Header Ads

DAR TV: Black Sitcoms In the 2000s and 2010s

By @TrueGodImmortal and @SpeedontheBeat 

Introduction
Once upon a time, black sitcoms were a thing of beauty. Black television was a thing of beauty. The late 80's and the 90's flourished for black television and left us with many classic series that still live on today in reruns. However, as the 90's came to a close, there seemed to be a shift. These last two decades would feature some interesting choices for shows, some strange characters, awful premises, and a generation out of touch with reality, but still attempting to accurately display the black experience. Today, True and Speed sit down and discuss the black sitcoms of the 2000s and 2010s. True has agreed to touch on the shows that reigned supreme (and not so supreme) in the 2000s, while Speed has agreed to tackle the shows in this current decade that captivated the world (or a small set of viewers before getting canceled). Welcome to the final installment of the DAR TV Black Sitcom by the years column. Buckle up, it's going to be a long and dare I say, interesting ride.




The 2000s By @TrueGodImmortal 

I think we all remember the year 2000. Y2K was coming. The end of the world was on the way to let the media tell it. We stocked up on chips, juice, toilet paper, soup, and various items needed for the household praying that we didn't meet our demise when the clock struck 12. Well, when the clock struck 12, nothing happened to us physically, but entertainment wise, it felt like things instantly changed. Black sitcoms had become a part of the pop culture lexicon after the epic 90's run of shows like Martin, Living Single, Fresh Prince, Family Matters, and many, many more. However, as 2000 arrived, there seemed to be a conscious effort being made to shift the way we watched television. Reality shows slowly but surely made their way into our world, expanding on the theory and concept that The Real World seemingly birthed, and "scripted television" seemingly took a hit. While I never quite appreciated reality shows, and I still refuse to do so, I always can appreciate a good sitcom. In the 2000s, they were few and far between. Instead, poorly written shows with a powerful name in Hollywood or a successful cast were placed on our screen to draw us in, but for the most part, it didn't work.


Let's start with the confusing show "Abby", the sitcom that features Sydney Tamia Poitier and Kadeem Hardison. While the show seemed to have a decent sized fanbase when it debuted in 2002, it wouldn't last very long, in fact it was canceled within one season. There were two glaring issues with this show. One, the titular character, played by Poitier, didn't feel believable or relatable. A 20 something year old single woman who is trying to secure the career she wants should be relatable to almost every woman within a reasonable age range, right? Unfortunately, this was not the case. Why? Well, while Poitier is a very attractive woman, and Kadeem is always entertaining in his roles, the two seemed to be devoid of comedic chemistry and as an actress, Poitier lacks the timing that captivates you. Her acting skills weren't anything to rave about and thus the show suffered as a result.

The same could be said for the Boris Kodjoe vehicle "Second Time Around", which featured the beautiful Danielle Nicolet in a semi starring role, but once again, the show suffered due to the actors not being relatable and the dialogue wasn't witty enough. It became a bad trend in the 2000s to have shows were the characters had no redeeming qualities and the dialogue would always fall flat. Is there an example of when a black sitcom is done right? Sure. I'll start with one of my personal favorites of the decade.




Chris Rock was known for standup comedy and movies for the majority of his career. He had created a legacy for himself over the years with his work in film and comedy, so why not try his hand at a sitcom? What's the worst that can happen? Well, what we got was a look at Chris and his life growing up as a kid in Brooklyn during the early 80's. The show was titled Everybody Hates Chris, a play on words that resembled Everybody Loves Raymond, but what was vastly different in this show from the others was the narration by Chris himself over his younger days and his disappointing moments. Terry Crews would truly be the crux of the show as Chris's father, and created a long running joke on being cheap. He was cheap with everything. Food, bills, everything. It made the show even funnier and during the duration of Everybody Hates Chris, we were treated to a different view of a black sitcom. It tackled some racism, tackled some social issues, but most of all, it takes the perspective of one black kid just trying to get good grades, kiss girls, and live the normal child life. It was refreshing to say the least.



However, there were some shows that just couldn't quite hit the mark. As UPN began attempts to evolve as a network, they had successes and a number of failures. There is no bigger failure in my mind than the One On One spinoff (I'll get to One On One in a moment), Cuts, which starred Marques Houston. This show was honestly horrible, and despite lasting 2 seasons, it fell flat as a program. The jokes were stale, the comedy didn't excite, and Marques Houston as an actor just isn't believable. You know what, I lied. While Cuts was one of the worst of the decade, it was not THE worst. That distinct honor would go to the MyNetworkTV (UPN with less of a budget) sitcom Under One Roof, starring Kelly Perine (of One on One... wait for it) and..... Flavor Flav. Yeah, you read that right. Flavor Flav, reality television star and long-term member of the legendary hip hop group Public Enemy, or as my aunt would affectionately call him "that ugly nigga with the fucked up teeth and the clock on his neck". Now, while my aunt would not have been a fan of this sitcom, this show was hilarious for all the wrong reasons. It essentially did what a sitcom should do, but in a negative sense. We would laugh until we had tears streaming down, but only due to the terrible dialogue. We would shake our heads and laugh loudly, but only because of how bad the acting was and how bad Flavor was at this role. When I agreed to write the 2000s part, this was one that I truly could not remember until I saw a picture of Flav and thought "wait, didn't he have a sitcom once on some poor network", and boom, it hit me. This show is the WORST OF them ALL in the 2000s.



Speaking of the worst, it is hilarious to me that the show One On One is rooted in two of the worst shows of the decade, as One on One was a hugely popular show itself during the 2000s. While Flex Alexander remains a cancer to the television world in my eyes, this was his first successful series that he was a part of. 5 seasons, 113 episodes, and a shot at turning Kyla Pratt into a star, One on One took a small gamble and won. To be fair, the show was hit or miss the first four seasons, as being based in Baltimore made it a hit in my hometown, though nothing about the show mirrored Baltimore at all. The premise of a sportscaster who becomes a single dad and raises a daughter was different in some ways, and the show succeeded. It was only when the show decided to take away Flex and move the location to LA from Baltimore, that the show suffered massively. One On One wasn't the worst and it wasn't the best, but much like other sitcoms of this decade, it was middle of the road.


Speaking of middle of the road, that should be what UPN is called as a network, because of their sitcoms were middle of the road, or just plain terrible. Although not officially a sitcom, I still chuckle at the thought of the show Platinum, which was rooted in talking the music industry and was the most over exaggerated show I'd ever seen. It still makes me laugh when I see bits and pieces of the show today. Back to actual sitcoms on UPN, the one show that I've always disliked that a large amount of people seemed to enjoy was The Parkers. The vehicle was intended to push Monique to be a star, and to give Countess Vaughn her time in the spotlight, and while it had a few good moments here and there, I find it cringe worthy on repeat viewings. The same could possibly be said for the short lived Love Inc., which didn't captivate their viewers from jump and was unceremoniously canceled after one season. UPN became the graveyard of sorts for black sitcoms in the 2000s, and despite having some good premises for their shows at times, it just didn't work consistently.


Even when they would have a success, like the Lisa Raye and Duane Martin led All Of Us, the show itself would still pale in comparison to sitcoms of the past or its current counterparts on other networks. While I enjoyed some episodes of All Of Us, the show itself wasn't as engaging as it should have been. A part of me felt it was just another vehicle for the gorgeous Elise Neal, who would star in All Of Us shortly after The Hughleys got canceled in its fourth season. The Hughleys was a strange show in many ways to me, as well. After finishing the 90's out with two seasons over at ABC, the show was moved over to UPN. Despite the network change, nothing really improved for the show, and it was canceled in 2002. Now, before I get into the big changes in black television that occurred with a merger of networks, I wanted to touch on the rest of the shows that were mostly hit or miss for UPN.



Now, Eve was a successful female rapper and slowly working her way into acting. She had some drive and ambition and soon, UPN would offer her a show, named after her. Here's why this show was strange to me: her character was named Shelby, but the show was called Eve. Her love interest or lack there of was played awkwardly by Jason George and the two shared no chemistry. This show would last for a few seasons, but it was very forgettable. The same could be said for the show Half & Half, which follows the story of two sisters with the same father, but different mothers and their respective journey. While I enjoy seeing both Rachel True and Essence Atkins on my screen from a physical perspective, this show just didn't do it for me at all. Outside of a laugh or two, it was yet another UPN show that fell short and couldn't live up to expectations. Still, the show would prove to be a decent hit ratings wise, as were most of the UPN black sitcoms that lasted beyond a season. So, when UPN and the WB merged, one would expect these sitcoms to come along with the network change right?

WRONG.

In what felt like a strategic move, as the networks began merging, black shows got mostly canned and not carried over to the new network. Eve was canceled, Cuts was canceled, One On One was canceled, All Of Us was canceled (then brought back briefly), Half & Half was canceled, and more. It felt like a washing out of black faces on television and replacing them with new episodes of Smallville, Supernatural, Gossip Girl or a new rendition of 90210. While one could say the black shows weren't as popular and that's why they got the boot, it's known that some of the most watched programs on UPN got canceled when they merged with WB. The CW was the new network, and while the CW took programs like WWE Smackdown and a few other popular programs with white actors in leading roles, many of the top programs on UPN got the ax. There was one show on UPN that managed to stay afloat, though it took a hit once they got to the CW. For every show UPN got wrong, there was one show that they got right. In the 90's, they had Moesha. In the 2000s, they had Girlfriends.




Girlfriends wasn't your average show. In some ways, it was a more modern Living Single mixed with an urban Sex In the City sensibility. For Golden Brooks, Persia White, Tracee Ellis Ross, and Jill Marie Jones, the task was to make a relatable group of characters to appeal to black women of all ages and the world over. Having Kelsey Grammar as a backer for the show probably helped its longevity, but Mara Brock Akil utilized her skills to the fullest, as this stands as her strongest show. The four main characters were sexy, honest, and while they had moments that didn't connect, for the most part, it all worked for the better. While the foursome of Joan, Toni, Lynn, and Maya kept UPN buzzing, it would get lost in the shuffle once it got to CW. The CW lost Jill Marie Jones as a character and the show itself began going downhill. I suspect the show became a bit more controlled by the network after the merger, thus we got some awkward moments and stories. Regardless, Girlfriends is a top 5 black sitcom of the 2000s, and it even garnered its own spinoff, titled The Game.



The Game was initially set to feature Joan's cousin Melanie, a medical student played by Tia Mowry-Hardrict and her relationship with Pooch Hall, or rather Derwin Davis, his character. The show ran for 3 seasons on the CW Network before getting canceled in 2009. Now, Speed actually gets to discuss this show in his section because in some strange work of fate, the show was resurrected in the 2010s. I didn't necessarily dislike the show, as the chemistry between Melanie and Derwin was strong, I just think the supporting characters failed for the most part. As the 3rd season ended however, the show was a bit lost in direction and I think the cancellation only made people beg for it to come back, a decision that many would regret. However, Speed will cover that for you a little later on.




Tisha Campbell was a big part of the most popular sitcom in the 90's, Martin, and she would find new life alongside Damon Wayans in one of the best sitcoms of the 2000s, My Wife and Kids. As the Kyle family, the comedic chemistry worked well together for all the actors, and this would be the first of a few solid black sitcoms rooted in the black family. After his star making performance in the Original Kings of Comedy, Bernie Mac was given a green lit to have his own show that mirrored his routine in the Kings of Comedy film. His sister was on drugs, he had to take her kids in, and help raise them with his wife. This was the basis of the Bernie Mac Show and it worked. Out of all the sitcoms of the 2000s, this remains my favorite. While Bernie wasn't as foul mouthed as we knew him In this show for obvious reasons, it still worked beautifully, as his moments alone to talk to America gave the show a near documentary feel. Bernie wasn't playing anybody else in the show. He was just being Bernie. It made the show ten times better than it should have been. RIP Bernie, you are certainly missed.

For the few successes, there were still some huge misses over the years like the WB sitcom Like Family, which only seemed to exist to give Holly Robinson Peete another shot at prime time. The show itself was horrible. The same could be said for the David Alan Grier show D.A.G., the Kevin Hart sitcom (before he was popular) The Big House, the horrid attempt to make Anthony Anderson the next sitcom star in All About The Andersons, the pitiful attempt to make How High a TV show, Fox's Method and Red, and how could I forget the dreaded Tracy Morgan Show and of course the Wanda Sykes vehicle, Wanda At Large. It seemed as if the networks were just tossing out ideas to give random black comedians a shot, for better or worse. These shows didn't work, and much like the film industry, the black faces seen on television were becoming less and less.



I have to take a brief moment to mention the Tyler Perry programs that came to TV, with the House of Payne and Meet the Browns. While I can't say anything good about Meet The Browns, I will say the House of Payne isn't as bad as I expected. Allen Payne getting work again was great to see and there is actually a comedic element within the dialogue and the interactions, something most Tyler Perry films don't have. While House of Payne wasn't necessarily one of the best sitcoms of the decade, it was still an enjoyable watch, but only in spurts. Too much of this show will likely annoy or bore you, but a few episodes can be a fun watch.



There was an influx of black sitcoms geared for children or teens, as we saw Master P put his son Romeo on television, there was the Proud Family animated series, which is still a personal favorite, Cory In the House, but the most popular black sitcom for children had to be That's So Raven. Raven Symone and her supporting cast took a show premise that was equal parts hilarious and corny, and made a long lasting show that still provides laughs today. There were a few other shows in the 2000s that appealed to the children and teens, but there was none as popular or vital as That's So Raven. The story of Raven Baxter as a young psychic dealing with the gift and curse of her ability was always compelling, even when it didn't always work. For the kids, animated sitcoms instantly seemed to intrigue them, but you and I both know well that there were a few animated sitcoms that didn't appeal to children at all. Two to be exact. Both shows were on different sides of the coin.



The first was the Eddie Murphy creation, The PJs. A poor black family and the characters that surround them living in this project building tested the limits of a traditional sitcom. It was a high budget show based on the stop motion process needed to make it, with clay animation being the focus of it. The show took flack for enforcing stereotypes, but it was such an enjoyable watch that you tend to overlook it. Unfortunately, the budget was way too high to justify keeping it around and the production took far too long, thus the show was canceled after a few seasons. The true downfall came when Eddie Murphy stopped doing the voice of Thurgood and was replaced by Phil Morris, a super downgrade into the authenticity of the show. Could the PJs have worked on a different network? Perhaps. I think the Adult Swim wave would have been perfect for the show, or even the Cartoon Network itself. Which leads me to another favorite of mine, The Boondocks.



While Chappelle's Show stood as the most important show of the 2000s, it changed the view of sketch comedy forever. In many ways, the Boondocks could have done the same for animated black sitcoms, as it pushed the envelope beyond what we were used to seeing. From the look into the gangsta rappers who were actually soft behind their image to the look at R. Kelly, the Boondocks gave us social commentary, honesty, and addressed everything we needed at the time. As the world was changing, our views and some of our thoughts weren't and The Boondocks provided a progressive feel of television without attacking core beliefs. It wasn't offensive, at least not to me, it was satire and abrasive comedy through and through. When I look back on the shows I appreciate the most from the decade, The Boondocks ranks in the top 2.

I've missed a few of the sitcoms from the decade, but I've spared you the horror essentially of reading about some of them. I, however, cannot spare you the horror of the 2010s. Speed, the floor is yours.

The 2010s By @SpeedontheBeat 

By the early 2010s, you kind of stopped seeing Black sitcoms on network television. You had your Black friends/coworkers (hi The Mindy Project, New Girl, and most of FOX’s shows in the past couple years, along with Kevin Hart for those couple episodes of Modern Family). But, Black-centric sitcoms were often regulated to cable TV. However, in the past couple years, as mentioned in my “Hooray for Diversity” comedy post on SpeedontheBeat.com, we’ve also gotten shows like black-ish. However, before we get to the greats, we’ve got to go through the crap. I agreed to cover the 2010s Black sitcoms as this part also serves as a “WIRTB” of sorts. So, let’s get this one underway. Forgive me for bouncing all over the place. But, like the Black sitcom itself, sometimes it can’t be avoided.



For starters, we had the reboot of The Game. For those who read True’s 2000s coverage, The Game was first cancelled in 2009. However, because BET and fans championed it, the Tia Mowry-Hardrict vehicle returned to airwaves in 2011. But, could it recapture the greatness that it once showed as a backdoor spinoff to the classic Girlfriends? Or would we be doomed to see failure from the jump? Uh…how can I put this? The Game 2011 sucked. Gone was most of the comedy, replaced by Empire-meets-The Haves and the Havenots-esque dramedy. Wendy Raquel Robinson’s Tasha was reduced to, essentially, a ghetto stereotype. The interracial marriage between Kelly and Jason was gone soon after, with Brittany Daniel opting to leave after the series’ first BET season. And, to make matters worse, Tia Mowry-Hardrict’s Melanie and Pooch Hall’s Derwin, the lynchpins of the whole damn show, were written out of the series.

Yep. They got Judy Winslowed. At least neither of them ended up in porno, though. But, what we eventually got was a neutered reboot that put Lauren London and Jay Ellis as Melanie and Derwin 2.0. However, one thing that was pretty awesome about The Game 2011 was this: Hosea Chanchez’s Malik. We’re taken on a crazy-ass ride with Malik’s character, seeing him at his best (winning another championship in the finale, finally finding love…sort of) and his worst (drunk, getting his ass handed to him by a gang, almost losing the ability to play football, etc.). I’d argue that Malik was the star of the series after the BET reboot…and one of the few bright stars in this continuation. Watch all the Malik-centric episodes and screw most of the rest. Like, it’s not even because the characters were unlikeable. The writing was just…bad.


BET also tried its hand with shows such as Let’s Stay Together, Reed Between the Lines, and Zoey Ever After. I’ll keep it brief on these three shows. They’re not good. Like, at all. They just reuse the same tired stereotypes (quirky college girl, flamboyant gay man, DL gay man, hot Spanish guy/girl, stickler-for-the-rules parents, etc.) over and over and over again in hopes that someone will tune into these schlockfests and sing their praises. But what really saddens me is the decline of Real Husbands of Hollywood.




The mockumentary series follows Kevin Hart and his ever-changing group of friends through the trials and tribulations of living in a RHOA-esque fantasy world. The show worked for the first few seasons. But, somewhere along the way, it stopped being witty and started relying more on tired set-ups, lame jokes, and Nick Cannon running for Mayor of LA. Yep. Now, here and there, there are some funny bits. But, overall? The show feels more like a cashgrab than something anyone involved actually gives a shit about.

Inversely, on [adult swim], we got series such as the final season of The Boondocks, Black Jesus, and Loiter Squad. All three of these series are good in their own ways. However, the final season of The Boondocks, without Aaron McGruder at the helm, fell way off. Was it still better than most live-action sitcoms? Hell, yeah. But, it lacked some of the bite that made The Boondocks one of the greatest shows of my generation.



Black Jesus, McGruder’s next effort, is less racial/religious commentary and more of a stoner comedy. And, truth be told? It works. It’s not something that you’ll continuously come back to like The Boondocks, but it’s fun and kind of heartwarmingly together at times. Additionally, [adult swim] offered up a surreal-ass “talk show” called The Eric Andre Show.

While not exactly a “Black sitcom,” the show helped introduce its titular persona, Andre, and his co-host Hannibal Burress, to mainstream audiences. Andre, a send-up of late-night talk show hosts, was fucking bonkers. Burress, like many sidekicks, often played the straight man to Andre’s insanity. It’s some trippy shit (one episode is pretty much just Andre breaking his set apart because reasons). But, the next time you’re watching shows such as Man Seeking Woman or Broad City, thank this crazy shitshow for introducing Eric and Hannibal to more people.

Additionally, through cable, we’ve gotten the 2010s answer to Chappelle’s Show in Comedy Central’s Key & Peele. A continuation, of sorts, of their work on the classic MADtv, K&P tackled a boatload of issues in an irreverent way that’d make Dave (and Damon) proud. The success of this show led to Key and Peele working on the upcoming comedy Keanu. While I’m still a bit unsure as to how that movie will do, one thing’s for sure: it wouldn’t have been a thing without this series’ success.

VH1/Centric’s Single Ladies is problematic in some ways. Pretty much, everyone sucks as characters. Either they’re stereotyped, not fleshed out enough, or just plain boring. Just…no. Ugh.

On premium cable, we’ve gotten shows like Ballers and Survivor’s Remorse. All I can say is “they aight". They’re not the best comedies. But, they’re far from the worse. Plus, Ballers gives Dwayne Johnson a paycheck without having to wear spandex and Survivor’s Remorse is produced by LeBron James and is, in some ways, a raunchier version of The Game (it’s even got its own Sister, Sister alum in RonReaco Lee).

And this is where we get to the Tyler Perry series/TBS section of things. I could do an entire dissertation on the flaws of Mr. Perry’s shows. However, I’ll keep it at this. While they do offer constant work for some pretty legit Black actors, the writing is abysmal and you can pretty much see the dollar signs in everyone’s eyes after every tired, hackneyed punchline. Tyler Perry, if you’re reading this, please just go away for a bit. We’ve got Lee Daniels now to helm the sudsy over-the-top dramedy stuff now.


Another example of just “why?” is the Are We There Yet? TBS reboot. Based on the Ice Cube flick, it’s pretty much that movie’s sequel stretched out for 100 episodes. But, hey. At least it gave Terry Crews some work between Everybody Hates Chris and Brooklyn Nine-Nine (some people, somehow, consider BNN a “Black sitcom.” Not too sure about that one). But, at least it lasted longer than Barbershop: The Series did in 2005 (which I'm glad True neglected to cover, on purpose).





Now, TV One. They’re great. They give us Good Times reruns and, sometimes, Martin reruns. They also recently acquired the rights to Empire’s cable syndication. Plus, Born Again Virgin has some legitimately funny moments in it. So, they’re great and worth their weight in gold as a substitute to the “ugh” BET sometimes offers up. However, they also gave us stuff like Love That Girl!, Here We Go Again, and The Rickey Smiley Show. ‘Nuff said. If you’ve ever seen Here We Go Again, you know exactly what I’m getting at. And while The Rickey Smiley Show wasn’t complete ass…it was a sitcom starring Rickey Smiley. So, not only did you have to potentially suffer through his show in the morning, you’d have to see a sitcom version of his act during the night.


Ugh. There’s still a lot more to cover, but my brain’s farting from the Bernice Jenkins segments of The Rickey Smiley Show. So, let’s breeze on through some of these. NBC, apparently seeing that black-ish was doing well, decided to get their own Black family sitcom, The Carmichael Show (which debuted the same time as the doomed-from-the-start Mr. Robinson starring the likeable-but-can’t-seem-to-get-a-decent-starring-gig Craig Robinson). The Carmichael Show isn’t that bad. However, I’ll tell you one “Black-ish” sitcom that just should’ve been aborted before it was greenlit.

Truth Be Told. Fuck this show. No, I’m sorry. It could’ve been good. Tone Bell’s funny. But, that’s the thing. He was the only halfway-funny thing about this pile. Oh my God! It tried so hard to be “cool” and “hip” and “edgy.” But, all its “edge” missed by a fucking mile. The pilot of the show dealt with the two couples trying to go to a Jay Z concert. But, the couple with a kid, they need a babysitter. The babysitter they hire was in a porno. Now, this “OMG XYZ was in a porno” thing worked fucking wonders in other series. However, here? Everything was killed dead from the jump with corny-ass jokes, unlikeable characters, and just SMH-worthy Millennialisms because reasons. If you ever see this show in your recommended shows on Hulu or Netflix, kill it with fire.



On Nick at Nite/TV Land/Nickmom, Tia Mowry-Hardrict was given another series, Instant Mom. It’s exactly what you think it is. Young woman marries older man with kids. Hilarity ensues. It was actually a pretty sweet little series. You also got shows like The Soul Man. It’s also exactly what you’d expect. Cedric the Entertainer is a minister from a soul background (think Al Green without the “Let’s Stay Together” vibes and more of the funny). His family is religious but quirky. Hilarity ensues. The Soul Man, at least, gave us more Jazz Raycole and Wesley Jonathan on our television. Take that how you wanna.

ABC Family/Freeform gave us State of Georgia. This show was pretty much That’s So Raven, the PG years. Its only bright spot was Loretta Devine. But, it’s Loretta Devine. She can voice a stuffed hippo and it’d be friggin’ awesome (hi Doc McStuffins; my kids still like watching because, you know, Black family and doctors and such).



And now, back to the show I first mentioned. black-ish. I’ll just go ahead and post my mini-review of it from my “Hooray from Diversity” piece. The series is hilarious and unapologetically Black. In a recent episode, "Hope," that could've gone "very special episode" very quickly, creator Kenya Barris tackled police brutality and the idea of Black lives mattering (and not straight-up advocating for BLM) while still working in jokes about Chipotle and take-out. This was an episode that brought up something that usually is regulated to jokes on "Black Twitter," the fear some minorities (specifically Black people) felt when Barack Obama stepped out of his car for his Inauguration. It’s a series that, these days, seems to be one-of-a-kind: a Black sitcom that isn’t afraid to “go there,” but is still accessible enough without giving up its “Black card.”

So, there you have it. I’ve missed some, I know. But, for fuck’s sake! I just sat through episodes of The Rickey Smiley Show and Truth Be Told for you. You don't know my struggle.

Outro
-The 2000s and 2010s are both interesting times for black television. Who knows if we will ever see a solid lineup of black sitcoms again akin to the 90's or even the early 2000s. Only time will tell. Until next time, thank you all for reading our black sitcom series. Stay tuned for more DAR TV articles.

-DAR 

No comments

Powered by Blogger.