THEA VIDALE TALKS BEHIND THE SCENES DRAMA ON THE 90'S SITCOM SHOW THEA | 85 SOUTH SHOW PODCAST
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Quick Read
Summary
Takeaways
- ❖Thea Vidale was the first Black woman to have her own national network sitcom, 'Thea,' on ABC.
- ❖She encountered significant resistance from all-white writers on her show who included derogatory lines about women and family members, which she refused to perform.
- ❖Bill Cosby explicitly warned Vidale about Hollywood's 'drive-by' approach to Black shows, stating they are not given the same development and retooling opportunities as white shows.
- ❖Vidale's show was not renewed after one season, a fate she attributes to industry racism, contrasting it with shows like 'Seinfeld' that were retooled multiple times.
- ❖She learned not to trust colleagues in Hollywood, realizing many had personal agendas despite appearing friendly.
- ❖The comedy scene in the 80s and 90s was heavily influenced by drug use, with Vidale recounting experiences with comedians on crack and cocaine.
- ❖Vidale believes motherhood 'sucks' and that grandparents are increasingly being used to raise children, not just babysit.
- ❖Her sons and grandsons requested she stop doing an explicit oral sex joke in her standup due to the social repercussions they faced.
- ❖Rodney Dangerfield gave Vidale her first major breaks in comedy, including a sitcom role and HBO/Showtime specials, recognizing her 'down to earth' style.
Insights
1Systemic Racism in Hollywood's Treatment of Black Sitcoms
Thea Vidale details how her show 'Thea' was not afforded the same development and retooling opportunities as white sitcoms like 'Seinfeld' or 'Everybody Loves Raymond.' She recounts a direct warning from Bill Cosby, who explained that Hollywood executives 'do a drive-by' on Black shows, meaning they lack genuine investment and are quick to cancel without nurturing their growth, unlike their white counterparts who receive multiple chances to find an audience.
Vidale states, 'If you want to see racism up close and personal, go to Hollywood. That [expletive] is shining like a flag.' She contrasts her show's single season with 'Everybody Loves Raymond' being retooled 'three or four' times. Bill Cosby told her, 'They do a drive by us. They know nothing about us.'
2Battling White Writers and Industry Betrayal on Set
Vidale faced direct conflicts with the all-white writing staff of 'Thea' over script content. She refused to deliver lines she found derogatory towards women or disrespectful to family members, asserting her character's integrity. This experience taught her not to trust colleagues, even those within the Black community, as many had their own agendas.
She describes a script where Jason Weaver's character called his uncle an 'old fool' and another derogatory line about a woman 'past her salad days.' Vidale confronted the writers, stating, 'Last time I checked, Theo was at the top of your paycheck.' She later reflected, 'I wouldn't have never trusted them backbiting... I trusted people I had no business trust. I'm walking in the devil's ground.'
3The Dark Side of the 80s/90s Comedy Scene and Drug Culture
Vidale provides a raw account of the pervasive drug culture among comedians in the 80s and 90s, particularly the evolution of cocaine from powder to crack. She shares anecdotes of fellow comedians, including a shocking revelation about Vince Champ being a serial rapist, and others struggling with addiction, highlighting the intense pressures and destructive environments within the industry.
She mentions Vince Champ, a comedian who won 'Star Search' and was later arrested as a serial rapist, with his date book linking him to rapes wherever he performed. Vidale also describes a friend asking for $20 to wash his feet, which she later realized was a sign of crack addiction, and another friend confessing to trying crack for the first time.
Bottom Line
Hollywood's portrayal of Black characters and drug narratives in film often reveals a deeper, unacknowledged prejudice, framing Black communities as inherently susceptible to destruction without foresight into their potential for economic empowerment.
This cinematic narrative subtly reinforces harmful stereotypes and limits the perceived agency of Black characters, impacting public perception and real-world opportunities.
Filmmakers and content creators can actively subvert these tropes by developing narratives that showcase Black characters overcoming systemic challenges, building wealth, and demonstrating resilience, rather than perpetuating cycles of despair. This creates authentic, empowering stories that challenge historical biases.
Lessons
- Aspiring entertainers, especially those from underrepresented backgrounds, must develop a strong sense of self-worth and be prepared to advocate fiercely for their creative vision against industry pressures.
- Recognize that 'friendships' in competitive industries can often mask personal agendas; cultivate a discerning approach to trust and alliances.
- Understand that career longevity in entertainment, particularly for marginalized groups, may require continuous self-reinvention and a willingness to work outside traditional structures when mainstream opportunities are limited.
Notable Moments
Thea Vidale's confrontation with 'Coach' production staff.
After her own show's child actors were denied access to watch 'Coach' being filmed, Vidale retaliated by barring 'Coach' staff from her set. This demonstrates her fierce protectiveness of her cast and her willingness to challenge perceived disrespect and unequal treatment on the studio lot.
Her sons and grandsons asking her to stop an explicit standup joke.
This moment highlights the generational shift in how comedy is perceived and the real-world social impact a comedian's material can have on their family. It shows the personal sacrifices and adjustments artists sometimes make for their loved ones, even when it challenges their artistic freedom.
Quotes
"If your man wants to see his children, but he don't want to mess with you, you should never stop him from seeing his children. And if you are smart and not trying to seek revenge, let that [expletive] have custody of those children and he will see what you've been going through."
"Last time I checked, Theo was at the top of your paycheck."
"If you want to see racism up close and personal, go to Hollywood. That [expletive] is shining like a flag."
"You have nothing to be ashamed of. You did a good job... Do you know how many millions of comedians, thousands of comedians wish they could do half the stuff that you've done?"
Q&A
Recent Questions
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