'American Koko' Is Pro Black Pleasure That is Not Guilty

American Koko is available on ABC Go Digital. 

A brave web series (with co-producer Viola Davis conducting impressive voice over duties) has been delivered to us. Are we worthy of its juicy contents?

I loved every minute of binging on satirical, candid, and edgy American Koko. Led by dynamic Akosua Millard codenamed Koko, Los Angeles based Everyone is a Little Racist (E.A.R.) Agency has a small diverse staff looking to combat the race problem. Akosua is the former client turned imperfect ringleader, optimistic Lucky brings heart, genius Baldwin offers intellect and a sophisticatedly crafted "racist" machine meter, and Miles, often using black colloquialism, displays common sense in midst of his inherited white privilege.

In the opening, a sleekly dressed Akosua in powder blue trench coat and brown ankle boots, races to a parked car, carrying a large black purse. She gets inside and explains to an Asian mother that her adopted black daughter has 4C hair. That black purse contains conditioners, shampoos, a detangle comb and more-- all organic. Yes, this downright hilarious scene shares the scope of "crimes" that the struggling, nearly financially bereft E.A.R. Agency takes on.

Their first season main case involves Mr. Wallace, a white high school drama teacher. He has written a musical based on the life of Harriet Tubman. He has only one black student in his class, a testy Anita Benita, but it’s the Latino girl who has the perfect voice. Koko believes, that no matter how bad the singing, the girl has every right to play Harriet. After all, she is a real-life historical figure. Some of the gang disagree, which of course, is a freaking atrocity in the making.

Meet the E.A.R. Agents: Baldwin Bledsoe (Cedric Sanders), Lucky Ling (Elaine Kao), Akosua "Koko" Millard (Diarra Kilpatrick), and Miles Gold (Miles Orion Feldsott).

“She wore a headwrap," shoots Anita, "like she was going to bed—all the time."

That perception hits home.

My friends and I wear headscarves often. It unnerves people, especially fellow black Americans. A co-worker continuously stated that I looked like a runaway slave. I told her to stop, but the utterance continued coming out snarling, like a snapping dog refusing to keep its ferocious jaws shut. Vile criticism is a manifested mental conditioning that makes us feel ashamed of country history, allowing that shame, which shouldn’t be ours to bear, to seep into our consciousness, our moral fibers, our definition of beauty. It doesn’t matter if the headscarf has fascinating colors or rich patterns, it still symbolizes ugliness.

Generations are growing up like Anita, wanting to be more than the slave, failing to realize that Tubman is not only beautiful, but important to remember for her brave heroism. The agency made it a priority to get her to understand.

After the play, which was well done, the mom’s mouthed “thank you” made first season grand.

Mr. Wonderful (Nyambi Nyambi) is not so wonderful after all. 

Akosua’s hot and steamy relationship with Mr. Wonderful, had her heavily equating him to be the John (or Nelson Davis) to her Harriet. She is obsessed with all things African—her apartment is an homage to art, pattern, design, the works. She wears bold scarves and dresses and drops quotes from Love Jones. In complete opposition, private schooled Mr. Wonderful dated white women, doesn't know much black history/popular culture, and frequently says “awesome” (Akosua’s most hated word). In fact, one of their earlier mishaps is when Akosua suggests a Saturday night documentary on Jack Johnson. Mr. Wonderful believes it is on Jack Johnson the musician and Akosua means the boxing legend inspiration to Muhammed Ali and Joe Frasier. Like Akosua’s ardor for diaspora, she grasps hard at this relationship, wanting it to be epitome of black power romance. The tough sell is an overzealous clutch with red flags. Despite growing up in the same country, they operate on completely opposing spectrums.

Mr. Wonderful, who isn't even with Akosua because he wants her, ends his diabolical breakup rant to Akosua with, "you're not African!"

Ah, but she is. We all are descendants of Africa. Diluted with American culture yes, but in our DNA in our physical inheritances, in our souls, in our "residual trauma,"  exists an undeniable truth.

She may have grown up in Detroit, but Mr. Wonderful doesn’t understand Akosua. Maybe he wants her to be more like his previous white girlfriends. Akosua wants him to be proud of his black heritage. She mentally pairs the relationship end to that of Delonte West’s death, the lynching of the past equating to bullets of the present.

Tamika (Zainob Johnson), Grace (Simone Missick aka Misty Knight from Luke Cage and The Defenders), and Koko (Diarra Kilpatrick).

In season two, the gang's latest case--representing West's murderer John Williamson-- is a real doozy. Even though I rooted and hollered for Akosua smashing the living daylights out of Williamson's car, her anger spiraled out of control and created a bad look for the agency. Sadly, they need the evil blood money despite killing moral ethics of what they represent. Also, Akosua is not "cured and must return to “Angry Black Women” support group therapy to calm down compulsive rage. These beautiful black sisters are directed by properly named Grace, a spirited leader who urges the women to soothe and release their inner frustrations to other kinds of frenzied passion.

Enter Kwam. He is the writer of the famous Angry Asian Blog. Akosua meets him at a horrible poetry gathering and the two exchange awkward flirtation in front of the occupied restroom. They go on dates including reenacting Risky Business (complete with Akosua wearing the Tom Cruise white shirt), but Akosua is hiding a huge secret from him. Her real fear of destroying this new, refreshing relationship is understandable. At the same time, they both respect each other's work, especially in regards to combating racism and race myths. She is desperate to expose the murderer as racist. At the same time, Kwam believing that she is a fraud, is on a path of destroying and discrediting her.....

What a cliffhanger, right?

Still, interesting that an Angry Asian can be considered laudable and worthy of respect while "Angry Black Woman" is thought to be an ugly, demeaning stereotype that we have to let go of. Black women aren't allowed to be upset no matter the situation.

Diarra Kilpatrick with American Koko producers Viola Davis and Julius Tennon.

Thanks to the utterly captivating performance by show creator Diarra Kilpatrick, Akosua's savvy, unfiltered, bold character is believable, a statement for the black woman who ever feels intimidated, out of place. Akosua doesn’t censor herself for no audience. In cowrie shelled Havana twists, sleek outfits that highlight cocoa butter smooth skin, and “take no mess” attitude, she is the essence of cool. She doesn’t mute herself around her colleagues or white best friend.

American Koko isn't only ridiculing society with characters unknowingly walking around dead black bodies lying on street corners and bathroom stalls. This is a grueling representation of where we are right now.

Happy Birthday Viola Davis: Fem Film Rogue Icon Spotlight

Don't call her the "Black Meryl Streep," Viola Davis (first African American actor to win triple crown of acting: Oscar, Emmy, and Tony) has definitely carved a stake in Hollywood on her own terms.

I first saw this incredibly gifted actress in John Patrick Stanley's Doubt. She had this huge, pivotal scene that stole the whole film from seasoned Meryl Streep and the late Philip Seymour Hoffman. I was taken aback, shaken to the core. "Until June," this mother would willingly ignore heinous allegations that a priest was possibly making on her young son, testimony based on words by a nun. What?

Viola Davis's delivery was excellent-- aghast, stunned, complacent. Immediately, I looked up her imdb, desperate to watch whatever else she blessed. Her ability to convey a wide range of human emotion is a tremendous skill few can truly touch.

Mrs. Miller (Viola Davis) only had one scene of dialogue and Davis gave script one hundred percent gold.

On this day in 1965, Davis was born in St. Matthews, South Carolina, the fifth of six children. Her mother worked several jobs, was also a Civil Rights activist, going as far as being jailed with young Viola in tow. Overcoming great strife such as wretched hardship, Davis went on to succeed at Rhode Island College and Julliard.

Is it any wonder why she was chosen as Time 100's Most Influential? Viola hasn't only just crafted acting. She has given voice to black Hollywood's unhidden issues.  

Davis is a well-trained theater actress. No doubt. In film and television, her fierce tenacity translates beautifully onscreen. She has worked with some of the best actors and actresses in Hollywood, but brings her own dish to the table. Often at times, outshining her partner. In Fences, she brought it all (sorry Denzel).

How to Get Away With Murder functions from fall season opener, to winter breaker, to spring season finale due to Davis's weekly top notch acting class masterpieces. Davis breathes effortlessly into Annalise Keating. She cries, tears joining with nostril snot. She pulls off her hair pieces and wipes away makeup. Everyone feels her pain and struggle as though fourth wall has been cracked. We just want to offer her hugs and tissues. Annalise is also manipulative, seductive, fiery, smart, and courageous. At times, she can be selfish and selfless. She has significant relationships with men and women. Thanks to this wig popping, heart beat snatching role, Davis is still the first and only black woman to receive the Primetime Emmy for Best Leading Actress in a Drama Series. Weeks ago, she received her third consecutive nomination.

In addition to redefining history, her award win list is miles long. With vast theater expertise, she has won two coveted Drama Desk Awards (including one for two-time Pulitzer Prize winning Lynn Nottage's Intimate Apparel)  and two Tony Awards. She has five SAG Awards (first for a black actor). In addition to a Golden Globe and a BAFTA, our sis has three AAFCA Awards (African American Film Critics Association), four NAACP Image Awards, three Black Reel Awards, and a BET Award. And this year, she won her first Academy Award after two prior nominations.

Yet Davis shows no signs of stopping. She and her husband have a production company called JuVee Productions which have produced amazing films like Lila and Eve and Custody. They're working on a biography of Barbara Jordan. Plus the digital series American Koko is on its second season.

In Shondaland's hit How to Get Away With Murder, in criminal defense attorney Annalise Keating (Viola Davis), audiences see a powerful, multi-layered dark skinned black woman grace the screens for fifteen suspenseful episodes per season.

Another wonderful, motivating trait about Davis, next to her commendable acting ability and realm into producing black stories, is her advocacy for black women, especially dark skinned women still searching for a pedestal, a right to be deemed acceptable and sexy in this Europeanized society. She bravely includes this notion in almost every awards speech, the need to be seen, to be a desirable character. She talks bluntly about colorism, the paper bag test that will never die, sharing hopes that our stories will continue being complex and honest portrayal of African diaspora. The future deserves a champion like Davis. She eloquently speaks a truth that few dare to bring to light.    

Viola with her much ado Oscar. She is a Grammy win away from EGOT status and there's no doubt that she'll achieve that.

Whether playing an anti-hero or a flawed feminine icon, Davis is here to stay and help move us along.

Four Viola Davis quotes to live by:

"The one thing I feel is lacking in Hollywood today is an understanding of the beauty, the power, the sexuality, the uniqueness, the humor of being a regular Black woman." Essence, 2013

"Vanity destroys your work. That's the one thing you have to let go of as an actor. I don't care how sexy or beautiful any woman is. At the end of the day, she has to take her makeup off. At the end of the day, she's more than just pretty." The New York Times Magazine, 2014

"Every time I look at the [photo of myself as a] little girl, I always thought, Oh, that's a cute outfit.' But she was always hungry, she was always shy, she was always kind of in the background, but inside she had big dreams bursting. And the only thing I could think about is that saying, 'What the caterpillar calls the end of the world, the master calls the butterfly.'" On receiving her Hollywood Walk of Fame Star, 2016

"You know, there's one place that all the people with the greatest potential are gathered. One place and that's the graveyard. People ask me all the time, what kind of stories do you want to tell, Viola? And I say, exhume those bodies. Exhume those stories. The stories of the people who dreamed big and never saw those dreams to fruition. People who fell in love and lost. I became an artist—and thank God I did—because we are the only profession that celebrates what it means to live a life...." Oscar Speech, 2017