In the Entertainment Industry, Exceptions Trump Rules
In the entertainment industry, almost every rule has an exception. In the critically acclaimed film Room, Brie Larson defied the notion of never working with children, delivering an Oscar-winning performance alongside 8-year-old Jacob Tremblay. Similarly, iconic filmmaker Werner Herzog challenged the idea of learning to live with mistakes, as he continues to enhance and tweak his film Blade Runner with multiple versions. However, an important lesson has been learned recently: do not create a TV show that gets you in trouble with the NAACP.
The Critique of Netflix’s “Good Times” Animated Series
On the eve of its much-anticipated premiere, Netflix’s adult animated series Good Times faced intense scrutiny. The NAACP Hollywood Bureau’s Senior Vice President, Kyle Bowser, penned a guest column in The Hollywood Reporter expressing concerns about the portrayal of Black life in the show. The NAACP had even tried to review early episodes but was denied the opportunity by Netflix. Bowser emphasized the need for greater discernment in engaging with such media content that perpetuates the artificiality of white supremacy.
Going Back to the Origins
Good Times has a significant history, originally airing from 1974 to 1979. As a groundbreaking series created by Norman Lear, Good Times delved into the lives of a Black family residing in a Chicago housing project. However, the show faced its share of criticism and controversy, leading to the departure of cast members and complaints about the authenticity of the storylines.
A Fresh Perspective
The new rendition of Good Times brings more diversity to its creative team, led by co-creators Ranada Shepard and Carl Jones. As a white Canadian, I recognize the importance of addressing offensive stereotypes carefully. Here are some objective observations about the first two episodes of the much-anticipated series.
Episode one of the new Good Times introduces Reggie Evans, grandson of the original show’s protagonist, and his conflict with his delinquent son Dalvin. Dalvin’s involvement in criminal activity and his infantile status create an edgy dynamic. The existence of an unlicensed salon, managed by Bev’s friend Lisa, adds further complexity to the narrative. The series tackles relevant themes, such as activism and the struggles faced by the Black community.
Episode two highlights Bev’s questionable spending choices, jeopardizing the family’s financial stability. It also introduces Mrs. Likeigiveashit, a memorable character and butt of a questionable joke, advising Bev and James about OnlyFans as a potential income source for their son, Junior.
Mixed Reception and Artistic Execution
Good Times brings much-needed social commentary to its ten episodes, exploring themes such as ADHD, the impact of CCTV systems, and the manipulation of impoverished communities. However, the animation, though artistically compelling, falls short, with jerky and inexpensive production quality. Additionally, certain episodes, such as the exploration of menstruation and reproductive health, seem to resemble concepts previously brought to the screen by Big Mouth.
The fourth episode’s involvement of faux Elon Musk, portrayed by Joe Mantegna, added questionable flavor to the series. Subtle nods towards relevant social issues couldn’t drown out the noise created by the inclusion of racist clichés. The future of Good Times on Netflix remains uncertain amidst its struggles to rise above other offerings on the streaming platform.
In Conclusion
In an industry rife with exceptions to the norm, Good Times embarks on a new animated journey to capture the essence of a beloved classic. While addressing pertinent social issues, the show stumbles in its execution, overshadowing its timely themes with outdated stereotypes. As viewers navigate Netflix’s vast ocean of content, Good Times hopes to remain afloat despite the challenges it faces.
