Entertainment

High on the Hog Netflix Release Date: Cancelled or Renewed?

By

David Mudd

Fans of previous Netflix food series may recognize the premise. But make no mistake: High on the Hog Netflix is offering something unique. Beginning in Benin, where presenter Stephen Satterfield and historian Dr. Jessica B. Harris visit the Cemetery of Slaves, a memorial honoring the mass burial of West Africans. These are who perished in captivity before being put on ships heading for the Americas. The series High on the Hog Netflix explores African American culinary history. The survivors of that voyage, as well as their tenacity. As seen by their numerous contributions to American culinary culture, are the focus of the following three episodes.

high on the hog netflix

The result is a sense of long-awaited validation for those who have deep roots in the African American barbecue tradition. As well as those who, after watching the episode “Our Founding Chefs,” realize for the first time. That their grandmother’s mac and cheese recipe is nearly identical to the version. It was introduced to this country by Thomas Jefferson’s enslaved cook, James Hemings. And after watching the entire series High on the Hog Netflix. One gets the impression that, given its position on a streaming platform with millions of viewers. This show has the potential to shift wider cultural consciousness around African American culinary history in the future. At the very least, elevate the profiles of its featured stewards, such as Omar Tate, BJ Dennis, Toni Tipton-Martin, Michael Twitty, and, of course, Dr. Harris.

All About the Show, High on the Hog Netflix

As the viewers’ guide and stand-in, Satterfield gets a new focus in High on the Hog Netflix. However, while the founder of Whetstone Media understands the desire to thank. The host of a show like this — and in the weeks since its premiere. He says he’s received thanks from appreciative viewers all over the world. As publications like the New York Times have praised the show for its cultural significance. He is merely a “vessel for the material”. The series, High on the Hog Netflix is based on Dr. Harris’s book of the same name.

It is which Karis Jagger and Fabienne Toback read and decided should be made into a television drama. Other Black creatives, such as director Roger Ross Williams, whose “skill and the faith that Netflix has in him allowed the program to be greenlit,”. The showrunner Shoshana Guy, helped make High on the Hog Netflix what it is. “All the intricacy necessary, all the care required for the material,” Satterfield recalls, “truly needed a Black woman to be on the show running side.” “Shoshana, on the other hand, performed an incredible job.”

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Satterfield and I discussed the conclusion of these efforts as well as the influence of High on the Hog Netflix. For length and clarity, this interview has been gently modified.

What Are Your Thoughts Now That High on the Hog Netflix is Out in the Open?

Stephen Satterfield: That makes me feel a lot better. It felt bizarre to be in limbo after the announcement. But before the program was published, but that’s definitely no longer the case. The response was fantastic; it was even beyond my expectations.

What Were Your Expectations Before You Started with High on the Hog Netflix?

It’s odd since I knew you’d ask, but the fact is that I didn’t have any expectations. I believe what I intended to say was that I could not have anticipated the level of response we received. This was the first time we’d seen anything like it in the cuisine and travel field. The show’s creators, as well as the show’s theme, were particularly interested in u. Further reflecting our love for Black people and Black culture, as well as our respect for all of those contributions. I believe that Black people around the diaspora felt that attention, care, and love. That was by far the most satisfying aspect of the entire trip for me.

high on the hog netflix

The program does a fantastic job of delving into the past and dealing with it, yet the overall mood is one of joy. “A lot of times our past is gloomy, or we regard it as dark,” Omar Tate says in the third episode, and I believe he epitomizes that concept. But there was so much beauty between the lines, and I believe that menus and cuisine are the syntheses that occur between the lines, between history.”

How Did the Producer of High on the Hog Netflix Strikes a Balance Between Presenting and Respecting History While Not Being Engulfed in It?

We didn’t have to prepare for it since, in my opinion, that is the true essence of Black people in the United States and throughout the world. The term resilience, which frequently precedes any description of a Black person in the United States, is there for a purpose, and it refers to our community’s incredible capacity and characteristic of bouncing back and finding joy in the face of adversity.

In the sections of our tale that were sad or tough, we didn’t have to offer guidance. It’s extremely simple to have that sombre vibe or that awful sensation. It’s constantly at the surface, but Black love, joy, and community are also near the surface. Omar is a good friend and someone I admire. Filming at his studio and eating his cuisine is a thrill and a celebration in and of itself. Gabrielle [Etienne] is someone I admire, respect, and adore. BJ [Dennis] and so many other outstanding talents from our people, culture, and heritage are brilliantly reflecting it back to the globe. It was a true privilege to be a part of that event with them.

Another aspect of the presentation that I admired was its breadth. There were portions of the play that I learned from and others that just made me feel a profound feeling of recognition; as we progress through the show, we can see you experiencing both sides of that. What were some of the key takeaways for you?

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Everything was definitely a revelation in Benin. I found Romuald Hazoumè, the artist, to be very smart and revelatory in his work with the oil cans and breaking down the geopolitics between Nigeria and Benin via that artwork, as great artists do.

What Did the Producer of the Show Exactly Quote About?

It was fascinating to learn about Dahomey’s warrior women since I had read about them in history books. But being in Dahomey, being on that red clay, having a feeling of what life was like on the continent hundreds of years ago, how the numerous tribal groups all coexisted and lived beside one another, and, as we see in the film, are complicated — painful complicity is also part of the tale. These are topics that can be read about, but seeing the actual setting, talking to descendants, and talking to educators and historians in that location and space was a truly transformative learning experience that I will never forget.

“I don’t understand why African food isn’t as popular as Asian cuisine or French cuisine,” food blogger Karelle Vignon-Vullierme says in the first episode. Do you think High on the Hog Netflix will make a difference?

high on the hog netflix

It’s just been a week, but I believe this program has the power to not only alter culture but also to demonstrate [running] culture. When resources are provided to Black creators to tell their own tales. They are very successful, as we’ve seen time and time again in the media and especially in the entertainment industry. In Hollywood, we’ve seen the outcomes several times. And I hope that, in terms of food media and food tourism. This shifts perceptions of who can be a host and what sorts of tales we can tell about food.

You’ve had a long and successful career in food journalism; does being in the Netflix limelight feel like a whole different ball game?

Yes, it most certainly is.

What Are Your Plans for the Future?

I’m the CEO of Whetstone Media right now. Just operating and developing our firm puts a lot of pressure on me. I’m going to keep focusing on that, and I’m doing precisely what I want to do. Our work, like that of High on the Hog Netflix, is about reclamation. It’s about reclaiming our own identities and power, as well as being linked to our past, in the face of narrative exclusion, erasure, distortion, and obfuscation. This may be seen in the way we present and promote the debate.

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If anything, I believe the response has validated my main vocational thesis, which is that food is a strong means of connecting to people’s identities, radicalizing them, and establishing some vital pride in one’s culture that allows them to be themselves in the world. And, ideally, by feeling confident in their own skin, they will be able to make the world a safer and more welcoming place for other cultures. Based on the extremely personal and intimate replies I’m receiving from folks all around the world, I believe the thesis holds a lot of water.

Wrapping Up

One thing I’ve been reading a lot of lately are emails from Brazil, from our relatives on the other side of the trade who were statistically impacted much more than we were in the US. That need for connection, as well as the emotion and thankfulness with which they wrote, tells me how much the program affected them. For me, it was the cousin link that hit me the most in the chest and also showed me how deep this stuff goes.