Anthony L. Kelly

Allow me to explain to you why this show is so important. In television-programming (and please know I’m no expert, but quite frankly, the T.V. helped raised me), it is telling us a vision. It is one of the easiest and most proficient ways of programming the subconscious mind. Now, with that being said, a hit African American, ‘70’s sitcom called Good Times did its fair share of non-beneficial programming, “Damn! Damn! Damn!” But there was one episode in particular—the one where JJ painted Black Jesus aka Ned the Wino. In that episode, despite Florida’s displeasure for the painting, the Evan’s family luck changed tremendously. If positive energy along with hope and encouragement could be measured on a scale from one to five (like this review), that tiny ghetto-apartment in Cabrini Green began reverberating at ten easily. As long as the painting was up, things were looking up. It stayed up the entire show; ‘member that? Unfortunately, the painting wasn’t a part of any other episode and for that reason, the “Good Times,” came fumbling back like an annoying wino named Ned looking for his next handout. I’m a true believer in inspiration. I think inspiration doesn’t get it’s just due. I say all of this to say, we as a whole right now really need this painting up on the wall. Like many of his works, this show is that black Jesus. Only now it can’t be taken down. Please, let’s be very clear, Mr. Kenya Barris is a phenom. We won’t see another him this life time. He brings an element of truth that is surely foretelling the future of the African American in this country. That inevitable truth is Black Privilege. As far as the negatives, they're there, carefully written inside the script as a distraction from any real discrepancies, but there are none too overbearing to speak of—as far as I can tell. Not only is this the future of black America (to a degree), but this is the future of black storytelling. Hat off, pat on the back. Please keep inspiring those of us who understand the craft.