#IFLICKS RULES FIX TV SHOW FULL#
Longoria: And, when they practice the questions with the grandparents on the show, antics ensue.Ĭarmen: Are you willing to take full oath of allegiance to the United States?Ĭarmen: Have you ever engaged in prostitution?Ībuela Adela: (Very, very enthusiastically.) Yes! I like it very much! (Uproarious laughter from the audience.) Violeta: My mother figure out that on the yes-and-no questions, there’s 80 percent chance that the right answer will be “Yes.” Longoria: And there’s this one episode they would always play for me as a little kid, where the kids in the show try to hack the U.S. ( The music dissolves and transitions into a fast-paced, piano-led jazz bit.) It was about Cubans who arrived in Florida. Longoria: For instance, my parents used to watch this show-it was amazing-called ¿ Que Pasa U.S.A.?, which was essentially a mirror for them. A singer croons, “Say hello, America! We are part of the new U.S.A.!” as background singers echo.) ( The theme song to ¿Que Pasa, U.S.A.? plays.
Or, maybe, what we thought life should look like. Longoria: I think for those of us who grew up watching TV, we all have that one show that-to some extent-taught us what life could look like. Longoria: … that just has a way of seeping under our skin. ( More laughter from an imaginary audience.) Julia Longoria: I don’t know what it is about the American sitcom … The channels change loudly and with plenty of static as car alarms, a laugh track, and an abruptly disrupted monologue play for seconds.) Additional audio from Living Single, The Merv Griffin Show, Julia, The Cosby Show, A Different World, Grey’s Anatomy, and Twenties.Ī transcript of this episode is presented below: Music by Water Feature (“ In a Semicircle or a Half-Moon”), Keyboard (“ On Beacon Hill” and “ Ojima”), Column (“ Shutt,” “ A Year in Your Garden,” and “ Morsel Code”), and Infinite Bisous (“ Naughty Tears”), provided by Tasty Morsels. Sound design by David Herman, with additional engineering by Joe Plourde. Use the hashtag #TheExperimentPodcast, or write to us at episode was produced by Meg Cramer. This week on The Experiment, Fales-Hill and Giorgis talk about how power dynamics behind the scenes have shaped what we watch, what we talk about, and how we understand ourselves.įurther reading: “ Most Hollywood Writers’ Rooms Look Nothing Like America”īe part of The Experiment. She got her start as an apprentice on The Cosby Show, wrote for A Different World, and now is an executive producer of BET’s Twenties. One writer whose career encompasses much of that history is Susan Fales-Hill. In a cover story for The Atlantic, Giorgis traces the cyclical, uneven history of Black representation on television. But at some point in the 2000s, those story lines and some of the Black writers behind them seemed to disappear. Living Single, Sister, Sister, Moesha, and Smart Guy were just a few of the shows led by Black casts. The Atlantic staff writer Hannah Giorgis grew up in the ’90s, watching dozens of Black characters on TV.
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