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PARENTS, PLEASE BE ADVISED: If you are a parent, it is your responsibility to keep any age-restricted content from being displayed to your children or wards. Furthermore, you represent and warrant that you will not allow any minor access to this site or services. This website should only be accessed if you are at least 18 years old or of legal age to view such material in your local jurisdiction, whichever is greater. He comes up with a new scheme in every easily watchable, sub-30-minute episode, doing everything from trying to “buy black” for 72 hours – which culminates in him having to sleep on a park bench with a can of black beans as a pillow – to buying a farm and starting a self-governing microstate.You are about to enter a website that contains explicit material (pornography).
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The obvious precursors for his stunts are Morgan Spurlock and Michael Moore, but Killer Mike’s strength is that he glorifies the individual and the power of local connections. He barely mentions specific US policies or even presidents. He starts with roughly a black-nationalist perspective, but this soon widens out into solidarity with any marginalised group. His preoccupation is always what one person, or one small group of people, can do to effect change. This gives him universal appeal, despite him rarely leaving Atlanta.Īmerican topical satire is better at taking this sort of step back than its UK equivalents, which are often too concerned with politicians’ personal foibles to notice the effects of their politics on the ground. Netflix is about to start a second run of Patriot Act With Hasan Minhaj, which is to some extent a weekly news-comedy show, but also likes to take a buzzing story and dig deep into a wider, timeless issue behind it. Last Week Tonight With John Oliver, at its best, does similar. Killer Mike always glorifies the individual and the power of local connections. Trigger Warning takes a less specific approach: where Killer Mike is heading isn’t always clear, and often seems unknown even to him. It’s an ethos that pushes back against a polarised culture, where entrenched viewpoints are argued with feigned certainty, each side unwilling to admit even the slightest doubt. Killer Mike isn’t ashamed to float ideas and schemes and watch them crash. In the best episode, he starts by wondering why black Christians are willing to worship a white Jesus and vows to found his own church, but ends up exploring – given the show’s unpredictability, you almost want to say “spoiler warning” here – sleep-focused mindfulness, meditation and self-empowerment.Įven the weaker instalments rest on a provocative thought that lingers in the mind. It’s not obvious what is achieved by showing jobseekers specially made pornography that incorporates carpentry and plumbing tuition – ie classic porn, except the repair guy really does fix the washing machine – but the guinea pigs’ reaction to the finished video is a riot, and the contention that schooling ought to be more vocational is worthy of further thought.
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And in the episode where Killer Mike holds X Factor-style auditions to create a rap crew made up of minority campaigners, the decision to include a Trump supporter who refers to himself as a “white N-word” is a bad mistake, but the ensuing farce brings with it several huge, guilty laughs. Killer Mike’s comic timing enhances even the most contrived scenes, such as when he takes a gang of Crips to see a bank manager, hoping for a loan to help them monetise their brand via the sale of Crip-a-Cola fizzy pop. When Killer Mike meets the Bloods to tell them about Crip-a-Cola, one of the scary dudes asks: “Is it vegan?” That episode also contains the starkest example of the show’s most pleasing theme, which is that people are much more woke than you might think.