double or triple affirmative action content provider reviews “satirical” movie on novel about Whites’ demand for black stereotypes

By Nicholas Stix

“every era has its own American fiction, but is there anything new to say?”

url title: “American fiction black art selling out satire.”

Meet Aisha Harris. Harris has a double or triple affirmative action gig at npr.

“This essay contains spoilers for the new film American Fiction.

“A thing about racial stereotypes in America is their stubborn pervasiveness — how they’re impossible to eradicate completely even as societal ideals and sensitivities progress over time; how all-consuming they can remain, keeping black artists on the defensive and in constant need of addressing and defying them in their work. Toni Morrison referred to racism as a means of ‘distraction,’ a way to keep marginalized people ‘explaining, over and over again, [their] reason for being.’”

She di’int! Aisha Harris quoted Toni Morrison for racial authority.

Harris reviewed something called American fiction, a recent racial “thing,” based on a failed novel from 2001 by a Percival Everett called Erasure.

In the “thing,” a black content provider wants to avoid “racial stereotypes,” but gives in to them, and publishes a pseudonymous novel, and makes a killing.

The black content provider is played by mulatto affirmative action performer, Jeffrey Wright. I once saw Jeffrey Wright in the remake of the 1971 blaxploitation movie, Shaft.

I recall three things about the Shaft re-make: Samuel L. Jackson can’t play basketball (though he has the market cornered on playing Samuel L. Jackson), and Jeffrey Wright can’t act.

Jackson played the eponymous character, while Wright played a dominican.

In one scene, Jackson grabs a basketball, which he attempts a few times to dribble in the street. He can’t dribble a basketball.

Wright is supposed to be an off-the-wall dominican criminal, “peoples Hernandez,” only he doesn’t sound at all dominican. He got the job because he has some black blood in him.

Wright just received his first affirmative action oscar nomination for best actor, for American fiction. Aisha Harris calls Wright’s role, “one of his finest roles to date.” No doubt.

The only good thing about the 2000 re-make by black nazi, John Singleton (think, Law & Order sophistry) of Gordon Parks and Stirling Silliphant’s 1971, racist original, was the White actor who played the screamingly racist murderer. (You see, new york city is just oozing with such killer nazis.) He’s an englishman who was not recognizable as one, and who was then unknown. He played an American White supremacist, who casually walked up behind angelic, affirmative action “actor” Mekhi Phifer and murdered him, by bashing his brains in with a metal theater stanchion. His name is Christian Bale.

No White American had the balls to play that role.

“Cool and deadly NYPD detective John Shaft arrests Walter Wade, Jr. in a racially-motivated slaying. The eye witness disappears, Wade jumps bail for Switzerland, and Shaft is livid. Two years later, Wade returns to face trial, confident his father’s money and influence (and racial politics) guarantee an innocent verdict.”

imdb.com has the entire movie story, except for Samuel L. Jackson and Jeffrey Wright’s respective incompetence.

Around that time I saw affirmative action “actor” Mekhi Phifer on a talk show. He announced that he had taken up “singing”— “rap,” which he explained “Is one of the most difficult genres.”

That’s funny; I’d never heard of a sailor who didn’t know how to curse.

Oh, but Aisha Harris was reviewing a “satire” of another name. No, she wasn’t; with rare exception (e.g., George S. Schuyler’s Black No More), “satire” is just what one calls failed comedy.

Imagine how Aisha Harris would respond to a White who refused to truckle to racial stereotypes.

https://www.npr.org/2023/12/22/1220967809/american-fiction-black-art-selling-out-satire