Exclusionary TV: Whites Only Television? MADMEN, PAN-AM and REVENGE

Provocative title huh?

Well, it’s not quite as provocative as it seems. The premise of this article isn’t that shows such as MADMEN, PAN-AM, and REVENGE are in and of themselves bad or bigoted shows.

They may in and of themselves be good shows. But shows, dramas or scifi or action, that are predominantly White, when not off-set by any shows that are predominantly Black or colored, true to the definition of predominant… create an environment, a medium, that is about the ascendancy, importance, influence, authority of force of one group.

In such an environment it is impossible for me to buy into, relate, follow, view, or otherwise enjoy such shows. Now in an environment where a show such as PAN-AM is counter-pointed with a show on The forming of AIR JAMAICA or the Black Stuntmen’s Union or the Black Coyboys’ Union or any adventure or thrilling show with a predominant cast of color; then PAN-AM rather than being indicative of a color and ethnic bias in every show in tv, can be seen as one voice in a chorus, rather than the same voice, everywhere.

So that’s the problem I have with shows such as MADMEN and REVENGE they paint everything with the same trite and pale brush (take the series REVENGE, based on a book by the son of one of the most famous Black men, and the cast is all white. Explain that to me? Along with that it always rings false that we have yet to see a THREE MUSKETEERS that represents the ethnicity of the author Alexandre Dumas, or the ethnicity of the inspiration for all Dumas’ heroes, namely his father, France’s most famous and most feared soldier, the elder Alexandre Dumas, (inexplicably called Thomas-Alexandre in recent writings), the Black giant, the warrior Moor, Napolean’s most feared and brilliant General. The COUNT OF MONTE CRISTO is directly inspired by how his father was betrayed by Napolean, imprisoned, and killed. And rather than anyone ever tell that story, it becomes in REVENGE about a blond woman, mad about something. Forgive me if I have no interest in that retelling.)

So, What’s the solution?

We’ll get to it. First indulge me, with a brief trip to yesteryear.

In the late 50s, into the 60s and 70s television and cinema in the US, and indeed throughout the Western World, made great strides in becoming more representative of the class struggle going on throughout the world.

That’s a fact, it just is. So let’s begin there.

As countries from Congo to Cuba to Korea to the West Indies to Brazil all were dealing, at various stages, with the shattering of traditional Colonial ties. With populations of repressed people, embracing the concept, both with artistry and arms, of “not eating at another man’s table” but creating their own table.

It was a staggering period not just of revolution, but potentially evolution… for the world and the west.

Rather than mass media that explored and showcased only the fantasies and the fears of the white and the male you began getting shows that took place in a world reflective of the movements changing the landscape of our cultures and our time. Civil disobedience, and sit-ins, and Black power, and Native American rights, transcendentalism and free love, sexual and religious experimentation, and of course war and the search for peace and self identification.

And all these growing pains, all of this stew of change, could be seen in the entertainment of the age.

DANGER MAN, MISSION IMPOSSIBLE, PROFESSIONALS, GOOD TIMES, SANFORD AND SON, the rise of Soul Cinema, and the rise of Hong Kong Cinema, and Neo-Realism in Italy, and the New Wave in France, and the didactic films out of Russia, and Brazil, and Cuba, and Senegal, all of this making its way to newly born film studies programs in the states that gave birth to a whole generation of entertainment makers excited and influenced and inspired by this time of change and challenge.

So suddenly you had Patrick McGoohan in the DANGER MAN TV show 50 years ago globe-trotting and going to different countries and different people, and exploring issues of colonialism, and civil war, and terrorism, and governmental oppression, and doing this with a changing ethnically diverse cast. Dealing with issues of Middle East tensions and modern slavery. And this kind of informed and humanistic film-making came from the creators down. And all the shows of that period, while not DANGER MAN ground breaking, to greater or lesser degrees were that informed and representative of a culturally diverse and changing world.

Move the clock forward 50 years, and suddenly you have no community owned or locally owned cinema, much less production companies. That’s not an accident, that’s a very pointed, and very considered monopolization and marginalization.

You have the end of virtually any locally or regionally owned newspaper, radio, or television station. So you get the end of people and community created movements, and art and music, and you get instead corporate construction of reality and ‘art’ in things like AMERICAN IDOL and its ilk.

You have cinema and television that is in retreat from ideas… like diversity and the rights of man, and instead seeks a return to the exclusionary, blinders on, cinema of the 50s. Not just in terms of content and cast in front of the camera, but talent and crew behind the camera.

As, in reality, the mad military war machine of billionaires undoes the local determinism of countries like Haiti and Liberia and Libya, so too is our entertainment,no less the tool of billionaires, undoing the strides made toward multiculturalism. A return to “Whites only” television from MADMEN to PAN-AM to REVENGE.

And those shows while they hold no interest for me, would be fine if they were counterpointed by an equal number of US made shows with a majority of Black or Brown or Asian or a combination thereof, of actors in front the camera, and talent behind the camera.

And the talent is there, as screenwriters such as John Ridley discuss in numerous interviews. Even more talent than was available in the 60s and 70s is available now, the difference is, the cinemas are bought up, the advertising is cost prohibitive, and quite frankly the doors are closed.

In the 60s and 70s, Hollywood saw the need for an influx of diversity to save them from the rise of Independent Cinema (an outgrowth of viable and healthy local cinemas, local determinism), and there were a good number of people in the studios who were happy and excited for that diversity. They were part of the changing times, and part of changing it.

Today Independent Cinema has no way into the theaters, because the locally owned theater circuit, and indeed the community controlled mass-media circuit that served America, particularly Black America from the 20s to the 70s, has been bought out, legalized away, and generally dismantled.

For what was gained, more was lost in the compromise of integration.

The problem with the doctrine of separate and equal, was the fact that is was NEVER separate and equal, it was always separate and UNEQUAL. The Black Power movement and Black Panther movement was about making it SEPARATE AND EQUAL. Was to make the lie into the truth. And that is the reason we have integration today. Because the idea of separate and equal, scared the powers to be to their very soul.

They saw in the more moderate integration model of Martin Luther and his ilk, a compromise that could become a massive victory. They retreated from Separate and (Un)equal and embraced Integration of a sort, “you can now use our Bathrooms, you can now to an extent come into our house, but… you have to lose your house. You have to lose your radio stations, your movie theaters, your stores, your farms, your wallstreets, your sports teams, your attempt at self determination”.

Of course it wasn’t presented like that, but a few decades later that’s absolutely what has happened. The thriving economic base of Black America that thrived even under the odiousness of Separate but unequal, wherein they could still provide for themselves and be self sufficient, has been completely gutted under the together but even more UNEQUAL system of integration. And that robbing of local determinism has extended to all America. Has shown itself to be the most significant volley in a class-war that has America trillions of dollars in debt, and slaved, to corporations gross and immoral.

And television and cinema is the clearest example of this wholesale pillaging of a peoples economic potential.

So that’s what I see when I see shows like MADMAN or PANAM or REVENGE or SMALLVILLE (past season 4) I see prejudice and bigotry and class warfare… codified.

So you have a television and a cinema environment that has turned back the clock, and is again solely about showcasing the fantasies and the fears of the white and the rich, to the exclusion of all else.

It bores me to go backwards. To learn from the past is a great thing, to repeat the past is not. And we have a whole generation of studio execs and heads, who think they are doing something new by embracing the old, and all they are doing… is wasting time.

In a multi-cultural society, an increasingly multi-cultural society, these dreams of exclusion cannot stand, they will become unsatisfying, they always do. And in the end we will have to waste years just getting back to the same point of diversity as the 1970s. Getting back to the starting point from which we should be… evolving.

So let’s cut out some of the time wasting. Contact these studios signing off on this exclusionary television, the creators and producers, twitter them, facebook em, call’em, even write em, let them know the show doesn’t represent you, and to create a show that does. And let the advertisers know, say “this show boycotts me and mine. Since you are asking me to support your product, I want you to produce a show that supports me.”

It’s economics people. For all their crushing of competition, ultimately the decision makers and gate-keepers still need to create a product you want to buy. Let them know they are failing at that mandate.

Let them know you want to see more shows, that are both smart and diverse.

Day Break – The Complete Series- Do not buy the 2disk version, get the 4 disk version

55 Degrees North – Series One & Two – 5-DVD Box Set ( Fifty Five Degrees North ) ( 55 Degrees North – Entire Series 1 & 2 ) [ NON-USA FORMAT, PAL, Reg.2.4 Import – United Kingdom ]

Kidnapped – The Complete Series

Secret Agent AKA Danger Man: The Complete Collection (Slimline Packaging)

The Philanthropist: The Complete Series

Kings – The Complete Series

Blood & Bone

I Am Cuba: The Ultimate Edition

Let them know you want to see more DAY BREAK with Taye Diggs and Moon Bloodgood, more 55 DEGREES NORTH with Don Gilet, more KINGS with Eamonn Walker more BLOOD AND BONE with Michael Jai White, more James Purefoy and Jesse L. Martin in THE PHILANTHROPIST (the spiritual descendant of McGoohan’s DANGER MAN); more shows that look forward to solutions, rather than backward to evasions.

Challenge the creators, challenge the studios, challenge the advertisers, challenge the performers, and challenge yourself to go not marching backward, but to go forward… into the mystery. And ultimately we will as cities and a nation, have to eschew outside control, and embrace again local production of items and local determinism.

And it starts as simply as recognizing and calling out the prejudiced the exclusionary and the destructive when we see it.

Here endeth the lesson.

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FAVORITE TV SHOWS OF ALL TIME!!! Spenser for Hire, Justice League, Firefly

The RECOMMENDED READS page (look over at the column on the right of your screen) has been updated

with reviews of Cornell Woolrich’s FRIGHT, recently published by Hard Case Books after being out of print for fifty years. And also a status review of CROOKED LITTLE VEIN by Warren Ellis and published by William Morrow.

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Now onto TV stuff:

My recent exposure to what passes for good television these days, garbage like LOST, and the new BIONIC WOMAN and insert Reality TV show here, has left me for an appreciation for the great TV shows of yesteryear.

So here’s my list of great Television shows (in no particular order):

NYPD BLUE Just the first season with David Caruso. The forerunner to the rash of police procedurals currently polluting the airwaves.

HOMICIDE Love this series. Caught everything but the last season. A tremendous show.

BABYLON 5 – People may gripe these days about MJ Straczynski’s comic book work, and the complaints aren’t unwarranted. But what ever issues of the present or the future his work may contain, his past is beyond reproach. His BABYLON 5 being the most ambitious television show ever. A man’s singular vision turned into a novel, with a distinct beginning, middle, and end. It’s the kind of vision that is lacking in “make it up as you go along” shows, such as LOST.

SPENSER FOR HIRE– Love, love, love this series. It’s a crime that it’s not available on DVD.

All SPENSER FOR HIRE images are by Dave McCraken

And real quick I’m going to rant: There is some art floating around, whenever you pull up info on this series (I’m not going to reproduce it here, because it annoys me, but click here to see it or here), showing some doctored up picture of Spenser and Hawk, with Hawk being positioned so he’s like six inches shorter than Spenser.

What the f*** is that? The following pic is how Spenser and Hawk look on the show:

It may seem like a simple thing, but it really isn’t. Like anyone whose done advertising, or product placement can tell you, ads are meticulously thought out. And the fact that such an obviously out of scale picture (to anyone who has seen the show) is occurring on multiple sites, has become a defacto standard… seems and is… odd.

Odd in the same wacky way that every network station at the same time decided to call people refugees who are not, or insurgents… who are not.

America is funny that way. 🙂 . It’s this wonderful nation where people call coincidence, what can only be design.

Avery Brooks is 6’1, Robert Urich was 6’2. A negligible height difference, but the picture makes it look like Hawk is a much shorter man. However both the character Hawk and Spenser were always portrayed as the same height. About 6’3ish.

So where does this box-art come from misrepresenting Avery Brooks and the show? Where does the idea of that come from?

That’s like doing a picture of me beside Avery Brooks and having me tower over Avery, it’s just as much bs. There’s great photos of the two of them from the 60 plus episodes they did, and they are always the same height. Yet someone is going to photoshop in this obviously… flawed picture. Just coincidence? Accident? Could have just as easily been Bob Urich misrepresented as shorter?

Come’on!

Someone made a conscious choice to misrepresent the heights of the two stars. Not coincidence, not a mistake, but a choice.

But why that particular choice? Maybe someone is cockeyed? 🙂 .

I don’t like pointing out this nonsense. I don’t like the fact that there is still nonsense like this to point out, but there it is. The media has grown and continues to grow more skewed, not less, it really is very much spiraling into minstrel like days. But subtly. Unfortunately, I catch subtle.

So I’m going to call a fowl when I see a fowl.

It’s very much like when Ford Motor Company had an advertisement showing all their engineers, and they photo-shopped out all the Black engineers for European distribution. It made the national news, so feel free to look it up if you don’t believe me. Was that coincidence? That big choice, and this little one… the same choice.

And some of you make say I’m making mountains out of molehills. But when one sees as many molehills, time after time, as I have… they tend to add up… all by themselves; to a looming mountain.

Molehills, the little lies we integrate into our world and self-view, create and recreate our reality. What men like Maslow and Berger called the Social Construction of Reality.

It’s how our enemies are made, and our friends.

Social construction of reality. We learn quietly, invisibly to absorb these minor molehills without question, so by the time we should question the really serious issues, we have accepted too much… to question the steps that have brought us here.

Bigotry and using the media as a weapon, is alive and well, and it’s not going to go away because we stick our heads in the sand, it just grows when we do that.

So when I see BS, especially involving my favorite show. I call it BS. And this is a case of BS.

Here endeth the rant.

For anyone who wants a free SPENSER FOR HIRE review guide just contact me. I’ll provide them to the first 10 emailers free. It’s a great series and deserves to be remembered correctly. If for nothing else, as the series that launched a young Samuel L Jackson. (in a bit part where he gets roughed up by Hawk. Great stuff!)

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WEREWOLF– I recommend just the premiere. Beautifully done, but the later episode are cheaply done and don’t go anyplace.

SIMPSONS– I lost interest a few seasons ago, but the first few were great!

SANFORD AND SON– My favorite comedy show of all time!

DEEP SPACE NINE– Brutally sabotaged by stations like Sinclair Broadcasting on initial airing, on DVD you can reexamine this series, and it builds to a brilliant conclusion. Like Babylon 5, and unlike the other Trek shows, this series actually has a wonderful storyarc. It may even on the broad scale, be superior to Babylon 5 (which had stronger individual episodes), making it one of the greatest series ever.

FARSCAPE– This was a FANTASTIC series, unfortunately killed before it could come to it’s conclusion, but the episodes we did get are stunning. All driven by the phenomenal, and at times heart wrenching performance of Ben Browder. If DEEP SPACE NINE and BABYLON 5 are in a tie for first place, this show is solidly in 2nd place as my favorite sci-fi series.

FIREFLY– I’m not a Whedon Fan. I could take or leave his BUFFY and his ANGEL. And while not a flag waving fan of FIREFLY, I thought it was easily his best show, possibly for it’s brevity. It didn’t get a chance to out stay its welcome ala the X-FILES. And had an interesting take on tomorrow.

QUANTUM LEAP– Women love this show. And in another life, a woman turned me on to it. And I have to say she was right. It’s a great, great show, much like FARSCAPE powered by Heart Wrenching performances by star, Scott Bakula.

CHAPPELLE SHOW-This is not even just brilliant comedy, it is the most courageous examination of the American id ever aired. A fantastic two seasons.

ROBIN OF SHERWOOD– John Carpenter’s mythic redefining of the Robin Hood myth, brilliantly brought to life by two phenomenal directors, and a young, hungry, and brilliant cast. And at the same time a wonderful mirror on the 80s age that spawned it. Easily in my top 5 shows of all time.

MIAMI VICE– It’s slick MTV style is old hat now, but this was the show that did it first and best. This and CRIME STORY make a great one, two punch.

JUSTICE LEAGUE helmed by Dwayne McDuffie is one of the best cartoons ever made. And for a guy who grew up on cartoons, that’s saying a lot.