Today I wrapped six weeks of writing about Orange Is The New Black, two episodes at a time, at The A.V. Club. It means I’ve written a lot of words about the show, and lived in its development more than most people, and it’s created some frustration as I’ve read a series of trend pieces that function as an interrogation of its progressive statements regarding diversity in television.
To be clear, this is rarely frustration with the overarching arguments being deployed. The core of pieces at The Nation, the Daily Beast, and Roxane Gay’s piece at Salon—the best of the three—in recent days have been seeking to complicate readings of the series’ diversity as a dramatic step forward. In many reviews, the diversity of the series’ cast has been considered praise-worthy, and Gay nicely captures the sentiment that has similarly driven other authors to resist this critical consensus:
“I’m tired of settling for better instead of truly great. I’m tired of feeling like I should be grateful when popular culture deigns to acknowledge the experiences of people who are not white, middle class or wealthy, and heterosexual.”
It’s an important argument, but it’s one that I’m seeing deployed with Orange Is The New Black not because the series is wholly representative of this problem but rather because it is a text with a degree of cultural relevance in our current pop culture moment that undoubtedly connects with this problem. The Daily Beast’s Allison Samuels didn’t even watch Orange Is The New Black before lumping it in with other pop culture examples. The Nation’s Aura Bogado only watched six episodes before quitting on the show’s first season. My reaction to these articles is not a rejection of the basic principles on which the authors stand, but rather a rejection of their relevance to this particular series as it evolved over the course of its first season.