May 29, 2018

USA: ABC Cancelled 'The Rosanne Show' After Outrage Poured In To Them By The Faux Leftist Who Only Feign Outrage About People They Don't Like And Who Support President Trump.

I UPDATED THIS POST ON 5/30/18 at 6:30pm PST.
CBS News
written by Andrea Park
Tuesday May 29, 2018

Stellar ratings and an apology weren't enough to mitigate Roseanne Barr's racist comments, and now ABC is pulling the plug on "Roseanne." ABC Entertainment president Channing Dungey confirmed the network has decided to cancel the "Roseanne" reboot following Barr's tweet comparing former Obama White House aide Valerie Jarrett to an ape.

Dungey said in a statement, "Roseanne's Twitter statement is abhorrent, repugnant and inconsistent with our values, and we have decided to cancel her show." In 2016, Dungey made headlines when she became the first African-American to run the entertainment division of a major broadcast television network.

Bob Iger, chairman and CEO of The Walt Disney Company, which owns ABC, shared Dungey's statement on Twitter and added the comment, "There was only one thing to do here, and that was the right thing."
Although Barr had earlier tweeted that she was leaving Twitter, she returned Tuesday night. She retweeted some support she had received -- as well wrote she thought Jarrett was "Saudi" -- and then she issued a statement.
ICM Partners, the talent agency that represents Barr, also dropped her as a client. The company sent an email to all of its employees saying, "We are all greatly distressed by the disgraceful and unacceptable tweet from Roseanne Barr this morning. What she wrote is antithetical to our core values, both as individuals and as an agency. Consequently, we have notified her that we will not represent her. Effective immediately, Roseanne Barr is no longer a client."

Reruns of the show also took an immediate hit, with Viacom announcing that it would drop the series from all its channels.
ReMezcla
written by George Cotte
February 2017

On February 7th, video taken at George Lopez’s stand-up show at the Celebrity Theater in Phoenix found its way to TMZ and then all over the internet. In it, the comedian is heard cracking a racially-charged joke about Latino families: “There’s still two rules in the f*cking Latino family,” he says. “Don’t marry somebody black, and don’t park in front of our house.”

When a woman in the audience stood up and gave him the finger, Lopez aggressively berated her for over a minute in an expletive-laden rant. “Sit your f*cking ass down. I’m talking, bitch. Sit your f*cking ass down,” Lopez yelled. “You paid to see a show. Sit your ass down. You can’t take a joke, you’re in the wrong motherf*cking place.”

The incident kicked off a social media scandal. There was the ever-vocal “take a joke!” contingent, that accused those offended of being over-sensitive. There were those urging us to take Lopez’s comment seriously as social critique or to use the opportunity to advance a serious critique. And then there were the many for whom the joke and the ensuing interaction were just plain racist. Headlines critiquing Lopez’s anti-blackness abounded.

Which brings us to the question: What does a racist joke look like in 2017? And when it comes to social satire, where is the line between critiquing racial or ethnic stereotypes and reinforcing them?

Interesting, Wanda Sykes who makes a living insulting anyone and everyone for years, even tells her paying audience off as you can see in this video clip, is highly offended by one tweet about one person that's not even her. (emphasis mine)
FLASHBACK to 2017
The person who wrote the article below is sad that this show is not racist enough. (emphasis mine)

The Root
written Jason Johnson
Thursday May 11, 2017

When Netflix announced that it would release a TV series based on the 2014 film Dear White People, a lot of white people freaked out, accusing the show and Netflix of being racist. All the freaking out didn’t really affect the popularity of the show, which managed to snag a 100 percent “certified fresh” ranking among critics on popular TV- and film-review site Rotten Tomatoes.

But next to that 100 percent rating is also an audience ranking, of what regular people who watched the series thought, and it’s a middling 57 percent. Now, is a lot of that just a bunch of white tears still crying over a show they think is targeting them? Sure. But—and I’m about to go with an unpopular opinion here—what if Dear White People isn’t the “stay woke” comedy of this era that we’ve all been waiting for? What if Dear White People is actually asleep—as in a dreamy, deep, comalike sleep—as a show for white people disguised as a “faux woke” comedy for black people?

Sure, Dear White People, the Netflix show, is funnier and deeper than the film, and it has some outstanding episodes (especially 4-6), but the faux wokeness is strong.

The 10-episode series has no problem poking fun and satirizing the failings, hypocrisies and conflicts among black activist college students at a PWI, or predominantly white institution, but it is afraid to take that same sledgehammer to “white allies” who are constantly hovering in that space, too. The result is a show that is barely worth an afternoon binge, when it could have been a classic Netflix and chill.

What is “faux woke” comedy? It’s comedy that is steeped in the politics of black life and pain but isn’t really for black people. Faux-woke comedy goes through great pains to use the black experience to appeal to white allies and not offend their sense of important “wokeness.” There’s money in faux wokeness now, so long as you can sell it to white audiences. (Think of the early work of W. Kamau Bell.)

These types serve up “black” consciousness with a creamy foam on top but make sure, if the topics get too thorny (sex, relationships, institutional violence), that they’re there with a hanky for all the allied white tears. By the finale, Dear White People devolves into a hat-tipping, cane-swirling, “Racism, AMIRITE????” instead of giving black viewers (the source of the comedy) real laughter and catharsis.

Any show’s “message” is shown through contrasting character voices; whoever gets the last word is what the show is really trying to say. Aaron McGruder’s critique of commercialized black culture came by way of Huey calling out Grandpa and Riley on their “nigga moments” in The Boondocks. Michaela Coel calls out racial fetishizing on Chewing Gum by contrasting Conner and Tracey with Ash and his bougie-but-assimilated ex-wife in “Replacements” (season 2, episode 2). Even though Earn is the main character in Atlanta, Donald Glover uses Paper Boi’s realness and Van’s work ethic to expose him for the smug, self-righteous underachiever he really is. In Dear White People, white folks almost always get the last word, either from their mouths or from black folks caping for them.

The students at Winchester aren’t just characters; they’re ciphers for certain black ideologies. Reggie is black male militancy, Coco is self-loathing but self-aware assimilation, Troy is respectability politics. The strengths and weaknesses of their beliefs are pointed out throughout the show, but what about Sam and, to an equal extent, Gabe, the key relationship that runs throughout the show?

Unlike Reggie’s, Coco’s or Troy’s behaviors, which are all poked fun at and are contrasted, Sam and Gabe run free, unchecked and unchallenged. Sam’s contention that black activism is burdensome is never challenged by Joelle or Reggie or anybody else on the show. If anything, it’s validated by Gabe constantly reminding her that she can opt out of her blackness by being with him. Gabe is never called out by the main characters for anything he does, no matter how egregious. His feelings are deemed just as important as the actual real-life experiences of black folks on the show. By. Other. Black. People.

FLASHBACK to 2015
New York Post
written by Andrea Peyser
Monday April 6, 2015

This is racism — served with a smile.

“Black-ish,” the hit freshman ABC comedy series that features appealing characters in dumb situations, most of them African-Americans, I believe promotes ugly racial bigotry.

But don’t ask me. Ask Donald Trump.

“How is ABC Television allowed to have a show entitled ‘Black-ish’? ” the real-estate developer and reality-TV babe, a white guy, tweeted in October. “Can you imagine the furor of a show, ‘White-ish’! Racism at highest level?’’

If you won’t listen to Trump, who focused on the show’s jaw-dropping title, then read a petition posted on Change.org urging ABC to cancel “Black-ish.’’

“We find it racist, socially damaging and offensive based on the concept that nonstereotypical black people are less their race than others, that hip hop culture is all blacks are supposed to embrace, and that culture and race are one and the same,’’ the petition reads.

Or, ask my kid.

When she attended a private school in Brooklyn, my daughter’s best friend was a black girl. I don’t think that my child, who is white, even noticed the superficial racial differences between her and her pal. That is, until the day that her fourth-grade teacher, a white man, lectured the inseparable girls, in earshot of their parents, telling them that they must never forget that their skins are of different hues.
I think that he meant well. But as I watched, an expression of utter bewilderment overtook my daughter’s face as her innocence was stripped away.

Or, ask a barista.

Many Starbucks drink-slingers last month annoyed the coffee-selling chain’s customers nationwide by writing the words “Race Together’’ on cups, using a condescending, corporate-generated slogan in an effort to spark unnecessary and unhelpful conversations about race relations.

“Black-ish’’ brings about the same kind of racial lunacy, making people of all skin colors appear biased, clueless and, most of all, racist. The show presents tortured portrayals of African-Americans with money, pushing the false notion that affluent blacks become middle-class members of the bourgeoisie — folks derided as “bougie’’ (pronounced bhoo-shee) in the show’s parlance.

In the world of “Black-ish,” well-to-do black people are not black at all. They’re “black-ish.’’ All this is played for yuks.

I believe that the majority of Americans have moved beyond being punch lines in sick ethnic jokes. But I don’t make TV shows.

In “Black-ish,’’ Anthony Anderson, one of the show’s co-executive producers, plays Andre “Dre’’ Johnson Sr., a black version of the white, race-obsessed Archie Bunker character from the 1970s TV sitcom “All in the Family.’’ A successful advertising executive, Dre is married to a doctor, Rainbow, or “Bow’’ (Tracee Ellis Ross), whose mother is black and father white, which Dre apparently sees as a shortcoming. In several cringe-worthy scenes, he rubs his wife’s mixed-race parentage in her face.

Laurence Fishburne, also a show co-executive producer, plays Dre’s curmudgeonly father, Earl “Pops’’ Johnson.

Dre and Bow are raising four kids in a grand house in an upper-middle-class Los Angeles neighborhood dominated by white people. And while Dre, who grew up in more humble surroundings, tries desperately to remind the children of their racial identity, his younger kids either don’t seem to realize, or think it’s no big deal, that Barack Obama is the first biracial president of the United States.

In the first episode, Dre’s 12-year-old son, Andre Jr. (Marcus Scribner), asks his father for a bar mitzvah on his 13th birthday, like those of his rich-kid friends, although he isn’t Jewish. He also wants to be called the less-black-sounding “Andy’’ and, rather than play basketball, he wants to go out for field hockey, which his dad savages as a sport for white girls. In another episode, Dre’s 15-year-old daughter, Zoey (Yara Shahidi), gets dumped by her white, French boyfriend, coincidentally named Andre. But she’s delighted to learn that Andre dumped her not because of racial differences, but because he found her “shallow.’’

Hilarity ensues as Dre, reluctantly, accepts his kids’ choices.

This season, Fox debuted the hit TV drama series “Empire’’ about a clan of African-Americans whose members got rich from the family’s music company. Patriarch Lucious Lyon (Terrence Howard) is a former drug dealer who worries that his three sons are spoiled rotten. But he’s not plagued by the kind of existential turmoil that grips Dre.

ABC brass have yet to announce if “Black-ish’’ will see a second season. But a TV insider assured me that the show will be back. (“Empire’’ has already been renewed.)

We’re almost certain to see more racist drivel masquerading as social commentary.
Twitchy
written by Staff
Tuesday May 29, 2018

The Root’s Monique Judge lent her voice to the chorus of those calling on ABC to cancel “Roseanne” and then applauding the network when they did so. Over the course of several hours today, Judge retweeted these takes on the controversy:
Judge was also among the many who called out “Roseanne” costar Sara Gilbert for her statement on the show’s cancellation:
You know who else is just “offended now” by blatant racism? Monique Judge. Take a look at what she tweeted about Ben Carson last year:
UPDATE 5/30/18 at 6:30pm: I added the tweets below.

Posted by Princess Mononoke at 9:49 PM

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