Part of it feels like the Hollywood machine doing what it does best, engaging Blackness only in proximity to whiteness rather than on its own terms, avoiding to confront our scariest issues and realities. (From 2021)
, shows that don’t fantasize about a more perfect past or present, but instead illustrate other ways of looking at stories, circumstances, and histories we can’t go back and change., another Netflix vehicle, which held a mirror up to the very industry it critiqued. The Ryan Murphy-created 1940s miniseries is partly about structural barriers to success, giving voice to Black, queer, and women actors trying to find their way amid the noxious racism and gender discrimination of the era.
As a TV creator, Murphy is one of the great queer maximalists of this generation, which is perhaps why, another Murphy endeavor, thrives on a lack of subtly in its celebration of an overlooked scene and people—trans stories remain mainly absent from TV—would have benefited from it, especially with regard to how it could have folded the real stories of actresses like Hattie McDaniel and Anna May Wong into the arc of the series, and more finely detailed what was actually going on in their lives.
Two years after Robinson’s chat with Vox, in the summer of 2019, Saidiya Hartman spoke at the Hammer Museum about her just-released book,. The book chronicles the lives of Black women in the early 1900s and takes a unique approach to biography, leaning heavily on creative license. It was praised widely for its use of expansive source material, which included case files, old social surveys, photographs, and plantation documents.
For scholars like Hartman who tell Black stories rich in sweep, historical records—that is, information categorized as fact—can read like betrayal. Those records, which is to say those stories about Black life, are shaded by all kinds of prejudice: racism, classism, sexism. The powerless remain at the mercy of those who catalog their history. The same thinking applies to how we understand what stories are told, and how they’re told, on TV.
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