"Beloved commercials, despised show," Kroll succinctly said of Cavemen. "It's not bad. It's funny … I still stand by it. I'm like, 'That's as funny as any other show.'" In Kroll’s defense, Cavemen certainly had the structure and style to match any uninspired late-2000s network sitcom, it simply had such an insanely tone-deaf premise and the bizarre baggage of being an insurance-commercial-turned-satire-series dragging it back down into the cave from whence it came.
When asked if he felt the show was a failure, Kroll replied, “It didn't feel like personal failure. It felt like I'm participating in a failure. It's different." Despite his earlier defense, Kroll is at least able to admit that Cavemen failed – in fact, it failed so hard that GEICO took out an ad in the Super Bowl the following year effectively apologizing for its existence.
The advice of “ignore the critics and follow your passion” is as lucid coming from Kroll as it surely was when his very close confidant Angelou told it to him. Perhaps Lawson and Kroll were attempting to honor the award-winning activist and poet who spent her life chronicling the complexities of race in America by making a TV show that was the exact opposite of everything she’d ever written.
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