Peele edge-spun1

Peele edge
Eastern) is neither funny nor daring. Two light-skinned black men, middle-class in mannerism, who, like our black president, have white mothers. (It also been popular with viewers; the show was Comedy Central most-watched premiere since 2009, and was just acquired for a second season.)
Similarly,[link widoczny dla zalogowanych], this is a genuinely good thing. The black experience is hugely varied, existing outside the limited narratives typically shown in film, television and music. These narrow definitions play a destructive role in the way the world sees black peopleandhow black people see themselves. Key and Peele address this tension and frustration by juxtaposing black identities, their own as well as their characters',[link widoczny dla zalogowanych], with black caricatures in popular culture.
Because the daughter of an African-American father as well as an Asian mother, I'm lured to support their efforts. In theory it's interesting for America to listen to about the mixed experience. But Peele islessabout the reasons of navigating the often tricky multi-racial road, andmoreabout a budget humor of "White people talk likethis," and "Black people talk likethis" with black characters deciding whether they'll talk black or white inside a given situation. This premise may be the foundation of nearlyevery single sketch.
White talk / black talk is definitely an old and lazy shtick. This moment from 18 years ago mocks both the comedy and how eager white audiences will be to embrace racial comedy that doesn't address real racism:
Homer watches a black comic's stand-up routine:
Comedian: Yo, check this out: black guys drive a car such as this.
[Leans back, as if his elbow were on the windowsill]
Do, do,[link widoczny dla zalogowanych], ch. Do-be-do,[link widoczny dla zalogowanych], do-be-do-be-do.
Yeah, but white guys, see, they drive an automobile like this.
[Hunches forward, talks nasally]
Dee-da-dee,[link widoczny dla zalogowanych], a-dee-da-dee-da-dee-da-dee.
[Audience howls with laughter]
Homer: Ah ha ha, it true, it true! We so lame!
Key and Peele do havea fewfunny moments that show genuine possibility of great comedy. The "Lunch With Greatness" sketch in which black actors playing Malcolm X and Martin Luther King Jr. Its eagerness to prevent offense hangs over every tepid sketch about race, sketches already laboring under excessive gentleness and lack of imagination. In each sketch black people are impeded by their very own blackness, or even more specifically black men cling for an concept of black masculinity, one which Key and Peele suggest is a needless performance.
Consider the following sketches in the first three episodes. Each either tries to make a certain black masculinity look ridiculousorshow the "true" blackness hidden by blacks operating in a white world,[link widoczny dla zalogowanych].
Vain slaves at a bidding:
Key and Peele never show the reasonsbehindthe performance of whiteness or blackness, which is the reason why the show is politically problematic and less funny that it could be. On Peele,[link widoczny dla zalogowanych], racism isn't a real or serious threat. All white people mean well, and the burden is now on black folk to figure out how to behave and adapt. The only sketches that areexplicitlyabout racism are historical and the only racists in the first couple of episodes are Nazis and slave owners. We love to to make fun of hypocrites, of bullies."
But who exactly would be the bullies in Peele Judging from the most of their sketches, the primary oppressive force the duo faces is really a certain notion of blackness, particularly black masculinity. The pressure to adapt to race appropriate behavior does exist. Many people of color are familiar with accusations of "acting white," but this pressure is really a symptom of the larger problem that they're residing in a racist world filled with racist ideas and are negotiating their very own identification with or against that society. But Key and Peele fail to ever address the violence of racism, literal or figurative,[link widoczny dla zalogowanych], and this timidity leaves their material lifeless.
If you don't are Bill Cosby (who avoids race almost completely), comedy without bitterness,[link widoczny dla zalogowanych], venom or pain,[link widoczny dla zalogowanych], is no comedy whatsoever. Key and Peele have the grit of a cotton swab. What does it imply that to ensure that two black comedians to obtain rave reviews, they have to be stripped of the very weapons that are the essence of comedy? One even appears like Elvin from Cosby Show this is the level of non-threatening that this show is operating on.
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