Fans refute myth that black films, TV poor exports
LOS ANGELES — To entice a European TV executive shopping for programs a few years ago, ABC Studios offered up glossy fare including Scandal starring Kerry Washington and How to Get Away with Murder with Oscar-winner Viola Davis.
“‘This is great, but when are you going to start bringing us shows that don’t have black leads?’” the buyer asked in the 2015 meeting, as then-ABC executive Channing Dungey recounts. “I was sitting in a room in the 21st century, and I thought I was being slapped across the face.”
The remark was unusually blunt but the attitude is a familiar one within Hollywood’s own ranks: black actors and stories make for poor exports, an assertion that has burdened black artists and limited their opportunity and influence.
Until now. Box-office hits like Black Panther and the ethnically diverse Fast & Furious franchise increasingly undercut what filmmaker Ava DuVernay calls a “longstanding myth,” joined by a new generation of successful small-screen fare.
It’s a concern with resonance, as American torment over to the videotaped death of a black man in police custody is reflected in demonstrations held far outside this nation’s borders. Protesters carrying “We Are
All George Floyd” and “Black Lives Matter” placards have gathered in cities including Montreal, London, Paris, Rio de Janeiro and Auckland, New Zealand.
Dungey, who at ABC became the first black person to head a major broadcast network and now is Netflix’s vice president for original series, says diversity’s appeal is proved by the streaming service’s globally distributed programs and closely held viewership figures provided to The Associated Press.
Racial discrimination and injustice are themes of some, but not all, of the Netflix projects that have drawn widespread audiences. The characters tend to be black, created by the black writers, directors and stars whose progress in the U.S. entertainment industry has outpaced that of other people of color.
When They See Us, DuVernay’s Emmy-winning miniseries about the Central Park Five case, was watched by 31 million households worldwide in its first month of release, according to Netflix, with 51% of the audience outside the United States. American Son, about a missing black teenager that was produced by and starred Washington, was watched in 17 million homes worldwide in its first month, with non-U.S. subscribers making up 46% of viewers.
Raising Dion, about a black youngster with superpowers, drew attention from 32 million households, with 60% outside the United States.
“I thought we might be in trouble when it’s called American Son,” Washington said of her film’s global prospects. “But the [African] diaspora was vast and large and the struggles that people of color have in facing prejudice when dealing with people in authority, that is not an American phenomenon. Racism and the prejudice expressed particularly toward young men of color happens all over the world.”
Multinational consumption is critical to the streaming service, with about 65% of its subscribers outside the United States.
Netflix has begun sharing viewership results with its creators, resulting in what DuVernay called “astounding numbers” that are in dismaying contrast to how her major studio films, A Wrinkle in Time and Selma, fared with limited international releases.
“It wasn’t until I made a small documentary about prisons in America that I felt the world watching my work, and that was because Netflix made [my documentary] 13th available in 100-plus countries,” she said of her Oscar-nominated 2016 film.
The numbers provided by Netflix aren’t wholly revelatory: they represent one of the service’s viewing yardsticks — households that watched at least two minutes of a program. Netflix declined to provide overall program rankings.
Where viewers of blackled projects are found varies widely. When They See Us was most popular in Britain, Ireland, the Benelux countries (Belgium, the Netherlands, Luxembourg), and in Africa. American Son did well in France, Africa, Mexico and Latin America.
“If you think about the global market, what does the rest of the world look like? The rest of the world looks like America’s diversity. It does not look like Europe,” said Darnell Hunt, a University of California, Los Angeles, professor and lead author of annual research on diversity and profitability. “The rest of it is Africa, it’s Asia, it’s Australia, all these other countries that look like America’s minority groups.”
Kenya Barris, creator of ABC’s sitcom black-ish and Netflix’s new comedy #blackAF, saw the bias at work with the 2017 big-screen romp Girls Trip, which he co-wrote. It was a U.S. box- office hit with $115 million but drew only $25 million internationally, which Barris attributed to a lack of support.
The result is different when a TV show such as black-ish is widely seen.
“I was in England, gave a waiter my [credit] card and he was like, ‘Oh my God, are you Kenya Barris? I love your show.’ And I was shocked,” said the writer-producer.
Studios and others resisting inclusiveness risk a “death knell” as newcomers such as Netflix open their doors, DuVernay said.
“Now there is a way to say, ‘I’m not going to deal with the trauma of this lie that handcuffs my work,’” she said. “I’m going to make work where it is embraced and where it will be shared widely.”