JUST the previous week my Niece sent me a picture (the one that I posted here) from that iconic Gordon Gartrell shirt episode. JUST this past weekend I happened to see a clip of that unforgettable Grandparents' 49th Anniversary performance that we all adore. JUST a month or so ago, I read about an interview where Warner talked about having made peace with being Theo after years of resenting the character. JUST before he died, he reunited with his TV baby sister Keisha Knight Pulliam on his podcast.
This tragic news JUST stirs up every complicated and devastating emotion imaginable.
To be honest, there is no way to made sense of this tragedy or to separate in my mind (for the moment) that there is/was any difference between Theodore Huxtable and Malcolm-Jamal Warner. I mean, I know that they were two distinct people--one a fictional creation and the other was the actor who brought that character to life. There was no Theo without Malcolm, so we find ourselves mourning Sondra, Denise, Vanessa, and Rudy's brother. Best friend to Cockroach, on/off again boyfriend of Justine. Cliff and Clair's only son.
Because Theo was the only other man in a house full of women, it was probably intended that his character would bring a fair number of laughs. That was clearly tone throughout most of the pilot, with him acting as the family antagonist, punctuated by a shrug and "no problem" as his potential catchphrase, consistent with typical sitcom formula. Right when that contrived lesson on "regular people" and budgeting with play money reached its peak, we all thought the emotional pay-off was Theo's big speech about acceptance. It got the expected live studio audience response; however, it was Dr. Huxtable's irritated retort that delivered the punchline. From this literal flip-the-script moment that abandoned every trope we had seen in the 20 minutes prior, a different kind of family sitcom was born.
In this new iteration, this urban Black family, different than any other that had been depicted on-screen, made us laugh about a lot of regular and random stuff. Instead of weekly problems caused by the end of the money arriving before the end of the month, there was a funeral for a goldfish and a Father's Day do-over for better presents. There were only a handful of topical "very special" episodes. Every Huxtable kid got to shine and evolve in unique ways: Rudy was bossy, Vanessa was boy-crazy, Denise was flaky, Sondra was the eldest, and Theo was their brother. It was a multi-generational family, so there were grandparents, in-laws, grandchildren, cousins, neighbors, and a lot of friends. They ate dinner together, had family meetings, and the worst fight we saw between the siblings was over an ugly sweater.
That's the extent of the critical analysis I will offer on the show at this time. Instead, I want to make the bold declaration that in spite of what I just wrote about each Huxtable sharing the privilege of making us laugh, most of our favorite episodes either focused on Theo or consisted of him stealing the scene: getting his ear pierced; the Shakespearean rap-sody assignment; the running joke about his voracious appetite; not making it onto Dance Mania; that helicopter to the prom fiasco; the wild party with the broken furniture that almost landed him in the Army; and those two performances for the Huxtable Grandparents' anniversaries (this was for the 50th). In lieu of developing a signature line (e.g., Dyn-o-mite, watchu talkin' bout Willis, or Did I do that), we got a series of Theo-isms. For example, that Stevie Wonder episode was one of the corniest, yet I dare you not to smile as you read jammin' on the one, a classic Theo-ism. For the past few days, nearly every remembrance of Theo has made a reference to this infamous shirt.
Given Theo's growth and evolution throughout the run of the show, it was fitting that the series finale culminated in a "family" reunion for his graduation from NYU. Included in that emotional farewell to the show was a flashback to that pivotal scene from the pilot. Thanks to syndication, we were blessed to revisit the Huxtables often through the years...until.
In a perverse way, the fallout from Cosby's sexual assault allegations forced Warner and the other actors to forge alternative identities for themselves beyond the show. That proved to be more of a challenge for some cast members, but not for Warner who had begun eyeing various career options and expansion before The Cosby Show ended. In addition to a few cameo appearances in music videos and on other sitcoms, Warner also tried his hand at directing. I found out last year that he was one of the co-directors of Off to See the Wretched (1990)--an episode that has become equally as iconic as that lopsided shirt. He appeared in an HBO TV movie on the Tuskegee Airmen in 1995, starred in a few more sitcoms and TV dramas, made a cameo in a memorable Key & Peele skit, and just kept working. While none of those characters would have the same enduring pop cultural impact as Theo, at least Warner wasn't typecast like so many other child actors.
On social media, several of my friends have posted personal remembrances of encounters with Warner, and I have my own fame-adjacent story to share from more than a decade ago. He appeared in a local stage adaptation of Guess Who's Coming to Dinner in 2013. I attended a stage talk with my Mom and got my parents tickets to see the production as a Christmas present. Until that moment, I had never looked at Malcolm-Jamal Warner as anything other than a play cousin. Suddenly, here was this handsome man, taller than I realized striding to center stage, and for the first time my head tilted to the side and my Mom sat up straight in her seat. And I thought to myself okay I see you Malcolm, looking like a burger...deluxe with the works (cue Theo-ism at 0:59).
Mind you, at this point he hadn't been Theo for 20 years. And the point of recalling that wasn't to admit to ogling but about taking notice of just how far we'd all come since his first TV role. It was his confidence and graciousness that got our attention, his openness about tackling new challenges as an artist, and his accessibility. It was like reuniting with a childhood friend, picking up where we last left things, and realizing just how much we've missed their presence. It was so good to see Malcolm on his own terms.
Warner's untimely death means that I need to rethink the other concurrent pieces on The Cosby Show I have waiting to be completed in the drafts. I started writing about the show last Fall after I began to watch it again, as well as the other piece I alluded to about Cosby that I started writing this past weekend. While I try to sort out how to proceed, I want to do so with sensitivity to the emotions that are swirling around everyone who knew and worked with Warner, including Bill Cosby. Ironically, in the immediate aftermath of learning of Warner's death, my thoughts went to his TV Dad.
I vividly remember when Cosby's son Ennis was killed in 1997. We were all aware that the fictional Theo had been modeled on real-life Ennis Cosby, and at the time, Cosby was still regarded as America's Dad. Until he spoke out about Warner's death, it was unclear if they had remained in touch or how their relationship had been impacted by Cosby's dramatic fall from grace. It wasn't surprising to learn that Warner remained in contact with his mentor because in spite of what we know now, what we saw on camera for all of those years wasn't just a working relationship.
Thus is the nature of life and death--it's complicated. Contrary to what I wrote initially about feeling like we've lost Theo, the truth is that we haven't. Theo Huxtable lives on, forever suspended in youthful, syndicated immortality. For those of us who have access to The Cosby Show in reruns, we can pretty much enjoy his antics on a regular basis. We can cycle through the seasons and watch Theo grow up and graduate in perpetuity.
However, we have lost Malcolm, our brother, best friend, on and off again teenage crush, and for some, our son. We lost our homie and what he embodied: a very smart, intentional, deep thinking and thoughtful, strong yet vulnerable brother. We lost that mad cool dude who vibed with us like smooth jazz on a Sunday afternoon. We lost the voice of a poet, an artist who had so much to say. His family lost a man who had taken on what he believed to be (and was) the most important role of his life as a husband and father. In recognition of his namesake, we lost one of the best examples of our living Black manhood, a shining Black prince. And in spite of his 40-year career, it still seems unfair that we lost him too soon.