“On any given night, there’s 50 million Trump jokes. So I started to stay away from it,” Cedric the Entertainer told Variety in 2020. The same rule does not apply Trump’s friend Herschel Walker, it seems.
In a new 90-second ad for the Progress Action Fund, the star of CBS’ The Neighborhood takes aim at the Georgia football legend who Trump is supporting in his run for one of the state’s U.S. Senate seats.
“We got big election stuff coming up right now. I need everybody to get involved,” Cedric says in the spot. “We got to stop; we got to fight against the ignorance that’s going on out there, especially in the state of Georgia. Lord, you know they said life is like a box of chocolates? Well, Hershey’s Walker is one of these chocolates that you don’t want. You know the ones where you get a box of chocolates and you, like, [gagging]? That’s him. I mean, the man is ridiculous, dog.”
The Original Kings of Comedy star then compared Walker to a sitting member of Congress from the Peach State: Rep. Marjorie Taylor Greene.
“I mean, some of the stuff he is saying — we just got to be very concerned about the educational system, one. Two: We already got senators that’s, like, you know, Marjorie Taylor, that’s crazier than a mug. We don’t need to add no more crazy to that mix, you hear me? Especially not this, not with the haircut and the extra muscles. I think he on creatine. I think he still from back in the day when they was shooting stuff up and trying to put in they muscles. Something going on where it turned off a switch.”
The comedian then got specific about some of Walker’s more head-scratching comments.
“I mean, the man talking about ‘If humans are from apes, why do we still got apes?’ What, Herschel Walker? Come on, man. ‘You know, our bad air floated over to China and mixed with they good air and turned in — it was a recycling air situation.’ What, bruh? I don’t know what this man talking about! Guys, we got to defeat him, got to beat him — we got to stop him! Y’all know what it is. Let’s go! Let’s get involved.”
You can watch the spot below.
Source: Deadline
Black stand-up comedy exploded into the mainstream in the 1990s after experiences like Def Comedy Jam, Phat Tuesdays (Guy Torry’s all-Black comedy night), and New York’s Uptown Comedy Club gave comics a high-profile platform to hone and showcase their talents. Another marquee show, BET’s ComicView, which premiered thirty years ago today, September 15, offered Black audiences a (bi-weekly) opportunity to connect with comedians whose commentary and perspective were designed with them in mind. To celebrate this milestone anniversary, we spoke with a host of talent about the show’s impact and more.
Beginning with ace comedian, and ComicView staple, Arnez J, who then spoke to BET.com, declared, “[Stand-up] was a battle, people came to be entertained. Comedy that works is about the moment. My job was to [make audiences] feel better when they left.” Sheryl Underwood, who was the show’s 12th host from 2005-2006, tells BET.com, “Two [key] things [that] triggered the Black comic explosion in the ’90s [was,] ‘Def Comedy Jam’ and ‘ComicView.’” Well, if HBO’s Def Comedy Jam unlocked the gate, then BET’s ComicView thrust it wide open.
When asked his opinion about the impact of ComicView, Kevin Fredericks, better known as KevOnStage, told BET.com, “‘ComicView’ was such a pivotal show for people like me. Here’s the truth. There are some comics I [still] go see live because I first saw them on ‘ComicView.’ There [are] jokes I still say and laugh [at that] comedians said on ‘ComicView.’ That’s how important that show was.”
While shows like, In Living Color, incorporated pointed jabs in ways that showed audiences a different side of sketch comedy, ComicView ushered in a style of stand-up usually reserved for Black comedy nightclubs into people’s homes every Tuesday and Thursday. Underwood, voted 1994’s Funniest Female Comedian on ComicView, opined, “A myriad of comedy graced the ‘ComicView’ stage [and the performers’ material represented] a merging of the comedy club, Black empowerment meetings, and church. You could reach everyone… and ‘ComicView’ definitely did.”
And if you ask creator Curtis Gadson if he expected BET’s ComicView to help foster a golden age of Black comedy in the ’90s, he’ll tell you he cracked the formula in 1982 working as a producer, host, and video director on the singing competition, Saturday Night Music Machine, in Detroit, Michigan. In its time slot, the show stayed number one for five years. With Music Machine as proof of concept, Gadson turned his eye to comedy. He wanted to bring “the Black family a stand-up [comedy] viewing experience that could be shared in love and laughter.”
His rule of thumb for creating a show was to “look at what everyone else was doing and make a conscious choice not to do that,” he shared BET.com via email. So, Gadson shied away from the live auditions at clubs, choosing instead to judge comics from taped performances. His number one rule? No profanity. He wanted a show his religious parents and then young daughter could watch. He reiterated, “If [a] video had no profanity and made me laugh over and over for days after the first viewing, I invited the comic to be on ‘ComicView.’” When thinking back on judging video submissions, Gadson recalls, “The funniest was Cedric the Entertainer. He made me laugh so hard, I was in tears.”
Gadson’s focus on serving a ‘family-friendly’ audience, created an opportunity for comics to highlight their ability to finesse their material without blunting its edge. From the outset, Gadson says the goal was “to expand fan and revenue bases, and [increase] venue access [without sacrificing] their connection to the Black experience.”
Several ComicView alumni unilaterally agreed, that the show helped ticket sales and increased their cut of club money. The show’s availability via basic cable broadened the comics’ reach; introducing viewers to talented club veterans and up-and-comers killing the game on the strength of their wit, ability to read the room, and a no-holds-barred attitude alone. Arnez J asserts, “The format didn’t force a change in my act. I was one of those outsiders [that] people couldn’t quite figure out. I was about doing characters, but I was never a cliché. ‘ComicView’ pushed me. I refused to cheat my audience, and [they] liked me.”
Gadson, both then and now, considers designing ComicView, a place for rising Black voices and non-Black comics, as his most impactful contribution to comedy culture. Both Arnez J and Underwood however declared that for performers, the ComicView stage was, “One of the proving grounds.” Underwood added, “If you could stand flat-footed and make a ‘ComicView’ audience laugh, then you knew you had something.”
And she was right.
A well-received act often kick-started the kind of momentum that makes (or breaks) a career. The ComicView hosts through the 1990s: D.L Hughley (1992-1994), Cedric the Entertainer (1994-1995), Sommore (1995-1996; 2014), and Don “D.C.” Curry (1996-1997; 2013), might as well be considered the Mount Rushmore of Jokesters. Now, they are considered some of the biggest and most iconic names in comedy today, conquering film, television, radio, and publishing —all with ComicView on their résumé.
But for a comedy newcomer like Staci Lynn Fletcher, who appeared in the Season One premiere, hosted by Hughley, ComicView was formative. “‘ComicView’ was such a wonderful experience for me. I’d only be[en] doing stand-up for about [six] months when I was asked to be a part of the show. I was still trying to figure things out and find my voice. At the time, they were looking to elevate clean comedians on a national level. Because of that, my desire to keep my act clean was solidified. I had in my young comedic mind that I had to be dirty to be considered funny.”
Alternatively, a ComicView veteran, Melanie Comarcho says of her experience, “‘Def Comedy Jam’ and ‘ComicView’ put me on the map in the ‘90s. Those shows turned me into one of the [era’s] ‘It Girls’ for comedy. The love that we got from ‘ComicView’ fans, pushed many comedians to go on to bigger and greater things. And Underwood credits her “humor and restraint” as co-host of The Talk, to her time on ComicView. She shared, “People told me I’d never book ‘ComicView’ because my act was mostly blue humor. But you can see the evolution of Sheryl Underwood. That’s the stage where I learned to shape those [political] jokes and navigate the duality of being a Black [woman] comic and a host.”
Arnez J recalls his time as host of ComicView’s Caliente season as positive. “My experience with ‘ComicView’ was phenomenal. When I hosted, I wanted comics to come out with a warrior attitude. There were great people around me and it went well for me. I was given the freedom to be a visionary. When you have a good outlet you have to capitalize on it to the fullest.”
Others lauded the show as a mainstay staple that’s influenced their work. For Rod Morrow, writer for HBO’s Game Theory with Bomani Jones, and co-host of the comedy talk show, The Black Guy Who Tips, the impact of BET’s ComicView on his comedic sensibilities is multifaceted. “BET’s ‘ComicView’ brought a lot of comedic Black voices into my house during my formative years. And in the later years, when it shifted to comedy montage-style episodes, the show was instrumental in illustrating what went into a joke and the different avenues a comedian could take from setting up, all the way to the punchline. In a world that was constantly blocking Black comics out of opportunities, ‘ComicView’ gave Black folks a path onto my TV set routinely.”
The ComicView stage proved Black comedy shines brightest when it walks that fine line between poking fun, calling out, and the irresistibly funny, if uncomfortable, color commentary. It helped establish the commercial viability of Black comedic voices. And ComicView alumni all overwhelmingly declared it past time to give the show and its comedians their flowers.
Lil Rel Howery shared his feelings about ‘ComicView’ with BET.com by phone, “Eddie [Murphy] is why I wanted to do stand-up but there were two people that I saw on ‘ComicView,’ Kevin Hart and Meechie Hall, who convinced me that I had to do this. I could give you a rundown of ‘Best of ComicView’ jokes right now, no problem. Being a part of it is still unreal to me. ‘ComicView’ was my first television appearance; being on that stage, hearing my name called gave me chills.”
He continued, “Comedy Central wasn’t knocking on people’s doors, not then. We talk about ‘Def Comedy Jam’ but we don’t talk enough about how ‘ComicView’ was the source to see who was funny — especially for urban comedy. At the end of each season, there was a competition to see who’d be the next season’s host. That’s how we got Cedric the Entertainer, Rickey Smiley, Bruce Bruce, and Arnez J. as hosts. Rickey was Mr. ComicView. To this day, Smiley’s the only one to have their own ComicView special. And that’s another thing, at the end of your set they gave you your tape. It’s still surreal when I watch my tape back. I remember having all my friends come over to watch five minutes. Most of us walked around with our tapes on us.”
When asked his thoughts about stand-up’s reach today, Lil Rel proclaimed, “I think it’s a perfect time to bring it [‘ComicView’] back. We need a show that brings urban comedy directly to the people on TV again. There’s just nothing like it.”
An original star of Snoop Dogg’s Bad Girls of Comedy, Luenell, is emphatic about that very need to celebrate the show’s milestone, saying, “‘ComicView’ was a huge turning point for Black comedians because [the show] was the first time so many comics were showcased regularly on national television. The popularity and attention that we received as a result of national exposure were immeasurable. I, myself, did a consecutive eight seasons of ‘ComicView,’ and it raised my profile profoundly. It was an institution that should not be forgotten.”
By Ro Moore
This article originally debuted on BET.com
A federal jury on Wednesday convicted R. Kelly of several child pornography and sex abuse charges in his hometown of Chicago, delivering another legal blow to a singer who used to be one of the biggest R&B stars in the world.
Kelly, 55, was found guilty of three counts of child pornography and three counts of child enticement.
But the jury acquitted him on a fourth pornography count as well as a conspiracy to obstruct justice charge accusing him fixing his state child pornography trial in 2008. He was found not guilty on all three counts of conspiring to receive child pornography and for two further enticement charges.
His two co-defendants were found not guilty on all charges.
Jurors, who deliberated for 11 hours over two days, wrote several questions to the judge on Wednesday, at least one indicating the panelists were grappling with some of the case’s legal complexities.
One asked if they had to find Kelly both enticed and coerced minors, or that he either enticed or coerced them. Over objections from Kelly’s lawyer, the judge said they only need to find one.
At trial, prosecutors sought to paint a picture of Kelly as a master manipulator who used his fame and wealth to reel in star-stuck fans, some of them minors, to sexually abuse then discard them.
Kelly, born Robert Sylvester Kelly, was desperate to recover child pornographic videos he made and lugged around in a gym bag, witnesses said. They said he offered up to $1 million to recover missing videos before his 2008 trial, knowing they would land him in legal peril. The conspiracy to hide his abuse ran from 2000 to 2020, prosecutors said.
Kelly associates Derrel McDavid and Milton Brown were co-defendants at the Chicago trial. Jurors acquitted McDavid, a longtime Kelly business manager, who was accused of conspiring with Kelly to rig the 2008 trial. Brown, a Kelly associate for years, was acquitted of receiving child pornography.
Kelly has already been convicted of racketeering and sex trafficking in New York and sentenced to 30 years in prison.
In Chicago, a conviction of just one count of child pornography carries a mandatory minimum sentence of 10 years, while receipt of child pornography carries a mandatory minimum of five years. Judges can order that defendants sentenced earlier in separate cases serve their new sentence simultaneously with or only after the first term is fully served. Federal inmates must serve at least 85 percent of their sentences.
During closing arguments Tuesday, Kelly attorney Jennifer Bonjean likened the government’s testimony and evidence to a cockroach and its case to a bowl of soup.
If a cockroach falls into soup, she said, “you don’t just pull out the cockroach and eat the rest of the soup. You throw out the whole soup,” said told jurors.
“There are just too many cockroaches,” she said of the prosecution’s case.
The three defendants called only a handful of witnesses over four days. Co-defendant McDavid, who was on the stand for three days, may have damaged Kelly’s hopes for acquittal by saying that he now doubts Kelly was truthful when he denied abusing anyone after hearing the superstar’s accusers testify.
In her closing rebuttal, prosecutor Jeannice Appenteng cited testimony that Kelly’s inner circle increasingly focused on doing what Kelly wanted as his fame boomed in the mid-1990s.
“And ladies and gentlemen, what R. Kelly wanted was to have sex with young girls,” she said.
Four Kelly accusers testified, all referred to by pseudonyms or their first names: Jane, Nia, Pauline and Tracy. Some cried when describing the abuse but otherwise spoke calmly and with confidence. A fifth accuser, Brittany, did not testify.
Sitting nearby in a suit and face mask, Kelly often averted his eyes and looked down as his accusers spoke.
Some dozen die-hard Kelly fans regularly attended the trial. On at least one occasion during a break, several made hand signs of a heart at Kelly. He smiled back.
Jane, 37, was the government’s star witness and pivotal to the fixing charge, which accused Kelly of using threats and payoffs to get her to lie to a grand jury before his 2008 trial and to ensure she and her parents wouldn’t testify.
A single video, which state prosecutors said was Kelly abusing a girl of around 14, was the focal point of that trial.
On the witness stand for two days at the end of August, Jane paused, tugged at a necklace and dabbed her eyes with a tissue when she said publicly for the first time that the girl in the video was her aged 14 and that the man was Kelly, who would have been around 30.
Some jurors in the 2008 trial said they had to acquit Kelly because the girl in the video didn’t testify. At the federal trial in Chicago, Jane said she lied to a state grand jury in 2002 when she said it was not her in the video, saying part of her reason for lying was that she cared for Kelly and didn’t want to get him into trouble.
Jane told jurors she was 15 when they first had intercourse. Asked how many times they had sex before she turned 18, she answered quietly: “Uncountable times. … Hundreds.”
Jane, who belonged to a teenage singing group, first met Kelly in the late 1990s when she was in junior high school. She had visited Kelly’s Chicago recording studio with her aunt, a professional singer. Soon after that meeting, Jane told her parents Kelly was going to be her godfather.
Jane testified that when her parents confronted Kelly in the early 2000s he dropped to his knees and begged them for forgiveness. She said she implored her parents not to take action against Kelly because she loved him.
Defense attorneys suggested a desire for money and fame drove some government witnesses to accuse Kelly, and they accused several people of trying to blackmail him. They also suggested that at least one of his accusers was 17 — the age of consent in Illinois — when Kelly began pursing her for sex.
Bonjean implored jurors not to accept the prosecution’s portrayal of her client as “a monster,” saying Kelly was forced to rely on others because of intellectual challenges, and that he was sometimes led astray.
“Mr. Kelly can also be a victim,” she said in her opening statement.
Prosecutors played jurors excerpts from three videos that Jane said featured her. Court officials set up opaque screens around the jurors so journalists and spectators couldn’t see the videos or the jurors’ reactions.
But the sound was audible. In one video, the girl is heard repeatedly calling the man “daddy.” At one point she asks: “Daddy, do you still love me?” The man gives her sexually explicit instructions.
Prosecutors have said Kelly shot the video that was also evidence in the 2008 trial in a log cabin-themed room at his North Side Chicago home around 1998.
Another accuser, Pauline, said Jane introduced her to Kelly when they were 14-year-old middle school classmates in 1998. At Kelly’s Chicago home later that year, Pauline described her shock when she said she first walked in on Kelly and a naked Jane. She said Kelly told her that everyone has secrets. “This is our secret,” she testified he said.
Pauline told jurors she still cares for Kelly. But, as a 37-year-old mom, she said she now has a different perspective.
“If somebody did something to my kids,” she said, “I’m killing ’em. Period.”
Source: The Hollywood Reporter
Abbott Elementary creator and star Quinta Brunson opted not to say much to reporters about Jimmy Kimmel lying at her feet during her Emmys acceptance speech Monday night. Her co-star and fellow Emmy winner Sheryl Lee Ralph, however, said she wasn’t pleased.
As part of a comedy bit during the awards, fellow presenter Will Arnett dragged Kimmel out on stage prior to announcing Brunson as the winner for best writing for a comedy series. As Brunson accepted the honor, Kimmel continued to lie on stage, not moving except to give Brunson a thumbs up. The bit drew a torrent of criticism from viewers, who called it disrespectful to Brunson and intruding on her moment at the Emmys.
Brunson is slated to be a guest on Jimmy Kimmel Live Wednesday night, and she said she expects a “good, old-fashioned time” on the show. “I’ve talked to Jimmy since,” she told reporters during a Television Critics Association session Wednesday, and whatever else happens she wants to remind viewers that Abbott Elementary begins its second season on Sept. 21.
Co-star Lisa Ann Walter said she thought the bit played as funny inside the Microsoft Theater, but Ralph said she was “confused” at first, then not happy.
“I didn’t know what was going on. I was like, I wish he’d just get up off the ground,” Ralph said. “Then I realized it was Jimmy, and I was like, Ooh, the disrespect. I love Jimmy Kimmel, but I’m sorry. I told him to his face, and he understood.”
The cast also said they enjoyed returning to work Tuesday following Ralph’s and Brunson’s Emmy wins — though Walter joked she “forgot how to act” after the high of Monday night.
“It was the greatest feeling in the world to get back [on set],” said Chris Perfetti, who plays Jacob. “We had a table read, and it was the perfect way to come down after that. There was nowhere else I wanted to be.”
Added Tyler James Williams, who plays Gregory, “We had to celebrate with the crew, too. It’s just as much their show as it is ours.”
Source: The Hollywood Reporter
The Showtime Network has opted not to proceed with the third season of Kevin Iso and Dan Perlman’s praised comedy series Flatbush Misdemeanors. The news comes three weeks after the show’s second season ended its run on the network. There is no decision yet for the future of Showtime’s other current comedy series, I Love That for You, whose first season led to Flatbush Misdemeanor’s Season 2.
While Showtime is known mostly for its hourlong dramas/comedy-dramas, the premium network has consistently taken shots at — largely offbeat/irreverent – half-hour comedies that fit its brand. It recently greenlighted pilot Mason, from comedian Nathan Min, who also stars, Daniels, the team behind Everything Everywhere All At Once, Steven Yeun and A24.
Created by and starring Iso and Perlman based on their digital series, Flatbush Misdemeanors is a raw comedy of city life following Dan and Kevin, who play characters struggling to thrive in their new surroundings in Flatbush, Brooklyn. The show explores two long-time friends seeking to climb out of their heads and connect with others.
The cast of the show, which scored 100% on Rotten Tomatoes, also included Kristin Dodson, Hassan Johnson and Kareem Green. Flatbush Misdemeanors was a co-production by Showtime and Avalon, which acted as lead studio. Perlman and Iso executive produced with Richard Allen-Turner, Jon Thoday, David Martin and Chloe Pisello for Avalon.
“Flatbush Misdemeanors will not be moving forward with a third season,” the network said in a statement to Deadline. “We would like to thank the creators, executive producers and stars Kevin Iso and Dan Perlman, along with fellow executive producer Keith Heisler, our partners at Avalon, as well as our scene-stealing supporting cast of Kristin Dodson, Hassan Johnson and Kareem Green. We’re very proud to have taken Kevin and Dan’s distinctive shorts and expanded it into two seasons of excellent television. Those two funny and inventive seasons will live on our site for audiences to continue to discover and enjoy.”
For their work writing, directing and starring in the shorts that form the foundation of the series, Iso and Perlman won Best North American Short Film at the London Film Festival, with the first installment becoming Oscar qualified following a Grand Jury Award at the Florida Film Festival.
Source: Deadline
Do you ever wonder where every great fairytale begins? Welcome to the School for Good and Evil…
Based on the epic international best-selling series by Soman Chainani, THE SCHOOL FOR GOOD AND EVIL is directed by Paul Feig and stars Sophia Anne Caruso, Sofia Wylie, Kerry Washington, and Charlize Theron.
Also starring Laurence Fishburne, Michelle Yeoh, Jamie Flatters, Kit Young, Peter Serafinowicz, Rob Delaney, Mark Heap, Patti LuPone, and Rachel Bloom.
The School for Good and Evil is only on Netflix, on October 19.
BURBANK, Calif. (September 12, 2022) – Goooaaalll! Warner Bros. Television’s Ted Lasso once again took top honors at the 74th Emmy Awards, with the global hit comedy winning four Emmys tonight, including Outstanding Comedy Series for the second year in a row. And WBTV’s Abbott Elementary made the grade with three Emmys total, including Outstanding Writing for a Comedy Series for creator/star Quinta Brunson and Outstanding Supporting Actress for Sheryl Lee Ralph this evening.
Topline highlights include:
· Ted Lasso means (repeat) business. For the second year in a row, Ted Lasso scored the Emmy for Outstanding Comedy Series, Jason Sudeikis won once again for Lead Actor in a Comedy Series, and Brett Goldstein again took home the trophy for Supporting Actor in a Comedy Series. And MJ Delaney won her first Emmy for Directing.
· With her win for Writing for a Comedy Series, Abbott Elementary’s Quinta Brunson becomes only the second Black woman in television history to be honored in this category, after Lena Waithe in 2017 for Master of None.
· And with her win for Supporting Actress in a Comedy Series, Abbott Elementary’s Sheryl Lee Ralph received her first Emmy in her distinguished 45-year career. Sheryl becomes only the second Black woman in television history to be honored in this category and the first in 35 years, since Jackée Harry in 1987 for 227.
Warner Bros. Television Group Chairman Channing Dungey said: “We are thrilled for the Ted Lasso team on their richly deserved Emmy wins, including Outstanding Comedy Series. Through their brilliant storytelling, they continue to entertain and inspire viewers all over the world. Ted Lasso is a special show, and we are so incredibly fortunate to be a part of making the world ‘Believe.'”
Dungey continued: “And we are also incredibly excited for Quinta Brunson, winner for comedy writing tonight. With Abbott Elementary, Quinta shines a spotlight on a group of everyday heroes working at a public school, while never missing a single comedic beat. And last but certainly not least, what can you say about the incomparable Sheryl Lee Ralph?! I am overjoyed that the Television Academy has recognized Sheryl with her first Emmy Award tonight. Her portrayal of Barbara Howard in Abbott Elementary was an instant classic in a career full of indelible performances. We are so thankful that she is part of the incredible Abbott Elementary ensemble, and we look forward to going back to school with them next week.”
Following is a complete list of Warner Bros. Television Group winners at the 2022 Emmy Awards:
TED LASSO (WBTV for Apple TV+): 4 Wins
· Outstanding Comedy Series
· Outstanding Lead Actor in a Comedy Series: Jason Sudeikis
· Outstanding Supporting Actor in a Comedy Series: Brett Goldstein
· Outstanding Directing for a Comedy Series: MJ Delaney
ABBOTT ELEMENTARY (WBTV and 20th Television for ABC): 3 Wins
· Outstanding Writing for a Comedy Series: Quinta Brunson
· Outstanding Supporting Actress in a Comedy Series: Sheryl Lee Ralph
· Outstanding Casting for a Comedy Series
THE VOICE (Warner Bros. Unscripted Television for NBC): 1 Win
· Outstanding Lighting Design/Lighting Direction for a Variety Series
# # #
HBO Max has renewed the comedy series RAP SH!T, from Emmy(R) and Golden Globe(R) nominee Issa Rae, for a second season. The eight-episode first season debuted in July and is currently available to stream on HBO Max.
· Season One logline: Starring Aida Osman, KaMillion, Jonica Booth, Devon Terrell and RJ Cyler, RAP SH!T follows two estranged high school friends from Miami, Shawna (Osman) and Mia (KaMillion), who reunite to form a rap group.
· Sarah Aubrey, Head of Original Content, HBO Max quote: “We are so excited to continue this journey with Shawna and Mia and the incredibly fun world of RAP SH!T. With the wonderfully comedic and unique perspectives of Aida Osman, KaMillion, Issa Rae, Syreeta Singleton and the team at HOORAE, season two is sure to bring even more seducing and scheming.”
· Issa Rae quote: “We’re so happy to play in the world of ‘Rap Sh!t’ for another season with this incredibly talented team.”
· Syreeta Singleton quote: “This show and cast are one of a kind and I’m thrilled to get to do this again with them. We’re going bigger and harder!”
· RAP SH!T has been praised as “a glossy, entertaining show that prioritizes quick wit and fun” by The Hollywood Reporter and The A.V. Club says, “Rae & Co. have created a hilarious and experimental comedy, one that’s propelled by stellar rising talent and authentic, complex stories of Black life.” The Ringer highlights the “fluid, near-constant use of social media, woven seamlessly throughout eight episodes” and Los Angeles Times claims “Rap Sh!t thrives in the space in between the images we project and who we really are.”
· Credits: RAP SH!T is executive produced by Issa Rae and showrunner Syreeta Singleton, as well as Montrel McKay for HOORAE, and Jonathan Berry and Dave Becky for 3 Arts Entertainment. Rae also wrote the season one premiere episode and co-wrote the finale episode with Singleton. Hip-hop duo Yung Miami and JT of City Girls serve as co-executive producers, along with Kevin “Coach K” Lee and Pierre “P” Thomas for Quality Control Films and Sara Rastogi for HOORAE. Rae’s audio content company Raedio handles music supervision for the series.