funny now. If you take the way we think now and apply it to some comedy from 30 years ago, you’ll say, “Oh, that’s not funny. Why are they laughing?” It was a different world. I personally never really edited myself, but my rule is that you can talk about anything, any topic no matter how horrible as long as it’s funny. You have to craft a joke about it. You can’t just spew racial epithets or stereotypes. You need to use them wisely. And, also, if you are talking about something horrible that happened and you are crafting a joke about it, it doesn’t take away the sadness and the horror. It actually acknowledges that it happened, and you are sort of finding — a joke is a buildup of tension and then a release, and oftentimes people — you know, I think it’s going to happen with COVID — people are so tense, and they want a release. They want to laugh. They want to say, “Oh, I needed that.” It doesn’t make it — it doesn’t make you a bad person. It doesn’t cheapen whatever, you know, the topic is.

Copyright FX 2021

Bonnie McFarlane

I think everybody has jokes that you feel guilty about. I have a joke where I say “tranny,” and it still gets played on Sirius, and it makes me cringe so hard. But it wasn’t, like, negative in that way,
but it’s still using a word that I would never use now. So, we learn. We grow. You are making jokes about the times that you are living in, and that’s all you can do. You can’t see into the future about what’s, you know — maybe there will be a time where we are not allowed to make fun of dogs.

Sheri Shepherd

I mean, what I find is very hard is, in the past — you know, it’s always an evolution of being a stand-up comic, and in the past, you said what you said in the past because that’s where you were then. What I find very troubling now for comics is we are not allowed to say anything. You get on that stage, and that was the thing. With comics, we were the one that told the emperor that he was not wearing any clothes, and we were the ones that were allowed to get on stage and say something. Like Judy said, as long as it was funny, go ahead and put it out there. But now, as a comic, getting on stage, what I am tired of dealing with is “Oh my gosh. That was offensive to me.” “Oh my gosh. You said this.” Look, I’m a comic. The way we view the world is in a very skewed — through a very skewed filter. That’s what makes us get on this frickin’stage every night and say what we say. So that’s what I find
troubling for us in what we do today in this world, that if you say something, you’ve got to be scared that now you are not going to get booked or that TV show is going to come on, and you are going to go, “yeah, you know, you offended three people, and now they are writing letters.”

Jessica Kirson

I don’t feel guilty for material I’ve done in the past because I know it always has come from a loving place and because, at the time, I felt like it was okay. And there’s things I don’t do now or say now because I don’t feel it’s right and it feels wrong, and I don’t do it anymore. There’s times when I’ve said stuff to audience members where I felt guilty because I felt like I was too harsh or said things that I regret, but I’ve said things at the time that I felt were appropriate. And, again, there’s things I censor myself with now because, in my gut, it feels wrong to say them.

Bringing your painful experiences to the audience

Sherri Shepherd

When you are going through something painful or difficult and you bring it up on stage, there’s a chunk of the audience that can relate to it because they’ve gone through it. My husband cheated on me and the girl got pregnant. And I talk about standing over him, and I was ready to bash his head in with a lamp, but because I got it from Target, it wasn’t heavy enough to kill him. And that’s when I realized, that’s why white people buy antique lamps, because the base will actually crush a skull.

The sheer number of women that came up to me and went, “I hurt so bad from infidelity, and the fact that you were able to talk about it and make me laugh about wanting to kill my husband and what I’m going through,” I think it’s freeing for some people to be able to laugh at it. And the more authentic you are about your life, the less people can steal your stuff because it’s authentic to you.

Carmen Lynch

New York is great too because we are all in therapy. So, it’s a very therapy-centric place. So, we just take that stuff, and we throw it on stage. And it feels good, but it’s also original material, and people can relate.

Marina Franklin

It’s also very healing. It’s a healing journey. I mean, for me, that was the first time I ever had to talk about the fact that I could possibly die . But it was moments like that that you realize that you were always meant to be a comedian too because when you have real intense moments like that and you can make people laugh with it and it makes you feel good and it makes them feel good — because you constantly go through this stage of wondering if you are actually that comedian, and moments like that, it self-validates. I don’t know if that’s a word, but that’s what it felt like. And it was amazing to have a young woman approach me and say, “Thank you for doing this because people don’t know that people going through breast cancer and treatment, that they laugh and that we need laughter. And I brought my friend to your show just so she could see it.” And, so, it becomes this community that can laugh with you.

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Television
Golden Globe Nominations 2021: Netflix, AppleTV+, Amazon and some Old Hollywood, Too

Golden Globe Nominations 2021: Netflix, AppleTV+, Amazon and some Old Hollywood, Too

Posted on February 4, 2021 at 8:40 am

The Golden GLobes get a lot of attention because they have a big, glittery award show, but their nominations are not always consistent with the choices of critics and industry groups. They are decided by a small group of international journalists living in Los Angeles. This year’s nominees reflect our pandemic viewing, with streaming services getting the majority of nods, Netflix with 22 and Amazon with 7. They have been criticized already for overlooking outstanding Black performers and for some quirky choices like “Music,” and Jared Leto in “The Little Things.” The best news about the Golden Globes is that the show will be hosted by Tina Fey and Amy Poehler. It won’t be the same without the chance to see the biggest stars of Hollywood and television getting tipsy during the broadcast, but it will still be a lot of fun.

MOTION PICTURES
BEST MOTION PICTURE – DRAMA

THE FATHER (Trademark Films; Sony Pictures Classics)

MANK (Netflix; Netflix)

NOMADLAND (Highwayman / Hear/Say / Cor Cordium; Searchlight Pictures)

PROMISING YOUNG WOMAN (LuckyChap Entertainment / FilmNation Entertainment; Focus Features)

THE TRIAL OF THE CHICAGO 7 (Marc Platt Productions / Dreamworks Pictures; Netflix)

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA

VIOLA DAVIS
MA RAINEY’S BLACK BOTTOM

ANDRA DAY
THE UNITED STATES VS. BILLIE HOLIDAY

VANESSA KIRBY
PIECES OF A WOMAN

FRANCES MCDORMAND
NOMADLAND

CAREY MULLIGAN
PROMISING YOUNG WOMAN

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA

RIZ AHMED
SOUND OF METAL

CHADWICK BOSEMAN
MA RAINEY’S BLACK BOTTOM

ANTHONY HOPKINS
THE FATHER

GARY OLDMAN
MANK

TAHAR RAHIM
THE MAURITANIAN

BEST MOTION PICTURE – MUSICAL OR COMEDY

BORAT SUBSEQUENT MOVIEFILM
(Four By Two Films; Amazon Studios)

HAMILTON
(Walt Disney Pictures / RadicalMedia / 5000 Broadway Productions / NEVIS Productions / Old 320 Sycamore Pictures; Walt Disney Studios Motion Pictures)

MUSIC
(Pineapple Lasagne Productions / Landay Entertainment; Vertical Entertainment / IMAX)

PALM SPRINGS
(Party Over Here / Limelight Productions; NEON / Hulu)

THE PROM
(Netflix / Dramatic Forces / Storykey Entertainment; Netflix)

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY

MARIA BAKALOVA
BORAT SUBSEQUENT MOVIEFILM

KATE HUDSON
MUSIC

MICHELLE PFEIFFER
FRENCH EXIT

ROSAMUND PIKE
I CARE A LOT

ANYA TAYLOR-JOY
EMMA

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY

SACHA BARON COHEN
BORAT SUBSEQUENT MOVIEFILM

JAMES CORDEN
THE PROM

LIN-MANUEL MIRANDA
HAMILTON

DEV PATEL
THE PERSONAL HISTORY OF DAVID COPPERFIELD

ANDY SAMBERG
PALM SPRINGS

Copyright 2020 Netflix
BEST MOTION PICTURE – ANIMATED

THE CROODS: A NEW AGE
(DreamWorks Animation; Universal Pictures)

ONWARD
(Walt Disney Pictures / Pixar Animation Studios; Walt Disney Studios Motion Pictures)

OVER THE MOON
(Netflix / Pearl Studio / Glen Keane Productions; Netflix)

SOUL
(Walt Disney Pictures / Pixar Animation Studios; Walt Disney Studios Motion Pictures)

WOLFWALKERS
(Cartoon Saloon / Melusine; Apple / GKIDS)

BEST MOTION PICTURE – FOREIGN LANGUAGE

ANOTHER ROUND (DENMARK)
(Zentropa Entertainments; Samuel Goldwyn Films)

LA LLORONA (GUATEMALA / FRANCE)
(La Casa de Producción / Les Films du Volcan; Shudder)

THE LIFE AHEAD (ITALY)
(Palomar; Netflix)

MINARI (USA)
(Plan B; A24)

TWO OF US (FRANCE / USA)
(Paprika Films; Magnolia Pictures)

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE

GLENN CLOSE
HILLBILLY ELEGY

OLIVIA COLMAN
THE FATHER

JODIE FOSTER
THE MAURITANIAN

AMANDA SEYFRIED
MANK

HELENA ZENGEL
NEWS OF THE WORLD

Copyright Netflix 2020
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE

SACHA BARON COHEN
THE TRIAL OF THE CHICAGO 7

DANIEL KALUUYA
JUDAS AND THE BLACK MESSIAH

JARED LETO
THE LITTLE THINGS

BILL MURRAY
ON THE ROCKS

LESLIE ODOM JR
ONE NIGHT IN MIAMI

BEST DIRECTOR – MOTION PICTURE

EMERALD FENNELL
PROMISING YOUNG WOMAN

DAVID FINCHER
MANK

REGINA KING
ONE NIGHT IN MIAMI

AARON SORKIN
THE TRIAL OF THE CHICAGO 7

CHLOÉ ZHAO
NOMADLAND

BEST SCREENPLAY – MOTION PICTURE

EMERALD FENNELL
PROMISING YOUNG WOMAN

JACK FINCHER
MANK

AARON SORKIN
THE TRIAL OF THE CHICAGO 7

FLORIAN ZELLER, CHRISTOPHER HAMPTON
THE FATHER

CHLOÉ ZHAO
NOMADLAND

BEST ORIGINAL SCORE – MOTION PICTURE

ALEXANDRE DESPLAT
THE MIDNIGHT SKY

LUDWIG GÖRANSSON
TENET

JAMES NEWTON HOWARD
NEWS OF THE WORLD

TRENT REZNOR, ATTICUS ROSS
MANK

TRENT REZNOR, ATTICUS ROSS, JON BATISTE
SOUL

BEST ORIGINAL SONG – MOTION PICTURE

“FIGHT FOR YOU” — JUDAS AND THE BLACK MESSIAH
Music by: H.E.R., Dernst Emile II
Lyrics by: H.E.R., Tiara Thomas

“HEAR MY VOICE” — THE TRIAL OF THE CHICAGO 7
Music by: Daniel Pemberton
Lyrics by: Daniel Pemberton, Celeste Waite

“IO SÌ (SEEN)” — THE LIFE AHEAD
Music by: Diane Warren
Lyrics by: Diane Warren, Laura Pausini, Niccolò Agliardi

“SPEAK NOW” — ONE NIGHT IN MIAMI
Music by: Leslie Odom Jr, Sam Ashworth
Lyrics by:vLeslie Odom Jr, Sam Ashworth

“TIGRESS & TWEED” — THE UNITED STATES VS. BILLIE HOLIDAY
Music by: Andra Day, Raphael Saadiq
Lyrics by:vAndra Day, Raphael Saadiq

BEST TELEVISION SERIES – DRAMA

THE CROWN – NETFLIX
(Left Bank Pictures / Sony Pictures Television)

LOVECRAFT COUNTRY – HBO
(HBO / Afemme / Monkeypaw / Bad Robot / Warner Bros. Television)

THE MANDALORIAN – DISNEY+
(Lucasfilm Ltd.)

OZARK – NETFLIX
(MRC Television)

RATCHED – NETFLIX
(Fox21 Television Studios)

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA

OLIVIA COLMAN
THE CROWN

JODIE COMER
KILLING EVE

EMMA CORRIN
THE CROWN

LAURA LINNEY
OZARK

SARAH PAULSON
RATCHED

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA

JASON BATEMAN
OZARK

JOSH O’CONNOR
THE CROWN

BOB ODENKIRK
BETTER CALL SAUL

AL PACINO
HUNTERS

MATTHEW RHYS
PERRY MASON

Copyright Pop TV 2019
BEST TELEVISION SERIES – MUSICAL OR COMEDY

EMILY IN PARIS – NETFLIX
(Darren Star Productions / Jax Media / MTV Studios)

THE FLIGHT ATTENDANT – HBO MAX
(HBO Max / Berlanti Productions / Yes, Norman Productions / Warner Bros. Television)

THE GREAT – HULU
(Hulu / Civic Center Media / MRC)

SCHITT’S CREEK – POP TV
(Not A Real Company Productions / Canadian Broadcast Company / Pop TV)

TED LASSO – APPLE TV+
(Apple / Doozer Productions / Warner Bros. Television / Universal Television)

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – MUSICAL OR COMEDY

LILY COLLINS
EMILY IN PARIS

KALEY CUOCO
THE FLIGHT ATTENDANT

ELLE FANNING
THE GREAT

JANE LEVY
ZOEY’S EXTRAORDINARY PLAYLIST

CATHERINE O’HARA
SCHITT’S CREEK

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – MUSICAL OR COMEDY

DON CHEADLE
BLACK MONDAY

NICHOLAS HOULT
THE GREAT

EUGENE LEVY
SCHITT’S CREEK

JASON SUDEIKIS
TED LASSO

RAMY YOUSSEF
RAMY

BEST TELEVISION LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION

NORMAL PEOPLE – HULU
(Hulu / BBC / Element Pictures)

THE QUEEN’S GAMBIT – NETFLIX
(Netflix)

SMALL AXE – AMAZON STUDIOS
(BBC Studios Americas, Inc / Amazon Studios)

THE UNDOING – HBO
(HBO / Made Up Stories / Blossom Films/David E. Kelley Productions)

UNORTHODOX – NETFLIX
(Studio Airlift / RealFilm)

BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES, ANTHOLOGY SERIES OR A MOTION PICTURE MADE FOR TELEVISION

CATE BLANCHETT
MRS. AMERICA

DAISY EDGAR-JONES
NORMAL PEOPLE

SHIRA HAAS
UNORTHODOX

NICOLE KIDMAN
THE UNDOING

ANYA TAYLOR-JOY
THE QUEEN’S GAMBIT

BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES, ANTHOLOGY SERIES OR A MOTION PICTURE MADE FOR TELEVISION

BRYAN CRANSTON
YOUR HONOR

JEFF DANIELS
THE COMEY RULE

HUGH GRANT
THE UNDOING

ETHAN HAWKE
THE GOOD LORD BIRD

MARK RUFFALO
I KNOW THIS MUCH IS TRUE

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SUPPORTING ROLE

GILLIAN ANDERSON
THE CROWN

HELENA BONHAM CARTER
THE CROWN

JULIA GARNER
OZARK

ANNIE MURPHY
SCHITT’S CREEK

CYNTHIA NIXON
RATCHED

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SUPPORTING ROLE

JOHN BOYEGA
SMALL AXE

BRENDAN GLEESON
THE COMEY RULE

DANIEL LEVY
SCHITT’S CREEK

JIM PARSONS
HOLLYWOOD

DONALD SUTHERLAND
THE UNDOING

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Awards
WandaVision — Unpacking Marvel’s New DisneyPlus Series

WandaVision — Unpacking Marvel’s New DisneyPlus Series

Posted on January 24, 2021 at 9:56 pm

Copyright 2021 Marvel

Have you taken a look at WandaVision? I’ve watched the first two episodes and I’m very intrigued. I am a fan of comics and superhero movies but I do not know much about the Wanda and Vision characters beyond what’s in the Avengers movies.

Here’s the series trailer.

And here, for those of us who are not fully immersed in the MCU, here is a deep dive into the meaning of the references in the first episode.

My friend and fellow critic Sherin Nicole wrote about Wandavision for Idobi. An exerpt:

A lot of what is most intriguing about the first three episodes of the new Disney+ series WandaVision, from Marvel Studios, is indicative of a lot of what’s wrong in America. WandaVision carries the veneer of classic TV, when everything was perfect and perfectly funny and yet we know those times weren’t great for everybody. There was something sinister beneath the surface. In that way, we suspect things aren’t so great for Wanda (Elizabeth Olsen) and Vision (Paul Bettany) either.

Something is very wrong in the idyllic new town they’ve moved to—we can tell because the series starts off in a The Dick Van Dyke Show (1961) world and it’s funny and it’s cute and it’s also a little bit creepy. Moments hitch, things go strangely askew, and red is the only spot of color (like a warning light or a bloody cut). The show purposefully uses one of the brightest TV shows ever made to contrast the suppurating ideology that gives “make America great again” power. And that’s what begins to make you uncomfortable—laugh track and all.

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Superhero VOD and Streaming
Black-Ish Goes Animated This Sunday October 4, 2020

Black-Ish Goes Animated This Sunday October 4, 2020

Posted on October 1, 2020 at 8:00 am

BLACK-ISH – In a special animated episode, “Election Special Pt. 2,” (10:30-11:00 p.m. EDT), DreÕs colleague Stevens makes an ill-advised decision to run for Congress, so Dre enlists his familyÕs help and campaigns against him but gets caught up with fundraising and private interest groups. “Election Special Pt. 2” is directed by Matthew A. Cherry and written by Graham Towers & Ben Deeb. Oscar¨ winner Matthew A. Cherry (“Hair Love”) is set to direct. Stacey Abrams, Desus Nice and The Kid Mero guest star as themselves. (ABC/Smiley Guy Studios)
ZOEY (VOICED BY YARA SHAHIDI), RAINBOW (VOICED BY TRACEE ELLIS ROSS), DRE (VOICED BY ANTHONY ANDERSON), DIANE (VOICED BY MARSAI MARTIN), JACK (VOICED BY MILES BROWN), JUNIOR (VOICED BY MARCUS SCRIBNER)
“Black-ish” is my favorite television sit-com, in part because it engages so thoughtfully on contemporary issues of politics and identity, in part because it continues to be innovative with surprising and ambitious creative choices, and in part because it is brilliantly acted, heartwarming, and very, very funny.

The Johnsons and “black-ish” return to ABC with a one-hour television special on Sunday, October 4 (10:00-11:00 p.m. EDT), on ABC. The two back-to-back episodes, which will air ahead of the official season seven premiere on October 21 (9:30-10:00 p.m. EDT), follow the Johnsons as they navigate the upcoming election, with Junior (Marcus Scribner) embarking on his journey as a first-time voter and Dre (Anthony Anderson) launching an exploration into local politics. The director is Oscar® winner Matthew A. Cherry (the adorable “Hair Love”).

In “Election Special Pt. 1,” (10:00-10:30 p.m. EDT), Junior is excited for his first time voting but discovers he has been purged from the voter polls so he does a deep dive into why – trying to understand the systems in place for voter registration.

Then, in a special animated episode, “Election Special Pt. 2,” (10:30-11:00 p.m. EDT), Dre’s colleague Stevens (Peter Mackenzie) makes an ill-advised decision to run for Congress, so Dre enlists his family’s help and campaigns against him but gets caught up with fundraising and private interest groups. “Election Special Pt. 2” is directed by Matthew A. Cherry and written by Graham Towers & Ben Deeb.

The animation is produced by Jonas Diamond, Executive Producer and Co-Owner of Smiley Guy Studios and Rod Amador, Executive Producer and Co-Owner of Big Jump Entertainment.

In its upcoming seventh season, “black-ish” will continue to tell stories that shine a light on current events through the lens of the Johnson family, addressing the global pandemic, systemic racism and the movement for social justice and equality.

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Television

Mark Harris on What He Learned from Re-Watching Old Cop Shows

Posted on September 8, 2020 at 12:01 pm

One of my favorite cultural critics, Mark Harris, has an uncharacteristically personal take on the cop shows he watched, some as a way to connect to his father, when he was growing up, from “Adam-12” to “The Mod Squad” to “Kojak.” He talks about his own experience and perspective as well as what, looking at them now, he sees about the way law enforcement has been portrayed in the media and how it has shaped our ideas.  It’s one of the most illuminating pieces of cultural criticism of the year.

And then, at night, the TV would go on and I would be transfixed by the cops I saw there, the men who seized a piece of my consciousness when it was at its most impressionable, captured my imagination, and made me believe in their effectiveness….I needed a better connection to my father than I had, and the one I found was Adam-12, a series that was, in a way, designed with almost insidious perfection as My First Police Show — a smooth transition from kids’ TV into the grown-up world. For one thing, it was only 30 minutes; for another, that half-hour was usually divided among two or three bite-size, easy-to-follow, often amazingly uneventful stories of two white cops on the beat in Los Angeles (a city as exotic as Mars to a child who had never been west of New Jersey)….

In an era when all TV shows have age-suitability ratings and content guides, the vigor with which adult cop shows of the 1970s were marketed to children seems shocking. But in fact, immense energy was invested in embedding those series in the collective consciousness of children. Dell published 15-cent Mod Squad comic books, and Topps sold Mod Squad chewing gum. You could get a wheel of Hawaii Five-0 Viewmaster slides and click through color pictures of unsmiling, black-suited Steve McGarrett arresting Honolulu’s miscreants, or buy Milton Bradley board games based on Columbo, Starsky & Hutch, or Kojak (“Be a part of thrilling police action on the city streets”), which allowed young players to use informants to track down a suspect hiding in a building. I coveted the Adam-12 lunchbox, which had an illustration of Malloy and Reed helping a little boy on one side and on the other the two of them crouching with their pistols drawn, ready to fire on an unseen suspect. The images were two halves of the same coin.

The Mod Squad was largely goodhearted, but in a way that made clear that the parameters of what constitutes a good heart were defined entirely by its white writers and producers. If the show were on now, it would be in sympathy with the Black Lives Matter protests, but it would single out those who lit fires and threw bricks as people who don’t truly believe that Black lives matter, and it would definitely not endorse defunding the police, because without the police, who would be able to explain all of this to the young people? Cops knew everything, could solve everything, could protect everyone … if you would just let them do their work.

Not all cops” was the baseline ethic of shows like Kojak; they would occasionally critique a policeman, but not policing. These series were “knowing,” they were savvy, and their cynicism seemed to spread in all directions at once. The vibe was, We’re not gonna pretend that some criminals aren’t Black, and we’re not gonna pretend that some cops aren’t racist, and most of all, we’re not gonna pretend that this is a nice place to live or that anything about it can be fixed.

Highly recommended.

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