Critic Reviews

[A] sharply written dramedy.

A scathingly funny cocktail of hardball racial humor, caustic Hollywood self-lampoon and general filthy talk.

The writing of White Famous is light and scathingly funny, a remarkable trait in what may be the most comfortable uncomfortable portrayal of fame and racism on television this season. Pharaoh, who famously departed “Saturday Night Live” to take this role, exercises a dramatic flexibility that shines through in Floyd.

Pharaoh was an underrated and underutilized player on “Saturday Night Live” and he finally gets to shine here. With great comedic timing, strong acting chops and charisma to spare, Pharaoh elevates White Famous, making it a series well worth your time.

It’s not particularly original, but with lively guests such as Foxx, Tobolowsky, and, beginning in episode two, Michael Rapaport and Natalie Zea (as a soulless agent named Amy Von Getz; Kapinos clearly likes to play with names), the material is nonetheless twisted fun. It’s Pharoah, though, best known for his six-season stint on “Saturday Night Live,” who carries the action.

While White Famous proves he [Jay Pharoah] can lead a series, it doesn’t give him many opportunities to show how funny he is. It does make a great argument that everyone in Hollywood is criminally unhinged.

White Famous can be faulted in its conceits and concept, but Pharoah is fully invested and funny at times, too.

Consistently watchable due to a versatile and charismatic lead performance by Jay Pharoah, White Famous still feels like an impersonal relic of television past.

The promising White Famous delivers a more agreeable take on industry satire. ... Floyd is almost too good to be true. [16-29 Oct 2017, p.15]

Pharoah, though, almost makes it worth it. He has a solid presence that lifts the show. You just wish it were a better show.