#anti Shonda Rhimes

[vicontheinternet]

The way bridgerton is one of the most racist fandoms I’ve come across and for it to be created by a black woman is crazy

[thedisdainfullysilentvisitor]

Every day we wonder what on earth SR was thinking not just making a show about Penelope Featherington.

[benedictsvestcollection]

Shonda really tried to tell me that Penelope is a working class woman 😂😂

She hasn't read AOFAG and no one can convince otherwise

Penelope is just a writer. And barely that tbh. All she does is parrots gossip she hears through other people. A modern day Perez Hilton, that's all she is.

Sophie Beckett is a real working class woman and Shonda is just a sham of a showrunner for not knowing shit about the characters in her own show.

[dchuntress]

damn had a nightmare that one of my mutuals on here cancelled me 😭😭 especially someone who's really nice and cool and friendly to me so I won't name them but the dream itself was so wild. the canceller said "i'm more colored than you" what the F

[edwardsissyhandsthtdanceslikeabb]

Fitzgerald Grant is genuinely such a sicko like guy needs to be lobotomized.

[azurecanary]

Trying to sum up my feelings for Arizona Robbins succinctly and only coming up with "How was this person created by the same woman who created Annalise Keating?"

But then she also created Michaela Pratt so who knows

[ausetkmt]

I first saw Bamboozled as a 15-year-old, in April 2001, at the Ritzy Cinema in Brixton, south-west London, and it threw me for a loop. Written and directed by Spike Lee, the film is an intense satire about a frustrated African American TV executive, Pierre Delacroix (Damon Wayans), who creates a contemporary version of a minstrel show in order to purposefully get himself fired, and expose the commissioning network as a racist and retrograde outfit. However, the show, which features its black stars wearing blackface, becomes a huge hit, prompting Delacroix’s mental collapse, and an explosion of catastrophic violence, the effects of which are felt far and wide.

In a fraught contemporary climate where the mediation of the black image in American society is at a crucial juncture, Bamboozled’s trenchant commentary on the importance, complexity and lasting effects of media representation could hardly feel more urgent. Each time an unarmed black person is killed, then hurriedly repositioned in death as a thug, a brute, or a layabout by mainstream media outlets – as has happened recently to Trayvon Martin, Michael Brown, Eric Garner, Samuel DuBose and countless others – we are seeing the perpetuation of old anti-black stereotypes, forged in the crucible of mass American art, reconfigured for our time.

Lee’s film traces a grim continuum between stereotypes old and new, connected by knotty skeins of institutional racism. Many critics at the time of the film’s release suggested that Lee had needlessly reopened old wounds; that the dark days of minstrelsy were comfortably behind us, and that we should move on. Yet Lee’s vision was not only necessary, it proved remarkably prescient. During the course of writing this book, I rewatched episodes of garish reality TV shows like Flavor of Love (2006-8), starring the clock-wearing rapper-cum-jester Flavor Flav, and The Real Housewives of Atlanta (2008-). I had to concede that Bamboozled’s nightmarish New Millennium Minstrel Show didn’t look so far-fetched after all. I sat gape-mouthed in front of Lee Daniels and Danny Strong’s musical soap opera Empire (2014-) – a wildly entertaining but exceedingly dubious carnival of black pathologies – and couldn’t help but wonder if it was the type of show that would get Bamboozled’s master-wigger network boss Dunwitty (Michael Rapaport) hot under the collar at proposal stage.

When, in October 2014, I saw footage of freshly signed rapper Bobby Shmurda literally dancing on a table in front of a group of executives, exactly like performer Manray (Savion Glover) does in Bamboozled, I began to wonder whether Lee was in fact a secret soothsayer. Not even he, however, could have predicted the transcendentally weird tale of Rachel Dolezal, the NAACP leader in Spokane, Washington, who was revealed to have been white, and posing as African American all along. At the time of the incident, many wags on social media suggested that Lee would be the ideal man to direct Bamboozled 2: The Rachel Dolezal Story.

Bamboozled’s shrewd commentary on the lack of behind-the-scenes diversity in mainstream entertainment is also especially relevant today. The presence of figures like Robin Thede – head writer on The Nightly Show With Larry Wilmore, and the first black woman to hold that position on a late-night network comedy show – and Shonda Rhimes, the powerful showrunner behind Grey’s Anatomy, Scandal and How To Get Away With Murder, is heartening. Yet a report released in March 2015 by the Writer’s Guild of America West revealed that minority writers accounted for just 13.7% of employment: a dismal statistic. Moreover, Rhimes’s success didn’t insulate her from being disrespectfully branded as an “Angry Black Woman” – that most pernicious of stereotypes – in a rancid, supposedly flattering article by Alessandra Stanley in the New York Times

While most of us can cheer the incrementally increasing diversity on our film and television screens, Bamboozled forces us to question the quality and progressiveness of these roles. Ostensibly it’s great that talented actors such as Mo’Nique (Precious, 2009), Octavia Spencer (The Help, 2011) and Lupita Nyong’o (12 Years a Slave, 2013) are winning Oscars, but isn’t the shine taken off somewhat by the fact they were rewarded by the establishment for playing, respectively, a psychotic “welfare queen”, a neo-Mammy in a white savior period picture, and a chronically abused slave? Why don’t black women win Oscars for playing complex heroines or crotchety geniuses like their white male counterparts? Because old stereotypes die hard within an industry that prefers stasis over change. Perhaps even more disturbingly, there’s something inherently soothing about such stereotypes for mass audiences – a point particularly relevant to the wild popularity of Bamboozled’s own minstrel show.

And how far have we come, really? Ridley Scott cast a host of white actors (including a fake tan-enhanced Christian Bale and Joel Edgerton) in his Middle Eastern epic/flop Exodus: Gods and Kings (2014), but his response to complaints was both flippant, and distressingly matter-of-fact: “I can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such. I’m just not going to get it financed. So the question doesn’t even come up.” The best riposte to Scott and his film came from independent black film-maker Terence Nance, who wrote that “[l]ike The Birth of a Nation before it, [Exodus] traffics in absurd cultural appropriation and brown-faced minstrel casting/makeup techniques to rewrite African history as European history, and in so doing propagates the idea that European cultural centrality is more important than historical fact and the ever-evolving self-image of African-descended people as it is influenced by popular representations of people of color in Western media distributed worldwide.”

Nance, however, is just one talented black film-maker among many (Dee Rees, Tina Mabry, Haile Gerima, Julie Dash, Barry Jenkins et al) who have struggled to attract funding to tell artistic and personal stories outside of the monolithic, corporate world of mainstream entertainment which Bamboozled so acidly depicts (even if it is set in the world of TV rather than film.) Lee has long been vocal about the struggles he’s faced in raising funds to tell black-focused stories, and even he had to go cap in hand to fans on Kickstarter to crowd-fund his idiosyncratic, low-budget vampire movie Da Sweet Blood of Jesus (2014). Da Sweet Blood is his most excessive, least easily readable work since Bamboozled, but it can’t match his earlier film for sheer visceral impact.

Bamboozled, then, is a genuine one-off, but I can detect traces of its relentless, irritable, questioning approach in a variety of contemporary art. I see it in Justin Simien’s excellent college-set satire Dear White People (2014), which was inspired by horrific, real-life blackface parties at universities across America. I see it in the antic situational comedy of Key & Peele, whose best sketch, musical spoof “Negrotown”, compresses the madness, pathos and insight of Lee’s film into four-and-a-half harrowingly hilarious minutes. I see it in Branden Jacobs-Jenkins thrillingly audacious play An Octoroon (2013), which reconfigures blackface tropes in daring ways. Most of all I see it coursing through the veins of Paul Beatty’s scabrous satirical novel The Sellout (2015), about a shiftless young black Angeleno who hatches a plot to reintroduce racial segregation, and takes an elderly slave – a disturbed former “pickaninny” star of Little Rascals films – while he’s at it. Like Lee’s film, it plays as a shotgun blast to the face of formal convention, it’s stubbornly resistant to a single concrete interpretation, and it has a lot of very painful things to say about America today.

ABC’s enjoyably gentle sitcom Black-ish (2014-), meanwhile, simultaneously echoes Delacroix’s crisis – with its premise of a middle-class black ad executive (Anthony Anderson) jockeying for position in a white corporate space – and feels like the kind of show Delacroix, free of Dunwitty’s pressure, might have concocted himself.

Lastly, I couldn’t help but think of Bamboozled while poring over Ta-Nehisi Coates’s epic essay in the Atlantic, The Case for Reparations, which uncovers, in forensic detail, the institutional plunder of black Americans from slavery to redlining to mass incarceration and its destructive impact on families. Coates’s fury is more controlled than Lee’s, but it’s equally sincere, and his essay shares with Bamboozled the central imperative to look directly into the heart of past racial sins in order to plot a productive way forward.

It is time, then, to take a close look at Bamboozled, which deserves to be respected as much more than a mid-career oddity in Lee’s filmography. It is a vital work that’s equal parts crystal ball and cannonball: glittering and prophetic, heavy and dangerous.

[vicontheinternet]

Shonda makes “black” shows for white ppl

[thedisdainfullysilentvisitor]

Again; Jonathan Bailey owes nothing to Shondaland and I for one will be celebrating when that show is dead.

[msclaritea]

Keeping in line with the show's history of harassment and torture, SOMEBODY at Netflix also decided that it's time to run the Pre-programmed season, featuring characters cosplaying as real life Benedict Cumberbatch and Rothchild employee, Sophie Hunter. I almost feel sorry for the actors, but mostly, I just feel contempt. I never dropped watching a series, so fast.

And if anyone still doubts that Netflix is corrupt and totally involved in the Hollywood Trafficking game, I have a used car to sell.

‘Bridgerton’s Ruby Barker Calls Out Netflix & Shondaland After Suffering “Psychotic Breaks” – Deadline

Ruby Barker is opening up about her experience on Bridgerton and calling out Netflix and Shondaland for not being more supportive during what she calls “psychotic breaks.”

“When I went into hospital a week after shooting Bridgerton Season One it was really covered up and kept on the down-low because the show was going to be coming out,” Barker said during an appearance on the LOAF Podcast. “During filming I was deteriorating. It was a really tormenting place for me to be because my character was very alienated, very ostracized, on her own under these horrible circumstances.”

She continued, “Not a single person from Netflix, not a single person from Shondaland since I have had two psychotic breaks from that show have even contacted me or even emailed me to ask if I’m okay or if I would benefit from any sort of aftercare or support. Nobody.”

Barker played the role of Marina in the first two seasons of the drama series. Marina was a controversial woman in the series following a pregnancy scandal. In real life, Barker was facing mental health issues due to the show.

Barker explained that a lot of things were happening at the same time when the show was set to premiere adding, “My life was changing drastically overnight and yet there was still no support and there still hasn’t been any support all that time. So I was trying really really hard to act like it was okay and that I could work and that it wasn’t a problem.”

“It’s almost like I had this metaphorical invisible gun to my head to sell this show because this show is bubbly and fun. I don’t wanna come out and poo-poo on that because then I might never work again!” she added.

Bridgerton is a drama series on Netflix created by Chris Von Dusen and based on the book series of the same name by Julia Quinn. Shonda Rhimes’ Shondaland produces the show for the streamer

Watch Barker’s full interview in the video posted below.

Just call her Kimberly Featherington.

Kim Kardashian made her Bridgerton super fan status known at the end of March, just before Regé-Jean Page announced his exit from the Netflix drama. But as it turns out, she's had more of an impact on the show than she ever realized.

Bridgerton star and Kardashian super fan Nicola Coughlan, who plays Penelope Featherington/Lady Whistledown, revealed on Twitter that she and her TV sisters here highly influenced by Kim and her real-life sisters.

"As the world's number one Bridgerton stan does Kim Kardashian know that the Kardashians were a massive inspiration for the Featheringtons and we talked about them all the time during our fittings?" Nicola tweeted. "Because I feel like she should know this."

Kim soon responded, with a very reasonable number of exclamation marks.

"WHAT?!?! I am freaking out!!!!!!" she responded. "This tweet was sent to me on my Bridgerton group chat! Can I please come to a fitting?!?! It would make my whole life!!!!!! I love you Lady W!!!"

According to other interviews, they knew damn well on the Bridgerton series that Barker has issues she was dealing with. But see, when you're dealing with the Church of Scientology, you're not likely to get much help, especially if torturing a young woman on set was the whole point.

Exactly what kind of person IS Shonda Rhimes, to go along with depravity such as this? Netflix mimicked the Kardashian women and their favorite hobby of latching onto black men, leeching off of them and leaving them mentally in jeopardy.

This makes two toxic, embedded stories of real people and their personal lives in Bridgerton.

[lboogie1906]

Queen Sophie Charlotte (May 19, 1744 - November 17, 1818) was the eighth child of the Prince of Mirow, Germany, Charles Louis Frederick, and his wife, Elisabeth Albertina of Saxe-Hildburghausen. In 1752, her father died. As princess of Mecklenburg-Strelitz, she was descended from an African branch of the Portuguese Royal House, Margarita de Castro y Sousa. Six different lines can be traced back to Margarita de Castro y Sousa. She married George III of England (1761) becoming the Queen of England and Ireland.

There were conditions in the marriage contract, ‘The young princess, join the Anglican church and be married according to Anglican rites, and never involve herself in politics’. She had an interest in what was happening in the world, especially the war in America, she fulfilled her marital agreement. The Royal couple had fifteen children, thirteen of whom survived to adulthood. Their fourth eldest son was Edward Augustus, Duke of Kent, who fathered Queen Victoria.

She made many contributions to Britain as it is today, though the evidence is not obvious or well publicized. Her African bloodline in the British royal family is not common knowledge. Portraits of her had been reduced to fiction of the Black Magi until two art historians suggested that the definite African features of the paintings derived from actual subjects, not the minds of painters.

In her era slavery was prevalent and the anti-slavery campaign was growing scenes.

She was a learned character, her letters indicate that she was well-read and had interests in the fine arts.

The only private writings that have survived are her 444 letters to her closest confidant her older brother, Charles II, Grand Duke of Mecklenburg-Strelitz. She was the great-great-great-grandmother of the Queen Elizabeth II.

(A movie on Netflix named Queen Charlotte commemorates her life - A fiction movie based on facts Written by Shonda Rhimes). #africanhistory365 #africanexcellence

[mikuyuuss]

I’m not sure what you’re seeing because I stay out of certain tags for my peace of mind, but what started the wave of “anti Edwina” takes were the people in the tags calling Kate a man stealer, a whore, slut, cunt etc which made fans try to explain things from Kate’s perspective including discussing Edwina’s agency and behavior that fed into the situation.

One specific point of contention was that Edwina being partially white and of noble blood when Kate isn’t, the “half sister” line was deemed unforgivable by many. Of course, that is probably the result of thoughtlessness on the writer’s part and not meant to say anything about how Edwina views herself in relation to Kate, but there were already odd things about how Kate was written and Simone treated by production that had fans eyeing everything with suspicion because she wasn’t treated the way any other romantic heroine would be treated or spoken of (Shonda Rhimes herself compared Kate to a whore). They also found Edwina’s rage against Kate in contrast to the much calmer interaction she had with Anthony in ep6 when Anthony had all the power in the situation (a man, an English man, nobility, wealthy….) unfair on her part (Kate wasn’t the one to interrupt the wedding—it was Anthony behaving like a clown) and sexist on the writers’.

Ultimately fans know the writers are to blame for taking a beautiful sister relationship from the book and pitting them against each other over a man, but there is a context for what may now have devolved into something else.

Wait what?? Oh wow, I didn't know it was that bad...

Admittedly I'm just a netflix watcher so I might have missed out on certain details and context. The part about the half siblings, I do think its carelessness on the writers part like you said, so I didn't think that much of it, although my personal understanding as to why she's angrier with Kate is that she's probably much more hurt by her sister bc she's closer to her, although it definitely comes off as unfair (I did wish Edwina would be angrier with Anthony on this part too)

I still personally love both the Sharmas and think the blame should be more on the writers, but still it's really too bad it had to devolve in that way... but at least now I understand, thanks for telling me the full context.

[claricedemedicis]

Inventing Anna really doesn’t sit well with me.

What was this supposed to be? Some sort of feminist commentary by portraying Anna (a real life scammer with real life victims, FYI) as some girlboss who just girlbossed a little too hard and got into trouble?? 

The entire show is just: She wouldn’t have gotten into trouble if she was a man, amiright? What a girlboss!

There are real life people she has hurt and victimized, but the show portrays these people as just as bad because “why did she go to Morocco anyways?” even though Anna’s lies forced a friend to take on over $60k in credit card debt. 

I would be remiss if I didn’t call out Shonda Rhimes for this portrayal: Shame on you. You’ve managed to make people sympathize with a conwoman, while her victims get unnecessary hate in your effort to turn this vile, narcissistic person into a boss babe. 

[disneyprincessbuffyannesummers]

It`s sad, that despite Katherine Heigl defending T.R. Knight after Isaiah Washington used slurs towards him she`s seen as bitch.

[anaquariusthatlikestowrite]

So bridgerton is shonda rhimes catering to white womens desires just like the rest of the fucking world.

[haru201]

It seems Shonda’s stuck on the whole premise of the two main characters getting together after one of them leaves a long term relationship and the wife he was married to is usually viewed as the bad guy