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Race and reality television
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The typical episode of the critically acclaimed, indie-darling, sitcom 30 Rock focuses on the lives of the writers, producers, executives and love interests of those involved in the production of a fictional sketch comedy television show called TGS with Tracy Jordan. 30 Rock is widely known as a show that deals with race, gender and class issues from multiple, humorous perspectives. Yet watching Season Five, Episode Twenty, a viewer could grow uncomfortable at the racial generalizations. The episode is entitled “Queen of Jordan” and is intended to parody the Real Housewives franchise of reality television. The episode was shot and aired as if it were a Bravo network reality show, entirely separate from 30 Rock, although it features the antics of the usual cast of 30 Rock. Although the critically acclaimed television show 30 Rock parodies the characterization of personhood on reality television, characters such as Angie Jordan (Sherri Shepherd) and her crew are still derivatives of these three classical African American stereotypes. 30 Rock’s uses these stereotypes to parody reality television and the humor stems from laughing at the racists rather than the race of the characters.
Queen of Jordan is both the title of the episode and the name of the reality television show starring, TGS star, Tracy Jordan’s (Tracy Morgan) wife (“Queen of Jordan”). The episode is a mockumentary, filmed in the docudrama style of all Bravo reality television shows. The show still continuing the 30 Rock plotline where the head writer of TGS, Liz Lemon, begs Angie to bring her husband back after Tracy has abandoned TGS for a charity trip to Africa, leaving the show without a star and the whole cast’s jobs at stake.
The idea for the show was first prese...
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... costume Angie for her debut performance of her single, “My Single is Dropping.” The song is a direct parody of Countess Luann’s single release in Season 5 of RHW-NY (“Countess Luann” Bravtotv.com). When Liz first sees Angie trying on a ruched gold leotard, she tries an warped emotional appeal by imitating Tracy’s voice with a stereotypical black intonation and saying, “If only Tracy were here he’d be like “Damn, woman, I want to make love to your neck!”” To which Angie simply replies “Don’t do impressions of other races.” Angie’s calm rebuttal gives her more dimension than just an “angry black woman” and allows her to show her frustration with the racism she encounters from her coworkers. The audience may find humor in Liz’s terrible accent
Works Cited
Gillon, Josh. "Why 30 Rock is Not Funny (it's Metafunny)." Philosophy & Literature 35.2 (2011): 320-37. Print.
The Beulah Show, airing on ABC in the early 1950s, is the first sitcom to star an African American actress who plays as a maid to the Henderson family (Bronstein). In the episode “Beulah goes Gardening”, the Henderson discuss Beulah’s demanding workload―housework and gardening―after realizing Beulah did all of their gardening. Beulah tells Oriole, her friend, about her rosebush problem, and the next morning, Beulah sasses Bill, her boyfriend, into helping her. While the show may seem revolutionary with an African American actress and an innocent representation of a 1950s family, this show in reality demonstrates the harmfulness of the lack of diversity and misrepresentation on television. Tropes like “Mammy” and the “sassy black woman” are
The other ladies in the short film talk about how they thought that she had a “ real problem with [her] ethnicity like [she] had a problem with the fact that [she] was born African-American (Reynolds). This, along with the documentary on Lacey Schwartz, shows that a person’s sense of blackness is very much a product of what others around them define blackness as.
Family comedies have evolved throughout the past century. What was once revered as classic has completely changed forms and turned into the comedic experience we witness today. Family sitcoms in particular have been converted to show a broader picture of how family’s interact in today’s world. This greatly appeals to today’s audiences and is what people want to see. Modern family specifically has tapped into what nontraditional families are all about and even with being so alternative has resonated with every type of family, making it one of the most popular shows on TV at the present moment. The pilot episode of Modern Family uses hyper-irony, allusions and uses references to technology to enforce comedic impact.
Throughout Seinfeld’s eight-season stint on network television the show and its creator’s have stereotyped everything from young Puerto Rican boys to Jewish Priests. The main stereotype of this sit-com is the very florid portrayal of the generational age groups of the characters. The main characters represent the beginning of the Generation X culture. The parents and relatives of Jerry Seinfeld and that of George Costanza present the presence of the members of the Silent or GI generation. Throughout the television series we have seen the elderly as stereotypically helpless individuals with little or no purpose. The character’s Jerry Seinfeld, George Costanza, Elaine Benes, and Cosmo Kramer, represent the Generation X culture. These half-witted characters are often unreliable and uncaring about the society they live in. These characters often care about nothing more about life outside their own. The stereotype of these characters and the success of this very popular television show have contributed to the media’s wide usage of stereotyping generations. The article, “My Inner Shrimp,” can be directly correlated to George’s eccentric ego trips with his problems with shortness, unemployment, and baldness. George’s character is often portrayed as a very loud, very rambunctious person who is often seeking to be on top.
“Leave it to Beaver” was a popular sitcom about a traditional nuclear family played out through the perspective of an adolescent boy whose curiosity and antics often got him into trouble (TV.com). Despite the show promoting positive family values, it also inadvertently shed light on a historically dark period of time in American history. One such instance was the lack of diversity on the show. Nearly 100% of the show’s characters were white throughout the six-season, 234 episode series. In the single episode that depicted an African-American, the character was a servant, further a reflection of the times when African-Americans where predominantly seen and treated as second-class citizens (Leaveittobeaver.org). However, this 1950’s ideal serves as a reference point to what typical families looked like and how vastly different they look now.
Since its start, the television industry has been criticized for perpetuating myths and stereotypes about African-Americans through characterizations, story lines, and plots. The situation comedy has been the area that has seemed to draw the most criticism, analysis, and disapproval for stereotyping. From Sanford and Son and The Jefferson’s in the 1970s to The Cosby Show (1984) and The Fresh Prince of Bel-Air in the 1990s, sitcoms featuring black casts and characters have always been controversial. However, their significance upon our American culture cannot be disregarded. During the 1950s and 1960s, 97% of the families were Caucasian. In the first five years of the 1990s, nearly 14% of the television families were African-American (Bryant 2001). These statistics obviously show the substantial impact our American culture has had on African-American television families.
Since television came into existence, it has evolved into a useful tool to spread ideas, both social and political, and has had a great effect on the generations growing up with these heavily influential shows. To these younger generations, television has taken the role of a teacher, with the task of creating a social construction by which many of us base our personal beliefs and judgments on. This power allows television shows take the opportunity to address problems in a manner that many audiences can take to heart. Many television shows present controversial topics in a comical matter, in some ways to soften the blow of hard-hitting reality at the same time bringing attention to the issue being addressed. In the television show, Everybody Hates Chris, season one, episode four entitled “Everybody Hates Sausage”, the stereotypes that continue to fuel racism are examined in a satirical motif, and class is presented in a comical way, but carries serious undertones which present a somewhat realistic view of the different social strata within the United States.
On November 21, 2010 thousands of ebony- skinned women, young and old, tuned in to VH1 to support Fantasia Barrino. These women are proud to learn that she has not only written a sitcom but actively seeks a producer; the viewers finally see Fantasia finding a constructive use of her time. Fantasia has a devoted fan base willing to forgive even the most prominent blunders presented on her show, such as failing to get her G.E.D., being reckless with her money, and dating a married man. Despite all these mistakes, Fantasia still identifies with an audience that accepts her and believes in her ability to grow and to give hope. This belief, however optimistic, is shattered the minute Fantasia expresses her reasoning for not playing the leading role in her new sitcom; “She’s beautiful…I know I’m hot and all but I’m not light-skinned.” These words spoken by Fantasia Barrino are only one example of a stereotype maintained by the show. Fantasia does not believe that she is attractive enough to play the leading role, simply because she is dark-skinned. Fantasia for Real is a VH1 unscripted show that depicts the everyday life of the season three American Idol winner. The program aims to portray Fantasia regaining control of her career and personal life. Sadly, the show has done just the opposite; Fantasia for Real disgraces Black women and men, single mothers, high school drop outs, and the state of North Carolina. The show substantiates stereotypes of both the ignorant “ baby mama” and the lazy young Black man by Portraying Fantasia as egregiously uneducated, while simultaneously depicting her brother as being shiftless and unmotivated .
Marlon T. Riggs’ video, Color Adjustment, offers the viewer an exciting trip though the history of television, focusing on the representation, or lack thereof, of African-Americans. A perfectly chosen combination of television producers, actors, sociologists, and cultural critics join forces to offer insight and professional opinion about the status of African-Americans in television since the inception of television itself. As Color Adjustment traces the history of television shows from Amos n’ Andy and Julia to "ghetto sitcoms" and The Cosby Show, the cast of television professionals and cultural critics discuss the impacts those representations have on both the African-American community and our society as a whole. Color Adjustment continually asks the question: "Are these images positive?" This video raises the viewer’s awareness about issues of positive images for African-Americans on television.
The roles African Americans play on television are not satisfactory. Though the roles have changed during the development of television, the current relationship is not representative of true African American people or their lifestyles. The question is how do the past roles African Americans play in television sitcoms compare to the current roles? How does this affect society’s perception of the African American in American culture? Throughout the history of television the roles and the representation of African Americans has developed with the changing cultural conditions. However, the representation of African American’s has not fully simulated into today’s society. What the average citizen views on his or her television does not accurately portray the African American’s influence on America.
The world of television can either completely hit or miss the mark when it comes to providing its audience a diverse cast/actors. "Girls" is a new HBO show about young, prosperous, and white New Yorkers in their twenties struggling to find their footing in the post-collegiate world. It is a poor example of representation of race, but the show in itself cannot be held responsible for the whole problem of racial diversity of media and popular culture. There has been a lot of controversy about the show's diversity since the first episode, seeing how it is set in the melting pot of NYC and Brooklyn, yet it is prominently white. The shocking part is that despite its meting pot nature, it is very easy to live a segregated social life in New York City, especially if you are a rich white person. The fact that the show is so white should not come off as unusual, yet it does because this generation is more willing to see that change happen in pop culture. Not everyone sees it that way and pop culture still does not represent races equally or at times even accurately. For example, when show do add in minorities they often make them extremely stereotypical to their race. The recurrence in the lack of realistic representation in the show highlights the “whiteness” of stereotypical roles that overshadows real life representation.
Ann Perkins, Jones’ character, is supposed to be an ethnically ambiguous person and in reality, Rashida is biracial (Glamour). Leslie Knope, the white protagonist of the series, frequently uses words like ‘exotic’, ‘tropical’, and ‘ethnically ambiguous’ when complimenting Ann. The ‘compliments’ also act as the only instances where race is spoken about in reference to Ann’s character. One would believe that Leslie’s constant complimenting of Ann is beneficial to viewers with a biracial identity, but there are some serious problems with Leslie’s behavior. There has been an historical and recent fascination with ‘mixed’ children. This fascination has crossed over into fetishizatoin of biracial or mixed children and people. Biracial people are seen less as people and more as a kind of spice that bell hooks mentions in her work “Eating the Other: Desire and Resistance” (21). They are something that helps liven up the blandness of the pervasive white culture. Another harmful aspect of Ann’s depiction relates to her class. In Edison’s work, she notes that “biracial individuals living in a middle- and upper-class environments are more likely to be perceived as biracial (rather than black) than those living in working- and lower-class environments” and that “‘color blind’ portrayals of middle- and upper-class Black and biracial characters support the notion that race no longer matters (at least for middle- and upper-class people)” (Edison, 302; 304). Ann’s character is a successful college-educated nurse which is not problematic until one realizes that her race is never truly discussed. This feeds into the stereotype that race does not matter and that all people in the U.S. have the same opportunities. Again, the lack of racial representation leaves one character the duty of depicting a whole group of
We've come to a point where television has become so loaded with “vampire-this” and “werewolf-that,” that each show has begun to look like the reruns of another. Luckily, this definitely isn't the case for creator Vince Gilligan's, Breaking Bad. Breaking Bad follows the life of Walter White (played by Bryan Cranston), an ordinary high school chemistry teacher. With a loving wife and teenage son at home, over time, Walter has formed an exceedingly mundane routine for his life. After soon discovering that he had been diagnosed with inoperable lung cancer, Walter decided to take extreme measures in order to secure his family financially. Eventually, he would descend into a world so dark and utterly twisted, that it would eventually consume him. Walter White became Heisenberg; the greatest drug lord the streets had ever seen. As he ascended in status within the drug cartel, the love and trust he had from his family and friends quickly descended. There are thousands of reasons that explain why millions of people tune into Breaking Bad. This series offers a much needed relief from the Dracula descendents, which frankly, are slowly diminishing any scope of variety existing on television. Because of the outstanding acting, seemingly distorted reality, and uniquely relatable storyline and characters, this hit show tops the charts as the best modern-day television series that cable has to offer.
The nature of comedy has always left it somewhat resistant to critical analysis, and to some extent the same can be said for comedic actors. The class-clowns of Hollywood like Will Ferrell are often times constructed as being nothing more than amusing, so they seem like a simple case study.... ... middle of paper ... ...
Detweiller, Eric. ““I was Just Doing a Little Joke There”: Irony and the Paradoxes of the Sitcom The Office” Journal of Popular Culture 45.4 (2012): 727-748. Web. 15 January. 2014.