Abstract

This essay navigates the complexities of visibility politics for Black counterpublics and enclave spaces. Specifically, this essay explores how the Netflix documentary starring Chelsea Handler, Hello, Privilege. It's Me, Chelsea (2019) illustrates how rhetorics of whiteness are deployed to enter Black spaces, exploit Black intellectual labor, and facilitate anti-blackness while purporting to do important anti-racist work. In a culture where anti-racism has become increasingly popular and profitable, Hello, Privilege exemplifies how the anti-racist industry commodifies Black culture, experiences, and struggles while bolstering white privilege.

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