From 2018: The creator of “Atlanta” wants TV to tell hard truths. Is the audience ready?
When Glover conceived of “Atlanta,” in 2013, he was prepared to fail spectacularly. But to fail spectacularly he had to first get on the air. He wrote the pilot accordingly. There was a standard cold open: a flash-forward to Alfred shooting a guy in a beef outside a liquor store.
So the weirdness commenced. In the second episode, which Earn spent in jail, a funny scene of a mentally ill guy who spits toilet water on a cop pivots abruptly when he gets beaten at length, while the other prisoners try to pretend it’s not happening. In the episodes that followed, Alfred and Darius, rather than following Earn’s managerial advice straight to the top, ended up acting as his life coaches.
“Atlanta” broke rules that most viewers hadn’t quite realized were rules. In comedies, jokes are underlined by closeups, but “Atlanta” ’s camera stayed aloof, serving not as an exclamation point but as a neutral bystander. The characters didn’t have histrionic reactions to the problem of the week; they just gave up a little more. Earn was an antihero, as is now customary, but, unlike Don Draper or Walter White or Olivia Pope, he wasn’t an expert in anything.
Landgraf added, “I don’t have a problem with the Trojan-horse narrative if it’s important to Donald. We’re in the business of making pieces of commercial television that mask deeper artistic narratives.” On “Atlanta,” though, the mask feels flimsy. Glover said, “The hardest part is surprising FX every time. They need that to feel that you’re an authentic black person. I surprised them up front by telling them I wanted to make them money.
The house felt like an encampment: a stroller thrust aside, boxes stacked by the door. Glover was wearing a white T-shirt and a brown wool cape and pants, like an off-duty ringmaster. After taking up a cross-legged perch in his living room, he called “Yo, Steve!” to his brother, who was living upstairs, but there was no answer.
Beverly Glover forbade all television but PBS—animal shows and slavery documentaries. Donald, Sr., sometimes let the kids watch Bugs Bunny cartoons and Bill Murray movies. Glover would secretly turn the television on with the sound low and tape episodes of “The Simpsons” on his Talkboy recorder so that he and Stephen could listen to them later: archeologists reconstructing the popular culture of their own time.
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