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The latter triggers our trauma and is a tired—and historically pointless—plea for the privileged to care about our lives.

For creators of color -- especially with Netflix money and worldwide distribution -- that latter kind of show is a complete failure of the imagination.

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Like the novice screenwriter I am, I was just supposed to watch the pilot, take some craft notes and move onto the next case study.

But then the story of black and brown kids growing up in south central LA hooked me. They’re ducking and dodging when a few more shots ring out, then they decide in unison, “.357!

I’m not suggesting creatives write “respectable” characters or limit character arcs to only what’s uplifting and inspiring.

In his work for Chanel’s spring clothes, designer Karl Lagerfeld focused on the innards of our computers — the data, the algorithms and microchips — instead of the gleaming exterior.

But even as it deals with gang violence, the impact of deportation on the character Olivia (whose parents must leave her behind), racism, classism and police terrorism, the show remains as hopeful and fun as the main cast of kids themselves. The last moments of the finale cross a wholly gratuitous line when a member of a rival gang seeking revenge on Cesar pulls up to Olivia’s fiesta de quince años and opens fire, hitting Olivia and Ruby instead of Cesar.

The season ends graphically, with the two teens bleeding out from their chests on the floor, Ruby gasping for breath in shock, while a happy birthday phone call from Olivia’s deported parents goes unanswered. While life may not seem to have a rhyme or reason, TV plots certainly should, just as a show billed as a comedy ought to be funny.

There is a look-at-me vibe at Chanel that is particularly striking.

This season, a flock of young women wafted into the Grand Palais, each trailed by her own photographer.

Here are the tweets (at time of writing): I want to say John is a thirsty bitch for tweeting Nicki, but he didn’t @ her.

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