When Annie (Wunmi Mosaku) speaks those words in the Warner Bros film Sinners, it feels like testimony instead of dialogue. Like a confession passed down from the women who carried the weight of salvation and survival in the same weary hands. Most of us had an “Annie.” She was the one who held the stories we couldn’t write down because to write our own truths was illegal. The one who knew the power in a pot of greens simmered with prayer, who wiped fevers away with hands anointed in oil, who sent you back into the world healed, fed, and blessed. She knew scripture by heart, but also which herbs to brew for a stubborn cough, how to sweep bad energy out the door, how to whisper something over you before you walked into trouble.

Sinners might look like a film about spiritual warfare on the surface, but it’s doing something deeper. It pulls back the veil on how we’ve always lived at the intersection of faith and folk practices, even without the words to name it. It shows the tension and tenderness of holding onto Jesus while still reaching for the old ways that kept us alive long before we were stripped of our practices and handed what was deemed a respectable replacement.

Annie stood in the sacred space that’s always belonged to us, where the holy and Hoodoo aren’t at odds, but threads of the same divine tapestry. This isn’t about choosing between them; it’s remembering they’ve always been woven together, and how our survival has always been a spiritual practice. But why have African spiritual practices — tools of protection, healing, and power — been demonized so long? And how are Black folks reclaiming what was never fully lost?

The Demonization of African Spiritual Practices

From the moment our ancestors were stolen, their spiritual practices were a threat. Not because they were “evil,” but because they were powerful and rooted in connection, community, and a cosmology that didn’t need a white savior. Colonial powers couldn’t allow that kind of autonomy, so they labeled what our ancestors carried as witchcraft. As evil. As dangerous. That’s why “voodoo” is still shorthand in movies for something dark and dangerous. It’s why a Black woman burning sage gets side-eyed while anointing oil from the pulpit is seen as holy. Over time, those labels stuck, passed down from plantation to pulpit, until even we started to believe the lie. We’ve inherited suspicion of our own power, even as we unknowingly carry it forward. 

It wasn’t enough to enslave Black bodies, they tried to enslave our spirits, too. Laws stripped away every tool of spiritual resistance. Drumming, gathering for worship without white oversight, African rites, all outlawed. It wasn’t about evil; it was about control. As D. Danyelle Thomas writes in The Day God Saw Me as Black, “Christianity, as it arrived on American plantations, is a contradictory, oppressive religion designed to impress upon the enslaved African that their bondage has been preordained.” 

But the roots run deep, and to combat it, we did as we always do; alchemists transmute. No drums; we’ll make the pews and floorboards carry the rhythm. We’ll still call our ancestors’ names. And when they said there’s only one way to reach God, we knew better. We had already met God in the trees, in the water, in the wind.

The Legacy of Religious Syncretism and Survival

We were never just handed Christianity; we negotiated it. Adapted it. Transformed it. Syncretism wasn’t a concession; it was survival. When the old ways were stripped from our names, our bodies, our languages, we folded them into the new religion forced on us. The result was something uniquely ours, making space for both Jesus and our ancestors at the same table.

That’s why Hoodoo uses the Psalms; not just as sacred scripture, but as spellwork. Psalm 91 or 23 could be both prayer and protection. Anointing oil, drawn from Exodus, was a rootworker’s tool. And while Catholic missionaries preached saints, enslaved Africans saw Orishas in the stained-glass windows. This is where the lines blurred between “holy” and “heretical,” between the altar and the root bag, between the preacher and the prophetess laying hands and whispering prayers. Thomas writes, “The Black Christian tradition only exists because of the African cosmology through which it is both birthed and synchronized.” The shout on Sunday morning is the Ring Shout by another name. The spirit in church is the same one our ancestors called down by firelight, hidden from the enslaver’s eye.

The Modern Reclamation of Hoodoo and African Spirituality

The practices they tried to kill are now thriving. In the last decade, we’ve watched Hoodoo, Ifá, and other African spiritual systems resurge, with Black folks reclaiming them as living, legitimate faith traditions. Practices once used in secrecy are now taught in workshops, written in books, boldly displayed on altars no longer hidden in plain sight.

This revival has come with a hunger for something that sees us fully. For spirituality that doesn’t ask us to shrink, erase our ancestry, or choose between the divine and our Blackness. And it’s tied to broader movements: Black feminism, Afrofuturism, Black mental health. Instagram and TikTok have become classrooms and sanctuaries. Young Black women post reels showing how to dress a candle, work a jar, read a dream. Accounts share Yoruba prayers, tutorials, and reflections on ancestor veneration. These teachers claim space without apology: this is ours. This is holy. This is sacred. It always has been.

Decolonizing Christianity: What it Means and Looks Like

Decolonizing Christianity doesn’t mean throwing Jesus away. It means stripping away the whiteness wrapped around our theology. It’s reclaiming a God who looks like us, sounds like us, moves through our history with us. James Cone called it Black liberation theology. Womanist theologians like Delores Williams and Katie Cannon named how even liberation theology ignored Black women’s voices. Writers like Thomas ask: Whose image does it serve? Decolonizing faith isn’t rejecting Christianity. It’s remembering our ancestors never received it clean. They infused it with their cosmology, their rhythms, their knowing. Jesus didn’t come to uphold an empire; he came to liberate the oppressed.

We’ve been taught it’s either/or. But for many of us, it’s never been that simple. However, Annie’s words in Sinners remind us that prayer and conjure were never in competition. If you’ve ever cleaned your house before the new year, went to Watch Night service, counted your money at midnight, and ate black eyed peas, collard greens, and cornbread on New Year’s Day, you were practicing both! Christianity may be home, but it doesn’t have to be the only room in the house. Ancestral practices live here too, and reclaiming them isn’t betrayal. It’s remembering. Annie made us remember the women who raised us knowing the benefits of Jesus and juniper root. 

Decolonizing faith isn’t abandoning God. It’s finding God as Black, with us, and for us. It’s loving Jesus and ourselves enough to ask: What did we lose when we let them tell us how to know God? And what might we find when we return to the knowing our grandmothers never forgot? Maybe that’s the revolution: standing in the middle of it all, hands raised, candles burning, prayers rising, declaring we are whole. We are holy. We are enough.

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But something powerful is happening, a shift that calls for stories from Africa to be told without that filter, even in animation. Joining the ranks of Netflix’s Supa Team 4! and Disney’s Iwaju is Cartoon Network’s Iyanu, adapted from Roye Okupe’s acclaimed graphic novel. This series isn’t another animated adventure; it’s a groundbreaking moment for Nigerian storytelling in mainstream media.

BGN had the opportunity to interview Roye Okupe (creator and executive producer), Vincent Edwards (director), Brandon Easton and Kerri Grant (writers) and David Steward II (executive producer and studio head) via video chat. Their heartfelt insights gave us a glimpse into why this series is so powerful. 

At what moment did you realize Iyanu was truly special?

Steward: It really hit a tone with me because it fit a lot of things I enjoyed growing up in the ’80s. We had strong characters, but with this, it’s someone that looks like me. That’s something I didn’t really have in the ’80s. Most of those main characters, you had to try to find your representation in them. This show has representation throughout, which is very exciting.

Okupe: One of the things that makes it even more special is that Iyanu is still for everybody. It’s a show that we’re creating for a global audience that’s authentic to Nigerian culture. It’s not always an easy needle to thread because you never want to lose what makes it special in terms of the culture. At the same time, you want to make sure that you’re telling a story that’s universal. We want everybody to feel and connect with all of our characters. It was very early on in the process of actually creating the character that I knew that this was going to be special.

What drew each of you to this project?

Grant: First, I learned about Iyanu and saw the graphic novel. It was a stunningly beautiful work of art. Secondly, I loved the main character. She’s a little girl learning who she is, coming into her powers as a reluctant hero. It’s a coming of age story, and I loved her for that. It also takes a zoomed out image that a lot of people have of Africa and really hones in on the detail of this big place where you can see so many different cultures happening. 

Edwards: People talk about inclusion and authenticity, but I don’t see people walking that walk very well, very often. This series is so true to its cultural origins, but also it’s universally relevant. Iyanu’s story is Luke Skywalker’s story; it’s every hero’s journey but cast in this Yorubaland culture. That’s a very specific lens that’s really cool to execute and to bring to life. Having traveled the world, I’ve come to find there is no “them.” There’s only us on this marble in space. And the beautiful thing about diversity is that there are so many different flavors of the ways that we’re human. To be able to tell those flavors and live in that world in a way that’s universally relevant while also being culturally specific, that was the cool challenge. 

Easton: I knew immediately Iyanu could click as a TV series and as a franchise. Those two don’t always sync up. It was a fantastic piece of work. After writing the pilot, I was stunned by how quickly I was able to shift it from a graphic novel to a script. That’s a testament to the original work — that it was so accessible, yet so specific. It really meant something to me, and I connected with it. The story flowed and the spirit flowed, so that’s what got me.

How did you approach telling this story in a way that remains authentic while also being accessible to a global audience?

Steward: It’s about the team that you bring together, and the voices that you have in the room. Where things fall flat a lot of times is not having the right voices in the room, and those voices also having enough power. It’s one thing to bring somebody to the table and try to get some cultural specificity, but if you’re not allowing them to speak and giving that power, it’s not going to come out in the final project. That’s why this project came out as well as it did, especially if you look at the translation from the graphic novel to the final animation. 

Okupe: Dave, empowering us to be able to have the freedom to actually create without feeling the pressure gave us a sense of ownership on the project to actually create and have a vision and follow that vision. The second thing for me is collaboration. We had people working on this project from different parts of the world. It’s really allowing people to express themselves creatively, bring themselves to the table and add to the law of what Iyanu is. Everybody brings themselves into the project where it becomes global, and it’s not so specific that no one outside of Yoruba culture or Nigerian culture would understand. The third thing is ego. You have to leave your ego at the door. It’s not always easy, but it serves the project when everybody that’s on it is about what’s best for Iyanu. 

What will Iyanu’s success mean for the future of Black storytelling in the industry?

Grant: I hope that the success of Iyanu will mean more original stories told by us. A lot of times we do the Black versions of things, and it’s a big pet peeve of mine. I want us to do our own thing. I want us to tell our own stories that aren’t necessarily based on something. I hope the door will be open for more of us to tell our original stories that are rooted in specific cultural things or rooted in whatever stories you want to tell.

Easton: I feel it’s going to energize younger viewers who may not have ever seen Brown people doing anything excellent in any any space. A couple of months ago, I showed clips at an elementary school, and I paid very close attention to which groups within the elementary school paid the most attention to it and reacted to it. Brown and Black children can see that and be inspired by it the same way I was inspired by Star Wars or Blade Runner back in the ’80s. Iyanu has that power to do that.

Edwards: We take these drawings and give them the illusion of being alive, and to a degree, they do become alive. So when you have a solid story of this kind that’s culturally authentic and that’s also universally relatable, that’s just the joy of what we do.

Iyanu will premiere on Cartoon Network, Saturday, April 5, 2025 @ 9:30 AM ET/PT, and the following day on Max. If you haven’t seen the trailer, watch it here!

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Now, that rebellious, boundary-pushing spirit continues with Oh My God…Yes! A Series of Extremely Relatable Circumstances, the newest adult animated comedy making its debut on March 9, 2025. But what makes this show even more exciting isn’t just its premise, it’s the creative team of Black women behind it.

The show’s creator and executive producer, Adele “Supreme” Williams, has already made a name for herself as a writer, artist, and actor. She was a contributing writer to Netflix’s Emmy-nominated animated series My Dad the Bounty Hunter. She’s been recognized for her ability to tell stories that are both hilarious and full of heart, and she’s just getting started. In addition to Oh My God…Yes!, she’s currently developing projects with FX and Sony TV, proving that she’s a rising force in the world of animation.

Backing her up as executive producer is Dominique Braud, a veteran in the animation industry. Braud has spent 30 years working on one of the most beloved and longest running animated series, The Simpsons. Now, she’s bringing all of that experience to the table for Oh My God…Yes! Together, these women are shaking things up for Black animators everywhere. 

Oh My God…Yes! is bringing something fresh to Adult Swim, but you’re probably wondering what the show is about. The series follows Sunny, Tulip, and Ladi as they navigate womanhood in a tech-driven, unpredictable world. Set in a not-so-distant future version of South Central LA, the show takes real-life struggles and pushes them to the absurd.

At its core, Oh My God…Yes! taps into the kind of hyper-real, laugh-to-keep-from-crying storytelling that makes Adult Swim’s best shows so addicting. If you’ve ever found yourself spiraling over a dating app, side-eyeing a self-driving car, or questioning why your smart fridge knows more about your grocery habits than you do, then these characters are going to feel like your besties.

The show’s futuristic setting is a playground that’s perfect for highlighting the ways technology has both helped and completely wrecked modern life. The show isn’t afraid to take things to absolutely unbelievable places, whether it’s a test tube Antichrist who’s been programmed to end humanity, or Ladi misplacing her own uterus and sending everyone on a desperate wild goose chase for a replacement. And like the best Adult Swim shows, the humor reflects back to us how utterly ridiculous, yet strangely accurate, the world has become.

In addition to unforgettable themes, Oh My God…Yes! has a voice cast that is immediately recognizable. Xosha Roquemore, known for Cherish the Day, Atlanta, and Bob’s Burgers, brings her signature raspy but expressive voice. Gary Anthony Williams, of American Dad! and Aqua Teen Hunger Force, delivers the kind of booming, offbeat humor Adult Swim fans love. The cast also includes DomiNque Perry and Tristen J. Winger, both familiar to Insecure fans, bringing their comedic antics into the world of animation. And of course, the series features the unmistakable voice of one of the most identifiable animation voices of all time, whose presence alone is enough to make longtime fans take notice, but we’ll let that be a surprise.

Unlike many of its Adult Swim predecessors, this show places Black women front and center, both on-screen and behind the scenes. While The Boondocks set a high bar for animated satire, it was primarily told from the perspective of young Black boys. Oh My God…Yes! allows us to shift the lens and explore womanhood, technology, and identity through the eyes of three Black women. As a result, it delivers a series that doesn’t just make us laugh but adds a fresh, much-needed voice to adult animation.

Despite the undeniable influence of Black culture on animation, Black women are still underrepresented as creators, showrunners, and executive producers in the industry. Oh My God…Yes! is a profound and necessary shift. It’s a show created by Black women, about Black women, in a space where our voices have long been ignored. And thanks to Adult Swim and Williams and Braud, the landscape of who gets to shape adult animation is expanding.

So, if you love Adult Swim for its boundary-pushing, weird, and wildly inventive storytelling, Oh My God…Yes! needs to be on your radar. The series proves that Adult Swim is still evolving, still taking risks, and still creating space for perspectives that deserve to be heard (and seen). Whether you tune in for the chaotic tech-driven satire, the ridiculous hi-jinks, or the legendary voice cast, one thing is clear; this show is about to shake things up in the best way possible.

Oh My God…Yes! A Series of Extremely Relatable Circumstances premieres March 9, 2025 on Adult Swim and streams the next day on Max. If you’re ready for something bold, hilarious, and refreshingly different, you won’t want to miss it.

The post Review: ‘Oh My God…Yes!’ Amplifies Black Women’s Voices in Adult Animation appeared first on Black Girl Nerds.

The book-turned-Broadway-musical Wicked has become a smash hit at the box office. It is now in the top four highest grossing musicals that have gone from the stage to the screen, amongst such ticket-selling powerhouses as Mamma Mia, Les Miserables, and Grease. The reason? Well, if you’ve ever seen the original The Wizard of Oz (or even its Black reimagining, The Wiz), you walked away with a set of beliefs about which characters belonged in the light and which belonged to the dark. Based on the 1995 novel by Gregory Maguire, Wicked challenges those beliefs and makes you question how two witches came to be the symbols of good and evil in the mystical, magical land of Oz.

Cynthia Erivo first appeared on television in the series Chewing Gum in 2015. However, it was her breakthrough performance as Celie in the Broadway rendition of The Color Purple that same year that really put her on the map. She held her own alongside Jennifer Hudson and Danielle Brooks, earning herself a Tony, Grammy, and Emmy for her spellbinding performance. With one role, she’s only an Oscar away from the enviable status of EGOT. But where did she come from? 

Born in London to Nigerian parents, Erivo grew up in a home where hard work and dreaming big weren’t just values — they were necessities. Her mother, a nurse, nurtured her creativity and encouraged her to aim high, a foundation that would carry Cynthia Erivo far beyond their South London neighborhood. She went on to study at the prestigious Royal Academy of Dramatic Art, where her raw talent and undeniable presence quickly set her apart. From the start, it was clear she wasn’t just a performer: she was a force, destined to captivate audiences and redefine what it means to take up space on the stage.

After The Color Purple, Cynthia Erivo went on to star in films such as Widows, Bad Times at the El Royale, and Needle in a Timestack. Her transition into film brought even greater acclaim, but not without challenges. When she was cast as Harriet Tubman in Harriet, the announcement was met with both celebration and critique. While many were excited to see such a talented actress portray one of the most revered figures in Black American history, others raised concerns.

Some critics pointed to past comments Erivo had made, which were perceived as dismissive of Black Americans, questioning whether she could authentically embody Harriet’s legacy. Others took issue with an actor from outside the United States being chosen to portray such a pivotal American figure, given the deep cultural and historical significance of the role.

Despite the controversy, Erivo approached the part with respect and dedication, delivering a performance that earned her two Oscar nominations — one for Best Actress and another for co-writing the song “Stand Up.” It was a reminder of her talent and range, though the conversations surrounding the casting decision highlighted the complex dynamics of representation and storytelling.

Erivo’s casting as Elphaba has also been met with a fair share of controversy. Though she is not the first Black woman to portray the iconic green witch, her selection has sparked conversations about representation and what it means to reimagine beloved characters in more inclusive ways. While many celebrated the casting as a long-overdue milestone, some fans of the original musical were less welcoming, questioning whether the role should have gone to a performer who looked more like the traditional depictions of Elphaba.

The backlash even extended to the film’s promotional materials. After the initial teaser poster was released, showcasing Erivo’s green silhouette, the artwork was quietly revised, replacing the singular image with a dual poster featuring both Elphaba and Glinda (played by pop singer Ariana Grande). For critics, it seemed like an attempt to balance the visual narrative and appease skeptics. But for many of Erivo’s supporters, it only underscored the significance of her casting — proof that even in the fantastical Land of Oz, old biases still hold strong.

Ignoring the noise, Erivo has taken on the role with characteristic grace, proving that she belongs in this story just as much as any other iteration of the character. Her performance is nothing short of magical, a dazzling display of artistry that leaves audiences holding their breath during her scenes. Her voice, powerful and sublime, turns Defying Gravity into a tear-inducing masterpiece that makes you want to leap to your feet in applause. Erivo doesn’t just sing the song — she owns it, redefining it as the emotional core of Elphaba’s journey.

Erivo is the gold standard, shining brightly through the layers of green makeup, bringing Elphaba to life like never before. As she puts her own stamp on Elphaba, she invites audiences to rethink what makes someone wicked — and who decides.

The post The Breakout Star of ‘Wicked’: Who Is Cynthia Erivo? appeared first on Black Girl Nerds.

But these vampires have done more than just drink blood. They have redefined what it means to be a vampire and given us stories that resonate with strength, identity, and change. As we gear up for Halloween, here’s a look at the top five Black vampires who left their mark and showed us just how rich and diverse the vampire world can be.

5. Blacula/Prince Mamuwalde, Blacula (1972)

Coming in at number five is Blacula. As the first Black vampire in film and television, he deserves to kick off this list. This 1972 film gave audiences the chance to see a vampire story from a new perspective, opening the door for Black actors in the genre. Mamuwalde, portrayed by William Marshall, was an African prince cursed by Dracula. He awakens centuries after being cursed in 1970s Los Angeles. He wreaks havoc while searching for his lost love. Marshall’s portrayal brought depth, turning what could have easily been a campy Blaxploitation film into something more, making Blacula a trailblazer for future Black vampires.

4. Marcel Gerard, The Originals (2013–2018)

Marcel Gerard is a powerful vampire who commands New Orleans in The Originals. Born a slave, he’s turned by Klaus Mikaelson and eventually becomes the self-proclaimed king of the city’s supernatural community. Marcel, portrayed by Charles Michael Davis, is very handsome and charming, but he’s also ruthless. He balances respect for his people with making the tough decisions required to maintain order, and he does it well. His complicated relationship with Klaus, his sire and father figure, adds depth to his character as they vacillate between loyalty and rivalry. Marcel’s rise from enslavement to ruling New Orleans makes him one of the genre’s most complex Black vampires.

3. Tara Thornton, True Blood (2008–2014)

Rutina Wesley introduced the world to Tara Thornton in True Blood. Tara is a young woman who’s been hardened by a rough upbringing marked by abuse, poverty, and strained relationships. She’s tough and outspoken, but her life changes drastically when she’s bitten by a vampire named Pam. After her transformation, she struggles with her new identity and she’s resentful for being forced into a life she never asked for. However, with a newfound power she’s never experienced before, she leans into being a victor instead of victim. The series allows us to watch this complex character find a new path through her relationship with Pam and her best friend Sookie as she fights to balance loyalty, anger, and survival with this new version of herself.

2. Blade, Blade Trilogy (1998, 2002, 2004)

Blade is the ultimate vampire-human hybrid. He’s got their strength, speed, and healing, but he can still walk in daylight without spontaneously bursting into flame. Known as the Daywalker, Blade holds a grudge against vampires as his mother was bitten while she was pregnant with him. She dies in childbirth, so he dedicates his life to protecting humans and hunting down his own kind.

Wesley Snipes brought swagger and intensity to the role, making Blade an iconic, leather-clad vampire hunter who takes out vampire vermin with martial arts and a sword. Snipes’ portrayal didn’t just define the character, it helped pave the way for the resurgence of Marvel. Without Blade, we might not have the MCU we know today. In fact, he played the role so well, rebooting the film franchise has been a challenge. However, with Mahershala Ali poised to take on the character, fans are eager to see what he’ll bring to the role. 

1. Louis de Pointe du Lac, Interview with the Vampire (2022–Present)

Sitting in the number one spot is Louis du Pointe du Lac from the newest iteration of Interview with the Vampire. Louis is weighed down by systemic racism in early 20th century New Orleans. As a human, he struggles as a business owner trying to balance taking care of his family and saving the drowning business his father left in shambles. He’s fighting to be successful in a time and place where a Black man’s success is dangerous. Lestat’s romantic offer of immortality seems beautiful; however, once he’s changed a new struggle emerges. The life of a vampire, with all of its perks, is difficult for Louis. He doesn’t agree with feeding on humans, which creates a rift between him, his demanding lover, and an out-of-control daughter that he created. 

Best known for his role as Grey Worm on Game of Thrones, Jacob Anderson has taken the character in a new and exciting direction. His portrayal has been the most multi-dimensional and layered vampire character thus far, which is why he holds the first spot.  

The inclusion of Black vampires has proven that our stories are just as rich, complex, and powerful as any others. From Blacula kicking off the movement to Louis de Pointe du Lac bringing a new layer of depth, these characters have shown us that vampires can be more than just the top of the undead food chain. Threads of resilience, identity, and survival are important in their stories too. And let’s not forget the comical takes on vampire life, like Vampire in Brooklyn and Day Shift, which gave us some laughs while keeping the genre fresh. As we look ahead, it’s clear Black vampires aren’t done leaving their mark on the genre. Here’s to hoping the character expansion that the vampire genre is experiencing will rub off on other genres as well.

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Watching Black parents lead, love, and guide their children through storylines steeped in magic and mystery is not just refreshing, it’s revolutionary. These families bring depth, heart, and a rich perspective to worlds where anything can happen, and we love to see it! So, let’s review (in no particular order) some of the best portrayals of Black parents in these genres, celebrating their role at the forefront of the narrative where they truly belong.

1: The Freemans, Lovecraft Country

In the captivating universe of HBO’s Lovecraft Country, George and Hippolyta Freeman stand out as ideal Black parents in a genre that often marginalizes such characters. They nurture their daughter Diana’s artistic talents, showing genuine interest in her drawings and actively encouraging her to pursue her passion. Both George and Hippolyta are intellectuals who not only share their love for knowledge with Diana but also inspire her to embrace her own intelligence and curiosity.

After George’s tragic death, Hippolyta decides she needs to find out what really happened to her husband. She leaves Diana in the care of trusted family members — a testament to the adage “it takes a village.” Her quest to uncover the truth leads her through a journey of self-discovery and truths that change her as a woman, ultimately changing her as a mother as well. This decision conveys a powerful message about the strength in knowing when to seek personal growth. Returning transformed, Hippolyta embodies new strengths and wisdom, offering even greater inspiration and becoming a formidable role model for her resilient daughter. 

2: Terry and Tess Hendrix, My Dad the Bounty Hunter

In Netflix’s animated series My Dad the Bounty Hunter, Terry and Tess Hendrix are separated, and they are navigating a new normal while harboring personal secrets. Despite these challenges, their primary focus remains on fostering a stable and nurturing environment for their children. This series balances fun and high-energy interstellar hi-jinks with the very real and impactful ways that secrets can strain family bonds.

However, the strength of the Hendrix family truly shines through when they face external threats. In these moments, regardless of their conflicts with one another, the family unites with an unbeatable sense of purpose and protection. Terry and Tess’s journey through marital troubles and secret-keeping underscores a powerful narrative: even amidst turmoil, the family’s commitment to each other remains unshakeable. This dynamic adds a rich layer to the series, highlighting the enduring power of family unity in overcoming challenges.

3: Jefferson and Lynn Pierce, Black Lightning

In the CW’s Black Lightning, Jefferson and Lynn Pierce show us how it’s done within the superhero realm. Jefferson, doubling as a high school principal and the vigilante Black Lightning, not only protects his community from crime but also instills values of justice and integrity at home. His partner Lynn is a brilliant neuroscientist whose deep understanding of their family’s powers is important to their well-being. Despite the strains their unique lifestyle places on their relationship, Lynn’s strength and intellect keep their family tightly knit.

Together, they navigate the challenges of raising their superhero daughters, Anissa and Jennifer, with a focus on their harnessing and responsibly using their powers. Jefferson and Lynn’s approach to parenting blends nurturing guidance with lessons on the importance of community and moral responsibility, teaching their family and others what it means to raise leaders equipped for both the challenges of their world and the needs of their community.

4: T’Chaka and Ramonda, Black Panther

In the Black Panther film series, T’Chaka and Ramonda epitomize the dignified strength and wisdom of Black parenthood in the realm of Wakanda. While the film offers only glimpses of their early years parenting a young T’Challa, their lasting influence on both him and his sister Shuri is profound. As leaders, they instill values of courage, integrity, and duty, guiding their children not only in the world but also through spiritual encounters on the ancestral plane.

Following T’Chaka’s death, Ramonda’s role as a mother becomes even more important. In the wake of her deep personal loss, she continues to stand as a pillar of strength and resilience, protecting and guiding T’Challa and Shuri. Her ability to lead her family — and her nation — through times of crisis, while managing her own grief, highlights the enduring power and grace of her character. Ramonda’s journey is a beautiful portrayal of how a mother’s love and wisdom are crucial in shaping leaders, reflecting the rich, layered depiction of Black parenthood.

5: Gabe and Adelaide Wilson, Us

In Jordan Peele’s Us, Gabe and Adelaide Wilson embody the gritty reality of Black parenthood thrown into a nightmarish scenario. Gabe, often jovial and a bit goofy, tries his best to keep the family’s spirits up, showing that humor can be a shield even when facing terrifying threats. Adelaide, marked by deep childhood trauma, stands as the family’s fierce protector, her strength coming into sharp focus as they battle for survival.

Confronted by their doppelgängers, the “Tethered,” the Wilsons are thrust into a facing a scary reflection of themselves, challenging them to deal with their deepest fears and flaws. This intense showdown is more than just a fight for survival; it’s a powerful look at how families cope under extreme pressure. Seeing such complex Black characters at the center of a horror story, battling their darker selves, highlights a level of resilience and unity that resonates deeply and breaks new ground in how Black families are portrayed on screen.

It’s clear that the evolving portrayal of Black families in science fiction and fantasy is gaining momentum. We’re seeing more varied examples of what it means to be a Black family in forbidden and taboo scenarios. In titles such as Netflix’s The Curse of Bridge Hollow, Raising Dion, and We Have a Ghost, Black families take center stage, ranging from the silly to the sincere, navigating both supernatural challenges and the everyday dynamics of love and life. These stories not only broaden the scope of representation but also enrich the genres we love with new depths and complexities. By placing Black parents like the Freemans and the Pierces at the heart of these narratives, the entertainment industry is not just changing; it’s thriving, offering richer, more diverse storytelling that promises to inspire and resonate across all audiences. This evolution not only marks a significant step forward, it ensures that the realms of imagination are truly open for everyone.

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First of all, Jeff Goldblum. Need we say more? He plays Zeus as a charismatic, enigmatic, and eccentric megalomaniac who is grappling with the fear of a prophesied downfall. His fear drives him to meddle in human affairs by causing wars and natural disasters. His meddling is not because wants to save humans from themselves but instead a desperate bid to hold tight to his supreme power. Per usual, Goldblum’s portrayal of his character is fun and sure to deliver a laugh or two. He brings a giddy and mischievous enthusiasm to Zeus’s manipulation, which he sees as a way to keep the people in line. Watching him revel in the chaos he creates, you can’t help but be entertained, even if you’re annoyed by his divine pettiness. 

If picturing Goldblum as the king of the gods, with all his quirks and swag, isn’t enough to spark your interest, let’s chat about Hera. Hera, Zeus’ sister and wife, is portrayed by Janet McTeer, who we’ve seen in such fan favorites as Ozark and The Old Man. Hera is a force unto herself. Far from a one-dimensional queen of Olympus, she is strategic, powerful, and not to be underestimated. Her relationship with Zeus is filled with as much tension as it is with tactical maneuvering around his huge ego. 

When it comes to the rest of the gods, you’ll see the expected cast of characters who are central to the story’s theme: Prometheus (Stephen Dillane), Dionysus (Nabhaan Rizwan), Poseidon (Cliff Curtis), Medusa (Debi Mazar), Hades, Persephone, Hippolyta II, the Fates, and the Furies to name a few. They each play an integral part in the twists and turns of this well-written story, whether to rein Zeus in or to beg, bargain, or steal on behalf of the humans. 

As for the humans, the story of Orpheus and Eurydice, or “Riddy,” is a tale as old as time — love and loss, inextricably bound together by the choices we make. The storyline is also infused with the people of Troy and the Trojans, the Tacitas, and a woman with the gift of foresight who tries to warn them all of the doom to come. 

Now, let’s talk about how Kaos visually knocks it out of the park. Each realm in the show has its own unique color scheme that’s as distinct as the gods themselves. Down in the Underworld, everything is in shades of gray — quite literally. It’s all shadow and monochrome, a perfect match for the somber vibe where Hades rules. The celestial realm — where the gods hang out — captures their larger-than-life personalities with bright colors that make you want to be there. Then there’s Earth, portrayed with gritty and raw realism making you feel like you could step right into the screen. It’s a vivid contrast that really highlights the gap between our everyday world and the divine drama of the gods.

If you’re a fan of gods mixing it up in the modern world, you might think you’ve seen it all. Shows like American Gods throw deities into the melting pot of today’s society, while Percy Jackson and the Olympians spins stories about primordial heroes getting schooled in the 21st century. But here’s where KAOS shakes things up and dances to its own beat. Unlike its predecessors, this show doesn’t just drop mythical characters into today’s world and say, “Go have fun.” It twists the classics, injecting dark comedy and a bit of an edge that’s as refreshing as it is riveting. This isn’t just mythology; it’s mythology with a mischievous side that keeps you guessing and wanting more.

If you’re ready for a show that melds the whimsical with the wise, the ancient with the achingly modern, then give KAOS a chance. Don’t watch it just for the flashy spectacle or Goldblum’s delightful antics, but for the cleverly retold tales that feel as relevant today as they ever were. This isn’t just another show about the gods; it’s a series that turns the classroom myths into living, breathing stories as captivating as any modern drama. KAOS is currently streaming on Netflix. Where else could the gods walk among us, if not in our living rooms?

The post ‘KAOS’: The Best Netflix Show You Haven’t Watched Yet appeared first on Black Girl Nerds.

Well, we can’t tell you the answer to that. We wouldn’t want to spoil anything. However, we can tell you they go through those trials in incredible style. This story isn’t just told by the characters; it’s told by their wardrobes as well. With fashions from the 1950s through the late ’90s, you’re in for a treat.  

BGN interviewed costume designer Whitney Anne Adams via Zoom for the film The Supremes at Earl’s All-You-Can-Eat about how she started in costume design, how she managed dressing characters for three eras, and why costume design is so important.

How did you get started in costume design?

I’d been doing theater my whole life, but I didn’t think costume design was a career. I went to college for pre-med, and I was doing terribly in chemistry and calculus. My one fun class was intro to theater design, and I discovered costume design. I made a PowerPoint presentation to my parents about changing my major, and I couldn’t really describe why. I just could feel it.

There’s only a couple times in my life where I knew that it was the right answer without even having a true explanation. I switched my major within the first three weeks of college, and it’s been the greatest thing of my life. I was a huge cinephile as a teenager. Looking back now, it all fits together. Then, my first movie was The Great Gatsby, assisting Catherine Martin. Getting to have that experience and being on that set really solidified that this is what I want to spend my life doing.

How did your research, inspiration, and creativity interact to shape the costumes for the film?

My first step was reading the script and then the book for The Supremes at Earl’s All-You-Can-Eat several times, so I got a feel for all the characters. I put together a spreadsheet, and I pulled every visual reference from both. So I had that as my foundation for each character. I could pick and choose what worked for the story that we were telling. Then, I started on the research process, which involved getting things from literally everywhere. It was like gathering every visual reference in the world and then starting to sort them by character. 

What was your approach to the challenge of reflecting fashion trends from the ’50s to the ’90s while maintaining a cohesive aesthetic?

I had four very distinct time periods to work within and a lot of research to do. I got contemporary catalogs, magazines, and books from each period. I watched a lot of movies from each era. I also love Flickr so much because so many people share their personal family albums publicly. I was able to get a ton of real-world, real people research because magazines and movies will only take you so far. So it was really important for me to get what people actually looked like. I got a lot of yearbooks from those eras so I could see the real people. Getting old yearbooks on eBay is kind of my favorite research tool. 

How did you use their costumes to reflect the characters’ unique personalities and the evolution of their friendship over the decades?

The number one thing for me is making sure that they felt like a true trio. I didn’t want their costumes to match, but I wanted them to vibe with each other. So, I got every costume under the sun. We also built a lot of things, like Odette’s orange dress. Each scene has its own board where I put every photo from fittings. I made sure that all the actors felt good together and that their costumes felt cohesive, especially when they’re in the diner in the booth. I wanted them to feel like a team and like sisters, so it was figuring out their own personalities within that.

Clarice is the organized, straight shooter. Odette is fiery and wild. And then you have Barbara Jean coming from her mother’s funeral in her mother’s hand-me-downs. I took that and ran with it. Every piece is from a character perspective. I had to figure out where each piece came from, how they got it, how long they’ve had it, and where it was made. I answered all those questions for everything I put on their bodies.

What were the biggest challenges you faced while designing costumes for this film, and how did you overcome them?

We had a pretty short timeline. I had to cram four decades worth of research into two weeks, and it was just me. The filming was only 30 days, and we had a lot to pack into that time. We had 162 total principal costumes, and 67 of those were just our Supremes. That’s a lot of costumes for six actors. I had to go to LA, New York, and Atlanta.

We got costume rentals, went to every vintage shop in all of those cities, and searched the internet. We made a lot of costumes in house. Then we had to get all the clothes to Wilmington, North Carolina, because we were filming in a region that didn’t have much of anything. There’s one vintage store in town, Jess James and Company; they saved my butt several times. And then there’s telling the story across the decades and making sure the characters felt true to themselves as they got older. There’s a lot of spinning plates that you have to keep going. 

How do you think the costumes enhance the storytelling in this film?

Costumes are such an important piece of the storytelling. You really need to see that they’re real people. It heightens everything that these characters are going through if they feel real to you and they feel grounded. Portraying them through all of their clothes and making them feel like the unique, interesting people that they are is so important to help get to those emotional places that the story needs to take you in. If they feel one note, don’t feel like they have depth, or don’t feel like real people, you’ve lost the audience. 

The costumes will surely draw you in, and the story will make you stay. Grab your besties, some tissue, and your favorite snacks! The Supremes at Earl’s All-You-Can-Eat airs August 23, 2024, on Hulu. 

The post Outfitting The Cast for ‘The Supremes at Earl’s All-You-Can-Eat’ appeared first on Black Girl Nerds.

In an era where the joke “hard wig, soft life” has become the hashtag for Black women seeking the comfort a posh lifestyle affords, Queen Charlotte has indeed become statement hair goals. Not because we want to wear large wigs for which we need a neck brace (as Golda Rosheuvel has reportedly had to wear), but because her hair commands attention every time she’s on screen. Much like Issa Rae’s character on Insecure, we love the storylines but we also live just to see what the character will do next with her hair. Queen Charlotte quite literally makes us forget — or ignore — the reasons they really wore those wigs. Instead of protection from lice or hiding scalp ailments, her hair is the perfect compliment to her character’s elegance and grace.

So, for all the queens that love a good wig, this post is for you. As we impatiently wait for Netflix to drop the remaining episodes on June 13, let’s take a look at Queen Charlotte’s top five pouffes from the first half of Season 3. There were a total of eight wigs featured in the first four episodes, so hopefully your favorite made the cut. But, be careful…spoilers ahead!

#5: A Masterful Mashup

Early in Episode 3, Queen Charlotte has set her sights on Francesca Bridgerton and searches for a man she deems to be a suitable match. As she and Lady Danbury peruse potential suitors like they are shuffling through a deck of cards, we see her in a wig that is duplicitous as her reasons for being interested in making a match. The front of the wig is giving finger waves that would rival the style of a 1990s prom queen. The back is a heart-shaped Afro that has been carefully patted and sprayed with the finest of Afrosheens. Separating the two sections of the deep brown beauty, a festive jeweled floral arrangement that nicely embellishes the transition between textures. It is a beautiful marriage of styles only a queen could pull off.    

#4: The Bejeweled Blondie

This wig sitting pretty in the number four spot comes in Episode 1. We’ve been reintroduced to the two main families that will be the focus of the season, and we’re heading to the castle to bear witness to the first event of the season. Each of the young ladies and their mothers hope to leave a lasting impression on the Queen as they make their debut, and they are all vying for the coveted title of diamond. Queen Charlotte sits atop her throne adorned in a wig that matches all the pomp and circumstance of the affair and her dress. There are large diamonds and lace strategically and elegantly placed within the waves of coily tucked and pinned hair. It is a statement that says, “I’m here and I’m ready for whatever the season brings.” While the Queen is bored, her hair certainly is not.

#3: All For Asymmetrical Allure

Near the beginning of Episode 4, Queen Charlotte is amused at the credit Whistledown is finally giving her and the strides she’s made. As she sits, perched and poised atop her settee, she reads the latest issue in a wig that’s just as complicated as the battle between these two formidable adversaries. A blonde bombshell of a wig, it has soft fingerwaves, pin curls, spiral curls, a jeweled barrette, and a bow made of hair. There’s a lot going on with this wig, but it all works together to deliver elegance to Her Majesty’s look for a day of ease in the castle. 

#2: Giving ‘Em Gele Glamour

Toward the end of Episode 1, Lady Whisteldown issues a challenge to the Queen. Whisteldown openly questions whether the Queen is simply being careful about selecting a diamond or if she’s afraid to choose one. After all, the last season was a bit of a disaster. You don’t challenge a woman wearing an Afro the size of Africa wrapped in a traditional Nigerian Gele. Whisteldown has declared war, and Queen Charlotte just might show her that she can rock rough and tough in her black Afropuff. All while remaining classy, of course. 

#1: A Savage Swan Song

In Episode 4, the Ton gathers at the palace for yet another ball. We’re at the height of wondering whether Francesca and Lord Stirling will figure things out; whether Lord Debling is good for Penelope; whether Lady Violet is about to get another chance at love; and whether Colin will man up and admit his feelings for Penelope. In the midst of all the drama, the entertainment for the evening is a lovely pair of dancers performing their interpretation of Swan Lake. As the camera pans to Queen Charlotte, we not only see a wig, we see a piece of moving art. The outside is the usual ornate blonde pouffe.There are some golden jeweled twigs affixed to the back and side, but the cavernous inside is where the magic lies. There is a crystal swan “swimming” on a lake with a serene backdrop that appears to be wallpapering the inside of the updo. This is by far the coup de gras of the four episodes, lending fashion, ingenuity, and flair to the final wig of the first half of the season. 

If what we’ve seen so far is any indication of what’s to come in the remainder of Season 3, we should hold onto our edges because they are poised to be snatched on June 13. Until then, we’ll just have to rewatch Season 3 and amuse ourselves with social media personalities, like TheOnlyNate, that imitate Queen Charlotte hairstyles and give us a good laugh in the process. 

Bridgerton Season 3 is currently streaming on Netflix.

The post Queen Charlotte’s Top 5 Wigs of ‘Bridgerton’ Season 3 appeared first on Black Girl Nerds.

Yes, we’ve had representation in the mysterious and alluring world of vampires. From Blackula to Day Shift, we’ve seen everything from the hilariously absurd in Vampire in Brooklyn to characters who stole our attention and our hearts in True Blood and The Originals. But the most powerful portrayals have still been primarily supporting roles at best.  

Enter Jacob Anderson, best known for his role as Grey Worm in Max’s Game of Thrones. He has masterfully portrayed the introspective and tormented Louis de Pointe du Lac. By casting a Black lead and shifting the story’s timeline to a more contemporary 1910 New Orleans, this series does more than merely update its characters for a new audience — it weaves a complex, richer layer of conflict and intimacy into the dark, eternal dance between Louis and his charismatic creator, Lestat de Lioncourt. 

This isn’t just change for the sake of change. It’s a deliberate, thoughtful adjustment that deepens every glance and gesture between the characters, transforming their tumultuous relationship into an all-too-real demonstration of the nuanced struggles of identity, power, and survival. As we journey through the night alongside these immortal beings, we find ourselves confronted not just with the horror of their existence but with a poignant narrative intertwined with the very essence of what it means to be both visible and vulnerable in a world that only desires the latter from its Black constituents.

The genius of this adaptation lies in its ability to honor the original text while courageously exploring new ground. By making these small but impactful shifts, the series taps into deeper socio-cultural relevance that the original film, with its 18th-century white protagonist, could not. Louis, as a Black man navigating the early 20th century, brings a compelling overlay of racial complexities to the already manic worries of a newly initiated vampire.

The stakes are inherently higher when your protagonist bears a myriad of burdens: wrestling with his sexuality, supporting a well-to-do family that his father left almost destitute, a vampiric curse, and societal marginalization. This whirlwind of chaos creates a moving amplification of Louis’s alienation and his struggle with identity.

In this retelling, Louis’s transformation by Lestat is not just about him becoming a vampire but also an exploration of power dynamics. The relationship between master and fledgling is wracked with a new tension laced with historical and racial undertones that challenges us to reconsider who leads in this dance of immortality and who follows. Lestat, portrayed with a mesmerizing blend of allure and menace by Sam Reid, has become more than the beast that turned Louis. He’s lover, father, and master manipulator all rolled up into one. However, his privilege and arrogance clash with Louis’s practicality, setting the stage for conflicts that are as much about choice as they are about survival.

The series has also provided robust performances by its supporting cast, who add their own layers of complexity to the story’s richness. Rae Dawn Chong, portraying Louis’s mother, brings depth to her role and embodies the hate he internalizes for his perceived failures. His sister, portrayed by Kalyne Coleman, tethers Louis to his human past, even as he navigates his new existence. Their roles offer a glimpse into the foundational relationships that shaped Louis before his transformation, grounding his character with a sense of history and belonging that is utterly destroyed. It both explains and magnifies the severe loneliness he feels as a result of the bite he agreed to, despite having the “ultimate” family in Lestat and Claudia. 

Claudia, played by Bailey Bass in Season 1, stands out as a figure whose tragic transformation into vampirism as a child forces us to explore the loss of innocence and acceptance of an immortality fraught with violence. Bass’s portrayal captured the heartbreak and horror of Claudia’s fate with haunting intensity. However, “due to a variety of unforeseen circumstances,” she has left the role. Delainey Hayles reprises the role of Claudia in the upcoming season. Hopefully, this change won’t disrupt the world that has been built but instead bring a new dimension to Claudia’s character, potentially exploring new facets of her struggle with her eternal childhood and vampiric nature.

And we would be remiss not to mention Armand. In Season 1, we see him as a new companion to Louis, shrouded in mystery and allure. His appearances tantalize us with glimpses into his complex past and powerful presence within the vampire hierarchy. Armand’s sophisticated yet subtly menacing demeanor hints at a depth that the series has only begun to explore. As we look ahead to Season 2, there is palpable excitement about the expansion of his role.

Fans are eagerly anticipating how his character will evolve and impact the dynamic between Louis and Lestat. Will he be a disruptor or a mediator? A mentor or a manipulator? The potential for Armand to reshape the narrative landscape is immense, promising to bring new conflicts, alliances, and insights into the ancient laws that govern the vampires’ shadowy world. 

It is clear that this adaptation is as much a dialogue with the present as it is a narrative about the past. It challenges us to confront uncomfortable truths about power, privilege, and the price of immortality. The series asks us to consider what it means to be seen as “other,” not just in the context of vampire lore but in the everyday reality of race and class disparities. It’s a bold assertion that stories, like the creatures they depict, must evolve or face their own kind of extinction.

The post Diversity and Drama in AMC’s ‘Interview with the Vampire’ appeared first on Black Girl Nerds.