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When I set out to create my award-winning prestige drama The Family, I wanted to test the boundaries of what television could be. I already knew I wanted to push the envelope by hinting at incest, having every other word of dialogue be “fuck,” and showing a character die in a gruesome manner five minutes into the first episode. Yet this didn’t feel like enough. That’s when I realized that I shouldn’t just push the envelope; I needed to flush the envelope down the toilet.
The Family was inspired by three literary masterpieces: William Shakespeare’s Hamlet, John Steinbeck’s East of Eden, and Tarō Gomi’s quintessential contribution to the canon, Everyone Poops. Some critics have called the bathroom scenes in my masterpiece “gratuitous” and “weirdly and unnecessarily recurring.” But my characters are human. They cry when they are hurt, they bleed when they are cut, and they need to evacuate their bowels after eating a big burrito. By shoehorning toilet-themed tableaux into every episode of The Family, I am representing the beauty and depravity of the human experience.
The rich and powerful tradition of anti-racist struggles against white power structures in the Caribbean is something the Windrush generation — people like my grandfather, and the community around him — brought with them when they migrated to Britain after World War Two. When they arrived, many of those communities found a political home in […]

- by Maria Stavrinaki

- by Shayla Love
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In the classroom, the boardroom, and at the speaker’s dais, the former chair of the joint chiefs cashes in.
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