Good Times Review: Disrespecting a TV Pioneer

In the 1970s, “Good Times” broke new ground as the first TV sitcom centered around a working-class Black family. Set in a Chicago housing project, the Evans family grappled with financial hardships and systemic barriers with humor, pride and love for one another. Led by patriarch James and matriarch Florida, the show authentically captured everyday Black experiences rarely seen on television at the time. It became a cultural touchstone.

Norman Lear aimed to modernize this legacy with an animated reboot for contemporary audiences. Produced in part by Seth MacFarlane and Stephen Curry, it introduces a new generation of the Evans family living in the same apartment decades later. However, pre-release marketing highlighted controversial elements like a drug-dealing baby that perpetuated harmful stereotypes. While promising themes of systemic racism and oppression, early reviews found the show instead relies on absurd, offensive caricatures without nuance or punchlines.

Rather than bringing the show’s meaningful examination of the Black family to today, it squanders opportunities for progressive storytelling. Superficial references to past episodes feel exploitative rather than honoring the original’s spirit of authentic representation and social commentary. For a title with such significance, audiences deserved an update that confronted challenges facing Black communities now through fully formed characters, not hollow shock value. By missing the mark on humor and humanity, this reboot overlooks the legacy it leverages.

Getting to Know the Evans Family

The new animated series kicks off by reintroducing us to apartment 17C and its latest residents, the Evans family. Living there now is Reggie Evans, a cab driver hoping to make ends meet. He’s joined by his wife Beverly and their three kids – artist Junior, activist Grey, and youngest son Dalvin. That’s where things get interesting with Dalvin.

Though still an infant, Dalvin has apparently earned himself quite the reputation as a drug dealer in the projects. In fact, Reggie has kicked him out and wants nothing to do with “Drug Dealing Baby.” Dalvin finds refuge with his Auntie Lisa at her beauty parlor/funeral home business. Lisa and Beverly are as lively as ever, always getting into entertaining situations.

Beverly is determined to win the apartment beautification contest and earn the respect of neighbor Delphine, the tough judge. But with Dalvin’s involvement, that may be tricky. The family also faces more serious struggles. When Grey goes on hunger strike to protest processed foods, she weakens dramatically. And during a trip with Junior, the local free clinic devolves into literal gunplay.

So it’s a lively, if chaotic, household. The characters are colorful for better or worse. Dalvin in particular drew criticism for how he perpetuates harmful stereotypes of black criminality. At the same time, you can see the creators trying for edgy comedy in their world.

In later episodes, the series expands its scope a bit. We get a creative look inside Junior’s imaginative mind. And Grey must navigate puberty with grace and wisdom beyond her years. When dealing with her first period, she’s met with ignorance but finds empowerment through a phenomenal dream sequence.

Overall, the highlights come from character moments that feel grounded, not just shock value. With tweaks to problematic areas like Dalvin, there’s potential here yet for Good Times to blossom into an entertaining, thought-provoking series. Only time will tell if it realizes that potential.

A Family’s Struggles

Reggie Evans takes on a lot. As the grandson of Florida and James Evans, iconic residents of public housing project Cabrini-Green, he now lives in their old apartment with his family. Reggie works hard as a cab driver to support his wife Beverly and their three kids – Junior, Grey and little Dalvin. Though things were never easy for the Evans, Reggie finds himself facing new challenges.

Life in the projects remains a struggle. Money is tight and conditions are cramped. But more has changed too. Where Florida and James once fostered community, Reggie now butts heads with the projects’ president who sees his family as trouble. And while his own kids mean the world to him, Grey protests social issues while Junior struggles in school – neither path was clear for their elders. Reggie wants the best for his family yet the world seems bent on pulling them down.

Performers like JB Smoove capture Reggie’s pride and frustration well. He wants to do right but the odds stack high. Yet through it all, his love for Beverly and kids remains steadfast. Young Grey, voiced by a talented Marsai Martin, brightens scenes with her passion and wit. She understands struggles intimately but keeps sight of a better future.

Still, relying on stereotypes proves a crutch too often. While real struggles certainly exist, leaning too heavily on troubled types risks defining characters by problems, not humanity. Dalvin, the drug-dealing baby, most exemplifies this failing.

Where complex characters like Huey offered nuanced social critique, Dalvin due to extent reduces Black experience rather than elevates its breadth. With so much talent involved, one hopes future episodes offer characters as richly developed as the best animated shows – highlighting shared dreams rather than only shared hardships.

Good Times Re-animated

Through its animation, the new Good Times offers viewers more than just lively visuals – it presents an creative avenue for satire and meaningful expression. Rather than emulate a live-action style, the series embraces the bounds of its animated form.

Character designs feel fresh yet true to the heart of their live-action inspirations. Subtle nods to the past are balanced with details that flesh out this generation of the Evans family. Environments too capture the spirit of their setting while introducing fantastical elements. This balance of reverence and innovation breathes new life into well-known roles.

Where animation truly shines is in its ability to take viewers places the live camera could never go. We’re treated to musings inside Junior’s mind palace and riotous dreams that skewer societal norms. Dalvin’s misadventures are outrageous yet help unpack complex themes in amusing ways. Even mundane moments become mind-bending trips when characters interact with surreal figures like Black Jesus or Mayor Heavyankles.

This shape-shifting style is a boon for satire. Social commentary is slipped into off-kilter scenarios that would be cringe-worthy if shown with real people. Subjects ranging from gun violence to the women’s rights backlash get digestible through a super-powered lens. Even when missing the mark, these flights of creative fancy exhibit an ambitious spirit.

While honoring its origins, the reborn Good Times uses animation’s flexibility to plant its flag in bold new territory. With its vibrant visuals and willingness to veer past conventional boundaries, the series displays how the timeless can be made timely once again.

Assessing the Attitude

Good Times was certainly aiming for an edgy tone with this animated reboot, but was its approach really the right fit? While humor is subjective, some aspects seemed to rely more on questionable stereotypes than clever satire. And compared to the heart and humanity of the original series, did this version strike the proper balance?

The comedy often leveraged over-the-top shock value, from a drug-dealing baby to gratuitous violence. But were these absurd extremes actually amusing, or did they undermine more meaningful discussions? At their best, animated shows find wit within real world issues, not by trivializing them. A few moments did mine humor from sly social commentary, like a scene poking fun at bureaucratic bloat. Yet more could have been done to promote understanding across perceived differences.

For as much as it pushed boundaries, the comedy sometimes felt toothless or fell flat. A couple episodes nearly bottomed out before rallying with more nuanced themes. Perhaps the tone would have served the material better had it embraced fun and faux pas in equal measure, without relying so heavily on crude gags. After all, Good Times proved back in the 70s that heart and laughs need not be mutually exclusive when exploring hardship with honesty, optimism and care.

In the end, assessing the attitude is less about rules than responsibility – recognizing the power of storytelling to either diminish or enlighten. At its best, this reboot saw glimmers of that truth. But to honor its name and legacy fully, Good Times would have been better balanced embracing more of the nuance, joy and community spirit that united families and audiences decades ago. With refinement, maybe this version could get there too.

Insensitive Portrayals, Squandered Potential

This animated reboot of Good Times missed chances to offer meaningful social commentary. Set in a dilapidated Chicago housing project, characters are often reduced to stereotypes that perpetuate outdated stigmas.

The Evans family faces struggles common to those in poverty. However, their problems seem exaggerated for laughs rather than to enlighten. Subtlety gives way to crass depictions that trivialize real hardship. More care could have balanced levity with insightful perspectives on challenging issues.

Certain storylines aim to address timely themes yet fall short. An episode on a daughter’s menstrual cycle tries tackling gender norms but relies on bizarre non sequiturs. A sympathetic artist son hints at depicting mental health with understanding, yet most depiction promote prejudice over compassion.

With animation’s freedoms, these stories could have explored their topics creatively while respecting human dignity. Gentler humor left room for candid dialogue that enlightens without accusing or simplifying complex truths. Subtlety and wisdom were sacrificed for shock value, when opening minds commands delicacy.

Potential existed to start important discussions or ease tensions through shared laughter. But by prioritizing vulgar gags over social reflection, this reboot squandered chances to enlighten as the original Good Times did so well. With sensitivity and vision, animation can inspire as much as it amuses.

Netflix’s Missed Opportunity

This reboot of Good Times had real potential to tackle issues still facing Black families today with humor and heart. But unfortunately, through lackluster writing and an overreliance on stereotypes, it never seems to find its voice.

The characters of Grey and Junior showed glimpses of being complex, interesting people grappling with challenges anyone can relate to. Grey’s activism and Junior’s creativity hinted at thought-provoking stories just waiting to be explored. Yet the show remains too consumed with shock value scenes that degrade more than uplift.

By the end of ten episodes, little meaningful commentary emerges on topics like mental healthcare, education or community support systems. The original Good Times balanced humor with offering a window into real struggles – this version seems content merely caricaturing poverty without substance. It’s a disservice when the talent involved could have modernized important themes in an entertaining, enlightening way.

In the end, Good Times felt like a missed opportunity. With richer character development and stories focusing more on family bonds than absurdism, it could have built upon its predecessor’s legacy. But instead, the comedy falls flat while the heart and insight that made the sitcom landmark are nowhere to be found. This reboot proves some things are best left appreciated in memory rather than remade without understanding what made them great in the first place.

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