Such are the eternal ponderables considered within White Famous, a halfhearted satire of Hollywood race relations and a nostalgia trip for the golden age of premium-cable brogramming. Jay Pharoah plays Floyd Mooney, an ascendant stand-up worried about losing his authentic self to fame. He&rsquo;s offered a breakthrough role in a feature film&mdash;but dressed as an old lady. &ldquo;Every time there&rsquo;s a funny black brother in Hollywood, they try to emasculate him,&rdquo; Floyd ruminates. &ldquo;I don&rsquo;t want to sell out.&rdquo;The perfect title captures that paradoxical win-loss of African-American celebrity, the excitement of &ldquo;crossing over&rdquo; plus the fear that you won&rsquo;t ever cross back. The movie&rsquo;s director (Togetherness&rsquo; Steve Zissis) who offers Floyd the part greets him with an awkward white-dude fist-bump/handshake/hug, an old gag that won&rsquo;t lose its power until white dudes stop awkwardly fist-bumping later this century. And Floyd doesn&rsquo;t just identify the man as racist, he laser-pinpoints him as a &ldquo;well-meaning, west of the 405 racist.&rdquo;And then, in the same conversation, Floyd says, &ldquo;Aren&rsquo;t we just a little done with the whole Cosby pile-on? I don&rsquo;t know for sure if he raped anybody! Maybe he did them a&nbsp;favor by drugging them!&rdquo; The white guy spit takes, and so did I. But look, I try to be well meaning, and I live west of the 405, so I could be the problem, and sometimes outrage is its own privilege. But the provocations trend cheap, unfunny. By the time the Cosby rant ends, Floyd&rsquo;s using the phrase &ldquo;lady gravy.&rdquo;From there it&rsquo;s a familiar parade of Hollywood gags, a celeb cameo here, a nameless female introduced butt-first there. It sounds like but isn&rsquo;t Entourage; it&rsquo;s actually part of the Californication Expanded Universe, a phrase somehow more painful to write than &ldquo;lady gravy.&rdquo; That show&rsquo;s creator Tom Kapinos is also responsible for White Famous, but the more notable name on the exec producer list is Jamie Foxx, whose life provides a basis for these indulgent fantasies. Example: Foxx plays himself, introduced mid-coitus with a woman whose personality missed the final cut. Few seem to enjoy fame more than Foxx&mdash;he made you want to beat Shazam!&mdash;and he&rsquo;s meant to be the north star of stardom for Floyd.But his presence feels ego-strokish. So does everything else. The show honors the highest trope of Entourage: Faced with making a difficult decision to achieve success, Floyd refuses to make said decision and achieves success anyhow. Pharoah has the same impressionist&rsquo;s problem as fellow SNL alums Dana Carvey and Darrell Hammond, untethered without the impressionist&rsquo;s tool kit. Meanwhile, Cleopatra Coleman (The Last Man on Earth) does her best as devoted ex Sadie, raising their son and always quick to sanctify Floyd&rsquo;s journey. &ldquo;No one&rsquo;s ever gonna be sweeter,&rdquo; she tells him. &ldquo;No one&rsquo;s ever gonna be funnier. You&rsquo;re a good man, Floyd Mooney.&rdquo; So White Famous is the oldest trick in Hollywood&rsquo;s book, a phony Horatio Alger story that&rsquo;s really a vanity project struggling to validate its own vanity.

White Famous

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{{magzter}} is the World's largest and fastest growing self-service, cross-platform digital newsstand with over 87 million users since its inception in 2011 and thousands of magazines and newspapers across 40+ categories and 60+ languages. Headquartered in New York, Magzter has its local presence in Amsterdam, London, Mexico City, Chennai, Mumbai, New Delhi, Bengaluru, Singapore, and will soon be expanding to other countries. Founded by global entrepreneurs, Girish Ramdas and Vijay Radhakrishnan in June 2011, Magzter enables magazine and newspaper publishers around the world to create and deliver digital editions of their titles to global consumers.