Originated from a $ 100 million contract, #BlackAF it should deliver more than it actually does. What the creator and protagonist of the series, Kenya Barrels, manages to show is the same as his other series already show: the constant concern that the film industry, in general, is unable to produce “black” content for black people. It would be nice if, for his repertoire, it wasn't repetitive and even a little shallow.
The sitcom unfolds when Drea (Iman Benson) decides to put his family at the center of his documentary to try to get a place at the university through the Cinema course. Cameras and more cameras accompany the family everywhere they go, especially parents, Kenya and Joya Barris (Rashida Jones). The pressure increases because his father is already a well-known actor, screenwriter and director in Hollywood.
Showing a routine of an agitated family and with several personalities in it, between parents and children, the series even leads the viewer along it well, addressing pertinent questions and illuminating points of the Hollywood industry that are sometimes, deliberately ignored, but the negative points -or not-, are where the family reproduces stereotyped behaviors that people of different ethnicities would have on black people, such as exaggerated ostentation, the use of drugs just to appear and some others, all for the “excuse” that they are doing it for a type of historical repair.
The photography in the series is keen to make the colors more vivid, highlighting the most striking ones. The special touch here is for the shots between scenes, in the greatest style Keeping Up with the Kardashians and even America's Next Top Model.
Being a short series, with 8 episodes of an average of 35 minutes, #BlackAF it is funny, but not so much, considering stereotypes and the relatively shallow and light approach to themes that permeate the lives of wealthy black people in the United States. However, for the value of the contract, it was expected that a more complex and in-depth story would be produced!