‘Seen & Heard’ examines Black TV history, shining light on its successes and struggles

by

Issa Rae, best known for her hit series “Insecure,” is playing a key role as an executive producer in the upcoming two-part documentary titled “Seen & Heard: The Evolution of Black Television.” Premiering on HBO and available to stream on HBO Max starting Tuesday, this film is directed by Giselle Bailey, with Phil Bertelsen also receiving credit for direction. This documentary isn’t intended to cover every aspect of black television history exhaustively, so viewers who have watched a lot of TV throughout the years may notice some gaps. However, it remains engaging, beautifully produced, occasionally thrilling, and frequently emotional. Younger audiences, whose understanding of historical and cultural events might be limited to what occurred around their births, will likely gain new insights, while even those who remember a time before shows like “Julia” may discover something new as well.

The first episode titled “Seen” opens with Tracee Ellis Ross and Anthony Anderson sitting in the green room, preparing for their appearance on “Jimmy Kimmel Live!” to wrap up the long-running series “black-ish,” a program created and managed by Black individuals on a prominent broadcast network. The narrative then takes a step back to depict an earlier show, “Amos & Andy,” which was written by whites. The storyline progresses towards a brighter future, but it’s important to note that the overall theme is both hopeful and challenging. This double-episode set is also about hardships, a topic that seems to be deliberately omitted from modern history as we move forward. It’s worth remembering or understanding that in the past, Black people had minimal representation on television, whether in front of or behind the camera.

The first episode “Seen” starts with Tracee Ellis Ross and Anthony Anderson waiting for their turn on “Jimmy Kimmel Live!” to say goodbye to “black-ish,” a TV show made by Black people. It then shows an older show, “Amos & Andy,” created by whites. The episodes are about both hope (for the future) and struggles (from the past). Unfortunately, some parts of history try to ignore these struggles, but it’s important to remember that there was a time when Black people were hardly seen on TV.

The series “Heard” consists of narratives where significant figures in the industry share their personal experiences. Director Cord Jefferson, who transitioned from journalism to television writing (“The Nightly Show With Larry Wilmore,” “The Good Place,” an Emmy for “Watchmen”), delves into generational trauma and discusses his struggles with anger issues (both seem to be coping well) in a Zoom conversation with his father. Directors Deondray and Quincy LeNear Gossfield, currently working on Lena Waithe’s “The Chi,” reflect on the challenges of coming out after concealing their relationship for years by visiting Quincy’s family in suburban Chicago.

Emotions run high as Tyler Perry reminisces about difficult past times with Oprah and gives the filmmakers a tour of his Atlanta studio complex, where soundstages bear names of notable Black stars such as Oprah (number one, fittingly), Denzel Washington, Cicely Tyson, Whoopi Goldberg, Ruby Dee, and Ossie Davis.

Oprah recounts her journey from impoverished rural beginnings to an unsuccessful news reporter and eventually a talk show host, a role she never anticipated taking on but one that she has undoubtedly excelled in, given her status as a media magnate.

Here as well are Debbie Allen, Shonda Rhimes, Wilmore, Waithe, Mara Brock Akil (creator of “Girlfriends” and “The Game”), Ava DuVernay, Justin Simien (“Dear White People”), trans actor Dominique Jackson (“Pose”), media mogul Byron Allen, and Syreeta Singleton, who rose from a writer’s assistant on the first season of “Insecure” to heading the subsequent Rae project, “Rap S-.” Stan Lathan transitioned from directing Black-focused news programs for public television to “Sanford and Son,” after the show’s star Redd Foxx demanded they hire Black directors and writers. (Foxx explains to Barbara Walters in a clip, “Sanford was as truthful as I could make him under the circumstances.”) The late Norman Lear, who co-produced “The Jeffersons” and “Good Times,” alongside “Sanford,” seems a bit condescending, or perhaps merely protective, when discussing his decision to not employ Black writers on his Black shows.

While each artist maintains their unique approaches and areas of focus, they collectively align on fundamental themes such as diversity, visibility, and control. These are not novel concerns that have recently emerged, but rather ongoing issues in our society. As the United States College (USC) professor, Todd Boyd, states, “It’s crucial for black individuals to be represented in various roles, emphasizing the significance of a diverse and accepting community.

As a devoted movie enthusiast reminiscing about the past, I can’t help but reflect on Diahann Carroll’s powerful words from the late ’60s. She was TV’s first leading African-American woman in “Julia.” Her insightful statement then resonates just as much today: “We’re Americans, we’ve been here all along. We’re interwoven into every aspect of life. It’s high time we were part of the entertainment industry too.

Simien: “The more specifically Black characters can live in paradoxes, the more human we are.”

Television

In this rephrased version, we can say: “Justin Simien, the creator of ‘Dear White People’, talks about his new MGM+ documentary series which delves into the past of Black cinema and the hurdles it has encountered – starting from the silent film era right up to today.

Esther Rolle, who temporarily departed “Good Times” due to excessive focus on the character J.J. “Dynomite” Evans (played by Jimmy Walker), an issue that also prompted John Amos’ exit from the show, expressed in a modern interview her belief that until there is more involvement behind the scenes, we won’t have the power to shape what appears on camera.

The story revolves around influence, mentorship, and the passing of torches. Debbie Allen recalls Akil as an intern who used to park her car. Waithe, while speaking to a group of aspiring writers, named her production company after Hillman, the college in the “Cosby” spinoff, “A Different World.” This college was known for not shying away from complexities. Rae was particularly associated with “Living Single,” referring to Kim Coles as one of the first black women who embodied awkwardness.

Bailey tactfully addresses the inescapable issue of Bill Cosby’s fall from grace, summarizing it in brief voice-over titles following accusations of sexual assault. The significant impact of “The Cosby Show” is recognized, with Rae remarking that his mother might have watched Claire Huxtable to learn parenting skills. Additionally, the positive influence the show had on NBC’s struggling ratings is acknowledged, and it’s heartening to see Malcolm Jamal-Warner, who continues to refer to Cosby as “Mr. Cosby,” looking so vibrant in this piece.

The show explores broad cultural trends and cycles within Black TV, rather than focusing on specific shows. It delves into the ebb and flow of representation, with many popular shows only receiving passing mentions. For instance, Donald Glover makes a brief appearance in Issa Rae’s web series “The Mis-Adventures of Awkward Black Girl,” which played a role in the creation of “Insecure.” However, his critically acclaimed series “Atlanta” is not discussed. Tamera Mowry-Housley, known for her role on “Sister Sister,” recounts stories shared by Tim Reid, her co-star who played her father on the show, about how new networks would use Black shows to build an audience and later favor white shows instead. Yet, you wouldn’t know this unless you were already aware that Reid was a co-producer and star of the cancelled CBS series “Frank’s Place,” set in New Orleans, or co-creator of the Showtime series “Linc’s,” based in a Washington D.C. bar.

Although these shows – such as “The Vince Staples Show,” “Black Jesus,” “The Boondocks,” and “I’m a Virgo” – are captivating in their complexity and often lie outside the traditional or easily defined, they don’t adhere to the described narrative. To my delight, Terence Nance, creator of the profoundly unique HBO series “Random Acts of Flyness,” was included. As he explains, the TV industry is subject to a colonial dynamic where big corporations fund productions to exert control. What holds significance for him are spiritual and cultural values, an unyielding value system inherited from otherworldly realms – something corporations will never find valuable.

Wilmore appears to be quite hopeful. He expresses that this current period is exceptionally favorable for crafting unique pieces tailored to individual perspectives. As he puts it, “We’re right in the sweet spot of time to bring about something distinctive and meaningful.” This is because the diversity in people today is opening numerous new avenues.

In essence, for Waithe, the ultimate focus was always on delivering top-notch work as a television writer. She conveyed this message to her students by saying, “My aim is to excel as a skilled and talented TV writer.” The primary goal was excellence in that field; everything else became secondary.

Read More

2025-09-09 13:31