Time To Get Critical About Representation in “Shameless”
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.

Outside the forgotten desert mining town of Darwin, getaway driver Chooch O'Grady is stranded with a busted car and a bag of stolen cash. He's picked up by J.T., a predatory psychopath who murders Chooch and abruptly disposes of the body, leaving signs on the trail. J.T. and his meth-addicted boss, Archie, butt heads over the incident, but the real tension lies with Archie's girlfriend, Rebecca O'Grady. Her affair with J.T. contains false hope that he would be her ticket to freedom. Chooch's murder is all but forgotten until a quiet Stranger shows up looking for the money. Before he can leave behind the isolation that is Darwin, the Stranger must navigate the bizarre ghost town and bring its outlaw inhabitants to justice.
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.
The gentle, emotional nuances of Evan’s coming-of-age story would have been so beneficial to have incorporated into the life of a POC character. Showing a Black, Asian or Latino young man that is afforded the space to be vulnerable, flawed and sensitive while driving a compelling and widely-loved narrative would have been a game changer.
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What can I say about this Will Ferrell/Julia Louis-Dreyfus-led “dramedy?” Well, the comedy part of Downhill is completely non-existent. And I should have known that the film was a flop when I walked into an empty theater at a prime time on a Friday night.
As a frequent “the book was better” extoller, this movie was well worth the watch.