Alfred Martin asks why NBC turned to The Wiz over The Music Man as its next televised musical in this particular historical moment?
This year has been heralded as a renaissance for films featuring black actors and actresses. Many of these black actors and actresses have performed in “quality” films like 42, The Butler, and 12 Years A Slave. As an arbiter of…
As we bid farewell to Don’t Trust the B, we also bid farewell to a part of gay black visibility on network television. Luther was a character written in a mold that has (problematically) been deemed passé and disrespectful to the middle class, married/coupled, suburban model of gay televisibility. And for that, we should be saddened.
Flipping through the post-Christmas sales, I’m reminded of how the TV show on DVD has become an ubiquitous part of our culture. But it’s those series or seasons of shows that are not for sale that tell a narrative of what’s worthy of archiving within our popular culture and collective memory.
The contemporary remake of the 1976 film works to reshape the ways in which mass mediated blackness is understood.
Frank Ocean’s alleged coming out story never uses the word “gay” and his music expresses desire for same- and opposite-sex partners. So how do we make the leap?
Some gay men will tune in and enjoy the telefilm on its own merits while others already hate this remake because it isn’t the 1989 theatrical version.
TBS’ agreement to air new episodes of Cougar Town may signal the next network to employ the “Fox Formula” whereby market share is built courting black viewership, only to be discarded once a critical mass of mainstream viewership is attained.