Women Taking Over the Television*

Now that we are well into 2015, many of our favorite television shows are returning for new seasons or mid-winter premieres. Many of these shows have female energy exuding from the cast and their respective storylines. One might say this year in television has been the “Year of the Woman.” According to The Atlantic, “strong female characters on network TV make up a sizable chunk of the pie…and network tv is becoming the land of women.” This trend is extremely significant, because women are not simply in the shows as side characters, but taking lead roles, dominating casts, and holding positions of authority with their roles.

Nicole Beharie as Lt. Abbie Mills in FOX's "Sleepy Hollow"

On the Fox Network, “Gotham” and “Sleepy Hollow” made mid-season returns earlier this month. Still in its first season, Gotham is a notable show, particularly for comic book fans, giving viewers a two-fold look into the origin story of Bruce Wayne long before he becomes the “Dark Knight,” while also introducing many of Batman’s supporting characters. Although the show is centered on the rise of Gotham City Police detective Jim Gordon, several of the show’s women hold positions of power. Whether it is night club owner and mob boss Maria Mercedes “Fish” Mooney (Jada Pinkett Smith), or Selina “Cat” Kyle (Camren Bicondova), a clever homeless youth who has an intriguing influence and connection with young Bruce Wayne, or Captain Sarah Essen who is Jim Gordon’s boss in the Gotham City PD, women are not just sidekicks or eye-candy, but equals to their male counterparts. Staying with this theme of women in power, “Sleepy Hollow” employs a woman of color in the lead role. This casting is significant considering the original story of Sleepy Hollow does not include any women of color, so this series is a modern-day retelling of the 1820 Halloween short story that adds color to the storyline. Juilliard-trained actress Nicole Beharie (42, Shame) who plays Lieutenant Abbie Mills, an FBI-trained officer, provides a commentary that one might call the driving force in the future of understanding the new Sleepy Hollow. Shows like “Gotham” and “Sleepy Hollow” provide a fresh scripted story that helps to balance out the reality shows.

Viola Davis as Annalise Keating in ABC's "How to Get Away With Murder"

Flipping through the TV guide, I realized that the ABC network seems to have the largest number of shows returning as well as some new additions to their line-up, such as the new series “Marvel’s Agent Carter,” where audiences get to see one of the original comic book heroines in her own lead series. This should be interesting and entertaining as we get to see a stylish action heroine rule the television screen. One of my personal faves premiered yesterday with the return “TGIT” (Thank God It’s Thursday). Creator and executive producer Shonda Rhimes takes over Thursday nights with her female-dominated shows. “Grey’s Anatomy” and “Scandal” are veterans in Rhimes’ Thursday group, and her newest creation “How to Get Away With Murder” is well on its way to obtaining that same acclaim. Viola Davis plays hard-core, high-profile law professor Annalise Keating, commanding the attention of audiences such that Davis won the Screen Actors Guild (SAG) award for Outstanding Performance by an Actress in a Drama, being the only African American nominated, and beating out some tough competition. A well-deserved winner, Davis exudes the confidence and humility of a sage actress. During her acceptance speech, she thanked the writers, producers, and creators for “thinking that a sexualized, messy, mysterious woman could be a 49 year old dark-skinned African American woman who looks like me.” Her observation is significant in indirectly calling Hollywood out on its historical (and contemporary) racism, and ageism as well. Davis stated it best: “It’s a victory for people of color, it’s a victory for actors who aren’t ‘fresh-faced and in their 20’s.’” All in all, both Nicole Beharie’s and Viola Davis’ characters offer invigorating alternatives to the typical Jezebel or Mammy figures placed on African American women in television.

Women are not just dominating traditional TV networks, but they streaming onto internet channels as well. With the complete third season of “House of Cards” returning to Netflix on February 27th , we not only get to watch Golden Globe winner Kevin Spacey reprise his role as the ruthless, cunning Congressman turned Commander-in-Chief Francis Underwood; additionally, we get to tune in to his secret weapon, his gorgeous, ambitious, and equally conniving wife, Claire (Golden Globe winner Robin Wright). This Summer on Netflix, audiences will be able to watch the ladies of Litchfield prison return to our computer screens in season 3 of the SAG award winning (Outstanding Performance by an ensemble in a comedy series) “Orange is the New Black.” Hopefully, we will get to see more of “Crazy Eyes” (Uzo Aduba) too!

Netflix shows (l-r) "House of Cards" starring Robin Wright as Claire Underwood and "Orange is the New Black" with cast members Laura Prepon as Alex Vause and Taylor Schilling as Piper Chapman.

There is lots of exciting television coming in 2015, full of leading ladies reminding viewers that they’re not going anywhere! Whether defying the odds, winning high-profile cases in fashion-forward styles, or saving lives, the strong women are here to stay! So whether you tune in to NBC, CBS, ABC, Fox, HBO, or Netflix, there is a plethora of television shows to choose from for your viewing pleasure.

So what will YOU be watching this 2015??

*As seen also in The Berkeley Graduate

Taking A Trip Back in History...to "Selma"*

Bringing certain historical events to the Hollywood screen can have a spellbinding, lingering effect. The historical drama Selma does just that for audiences. The candid film witnesses Dr. Martin Luther King Jr.'s campaign to secure equal voting rights, while it simultaneously chronicles a significant chapter in American History, the epic 1965 march from Selma to Montgomery, Alabama. Here is a film that is very difficult to expound in a few words, considering the obvious affect that it will have on viewers. Certainly, many historical films are tough to appreciate, especially when one already knows the story and the eventual outcome. As far back as we can remember, we have read, heard, taught, and maybe even experienced Dr. Martin Luther King Jr.’s efforts. There are numerous hours of footage and countless recounts of his modus operandi and the volumes of writings that give insight into his mind. This film is exceptional for examining deeper than King the dreamer, and providing an understanding of his humanity as a man.

Selma is possibly one of the most powerful films ever made regarding the 1960s Civil Rights Movement. Sundance-winner and Golden Globe nominated director Ava DuVernay does an incredible job of capturing, what she refers to as, "small moments" that permit you to connect to King’s character on an intimate level. At the screening I attended, DuVernay spoke to these moments saying, "I knew that by doing a movie on King, we would have to do speeches, and early on I obsessed about the speeches. However, when I got on set, I began to focus on how to best capture the small moments that showed King's humanity." The film’s timeline was brilliantly constructed, neither exaggerating how much of King's life viewers needed to see, nor exhausting the moments.

As worthy a film as it is, "Selma" is not unblemished. For example, painting the relationship between King and LBJ as borderline confrontational. However, this may have had the purpose of making a point about the devastating, in many cases fatal, struggles and inequalities African Americans faced during the 1960s. Screenwriter Paul Webb and director Ava DuVernay present Dr. King as a fully rounded individual, even including his flaws, something rarely done when discussing King. Additionally, the majority of "Selma" points to of Dr. King’ strategies and adversities during the crusade.

One of the strong points towards the film’s credit is the cast, and their ability to showcase these amazing historical figures. The audience gets a front-row seat in the mind of Dr. Martin Luther King, Jr. (played by David Oyelowo, Lincoln and Jack Reacher), watching him work during this tumultuous time. Early on, Oyelowo is somewhat inconsistent in playing King, but as the film progresses, he visually and figuratively transforms and elevates the role to another level. We witness a spirited and vulnerable King unfolding. By the close of the film, his performance is so strong, were Oyelowo not actually shown on the screen, one might not be able to identify whether it was Oyelowo or an old recording of King himself. Additionally, Carmen Ejogo (Sparkle, The Purge: Anarchy), offers a beautiful performance portraying Coretta Scott King with such depth and honesty that she's hard to overlook. Ejogo's performance is truly memorable.

Selma highlights other key figures, particularly women, from the Selma marches and the civil rights movement as a whole. For example, Amelia Boynton (played by Lorraine Toussaint “Orange is the New Black”) took part in the early activism and black voter registration drives in Selma, Alabama, and was part of the “Bloody Sunday” march in Selma. Another key figure was Diane Nash (played by Tessa Thompson, Dear White People), a bright, fearless leader and co-founder of the Student Nonviolent Coordinating Committee (SNCC). Audiences also witness the work and diligence of other leaders close to MLK such James Bevel (played by Common, American Gangster), 1963 March on Washington, organizer and key leader in the 1965 Selma Voting Rights Movement. Other leaders and key players portrayed in the film included Ralph Abernathy, Andrew Young, Annie Lee Cooper, Hosea Williams, Bayard Rustin, John Lewis, and James Forman. By acknowledging these other leaders, the film shows viewers the numerous angles and thought-processes that happened during the 1960s Civil Rights Movement. Whether it is in films, daily conversations, and/or in the classroom often times certain leaders overshadow others who played just as much a role in these monumental moments. Overall, the selection of key figures that are portrayed in the film, and the casting of actors/actresses playing them, is very exceptional.

While the screenplay is solid and eloquent though not gut-wrenching, DuVernay's direction is impressive, with sharp cinematography and editing. The gifted cast shine, showing us vivid, detailed accounts of this significant historical event through each scene of the film. Viewers should take note that this is not a Martin Luther King, Jr. biopic film, but more a film replaying the events leading up to and during the march in Selma. Freshman writer Paul Webb does a pleasing job of making this film “family friendly,” considering the sensitive nature of the subject. Leaving this film, your heart and soul cannot escape emotional impact. Think of watching Selma like engaging in a powerful, cinematic history lesson.

*As seen in The Berkeley Graduate

Trying To Find My Spaceship So I Can Fly Far, Far Away...

"I wish I could buy me a spaceship and fly past the sky...I wanna fly, I wanna fly...I said I want my chariot to pick me up and take me brother for a ride..."  ~Kanye West ,"Spaceship"

These words have been and continue to be my thoughts right now as I try to process what has happened in the recent weeks and years passed in relation to #BlackLives. Listening to this song from Kanye West’s seminal first album The College Dropout evoke a plethora of emotions. Fear. Anger. Passion. Frustration. After hearing the announcements of “no indictments” for the Mike Brown case in Ferguson, MO and the Eric Garner case in Staten Island, NY I wanted to buy that spaceship from Kanye; and even more I began to wonder and question how much does my #BlackLife really matter?  With all the events and protests happening in Oakland, at UC Berkeley, and nationwide I have to take a moment to reflect on what was and had happened to these #BlackLives.

One would think that the United States is simply numb to all of the #BlackLives that have been killed over the course of numerous years from the killing of Emmett Till and the lynch mobs, to the assassinations of Malcolm X and Martin Luther King, Jr.. It is very clear that Mike Brown and Eric Garner are not the first cases where I have sat wiping my tears in solace watching #BlackLives taken without hesitation, but these events opened my eyes to this ongoing #BlackLife trauma. These questions began to affect me in 1992 with the beating of Rodney King in Los Angeles, CA—at the time I was only 11 years but I understood that an injustice had taken place. After this case it seemed as though the violence had simmered, at least from what I could remember. But then in 2006, my wounds opened again with the Jena Six case in Louisiana. Then three years later in the early hours of New Years Day in 2009, 23 year-old Oscar Grant III was fatally shot by a BART police officer in Oakland. In 2012 in the Midwest, CeCe McDonald suffered a racist and transphobic attack. In that same year, 17-year-old Trayvon Martin was fatally shot; in 2013, 19-year-old Renisha McBride was fatally shot in Dearborn Heights, Michigan. These are just a few cases that have been brought to our attention. There are many more #BlackLives whose names we do not know or have any audio or video of. #BlackLives continue to be targets whether they make the news, or simply become just another life taken.

At times I feel like the last words spoken from Eric Garner, “I Can’t Breathe” become what I am feeling as my thoughts and hopes are dashed and suffocated by “trigger happy” enemies and authority figures. As I watch the protestors literally pass by my home, the buildings where I study and have class, and stop traffic on the streets where I travel I am simultaneously frightened and overwhelmed by all the organized chaos. I had seen and heard about protests taking place through social media and news outlets and stories from my elders but, now I was witnessing with my own eyes. Even as I type this it is hard to fathom that I live in a nation where my life can be videotaped and taken in an instant without any recourse.Dissonantly, I recall when one of my mentors from undergrad told me, “the world is yours.”Yet, I wonder, if the nation does not even want to see me exist, and can act on that wish,…then how can anything be mine?

As the protestors pass my home, I contemplate my role as a Black woman PhD student in African American Studies. I grapple with where I fit in within the movement, I weigh my anger and my future aspirations. How do I contribute to the cause without being shamed or, worse, running away? I understand that I am not built to stand on the front lines, nor am I a voice to lead a movement, but I do play a part. Over the years, I am learning more and more that my voice may not be a physical one, but through my actions whether it is through my research on superhero constructions, my expertise in social media, or offering and participating in support systems. I recognize my role in the diversity of tactics required for the defense of #BlackLife. As long as #BlackLives continue to be abused, wounded, or worse killed my #BlackLife must always be alert. Everyday remains a struggle and I take temporary comfort in Kanye’s words, "I wish I could buy me a spaceship and fly past the sky...I wanna fly, I wanna fly... I said I want my chariot to pick me up and take me brother for a ride..."

*Also featured in "The Diaspora: Black Matters Issue" 

Meet 'The Penguins' in "Penguins of Madagascar"*

Super spy teams aren't born...they're hatched. Discover the secrets of the greatest and most hilarious covert birds in the global espionage biz: Skipper, Kowalski, Rico, and Private.

For a little humor to spark the holiday season, DreamWorks Animation is giving audiences a spin-off of the Madagascar film & television series, focusing on the supporting background characters who shone through every movie, The Penguins. Set right after the events in Madagascar 3: Europe’s Most Wanted, the spy thriller adventure features the cute flightless bird friends taking on a top secret mission with a team called “The North Wind” in 2014’s Penguins of Madagascar. As Puss and Boots was to The Shrek franchise, “The Penguins” are no longer scene-stealing sideshows, but now tapped for their cuteness, humor, action, and adventure for their own feature film.

As the title conveys, the movie spotlights four penguins (Skipper, Kowalski, Rico, and Private) from the previous films, though it is not necessary to have seen the other movies to understand this one. Now, the four penguins face a situation with a new villain, Dave, requiring them to team up with another group of animal secret agents to stop Dave's evil plan. The movie opens with a preliminary back-story, and once audiences soak that in, the film throws viewers straight into the action for the majority of the film. Immediately, The Penguins capitalizes on being funny and providing an entertaining plot that includes high pace, top-notch action scenes accompanying visually stunning animation. The Venice chase sequence is particularly entertaining, especially in 3D.

In addition to the humor and animation, parents will likely find some well-known film references to add a little depth to the movie. Some of these include when the penguins team up during the climax, and parody this film's team line-up shot reminiscent of The Avengers (2012). There is also a warehouse scene in Dave’s submarine like a scene in Raiders of the Lost Ark (1981), and Kowalski utters a familiar line from the 1968 Planet of the Apes.

The movie depends on providing a certain balance of action and humor, since there are several frantic and high speed villain chases along with many clever jokes, which may require a second viewing so as to catch everything. To go along with the action and humor, the voice acting is top notch. I appreciate that the movie, unlike several of its DreamWorks counterparts, did not feel the need to rely on big name celebrities. Nevertheless, it features a few main big names: Benedict Cumberbatch as “Classified,” a fellow fox secret agent; and John Malkovich as “Dave,” the villain octopus.

Viewers will be sure that the camaraderie between the four penguins is the highlight of the film. At times, the movie’s pacing is a bit manic, starting out at an extremely high pace, then taking a dive as it progresses to the end. Despite the jokes and gags being funny, some are a little childish.

While one may appreciate DreamWorks’ efforts to try something a little different from the previous Madagascar films, this one unfortunately did not meet the mark. Although the Penguins are entertaining, kids will probably enjoy it more than adults, even though many references will go over their heads. It’s as though the movie sets you up for a jam-packed entertaining joy ride, but quickly deflates like a balloon.

No question, folks will laugh at the jokes, but as a whole, the movie lacks creativity and emotion, or a lasting impact that many of the other DreamWorks and DisneyToon continuation films (How to Train Your Dragon 2, Cars 2, Planes: Fire & Rescue) have done. One specific problem is that while the penguins are entertaining in the previous movies, this one only proves that they work better in smaller doses. The film devotes too little attention to feature the penguins many of us have come to love and enjoy from the movie and TV series. One never comes to feel that the team was the focus of the show. Case in point: one of the penguins, Kowalski, may as well have stayed in the zoo.

All in all, I must admit the movie is fun and cute, but The Penguins would have been better suited for a summer release to really capitalize on the younger audiences. The Penguins offers a lot of potential; unfortunately, while Penguins of Madagascar finally escapes the rehashed feeling of the Madagascar films with something new, it still proves under-whelming.

As seen also in The Berkeley Graduate

A Sneak Preview into the Highly Anticipated “Dear White People” film*

“Dear White People, the minimum requirement of black friends needed to not seem racist has been raised to two…Sorry, your ‘weed man’ Tyrone does not count!”

Every generation has a film that shocks as it touches upon issues of race and inequalities of color. In 1950, we had the black-and-white American film noir No Way Out; in 1970, the satirical comedy Watermelon Man; in 1989, Spike Lee’s ‘fight the power’ film Do The Right Thing (1989); John Singleton’s 1991 classic Boyz in the Hood; and at the beginning of the new millennium Bamboozled (2000). In 2014, we have Dear White People a contemporary satire that is not simply another post-black film, but a commentary on expanding and updating notions of black identity.

Winner of the 2014 Sundance Film Festival’s Special Jury Award for Breakthrough Talent, Dear White People is a sly, provocative satire of race relations in the Obama age. In this breakthrough performance, writer/director Justin Simien gives audiences a close look at four African American students as they navigate racial and sexual politics and campus life at the predominately white Winchester University. The four protagonists, “The Rebel,” “The Token,” “The Poster Child,” and “The Diva,” are what Simien likes to call “archetypes of people of color.” He sees them as archetypes versus stereotypes, or just simply blacks who espouse survival tactics in environments where they are in the minority or have to cope with the way people label them: “One of the things that was interesting about Dear White People is that I show these archetypes in the beginning, and we just dismantle them to a complete pulp by the end,”[1] remarks Simien.

Simien, a 31-year-old Texas native, drew direct inspiration for this film as result from his experience at Chapman University in Southern California. Being a “black face in a white place” is not just the premise of the film, but also an actual lived reality for Simien (the Black student body on Chapman University comprises 1.6 percent of the campus). As someone who has experienced much of what he portrays in the film, Simien takes a tongue-in-cheek approach to exploring the state of college campuses today and racial identity in a supposedly post-racial America, specifically, having a cinematic dialogue about what it means to be black today. Considering the past few years have been marked with numerous deaths of unarmed young black women and men, he has hopes that this film will resonate particularly with the millennial generation. According to Simien in an interview with “Best of New Orleans:

“The funny thing is that there are still people out there who believe [the U.S. is post-racial]…People say ‘do we even need this [type of film]? Aren’t we beyond this?’ After Obama was elected, there was this post-racial bubble; some liberal and very well-intentioned people thought we had overcome the struggles of racism. It took all these tragic shootings of black teenagers, and members of Congress telling Obama to go back to Africa, and racist blackface parties to bubble into mainstream for people to realize we’re still dealing with the same issues.”[2]

The film has garnered much anticipation leading up to its October 24th nationwide release, since one can view a collection of sketches, trailers, and videos under a PSA series called “The More You Know (About Black People)” some of these include:

             “Not To Be Racist, But…”     

            “Do Black People Love Fried Chicken?”     

            “Why The Best Athletes Are Black?”

            “White People Love Food Stamps, Too”

In addition to the PSAs, sketches, and trailers, one can purchase Dear White People paraphernalia, posters, and even the book on which the film is based.

Dear White People hopes to bring laughs, while deliberately addressing casual racist attitudes of what may seem outlandish to some white Americans; for far too many African Americans, these statements represent everyday reality. For all intents and purposes, Simien wants viewers to walk out of theater with a different mindset from the one they brought into the film, and hopefully for the better. “I’m really looking at people whose past racial bubble is yet to be popped…I want this to be part of a cross-cultural conversation they’ve never had before. Our movie couldn’t have come out at a better time.”[3]

Dear White People hits select theaters this Friday October 17th and nationwide on October 24th. However, as a special bonus for the Bay Area there will be a private screening of this film on today at Shattuck Cinema Theaters.

*As posted in The Berkeley Graduate

--------

[1] Interview from New York Times “Happy to Be Your Guide to Black Identity”: Justin Simien Goes Mainstream with ‘Dear White People’…10/9/2014…By: Nelson George

[2] Interview from Best of New Orleans, “Director Justin Simien talks about Dear White People”

[3] Interview from UPTOWN Magazine, “The One Thing ‘Dear White People’ Director Justin Simien is Sorry About”…10/13/2014…By: Angela Bronner Helm

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