"figures one were read on the official report commissioned by ITV) and was never brought back for or developed into a series despite the success David Croft had with ""Dad's Army"", ""It Ain't Half Hot Mum"" and ""'Allo 'Allo!"". The pilot was directed by Roy Gould who had worked for David Croft at the BBC. Which Way to the War Which Way to the War is an intended British television sitcom written by David Croft and Jeremy Lloyd, which was discontinued after a one-off broadcast pilot on 19 August 1994. It was also Croft and Lloyd's only ITV sitcom and"
"reviews from others. In particular, a scathing review of the show by Tim Teeman was published in ""The Times"", berating the show for its perceived homophobia due to the characterisation of Horst Schwul: This view was backed up by ""The Scotsman"", which described the characters as ""crass"" and ""one-dimensional"", and describing Schwul as ""undoubtedly the worst comedy character in the history of civilisation"". By contrast, newspapers such as ""The Sun"" and the ""Daily Mirror"" gave the show broadly positive reviews, describing some sketches as ""chucklesome"", praising Murray and Eclair's performance as the Radio Ad Couple, and suggesting the show demonstrates"
"remarks. Comedian Paul Scheer tweeted ""Octavia Spencer's win shows just how far we've come since Billy Crystal performed in Blackface. #TheOscars"" Victoria Foyt was accused of using blackface in the trailer for her young adult novel """" as well as in the book and its artwork. Gay white performer Chuck Knipp has used drag, blackface, and broad racial caricature while portraying a character named ""Shirley Q. Liquor"" in his cabaret act, generally performed for all-white audiences. Knipp's outrageously stereotypical character has drawn criticism and prompted demonstrations from black, gay and transgender activists. ""The Story of O.J"", a song on Jay-Z's"
"is never elaborated upon. Though Mr. Humphries exhibits many of the behaviors typical of a gay stereotype, his true sexual orientation is never explicitly confirmed in the series. The reticence was a necessity given prevailing attitudes at the time the series was produced: after the first five episodes of ""Are You Being Served?"", a senior BBC executive ordered David Croft to ""Get rid of the poof"" from the show – Croft declined, saying: ""If the poof goes, I go."" Many jokes throw Mr Humphries into heterosexual clinches. At one point he is asked to fill in for Mrs. Slocombe at"
"the genre-bending album as sounding uncommercial. Q-Tip was quoted as saying: Similarly, BET infamously refused to play ""Lovin' It"", the lead single of North Carolina-based alt-rap duo Little Brother's socio-politically charged concept album ""The Minstrel Show"", which provided a tongue-in-cheek critique of African-American pop culture, on the grounds that the group's music was ""too intelligent"" for their target audience. The network was subsequently satirized by the animated series ""The Boondocks"" – which regularly features underground/alternative rap as background music – in the banned episode ""The Hunger Strike"". The episode, which portrayed BET as an evil organization dedicated to the self-genocidal"
"and has become seen as a slur in the 20th century. His comments were also mocked on the NPR comedy news show ""Wait Wait... Don't Tell Me!"" which joked about his opinion on the subject, claiming that including intersex people would be advantageous to the military, since they could ""pursue enemies into both men’s and women’s restrooms"". This joke was poorly received by some, including writers of ""ShadowProof"", who stated that it was both insulting to intersex people and a play on the negative stereotype of trans people as potential bathroom sexual predators, and ""Queerty"". Hunter's comments were also ridiculed"
"Todd and Marty bonding during the Carlivati storyline, stating, ""I'm all for gang rape."" He later issued an apology for the comment: ""I should know better than to ever try and make a joke about such a serious subject. I intended no disre[s]pect and apologize to anyone I offended."" De Lacroix found Carlivati's storyline ""disgusting"", stating that it was exploitative, misogynistic, insulting to the audience, and ""the most phony, stupidly contrived story I have ever seen"". She also felt that it was a severe misjustice to the original storyline. Fans who were opposed to the storyline called it ""the re-rape"","
"for Carl’s Jr."" Kennedy was also panned for his Commerce Casino sketch, which Rabin felt was ""racist in its grotesque minstrelsy of Native American culture"", and not funny. He also felt that Macy Gray's performance was ""shambling yet strangely majestic"" (speculating that she, and the rest of the production staff, may have been drunk), and felt that the performance by Bone Thugs-n-Harmony would have been a ""muddy, dispiriting dirge"" even without a backing track. In conclusion, however, Rabin praised the special for its unexpectedly surreal nature, considering it ""the least professional and most entertaining New Year’s Eve broadcast I have"
"the skits were based on Freeman’s, Gupton’s, and Branner’s experience with their homosexuality and the society around them. The skits were portrayed by parodying, over acting, and truly speaking out the problems they were faced with. In an Article by Stephen Holden critiquing the Pomo’s show, Dark Fruit (one of the Pomo’s later pieces) is more comedic than Fierce Love. Holden Praises Freeman for his acting and being able to expose himself on stage. He critiques Branner for his lack of charisma, but still complements him for being soft and moving. The group performed at Lincoln Center and elsewhere nationally."
"and singled out Bateman, Aniston and Spacey for their performances. O'Hehir was however critical of the perceived homophobia, sexism and racism. ""The Hollywood Reporter""s Kirk Honeycutt responded negatively, stating the jokes failed to be funny, stating ""Seth Gordon shows no flair for turning the absurdities and cartoonish characters in the script...into anything more than a collection of moments in search of laughs."" Karina Longworth of ""The Village Voice"" was critical of the premise, which she felt lacked any legitimate ""rage"" against the characters' bosses, stating ""...there's every sign that, even without these particular emasculators, Dale, Kurt and Nick would still"
"Unity. Knipp concedes that his performances should make people uncomfortable because ""we all are used to treating African Americans as if their skin colour is a disease"" and that black people are ""more than intelligent enough to discern the nuance"" of his performances. He has also said that ""many people thought that Harriet Beecher-Stowe's ""Uncle Tom's Cabin"" was and still is perceived as racist, despite being the probable artistic genesis of emotional support against slavery in the 19th century."" There have been a number of articles in the media that have taken issue with Knipp and the character. Chuck Knipp"
"offensive. The show has also received criticism of having one-dimensional characters and unoriginal storytelling. The backlash ""Family Guy"" has received has led many contemporary animated sitcoms such as ""South Park"" and ""The Simpsons"" to satirize ""Family Guy""s writing. ""Family Guy""s frequent use of politically incorrect jokes and satire has led to controversy. The jokes that receive controversy are often found in the cutaway gags. For example, in the episode ""The Cleveland-Loretta Quagmire"", Peter and a barbershop quartet sing and dance around the bed of a man with end-stage AIDS. The airing of this episode led to immediate backlash. This cutaway"
"to have ""resisted 35 years of social potential personal change,"" and that they remained single, ""predatory,"" and ill-suited for long-term relationships. It also criticized what it perceived as the use of characters as ""authorial mouthpieces"" for outdated and racist sentiments. Decker's production was also criticized for its staging and ""ill-conceived"" apartment set. It praised Duffy for the best acting, with Michael portrayed as ""poisonous yet occasionally poignant."" The Men from the Boys The Men From The Boys is a 2002 play by Mart Crowley. A sequel to the off-Broadway production ""The Boys in the Band"", ""The Men From The Boys"""
"especially offended by the rape jokes in the first three episodes of the series, calling the series the worst new show of 2012, stating that it ""display[ed] a lack of understanding and creativity on the part of the comedy writer."" Andrew Ti, writing for ""Grantland.com"", singled out the portrayal of Han Lee as ""a fairly regressive portrayal"" of the stereotypical Asian male: ""a tiny, greedy, sexless man-child with infantilized speech patterns."" Elliot B. Gertel at ""Jewish World Review"" similarly found that the show misrepresented ""Orthodox"" Jews in an episode. When asked about the racial stereotypes at a January 2012 press"
"his face claiming that it was her daughter's birthday. Lantry later called Robinson a ""rich, snobby, white-privileged-ass dude"". Later that night, Lantry confronted Robinson with pots and pans during which she exclaimed that Robinson has a ""micropenis"". Upon confrontation, Lantry sat between Robinson's legs whom repeatedly asked her to get off of him. Joseph Charles ""JC"" Mounduix was criticized by fans after he asked Rachel Swindler if she was transgender, stating that she has ""a big Adam's apple."" Mounduix proceeded to feel Swindler's neck, but she told him to stop. Moments later, he began to touch Swindler's neck again before"
"during 1972–75. The rantings of Alf Garnett on race, class, religion, education and anything else at all definitely touched a nerve. Although the show was in fact poking fun at right-wing bigotry, not everyone got the joke. Some — including, notably, Mary Whitehouse — complained about the language (although the level of profanity was quite light) and resented the racial epithets like ""wog"" and ""coon"" and the attitudes underlying them. Others, completely missing the point of the show, actually adopted Alf as their hero, thinking he was uttering truths that others didn't dare to — apparently oblivious to the fact"
"network. Fox picked up the series, but cancelled it four months later. While Fox allowed ""The Simpsons"" to portray animated depictions of human buttocks, ABC would not allow similar scenes to appear on ""The Critic"". ""Beavis and Butt-head"" was controversial for its portrayal of brief nudity, profanity and violence. Although the series was intended for adult audiences, it was shown in the afternoons, and multiple parents claimed that their children had imitated the show's characters. The first instance of such an accusation occurred when animal lovers in Santa Cruz, California claimed that someone had blown up a cat after seeing"
"reviews. The critics noted the lack of heroics and the pseudo-pantomime delivery, although there were some effective musical sequences, including a scene around a gallows that became a morris dance around a maypole. Windsor also came in for some praise. The show had been intended as a romp that poked fun at the Crusades, the attitude of the Church and the human flaw of wanting to turn an outlaw into a hero. Orkin believed the show failed because they failed to establish the exact butt of that satire; it was too vague and inconsequential. Bart lost his personal fortune in"
"it appeared to be an Emmy submission showpiece for Colfer. She said that ""Grilled Cheesus"" felt forced and disliked Kurt's angry ""overwrought"" reaction to his friends' prayers. Christie Keith, writing for the lesbian and bisexual media website ""AfterEllen.com"", praised Kurt's storylines and suggested that Colfer should win an Emmy Award for his portrayal of Kurt dealing with his identity. Critics were polarized by Kurt's storyline in the episode ""Never Been Kissed"". ""NPR"" Linda Holmes found it ""absurd"" that a teenager as deeply in denial as Karofsky would transition from bullying to kissing Kurt so quickly and described it as ""emotionally"
"condemned by ""the New York Times"" critic Bosley Crowther. He called it ""a smeary tabloid fable"" and ""an hour and a half of ostentatious vice."" His review concluded: ""Surely, discriminating people are not likely to be attracted to this film. But it is precisely because it is designed to pander to the lower levels of taste that it is reprehensible."" In 2006, critic Fernando F. Croce wrote of the film, ""The usually meek Robert Wise trades his chameleonic tastefulness for full-on, jazzy misanthropy in this nasty melodrama...Wise swims in the genre's amorality, scoring a kitchen brawl to big-band radio tunes,"
"largely in response to her review of the 1981 drama ""Rich and Famous,"" Kael faced notable accusations of homophobia. First remarked upon by Stuart Byron in ""The Village Voice"", according to gay writer Craig Seligman the accusations eventually ""took on a life of their own and did real damage to her reputation"". In her review, Kael called the straight-themed ""Rich and Famous"" ""more like a homosexual fantasy,"" saying that one female character's affairs ""are creepy, because they don't seem like what a woman would get into"". Byron, who ""hit the ceiling"" after reading the review, was joined by ""The Celluloid"
"brave the wrath of many viewers and journalists, but they also explored anti-gay bigotry through the characters in the show - most notably via Albert Square's local gossip Dot Cotton (June Brown), who erupted into horror and ignorant self-righteousness upon discovering Colin and Barry's secret, and even spread rumours that Colin had AIDS. The episode featuring the kiss was watched by over 17 million viewers, and Colin and Barry remained on-screen for several years, accessing millions of viewers each episode — the gay community were finally being represented on mass audience mainstream television. Gradually, negative assumptions began to lessen, public"
"them not treat Kurt like such a saint all the time."" Semigran wrote that Kurt showed ""an unflattering side of himself"", and Gonzalez stated that she ""was completely on Blaine's side here"": Kurt ""wasn't fair"" and ""was sort of unlikable"" for once, though she did add that ""he's allowed to be flawed"". Blaine's ""sudden confusion over his sexual orientation"" was deemed a ""false note"" by Reiter, who called his ""overwrought speech"" at the Lima Bean ""off-key"". Harper was unhappy that ""major plot points like a gay character thinking he might be bi or straight get instigated, sorted out and wrapped"
"of work that panders more than it provokes."" ""At the Movies"" critic Ben Mankiewicz criticized the film for being too demeaning and playing on homosexual stereotypes. He later named ""Brüno"" the worst film at the halfway point of 2009. Some LGBT groups have criticised the character as perpetuating LGBT stereotypes while simultaneously enlightening institutionalised homophobia issues. ""Sacha Baron Cohen's well-meaning attempt at satire is problematic in many places and outright offensive in others,"" Rashad Robinson, senior director of media programs for the Gay and Lesbian Alliance Against Defamation (GLAAD) told ""The New York Times"". On October 11, 2010, it was"
"term ""tranny"" in its place, and found it ""particularly alarming"" given that the season one episode ""Theatricality"" presented a negative reaction to the use of a homophobic slur."" Critics had a mixed reaction to the episode. Todd VanDerWerff of ""The A.V. Club"" graded it an ""F"" and said it was ""the worst hour this show has ever produced"". He felt that it was overly ambitious, and that in attempting to skirt humorously around the issue of transsexuals, the end result was ""more offensive than if the show had simply ignored the whole thing to begin with."" Matt Zoller Seitz of"
"the Detroit tryout, Odets died and Gibson was hired to rework the script. The ideals of the noble plot were abandoned in a revision in which Joe evolved into an angry man who, embittered by the constant prejudice he faces, uses his fists to fight his frustrations. His brother became a worker for CORE, and the subtle romance between Joe and the white Lorna developed into an explicit affair capped by a kiss that shocked audiences already having difficulty adjusting to a heavily urban jazz score and mentions of Malcolm X. This was a far cry from the musical comedies"
"people"" more than she does. Days later, in a conversation with Haleigh Broucher, Dayton referred to her housemates as ""crazy-ass white people."" Many viewers saw Dayton's statements as racist. Joseph Charles ""JC"" Mounduix was criticized by both fans and his fellow housemates for making light of the #MeToo movement after making jokes at the movement's expense. Joseph Charles ""JC"" Mounduix was once again involved in two separate sexual misconduct incidents in which he was accused of sexual harassment and sexual assault. While sleeping in the same bed, Mounduix was seen caressing Tyler Crispen’s arm, face, and chest, as well as"
"entertainment for a public that—as the stupid, violent characters who hold up a mirror to that public indicate—it views with contempt."" The sex scene between Rogen and Faris attracted criticism from various groups. Referring to the moment where Ronnie Barnhardt is having sex with Faris' intoxicated character, Rogen said in an interview that ""then she says, like, the one thing that makes it all okay,"" to which Antonia Zerbisias responded, arguing that ""retroactive consent is not consent"" and ""there's no okay in rape"". Peter Travers argued in ""Rolling Stone"" that while the scene does constitute date rape, ""the bipolar Ronnie"
"they have no chemistry, nothing in common and should not be together. He described them as ""extremely awkward and so forced"". But Langford praised the acting, writing and basis of Vincent being an illegal immigrant. He added that Vincent's plight of being gay made ""compelling and real"" viewing. Months later he stated: ""The thing is all the people in this story are likeable and the actors are appealing and talented. But the core of this is Vincent and George as a couple. And that just doesn't work, ruining the whole story."" He also criticised ""Hollyoaks"" for stating that all involved"
"ruthless and greedy. The serial also suggests that he was homosexual. Because of the dramatic slide in ratings, ""Rhodes"" was quickly deemed to have been a failure, prompting MacDonald to observe that the series was ""in danger of becoming a flop as colossal as its hero's exploits"". It was also quickly rounded on by a number of critics, who were equally as scathing. Writing for ""The Sunday Times"", A. A. Gill suggested it ""started with everything against it and then they made it all worse"", while David Aaronovitch of ""The Independent on Sunday"" opined the overuse of background music, observing"
"the inane naivety of local gossip Dot Cotton (June Brown), who erupted into horror and ignorant self-righteousness upon discovering Colin and Barry's secret, and even spread rumours that Colin had AIDS. The episode featuring the kiss was watched by over 17 million viewers, and Colin and Barry remained on-screen for several years, accessing millions of viewers each episode — the gay community were finally being represented on mass audience mainstream television. Gradually, negative assumptions began to lessen, public opinion began to shift in Colin and Barry's favour and even Dot got used to the idea of having gay neighbours. Michael"
"sharp-tongued, witty responses, along with his trademark catch-phrase ""I'm free!"", were enthusiastically embraced by many audience members, and the character evolved into a gay icon in popular culture. Despite this, Inman pointed out that Mr Humphries' true sexual orientation was never explicitly stated in the series, and David Croft said in an interview that the character was not homosexual, but ""just a mother's boy"". In an episode of the spin-off ""Grace & Favour"", the character is further described as neither a ""woman's man"" nor a ""man's man"" and as being ""in limbo"". The characters (Mr Humphries especially) sometimes broke the"
"the producer of the sketch did not like them and viewed the characters as ""too sad"" and suggested making them younger ""chorus boy"" types. Their first appearance was in episode four of the first series, and – although Marty Feldman apparently ""got tired of them"" – Julian and Sandy proved to be the most successful part of the show, and appeared in every episode thereafter. As well as being a successful comedy act, Julian and Sandy were notable for being two stereotypical camp homosexual characters in mainstream entertainment at a time when homosexual acts between men were illegal in the"