A New Sheriff in Town...Television that is..."The Black Actress"

Fall 2014 seems to be the season for Black Actresses in television. There was a time when one could count on one hand how many Black actresses were seen on prime-time television, let alone a major/lead role. Well it seems as though the times are changing.

This fall you have plenty of options on just about every major net work as well as premium channels.

Check out the "Fall 2014 Guide to Black Women/Actresses in Television":

(Viola Davis, "How To Get Away With Murder")

ABC
**Viola Davis & *Aja Naomi King
"How To Get Away With Murder", Thursdays at 10 PM

**Tracee Ellis Ross, *Yara Shahidi, and *Marsai Martin
"black-ish", Wednesdays at 9:30 PM

**Kerry Washington
"Scandal", Thursdays at 9 PM

*Lorraine Touissant
"Forever", Mondays at 10 PM

*Chandra Wilson
"Grey's Anatomy", Thursdays at 8 PM

*Da'Vine Joy Randolph
"Selfie", Tuesdays at 8 PM (premiers September 30th)

*Tamala Jones & *Penny Johnson
"Castle", Mondays at 10 PM (premieres September 29th)

*Nadej Bailey
"Resurrection", Sundays at 9 PM (premieres September 28th)

(Danai Guirira, "The Walking Dead")

AMC
**Danai Guirira
"The Walking Dead", Sundays at 9 PM (premieres on October 12th)

CBS
*Nilaja Sun
"Madam Secretary" Sundays at 8 PM

*Regina King
"The Big Bang Theory", Mondays at 8 PM

*Stacie Davis
"NCIS: New Orleans", Tuesdays at 9 PM

*Melanie Lieburd
"Stalker", Wednesdays at 10 PM (premieres October 1st)

(Nicole Beharie, "Sleepy Hollow")

FOX
**Octavia Spencer
"Red Band Society", Wednesdays at 9 PM

**Jada Pinkett-Smith
"Gotham", Mondays at 8 PM

**Nicole Beharie, *Lyndie Greenwood, and *Jahnee Wallace
"Sleepy Hollow", Mondays at 9 PM

*Xosha Rocquemore
"The Mindy Project", Tuesdays at 9:30 PM

*Tamara Taylor
"Bones", Thursdays at 8 PM

(Angela Bassett, American Horror Story:Freak Show")

FX
*Angela Bassett & Gabourey Sidibe
"American Horror Story: Freak Show", Thursdays at 10 PM (premieres October 8th)

OWN
*Edwina Findley Dickerson, April Parker-Jones, & Tiffany Haddish
"If Loving You is Wrong", Tuesdays at 7 PM

HBO
*Niecy Nash
"Getting On", Sundays at 10:30 PM (premieres November 9th)

(Lenora Crichlow, "A to Z")

NBC
*Tamara Tunie
"Law & Order: SVU", Wednesdays at 9 PM

*Joy Bryant
"Parenthood", Thursdays at 10 PM

*Sasheer Zamata
"Saturday Night Live", Saturdays at 11:30 PM

*Lenora Crichlow
"A to Z", Thursdays at 9:30 PM (premieres October 2nd)

*Tymberlee Hill
"Marry Me", Tuesdays at 9 PM (premieres October 14th)

Starz
*Tichina Arnold, *Erica Ash, *Joni Bovil, *Kalilah Harris, and *Yasmeen Griffin
"Survivor's Remorse", Saturdays at 9 PM (premieres October 4th)

The CW
*Candice Patton
"The Flash", Tuesdays at 8 PM (premieres October 7th)

USA
*Diahann Carroll
"White Collar", Thursdays at 9 PM (premieres November 6th)

(Diahann Carroll, "White Collar")

Looks like every day of the week is covered, so there should not be a dull day. Also you will find that the Black Actress is featured in not just the typical comedy, she can be found in the drama, superhero/comic story, sci-fi/fantasy, cop drama, and more.

Happy Fall TV Watching!!

It’s More than Just Race, It’s about Culture too… ABC’s Newest Family Comedy ‘black-ish’*

In a matter of weeks, the 2014 Fall lineup of television shows will be premiering on various networks (some have already made their debut). Fans await a dozen shows, including the new Shonda-land drama line-up on ABC (Grey’s Anatomy, Scandal, and How to Get Away with Murder), NCIS [CBS], Gotham [FOX], Criminal Minds [CBS]. One show in particular making headway is ABC’s newest comedy sitcom black-ish. Kenya Barris (America’s Next Top Model & Are We There Yet?) created this new family comedy, who is also an executive-producer along with Larry Wilmore (In Living Color, The Bernie Mac Show, & The PJs), Anthony Anderson (The Departed, Transformers, & Me, Myself & Irene), and Laurence Fishburne (The Matrix, Hannibal tv series, Boyz In the Hood).

A few days ago I had the opportunity to view a sneak preview of the new pilot that is set to premiere on September 24th. Let’s just say audiences are in for a comedic and cultural treat. Picture a family man from a middle-class African American background struggling to gain and maintain a sense of cultural identity while raising his children in a predominately white, upper-middle-class neighborhood [in what appears to be Los Angeles]. This fun-loving family consists of successful advertising executive and patriarch Andre ‘Dre’ Johnson (Anthony Anderson), his doctor wife with the intentionally problematic name Rainbow (Tracee Ellis Ross; Girlfriends), their four children, and their instigating but loving grandfather, Pops (Laurence Fishburne). All together, it appears as though the Johnsons are living the good life: beautiful family, great jobs, a house in the suburbs. However, has this success brought too much assimilation for the family?

Both Dre and Rainbow are successful in their respective careers, yet at times they find their viewpoints on opposing sides. Rainbow, who happens to be bi-racial, is more of the liberal in the family, and actually believes that they live in a post-racial society and that her children can live and exist in a colorless world. Then there is Dre’s father, Pops, who loves betting on horses at the race track, but also offers his – at times unsolicited – advice and opinions regarding family matters. Though the advice may be blunt, it is typically ‘spot-on’ and it is often challenging to disagree with him. As we might imagine in any family, every parent or guardian wants to be able to give their children the best that they can. However, sometimes the children have another agenda all their own. What results is the price Dre and Rainbow must pay when they have given their children more than they ever had. Raising all four children in a comfortable lifestyle in an affluent, mostly white neighborhood, has several consequences, many hilarious, contributing to Dre’s struggle and quest to keep them rooted in his idea of African American and black culture.

The pilot introduces these struggles when the oldest son, Andre Jr., or “Andy,” as he calls himself at school, announces to the family that he would like a bar mitzvah (though his family is not Jewish) along with the rest of his white schoolmates. To exacerbate the situation, he also want to play field hockey versus trying out for the basketball team. So of course Dre begins to plot ways of guiding Andre Jr./Andy back into what seems more ‘black-ish.’ Then there is Zoe, the eldest of the four children, who is smart, pretty, popular, and drenched in privilege and unjustified entitlement. Essentially, Zoe’s idea of achievement is grounded in material possessions rather than work. For Zoe, success and accomplishments are equated to having 150,000 Instagram followers. The twins, six-year-old Diane and Jack are an intriguing duo. Diane is gifted, talented, and smart, but without an outlet to funnel all her smartness. She takes every opportunity to remind people that that she is one minute older than Jack, who is the sensitive and delicate twin. He is the one child who idolizes his father, offering comments at every moment even if they come out sounding awkward. Ultimately, Dre is very dedicated and motivated to building a strong black cultural tradition for the present and future. Although he wants to live the American dream, at the same time he is striving to preserve some sort of black identity in this multi-cultural world.

At the close of the pilot episode, several thoughts and questions will definitely surface in one’s mind, such as, What does it really mean to be black?; Is it really a promotion when you become the Senior VP of Urban Affairs and you happen to also be black?; Are black and urban one and the same?; How does it feel to be ‘put on display’ and visibly black in the workplace?; and What exactly is black-ish?  Overall, this new family comedy from ABC offers a humorous yet progressive look at one father’s determination to instill some sense of cultural identity in his family. As “Dre” puts it so eloquently, “I’m gonna need my family to be black – not black-ish!!”

black-ish is set to hit television screens on Wednesday, September 24th at 9:30/8:30 CT PM.

Check out the trailer HERE:  http://www.youtube.com/watch?v=JNqqjDv6_dU !!

*As posted in The Berkeley Graduate

Before modern medicine there was the New York Knickerbocker Hospital…Cinemax’s New Late Summer Series, “The Knick”*

The Knick is Cinemax’s newest television series that looks into the professional and personal lives of the New York Knickerbocker Hospital staff during the early part of the twentieth century. The series was created and written by Jack Amiel (Raising Helen) and Michael Begler (Raising Helen), who also serve as producers and executive producers. Clive Owen, Steven Soderbergh (Traffic; Ocean’s Eleven), and Michael Sugar are also executive producers. It premiered on August 8th, 2014. The ‘Knickerbocker Hospital’, a fictional hospital, functions as the epicenter around which the lives and struggles of the protagonists revolve. In addition to getting a look into one of New York’s unique hospitals, viewers also get the opportunity to see life outside of the hospital: immigrants living in horrible sanitary situations, young children working in coal mines and factories, and deep social tensions and racial prejudices running within society.

It’s the year 1900 in New York City, the ‘Knickerbocker Hospital’ employs a staff of innovative surgeons, nurses and staff who must overcome numerous medicinal inadequacies,[i.e. alcohol-soaked knives, sterilized saws that are also to cut open pig cadavers, and make-shift hand-cranked suction pumps and vacuums] to keep their patients alive and the hospital up and running. Despite literally struggling to keep the lights on, the hospital attempts daily to draw in a wealthy clientele, without having to sacrifice quality healthcare.

The staff of Knickerbocker Hospital includes new lead surgeon, Dr. John Thackery (Clive Owen) who is largely based on historical figure William Stewart Halsted (1852 – 1922)[i]. Owen’s performance as Dr. Thackery is electrifyingly scary as he depicts this innovative turn-of-the-century physician. In this newly appointed position as the chief of surgery, Dr. Thackery must battle his cocaine and opium addictions. We also find that although he is a conflicted surgeon, losing patient after patient sometimes for the sake of experimentation; his passion pushes him to go beyond the existing boundaries of surgical methods and techniques with hopes of new medical discoveries and gaining a solid reputation among his colleagues and staff.

Compared to Owen, the supporting cast may not be as well known, but they are in their own ways notable and worthy of attention. Consider Dr. Algernon Edwards (Andre Holland; 42 andBride Wars) who is a cultured, Harvard-educated, European-trained African American surgeon (partially based on the historical figures Marshall Taylor and Louis T. Wright)[ii] who must fight for respect within the all-white-populated hospital, as well as the racially-charged city. It should also be noted that Dr. Edwards in his physical appearance and demeanor can be likened to that of sociologist and civil rights activist W.E.B DuBois. Dr. Edwards also offers a complicated and layered, yet intriguing, plot to the storyline. To add to this complexity, there’s Herman Barrow (Jeremy Bobb; The Wolf on Wall Street) the hospital administrator with more greed than common sense. Then we have the daughter of the hospital benefactor Cornelia Robertson (Juliet Rylance; Sinister) who provides a strong female lead role in the show. The remaining doctors and staff include Dr. Everett Gallinger (Eric Johnson; Flash Gordon), Dr. Bertram ‘Bertie’ Chickering Jr. (Michael Angarano; The Forbidden Kingdom) and Nurse Lucy Elkins (Eve Hewson; Enough Said) who round out a fantastic supporting cast.

Along with the stellar casting and writing, one of the film’s strong points is the cinematography: it presents an old, rustic yet gory look that pleasantly and curiously pulls viewers into its wicked plot. Picture entering into ‘The Knick’ hospital as the staff prepares to operate on very ill pregnant woman. Right from the start, the operation is reminiscent of a fighting action sequence – but bloodier. Before the woman takes her last breath before being put under we hear her cry “Please save my baby!” Immediately the mask is placed over her nose and mouth and one of the doctors begins to pump. The next hand we see is that of Dr. Thackery as he makes an incision from one side to the other, wiping up blood as he cuts. He then calls for the vacuum, which connects to various jars that begin to fill up with blood. The next scene is Thackery pulling out the baby and handing it to the nurse, who transports it to another cart to begin pumping air into the mouth. Each moment crescendos as the doctor’s work desperately to keep the mother and child alive. But as the procedure ends and the last drops of blood fall into the jar, the nurse does not hear a pulse from the baby. As the camera zooms to her, she just shakes her, “No”, and all we are left with is the mother’s deflated stomach, and tubes and wires hanging on the flaps of the mother’s skin. In those few minutes, we witness one of the most thrilling medical operations on television. It’s like riding “The Intimidator 305” at King’s Dominion Amusement Park.

So not only are you visually stunned, but the detailed writing also helps to establish a sense of realism that we as viewers rarely get to witness in television shows (or films) illustrating this particular era. With each episode we see that a lot effort, time, and commitment has come from the production staff as it is clear that they have gone to great lengths to provide an accurate portrayal of everyday life in turn-of-the-century New York in ‘The Knick’. Imagine Owen’s character dressed in a bowler hat with frazzled hair and disheveled sunglasses shading his eyes staggering out of an opium den. In some ways he is reminiscent of a rising rock star packed with attitude as he tersely directs a cab to take the long way to the hospital. Upon his arrival, he has sufficient time to inject himself between the toes with an unidentified cocaine solution. With each of his movements, the camera fluidly catches every step that leads up to his impending tragedy. The vision of director Steve Soderbergh is quite distinct as the cinematography is indeed intricate and dark, so to showcase the elaborate and pristine costumes, and the historically accurate and vintage props. One might even say the hospital is much like an ‘electric circus’ considering all of the madness that takes place day in and day out.

When one thinks of new television series, the heavy-hitter networks that come to mind include ABC, NBC, HBO, and Fox However, Cinemax is beginning to make its mark known from behind the shadows and making its presence known in the primetime realm. Since 2011, Cinemax has begun to offer more mainstream original programming in order to compete with sister channel HBO, and rivals Showtime and Starz. The channel has also changed its focus to compete with other movie services such as Netflix and Hulu. Many of these new program like The Knick (as well as Banshee, Hunted, and Strike Back) have helped to change the Cinemax’s image from a channel that has been mostly known for its late night adult programming.

All in all, The Knick is an engrossing and accurate portrayal of life and death in and around this New York hospital (after only three episodes, the series has already been renewed for a second season). In each 60-minute episode, the city of New York is transformed and meticulously recreated, to show every busy street corner, alley or candle-lit room making it feel authentic and have you coming back for more. The Knick is not your typical hospital drama like ER or Grey’s Anatomy, and definitely steps away from the comedy of Scrubs. Put it like this, the incisions a far more sophisticated, grittier and meaty (pun intended), the surgery scenes are beyond graphic, and all with a twist of entertaining character development, and chilling drama.

Catch The Knick every Friday on Cinemax at 9 p.m. EST/ 8 p.m. CST.

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[i] William Stewart Halstead was a pioneer of scientific surgery who opened a surgical school at Johns Hopkins University. In 1885, Halsted developed conduction anesthesia by injecting his own nerve trunks with cocaine, a substance to which he subsequently became addicted (though later cured).

[ii] Louis T. Wright (1891 – 1952), a brilliant African American surgeon who was active in the New York NAACP in the first half of the 20th century. Both Wright and the fictional Edwards studied at Harvard Medical School and graduated at the top of their class. Wright became Harlem Hospital’s first African American surgeon in 1921, two decades after this show takes place.

*As posted in The Berkeley Graduate