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Several weeks ago, Amy Schumer caught heat for dishing out racist jokes on Mexican immigrants. Critics, who praised the feminist strands of Schumer’s humor, accused her of having a “blind spot” on the issue of race.

Can the same now be said of Rebel Wilson?

On Sunday, during a broadcast of 2015 MTV VMAs, Wilson appeared to take a page straight outta Schumer’s just-don’t-get-it, tone-deaf, got jokes playbook. Before announcing Nicki Minaj winner of the Hip Hop Video Award, the Pitch Perfect actress walked on stage and performed a skit now famously called “F — The Stripper Police.”

In case the title doesn’t speak for itself, the skit was intended to be a spoof on gangsta rap pioneer NWA’s famous hit record “Fuck Da Police” (a song back in the spotlight due to the success of biopic Staight Outta Compton).

Given the national focus on exposing racial biases of law enforcers policing black communities, Wilson’s skit could also been read as an insipid, ill-timed satire on state violence against communities of color. And it is.

You can read the details of the skit here.

Naturally, Black Twitter erupted. And, here we are, again, shaking our index fingers at the fuckery that is liberal white supremacy. Reminded, yet again, of the fact that black lives mean absolutely squat to whites. Zilch. Zero.

If you want to get a clear idea of how Wilson-supporters will go about dismissing the liberal white supremacist claim, or Anglicize Black anger, simply read this piece and this piece  critics spilling white tears over an article co-authored by Stacey Patton and David Leonard, lambasting Schumer’s cultural insensitivity — and replace Schumer’s name with Rebel Wilson.

Voila — more proof that white feminism does not immunize the mind from racist, offensive tropes. More confirmation that white feminist comedians will not save black America.

Rather than pronouncing on the exorbitant percentage (60%) of Black men and women entrapped in the penal system, relative to its population size (13%), I’d much prefer to leave you with the most recent indictment of American police agencies’ approach to Blacks come to light. True to anti-Black form, the setting is Texas.

In June, Charnesia Corley, a 21 year old black woman, was pulled over in Harris County, TX. Ostensibly stopped for running a traffic light (because misdemeanors likely don’t turn out well in DWBs), the sheriff’s deputy ordered Ms. Corley to exit her car, on suspicion of drug possession. He inspected her vehicle. He found nothing.

Not content, he called a female officer to the scene to conduct a vaginal search. According to Mic, Corley recalls

“I bend over and she proceeds to try to force her hand inside me […] I tell her, Ma’am, No. You cannot do this.”

Ms. Corley was arrested, of course. Charged with “resisting arrest and possession of marijuana,” because war on drugs and New Jim Crow.

Some 927 miles away, in Iowa, a similar stop occurred. This time, the suspect was Gilbert Phelps, a 20 year old white man. Phelps admitted not only to possessing marijuana, but actually smoking it. Young Phelps was arrested and booked, only to, hours later, be granted the opportunity to take a selfie with arresting officer. Moreover, all of this occurred during the drug testing process.

Meanwhile, Rebel Wilson cracks jokes during a music awards show about overpaid police strippers who refuse to fill up her grandma.

Lean back and let that marinate for a moment. Still laughing?

Antwan is an educator, cultural critic, actor, and writer for Wear Your Voice Mag (WYV), where he focuses on the dynamics of class, race, gender, politics, and pop culture. Prior to joining the team at WYV, he was an adjunct professor in the African American Studies Department at Valdosta State University in southern Georgia, where he taught African American Literature. He has traveled the U.S. and U.K. showcasing a fifty-five minute, one-person play titled Whitewash, which focuses on the state of black men in the post-civil rights era. Antwan received his B.A. in English and Literature from California State University, Dominguez Hills, and M.A. in African American Studies from University of California, Los Angeles. He is a Ronald E. McNair Scholar and NAACP theater nominee.

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