A Quote by Kenya Barris
Of all the 'Black-ish' characters, Zoey is most like my daughter, who goes to U.S.C.
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I felt like it was a courageous show [Black-ish] from the beginning. We are a black family - we're not a family that happens to be black. But the show is not even about us being black. The show is about us being a family. That is groundbreaking - on TV, the black characters either happen to be black or they're the "black character," where everything they say is about being black. I think that's the genius.
My go-to necktie is jet black, skinny, and simple. It goes with everything. I really like that mod-ish punk look.
No one knows ish about ish, though some ish does get much closer to the real ish.
If you like rock and roll, if you like rhythm and blues, if you like jazz, if you like hip-hop, you might be black-ish.
I'm here. Soon I won't be. Zoey's baby is here. Its pulse tick-ticking. Soon it won't be. And when Zoey comes out of that room, having signed on the dotted line, she'll be different. She'll understand what I already know- that death surrounds us all. And it tastes like metal between you teeth.
There are folks who now know black families - like the Johnsons on 'Black-ish' or the folks on 'Modern Family.' They become part of who you are. You share their pains. You understand their fears. They make you laugh, and they change how you see the world.
'Drag Race' has become a staple of modern television for the way it skewers expectations and attitudes about gender, much as a show like 'black-ish' works to challenge stereotypes about black families in America.
'Orphan Black' allows for people to have debates and theories and allegiances to different characters - to trust characters and hate other characters - but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling, in my book.
'Orphan Black' allows for people to have debates and theories and allegiances to different characters; to trust characters and hate other characters, but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling in my book.
It's so important to create roles and characters and projects that feature black people in a way that's not specifically targeted toward the niche market, which is, like, a black movie is created and it's produced and pitched so that only black people will watch it ... I want to see dynamic characters and roles that everyone wants to watch.
I love that 'Black-ish' is a pretty traditional sitcom, structurally. It functions like the sitcoms from the '80s and '90s that I grew up with.
I, however, like black. It is a color that makes me comfortable and the color with which I have the most experience. In the darkest darkness, all is black. In the deepest hole, all is black. In the terror of my Addicted mind, all is black. In the empty periods of my lost memory, all is black. I like black, goddammit, and I am going to give it its due.
A human being has a lot of sides, like a kind of diversity, so it's like a good side, a bad side, a crazy side, a normal side, like a man-ish side, a woman-ish side.
After the success of 'Empire' and 'How to Get Away with Murder' and 'Scandal' and 'Power' and 'Black-ish', which all had characters that were genuine, authentic, and had the language of real people, I found myself coming into pilot season and every network just wanted to have their version of one of those shows.
People often ask me if I feel discriminated against as a black female director. I don't. I'm actually offered a ton of stuff. But I only want to direct what I write. And I prefer to focus on black female characters. What's most important to me is to put characters up onscreen who are not perfect, but who are human and flawed.
Often, when you go to the movies or the theatre, you think, Jesus Christ, everybody is white. But my daughter goes to an amazing dance school called Ballet Black, and they have every colour: dark, white, mixed. It looks like the future to me.
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