F*ck, f*ck, f*ck, f*ck, f*ck. The new word on the street. (I’m such a lady that I can’t even spell the word out without blushing…lol). But as I told you guys in a previous post, one of my new obsessions is Survivor’s Remorse. If you can’t handle a few…well, a million f*cks, then you can’t handle this show.
So… this is going to sound totally crazy to you but there is a different Director for each episode of your fave TV show. I know what you’re going to say: But the episodes stream so seamlessly, never changing in the tone or look! I know. Crazy, right? How and why do they do it? Well, it may not make much sense to you but here it is.
Let’s just face it; Networks have a hard time with African-American programming. There is a thin line between comedy and shucking-and-jiving. The line becomes even thinner between drama and gospel stage plays. Black folks also love to live in the past. For some reason, a generation of people who were barely alive are infatuated with A Different World. Modern day African-American artists are obsessed with Martin themes, especially those damn shapes from the maintitle sequence. And of course, since the Obamas got into the White House, black folks just can’t let go of The Cosby Show. (Well, many are due to other unrelated Bill Cosby factors that I shall not name…). With that being said, Networks and Showrunners get stuck in a cycle of failing nostalgia because face it, it’s 2016 and multi-camera comedies with soft music during the emotional climaxes just aren’t going to cut it. Let it go.
I don’t give a sh*t… just bring on Season 2. Talk about dynamic programming. I don’t give many props to many things because I don’t believe in glorifying mediocrity. But this sh*t was awesome. Way to go FX. Way to go Creator Ryan Murphy (like he can ever do wrong). Way to go writers, directors, cast and crew of American Crime Story: The People vs OJ Simpson. You won. (I’m literally clapping right now).
Shannan E. Johnson, CEO