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‘The Good Lord Bird’ Is White Allyship Done Right | LEVEL

‘The Good Lord Bird’ Is White Allyship Done Right | LEVEL

The Good Lord Bird, Jazz, African American Music, Black Music, African American History, Black History, KOLUMN Magazine, KOLUMN, KINDR'D Magazine, KINDR'D, Willoughby Avenue, WRIIT, TRYB,

The antebellum series serves as a case study for properly retelling Black liberation by avoiding White messiahs


In Hollywood, White people love casting themselves as heroes, historical accuracy be damned. You’ve seen the trope before: the White saviors in film and television who, in one way or another, always manage to swoop in and save the day, uplifting (or outright liberating) Black folks left and right. How rewarding it must feel to watch characters who are so… redeemable. Showtime’s The Good Lord Bird, which wrapped on Sunday, could have all too easily succumbed to that facepalm-worthy pitfall — but instead, the miniseries soars by challenging depictions of White allyship to do better at a time in which the message is especially needed.


See Also
When I Grow Up, Black Business, African American Business, Entrepreneurship, Black Owned Business, Black Tech, Black History, African American History, KOLUMN Magazine, KOLUMN, Willoughby Avenue, WRIIT

—  Credits

Featured Image, Ethan Hawke, Joshua Caleb Johnson, and James McBride of “The Good Lord Bird”. Photo: Amy Sussman/Getty Images

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