Give Me Some Relevance on TV

Why can't we have comedies like Good Times, in which the characters tackle substantive issues?

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One night recently I watched an episode of Good Times. The plot dealt with the 11-year-old militant yet cherubic character, Michael, being suspended from school for telling his teacher that George Washington was a racist slave owner. As his mother chastises him, he protests, "Mama, 'boy' is a white racist word."

The rest of the episode dealt with the historical juxtaposition of Washington's ownership of slaves, his role as a Founding Father of this country and the hypocrisy involved. It was funny watching the family deal with that issue, the day-to-day management of the household, the haywire economy of the mid-'70s and the masking of black history in America.

Later, I tuned in to the much-ballyhooed Reed Between the Lines, which launched on BET on Oct. 11, starring Malcolm-Jamal Warner and Tracee Ellis Ross. The show has been touted as the answer to the dearth of black family sitcoms since Everybody Hates Chris was canceled. Then I brushed my teeth and quickly looked for another Good Times episode on YouTube.

It wasn't that Reed, with its phoned-in dialogue, wasn't trying, and it wasn't that some might find it to be a good program (seriously). But I didn't dig it for the same reason I don't dig so many television programs aimed at urban (read: black) watchers these days: There's no connection between the world outside and the people inside.

OK, OK. Before you go off on me, I realize that sometimes people don't really want heavy themes or monologues that inspire thunderous applause from the studio audience. For some, it's even a relief to see contemporary black people who do not seem to have dysfunction written into their familial script -- even if the show is not funny.

But I miss black television that talks about issues relevant to my friends, my family and me. Maybe I'm missing something, but what's being offered -- not just on television, but in pop culture targeted generally at African Americans -- seems to talk perpetually about being "fabulous," "having swagger" or "knowing how we do."

Sitting through another (Insert rich but pointlessly idle theme here) Wives or a Real Housewives of (Insert hip but prohibitively expensive city here) to watch a group of train wrecks set the feminist movement back a century; or any reality show about an athlete and his ego, relatives of pop stars, competition for the hearts of onetime or wannabe celebrities; or the lifestyles of any number of C-list and D-list celebrities waiting for a comeback -- as much fun as it once was -- now strikes me as the most obtuse thing I could do with my time.

"So don't watch it, damn it! Turn to something else if you don't like it" is what I can hear fans and producers offended by what I'm writing here say.

Right now the unemployment rate among African Americans is 16.7 percent, the highest since 1984. More than half of all black male high school students drop out. Nearly twice as many blacks as whites lose their homes to foreclosure.

None of this is funny, but isn't there a way that television writers can treat these issues while making us laugh and at the same time not perpetuating stereotypes? Can we have television that makes us laugh at ourselves because we're familiar with the way characters would react to challenges like these?

The Root 100 People's Choice Awards  
Sept. 19 2014 8:34 AM