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Chappelle gets close to lobbing a critique of social justice movements that mainly focus on aiding white people, but his analysis lacks nuance: He frames whiteness as the protective cover most gay and transgender people default to, ignoring Black trans people in the course of the show.Ĭhappelle repeatedly attempts to redirect the conversation back to concerns of Black oppression and violence against Black communities. “Gay people are minorities until they need to be white again,” he notes at one point. Throughout The Closer, Chappelle argues - often savvily, if with glaring hypocrisy - that many queer and trans people enjoy white privilege, and that their white privilege makes them essentially more cosseted and protected than Chappelle and other Black men in America. Individual identity doesn’t work that way. Chappelle wants to make classes of oppression into a zero-sum game. But Chappelle seems to view that hurt, and even the immediate pain of his transphobic jokes, as a worthy trade-off. There’s no getting around the reality that transphobic rhetoric like Chappelle’s absolutely contributes to real-life harm. So perhaps the real question is, should trans people have to get over it? “Yes” seems to be the answer from The Closer, more or less. What we wind up with, then, is this: Yes, The Closer could cause real-world harm, but trans people will just have to get over it. In his defense of Chappelle, Netflix co-CEO Ted Sarandos first said that he didn’t believe The Closer could cause any real-world harm, and then, after recanting that statement, said that trans people would simply have to deal with the special being on the platform. Trans people have expressed outrage at both Chappelle and Netflix for amplifying overtly transphobic and anti-scientific views about gender and trans identity. Chappelle’s use of Dorman as a kind of totem for the type of relationship he’d like to have with the trans community at large is both telling and confusing - not because of what it says about Chappelle and Dorman, but because of what it says about the nature of comedy and the nature of pain. Then he says, “As hard as it is to hear a joke like that, I’m telling you right now - Daphne would have loved that joke.”Īs I’ve attempted to grapple with the aims of Chappelle’s comedy, this line has stuck with me. Take a look at what’s trending on Netflix at any given time and I guarantee you’ll spot more than one true crime documentary.Toward the end of Dave Chappelle’s incendiary Netflix standup special The Closer, he says something revealing about the fight he’s waged against trans people - a fight that’s drawn Netflix itself into the fray and which led to a walkout and protest against the company on October 20.Īfter discussing the death of his friend, a trans comedian named Daphne Dorman who Chappelle also mentioned in his previous special Sticks and Stones, Chappelle makes a joke where the punchline is to blatantly misgender her. In recent years these disturbing yet compelling shows, bridging both scripted and non-scripted, have captivated audiences around the globe, and proven highly successful for broadcasters and streaming platforms. Of that segment true crime was not only the biggest documentary subset, it was also growing faster than any of the others. In 2021, the documentary genre as a whole was the fastest growing segment of the streaming industry.
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South Georgia and The South Sandwich Islandsįrom the blog Why user-generated video can maintain true crimes momentumįactual or ‘true’ crime is one of the most popular genres on TV right now.