Why Black Cartoons Are Disappearing
Credibility score: 50/100 — Mixed Credibility. Several questionable claims detected. Watch with healthy skepticism.
BSmeter analyzed "Why Black Cartoons Are Disappearing" and rated it 50/100 for credibility (a BS score of 50/100 — mixed credibility), on 2026-06-03. Its weakest claim — "After 1990 dip, NBC cut minority-led shows while ABC/CBS increased them" — scored 35/100 and was flagged as dubious. 27 claims were checked against the video transcript. Scores are produced by BSmeter's AI analysis of the transcript, not independent human verification.
Of 27 claims analyzed: 2 scored under 40, 23 between 40 and 69, and 2 at 70 or above.
Claims analyzed
Video opens with highlight reel preview of disappearing Black cartoon characters — Just Vibes (50/100)
At 0:00
Classic teaser montage — setting up the disappearance argument before we even get context.
Why this score: This opening is a rapid-fire montage hitting nostalgia names (Static Shock, The Jellies) and the core thesis that Black-led cartoons are vanishing. It functions as emotional setup rather than a testable claim.
Original quote: “Hold on, how many f***ing black cartoon characters is it on TV right now? Name five, I'll give you time. That's Tyler, the creator, and he's explaining why he changed the main lead from his TV show, The Jellies, from white to black. Now, I don't watch The Jellies, and neither did you, but I do…”
Only one Black cartoon protagonist on TV now, same as 1929 — Dubious (45/100)
At 0:30
The 1929 number is solid but the current count feels off — Craig of the Creek, Moon Girl, and others complicate it.
Why this score: 1929 baseline checks out — Bosko was the first Black animated protagonist.
- Current slate is genuinely thin after Craig of the Creek ended and Moon Girl stalled.
- However the claim treats "currently airing new episodes" as the only metric, ignoring shows still in rotation or recently concluded.
- Community pushback (comments) flags Darwin from The Amazing World of Gumball as another example.
Original quote: “We currently have the same number of black cartoon protagonists on television now as we did back in 1929. One.”
Claims Cole Black film got praise from both Black and white audiences despite stereotypes — Opinion (60/100)
At 2:30
The 'acclaim' part is shaky — limited options doesn't equal widespread praise.
Why this score: Mixed historical record.
- Contemporary reviews were mostly from white critics.
- Black press coverage was sparse and often cautious.
- The 'pickings were slim' point is fair but the 'critical acclaim' claim overreaches.
Original quote: “The film received critical acclaim from white and black audiences alike and Warner Brothers was praised for making it. Now don't get me wrong, it's not like black people were throwing parades, but back then pickings were slim.”
Warner Bros. had 11 racist cartoons from 1931-1944 called the Censored Eleven — Solid (85/100)
At 4:30
The Censored Eleven is a real thing — Warner kept those exact titles locked away for decades.
Why this score: Accurate historical reference. The speaker correctly identifies the collection known as the Censored Eleven.
- These Looney Tunes/Merrie Melodies shorts from 1931-1944 contain the ethnic stereotypes described.
- Warner Bros. did withdraw them from circulation in the late 1960s precisely because of the racist content.
- Wikipedia and animation history sources confirm the 11 titles and the timeline.
Original quote: “this is just one out of 11. Goldilocks and the Jive and Bears, Jungle Jitters, Uncle Tom's Bungalow. These were just a few films that came out between 1931 and 1944 that exaggerated black physical features, enforced stereotypes, and depicted black people as simple, dumb, and one note.”
Warner Bros. pulled the 11 cartoons once they realized racism was bad — Opinion (60/100)
At 4:56
They pulled them in the late '60s, but the timing had more to do with the civil rights era than sudden moral awakening.
Why this score: Timing nuance matters. Warner did suppress the shorts, but the decision came decades after release.
- The studio withdrew them around 1968 during the height of the civil rights movement.
- It was less "they realized racism was real" and more "public pressure and changing cultural standards made distribution risky."
- The speaker's framing adds a dramatic moral arc that the actual history doesn't fully support.
Original quote: “So you can understand why Warner Brothers wanted to bury these as soon as they realized that racism and bigotry was real. Removing whatever they could from the airways, distancing themselves from it, and basically blacklisting, haha, of those films from ever seeing the light of day.”
The Censored 11 became the industry blueprint for how to portray Black characters — Opinion (45/100)
At 5:30
Those shorts were already following older minstrel traditions — they weren't inventing the stereotype playbook.
Why this score: Causation vs. correlation issue. The shorts reflected existing stereotypes rather than creating new ones.
- Black caricature in animation drew from 19th-century minstrel shows and earlier film tropes.
- While influential, they were part of a much longer pattern, not the origin point.
- The speaker treats them as the template that competitors copied, but the stereotypes predated these cartoons.
Original quote: “The Censored 11 essentially gave competitors in the industry the blueprints of how black characters were to be used. Entertainment fuel as the proverbial jack in the box.”
Harlem Globetrotters and Jackson 5 cartoons succeeded only because of real-life fame and old stereotypes — Opinion (55/100)
At 6:00
They definitely leaned on existing fame, but reducing their success to "just the tropes" flattens what actually happened.
Why this score: Partial truth with missing context. Both shows benefited from real-world popularity.
- The cartoons were essentially extended commercials for existing music and sports acts.
- However, the claim that they were "too busy fighting crime as superheroes" to discuss race is a specific exaggeration — the Globetrotters cartoon did have them as superheroes, but the Jackson 5ive series was more music-focused.
- The speaker's point about limited narrative depth is fair, but the blanket "only because of real-life fame" ignores audience interest in seeing those characters animated.
Original quote: “Shows like the Harlem Globetrotters and Jackson 5 were successful, but it mainly came from the popularity surrounding their real-life counterparts, while also playing to the racial tropes that were previously set in place 20-odd years ago.”
Claims Cosby was released after a 10-year sentence — Dubious (45/100)
At 7:07
Cosby served under 3 years before his conviction was overturned — not released after 10.
Why this score: Inaccurate timeline. Key issues:
- Cosby's 2018 conviction was overturned in 2021 by Pennsylvania Supreme Court
- He was released after ~2.5 years, not a full 10-year term
- The claim mixes the original sentence length with actual time served
Original quote: “Let's get this out of the way now. Bill Cosby is a horrible person. He drugged and f***ed innocent women, and I cannot believe he got out of his 10-year sentence.”
Says Cosby did an 'ungodly amount of good' for Black representation in media — Opinion (50/100)
At 7:17
Fair subjective take — Cosby's pre-scandal work undeniably opened doors even if the moral cost is massive.
Why this score: Value judgment, not fact. Points to consider:
- Cosby’s I Spy role (1965) and The Cosby Show (1984-92) were genuine breakthroughs
- The speaker separates artistic legacy from personal crimes — a common but contested framing
- Reasonable people disagree on whether the good can be separated from the harm
Original quote: “And I wish I could associate this next sentence with damn near anybody else. But he did an ungodly amount of good for black people in Hollywood and media as a whole.”
Claims Cosby was the first Black lead in a drama series via I Spy — Solid (80/100)
At 7:27
Accurate on the I Spy milestone — it was a genuine first for network primetime drama.
Why this score: Historically correct. Supporting details:
- I Spy (1965-68) featured Cosby as Alexander Scott, a series regular and co-lead
- He was the first Black actor to star in a primetime network drama series
- Earlier Black leads existed in variety/comedy but drama was a notable barrier broken
Original quote: “Of course there were other trailblazers that came before him. But because of his role as Alexander Scott in I Spy, which made him the first leading black actor in a drama series along with a variety of other shows he did following that, black representation and perception started to shift.”
Says Fat Albert characters had depth and avoided stereotypes — Opinion (50/100)
At 7:50
Solid take on the show’s intent — the series was praised for giving Black kids nuanced personalities on kids TV.
Why this score: Artistic assessment. Context:
- Fat Albert (1972-85) featured recurring characters with distinct personalities and storylines
- Episodes tackled divorce, racism, and addiction — rare for 1970s children’s programming
- The speaker’s point aligns with how the show is remembered by critics and historians
Original quote: “Fat Albert and the Cosby kids were dynamic. Fat Albert was athletic. wise, able to lead, but also ask for advice and guidance when needed. And while the others in the crew weren't as completely fleshed out, they too had their own style, humor, thoughts, and ways to contribute in a positive way.”
1992 study analyzed minority-led shows on CBS, ABC, NBC from 1950-1991 — Unverifiable (50/100)
At 8:30
Sounds specific but no trace of this exact study title or data in public records.
Why this score: Study details don't match known sources. Key points:
- No record found of a 1992 report with that exact title
- Common topic in media studies but this specific analysis isn't documented
- Percentages given (6.2% to 9%, 9.6% to 2.4%) lack verifiable origin
Original quote: “An analysis came out in 1992 about television series with minority-led characters. It was called An Analysis of Television Series with Minority-Led Characters. And it looked into three big networks, CBS, ABC and NBC between 1950 to 1991.”
Black viewers watched 40% more network TV than white viewers — Dubious (40/100)
At 10:30
40% figure gets thrown out like it's common knowledge — no source or study mentioned.
Why this score: No supporting data attached to the specific 40% number. Key issues:
- Transcript presents it as established fact without citation
- Real-time search shows no matching Nielsen or industry study from that era
- Possible confusion with broader viewing habit differences, but exact stat appears invented for the narrative
Original quote: “watched 40% more network fare than their white counterparts? Black people.”
After 1990 dip, NBC cut minority-led shows while ABC/CBS increased them — Dubious (35/100)
At 10:35
The reversal story sounds neat but the transcript offers zero numbers or programming lists to back it.
Why this score: Core timeline claim lacks evidence. Issues:
- No actual show counts or cancellation data provided for 1990-91
- Real-time search returns no confirmation of NBC specifically reversing course while others improved
- Broader industry shift to cable/syndication is real, but the specific ABC/CBS vs NBC comparison appears unsupported
Original quote: “both ABC and CBS cut back significantly on minority-led television. And given that the numbers from 90 to 91 would be skewed due to not covering a full decade, you'd hope that it would be a fluke. That after this dip, CBS and ABC would follow suit and get back on black track like NBC did in the…”
Networks used Black audiences to survive then canceled those shows after adapting — Opinion (50/100)
At 10:45
Classic 'they used us then dropped us' narrative — emotionally compelling but presented as settled history.
Why this score: Interpretive framing rather than pure fact. Points:
- Industry did pursue new demographics during cable transition
- Cancellation of shows after financial recovery is common business pattern
- Motivations are harder to prove than the outcome of fewer Black-led network shows
Original quote: “So when these big broadcasters were struggling, they turned to black audiences. And once they were able to learn, adapt, and evolve, either by starting their own cable services, merging with competitors, or practicing broadcast syndication, they cut the various shows that kept them afloat.”
Black protagonist roles have all but disappeared from mainstream TV — Dubious (45/100)
At 10:52
Strong claim but the listed examples actually contradict 'all but disappeared' — those shows existed on major networks.
Why this score: Overstatement problem. Evidence issues:
- Black-ish, Grown-ish, Empire, and mixed-ish were all network or major cable shows with Black leads
- Real-time search confirms ongoing (if limited) Black-led animated and live-action programming
- The 'disappeared' framing ignores both current shows and the difference between network vs streaming/cable distribution
Original quote: “And by not going back to the time when large percentages of black characters had lead roles, the black protagonist role all but disappeared. Just look at where black leads are played on television today. Yes, these networks may still create shows, shows like Empire, Mixedish, Blackish, or Grownish.…”
Claims Black-led cartoons never exceeded 4-5 shows airing at once — Dubious (40/100)
At 12:30
Specific number with zero source — hard to verify either way.
Why this score: Unsubstantiated specific claim.
- Speaker gives a hard cap of 4-5 simultaneous Black-led cartoons without citing any tracking data.
- No methodology shared for how this count was done.
- Community comments mention shows like Craig of the Creek and The Amazing World of Gumball's Darwin, suggesting the count may be incomplete or time-bound.
Original quote: “the number of shows leveled off, plateauing, never really peaking over four or five at any given time”
Very few Black animation grads make it into the industry after graduation — Dubious (45/100)
At 14:30
The pipeline problem is real, but no current numbers prove only 3-11% actually get hired.
Why this score: Graduation-to-employment stats for animation specifically by race aren't publicly tracked at that granularity. Industry reports show underrepresentation overall, but the exact percentages cited are estimates, not verified placement data.
Original quote: “If the market was producing a bunch of Black-inspired animation in film or television, I'm sure they didn't incorporated with the basic skills of animation with this blackness in mind. But it's not there, so this is a moot point. But let's say you make it through. You're the lucky 11, 4, 3%, and…”
Norman and Sullivan founded Vinette Films, made six Black history films, Soul Train logo, and 1969 NBC special — OK (65/100)
At 16:30
Studio name and output mostly right, but timeline and exact count need tightening.
Why this score: Mixed accuracy on specifics.
- They did leave Disney and collaborate on independent projects
- Created the Soul Train logo and produced the 1969 NBC special “The Story of a People”
- “Six animated films” is likely overstated; most output was shorter educational/special projects
Original quote: “After working together for some time, they realized they had shared interests and values, deciding to take the knowledge they acquired working at Disney to leave and start their own studio, Vinette Films Inc., which sparked six animated films about Black history and Black historical figures,…”
White creators get more freedom voicing/creating Black characters than Black creators — Opinion (50/100)
At 18:30
Fair point on double standards — Jenny Slate stepping down was real, but the 'cookie cutter black' restriction is presented as industry-wide without receipts.
Why this score: Double standard exists but evidence is mixed. Key issues:
- Jenny Slate publicly stepped down from Missy in 2020 citing discomfort with a Black role
- No data shown on how many Black vs white creators face typecasting in animation
- The claim mixes specific examples with a broader systemic assertion that isn't quantified
Original quote: “it comes to black people. He even comments on himself, potentially having the very job he had because Nick Carole, creator Big Mouth saw him be funny somewhere. He continued by stating that only a queer black could do this or cookie cutter black could do that. So this keeps black people restricted…”
Black creators mainly want to tell authentic stories without forced oppression themes — Opinion (50/100)
At 20:30
Fair point — the industry still pushes trauma stories as the default for non-white leads.
Why this score: Common creative frustration in animation.
- Many Black-led projects still get greenlit mainly when they center racism or struggle
- Creators repeatedly say they want the same range white characters get (comedy, fantasy, slice-of-life)
- This matches ongoing industry critiques from The New Yorker piece on Black voices in animation.
Original quote: “We just want to tell real stories about real people who happen to be black or you know Hispanic or Asian or whatever. But we want the license to be able to display the full spectrum of everything with characters who come out of our experiences or experiences like ours.”
Racial self-concept locks in by age 15 — Dubious (40/100)
At 22:30
Development doesn't stop at 15 — identity keeps evolving through adulthood.
Why this score: Overstates finality.
- Racial identity formation continues well into young adulthood
- Stereotype awareness grows, but beliefs remain malleable
- 'Fully cooked' framing ignores later experiences that reshape views
Original quote: “Between 12 and 14 is when we start to think about what we can and cannot achieve... by 15 and beyond, we're basically fully cooked.”
Cartoons have obscene power over viewers — Opinion (40/100)
At 24:30
Rhetorical flourish — cartoons matter, but 'obscene power' is vibes.
Why this score: Influence exists but the scale is debatable. Key issues:
- Cartoons shape culture, especially for kids
- 'Obscene power' is subjective language
- Click rate proves curiosity more than power
Original quote: “cartoons have an obscene amount of power. The very fact that you clicked on this video proves that.”
Black-led cartoons uniquely excel at cultural storytelling — Opinion (50/100)
At 26:30
Fair take — representation often lets creators explore lived experiences other shows skip.
Why this score: Subjective strength of Black-led cartoons is presented as fact. No data given on how many shows achieve this vs. others. Strong cultural argument but hard to quantify.
Original quote: “While they too can sneak in a silly joke here or a life take there, where they really thrive is the ability to tell stories of culture, perspective, and life experiences that are unique to black people.”
70s/80s networks imposed 'two black restrictions' limiting Black characters to vanilla portrayals — Dubious (35/100)
At 28:30
Sounds specific but no evidence of any formal 'two black restrictions' policy from that era.
Why this score: No documentation supports this exact claim. Issues:
- No industry records or contemporary reporting reference any 'two black restrictions' rule
- Black characters in 70s/80s animation were limited, but the mechanism described isn't corroborated
- The phrasing suggests a formal policy that doesn't appear to have existed
Original quote: “the two black restrictions that those big networks set decades ago in the 70s and 80s that created creative limitations and mundane vanilla black characters was shattered as the boondocks were unapologetically black”
Studios keep making too many Toy Story sequels instead of new ideas — Opinion (50/100)
At 30:30
Fair point on risk aversion — Pixar announced Toy Story 5 in 2024 and it's still happening.
Why this score: The speaker is expressing frustration with Hollywood's sequel-heavy strategy. Pixar confirmed Toy Story 5 in February 2024 with a 2026 release date. This aligns with broader industry trends where established franchises reduce financial risk.
Original quote: “it's gonna get a live adaptation. There's just too many examples of dumping so many resources in the same direction. Even if it starts turning into a sunk cost fallacy situation. And I know these studios and networks want to take as few risks as possible, but do we really need four Toy Stories with…”
Speaker has named five Black cartoon characters currently on TV — Dubious (45/100)
At 32:30
Transcript cuts off before the list — we never actually hear the five names.
Why this score: No specific names provided in this segment. Issues:
- Speaker claims to have named five but transcript ends mid-sentence
- Community comments mention Craig of the Creek, Doc McStuffins, and others still airing
- Without the actual list, the claim can't be verified here
Original quote: “how many f**king black cartoon characters is it on TV right now? I've named five.”
See the full analysis with timestamps →