BONUS #12

Randy Marsh exemplified the ontological of post modernism because although he knew he was not a racist, he owned up to his new nickname as “nigger guy.” For example, he went to a comedy club with mostly black people and made a little rap of apologies for saying “nigger” on TV. He went to a Black Coalition meeting to apologize to all the blacks in South Park for his behavior. The critical post-modernism I saw in the show was when the Southern hillbillies were out to kill Randy (and any other person) whose name is “nigger guy,” when the Seinfeld guy showed up and shooed the hillbillies away. It reminded me of the Chappelle Show episode we watched when white guys were at a gas station and they saw Chappelle and were ready to beat him up, until they heard all the “white power” talk coming out oh his mouth...too funny. The aesthetic post-modernism that was seen when Randy went to the Laugh Factory and Chris Rock? like person was there making jokes and then called Randy out for being “nigger guy” and kept poking jokes at him while everyone kept on laughing and laughing. But later on when he did it, no one laughed, they just stared. Also, the Jesse Jackson scene was a little absurd and later on, an authorial fallacy, because if Jesse Jackson accepted Randy’s apology by kissing his ass, then to Stan, Token should be okay with him now after the incident. But that doesn’t justify anything to Token.