Chelsea Hamilton and Dr. Madison Montgomery’s Romance Heats Up Faster Than The Speed of Light

 

Chelsea (RhonniRose Mantilla) isn’t afraid to dive in with young neurologist Dr. Madison Montgomery (Kenjah McNeil). DP: Vincent Steib.

Beyond the Gates continues making soap opera history with its latest story— Chelsea Hamilton and her girlfriend Dr. Madison Montgomery. 

Chelsea, the retired supermodel and newbie purse designer, has explored her bisexual status since the soap’s February debut. Originally, an enthusiastic third for adventurous couples, Chelsea’s the type not to be defined by labels. Craig and Allison, Chelsea’s last polyamorous relationship, saw her choosing to primarily commit to her lesbian side, setting out to separate Allison from her husband for a while. The move seems straight out of the Bill Hamilton playbook, predatory cheating strategies showcasing that the apple doesn’t fall far from the tree. In her personal life, Chelsea can behave similarly like her father— a man who committed adultery for years. 

Yet, Chelsea has the tendency to fall hard and fast—perhaps a trait of her zany mother Dani Dupree-Hamilton? 

Chelsea and Dr. Madison share wine and affection at the pad that Chelsea shares with her cousin and best friend Kat Richardson. DP: Vincent Steib.

After being dumped by Allison just before June’s Pride Month started, Chelsea meets a mysterious woman at the hottest nightclub in town, flirting up a storm. It turns out Madison is a neurologist— her own father’s stroke doctor. Chelsea holds nothing back, becoming a full-fledged seductress of the highest order, ambushing the gorgeous doctor at the hospital, thirsty as heck despite not getting the water her inpatient father needed. Skipping many steps including the crucial angst part, Dr. Madison succumbs to Chelsea anyway— a couch date, the quickest blink-or-you-miss-it love scene, the introduction to the uppity Dupree family, and the “I love you,” hearts in her eyes. Chelsea and Dr. Madison are moving at the speed of light, ultimately symbolizing the unfortunate U-Haul trope. Does this mean that their fast relationship could crash out at the same pace? Sugar can only jolt the adrenaline for so long. What exactly are Dr. Madison’s intentions towards Chelsea? 

While it may seem downright boring in a soap opera— a genre often thriving on pushing wild, outrageous envelopes and overzealous acting decisions— the fascinating parts about Chelsea and Dr. Madison are their Bechdel Test passing conversations. They center topics such as coming out to their respective families and their individual career paths. Chelsea’s extrovert personality could clash with Dr. Madison’s humbleness. These hardworking women share a common passionate drive and of course— a growing ardor for each other. Sure, we’ve missed the longing looks cementing a fresh romance, but we’ve got public handholding, smooches, and dialogue. With a cast this stacked (and talented), it is pure luck to even receive little tidbits of these lovers.  

Allison (Brianna Roberts) lets Chelsea (RhonniRose Mantilla) that she wants her back. It won’t make Dr. Madison (Kenjah McNeil) pleased. DP: Vincent Steib.

A heavily accessorized Chelsea reassures Dr. Madison that she’s locked in. DP: Vincent Steib. 

Chelsea and Dr. Madison’s romance is put to the test by the sudden reappearance of Chelsea’s married ex Allison. This latest development complicates Fairmount Crest’s overwhelmingly saturated landscape of triangles and quadrangles— Kat/Tomàs/Eva, Hayley/Bill/Dani, Dani/Andre/Ashley/Derek, Nicole/Ted/Leslie. A slightly deranged Allison’s urgent desire for Chelsea pinpoints the Beyond the Gates writers’ leniency on interlopers to create a couple’s conflict. If the other dynamics didn’t exist and the overly rushed Chelsea and Dr. Madison were shown more frequently, this Allison angle would be enticing front burner stuff. After all, it is not everyday you see three Black women fighting for each other romantically in daytime. 

Chanel (Reagan Gomez) and Nova (Rutina Wesley) from Queen Sugar.

Max (Chanté Adams) and Esther (Andia Winslow) from A League of Their Own.

Eva (Gail Bean) and Tye (Jerrie Johnson) from Harlem also had a U-Haul relationship. 

Black women falling head over heels with each other onscreen remains a rarity. Television and film have a longstanding preference for interracial LGBTQIA couples from Cheryl Dunye’s classic The Watermelon Woman to Maria Maggenti’s The Incredibly True Adventures of Two Girls Falling in Love. Even this Buzzfeed list contains mainly white or interracial TV lesbian couples. Every now and again, a thoughtful Black woman filmmaker makes slow burned sapphic cinematic masterpieces: dee rees’s Pariah, Wanuri Kahiu’s Rafiki, and Natalie Jasmine Harris’s Pure and Grace are prime examples. Nova and Chanel were short-lived territory in Queen Sugar, Max and Esther briefly steamed up the sadly cancelled in A League of Their Own, and Eva and Tye got engaged in Harlem. Chelsea and Dr. Madison adding to this equation has the opportunity to shift the narrative in a powerful way— to inspire a new normal that other TV/film writers could build off on. 

Madison and Chelsea are having problems with Allison. DP: Vincent Steib.

Beyond the Gates, a soap opera staunchly committed to being a revolutionary force, provides the “love in the afternoon” lunch hour with some gorgeous Chelsea and Dr. Madison interactions. As the two women navigate their journey among the affluent Fairmount Crest community, let’s pray that intriguing twists and turns keep their union strong. Although this may be challenging as we’ve seen the characters interact in the same locations each week, Chelsea and Dr. Madison should be attending the movies together (especially the big D.C. queer film fest), taking trips to the pool, shooting photo booth strips, hopscotching and pushing each other on swings, dancing, sharing ice creams and cakes, throwing down a game of Uno, and all kinds of lovey duvey activities to squeeze into their tight schedules. Interrupt our broadcast shenanigans with a sweet induced drama that’ll make our hearts race and burn. 

Chelsea does have a type though— Dr. Madison and Allison look alike. May the best woman win. DP: Vincent Steib.

The key to crafting groundbreaking material as sensitive and rare as Chelsea and Dr. Madison is to reflect on the viewers at home. Analyze the question— is this a valid, authentically rendered romance that audiences deserve to bear witness to? The brave writers must prove that this story truly represents a Black sapphic love worth vouching for. 

A Parisian Dream for Chéryl in ‘Jane Austen Wrecked My Life’

 

Jane Austen Wrecked My Life’s side character Chéryl (Annabelle Lengronne) inspired thoughts. DP: Pierre Mazoyer.

Shakespeare & Co.—one of my favorite places to visit in Paris— is a whole dreamy, otherworldly realm. This charming bookstore contains organized book sections and beguiling stairs leading towards sweetly bound mysteries, overall presenting the best place to lose oneself. My old supreme goal was to have a published book in fiction and my framed picture included among the famous authors wall. Long ago, the bookstore even held an unorthodox residency— spend nights at the bookstore and write a required piece to include in their collection of past residents. 

Bookseller Agathe (Camille Rutherford) is the main character. DP: Pierre Mazoyer.

The shop’s an excellent other character in former employee Laura Piani’s feature length debut, Jane Austen Wrecked My Life. The film dotes on Agathe, a burgeoning writer who doesn’t feel confident enough in her abilities, a trait we have in common. She’s confidently shelving books or reading the anonymous letters posted on the mirror for limerant bookworms and returns home to a pretty flat she shares with her sister and nephew. Unbeknownst to her, Félix, a coworker nicknamed “Breadcrumber,” secretly enters Agathe’s work into the selective Jane Austen Writers Residency. 

She gets in. 

Wearing a cozy purple sweater with fetching dangled earrings touching her neck, Chéryl (Annabelle Lengronne) writes, a cup of tea nearby. DP: Pierre Mazoyer.

At the prestigious Jane Austen Residency located in a rustic French countryside that takes a ferry ride and an eventful car ride, Agathe is joined with other writers including Chéryl, a poet. None of the residents are given backstories except Oliver, an Austen ancestor and his aunt and uncle that run the pleasant house for the occupants. Apparently, Oliver personally read and chose the winners. Chéryl must have been an exceptional candidate out of many. She likely wrote her application as opposed to Agathe. That is not to say that Agathe has no merit or right to be among the chosen few. 

The reclusive Agathe comes out of her shell, befriending the residency creators and a few residents. Agathe and Chéryl hit it off by playing a game steeped in astrology culture and romance. As Agathe is conflicted by her newfound desire for Félix and her tormented affliction for Oliver, Chéryl’s book holds the key to such a predicament. The ladies later have drinks and sing karaoke at an establishment. Chéryl seems an open extrovert personality who loves exploring the earthiness around her with nonjudgmental perspective. 

Chéryl passes along the birthday information Agathe requires— another way to employ the character as a guiding point for Agathe’s conflicted heart. DP: Pierre Mazoyer.

An opened up Agathe has drinks and sings karaoke with Chéryl. DP: Pierre Mazoyer.

The residency hosts a special period soirée where the writers are invited to don clothing worn during Austen’s time. The lovely Chéryl helps prepare Agathe as though she’s her personal servant while the other ladies dress themselves in the background. The moment certainly draws back to historical contexts— Olympia by Èdouard Manet in the Musee D’Orsay (the other museum in Paris as famous as the Louvre) came to my mind, this performative act of kindness and servitude that further relegates the purpose of Chèryl’s character. At the soirée, Agathe dances twice with the surprise visitor Fèlix and Oliver. Chèryl doesn’t receive the honor of dancing with anyone and there’s barely a shot of her full attire. Like Bridgerton, a period show containing beautiful dark-skinned background characters, Chéryl is relegated to be a part of the scenery. 

A corseted Chéryl (Annabelle Lengronne) assists Agathe (Camille Rutherford) with her apricot colored dress. DP: Pierre Mazoyer.

Including lacing it up in the back. Hopefully, Agathe did the same for Chéryl. DP: Pierre Mazoyer.

A closeup of Madeleine the servant from Édouard Manet’s 1863 painting Olympia.

Agathe makes a decision that would devastate anyone who knows the difficulties of applying to residencies (especially abroad opportunities where odds are less than one percent). This leaves us on the abrupt end of Chéryl, the unsubtle incompleteness of the poet’s story. In my imagination, she has finished the requirements necessary for the residency, wishing goodbye to all the attendants and taking her own ferry back to her Paris. She too must work at a place where books live and breathe, a place as wondrously magical as Shakespeare & Co. Maybe she has a flat filled with plants, stuffed notebooks, and autumn sweaters, patterned tea cups and tea pots and lidded jams sit on her clean (or cluttered) counters, and a purple collared black cat awaits. She finds a healthy rhythm between the virtuous recluse and modern day freethinker, her heart yearning for prose alone. Her mailbox would be packed to the brim with love letters, love letters as precious as the ones posted on the Shakespeare & Co. mirror. 

Chéryl (Annabelle Lengbonne), Beth (Liz Crowther), and Agathe (Camille Rutherford). DP: Pierre Mazoyer.

I recommend Jane Austen Wrecked My Life for the delicious cinematography, the terrific score, and its ode to bookworms and sheltered writers. While Agathe and Oliver’s story had my romanticist insides swooning from the sensuous dance to the Mr. Darcy line, my heart still mourned for Chéryl’s potential, for what could never be told, only envisioned. Her talented, scene-stealing portrayer Annabelle Lengronne (known for her award-winning turn in Léonor Serraille’s Mother & Son) deserved more light to shine bright in, a story as vivid and rich as Alice Diop’s Saint Omer. In another world, we could definitely see the English professor / novelist Rama hitting it off with Chéryl, the poet, discussing modern Black women writing around Parisian landscapes as imperative as bookstores like Shakespeare & Co. 

Viscountess Kate & Viscount Anthony Moments From Bridgerton Season Three, Part II (Spoiler Heavy)

 

Kate (Simone Ashley) and Anthony (Jonathan Bailey)’s short-lived return takes endless missteps. DP: Alicia Robbins. 

A year before the Benedict centered fourth season debuts, this long awaited second part sheds light on more moments that Viscount Anthony Bridgerton and his lovely wife Viscountess Kate Bridgerton’s shared in Bridgerton season three. The viscount and the viscountess have nineteen minutes across the two episodes: Tick Tock and Joining of Hands, more than the paltry eight minutes depicted here.

Kate in her trademark contemplative state. DP: Alicia Robbins.

Writers are often instructed to “show, not tell.”

Kate and Anthony vocalize accounts without the production giving them the necessary screentime. For example, in Tick Tock, season three’s fifth episode, Kate and Anthony take a grand carriage ride back to the Bridgerton family home, returning from another extended offscreen holiday. Kate’s expecting their first child despite their sparse love scenes always showing Anthony giving his wife oral penetration as opposed to the usual way that pregnancy is achieved. Now this bears no disregard on the emphasis of women’s gratification being the pinnacle pleasure hallmark as male-dominated films and television programs historically placed a man’s desire above all else—consent or not. Yet, it’s questionable choices to have their most intimate moments tucked away, left onto the watcher’s imagination as opposed to using these two gifted actors with phenomenal chemistry to depict these acts on camera. Otherwise, the behind-the-scenes decision making seems to invent that their child came from a stork or happens to be immaculately conceived. 

An insatiable Anthony wants what he wants whenever he wants unfortunately things couldn’t become too steamy as…

Newton, nation’s favorite corgi, was watching. DP: Alicia Robbins.

Furthermore, in season three, episode seven’s Joining of Hands, Anthony talks to Colin about his nervous jitters and drinking profusely before his second wedding— a wedding yet to be seen. A flashback would have helped move the eldest brother’s thoughts along, but of course, this wasn’t Kate and Anthony’s season anymore. We are no longer supposed to care about them, invest in the fragmented puzzle pieces of their happiness, of just how their nuptial bliss came about. Were there lilies filling and smelling up the place— in a church or outside someplace? Did it happen around morning or near evening? What did they wear? Had Kate and Anthony wrote their own vows? What did they say to each other? Where was the barely mentioned Mary— Kate’s stepmother? 

Kate and Anthony being pure and affectionate. DP: Jeffrey Jur.

The laziest, most offensive writing involves Kate recounting her sister Edwina riding horses and marrying a scholar (as she DID in the book). Anthony senses his wife’s displeasure and suggests that they take a third holiday— to India. While completely understanding that Anthony adores his wife, it’s unbelievable that he would shirk his familial obligations and present a dangerous opportunity to a pregnant woman. All the money in the world (during that particular time period) would not protect Kate from the dangers of extended boat travel. The Bridgerton series as a whole takes extreme liberties disregarding the appropriate history, hair, fashion, and music— but this eccentric direction feels an aggressive slight to remove Kate and Anthony, to not even let them linger in the background. 

Overall, Simone Ashley and Jonathan Bailey delivered the smoldering gold that keeps us connected to Kate and Anthony’s love story. Yet season three presence reemphasizes downplaying a great couple deserving to be championed onscreen and off. Sure, there are promising moments worth rewinding— a dance, smooches, Kate hosting her first function as viscountess, a game of charades, Newton appearances, and vulnerable conversation. It’s simply not enough for a couple of this excellent caliber— a couple with many potential storylines that twenty plus minutes sporadically sprinkled across a few episodes will not cut. 

Shondaland should invest in a Kate and Anthony spin off series like yesterday. 

Supporting Two Entities Through The Storms Ahead

 

Simone Ashley and Jonathan Bailey promoting a show that barely promoted them and their season.

Last night, I dreamed about meeting Jonathan Bailey and Simone Ashley (Netflix Bridgerton’s Viscount Anthony Bridgerton and Viscountess Kate ‘Kathani’ Bridgerton) backstage during two simultaneous awards shows— the upstairs SAG Awards and the downstairs NAACP Image Awards. I thought, “how strange that the minority artists are being celebrated below, a similar arrangement happens in the visual arts.” 

Jonathan Bailey stars in Jurassic Park Rebirth with the actress known for taking roles meant for minorities— Scarlett Johannessen. DP: John Mathieson.

Simone Ashley’s scenes were cut from F1, IMDb credit removed. Pictured with would-be costar Damson Idris. The Walk In Magazine Instagram.

The dream simply signifies Bailey and Ashley’s separate career trajectories. Two people will star in a piece together (cruel cuts withholding true depth nonetheless) and then move onto other avenues, someone potentially having more shining opportunities. It will not always be both on top at the same time. 

Yet, it seemed a perfect coincidence for Bailey’s Jurassic Park Rebirth to arrive in theaters after Simone’s F1...

Bailey has starred in endless back to back projects Showtime’s Fellow Travelers, the Wicked two parter, and an extended London theatre revival of Henry V. Whereas L’Oreâl ambassador Ashley has a minor part in the theatrical live-action The Little Mermaid remake and two Amazon Prime releases: The Night Before Christmas in Wonderland and Picture This, and a few coffee commercials and magazine covers. Controversy spread over the net regarding her cut scenes from last weekend’s number one box office film F1. 

“Ashley’s appearance in F1 amounts to a blink-and-you’ll-miss-it moment—no dialogue, no arc, no explanation. [Joseph] Kosinski, who also directed Top Gun: Maverick [cutting Manny Jacinto] called the decision routine and praised Ashley as ‘incredible,’ saying he hopes to work with her again. But to many, the praise feels hollow. Ashley spent months promoting a film that ultimately erased her.”

Ashley has the chops and the vocals to become a superior A list actress, needing the time, investment, and the opportunity as Viola Davis eloquently put years ago. Ashley has yet to find a bigger break than Bridgerton— a show still keeping her as lowly seen and heard as possible. In fact, they rarely promote her returns and title her character as Kate Sharma instead of Kate Bridgerton (you won’t catch them slipping up a “Penelope Featherington” post-season three) Lancôme spokesperson Lupita Nyong’o, an actual Oscar winner, also has more pictorial spreads than film credits. For many talented women of color actresses, it appears far easier to value their gorgeous dark skin in fashionable couture than have them play a humanized character for more than thirty minutes onscreen. 

Kate (Simone Ashley) and Anthony (Jonathan Bailey) were not given the proper love story. Hopefully their portrayers will find behind-the-scenes people who truly care about them in other projects. DP: Jeffrey Jur.

We’re remaining supportive to Jonathan Bailey— an out and proud gay man who’s seen as a serious actor (featured on Variety’s Actor On Actors interview with Naomi Watts) and may score a future ETO (Emmy, Tony, and Oscar). On the other hand, Simone Ashley hailed by Time, Hollywood Reporter, and Forbes deserves more than word of mouth praise— she deserves physical accolades too. Unfortunately, her roads will be met with tumultuous pitfalls of minimized roles or parts removal altogether because she is not white or lighter skinned. How can she and other minority actresses of her grace and magnitude succeed if the behaviors from big shot heavyweights never change from an ancient industry standard—preferring to shut out darker skinned actresses? 

Well, thankfully Simone Ashley started her own production company. Maybe that’s the most solid step to take in order to shift her own career’s direction. 

‘Diarra From Detroit,’ The Urban Cinderella Mystery That We Never Knew We Needed

 

Diarra From Detroit ad promotion. 

With the news of many Black and brown led series being cancelled left and right this past year, BET provides much needed relief by officially renewing Diarra Kilpatrick’s fantastic namesake Diarra From Detroit for a second season! The talented creator behind the Emmy nominated web series American Koko brings a unique modern-day spin on Cinderella. Instead of the poor servant girl losing her glass slipper, a young divorcee experiences a wondrous, soul-searing date with a beautiful man, only to later find the missing man’s Jordan. 

Diarra (Diarra Kilpatrick) holds the first clue number one on her personal case— her potential boo’s shoe. DP: Matt Edwards.

The top notch cast is led by writer/showrunner Kilpatrick as Diarra— a too-caring schoolteacher starting over post divorce, Bryan Terrell Clark as the cool-cucumber teacher Mr. Tea, DomiNique Perry (an Insecure favorite) as Aja, the born again virtuous woman putting her salon business above unholy distractions, Claudia Logan as Moni, the feisty school bus driver, married to auto shop owner— Roman who has dangerous secrets of his own (played by Bechir Sylvain). Other characters include Shannon Wallace as the mysterious Chris, Jon Chaffin as Danger, a cooking criminal in therapy, Morris Chestnut as the sexy lawyer ex-husband Swa, and Phylicia Rashad as the almost unrecognizable potty mouthed, heroine Vonda (took a while to realize it was her— possibly Chris’s mother). 

Diarra braids a student’s hair between periods and apparently teaches Black Women’s History— the sweet necessary representation. DP: Matt Edwards.

Diarra speaks on being unable to afford therapy. It’s already bad enough that certain Black women can’t cry into the shower whilst being afraid to get their hair wet. DP: Matt Edwards.

Diarra (Diarra Kilpatrick) will eventually receive intriguing details on Chris (Shannon Wallace), including how he might feel about her— a woman he just met. DP: Matt Edwards. 

In a coldest winter ever tale that would make Sistah Soujah quake in her poetic boots, the frigid Detroit, Michigan presents the perfect backdrop for eight episodes of nonstop mayhem, romance, and adventure. Fashionable, slick Diarra From Detroit explores a delicious cross between Abbott Elementary and the short-lived Women’s Murder Club with an extra blackness oomph. Frantic twist and turns balance between hitting the heartstrings hard, enticing us with a unique love story worth fighting for, and keeping the audience on their toes. The sharp, edgy writing takes us on up and down roller coasters, Diarra bringing her sometimes unwilling friends along on wildly intense thrill rides that might kill them. Our Cinderella man wasn’t scrubbing floors and talking to mice. He was building a collective trail that Diarra follows, her actions mirroring the desperate Prince Charming searching for the right feet that fit.  

Diarra combines her teacher smarts with clever sleuthing until she figures it out. 

Of course, she always needs backup.

Dana Scully skeptic Aja (DomiNique Perry) (also Swa’s cousin) stands by Diarra’s seemingly deluded side as any compassionate friend would. Aja’s a real solid pal. DP: Matt Edwards.

Moni (Claudia Logan) helps Diarra (Diarra Kilpatrick) for the reward money— as the large sum could get her husband out of a pricy gang affiliation. At the same time, Moni likes reconnecting with her old friend and vice versa. Diarra tells Moni deeper concerns she can’t express with Mr. Tea and Aja. DP: Matt Edwards. 

Although they first remet as Danger (Jon Chaffin) was robbing Diarra’s mother’s house, Danger became a real reliable shoulder to lean on— fresh silver dollar pancakes and all. DP: Matt Edwards. 

Diarra (Diarra Kilpatrick) deserved “peace before the storms” with Aja (DomiNique Perry), Mr. Tea (Bryan Terrell Clark), and Moni (Claudia Logan). DP: Matt Edwards.

Camaraderie is the strongest component to the series, a steady well-crafted foundation. The characters’ relationships with Diarra and each other are believably portrayed. Sarcastic, unapologetic Mr. Tea often tries to steer Diarra off the crazy ledge yet his genuine affection for Aja shows a sibling protective vibe. Moni, the ex school chum who taught Diarra how to cuss, courageously steps up to sidekick, ready for every messy situation. Moni may also harbor small jealousy towards Aja—  the privileged business owner who only wants to ensure that Diarra’s mental health (and financial stability) are in order. Eventually, Aja and Moni might become closer as evidenced in the foursome’s sweet pool game, a kinship reminiscent of how in Girlfriends Toni Childs and Maya Wilkes warmed up from their earlier frostiness. And Danger— let’s just say he delivers things to Diarra that the others cannot (more on that later). 

Outside of her challenging, low paying job, Diarra’s friendships with Mr. Tea, Moni, Aja, and Danger grant her the chance to be vulnerable and open. Their nonjudgmental ears listen to her investigate whether she’s enduring temporary insanity over Chris or using this “rookie detective” activity as a means of escaping the required emotional steps to recover from a breakup. Mr. Tea, Moni, Aja, and Danger are always willing to come with her, to let her not experience uncertainties alone. 

Yet, Diarra begins witnessing menacing violence all around her and internalizes her anguish. 

Diarra (Diarra Kilpatrick) and Swa (Morris Chestnut) during the good times. DP: Matt Edwards.

Diarra risked so much to be with Chris (Shannon Wallace)… DP: Matt Edwards.

Yet Danger put his allegiance in the line for Diarra even whilst knowing her heart’s opposing direction. DP: Matt Edwards.

Diarra may have a healing friend circle, the men orbiting her planet provide the heat. To a woman who considers her dimples as marital assets, the handsome men flock: Swa, the rich, successful ex husband, Danger, the traumatized gang member in virtual therapy, and Chris, the mysterious soon-to-be boo. Diarra happens to have spellbinding charisma with all three. The fire still sizzles between Diarra and Swa, angered exes flirting up a storm. Steady sparks shoot as Diarra lets Danger in and out— massaging her body in the night or filling her belly up with homemade pancakes or chili made from scratch. With Chris, whom Diarra affectionately nicknames Ambien, she feels a spiritual and physical connection, often fantasizing intimate conversations. Each man has secrets that could make or break her, secrets that could jeopardize her whole world. 

Diarra and Aja posing with the man that Aja won’t keep. They’ll likely delete this photograph. DP: Matt Edwards.

Now Diarra Kilpatrick, a Gracie winner and Independent Spirit Award nominee for this new series, continues creating phenomenal work behind-the-scenes and lighting up the screen— writing, producing, and acting her buns off. She’s a dynamic force right alongside the Michaela Coels, the Issa Raes, the Quinta Brunsons of the world— planting and watering fruitful television and streaming seeds for Black womanhood domination. There should always be room for more creativity, especially compelling portraits that explore our diverse facets, the ways we grow and mature, the ways we love and yearn— no one ever paints the same exact picture. 

In the first season’s last episode, The House on Blaine, Diarra’s cryptic voiceover implies that her and her friends won’t make it. Writers, please protect everybody at all costs. DP: Matt Edwards.

As for the exciting return of Diarra From Detroit, we have a few questions. Will there be a happily (or messily) ever after despite the wild outcome? Is the Cinderella Chris truly bound to be Diarra’s Prince Charming— what of his mother and his past? Will Mr. Tea stay with the fine emcee who can cook among other good things? Danger won’t be the sole man needing therapy— how will Roman cope with self-defense murder? He can’t hide that from Moni (hopefully). Morris Chestnut is not the only brother aging gracefully either— what will Harry Lennix bring to Aja’s plate now that she’s made the exclusive list? Can BET put the series on DVD and blu ray for future binge-watch parties with our friends and family sans relying on buffering WiFi? 

Until the second season airs, there’s always the joys of hitting the restart: laughing, crying, screaming, and gasping at the entertaining tactics of brave Diarra and her braver posse (and enemies) again. 

‘Beyond the Gates’ Can’t Make Us Hate Eva Thomas

Eva Thomas (Ambyr Michelle) is currently being dragged through the mud at Fairmount Crest. 

Eva Thomas has been our favorite Beyond the Gates character since the soap opera’s big February debut. The parted Afro wearing, bohemian styled former hairdresser stepped onto the scene as noted psychologist Nicole Dupree Richardson’s assistant after her own deranged mother Leslie Thomas hit Eva’s predecessor Laura Peterson with a motorcycle (unbeknownst to Eva). Of course, Eva discovered just how awful her single parent was during Ted and Nicole’s anniversary party. Yikes.  

In the beginning, despite not having held any previous administrative experience, Eva gets the job based on Nicole’s other assistant Mona Wilson’s recommendation. Eva tries to be the best person for the job, going above and beyond her duties to ensure Nicole that she’s the right fit. However, Eva is Leslie’s tool into ingratiating with Nicole’s family as a means to gather dirt on Ted’s wife— as Ted was Leslie’s affair partner and Eva’s biological father! Plastic surgeon Ted Richardson, lauded by Nicole as a better man than her ex-brother-in-law Bill Hamilton, cheated on his wife long ago. Sadly, Nicole doesn’t know about Ted’s straying. Shaped by Leslie’s ironed manipulation, a conditioned Eva plays niceties while carrying the burden of her mother’s hatred. 

Eva (Ambyr Michelle) the assistant at Nicole’s home office near the gorgeous framed art on the wall. 

The main reason that we must advocate on Eva’s behalf is because a crazy woman named Leslie raised her— a woman who is not even stable enough to adopt a cat. Leslie may have been super abusive to Eva, inciting her to hate the Richardson and Dupree clan prior to meeting them, likely ingraining into Eva’s development that she’s less than. Leslie continuously lied and gaslit Eva into believing things that weren’t true, fed her the most outlandish information in hopes of passing down her ire. The moment a happy, enthused Eva returned home from helping Nicole write her awards dinner speech, a jealous Leslie offered no congratulations or praise. She sought to bring Eva to a sunken, depressing place— a hole of her creation. It showed that that was perhaps Eva’s upbringing. Any amount of Eva’s joy that did not benefit Leslie would be cruelly snatched away. When Eva started suspecting Leslie’s foul games including how an awakened Laura became too ill to leave the hospital, Leslie shut it down by nastily elevating her voice and calling Eva, “little girl.” To say “little girl” is almost as belittling as men spouting out “females” or white men shouting “boy” to full grown individuals. This was Leslie’s way of bringing down Eva, mentally and psychologically and to ensure that her “weapon” kept running at revenge coded factory settings. 

Eva (Ambyr Michelle) and heartless mama Leslie (Trish Mann-Grant) scheme together.

As Eva interacts further with Ted and Nicole, however, her stance softens, soon blossoming into reluctance and regret. Often, she’s pictured with her mind operating against Leslie’s wishes, instead fantasizing about being pictured in the Hamilton family photographs. She has seen their genuine kindness and feels an affection that must have been severely lacking in the Thomas household. Eva then makes moves to protect them at Nicole’s awards dinner, having her wig-donning mother thrown out. It was certainly a demonstration of Eva’s manipulative tactics put to good use— a notion that the girl’s allegiance shifted, that in her heart of hearts, she knew intuitively that Leslie was in the wrong. 

The style of Eva (Ambyr Michelle)— cutesy chic turtlenecks, cozy sweaters, and patterned tops— could be the height of soap opera fashion. Lipsticks are always on point.

The other downside in Eva’s world is Kat— the uppity, spoiled daughter of Ted and Nicole who hated Eva on sight. An ice cold Kat goes on and on about Eva’s lack of experience and cracks on Eva’s clothes and hairstyling employment yet rarely sees the hospitalized Laura, the girl she can’t wait to see back at the job. Kat’s instincts regarding Eva’s intentions may be right on some instances, but her behavior indicates that she views Eva as a simple peasant undeserving of respect and care. Then add the boring Tomas character as another division between Eva and Kat. The classicism was enough without a triangle element. Now we have the virgin Kat versus the around-the-way Eva with Eva having already spoken about past men discarding her. Heck, Leslie is bound to throw Eva under the bus in the same deliberate manner as throwing a framed picture of them in the trash can! Eva needs girl friends, unconditional girlfriends, not a man that her sister’s radar is failing to vet on. We’d love to see a healed Laura become Eva’s bestie, an eventual storyline of Eva rescuing Laura from more harm, and a tender slow burn romance (with a better man) for Eva. 

Eva’s devastations are felt by the viewers watching her despair. Her whole life has been a complete lie and she has to pick up the scattered pieces.

Thus, the colossal reveal happens, Eva finally learning that Ted never knew she existed, that the carefully calculated vengeance was fueled by Leslie’s jealousy of Nicole and nothing more. Kat’s then dead to Kat, fired by Nicole, and disowned and kicked out by Leslie. It is Ted who promises a hotel room and eventual apartment to the abandoned young woman who slept in her car. While Mona and the hoity-toity Dupree women Anita and Dani attempt to sink Eva’s self-esteem to lower degrees, our girl has won money at the casino (here’s looking at you, Dr. Doug McBride— the addict) and vows to begin anew. 

Side note: Leslie showed more hurt / sympathy at losing Mona’s friendship and more love for Teddy than she ever did for Eva. Goodness, a tough watch. Thankfully, Eva wasn’t present for that. 

Poor Eva.

Apparently, Eva’s March 13th fantasy of being Ted’s (Maurice Johnson) perfect daughter will come true this week right down to the blazer material. We hope she returns to her unique style that sets her apart from the other women. Surely, Ted will accept her true fashion, either or. 

Eva Thomas couldn’t be possible without portrayer Ambyr Michelle’s masterful performances each week, showcasing the extreme depth of Eva’s inner turmoil— the emotional nuances of pain, sadness, anger, and love. Michelle renders remarkable vulnerable complexities, broadcasting resilience and dignity to this wronged character, a beautiful, riveting woman determined to make amends. She operates well with her chosen scene partners, especially Trish Mann-Grant (terrific at being an unrootable doppelgänger villain). Their storyline contains the juiciest entertainment elements, the most dynamic duo to the afternoon. By putting Michelle and Grant in huge positions during the three day exposè complete with the following aftermath showed the soap’s strongest acting and direction since the debut. They both received Soap Opera News’s Performers of the Week and Michelle had this honor for Soap Wire as well. They must be bound for nominations galore at next year’s Daytime Emmy Awards. 

If anyone deserves the nod and the win— it’s Ambyr Michelle, eligible for the new Emerging Talent in a Daytime Drama category. 

Eva Thomas has been on fire from the very beginning. We only hope the fuel remains lit. 

The First Slayer’s Unbelievable Trauma

 

The first Slayer had no name on the series.

The first Slayer— Sineya according to the comic book yet listed as Primitive on IMDb—starts appearing in Buffy the Vampire Slayer’s season four finale, Restless written and directed by problematic showrunner Joss Whedon. Prior, the Scooby Gang (Buffy, Willow, Xander, and Giles) called forth on the Sineya’s ancient powers in order to defeat Adam (the show’s weakest Big Bad). Unfortunately, the consequences include conjuring up the original Slayer’s vengeance. Sineya comes to the four at their most vulnerable— in their dreams, attempting to kill them one by one. 

Buffy tells Sineya that she understands her role as a Slayer and that she is free in a newer world. Buffy doesn’t extend remorse or empathy for what Sineya has endured. Since Buffy’s speech saves the day, the gang wakes up nonchalant acting as though Sineya was just another Monster of the Week. No one considers showing gratitude for taking her powers. 

Than again, Slayerhood is a thankless calling. It’s another piece to add to Sineya’s already violent backstory. 

Sineya visits subconscious Buffy last and is defeated. Of course, Buffy insults Sineya’s hair before waking up. DP: Michael Gershman.

Set upon by the Shadowmen (the earliest incarnation of the Watcher’s Council pre-British headquarters), the defenseless woman is held against her will— chained in a cave. The negative connotations speak volumes. They can never stop imagining Black people bound up (see medieval Missandei in Game of Thrones). Then forced with the elements of evil in order to defeat the vampires and other harmful creatures that walk the earth, Sineya is no longer a normal girl. She’s become part demon. Although almost facing the same fate in season seven, episode fifteen’s Get It Done, Buffy outsmarts the Shadowmen unlike Sineya. Whereas the later Slayers will not scream in pain as these powers flow through their blood, Sineya’s sacrifice is an ingrained destiny unasked for— not as sacred or valiant as Giles made it out to be. Even the season three episode, Helpless shows that the Watchers Council prefers continuing to subject the Slayer to dangerous tactics without her knowledge. The patriarchal white male institution keenly invests themselves in their Slayer cargo versus the impact that the supernatural inflicts on the world.  

Thus, Sineya—the original— paid the ultimate price. 

According to the Buffy Wiki, Sineya’s far more advanced skills include superhuman strength, speed, agility, stamina, accelerated healing, astral projection into dreams, and foretelling the future. Although each Slayer has a somewhat diluted essence of her pronounced abilities, they still retain many factors. 

Sineya, however, does not have a Watcher. She’s an ostracized figure fighting alone and unguided. Revered and feared, no one in Sineya’s village wants her around. 

Sineya becomes Buffy’s guidance in season five, episode eighteen’s Intervention written by Jane Espenson and directed by the late DP Michael Gershman. 

During harrowing season five— which brings about significant changes to Buffy’s life— Sineya is again conjured by Giles. She’s the guide in Buffy’s vision quest, now fully representing the Magical Negro Trope. Sineya offers no explanation about herself because she and her past does not matter, has never mattered beyond what it can do for the core team. Sineya is not realized until comic books that take great liberties with prehistory. The television series often gives Black characters no purposes beyond helping the save the day and vanish into obscurity. 

Portrayer Jamaican born actress and dancer Sharon Ferguson outside of Sineya costume. 

Sineya’s physical appearance cements the running gag on the production’s limited scope of history. While Kendra hails from a made-up Jamaican village, the first Slayer comes from prehistoric Africa, likely the Sub Saharan region (since they’re not brave enough to be specific). The barefoot Sineya sports an awful wig— synthetic shoulder-length hair that tries to be locs and makes The Walking Dead’s Michonne look an A plus effort. Sineya dons white and black body paint and dresses in wispy fabric reminiscent of cobwebs. Although Sineya is buried beneath heavy makeup, the beautiful, talented actress and dancer Sharon Ferguson moves gracefully, persuading with her swaying. The way her bilious arms flex, her limber knees bend, she elevates the scripted material by her body’s natural inclination to exude fluid rhythm. 

Buffy teaches us that Slayers suffer in more ways than one. 

However, Sineya— the first to endure the pain and struggle with the external and internal beasts— withstood the greatest, most horrific torture of them all.