#Jason Parham

[thenerdsofcolor]

Jason Parham and Prentice Penny on the Response to ‘Black Twitter: A People's History’

NOC Interview: Jason Parham and Prentice Penny on the Response to ‘Black Twitter: A People’s History’ @The_A_Prentice @OnyxCollective @Hulu #BlackTwitterHulu #DisneyUpfront

During the Disney 2024 Upfront Red Carpet, I spoke with Jason Parham and executive producer Prentice Penny about Black Twitter: A People’s History. The docuseries, which is currently streaming on Hulu, is based on Parham’s WIRED cover story, A People’s History of Black Twitter. Continue reading Jason Parham and Prentice Penny on the Response to ‘Black Twitter: A People’s History’

[thecurvycritic]

Black Twitter Documents Social Media History with Vervor and Comedy

If you don't know - now Jason Parham is gonna make sure you know that Black Twitter's history is here to stay #BlackTwitterHulu #podcast

Twitter (now called ‘X’) has always been a online playground filled with barbs, insults and comical takes on celebrity coupled with everyday people and everyday life.  But, baby when Black folks hit the platform it changed the landscape forever. Based on Jason Parham’s  ‘A Peoples’s History of Black Twitter, Hulu and Onyx Collective’s docu-series goes deep into how Black culture not only made…

[nezoid]

Last month The Last Improv Show was unofficially sponsored by Target 🎯

The Last Improv Show With Guest Monologist Chris Fleming - January 12, 2023

With Dan Black, Jason Mantzoukas, Betsy Sodaro, Phil Augusta Jackson, Lennon Parham, and Bobby Moynihan with guest Monologist Chris Fleming!

[mariacallous]

Twenty years ago, MySpace and Facebook ushered in an inspired age of social media. Today, the sticky parables of online life are inescapable: Connection is a convenience as much as it is a curse. A lot’s changed since those early years. In June, the US surgeon general, Vivek H. Murthy, called for a warning label on social platforms that have played a part in the mental health crisis among young people, of which “social media has emerged as an important contributor.” Social Studies, the new FX docuseries from documentarian Lauren Greenfield, bring the unsettling effects of that crisis into startling view.

The thesis was simple. Greenfield set out to catalog the first generation for which social media was an omnipresent, preordained reality. From August 2021 to the summer of 2022, she embedded with a group of teens at several Los Angeles–area high schools for the entire school year (the majority of the students attend Palisades Charter), as they obsessed over crushes, applied to college, attended prom, and pursued their passions.

“It was an unusual documentary for me,” Greenfield, a veteran filmmaker of cultural surveys like The Queen of Versailles and Generation Wealth, says of how the series came together. “The kids were co-investigators on this journey.” Along with the 1,200 hours of principal photography Greenfield and her team captured, students were also asked to save screen recordings of their daily phone usage, which amounted to another 2,000 hours of footage. Stitched together, the documentary illuminates the tangled and unrelenting experiences of teens as they deal with body dysmorphia, bullying, social acceptance, and suicidal ideation. “That’s the part that is the most groundbreaking of this project, because we haven’t really seen that before.”

The depth of the five-episode series benefits from Greenfield’s encyclopedic approach. The result is perhaps the most accurate and comprehensive portrait of Gen Z’s relationship to social media. With the release of the final episode this week (you can stream it on Hulu), I spoke with Greenfield over Zoom about the sometimes cruel, seemingly infinite experience of being a teenager online today.

JASON PARHAM: In one episode, a student says, “I think you can’t log in to TikTok and be safe.” Having spent the previous three years fully immersed in this world, I’m curious if you think social media is bad?

LAUREN GREENFIELD: I don't think it's a binary question. I really went into this as a social experiment. This is the first generation that has never grown up without it. So even though social media has been around for a while, they are the first generation of digital natives. I thought it was the right time to look at how it was impacting childhood. It’s the biggest cultural influence of this generation’s growing up, bigger than parents, peers, or school, especially coming out of Covid, which was when we started filming. You know, I didn't go into filming with a point of view or an activist agenda, but I certainly was moved by what the teenagers said to me and what they showed in their lives, which is that it's a pretty dire situation.

Without a doubt.

Jonathan, in episode five, says it's a lifeline, but it's also a loaded gun. So I don't think it's about whether there are good things in it and bad things. We see both in the show, but we also would not let our kids be around a loaded gun. So I do think that we need to change the engineering of it so that we can keep the good and not have the bad.

I entered high school in 2000, before the social media boom, and I always joke with friends how I probably would not have survived if we had it the way kids do now.

The genie is out of the bottle. But there is regulation now to get rid of it in schools, which I think is great. We also see the problem of distraction in the show. And we see the need of this generation for person-to-person connection, which they don't have enough of. We've also seen how for people like Nina, LGBTQ+, even some of the social justice reactions that happen in the series, it has a use. It also is a means of creativity and entrepreneurship. And we see that with our characters too.

But there are also just things that make life extremely toxic for teenagers—the 24/7 comparison culture, the algorithm bringing them down harmful paths of learning. What some of the new information coming out of TikTok’s internal research shows us is that these apps are engineered and they can be engineered differently.

Have you seen the Jim Henson movie? It’s called Idea Man.

No, I haven’t.

One thing that really moved me that I thought was relevant to social media and thinking about the good and bad of it, is that Joan Ganz Cooney—the TV producer who started Sesame Street—had this idea of bringing in people who know what kids love, which was Jim Henson and the creatures, with people who know what kids need to learn and what they need. It’s that second piece that has never been relevant to tech designers and engineers who have only been designing for maximum engagement, even if it's at the expense of the health and well-being of young people. We have a mental health crisis on our hands because of it. Technology is important and important for so many reasons, but I think we have an untenable situation with the current engineering of social media.

So you’re saying we need even more guardrails?

Now having filmed the show—and I hope people get it—we have to have empathy for these teenagers. Like, it's not fair to ask them to self-regulate when the apps have been designed to be addictive.

How did you land on Los Angeles as the petri dish for this social experiment?

I've been looking at youth culture for 30 years. My first book, Fast Forward: Growing Up in the Shadow of Hollywood explored how kids were influenced by the values of fame, image, and materialism. Those themes are also really relevant in the social media age. Fame is something that is not for celebrities anymore, it's for every kid looking for likes. And likes have become a rite of passage, in terms of popularity. Image making, FaceTune, Photoshop, styling, curating your brand—all of these things that used to be the realm of celebrities are now the realm of everyday children. And a lot of times in my work, I'm trying to document the air we breathe, the popular culture that's all around us. Sometimes it's hard to see. So for me, with LA, I wanted to look at where that was the most pure and strong, rather than where it was average.

The point of view shifts between students and parents. Ivy’s mom in particular has very sharp views about trans people, vaccines, and politics. Why also include their voices in a series so acutely focused on teen life?

When I started, I didn't know I was going to include the adults, but they ended up being so important. There are a lot of loving, caring parents in the show who have no idea what's going on in the social media lives of their kids. I didn't know a lot as a parent either. I think that the show is very entertaining for teenagers, twentysomethings, and thirtysomethings. For parents, it's more of an education and I hear more of them being shocked by it. It was important to see the disconnect between this generation and their parents, how much things have changed, and how much parents don't realize what's going on.

Many of the kids started taking action into their own hands.

One of the most important things I came out of this with is, parents, teachers, and administrators are not addressing the problems. They might not even understand the problems. So we get this world of young people helping each other. We have Jonathan, Cooper, and Dominic all working at a crisis hotline doing peer counseling for kids in distress. We have Anthony who becomes a vigilante because he's so frustrated that nobody's doing anything about the racist incidents and sexual assault that he’s seeing. And we have kids also making media, like Cooper having a podcast about body image. That stuff is sprouting up because they're very alone in this.

Why do you think there is such a disconnect?

They’re just from a different generation. My youngest, who is 20, I remember I would ask to see stuff. And this was in the earlier stages of social media. You know, I kind of demanded that he would show me. But he refused. He had a different view of everything. He felt it was his private space. We need to move off that and open up a dialog. This show, it's really meant more to open dialog rather than have solutions, even though the kids give us some solutions. But the parents are an important part of the equation.

Like Ivy’s family?

Ivy's family story was a really important social media story. It's kind of the story of the division that we're seeing in our culture now—how algorithms and silos take us into these different ways of thinking and split us apart, how they make the other the enemy. We’re seeing how terrible the disinformation problem is, how tragically it could affect all of us in this election. Their story came about very unexpectedly. But I thought it was fascinating, and getting to know all the members of that family, you can see how both parents love their kids, how both kids love their parents. I didn't want to vilify anybody. But we also see how tragic it is when ideas and algorithmic silos divide family members.

Watching the series made me wonder if these kids are doomed, in a sense, because they are so beholden to platforms like TikTok and Snap. It’s all they know. Is this a tragic story?

No, I don't think so. The hope we see in episode five and their resilience is a testament to the resilience of this generation and the way they can help us carve a path forward. If anything, the adults have been a little bit irresponsible and kind of unknowing. The tech companies have been downright irresponsible. Safeguards like we have in all other media have been missing. Not to point fingers, this is a medium that has come up very quickly—

Please point fingers.

Look, it's relatively new what we're learning. In episode five, Sydney says, “Once we knew the harm of cigarettes with lung cancer, there was change made, there was regulation. And now we know there's a connection between social media, mental health, eating disorders, and suicidal ideation.” So once this knowledge is here, we have to act. To me it's very hopeful, and I know at the end the kids are like, “What do we do? We can't live without it.” But understanding that ​​there are actually a lot of things that can be done, between regulation, between asking tech companies to change the algorithm, and also legally if they were responsible for their publishing, like every other publisher, we might be in a different space.

[bootleglesbian]

available bootlegs

this is everything i currently have available (updated 06/18/24). if you have anything to trade i generally prefer that but i am open to gifting any of the titles that are not starred! as a rule, if no cast is listed or only some members are listed, that means that i do not know the cast but i am happy to send a screenshot if you would like (and if anyone is interested in helping me identify unknown casts or dates of any files, let me know!).

green = video, pink = audio, starred = trade or donations only

*Anastasia (Hartford Theatre pre-Broadway run - Christy Altomare, Derek Klena)

*Anastasia (Broadway - Christy Altomare, Derek Klena)

Beautiful: The Carole King Musical (Broadway, 06/24/18 - Melissa Benoist)

Beetlejuice (Broadway, 10/31/19 aka Halloween)

Book of Mormon (Broadway - Ben Platt)

Come From Away (Broadway - Jenn Collela)

Falsettos (Proshot)

Falsettos (Broadway - ORC, not proshot)

Falsettos (Tour - Max von Essen, Nick Adams, Eden Espinosa, Nick Blaemire, Audrey Cardwell, Bryonha Marie Parham)

*Falsettos (Tour - Max von Essen, Nicka Adams, Eden Espinosa, Nick Blaemire, Audrey Cardwell, Bryonha Marie Parham)

Freaky Friday (La Jolla)

*Ghost (Broadway - Caissie Levy)

Hamilton (Broadway - Lexi Lawson)

Hamilton (First National Tour - Michael Luwoye, Solea Pffeifer, Joshua Henry, Emmy Raver Lampman, Isaiah Johnson, Jordan Donica, Mathenee Treco, Ruben J. Carbajal, Amber Iman, Rory O'Malley)

*Hamilton (Chicago Act 1 only - Karen Olivo, Ariana Afsar, Samantha Marie Ware, Miguel Cervantes, Joshua Henry)

*Hamilton (Broadway - OBC, not proshot)

*The Last Five Years (Off-Broadway - Betsy Wolfe, Adam Kantor)

*Lempicka (Broadway, 03/38/24 - Eden Espinosa, Amber Iman, Andrew Samonsky, George Abud, Natalie Joy Johnson, Zoe Glick, Nathaniel Stampley, Beth Leavel)

*Mean Girls (Broadway, 02/22/20 - Renee Rapp, Erika Henningson, Barrett Wilbert Weed, Grey Henson, Kate Rockwell, Krystina Alabado, Kyle Selig)

*Mean Girls (National Tour)

*Mystery of Edwin Drood (Broadway - Stephanie J. Block, Betsy Wolfe, Jessie Mueller)

*The Prom (Alliance Theatre pre-Broadway - Caitlin Kinnunen, Anna Grace Barlow)

*She Loves Me (Broadway - ORC proshot)

Waitress (ART pre-Broadway run - Jessie Mueller, Jeanna de Waal, Keala Settle, Drew Gehling, Joe Tippett, Dakin Matthews, Christopher Fitzgerald, Eric Anderson)

*Waitress (Broadway - Jessie Mueller, Keala Settle, Molly Jobe, Drew Gehling)

*Waitress (Broadway - Sara Barielles, Chris Diamantopoulos, Charity Angel Dawson, Molly Jobe, Will Swenson, Christopher Fitzgerald)

*Waitress (Broadway, 06/19/17 - Betsy Wolfe, Drew Gehling)

Waitress (Broadway, 12/14/17 - Stephanie Torns, Jason Mraz)

Waitress (Broadway - Shoshana Bean, Jeremy Jordan)

*Waitress (Broadway - Shoshana Bean, Jeremy Jordan)

Waitress (Broadway, 02/03/19 - Sara Bareilles, Gavin Creel)

Waitress (Tour, 08/26/18)

Wicked (Broadway, 02/01/15 - Caroline Bowman, Kara Lindsey)

Wicked (Broadway, 02/10/13 - Donna Vivino, Ali Mauzey, Kyle Dean Massey, Randy Danson, Adam Grupper, Catherine Charlebois, F. Michael Haynie, Tom Flynn)

Wicked (unknown - Eden Espinosa, Megan Hilty)

*Wicked (Broadway - Stephanie J. Block, Annaleigh Ashford)

*Wicked (Broadway - Lindsay Mendez, Katie Rose Clark)

[redhoodedangel]

Okay, but Arkham! Jason as a dad is literally Rebecca Parham’s mother after finding out she got bit by a bully they were standing up to…

Omg, just…

Jason’s kid: *thoughts* Wait a minute… he didn’t get a call from the principal. He doesn’t know. But that’s not right. He should know… or I got this bite on my arm for nothing…

Jason’s kid: *inhales*… Look what Millie did to me…

Jason: Oh hell no…

*minutes later*

Jason: *kicks in the door to the principal’s office* EXPLAIN YOURSELF, MEATHEAD!

Principal: *absolutely shitting themselves*

Jason’s kid: *Regrets everything almost instantly*

And then Reader is the equally supportive mother who rewards their kid with ice cream or whatever they want at the toy or candy store.

[jessicafurseth]

Reading List, Joy in all Quarters edition.

“Life shrinks or expands in proportion to one’s courage.” - Anais Nin

[Images: Andrea Constantini]

*

Happily Ever Divorced [Molly Rosen, The Cut]

On alcohol and pleasure [Emily Oster, The Atlantic]

Meet the next generation of South Korean seawomen [Louise Kruger, Huck]

Stop firing your friends! [Olga Khazan, The Atlantic]

The lessons from the great experiment of the pandemic lockdown [Joe Nocera and Bethany McLean, The Cut]

The research into Seasonal Affective Disorder is a mixed bag, but maybe that doesn't matter?  The questionable science of SAD [Grace Browne, Wired]

"Millennials are the last of the analog world, both of yesterday and tomorrow, the bridge between what was and what will be. Maybe this is where my hesitation takes root, and why it feels like there are no good apps left for socializing the way we used to." What's next for first generation social media users? [Jason Parham, Wired]

New thinking about burnout by the millennial burnout queen, Anne Helen Petersen [Culture Study]

A genealogy of resistance [Eitan Nechin, Los Angeles Review of Books]

How we downsized our house without throwing anything away - can it be done? [David Pogue, The Cut]

"In the 1960s, two macrobiotic enthusiasts started a health-food sect beloved by hippies. Now it��s the most culty grocer in LA." Welcome to Erewhon, Los Angeles [Kerry Howley, The Cut]

At the Confident Man Ranch [Rosecrans Baldwin, GQ]

"The manosphere promises to fix young men’s lives, but it’s making them miserable." Boy problems [Eamon Whalen, Mother Jones]

"I wasn’t ready for the “Doña Body".” [Xochitl Gonzalez, The Atlantic]

It’s Time To Start Embracing Our Flop Eras [Daisy Jones, Vogue]

Kleo - eine Netflix serie (dubbed into English!)

Historic England on Instagram

[demifiendrsa]

History of the World, Part II | Trailer

The mini-series sequel to Mel Brooks’ History of the World, Part I film will premiere on Hulu on March 6, 2023, followed by two new episodes daily through March 9, 2023.

Cast additions

Jack Black, James Adomian, Jason Alexander, Fred Armisen, Tim Bagley, Dan Bakkedahl, Travis Bennett, Sarayu Blue, Craig Cackowski, Arturo Castro, Parvesh Cheena, Margaret Cho, Andy Cohen, Andy Daly, Colton Dunn, Ayo Edebiri , Ana Fabrega, Marla Gibbs, Blake Griffin, Mitra Jouhari, Preston Lacy, Robby Hoffman, Anna Maria Horsford, Brian Huskey, Mousa Hussein Kraish, Bobby Lee, Mena Massoud, Wendi McLendon-Covey, Crystal Kung Minkoff, Finesse Mitchell, Natalie Morales, Pam Oliver, Ana Ortiz, Adam Pally, Lennon Parham, Chris Pontius, Rob Riggle, Matt Rogers, Paul Rust, Paul Scheer, Andrew Secunda, Jessica St. Clair, Carl Tart, Drew Tarver, Christopher Thornton, James Urbaniak, George Wallace, Michaela Watkins, Wee Man, Kym Whitley, and Casey Wilson.

Previously announced cast members

Mel Brooks, Wanda Sykes, Nick Kroll, Ike Barinholtz, Pamela Adlon, Tim Baltz, Zazie Beetz, Jillian Bell, Quinta Brunson, Dove Cameron, D’Arcy Carden, Ronny Chieng, Rob Corddry, Danny DeVito, David Duchovny, Hannah Einbinder, Jay Ellis, Josh Gad, Kimiko Glenn, Brandon Kyle Goodman, Jake Johnson, Richard Kind, Johnny Knoxville, Lauren Lapkus, Jenifer Lewis, Poppy Liu, Joe Lo Truglio, Jason Mantzoukas, Ken Marino, Jack McBrayer, Zahn McClarnon, Charles Melton, Kumail Nanjiani and Brock O’Hurn, Andrew Rannells, Emily Ratajkowski, Sam Richardson, Nick Robinson, Seth Rogen, Sarah Silverman, Timothy Simons, J.B. Smoove, David Wain, Taika Waititi, Reggie Watts and Tyler James Williams.

[areadersquoteslibrary]

"To truly capture authenticity, you can't engineer control. You must accept the loss of it."

'Reality TV Saved Me'

-Jason Parham,

Wired Magazine June 2023

[mitchipedia]

Jason Parham at Wired: “The internet promised us access, but I didn’t realize the totality of what that meant. It meant always being plugged in, available, in the know and up to date on what’s trending. That is a requirement of time that I no longer wish to give over.”

[reasoningdaily]

Black Twitter will not save us for what’s to come. As the days towards the 2024 presidential election draw near and the rage-filled screams of college students fill the halls of the nation’s most prestigious institutions, the United States finds itself at a crossroads. Will the most powerful country in the world revert back to when Donald Trump won the White House, or will we vote for Joe Biden to maintain his stronghold? This is the question that every American must answer before and on November 5.

If the everyday American (specifically the everyday Black American) was undecided about which candidate to vote for, it only takes one watch of Black Twitter: A People’s History, a three part docuseries based on journalist Jason Parham’s 2021 WIRED article “A People’s History of Black Twitter,” to understand that we must vote for Biden.

The series attempts to archive, document, and chronicle the force that is known as Black Twitter, two words that have been used to characterize Black digital life on the social media platform. It’s a platform that the series will remind you was not created by Black people, but brought into prominence by the attitudes, mannerisms, and behaviors of Black users on Twitter. But despite incessant commentary about how Black people are not a monolith, the docuseries—in its attempt to associate the Black Twitter community with an era that supposedly no longer exists—ultimately treats Black Twitter as such.

Creation is at the core of the series’ story. The words of Amiri Baraka’s "Technology & Ethos" essay are repeated and paraphrased throughout the three-part series in a fashion similar to a mother reading her child’s favorite tall tale before tucking them into bed. The essay opens with the following: “Machines (as Norbert Weiner said) are an extension of their inventor-creators. That is not simple once you think. Machines, the entire technology of the West, is just that, the technology of the West.” Baraka continues: “Nothing has to look or function the way it does. The West man’s freedom, unscientifically got at the expense of the rest of the world’s people, has allowed him to xpand his mind–spread his sensibility wherever it cdgo, & so shaped the world, & its powerful artifact-engines.”

The next line is where Black Twitter, or more broadly the relationship between Black people and technology, come into play. “Political power is also the power to create—not only what you will—but to be freed to go where ever you can go—(mentally physically as well). Black creation—creation powered by the Black ethos brings very special results.”

In the case of both Twitter the platform and also Twitter the company—where Black people acquired leadership positions at one of the fastest growing tech companies in the world, used their presence online to enact change in the areas of racial justice and police reform, and increased diversity and representation from Hollywood to Silicon Valley and everywhere in between—what did those very special results bring? That answer is complicated, and one that the docuseries tries to grapple with but falls short.

As seen in the series, #OscarsSoWhite corrected a decades long practice of exclusion by the Academy and created opportunities for actors of color to receive membership into the voting body that decides the Oscars. In the nine years since the hashtag’s creation, gradual efforts were made towards greater representation on screen. Yet, the subsequent mass exodus of women of color in Hollywood leadership positions and the low number of films directed by women and people of color seems to contradict the docuseries’ overarching narrative of a hashtag's singular impact. Yes, the hashtag narrative as an idiom to bring forth change is powerful, but the counter response to them is just as telling.

The most blatant example of this is the #BlackLivesMatter portion of the docuseries. The docuseries chronicles the pivotal role Twitter played in the rise of citizen journalism, particularly during the murders of Trayvon Martin, Michael Brown and Eric Garner. It also looks at the creation of #SayHerName, a social media response to the erasure of Black women, such as Sandra Bland, and Black trans women, like Mya Hall, who lost their lives to police violence, but were often overlooked by the male-centered BLM movement.

This is where Baraka is felt the most: Black creators have harnessed the power of technology, in order to counteract the West’s political power, which puts them in danger of losing their lives. Minute after minute, frame after frame, the docuseries asks the viewer to bear witness to the ways in which Black Twitter, through the creation and utilization of hashtags, on-the-ground reporting, and 24/7 news coverage, has long been victimized by police violence.

But like Baraka said, the machine is an extension of its inventor-creator, and the creator, or in this case the executive producers of the docuseries, have a hand in its invention. It's a creation that feels foreign to those who birthed and have maintained Black Twitter as a living and breathing cultural archive of Black digital life. A life that has no singular partisan belief or political agenda. A life that, in many ways, bites the hand of the docuseries creators. It’s a hand that delicately weaves the ascension of Barack Obama to the presidency with the birth and rise of Black Twitter. The two are in a covenant of holy matrimony.

Just ask Brad Jenkins, former associate director of the White House Office of Public Engagement, who frequently appears throughout the docuseries. Or Carri Twigg, the former Associate Director of Public Engagement of the White House, who serves as one of the series’ executive producers. There is no direct mention that the Black Lives Matter movement started under the Obama administration—or acknowledgment of the overwhelming collective action by Black students at the University of Missouri during that time, as well as the solidarity actions that occurred across college campuses in the U.S.

The series goes on to connect the rise of misinformation, the proliferation of Russian bots, and the 2016 election of Donald Trump as a reaction to the Obama presidency and Black Twitter. In fact, the series’ somber moments—where anti-Black sentiment is seen in reports of algorithms being altered to increase traffic towards users that display racist and misogynistic behaviors online, and clips of white women calling the police to inflict harm and violence on Black people for simply living—are linked to the Trump portion of the series. But that is ahistorical in and of itself because Black women have been calling attention to the ways in which they are subjected to anti-Black violence and harassment online since the 1990s. BBQ Becky is just Carolyn Bryant by another name.

Read More: Twitter Offers More Transparency on Racist Abuse by Its Users, but Few Solutions

If the Obama years of Black Twitter were fun, the docuseries posits, the Trump years of Black Twitter were hell. From the COVID-19 pandemic to the global uprisings over the deaths of George Floyd and Breonna Taylor, the year 2020 within the docuseries is marked by culture shifts towards violence, including the misogynoir Megan Thee Stallion experienced online after she came forward about being physically assaulted by Tory Lanez. The year is also peppered with glimmers of a Black Twitter of yesteryear: a communal moment of gathering to live tweet “Verzuz” challenges or to watch The Last Dance as a family. Communal moments that are thought to be associated with the Obama administration.

And just like that, the docuseries pivots to showcase the Black voters in South Carolina, who are thanked for their votes for Biden in the 2020 election. Biden is even described as Obama’s right hand man. It is in this moment that the series wants the audience to remember the joy of the Obama years, the hope of the Obama years, and most importantly, the impact of Black voters in the Obama years.

I do not mean to spoil the climax of the 2020 section of the docuseries, but Biden won and Elon Musk replaced Trump as the villain of the series. Musk’s acquisition of Twitter, now known as X, is met with despair, exodus, and rage. Efforts to humble and humiliate Musk are flashed across the screen as former Black employees at Twitter in one-on-one interviews discuss the destruction of their years of labor and hard work to diversify the platform. Black academics, celebrities, and personalities lament as they say a goodbye to the good days of Twitter. Mastodon, BlueSky, Spill, LinkedIn, and of course TikTok are depicted as places of solace for Black users who feel unwelcome on X. (X has since eliminated any protections for marginalized and disenfranchised users on the platforms.)

Four years after the election of Biden to the presidency and with the forthcoming election looming, the series bids Black Twitter adieu with the foresight that Black people will always continue to innovate, despite not being given the tools or resources to create. This is exemplified by a reference to soul food, and a call to action to create our own archives—the thesis of Black Twitter: A People’s History.

But what Black Twitter fails to realize—and simply can’t capture—is that we are not in 2008 anymore. Or 2012. Or 2020. The Obama coalition is dead. The Biden coalition is falling apart by the day and culturally resonant programming falls flat compared to the citizen-led reporting that is coming to life in front of our very eyes. Just look at the actions of the student journalists at WKCR, the Columbia University radio station that covered the raid of Hamilton Hall by the New York Police Department. Or the wave of anti-war protests by Black students at HBCUs. Guess where these students learned how to organize from? Black Twitter. They’re not just archiving their own stories—they’re creating them.

But that’s the flaw of content like this. It doesn’t have the capacity to capture the legacy of a movement because it’s a movement that isn't over. It is still unfurling—still morphing and coming to life in front of our very eyes. These are children who came of age on Black Twitter. They’re still using those tools to make us laugh, to inspire change, to create community.

If there is anyone who will save us (and in turn, if there’s anything worth saving), it's them. Not Black Twitter.

[jkottke]

Black Twitter: A People’s History is a three-part Hulu documentary series directed by Pentice Penny (Insecure) premiering in May. It’s based on Jason Parham’s Wired article of the same name.

[nezoid]

January 2024.

🎥📸🎂🎭🐶🎬✈️🚞🚌🚙🖤

-Jenna Ortega - Miller’s Girl Premiere at Palm Springs International Film Festival

-Aubrey Plaza and Christopher Abbott - Danny and the Deep Blue Sea - Lucille Lortel Theatre

-The Last Improv Show with monologist Stephanie Courtney and cast Dan Black, Edi Patterson, Nicole Byer, Paul Welsh, Mike Mitchell, Jon Gabrus - Dynasty Typewriter

-Search History UCB with Jocelyn Deboer, Fran Gilliespie, Marcy Jarreau, Betsy Sodaro, Madeline Walter

-Spanish Aqui Presents with Raiza Licea, Oscar Montoya, Carlos Santos, and Tony Rodriguez

-The Last Improv Show with Bobby Moynihan, Dan Black, Betsy Sodaro, Lennon Parham, Jason Mantzoukas, Phil Jackson, and Guest Monologist Chris Fleming

-birthday trip: LA (Home) to NYC, back to LA, to Palm Springs, then back to LA (Home)

-Lots of Tallula & Wednesday (my dogs)

[mariacallous]

In Hollywood, the present is the future is the past.

Twin strikes shut down production for six months last year, and with its workforce still on ice, the entertainment industry has been slow to recover. Domestic box-office revenue is expected to be 30 percent lower this year compared to 2019. By 2028, cable TV subscriptions are expected to decline by 10 million. And with the looming acquisition of Paramount Global by Skydance Media, the future of Hollywood is as it ever was: reliably uncertain. As one studio executive described it to the Los Angeles Times, it’s “something of an existential question mark.”

Of course, this isn’t Hollywood’s first—or second or third, for that matter—financial reckoning. “When we look closely at history, we realize that all the negotiations we have to make about character, about financing, about representation and all these things have been asked before,” says Maya Cade. “Ego tells us that we must be the first, but why would we want that to be true?”

This, in part, was Cade’s mission when she launched Black Film Archive in 2021. At a “moment when people were demanding the full totality of our lives to be represented in media,” she says, “they felt as if Black film could not hold the capacity for Blackness.” Cade knew better. So she got to work and built what is now the most exhaustive online database of Black cinema titles, spanning diverse, obscure, and well-known films.

A former audience development strategist at the Criterion Collection, she tells me people were missing a larger context to the issues at hand. The archive, which celebrated its third anniversary this August, features more than 300 films released between 1898 to 1999, with each title available to stream online. What Cade has accomplished is both rare and essential: She has indexed a century's worth of Black moviemaking and made it free to access.

Anxious to learn more, I reached out to Cade to help make sense of what’s happening in Hollywood. Over the phone from Los Angeles, where she recently relocated, Cade and I talked about the fate of the entertainment business, the grave implications of the Internet Archive lawsuit, and how we can better preserve history on an internet that likes to forget.

Jason Parham: Is it true that the idea for Black Film Archive sprang from a conversation on Twitter?

Maya Cade: I was on Twitter in June 2020, and I saw a lot of people talking about how racist or dramatic Black films are as a way to dismiss them. So instead of shaming people for that opinion, in my mind I was like, OK, how do I make an offering for people to discuss that belief, to contrast that belief, and also move us past it. I don't want to dismiss the truth because it's harsh. And I know there are many ways to get to the truth. I also don’t want to dismiss people who feel that way. But I want to offer another lens of how they're seeing it. Because when we talk about Black films as only being traumatic, we're reducing the art form in a very minuscule kind of way. This idea of like, “Oh, all these films are about slavery. All of these films are about trauma porn.”

Which, of course, isn’t true.

I did the calculations of how many films are about slavery—and they were quite few across time. But I understand that at the same time, what does it mean when a white decisionmaker wants to see Black people in a specific way? They have the power of how we're told in media. I also understand that film becomes the dominant narrative of how history is told. So there are multiple truths to contend with. But I think we're better prepared to contend with those things when we have a full look of what Black film’s history can offer.

The Internet Archive recently lost an appeal, which could have major ramifications to how we access information. Resources like Black Film Archive and the Wayback Machine are also part of this conversation. This is a bit of an abstract question, but how do we better hold on?

One goal of the early internet was to democratize knowledge. Whether everyone agreed with that is a different point. And the Internet Archive is one of the only things from the early internet to still exist in its same way. Wikipedia, too. These two things are constantly under attack, because to share knowledge freely means that someone wants to come in and control the free flow of knowledge. They want to profit from that.

In so many ways greed has become a default response to various public resources.

With that being known, what do we do? The world has been upended. The only truth that we know is in books. On the internet, AI has turned knowledge upside down. AI leaves out the essence of truth. For example, through summary, it assumes who you are and what you want to know quickly about something, which isn't the same as a human would do it. That process can remove layers of truth at a very basic level. With that being the foundation of the internet of the future, the Internet Archive is essential. In the last 10 years, we have moved away from the internet as a service to the internet of things. An internet as service—it was a destination. It was a place that you could freely roam, explore, and use as a guide.

Is there a way back to that?

If we want places on the internet that aren't run by AI, where knowledge is freely shared, where we can explore as we desire, then we must invest our time, our coins, we must advocate and protect as much as we possibly can. There’s so much on the internet that would crumble if the Internet Archive or Wikipedia falls. That's a threat to many people because, ultimately, when you control the flow of knowledge, you control everything.

The consequences would be extraordinary.

It's almost as if the basic concept of the library would be a pie-in-the-sky idea today, because someone would ask, well, how could I make money from that? When Black Film Archive launched, many people wanted to profit off of it. Many people asked to sponsor it. The thing is, once you create something that becomes a front line of culture, the question isn’t “How do I help sustain you?” The question is “How do I own you?” I said no because I’m firm in Black Film Archive being free.

On the subject of money and ownership: Earlier this year, following the cancellation of several Black TV shows, you wrote, “Studios and streamers no longer care about loyalty or enduring legacy.” Why does Hollywood, in 2024, still have such a difficult time aligning its legacy with its business?

Well, here's the thing, the legacy business, they feel as if that work is behind them.

But isn’t that what Hollywood is built on?

Yes, but to create new legacy and new inroads, to them, that is less important than extracting every possible dollar from existing IP. It’s more “expensive,” quote-unquote, to create something than it is to rest on existing laurels. The beginning of the end of this, to me, was when Warner Brothers and UPN merged into The CW. Now, 20 years later, the CW is a shell of itself. In mergers, you're no longer competing with someone to make the best content. With the merger of Warner Brothers and Discovery, they own, what, one-fourth of TV? That competition era of television—it's over.

Which has a direct impact on the creative side.

The legacy-driven model only happens now in vanity. So a lot of stars are using their own distribution or first-look deals to produce things. And these are the majority of people who are allowed to create. So what does Hollywood mean when the only people who are given freedom are people who have already done the taxing work—if they have at all—to become stars? Hollywood is not in the business of guarantee. Everything must be proven before it's even created.

And if that’s the case, so many people get left out.

And if everything must be proven before it's even created, then Blackness never had a chance. It doesn't have a chance. The fight for nostalgia as currency comes in a moment where some of the highest rated things are non-white. That's not an accident. It’s as if television, media, and filmmaking are becoming manifest destiny in the wrong ways. And there's nothing sadder.

Perhaps we need better frameworks.

People have upended industries to chase Netflix. And no one has caught up. Everything has fallen in this chase. What’s happening now is, people are only duplicating the best and the most watched. There is no diversity in how things are being delivered.

You once described “post-2020 Black media as akin to a modern day blaxploitation boom.” It got me thinking about platforms like Tubi and AllBlk, which are sometimes mocked as being a kind of streaming ghetto, but those same streamers have also given opportunities to young creators.

Blaxploitation, as I was saying, makes way for Spike Lee, it makes way for the '80s independent Black movement that, of course, shapes everything we know about modern Black film and modern Black media. At every valley, there is a peak. It’s the nature of life. So what do I think is ahead? We should be thinking about independent models that have existed before our current era. There are many ways to make media. With pilot season essentially dying, as the studios have announced, what are some ways that Black creators can forge together to make what they desire?

I mean, I don't know if I have the answers, but I do have the curiosity. And oftentimes curiosity and care—and leading with them—can transform how we understand history and the future.

[fahrni]

Saturday Morning Coffee

Good morning from Charlottesville, Virginia! ☕️

Another week and month in the books. We’ve crossed into February and Punxsutawney Phil says six more weeks of winter. I’m ok with that. Coffees ready, let’s get going.

MARK KENNEDY • Yahoo

Carl Weathers, linebacker-turned-actor who starred in ‘Rocky’ movies and ‘The Mandalorian,’ dies

I remember seeing Rocky as a kid and I didn’t much like Apollo Creed. He was arrogant, cocky, and besides, the star of the show was Rocky, the underdog. Of course they eventually became friends and I liked him then.

I loved him as Al Dillon in Preditor and as Chubbs in Happy Gilmore.

R.I.P.

Amanda Richards • Netflix

NASCAR: Full Speed Is Coming to Your Screen at 200 Miles per Hour

I blew through the five episode season in a couple days. Why’d they only order up five episodes in the first season? I mean, F1: Drive to Survive has had 10 episode since season 1.

They focused on the playoffs but they could’ve done more leading into the playoffs. It’s a long season full of drama and I wanted more.

Overall it was really good and I hope we get a full 10 episodes in season 2.

Pkl

Define all your data in Pkl, and generate output for JSON, YAML, Property Lists, and other configuration formats.

Pkl is an Apple project. They’re trying to become a services company and having a better means of managing things sounds like a good idea.

It’s odd to see Apple using Java and Kotlin for this but it does make sense given it’s meant to be portable to different platforms. And by different platforms I mean actual different platforms like Linux, Windows, and Mac. Not Mac, iPhone, and iPad. 😄

Jason Parham �� WIRED

Black Twitter Remains Unbothered in Elon Musk’s X

I’ve seen folks on Mastodon talking about how difficult it is for Black Mastodon to get started.

When I setup Curmudgeon Cafe there was a large contingent — and still is — of LGBTQ+ instances.

If memory serves it was more a matter of discoverability.

I’d love to see multiple BIPOC instances spring. We need more diversity, not less.

Miguel de Icaza • blog.la-terminal.net

My current effort is slightly different: how to build a native iPadOS (and hopefully VisionOS) experience for Godot. So rather than rewriting the existing Editor codebase with Swift, this effort is about making a SwiftUI on top of the existing Editor.

I don’t keep up with Godot but I do keep up with Miguel. It’ll be fun to watch his effort evolve into a finished product.

Robert Downen • Texas Tribune

Texas' standoff with the feds in Eagle Pass is igniting calls for secession and fears of violence

The MAGA crazed are ready for war and his orangeness is egging them on. Not only that he’s actively working with leaders in the House and Senate to blow up a bipartisan bill that would be the best deal the GOP has seen on the border. All to get that orange dumbass re-elected.

David Nield • Lifehacker

It’s 2024, and I’m here to extol the virtues of using an RSS reader.

Of course everyone should use an RSS reader! Might I recommend Stream for iOS? 😘

Yes, yes, it’s my app, but you should give it a try and if you like it, please, leave me a tip. 🙏🏼

Tim Hardwick • MacRumors

NHS App users in England can now collect medication from a pharmacy without having to visit a GP or health center, according to NHS Digital.

Man oh man would I love to have a national healthcare system that’s fully integrated and lets me manage how I interact with doctors and other healthcare providers.

I’d like it to work like Facebook. Doctors should invite me to join, or I invite them to join, my medical record.

American Healthcare is still stuck in the past. I’d love to see it fixed.

Nick Barclay • The Verge

Spotify accuses Apple of ‘extortion’ with new App Store tax

Spotify and others didn’t get what they really wanted. They don’t want to pay a single cent to Apple. Which from a business perspective makes perfect sense.

Guess we’ll see what the law says.

Aki Ito • Business Insider

In the two years I’ve been writing about Americans' changing relationship to work, there’s one theme that’s come up over and over again: loyalty. Whether my stories are about quiet quitting, or job-hopping, or leveraging a job offer from a competitor to force your boss to give you a raise, readers seem to divide into two groups.

There are so many factors to loyalty. The true believers exist and they have little to fear. Then there are the masses who quietly do their jobs and aren’t really seen.

We had a layoff at work last May and it destroyed morale, destroyed the company culture, and left loyalty at an all time low.

I hate to be so cynical but companies aren’t there for you. They’re there to make profit. Loyalty from the company only extends so far to the employee.

I still love my job and work hard at it everyday but I fear being laid off.

Jakub Porzycki • The Verge

Microsoft says Apple’s new App Store rules are ‘a step in the wrong direction’

Of course they think it’s going in the wrong direction! They’re a huge corporation in the business of selling software. They don’t want to hand any of it over to Apple.

Epic’s Tim Sweeney referred to it as “Malicious Compliance.”

Get out the popcorn! 🍿

Vadim Kravcenko

New libraries. New languages. New Frameworks. New Intern coming in and thinking he can rewrite better parts of the code himself. It’s easy to get swept away. But is the newest framework always the best choice? Is a rewrite really going to make everything better? Or is there wisdom in the code that has been around for years, has been tested with crazy edge cases, and has evolved together with the business?

I understand why folks are tempted to rewrite thing, I really do. When I wasn’t a dinosaur of a developer I hand that tendency. “I can make this better”, my brain would say. Sure, there’s occasion to “turn the soil” once in a while and I believe that’s good for a code base. But a full rewrite? No. 🌹

Nikita Prokopov

As you can see, even the checkmark wasn’t always there. But one thing remained constant: checkboxes were square.

A square checkbox is something us old timers are accustomed to seeing and changes can be confusing.

The Vision Pro’s checkboxes are confusing but I kind of like UIKit’s toggles as long as you don’t go crazy styling them. 😃

Nilay Patel • The Verge

It sounds amazing, and sometimes it is. But the Vision Pro also represents a series of really big tradeoffs — tradeoffs that are impossible to ignore. Some of those tradeoffs are very tangible: getting all this tech in a headset means there’s a lot of weight on your face, so Apple chose to use an external battery pack connected by a cable. But there are other, more philosophical tradeoffs as well.

I think Nilay did a great job balancing his review of Vision Pro.

It’s a great start but has a really long way to go as a general computing device. That’s my opinion having never used one.

I really believe we’ll get a sense for how we should be using it if we see pictures of Apple Executives wearing it daily to do their jobs. I kind of doubt we’ll see that for anything other than articles written about it.

The iPhone, Watch, and AirPods are devices those same executives probably use everyday. I just can’t see them using Vision Pro as much.

When/if they’re ever able to make them look like regular glasses and they cost around $500-800 I’d consider wearing them all the time. Until then they’re way too expensive for my blood. I would rather spend that kind of green on a new MacBook Pro.

Will Stream support Vision Pro? I think so. I have no idea when, but I think it will.

[aria-allium]

anyway my final message before going back to hell. read "tiktok and the evolution of digital blackface" by jason parham on wired i used it as a source for my final and reading it changed my life. gootbye 🫡