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What John Amos taught me about having — and being — a father

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What John Amos taught me about having — and being — a father

John Amos in 2007.

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Nick Ut/AP

John Amos taught me what it was like to grow up with a father in the house – and to be one.

That’s because Amos – who died in August at the age of 84, though his death wasn’t disclosed publicly until Tuesday – first came to my attention playing righteous dad James Evans, Sr. on the legendary 1970s sitcom Good Times.

As a young, Black boy growing up in a home without my father in Gary, Ind., the best window I had into what it might be like to have a concerned, powerful, ethical male in the house was seeing how James Sr. worked with Esther Rolle’s Florida Evans to keep their kids on track. It didn’t hurt that this new kind of TV family lived in what appeared to be Chicago’s Cabrini-Green housing project, about 40 miles northwest of Gary.

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Good Times presented the first network TV sitcom centered on a two-parent, Black family – in fact, Rolle herself had initially insisted that Good Times’ family have a father – and it meant a lot to a kid who sometimes longed for that in his own life.

James Sr., as Amos played him, was imposing and could get physical – he once gave a whipping to a friend of his youngest son Michael, when that friend dared to disrespect the family and refused to do homework during a sleepover. (Yup, stuff like that happened in my neighborhood all the time.) But he was also a loving, devoted, hard-working dad, who often balanced several jobs while trying to give his kids everything they needed to build lives outside of a deprived, occasionally dangerous neighborhood.

There was little doubt James Sr. could be tender in ways that fathers in my neighborhood rarely were in real life.

Resisting a racist TV industry

It wasn’t until I got older that I realized Amos also embodied another important reality: the Black actor had to use all his talents and wiles to make his way – constantly struggling to subvert and overcome the racist demands of a white-centered TV and film industry.

On Good Times, that meant fighting with producers of the show, including legendary executive producer Norman Lear, when the show’s scripts began focusing more on Jimmie Walker’s character, James Evans Jr., or “J.J.”

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J.J.’s habit of shouting “dyn-o-MITE!” while bugging his eyes after dropping a cheeky rhyme recalled classic “coon”-style stereotypes for Black performers from the past. And Amos often recounted how much that irked him back then.

“I felt too much emphasis was being put on J.J. and his chicken hat and saying ‘dynomite’ every third page,” Amos told the Archive of American Television in a 2014 interview. “But I wasn’t the most diplomatic guy in those days. And they got tired of having their lives threatened over jokes…That taught me a lesson. That I wasn’t as important as I thought I was to the show or to Norman Lear’s plans.”

Ralph Carter, Esther Rolle, John Amos, Jimmie Walker, and BernNadette Stanis gather in the kitchen during a scene from Good Times in 1975.

Ralph Carter, Esther Rolle, John Amos, Jimmie Walker, and BernNadette Stanis gather in the kitchen during a scene from Good Times in 1975.

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Lear admitted in his 2014 memoir, Even This I Get to Experience, that the attention showered on J.J. made Amos so “glum and dispirited,” that the producer wound up writing the actor out of the show at the start of the series’ fourth season.

Just like that, the two-parent Black family that had inspired me so much was undone – fractured by an offscreen car accident that claimed James Sr.’s life.

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A TV pioneer who became the image of Black fatherhood

I didn’t know about the backstage struggles back then, but even as a young viewer I could see that something important had been lost. Turns out, Amos wasn’t just another actor spouting off about a supporting player outshining him; he had begun his show business career as a writer/performer – one of his early jobs in 1969 was as a writer on The Leslie Uggams Show. Amos knew how important quality words were for great acting.

His first big part came in 1970 as Gordy Howard, the weatherman on The Mary Tyler Moore Show – the series’ only Black character – which put Amos on the map and caught Lear’s attention when they were casting Good Times. And not long after he left Good Times, Amos landed another legendary job – playing the adult version of Kunta Kinte, the enslaved man at the heart of ABC’s surprise 1977 miniseries hit, Roots.

In fact, Roots was a bit of showbiz sleight of hand. Well aware that white audiences might grow uncomfortable with a miniseries centered on the family history of African American author Alex Haley and its early genesis in slavery, producers of Roots often cast Black actors as enslaved people who white audiences already knew and loved.

Amos, with his history on popular shows like The Mary Tyler Moore Show and Good Times, fit perfectly as a grown up version of the character then-newcomer LeVar Burton played as a young man. (The moment when a slave catcher cuts off Kunta Kinte’s foot after an escape attempt remains seared in my brain, nearly 50 years after originally seeing it on TV.)

For me, the one-two punch of his parts on Good Times and Roots cemented Amos as a towering image of Black fatherhood in pop culture.

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Back then, Black performers were working hard to take scripts crafted by white producers and make their characters as authentic as possible, balancing the expectations of Black audiences hungry for better representation with a white-dominated industry often stuck in old, demeaning patterns.

Amos could make his points forcefully. He told the Archive of American Television about blowing up at a white, British director on Roots who seemed unconcerned about a Black baby shivering during a night shoot.

Hearing the former pro football player tell stories about occasionally threatening white producers and directors to get his way, I saw a familiar dynamic. Sometimes, when the system is geared against you, intimidation is the only way to make your concerns truly heard.

An actor beloved by Black and white audiences

Over the years, Amos’ classic roles in TV and film piled up: Hunter, Coming to America, The West Wing (as chairman of the Joint Chiefs of Staff), Let’s Do It Again, Die Hard 2, and much, much more. He’s even reportedly in the new spinoff series Suits: LA, as his last role.

(In a sad denouement, after conflicts between Amos’ children, his daughter Shannon Amos found out about her father’s death on Tuesday when media outlets reported it, according to her Instagram post.)

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But for me, Amos’ greatest legacy remains as a TV pioneer who played proud, Black male characters with strong ethics and a devotion to family just when Black audiences needed to see them most – surviving a load of slights, fights and punishments in the process.

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The Best of BoF 2025: A Year of Global Upheaval

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The Best of BoF 2025: A Year of Global Upheaval
Trade turmoil, luxury’s slowdown and shifting consumer behaviours reshaped global fashion in 2025, pressuring manufacturers from Vietnam to China while opening frontiers in India, Africa and Latin America. But creative resilience and bold investment signalled where the industry may find its next wave of growth.
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Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

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Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

Hungarian director Béla Tarr at the Berlin International Film Festival in 2011.

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Béla Tarr, the Hungarian arthouse director best known for his bleak, existential and challenging films, including Sátántangó and Werckmeister Harmonies, has died at the age of 70. The Hungarian Filmmakers’ Association shared a statement on Tuesday announcing Tarr’s passing after a serious illness, but did not specify further details.

Tarr was born in communist-era Hungary in 1955 and made his filmmaking debut in 1979 with Family Nest, the first of nine feature films that would culminate in his 2011 film The Turin Horse. Damnation, released in 1988 at the Berlin International Film Festival, was his first film to draw global acclaim, and launched Tarr from a little-known director of social dramas to a fixture on the international film festival circuit.

Tarr’s reputation for films tinged with misery and hard-heartedness, distinguished by black-and-white cinematography and unusually long sequences, only grew throughout the 1990s and 2000s, particularly after his 1994 film Sátántangó. The epic drama, following a Hungarian village facing the fallout of communism, is best known for its length, clocking in at seven-and-a-half hours.

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Based on the novel by Hungarian writer László Krasznahorkai, who won the Nobel Prize in Literature last year and frequently collaborated with Tarr, the film became a touchstone for the “slow cinema” movement, with Tarr joining the ranks of directors such as Andrei Tarkovsky, Chantal Akerman and Theo Angelopoulos. Writer and critic Susan Sontag hailed Sátántangó as “devastating, enthralling for every minute of its seven hours.”

Tarr’s next breakthrough came in 2000 with his film Werckmeister Harmonies, the first of three movies co-directed by his partner, the editor Ágnes Hranitzky. Another loose adaptation of a Krasznahorkai novel, the film depicts the strange arrival of a circus in a small town in Hungary. With only 39 shots making up the film’s two-and-a-half-hour runtime, Tarr’s penchant for long takes was on full display.

Like Sátántangó, it was a major success with both critics and the arthouse crowd. Both films popularized Tarr’s style and drew the admiration of independent directors such as Jim Jarmusch and Gus Van Sant, the latter of which cited Tarr as a direct influence on his films: “They get so much closer to the real rhythms of life that it is like seeing the birth of a new cinema. He is one of the few genuinely visionary filmmakers.”

The actress Tilda Swinton is another admirer of Tarr’s, and starred in the filmmaker’s 2007 film The Man from London. At the premiere, Tarr announced that his next film would be his last. That 2011 film, The Turin Horse, was typically bleak but with an apocalyptic twist, following a man and his daughter as they face the end of the world. The film won the Grand Jury Prize at the Berlin International Film Festival.

After the release of The Turin Horse, Tarr opened an international film program in 2013 called film.factory as part of the Sarajevo Film Academy. He led and taught in the school for four years, inviting various filmmakers and actors to teach workshops and mentor students, including Swinton, Van Sant, Jarmusch, Juliette Binoche and Gael García Bernal.

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In the last years of his life, he worked on a number of artistic projects, including an exhibition at a film museum in Amsterdam. He remained politically outspoken throughout his life, condemning the rise of nationalism and criticizing the government of Hungarian leader Viktor Orbán.

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Epic stretch of SoCal rainfall muddies roads, spurs beach advisories. When will it end?

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Epic stretch of SoCal rainfall muddies roads, spurs beach advisories. When will it end?

California’s wet winter continued Sunday, with the heaviest rain occurring into the evening, and more precipitation forecast for Monday before tapering off on Tuesday, according to the National Weather Service.

A flood advisory was in effect for most of Los Angeles County until 10 p.m.

Los Angeles and Ventura counties’ coastal and valley regions could receive roughly half an inch to an inch more rain, with mountain areas getting one to two additional inches Sunday, officials said. The next two days will be lighter, said Robbie Munroe, a meteorologist at the weather service office in Oxnard.

Rains in Southern California have broken records this season, with some areas approaching average rain totals for an entire season. As of Sunday morning, the region had seen nearly 14 inches of rain since Oct. 1, more than three times the average of 4 inches for this time of year. An average rain season, which goes from July 1 to June 30, is 14.25 inches, officials said.

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“There’s the potential that we’ll already meet our average rainfall for the entire 12-month period by later today if we end up getting half an inch or more of rain,” Munroe added.

The wet weather prompted multiple road closures over the weekend, including a 3.6-mile stretch of Topanga Canyon Boulevard between Pacific Coast Highway and Grand View Drive as well as State Route 33 between Fairview Road and Lockwood Valley Road in the Los Padres National Forest. The California Department of Transportation also closed all lanes along State Route 2 from 3.3 miles east of Newcomb’s Ranch to State Route 138 in Angeles National Forest.

Los Angeles County Department of Public Health officials say beachgoers should stay out of the water to avoid the higher bacteria levels brought on by rain.

After storms, especially near discharging storm drains, creeks and rivers, the water can be contaminated with E. coli, trash, chemicals and other public health hazards.

The advisory, which will be in effect until at least 4 p.m. Monday, could be extended if the rain continues.

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In Ventura County on Sunday, the 101 Freeway was reopened after lanes were closed due to flooding Saturday. But there was at least one spinout as well as a vehicle stuck in mud on the highway Sunday, according to the National Weather Service. The freeway was also closed Saturday in Santa Barbara County in both directions near Goleta due to debris flows but reopened Sunday, according to Caltrans.

Santa Barbara Airport reopened and all commercial flights and fixed-wing aircraft were cleared for normal operations Sunday morning. The airport had shut down and grounded all flights Saturday due to flooded runways.

In Orange County early Sunday afternoon, firefighters rescued a man clinging to a section of a tunnel in cold, fast-moving water in a storm channel at Bolsa Avenue and Goldenwest Street in Westminster, according to fire officials.

A swift-water rescue team deployed a helicopter, lowered inflated firehoses and positioned an aerial ladder to allow responders to secure the man and bring him to safety before transporting him to a hospital for evaluation.

Heavy rains continued to batter Southern California mountain areas. Wrightwood in San Bernardino County — slammed recently with mud and debris — was closed Sunday except to residents as heavy equipment was brought in to clear mud and debris from roadways, the news-gathering organization OnScene reported.

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After canceling live racing on New Year’s Eve and New Year’s Day due to heavy showers, Santa Anita Park also called off events Saturday and Sunday.

After several atmospheric river systems have come through, familiar conditions are set to return to the region later this week.

“We’ll get a good break from the rain and it’ll let things dry out a little bit, and we may even be looking at Santa Ana conditions as we head into next weekend,” Munroe said. The weather will likely be “mostly sunny” and breezy in the valleys and mountains.

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