Dear Hollywood:
When we look in the mirror, we expect an accurate reflection.
Love,
Inclusion
Dear Hollywood:
When we look in the mirror, we expect an accurate reflection.
Love,
Inclusion
*Apparently this post’s title was a sign. Only a few hours after I published it, I learned about Nicole Beharie’s latest role.
Over the weekend I read this article. Well, not all of it. I skimmed my way over to the section about Sleepy Hollow.
Take a look:
Fox has Sleepy Hollow, which recently ended its third season with a shocking finale that saw one of its leads die. While nowhere near the ratings highs of the first season, Sleepy Hollow has a following, logs solid DVR gains, and, because of the famous underlying property, the series makes money for Fox internationally, so getting to four seasons would be financially beneficial for the company.
While Sleepy Hollow is on the bubble, there had been positive signs, and I hear the studio has been doing contingent staffing moves to be prepared in case the series is renewed.
That blurb may contain industry gossip, but it warmed the cockles of my slowly-aging heart. As much as I love Abbie Mills, showbusiness is still a business. The decisions made at Sleepy Hollow affect its studio’s bottom line. It hurts me to think that that’s the only reason someone at Fox might be reconsidering their actions.
Ultimately, though, I’m content with the idea of things being rearranged. Sometimes a business has to change its staff in order to improve.
In my opinion, a staffer’s ability “get” a show should be taken just as seriously as their professional qualifications–if not more. Their decisions can end up affecting TPTB’s end product, for better or for worse.
Also, as a fan, it’s hard not to notice something about Sleepy Hollow‘s actors.
That video is one of many. From what I’ve seen, the SH cast adores each other.
It’s easier said than done. But I find it hard not to wish TPTB could capture the same level of synergy behind the scenes. Hell, forget synergy. They just need people who have respect for the program’s vision.
*This post has been slightly edited to clarify my thoughts.
Log line: Innocence is lost when children are forced to face the harsh realities of the world.
My first impression? I love the kids on Underground. I can’t wait to see what’s revealed as this episode shows us more of their talent.
Also, I wanted to talk for a minute about the characters as a whole. I really love the fact that none of them seem to embody the tropes that you’d normally associate with a period slave drama. Whether it’s Rosalee’s ingenuity or Noah’s determination, the protagonists make me proud. (Don’t even get me started on Pearly Mae! I still miss her.)
Underground marks the first time I’ve seen slaves not merely depicted as slaves. Instead, they’re just what folks who work on the show have called them: Enslaved human beings. I’m inspired by their passion. They remain strong and ambitious in their pursuit of freedom.
And then there are Underground‘s villains. From his first scene the last episode, I couldn’t help but give Tom Macon a double take. Usually slave masters are shown as being one-note, evil people. This makes sense; I can’t imagine showing someone who owns human beings in a positive light. But in episode 6, I was taken aback. “Is it me,” I wondered,”or is this man the most insecure person I’ve ever seen?”
I look forward to watching Mr. Macon unravel. Or die.* Whichever comes first.
*I’ve kept my eye on the cast’s social media accounts. The man who plays Tom (Reed Diamond) is used to being killed off.
As I listened to the Black Girl Nerds podcast yesterday, I felt inspired to say something more about Sleepy Hollow‘s latest episode. I agree with the point made at around the 35-minute mark. I firmly believe that there’s a lot that is not being said by people behind the scenes of this show.
One of the reasons I wrote about writers at the beginning of my last post is because I was thinking of something I once read that was casually said by someone on Sleepy Hollow‘s staff. I’m convinced that there’s more to what happened over the show’s lifespan than what’s been shared with the public.
Which brings me to another point connected to what the BGN ladies were saying. When I feel disrespected as a consumer, or in this case, a fan of something…I prefer honesty over defensiveness. Every. Single. Time.
For more truth-telling, check out this episode of Afterbuzz TV.
These are my thoughts on the latest episode of Sleepy Hollow. If you haven’t seen it, here’s a recap.
Note: I keep tweaking this post. As I said on Twitter, when I write angry, I can sound like a stuffy English textbook.
Preface: A Word About Writing
In response to a tweet about the latest happenings on Sleepy Hollow, I said that I didn’t have any faith in TPTB (aka The Powers That Be) behind the show–its producers, writers, etc. Then I deleted my words. Quite frankly, I felt I needed to revise what I’d said. Yes, I’m angry about what happened to Nicole Beharie‘s Abbie Mills, but I have a hunch that the details involved are more complicated than what some viewers believe.
A TV writer’s work can be dictated by anyone from a showrunner to an executive who hasn’t written a script since God knows when–if at all. Not to mention that I’ve seen at least two messages that have left me thinking that there’s more to the current state of Sleepy Hollow than what the public has been told.
Who knows?
Maybe I’ve put too much faith in the folks who work behind the scenes, but I can’t help but think of what an instructor of mine once said: “This is television writing. If you want complete control over what happens to your characters, write books.”
And even then, I books have editors.
Now for the heart of the matter.
Saving Grace…Abigail Mills
Since Friday night, I’ve seen #CancelSleepyHollow in the Twitterverse.
I’ll tell you something though.
I don’t want this show cancelled. I want it fixed.
Let’s start with an honest understanding of why people enjoyed Sleepy Hollow. I’ll begin by sharing how I began to watch.
I have hazy memories of when I first got drawn into watching. It might have been because of a commercial. Or perhaps a message on my twitter timeline. Either way, I was curious. Sci-Fi/Fantasy programming that was well written, and one of the leads was someone who looked like me? I had to check it out!
I found the first season’s episodes online. I think it took me a whole weekend to whip my way through them.
When I watch a show, I can tell you that I don’t look at it merely as a viewer. I take it in as a whole, and consider how it was produced and by whom. As I scanned the show’s credits, I was impressed. I didn’t recognize everyone, but I knew Ken Olin, Roberto Orci and Alex Kurtzman. I’ve seen their work before. And though I slacked off in my watching over the past year or so, I figured the show was in good hands.
That is, until its latest development.
There was never any doubt in my mind about the importance of Nicole Beharie’s Abbie Mills. Still, a part of me wondered how she was perceived behind the scenes. In the days following the character’s demise I didn’t have to look very far for a clue.
“…I recently went to Comic Con in London. I was invited without the white male counterpart in my cast, and it was packed. And they knew that it was just going to be me. That shook me…I’ve always been told and I believed that this doesn’t work without him.” – Nicole Beharie (emphasis added)
Feel free to watch the video that features this quote.
For a while, I’d suspected that someone who works on Sleepy Hollow misunderstood why people loved it so much. However Ms. Beharie’s words made it plain. Let me clarify my take on what made the show special: To some degree, whomever had been speaking to Nicole was right. In the world of the show, Abbie and Crane are an irreplaceable pair. I know that I’m not alone when I say that I have absolutely no interest in an iteration of Sleepy Hollow without both Tom Mison and Nicole Beharie as the series’ leads.
However, when it comes to real-world appreciation of the show as a whole, it’s a mistake to underestimate Nicole Beharie. She has her own, unique power. She alone is the reason that a significant portion of Sleepy Hollow’s audience began to watch the series–including me. A talented Black woman playing a real person (NOT a trope), who’s a lead character in a sci-fi series is not an occurrence that should be overlooked. It should be celebrated. Yet it’s clear to me that at least one person behind Sleepy Hollow has no idea how important and meaningful Ms. Beharie’s Abbie has been to many, MANY people.
The so-called influence of the white male fanboy archetype needs to die. It’s a myth. I feel as though someone was banking on the fact that because Sleepy Hollow merged science fiction and fantasy, only stereotypical viewers of these genres were watching. Or, that only their attention was worth having. They couldn’t have been more wrong.
Here’s the thing. Those who watch TV and truly value diversity are comfortable with seeing it beyond the walls of ShondaLand. People of all colours and cultures enjoy fantasy and science fiction. More significantly, Black people, people of color, and women–and those who appreciate us–have the power to make a show like Sleepy Hollow a hit.
Which brings me to my next topic: The show’s ratings. When I first thought about writing this post, I had a theory about which season was Sleepy Hollow’s best. I verified it via Google. There’s no doubt in my mind why people enjoyed this show’s beginning. It had a winning formula.
DiversityInclusion + Deft Storytelling + Flawless Science Fiction
…In the eyes of many, this equaled must-see TV.
Take a moment and think seriously about Sleepy Hollow’s first season. Let’s ignore Abbie Mills for a moment. Was there anything really wrong with Captain Irving or his family? What about John Cho as Andy Brooks?
Regarding what I saw on screen, there was nothing wrong with the equation that gave us Season 1. As far as most SleepyHeads were concerned, it could only have gotten better.
The blatant rejection of everything viewers loved about this show blows my mind. Nothing in Sleepy Hollow was broken. I’m not sure who decided it needed to be fixed, or why.
For now, I sincerely hope that someone will make a decision that will result in the show being restored to its original glory. And above all else, if she hasn’t been snatched up already, that includes rehiring Nicole Beharie.
The joker in me almost wants TPTB to pull a Bobby Ewing, but I’m pretty sure they won’t have to go that far. In spite of the show’s dialogue about Abbie’s death, I didn’t see a body. And even if I did, Sleepy Hollow isn’t based in the world as we know it. Our Lieutenant can be brought back to life.
From the beginning Sleepy Hollow was a winner. It can be that way again.
Since childhood, I’ve been curious about my heritage. I’m first-generation Caribbean-Canadian. I didn’t pay much attention to this fact until I was older. However, there was one thing that I understood above anything else: I wasn’t only Canadian, but North American.
A part of me has always been fascinated by the history of Black people in the United States. My country has its own tumultuous legacy involving race relations. However the fact remains that when America screams, we hear the echo. I was born merely a decade after some of the Civil Rights era’s most turbulent years. My hometown is predominantly white. I’m no stranger to racism, and I’ve always wondered about its continental beginnings.
Throughout my life I’ve seen period dramas that portrayed slavery. Their approach differed widely—from focusing on it, to barely mentioning it. Roots was especially significant to me. When I was in high school I read Alex Haley’s book; I found the original miniseries online when I was older.
Then a few months ago, I heard about Underground.
At this point, maybe you’re asking yourself, “Does the world really need another story about slavery?”
Now, you might say,”No!” Maybe you’ve been so badly scarred by the pain of racism that you don’t need a reminder of how it all began.
Fair enough.
But if you’re curious, I encourage you to give this show a chance.
Yes, Underground is set in antebellum America. And it doesn’t shy away from depicting moments of despair and pain. But it promises to explore those moments through the lense of possibility.
The “Underground” of the series’ title is the Underground Railroad. Noah is a slave played by Aldis Hodge. He’s a strong protagonist, active and eager to change his fate for the better. Here, it’s important for me to let you know that this is an action-oriented show. (In one interview, I heard an actor refer to Underground as a “thriller”.) As the show unfolds it will trace Noah’s journey as he leads a group of his peers to freedom. Jurnee Smollett-Bell plays Rosalee, a house slave. At one point in a scene with Noah, she states that in spite of any assumed perks, she and the other house slaves are, “still slaves. [It d]on’t matter where we sleep.” The poignancy of this line impressed me. It isn’t every day that a show will comment on a tradition that’s at the heart of colourism.
Two of Underground’s characters who have a pivotal role are Tom Macon and John Hawkes. Tom is about to run a campaign to be a senator; he owns the plantation where Rosalee and her fellow slaves live. Meanwhile Tom’s brother, John Hawkes, is a lawyer and burgeoning abolitionist. I won’t spoil the story much further, but the writers have done their best to ensure that these siblings will continue to cross paths. A clash between these two men is inevitable. Although they’re related, by the episode’s end, I didn’t think either of them truly understood how different they are.
Other familiar faces in the cast include Adina Porter (True Blood), Alano Miller (Jane the Virgin), and Christopher Meloni (Law & Order: SVU). I also think it’s important to point out that the show’s production team is inclusive. John Legend is an executive producer. Misha Green and Joe Pokaski are the series’ creators.
The first episode of Underground left me feeling optimistic. The show’s premise promises that it will feature a perspective on its subject that most productions of its kind have ignored. Another plus for me is the suggestion that Underground’s characters are going to be truly dynamic—I already have hunches about who to be wary of, who I like, and who I despise. And yet…These are only hunches. One character’s scenes revealed a twist that left me disappointed—yet somehow, still curious. Is he really as awful as I think? Also, I care about Noah and his fellow slaves. It’s easy to say that a tale about a slave’s road to freedom will end predictably, but I have the feeling that there are plenty of surprises to come.
Still, the question of relevance remains. I’m more than satisfied to say that Underground passed the test. The show’s underlying themes resonate today. When Black people experience racism intimately in real life, and our news casts are filled with police brutality, one can’t help but wonder how far we’ve come. Still, the strength of this show’s characters reminded me of who we are. Not merely oppressed people, but fighters. It’s important to use art to depict people of colour as dynamic and strong. Shows such as Underground have the power to inspire us to be hopeful, and more importantly, play an active role in the unfolding of our destiny.
If you’ve been with me for a while, you know that last year I wrote this post. Looking back, I think it’s obvious that I didn’t deeply consider the impact of watching The Cosby Show. However, in light (or perhaps “in spite“) of what we all know, I felt a strong push to say something. I was determined not to let one man’s actions ruin the legacy of a show that was a treasured part of my childhood.
At the time I wrote that I’d still watch The Cosby Show because it’s what I believed. I felt that I could without any qualms whatsoever. However, now, after giving the issue more thought, I know that that’s not entirely correct.
Since childhood, I’ve known there was a difference between a performer and his or her character. To this day I get irritated when I find out about people giving actors a hard time over the folks that they portray. I’ve even heard people who don’t understand acting make comments about horrible characters, in the vein of,”Can you imagine the type of person you’d have to be in order to play that scum?”
Enter Cliff Huxtable. I can’t help but think about how much everyone loved him. And then the allegations* began. Surely, this is is one of those cases when an actor’s behaviour has coloured his character–and not at all for the better.
I still know that Bill Cosby wasn’t The Cosby Show’s only star. I enjoyed the writing. The entire cast was—and is—clearly, talented.
That’s why when I saw this, all I could do is sigh.
I’m thankful for Goldie Taylor, who wrote the cover story, and I applaud Ebony’s editors. The magazine’s cover is painfully accurate. The allegations* against Bill Cosby have indeed shattered an illusion. The vision of the beautiful family that he led, as illustrated through The Cosby Show, has been forever marred.
I may smile as I reminisce over certain episodes. Yet if I had the chance today to see a Cosby Show rerun, I believe that whenever Mr. Cosby appeared, a chorus of “How could you?”s would fill my mind. My heart would be heavy.
As it should be.
*My use of the word “allegations” is not intended to insult Cosby’s victims. I use the term only as a technicality, since he hasn’t yet been charged with anything.
Photo Credit: Ebony magazine
I don’t read many scripts.
Just after I typed that, I looked to the skies, hoping that the Scriptwriting Gods don’t zap me. Apparently, I’m breaking a cardinal rule of aspiring screenwriters everywhere. (Rule #1: Watch ALL the movies. Rule #2: Read ALL the scripts…)
Quite frankly, I think it’s a waste of time. The public complains about folks in LA constantly churning out the same old thing. Is it any wonder, though, when insiders preach that writers should get into the industry by following a uniform set of practices?
Mind you, I’m not a complete rebel. Over the past while, I’ve glanced at a few screenplays. And there’s something that I’ve noticed.
It seems that there’s a pattern relating to Hollywood’s diversity–or lack thereof. From what I’ve seen, unless a writer specifies that a character is a person of color, chances are, he or she won’t be depicted as such. Hence, the racial default for a character in a North American movie is white. Casting directors and producers also have a hand in what a character ultimately looks like. What concerns me, though, is the fact that they have blinders on when it comes to people of colour.
Time and again I’ve wondered if any of them actually know any of us. As actual human beings, and not merely cheap tropes.
I think that it’s more than accurate for me to assume that those in charge of casting have ludicrous notions regarding what non-white actors are capable of. All of this adds up to a situation that is unfair—not only to actors, but the movie-going public.
Now, for many of you, I’m yammering on about something obvious. However, the fact that casting a Black/Latino/Native/Asian person as the girl or boy next door doesn’t occur to much of Hollywood infuriates me. And it made me think. The trends involving how minority characters are written are disturbing.
Consider this past round of Oscars. The following meme struck me when I first saw it
Don’t get me wrong. I will be eternally thankful to Steve McQueen and The Powers That Be for sharing The Goddess Otherwise Known As Lupita with the world. But I want something more. The silver screen rarely reflects reality, especially when it comes to people of color. We are more than sidekicks or members of the subjugated class. We own bars, we drive cars, we struggle, we thrive, we live lives.
Someone on Twitter shared the following statement. I don’t know who originally wrote it, but I could shout it from the mountaintops.
While TV shows are catching up, in terms of reflecting humanity, I think that movies are light years behind.
And I know how things work. I realize that the films that are coming out over the next couple of years have already been cast. Hell, most have already been made. (In saying that, I’m not trying to make excuses for those who make films. I think that anyone with a basic knowledge of the industry will understand that I’m being realistic.)
Yet going forward surely something can be done. God knows, we’re worth it.
Are you ready?
Tonight’s the night!
I’ve seen Scandal. The pilot, via iTunes, and…Snippets here and there. I know it’s good. EVERYONE knows it’s good.
But the show I’m waiting for is How to Get Away With Murder.
Viola Davis is back, looking better than ever. Not “classically beautiful” my ass!
“Be careful who you show your crazy to.”
“You call it crazy. I call it winning.”
Hells, YES!!
Seriously.
The last time I watched, I had a mini marathon. God knows, I miss staring at my TV, going
I might even stay up* and see it live!!
*Last year I recorded most of my Murder and watched it later on in the week.
The Cosby Show, I mean.
I heard that over on the Q web site they’re going to eliminate Jian’s interviews. My first reaction was to enter into a mild panic: “Man, what’s next? Cosby Show DVDs?” I don’t say that to insult the scores of women who have come forward. Rather, to speak the truth about a childhood memory. For you see, for me, watching that show was not all about him.
The other day I saw this article with a link to a page that explained how people could watch episodes of The Cosby Show…Sans Cosby, I suppose? I know that a lot of fans are facing an odd predicament. They want to enjoy their beloved sitcom without the spectre of the alleged horrors that the program’s namesake has perpetrated. I haven’t followed the link, but I gather that some people have taken the time to scrub Mr. Cosby’s image from the show’s visuals. The reason I never followed through with learning how I could watch The Cosby Show without looking at one of its stars is simple: I’m simply not interested.
Now when I say that, I don’t mean to insult his victims. I abhor the idea of rape. I know that these days when some people hear Mr. Cosby’s name, they cringe–or worse. But when I think of The Cosby Show, Bill Cosby isn’t the first person that pops into my head.
I can’t escape the idea that Mr. Cosby was a part of an ensemble cast. In my mind, to disregard the show solely because of him is to insult the talented souls who worked both in front of and behind the camera.
I get a smile on my face when I read the words “Gordon Gatrell“. And who can forget about the elder Huxtables’ anniversary?
Among the characters in that scene were Rudy, Denise, Vanessa, Theo, Sondra, and Clair Huxtable. Clair Huxtable–a woman who has inspired at least one t-shirt. The only woman who could possibly have replaced my mother if I needed a spare. These are characters that I loved. Just look at this clip from “Off to See The Wretched”.
Phylicia Rashad and Tempestt Bledsoe were amazing.
And yes. I know that Bill Cosby was in that scene. I know that Cliff Huxtable was there. Yet again, I assert that The Cosby Show was not a one-man gig.
Back to those DVDs. NBC has already decided to scrap a pending pilot. Mr. Cosby has cancelled various tour dates. I understand that some venues have offered refunds for folks who no longer want to see his shows. But I’m still not comfortable with the idea of doing away entirely with The Cosby Show. It was one of my favorite programs and a critical part of my childhood. If a decision is ever made to abolish it, I’d be truly heartbroken.