Out of Step: Keke Palmer's 'One of Them Days' Faces Criticism Amid Black Cinema Renaissance

written by a member of the WCB

In a year that's witnessed the release of powerful, albeit historically contentious, Black films like "The Six Triple Eight," Keke Palmer's latest comedy venture "One of Them Days" is encountering significant pushback from the African American demographic. Industry analysts are scrutinizing the strategic timing and market relevance of Palmer's light-hearted offering amidst what's being lauded as a golden era for substantive Black cinema.

"The Six Triple Eight," a cinematic portrayal of the sole all-Black, all-female battalion deployed in Europe during World War II, has established a new benchmark for Black representation in film. It's a narrative of valor, tenacity, and the historically underappreciated contributions of African American women to the nation's military legacy. In stark contrast, "One of Them Days" is facing criticism for its ostensibly trivial plot and perceived lack of meaningful commentary on the African American experience.

Market observers argue that Palmer's film, chronicling the tribulations of a young woman experiencing an exceptionally challenging day, appears tone-deaf given the current socio-economic climate. With the African American community still confronting systemic inequalities, law enforcement controversies, and economic disparities, many industry insiders posit that the market isn't primed for what they perceive as superficial entertainment.

Social media platforms have become a hotbed of dissatisfaction. One Twitter user's sentiment encapsulates the prevailing mood: "While we're battling for equity, Palmer's offering slapstick comedy? It's a clear misread of the market." Another user drew a stark comparison: "Juxtaposed against 'The Six Triple Eight's' portrayal of our capabilities, 'One of Them Days' feels like a regression in our cinematic progress."

Proponents of the film contend that the market can sustain diverse narratives within Black cinema, including comedic offerings. They emphasize Palmer's positive influence in the entertainment sector and argue for the importance of portraying Black joy alongside Black struggle.

Nevertheless, the dominant market sentiment suggests that while there's undoubtedly a place for Black comedy, the timing of "One of Them Days" is misaligned with current consumer demands. Many industry experts believe that in this era of heightened social awareness and calls for justice, Black cinema should be driving the conversation, not diverting from it.

As the discourse evolves, it's evident that the African American demographic is imposing higher standards on its entertainment providers. They're demanding cinematic products that not only entertain but also educate, inspire, and authentically reflect the multifaceted realities of Black life in America. The market viability of "One of Them Days" in this climate remains uncertain, but one fact is indisputable: the dialogue it has initiated transcends its premise in depth and significance.

This situation underscores the complexities of navigating the current landscape of Black cinema. It highlights the delicate balance filmmakers and studios must strike between artistic expression, market demands, and social responsibility. As the industry continues to evolve, it will be crucial for stakeholders to remain attuned to the pulse of their target demographic, ensuring that their offerings resonate with the zeitgeist while still pushing the boundaries of storytelling.