When you ask someone what their favorite TV show is, do you expect them to name something recent or to reach back for a show from the early 2000s that stuck with them? Personally, I’d pick a go-to Black sitcom from the 2000s. For me, they’re easy to watch and an overall good time.
The film industry evolves with changing audiences, but lately, many new shows seem to lack the charm of 2000s television. New series, notably those starring Black characters, often feel like recycled formulas rather than fresh stories.
Early 2000s shows hold a special place in my heart because of their intention and substance. Series like “The Vampire Diaries,” “Moesha,” “Sister, Sister,” “The Game” and “Pretty Little Liars” feature original storytelling that keeps viewers returning, remaining relevant even after their finales.
Modern shows often lack depth. Audiences crave episodes that feel cinematic, with lines that resonate emotionally. Instead, many contemporary series rely on the same overused formula: excessive profanity, dull visuals, short episodes and overly predictable storylines.
What disappoints me most is the limited emotional range being explored. Hostility and lust are heavily relied on to create a story’s tension, whether or not the show is centered on Black characters. There’s nothing wrong with implementing those themes, but when they’re overused, a show’s complexity is lost.
There’s no relief, anguish or frustration depicted in series anymore. Many viewers are exhausted with stereotypical tropes like the “aggressive Black woman” or Black men depicted as gang members repeatedly being used, especially in Black TV shows.
The same pattern recurs: characters often struggle with crime and violence, with trauma shaping their narratives. We need more strong, complex and sensitive Black women like Bonnie Bennet from “The Vampire Diaries” or Macy Vaughn from “Charmed.”
They demonstrate that Black women can be compelling without being portrayed as “ghetto” or “aggressive,” showcasing sensitivity, reserve and intelligence without weakness.
Characters like Marcel Gerard from “The Originals” and Gordon Walker from “Supernatural” challenge the stereotype that Black men are often stuck in. Writers need to remember that Black people are complex and joyful, not tragic figures. We deserve to see our love and happiness represented, just like everyone else.
Reese Sterling, a sophomore TV and film major from Houston, said the portrayal of Black people in modern TV and film often centers on struggle and tragedy.
“Right now, it can sometimes feel like Black people are more often shown as people who need to be saved rather than people who are capable of saving others,” Sterling said.
His sentiment is that great storytelling doesn’t need trauma; Black individuals deserve to be depicted as everyday people, just like anyone else, not a narrative where they need saving.
Another detail missing from modern television is the warm colors used in older shows. They often had vibrant tones, even in night scenes, making them visually rich.
For instance, “Moesha” comes to mind as a classic Black sitcom that was easy on the eyes. In contrast, many contemporary shows, like “Sistas,” seem to lean heavily toward a gray scale, resulting in a more depressing visual style. These shows were released 23 years apart and the contrast is telling.
“Moesha” showcased the daily life of a normal Black girl with a warm color palette, while “Sistas” began as a story of four Black women supporting each other but shifted to a hostile tone and bleak gray scale. A key difference noted by Noah Pierson, a junior TV and film major from Detroit, Michigan, between early 2000s shows and those produced today, is that the artistry is lost.
“Television and cable networks can exist in their different art forms. Now it’s more business, and I think we see that,” Pierson said.
It seems that big networks no longer view media production as an art, but as a way to make money. Many Netflix shows feature eerily similar storylines, leading to copy-and-paste content with little substance. Even when there is some depth, it often resembles other shows you have already seen. Writers and directors can enhance a show’s depth and originality by using nontraditional perspectives, such as unique angles or focusing on internal character conflicts rather than just external situations.
Streaming services seem to have stopped taking risks with its shows, opting for safe, overused concepts rather than originality. This cautious approach can be boring and cowardly. Taking risks can lead to greater success and creative growth, as fresh ideas often outperform familiar ones.
Overall, the early 2000s simply produced better-quality media. Yes, today we get more shows focused on Black people, which is well deserved, but if it isn’t good quality, it doesn’t matter. It’s a simple fix: keep the representation but bring back the 2000s spark.
Copy edited by Jori Johnson
