By Arturo R. García
Expectations were high surrounding this past weekend’s episode of Saturday Night Live, as it unveiled a more diverse lineup both in front of and behind the camera.
While the ostensible lead was guest star Drake, pulling double-duty as the show’s musical guest, the show also marked the debut of Sasheer Zamata, the first woman of color in the ensemble since Maya Rudolph’s departure. Zamata’s hire was precipitated at least in part by the furor over Kenan Thompson’s infamous “they never find ones who are ready” remark in November. But, perhaps even more crucially, the show also added two women of color to the writing team in Leslie Jones and LaKendra Tookes.
So far, the results appear to be positive: the show scored decently enough ratings-wise, and Drake’s performance has been well-received enough to suggest he should get the Justin Timberlake open-door policy.
But how do you feel the episode did? Did Zamata get enough opportunities to spotlight herself? Do the new additions make you more optimistic about the show? And is anybody else stuck seeing Rick Ross as a Red Teletubby now? Here’s a couple more videos for those of you who didn’t catch the show.
By Guest Contributor Anoosh Jorjorian
When I was 13 years old, my best friend introduced me to Doctor Who. Growing up as a brown girl in a predominantly white neighborhood in Sacramento, people would ask me, “What are you?” When I explained that my family came from Armenia and the Philippines, I might as well have said they were, like the Doctor, from the planet Gallifrey in the constellation of Kasterborous. The show played perfectly to my fantasies of escape into wider possibilities. Yes, funny smart man with your English accent, please whisk me away in your blue box as far in space and time as I can get from 1980s Northern California.
Nearly two decades have passed since I first watched the show, but on the occasion of its 50th anniversary, to my eyes, the show looked a bit… like 1980s Northern California. “The Day of the Doctor,” the episode marking the special occasion, was simulcast globally in 94 countries, an official Guinness World Record. So why was so little of the world in it? I had expected the diversity of the audience to be reflected on the screen, but instead the episode seemed Anglo in every dimension.
I monitored #DoctorWho50th on Twitter but couldn’t find many people of color livetweeting the simulcast. The few that did seemed to have “the feels” like everyone else. No one mentioned race. With Matt Smith’s tenure in the title role ending on Wednesday, I turned to Facebook to find more Whovians: friends, friends-of-friends, and strangers, mostly Americans, mostly people of color. What did they think about the whitewashed “Day of the Doctor”?
A Cracker Barrel restaurant via NY Daily News
Last week Arturo reminded Duck Dynasty fans of what hadn’t gotten newly revealed (“newly” for those of us who still have no idea what a Duck Dynasty is, at least) homophobe and racist Phill Robertson suspended from the hit A&E show. Since the decision A&E has remained strangely mum on the topic, while others like Sarah Palin, Mike Huckabee, and Bobby Jindal have chimed in attempting to make the tenuous state of the show and Robertson’s future an issue of 1st amendment rights.
In a slightly tangential turn of events Cracker Barrel took a stand against Roberstson’s comments, pledging to pull all Duck Dynasty merchandise from their shelves. (Yes, you too can buy a Duck Dynasty Talking Keychain while eating away your Saturday night kegger hangover in AnyTown, Ohio!) It was a decent gesture, especially given that the merchandise practically flew off the shelves at Walmart after the GQ controversy broke in a sad show of support for the brand . However two days after making the promise –and still, with no word from A&E– this message was found on Cracker Barrel’s official Facebook page:
Dear Cracker Barrel Customer:
When we made the decision to remove and evaluate certain Duck Dynasty items, we offended many of our loyal customers. Our intent was to avoid offending, but that’s just what we’ve done.
You told us we made a mistake. And, you weren’t shy about it. You wrote, you called and you took to social media to express your thoughts and feelings. You flat out told us we were wrong.
Today, we are putting all our Duck Dynasty products back in our stores.
And, we apologize for offending you.
We respect all individuals right to express their beliefs. We certainly did not mean to have anyone think different.
We sincerely hope you will continue to be part of our Cracker Barrel family.
The post gained over 1000 likes in the time it took to copy and paste the statement from there to here and currently stands upwards of 68,000.
This is probably a great time to remind anyone who’s surprised by this 180 turn of events that in 2004 Cracker Barrel was sued by 21 people in a $100 million federal lawsuit alleging a nationwide trend of discriminatory service that ranged from segregating Black families from other customers to outright refusing to serve them at all. It was the largest lawsuit of its kind since Denny’s in 1994; it settled for $8.7 million. In 2008 they received a 15 out of 100 from the Human Rights Watch on their LGBTQ Corporate Equality Index and had only managed to raise it to a 50 in 2011.
In the case of Cracker Barrel and Duck Dynasty, birds of a feather really do flock together.
By Arturo R. García
Phil Robertson of “Duck Dynasty.” Image via Facebook.
By now you’ve no doubt heard that reality “star” Phil Robertson of Duck Dynasty “fame” was suspended from the show — or, in snake-oil TV-speak, placed on “indefinite hiatus” — after glibly engaging in some concern-trolling homophobia in a GQ interview while painting his show and his family’s public embrace of its Christian faith as some sort of antidote for whatever it believes ails America.
But what hasn’t been reported nearly as widely is the amount of outright racially prejudiced statements Robertson also lets fly in the piece, which points to a bigger problem for A&E. The network has been all too happy to trade on Robertson and his family’s “good ol’ boy” brand. Now it has to deal with the consequences.
By Arturo R. García
Fitz (Tony Goldwyn) and Rowan (Joe Morton) have a heart-to-heart, of sorts, in “A Door Marked Exit.”
Oh, there was another episode left?
Well, why wait ’til Monday, then?
SPOILERS UNDER THE CUT
By Guest Contributor Samantha Allen, cross-posted from The Border House
[Trigger Warning: Discussion of transphobic joke, real-life experiences of transphobia.]
Like many graduate students, I was still finishing up last week’s work at 6 PM on a Saturday. I put on Spike TV’s annual Video Game Awards (re-branded this year as VGX) to have some background noise while I put the finishing touches on a paper.
I expected the usual: some Michael Bay-esque graphics packages, some puerile pandering to their core demographic of adolescent boys, some Mountain Dew, some Doritos, some trailers. I can stomach that, even laugh at it. Less than five minutes into the program, however, co-host Joel McHale jokingly put the rumors to rest that Wario had “undergone sex reassignment surgery.”
If you’re reading this, you might know that a joke like that is politically ill-advised. It violates the comedic wisdom that one should punch up rather than punch down. It not only repeats the exoticizing focus on transgender people’s genitals, it also casts transgender identity itself as something scandalous and laughable.
By Guest Contributor Lisa Wade, PhD; originally published at Sociological Images
Sociologists observe that cultures are centered around some people and not others such that members of some groups just seem like people and others are perceived as deviations from that presumed norm.
Names are part of how we divide the world into the normals and the deviants. Illustrating this, the sketch comedy duo Key and Peele are super creative in this 3 minute skit. They reverse the white-teacher-goes-into-the-inner-city trope and put a non-white teacher into a suburban school. As he calls roll, the skit center HIS reality instead of that of the white, middle class kids. He pronounces their names like stereotypically black names, confusing the heck out of the kids, and never considering the possibility that the names he’s familiar with isn’t how all names really are.
It’s not a safe skit — it potentially reinforces the conflation of non-white and urban and the stereotypes of inner city students and the names low-income black parents give their kids — but it does a great job of playing with what life might be like if we shifted the center of the world.
Counterpoint by Tamara Winfrey Harris, Racialicious editor
I have wrestled with the popularity of this Key & Peele skit for a while. And I’m afraid, for me, that it doesn’t pass the race bias smell test. The comedy here, while it may appear “edgy,” is really business as usual. The bit doesn’t “punch up,” instead the blow lands right smack where it always does: on black cultures and, particularly, the poor, working class and urban. I agree with friend of the R, Lisa Wade, when she says the skit uniquely centers the point of view of the black teacher and his idea of “normal.” Sadly, though, that decentering of whiteness is the joke. The audience is meant to laugh at a situation where creative pronunciations of common, European-derived names is acceptable. How absurd! It’s okay if this skit makes us laugh. But we need to recognize how and why it is problematic.
FYI, Key & Peele have a habit of going to the funny black name well.
By Arturo R. García
Olivia (Kerry Washington) contemplates her next move — if she can even find one.
As Scandal heads into its winter break, we saw just about everybody snatch defeat from the jaws of victory — and sure enough, one apparent fatality, just an unforeseen one.
SPOILERS UNDER THE CUT