![]() Sometimes, the half-hour episodes get too choppy and busy, and as time goes on, Kaepernick bangs on repetitively about his teen preference for football over a lucrative future in baseball (memo to Mr Kaepernick: give audiences credit for understanding the first time). It’s a bold approach, with myriad diversions: hip-hop, historical black figures, Trump’s microphone-chewing rants, where his face turns a fetching shade of boiling Lucozade. ![]() “I was in for a rude awakening.” I’ll be sticking around, not least for Walken’s Transylvanian mini-break of a face bobbing around the Bristol environs “I assumed privilege was mine,” muses Kaepernick. A commanding, suited figure, he covers everything from “aggressive” black hairstyles to societal devaluation of black beauty to white privilege – “the audacity of whiteness” – that young Colin gradually realises he doesn’t possess, whether being gawped at in hotel lobbies or driving his father’s car. What could all get a bit “Wonder Years: Locker Room Edition” is shot through with Kaepernick himself gatecrashing the episodes to make Ted Talk-style observations about structural racism. Colin (well played by Jaden Michael), who is obsessed with becoming a quarterback, is the adopted mixed-race son of loving, albeit racially naive white parents: Nick Offerman without the Parks and Recreation tache, alongside Mary-Louise Parker in mom jeans. Netflix’s new six-part series Colin in Black and White, co-created by Ava DuVernay ( Selma When They See Us) and written by Michael Starrbury ( When They See Us), is an ambitious blend of biography, sitcom and polemic that focuses on Kaepernick’s high-school years in Turlock, California.
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