I love Living Single. I’ve watched every episode, and I know the characters inside out. Even though we might get a reboot soon, I’ve longed for another show to give me that same comfortable vibe of friends who have each other’s backs while calling each other out on their mistakes. If you’re like me, wishing and hoping for a show to follow Living Single‘s leave, give Dafina Roberts’ Giving Me Life a watch.
Giving Me Life, a Kickstarter Creator-in-Residence project and a 2017 New York Television Festival Official Selection, focuses on a core group of friends–Nala (Lori Liang), an artivist who has to reconcile her idealism with the stark realities of making money; Leah (Natalie Jacobs), a career-driven Type A investment banker whose studying for the GMATs and only dates up; Travis (Marshall star Mark St. Cyr), a highly spiritual, charismatic guy who thought he’d found the right spiritual partner; Cam (Sly Maldonado), a lovable party boy who is actually looking for the right woman to settle down with; Jess (Nathaly Lopez), a middle school counselor who uses her counseling skills to be the listening ear for all of her friends–even though she has problems making room for a girlfriend in her life; and Gil (Jarvis Tomdio), Nala’s crush, a people pleaser and “the epitome of geek-chic.”
These friends are trying their best to make it in New York and achieve their dreams while not losing their minds in the process. Thankfully, these guys have each other, and regardless of whatever problems they have, they all have each other’s back. The camaraderie is what makes the show so easy and enjoyable to watch. So far there are only four episodes, but once you finish, you’ll wish there were more.
Honestly, the show has left me wondering why this hasn’t been snapped up for TV pilot season. I think this show is good enough to rival series like Insecure, Dear White People and Master of None. It definitely gives viewers everything they’re asking for in these representation-focused times. We have tons of diversity, but more than that, we have inclusion; we’re told stories that reflect the lives of real people from the perspectives of people of color. The characters are never cookie-cutter; they are dynamic, fresh, well-rounded and behave like people we’ve come in contact with before (for some of us, we might be those characters). Their different socio-economic, ethnic, and sexual spaces these characters reside drive the storylines in an organic way, and there’s never an episode that feels like it’s a “very special episode.”
What might be the most refreshing thing about Giving Me Life is that it gives its LGBT characters room to be imperfect people. I think one failing some shows on TV have when it comes to representing LGBT characters is that there’s a tendency to make the characters the poster children for the LGBT community. There’s a compulsion to try to make them perfect or edgy in some way. The characters in Giving Me Life, however, aren’t treated like stereotypes. Their needs and wants are just as fleshed out as their straight counterparts, and they are allowed to make mistakes.
For instance, Travis believes he’s found his soulmate with his boyfriend, but realizes that his boyfriend might want more than Travis can give him. After a bad experience with swinging (something the deeply religious Travis didn’t want to do in the first place), Travis breaks up with his boyfriend, but later wonders if he made a wrong choice. Leah, on the other hand, meets and falls in love with a man who also seems like the perfect match–they’re both climbing the ladder to financial success, they enjoy a certain level of luxury, they’re both bisexual, and they both feel the strain from stereotypes placed on bisexual people. But the catch is that Leah doesn’t even know her guy’s name. Not knowing his name makes her feel thotish, and one thing Leah won’t let herself be is a thot.
Overall, Giving Me Life will, in fact, give you life. You’ll feel like you’ve found a new set of friends, and it’ll leave you with the hope that more episodes come very soon.
The web series is the new place for inclusive messages and nuanced stories about marginalized people that aren’t always shown in the mainstream. 195 Lewis is one such example of the web series making its mark with an underserved audience.
195 Lewis focuses on a cast of black LGBTQ women of color as they live and love in Brookyn’s Bed-Stuy neighborhood. The show’s creators, Rae Leone Allen and Yaani Supreme, have created the show from their own experiences–like their characters, they are also black women in the LGBTQ community who hail from Brooklyn. From their experiences, they were able to create a series that finally put love between queer black women–people who are rarely ever shown on TV–on the main internet stage.
Emily J. Smith interviewed Allen for Broadly. Here are three moments from her interview worth noting.
On the inviting feeling of 195 Lewis
“We’ve been able to create this warm and embracing world. We want people to join and feel safe there.
On white male privilege in the media industry:
“The only thing we need to take from white men is their audacity. Women are different kind of creatures, we’re constantly asking questions and interrogating ourselves, we know we’ll be responsible with our art. We just need to get audacious.”
On the groundbreaking nature of 195 Lewis :
“We’re showing beautiful black women on screen loving each other and being themselves. That’s revelatory in and of itself.”
Here’s a webseries that’s been simmering for a while–it’s finally ready for viewers to see, especially if you’ve been following the career of Kenny Leu, who’s starring in National Geographic’s upcoming miniseries The Long Road Home. The webseries? Munkey in the City.
Munkey in the City, created and developed by Michael T. Nguyen, stars Leu as an aspiring writer who wants to make it big in New York City, while having tons of misadventures and growing pains along the way.
Check out the trailer:
A few years ago, I spoke with Nguyen about Munkey in the City. He told me the webseries is partially based on his own experiences as a writer in a big city.
Munkey in The City is actually based on my real life experiences living in San Francisco. I had moved here in 2010 hoping to start a new life for myself, but two years after, I was still confused about the direction I was headed in. I was busy working a job I was unhappy going to, and as a result, found myself delving deeper into alcohol as an escape. I had just dropped out of film school so I could focus on paying my overpriced rent, and I felt like I couldn’t do anything right or connect with anyone. My life was going nowhere and I realized I needed a change. Then, I decided to channel my energies into something more creative. I wrote my experiences down and decided I could use them to help me further my career as a filmmaker. Munkey in The City is really a story about my struggle with adulthood and the real world, while trying to achieve my dreams in a vast new place.
I happened to name the main character Munkey, because “Monkey” is actually a nickname I’ve acquired over the years for various reasons. And I added the fact that San Franciscans simply call San Francisco “THE City.” Thus, Munkey in The City was born. Now I’m determined to bring this story to life, not just for me, but also to share it with anyone striving for their own dreams as well.
Nguyen also laid into Hollywood’s reticence to casting Asian actors for big parts, particularly leading male roles.
Compelling movie and television characters just aren’t written for Asian American males. That, combined with the industry’s unwillingness to take chances on them, for fear that audiences won’t fork over time and money to see them, equals very few opportunities outside the martial arts genre. The industry happens to run on a very basic premise: if you can bring in money, you can be on screen. But even with John Cho’s huge success with the Harold and Kumar franchise, the industry still hesitates to put him into leading roles. So there has to be something else at work here. And I can call it bias and racism all I want, but the industry will just call it a poor business decision.
The fact is that it’s going to take a lot more work by a lot of people to fight for that opportunity from Hollywood, and to sway audiences into accepting an Asian American as a dynamic leading man. But the foundation is being laid, for sure.
Asian Entertainment Television is an outlet featured on JUST ADD COLOR before (you can read more about the service here). Now, the premier global Asian American streaming platform, has announced its first mobile app.
The AET Branded App was added to the Apple App Store April 15, giving Asian American content a distribution channel in the OTT space on the iOS platform.
“We not only want to give our users a great experience by providing uniquely curated representAsian content that gives Asian American genuine representation, but we also aim to give Asian content–which, until now, is largely homeless–a home,” said Sinakhone Keodara, CEO of AET. “AET aims to make a dent in helping end the whitewashing and yellowfacing practices of Asian roles in Hollywood movies and TV shows. We’re essentially putting Hollywood on notice that we’re here to change the game.”
Apart from the app, here’s another thing you need to know: Asian Entertainment Television has added a talent directory to its main site. The InvAsian Talent Directory will act as a database for Hollywood can find actors, directors, cinematographers, production designers, writers, and other creatives from the Asian Diaspora. To learn more about the InvAsian Talen Director, click here.