Critical Analysis: Has Racial Satire Lost Its Edge? - Examining the Evolution of Racial Satire and its Impact Today

Kobi Libii's first film, "The American Society of Magical Negroes," begins on a promising note. Aren, an endearing artist portrayed by Justice Smith, stands near a yarn sculpture in a gallery, appearing spindly and awkward. He seems lost among the moving patrons and busy waiters. It takes a moment for us to realize that Aren is the creator of the contemplative wool work and is struggling to sell it to the mostly white collectors at the group show.

From left: 'American Fiction,' 'The American Society of Magical Negroes' and 'I'm a Virgo' MGM/COURTESY EVERETT COLLECTION; FOCUS FEATURES/COURTESY EVERETT COLLECTION; PETE LEE/PRIME VIDEO

They find the abstract piece difficult to understand; they repeatedly inquire about the material ("Is it ... yarn?") while keeping their distance. These brief encounters cleverly highlight a visual art world that has historically favored Black figurative artists.

After being mistaken for a server and abruptly fired by his gallerist, Aren experiences a minor crisis. He then finds himself wandering through the gothic halls of The American Society of Magical Negroes, an organization responsible for maintaining peace by monitoring levels of white discomfort across the country. The society's name alludes to the trope of Black characters in media who exist solely to assist white protagonists in their personal growth. Roger, a pragmatic wizard played by David Alan Grier, recognizes Aren's "talent": despite lacking any formal training, Aren demonstrates a remarkable ability to prioritize the needs of white people over his own. Roger sees potential in this and suggests putting it to good use.

The film sets itself up to satirize the concept of "magical negroes" and critique liberal sentimentalism regarding interracial relationships. However, instead of fully embracing this potential for sharp commentary, the film mostly offers mild observations that might have been more impactful in the past. Aren's initial task as an official Magical Negro is to manage the emotional well-being of Jason, an entitled white male designer at a tech startup, portrayed by Drew Tarver. Libii, who also wrote the screenplay, uses their friendship to delve into the consequences of Aren's habitual self-effacement. Additionally, a romance blossoms between the hesitant young wizard and his co-worker, Lizzie, played by An-Li Bogan.

It's not surprising that "The American Society of Magical Negroes" falls short of expectations. The film is part of a recent trend of tepid Black satires that seem stuck in addressing post-racial illusions from the Obama era instead of confronting the harsh reality of the present. These works come after a period of flourishing Black satire, with standout films like Jordan Peele's "Get Out" and Boots Riley's "Sorry to Bother You," as well as TV shows like Donald Glover's "Atlanta." These projects succeeded, in part, because they dismantled the convenient myth that America could absolve itself of its racist history simply by electing a Black president.

Now that it's widely acknowledged that the Obama presidency didn't heal America's racial divisions, what should racial satires focus on? How can they remain relevant in the current national context? "The American Society of Magical Negroes," like "American Fiction," another well-meaning project that recently won an Oscar for best adapted screenplay, fails to address these questions. It struggles to harness the political potential of satire, failing to challenge audiences for their role in perpetuating racial issues or, as John Milton once described the genre, to "aim high, and dare greatly."

Before "Get Out" brought racial satire to the mainstream and won an Oscar, there were groundbreaking films that paved the way, pushing the subgenre beyond mere jokes to reveal profound truths. Spike Lee's "Bamboozled" (2000), Ivan Dixon's adaptation of Sam Greenlee's novel "The Spook Who Sat by the Door" (1973), and Melvin Van Peebles' absurdist comedy "Watermelon Man" (1970) all offered sharp, clear-eyed insights into race, capitalism's impact on culture, and the influence of white supremacy on personal relationships. These films didn't hesitate to critique everyone, including the filmmakers themselves.

"Bamboozled" seethes with Spike Lee's frustrations, offering humor so cutting that, as Ashley Clark describes in his book "Facing Blackness: Media and Minstrelsy in Spike Lee's Bamboozled," viewers may find themselves laughing quietly, if at all, out of a mix of guilt and visceral terror. The film follows the tragic story of Pierre Delacroix (played by Damon Wayans), an African American TV writer who creates a minstrel show in a desperate attempt to save a failing network. It's a harsher critique of Hollywood than Robert Townsend's "Hollywood Shuffle" (a precursor to "American Fiction") and stands as a prime example of daring satire that "adventures dangerously."

"Bamboozled" not only delivers a powerful message about Hollywood's racist foundations through its gritty aesthetic and intense energy but also implicates everyone involved, from the white television executive (played by Michael Rapaport) to the mixed-race audiences who contribute to Pierre's show's success. In Spike Lee's view, the true minstrel show is the American entertainment industry itself. Through its scathing commentary on topics like fashion (including a parody commercial of Tommy Hilfiger), police brutality, and classism within the Black community, "Bamboozled" achieves the hallmark of successful satire—leaving a lasting impact that lingers long after the laughter subsides.

"The Spook Who Sat by the Door," while less overtly confrontational than "Bamboozled," is no less courageous. Like "The American Society of Magical Negroes," the film confronts the specter of racist violence. However, while Aren joins an organization to combat it, Dan Freeman (played by Lawrence Cook) infiltrates the CIA to incite conflict. "The Spook Who Sat by the Door" follows Dan's journey as he pretends to be subservient to become the agency's first Black agent, a move forced by political pressure to integrate. After resigning, the film transitions from satire to political thriller, as Dan returns to Chicago as a social worker, training young Black men to resist oppression. The bureaucratic satire at Langley serves as a backdrop for a compelling narrative of Black empowerment.

The intense criticism and near erasure faced by "The Spook Who Sat by the Door" and "Bamboozled" underscore the militant honesty of these satires. "Watermelon Man," although a more conventional studio production, still managed to shock audiences. In this Kafkaesque tale, a white bigot wakes up one day as a Black man. While this premise could have led to a sentimental exploration of how even self-professed liberals can harbor racism, Melvin Van Peebles subverts expectations by casting Godfrey Cambridge to play Jeff Gerber as both Black and white. This choice challenges Hollywood's acceptance of blackface, elevating "Watermelon Man" from a "feel-good" satire to a more provocative piece of cinema.

"The American Society of Magical Negroes" loses its satirical edge as the romantic subplot between Aren and Lizzie takes center stage. This shift in focus dilutes the film's sharp humor and misses opportunities to explore deeper themes, such as the impact of biracial identity on Aren's relationship with whiteness. The film also fails to fully develop the potential of the Magical Negro organization, with only one throwaway joke touching on this aspect.

In contrast, recent series like "Swarm" and Boots Riley's "I'm a Virgo" (both on Amazon) offer a more compelling vision for racial satire, rooted in a political reality that often surpasses fiction's strangeness. "I'm a Virgo," starring the excellent Jharrel Jerome as Cootie, a 13-foot Black boy in Oakland, is a coming-of-age story that embraces hyper-absurdity and silliness akin to Riley's "Sorry to Bother You." However, the series takes bold risks, portraying a world where everything and everyone is commodified. It explores complex themes of late-stage capitalism, cultural manipulation, political education, and the essence of building a grassroots movement.

"I'm a Virgo" delves into racial capitalism, the concept that racism and capitalism are intertwined and must be addressed together. Despite its satirical elements, the series tells a heartwarming story of a sheltered boy who rebels against his parents to explore the world. Along the way, he finds a group of outsiders who become his chosen family, boosting his self-esteem. The juxtaposition of Riley's harsh vision of America and the tender coming-of-age tale enriches the narrative. In contrast, "The American Society of Magical Negroes" and "American Fiction" (which struggles to update its 2001 source material) feel hesitant, with their satirical and emotional aspects failing to blend or ignite each other effectively.

One of the most moving storylines in "I'm a Virgo" involves a character who dies after being denied medical care at a local hospital due to lack of insurance. The show's seemingly absurd premise serves as a powerful metaphor for capitalism's slow erosion of life. In today's America, where headlines are filled with alarming issues like climate change, artificial intelligence, genocide, and fascism, creating a compelling racial satire requires embracing absurdity and humanity while keeping the social commentary sharp and incisive.