An Artist Searches For Her Love Language In ‘Water In A Broken Glass’

 

Water in a Broken Glass film poster.

“The brush speaks for me even though I am afraid of what it might say.”

Water in a Broken Glass, Jamelle Williams-Thomas’s debut feature-length film based on Odessa Rose’s novel, bravely explores Tonya Simms, a young Black artist suppressing her sexuality just as her career hits a minor snag. Set in Baltimore, Maryland, this coming of age story weaves many precious pieces together that make for an overall resonating romantic drama. 

The film starts on the aftermath of teenage Tonya nursing a black eye from bully Meyoki. Tonya’s best friend Nikki teases her about a realist portrait of Meyoki. Even Aunt Josephine seems bothered by the artwork, telling Tonya that she’s beautiful. Perhaps Aunt Josephine— who keeps eying Tonya with a clairvoyant lens—believes Tonya commemorating Meyoki means something much deeper than surface level aesthetics. Why did Meyoki punch Tonya? Had she found out about the painting? 

Tonya Simms (Billie Krenshawn) creative genius at work. DP: Kirby Griffin Jr.

Six years later, Tonya has built a solid career, working in her own studio, gaining a prominent commission contract. During a video phone call with Nikki while driving, Tonya accidentally runs into a handsome bicyclist named Malcolm. Certainly no ordinary meet cute. Instead of being grossly offended by Tonya’s negligence, Malcolm appears smitten as does Tonya who fixes her hair before giving him her phone number— for insurance exchange purposes of course. 

Tonya still in shock at hitting a man on a bike. DP: Kirby Griffin Jr. 

Malcolm (Wes Hall), however, doesn’t seem too bothered by the incident— after he sees the culprit. DP: Kirby Griffin Jr.

The love story between Tonya and Malcolm checks all the right boxes, inciting giddy feelings galore over tech guy Malcolm playing chivalrous gentleman. During their awkward first date at a nighttime gallery / cafe, Tonya shyly puts her hand to her face. Malcolm softly pushes it away, saying “don’t do that. You’re beautiful.” His charm, thoughtfulness, and respect for her as an individual person and a creative showcases a man who understands the importance of having emotional intelligence and empathy, traits usually lacking in most men. On a picnic, he gifts her the best quality paintbrushes even though she doesn’t need them. He asks to show up at her studio to watch her work, making a place for himself in her world not to center his intentions, but to give her extra strength and support, to prove that he wants all of her, the woman and the visual artist. His playful side also shines bright, allowing Tonya to be relaxed and safe. 

Tonya and Malcolm dancing together against this backdrop was both funny and sweet. Believable vibes they sent out, allowing themselves to let loose and be free with each other. DP: Kirby Griffin Jr.

Tonya and Malcolm vignettes, vulnerable, tender, loving moments, comfort. DP: Kirby Griffin Jr. 

Nikki has given Malcolm Aunt Josephine’s bread pudding recipe (one of Tonya’s favorite desserts) proving chivalry is not dead. Malcolm asking a best friend questions to get to know his girlfriend better is top notch. Also, are they drinking horchata? DP: Kirby Griffin Jr.

Tonya and Malcolm embody strong, healthy Black love. They want to learn about each other, adapt to this newfound chemistry. The exchanges between them feel natural. The corny jokes and laughter provides an authentic wholesomeness. Highlight moments include Malcolm opening his toy car collection and Tonya sliding her naked paintbrush along the contours of his slumbering body. 

On the other hand, however, Tonya enters a bookstore that also specializes in art framing, meeting a woman who will alter the course of her life.

Satin Mitchell represents a proprietor rarely seen in media— a smart Black bookshop owner. Among cultural artworks and art supplies, the Black authored curated books alone promote a just reward for underrepresented voices that would usually have a challenging time in the popular book stores, potentially becoming lost, forgotten, and ultimately unread. Among her brilliant selection, Satin houses one of the greatest books ever written— African American Art and Artists written by Dr. Samella Lewis and Ruth Waddy. Her eclectic bookshop centers both the mainstream and the independent, the hard-to-find, out-of-print books meant to be in the hands of prolific urban readers, finding stories and histories where they see themselves fully realized. Satin later divulges to Tonya the hardship in acquiring loans in order to start forming the possible safe space, facing countless rejection, someone having the audacity to say, “your business model is not lucrative” which she suggests, “that is code for Black people don’t read.” 

With all this substantial wealth and scholarship, Satin leads Tonya with her expansive knowledge and wisdom as well as an admitting to be a longtime fan of Tonya’s art. 

Tonya speaks to Satin (Toni Belafonte) who turns out to be a huge fan of Tonya’s work. DP: Kirby Griffin Jr.

Satin’s bookshop holds an archival treasure trove and Tonya easily could get lost there. DP: Kirby Griffin Jr. 

With Satin, Tonya’s shy behavior increases. Tonya has difficulty concentrating, lulled in by Satin’s intriguing charisma and intellect. Perhaps Tonya longs for the freedom she witnesses in Satin’s demeanor. The attraction frightens her sensibilities as she’s sure to love Malcolm much too deeply to entertain something she doesn’t want to be. Yet, Tonya tries Ethiopian food for the first time where it’s very imperative for hands to enjoy the shared meal. They start spending more time together, the outings seeming more like dates than two sister gals hanging out. Satin glimpses into Tonya’s soul and Tonya’s powerless to resist her. 

Furthermore, Tonya has started painting Satin in rich, full color from memory whereas Tonya has only drawn Malcolm in pencil. 

Tonya’s journey with Satin involves awakening a new part of herself that goes beyond physical desire for another person, it asks that Tonya learn who she truly is. DP: Kirby Griffin Jr.

Tonya tries on a gorgeous dress and Satin’s more than happy to bestow compliments. DP: Kirby Griffin Jr.

In the midst of the whirlwind triangle, Tonya’s current commission hangs in the balance. First, she doesn’t look into the owner of her new contract, believing that Dr. Lloyd would be a man. This slight wasn’t a good introductory look. Then again some artists are not keen on research. Yet, Tonya continues throwing out damaging information in her interview, worsening her position on her own art. So accustomed to being led by other people’s ideas, Tonya’s voice becomes lost, discombobulated. Dr. Lloyd recognizes the flaw and threatens to end her allegiance. 

Dr. Lloyd (Carlyncia Peck) was not impressed by Tonya’s portfolio or her shaky responses to certain questions. DP: Kirby Griffin Jr.

Tonya is left with much to reflect on. DP: Kirby Griffin Jr.

Simultaneously, Tonya’s relationship with Nikki starts to dangle by a fragile thread. New romantic entanglements can cause friendships to fall by the wayside, a familiar territory analyzed across many shows and films. Couples often forsake family and friends to stay permanently lodged in their connection bubbles. Nikki has to not only compete with Malcolm for Tonya’s time and energy, there’s Satin eating up the remainder. Doubly outcasted Nikki has no choice than watch Tonya’s love life unfold on the sidelines. Furthermore, Nikki’s hurt too by Tonya fighting against the undercurrents of being closeted in. Tonya doesn’t owe Nikki an answer as she needs to process this on her terms, but Tonya has to realize that Nikki loves her unconditionally and so does Aunt Josephine. Whatever happens in Tonya’s heart will not change Nikki’s devout commitment to her best friend. 

Nikki (Candiace Dillard), a doctor, stands by her bestie Tonya despite Tonya frequently bailing out on her. DP: Kirby Griffin Jr.

Then, comes other dramas. 

Satin comes to Tonya’s art opening with her girlfriend Robin (Lee Avant). 

Satin treats her photographer girlfriend Robin horribly. Satin’s tight lips and severe glances towards Robin at Tonya’s art opening differs completely from the gentle regard she conveys to Tonya. The minute Tonya arrives to Satin’s house, Satin and Robin are fighting outdoors, Robin leaves looking shaken. In this instance, Satin seems to already be pushing Robin away in order to seduce Tonya who has a naïveté about herself. Tonya is so clouded by emotional distraction that the rose colored glasses blinds her.

Award-winning theatre actress Ronea Brown comes in for a short moment as Zona, Malcolm’s ex girlfriend, the love of his life who cheated on him. DP: Kirby Griffin Jr.

Meanwhile, Malcolm’s ex girlfriend Zona enters his apartment as Tonya and Malcolm are in flagrante. Zona calls Tonya a “downgrade” and Tonya’s ready to fight. Zona’s unexpected appearance must have had Malcolm speechless for him not to defend Tonya’s right to be there raised alarm. 

Coincidentally, Satin owns Tonya’s painting of Meyoki. This sets off a chain reaction when Satin sees that Meyoki (Shani Ashley Francillon) is indeed a real person, not a manufactured enigma from Tonya’s imagination. And Meyoki is very much interested in Tonya too. DP: Kirby Griffin Jr.

As Tonya lies in the thick of messy triangulations, the film raises valid questions for these multifaceted, intertwining characters. Are things truly over for the couples involved? If one person is finished and the other clearly is not, what then? How can you admit to a potential partner that your previous relationship has loose ends? Still, cheating cannot be the solution. Leaving unhappy situations saves a conscious mind from the plight of negative feedback, of knowing that someone you once loved despises you. Tonya’s heart predicament has the power to cause pain for either Malcolm and Satin. She has to decide who’s hurt can she survive post-decision. 

Aunt Josephine (Victoria Rowell) comforting a torn Tonya. DP: Kirby Griffin Jr.

It is Aunt Josephine who assures Tonya that whatever choice made is a good foundation to stand behind. Tonya will soon no longer fear the truth of her paintbrush, coming forth with a purpose that turns Dr. Lloyd’s earlier wariness into admiration. 

Bravo.

Janelle Williams-Thomas and Danielle Mooney’s groundbreaking Water in a Broken Glass screenplay sheds light on the complications between societal expectations of love, mainly Black communities across America remain having a frigid acceptance towards LGBTQIA relationships. Thus, Williams-Thomas manages to capture outstanding performances from her leading actresses Billie Krenshawn (Tonya) and Toni Belafonte (Satin) and supporting man Wes Hall (Malcolm) with a tremendous revelation from soap opera favorite Victoria Rowell aka Young and the Restless’s iconic Drusilla Barber Winters. Symora Thomas’s terrific art direction, set decoration, and artwork, Kirby Griffin’s splendid cinematography, Nakiah Aiyana’s chic styling/costume design, and Autumn Meade’s incredibly inspiring hairstyles add extra sleek finesse. 

Tonya’s hair exhibits a refreshing confidence. May have to write a film sister version to the TV/streaming series natural hair icons noted here. DP: Kirby Griffin Jr.

Overall, the profound, nearly two-hour Water in a Broken Glass deserves to be included in dialogue among essential queer cinema. Allow this a seat next to dee rees’s Pariah and Wanuri Kahiu’s Rafiki. It tackles the challenging task of bisexual identity with dignified grace and ties that journey to being an artist— a complex system historically promoting mainly white male gaze (as we see in the film industry as well). Worth repeatedly watching, Water in a Broken Glass proves that there’s no one way to fall in love. 

That Grown Black Love in ‘Cherish The Day’ Season Two

 

Cherish the Day promo poster. 

While the first Cherish the Day anthology focused on Gently James and Evan Fisher’s five-year relationship span, the second season focuses on a few months of a couple’s blossoming reunion. The moment former high school sweethearts locked eyes in a New Orleans hardware store, sparks flew between vegetarian chef Sunday St. James and plumber Ellis Moran. It was the first time they had seen each other in some twenty odd years. Apparently, Ellis messed up a good thing. 

Long ago, Ellis cheated on Sunday. Many years later, Ellis’s wife Anastasia cheated on him with Danny, her tour manager. Karma ate Ellis hard, but he’s ready to make amends. He’s an older, much matured man no longer wanting to play little boy games. Ellis and Sunday are both too grown. 

With that, time has to be intentional. 

Ellis must prove himself worthy of Sunday’s heart.

Joy Bryant (who should be in a million features) glows as vegan chef Sunday St. James. DP: Michael Dallatorre.

The divine (and criminally underused) Henry Simmons is a solid choice for independent plumber Ellis Moran. DP: Michael Dallatorre.

Although on the brink of divorcing Anastasia (played by the amazing Terri J. Vaughan) and raising two young daughters Everly and Bree, tall, brown, and handsome Ellis makes it real clear that there is room aplenty for Sunday, a gorgeous, statuesque beauty sporting sleek box braids and tailored chef jackets. Ellis stares at Sunday as though trapped in a hot desert and only she has the power to replenish his thirst. Even without physical touching, their alluring chemistry melts the screen— all in the twinkling eyes and luminous smiles. He believes they can start off as friends again. Yet, with chemistry that fire, a camaraderie would be difficult to sustain. There is so much history in the way their body language conveys longing and desire, especially after an intimate dance at the club. 

And history always repeats. 

Ellis watches his woman depart the airport, entranced. DP: Michael Dallatorre.

Sunday glides to her man in slow motion, captivated. DP: Michael Dallatorre.

Sunday does have a full plate. She’s a big deal chef, coming up with incredible recipes and managing the busiest vegan spot in Atlanta. In addition to that, her father, former judge Mandeville St. James constantly forgets minor to major things and has violent outbursts that may be hinting dementia or Alzheimer’s. This puts stress on Sunday who balances between two cities, focusing on her restaurant, tending to her father’s care, and maintaining a healthy, reignited romance with Ellis. Plus Sunday can impress sweet Bree, but stubborn Everly isn’t too receptive with her father’s girlfriend.

Brown skin love is becoming a rarity onscreen these days so it’s a blessing to see an honest depiction with Sunday and Ellis. DP: Michael Dallatorre.

Yet, Sunday and Ellis authentically come together, as lovers, as friends, as partners. Their scenes exhibit warm tenderness, pure joy, and all-consuming passion— often more smoldering than any contemporary romance novel in the bookstores and libraries. They exude timeless romance and sex appeal. Frequently, whether Sunday stepped out in a gorgeous number or Ellis entered a room dressed to impress, they rarely wandered to anyone else. That’s the epitome of grown up commitment— a sophisticated looking pair who do struggle to put themselves first. Anastasia and Hosea (Sunday’s ex special friend) may interfere for different reasons. At the end of the day, Ellis and Sunday want only each other. Their best moments include lunch on the grass, introductions to each other’s family and friends, cooking together, and shooting hoops outside ala Gina Prince-Blythewood’s Criterion Collection hit Love & Basketball.

The most important part, however, is that Ellis is supportive of Sunday, not forcing her to sacrifice her restauranteur dreams and be the makeshift mother to his daughters. 

Sunday and Ellis at Anastasia and Danny’s wedding. DP: Michael Dallatorre.

Their multifaceted, soul-stirring love story was better than the movies— the lighting, the acting, the music, all excellent. DP: Michael Dallatorre.

The up and downs of their relationship are understandable too. Anastasia needed lessons in boundaries, Everly seemed more angry at Sunday than Anastasia who cheated on her father, and Sunday’s obvious shame of Ellis’s profession made a number on his pride. Let’s face it— a woman on the brink of triumphant success is not going to be proudly boasting that her man is a plumber. People are conditioned to think that means toilets are his main priority as opposed to not considering that includes pipes, sinks, and etc. He’s adept at reconstruction, turning homes into goldmines. The ending superbly highlights his underrated handyman strengths, something that would have even impressed Overton Wakefield Jones. 

When Everly extended an olive branch to Sunday at Danny and Anastasia’s wedding, it showed a new, profound step in their relationship, that Everly could be open and vulnerable to a woman who shares several commonalities with her. Their conversation explores the heartbreak most girls and women go through and the strength in numbers philosophy in order to overcome it. Everly becomes what Sunday was at her age, crying over a boy. Sunday doesn’t spill the fact that Ellis did the same, instead consoling her future stepdaughter with delicacy and grace, promising her that she would not mirror Anastasia or Ellis’s behaviors. 

Yet, the painful cycle of cheating closes on Sunday and Ellis who ultimately decide to forgive the past and look forward to their life together. 

Mrs. Luma Lee Langston (Cicely Tyson) at top, DP: Eduardo Enrique Mayen and former Judge Mandeville James (Richard Roundtree) on the bottom, DP: Michael Dallatorre. Rest in power to both of these great heavyweights.

Cherish the Day performs double duty activism, utilizing an all-female directing crew as in Queen Sugar including Angel Kristi Williams (Really Love) and Tchaiko Omawale (Solace). Casting classic, nostalgic actors gives them flowers, that though in prime they still have good work to accomplish for new audiences. The first season featured the late Oscar honored Cicely Tyson in fine form as the sassy Mrs. Luma Lee Langston. In the second season, Shaft’s Richard Roundtree plays former judge Mandeville, a widowed father to Sunday who happens to be suffering from the ailments of old age. If there happens to be more anthologies, might we suggest Margaret Avery, Garrett Morris, Jo Marie Payton, Charlayne Woodard, Carl Lumbly, or Danny Glover. 

Furthermore, Michael Dallatorre’s cinematography aligns with the thoughtful music selection, another key example hailing off Queen Sugar’s independent vibes. Sade’s brilliant song sets the theme as each episode focuses on a single day. 

Illustration by Jasper Yu.

Illustration by Jasper Yu.

Overall, Sunday and Ellis’s incredible coupledom wouldn’t be complete without the charisma Joy Bryant and Henry Simmons brought to the table. They were beautiful and authentic, just believably present in a Black contemporary love story sans the typical struggle. 

So, Cherish the Day season two comes highly recommended and well worth the two dollars per episode. 

‘Brown Sugar,’ Full of Potential, Bittersweet And Sour

 

Brown Sugar film poster.

Recently rewatched Rick Fumiymao’s Brown Sugar and must note that several featured hip hop artists talking about falling in love with the genre are problematic towards women— Russell Simmons, Talib Kweli. Also, no real-life women pioneers spoke— MC Lyte, Roxanne Shante, Da Brat (seeing as this seemed mostly Def Jam affiliated), etc. Perhaps they thought having Queen Latifah co-star as divorcee Francine in the film was enough. 

Probably would have made for an excellent story if Francine (Queen Latifah) was an underground MC that Syd (Sanaa Lathan) interviewed for a future Vibe story. DP: Jeff Barnett and Enrique Chediak. 

They reserved the hip hop love for Syd Shaw—Francine’s cousin.  

Unlike Love & Basketball which also features the “childhood friends to lovers” trope (also starring Sanaa Lathan), Brown Sugar does not have the violent scene between Black boys and Black girls. Little Syd bonds with Dre Ellis over watching Slick Rick rap battle on the playground, their heads bobbing together in a rhythm. Years later, Syd has become a hip hop journalist sensation, a Columbia University grad; pitching for L. A. Times and obtaining a sweet gig at Vibe Magazine. Whereas Dre has sold his soul as an A&R executive at a corny record label more interested in manufacturing gold and platinum hits than finding artists with the pure authentic sound Dre searches for. The best thing about Dre is that he reads and saves Syd’s writings. He respects her talent and shows pride in her success; harboring no ill will, no jealousy— on that particular front. 

Dre (Taye Diggs) proposes to Reese— a woman he has known for only a few months. DP: Jeff Barnett and Enrique Chediak.

Optically, Brown Sugar is no Love Jones either. There are no sistahs proudly wearing locs and afros, no vibe that correlates with the chords of D’Angelo’s 1995 track and album sharing the film title. At a Simmons party, the man himself enters with the statuesque Kimora Lee Simmons surrounded by lighter complexion women. The Black men, however, are the ones allowed to arrive in all shades including Dre who introduces Reese— his thin, bright eyed lawyer-girlfriend to Syd. Scientifically, brown sugar is processed by adding molasses to sugar— not to compare Black people to food, but towards Dre’s philosophy that a brown sugar woman is someone respectable with the whole complete package and other type (the women called derogatory names in the hip hop lyrics) are still good for one thing only. 

Brown Sugar’s other downside unfortunately rests on Dre’s shoulders. Before his big wedding day to an almost complete stranger, he visits Syd (who ironically opens her door wearing a towel and neglects to don a robe) and unleashes his nervous uncertainty. Syd comforts him with a hug and a passionate kiss. Thus, this set up trying to say that men and women can be friends even when one friend is barely dressed fails. Dre married anyway, but would later reference this scene as the moment he realizes that he loved Syd more than a platonic buddy. 

Reese was just a woman invested in the wrong man at the wrong time. DP: Jeff Barnett and Enrique Chediak.

Reese would eventually become the woman we feel most sorry for. She married a man who cheated on her before her wedding day— a man who likely thought about Syd the entire time he feigned loving Reese. Dre cannot tell Reese that he quit his job first, let alone other secrets that he tells to Syd, especially regarding their marriage. Dre’s emotional connection to Syd would always be coming between Dre and Reese, something that should have been better established. Then again, Dre and Reese knew little about each other despite Reese kindly inviting Syd to her wedding shower as a way of getting closer to her man’s BFF. That backfired quickly once Syd witnessed all the flirtatious men surrounding a flattered Reese— and Syd was quick to expose that to Dre. This showcases that Syd can lift a man up when he’s down, but when times get tough Reese is weighing her next options. 

The slightly narcissistic Kelby promises to read all of Syd’s past and current articles. DP: Jeff Barnett and Enrique Chediak.

Syd, a smart, educated writer working on her first book, finds a date outside of her “face massager,” kicking it off well with basketball player Kelby Dawson. He finesses her quite lavishly with prepared dinners and flowers galore, using his wealth to woo her like a Queen. Perhaps no man has ever treated Syd in such a way including the subjects of her articles, let alone Dre. Yet, Syd always finds the time to save Dre— a man who did not save money to start his record label before abruptly quitting his job. You cannot fault a man for leading his life with dignity and purpose, but he must bear responsibility for being a weak life planner— in career and marriage— both of which affects Syd. She lends Dre money, listens to his growing jealousy of Kelby, and scouts alongside Dre to hear the rapper named Cav— a cab driver by day, a performer at night. In the meantime, Syd and Dre are becoming closer once more, leading to life-altering late night confessions that cause them both to put their desires above everything else. 

Sadly, Syd cheats on Kelby with a six-minute Dre (who is not even divorced from Reese yet). DP: Jeff Barnett and Enrique Chediak.

Before Love Actually, Dre wrote on a cue card asking Syd to date him at the radio station via elementary school style. Is it a creative nod to their childhood together or a symbolism of future struggle love? DP: Jeff Barnett and Enrique Chediak. 

So while Syd and Dre’s romance is bonafide messy, Francine is wasted for sexual innuendo and soundboard— that typical sidekick stereotype. The underdeveloped relationship between Francine and Cav deserved more attention and care— these two characters were the real scene stealers too. At a runtime of an hour and forty-nine minutes, five-to ten minutes of extra dialogue, a date, a dance, a unique moment for them would have sufficed. 

Francine asks the awkward stumbling Cav out. DP: Jeff Barnett and Enrique Chediak.  

Dre and Syd may be kissing away in Angie Martinez’s Hot 97 radio station, but it’s what’s blossoming in the background leaving room to be desired. DP: Jeff Barnett and Enrique Chediak. 

Overall, the Brown Sugar soundtrack is the film’s real treat— of course, skip the problematic musicians though. 

Never Felt This Way Before: Ode To ‘Queen Sugar’s Nova And Chantal

 

Chantal and Nova had a casual relationship during Queen Sugar’s first season. 

As Queen Sugar begins its seventh and final season next week, writer/activist Nova Bordelon and BLM activist Chantal Williams’s short lived romance deserves a revisit. 

Chantal (Reagan Gomez-Preston) and Nova (Rutina Wesley) are guest speakers at a radio show that ends poorly in As Promised written by Melissa Carter and directed by Tanya Hamilton. DP: Antonio Calvache.

They exchange words... DP: Antonio Calvache.

....and Chantal places her number into Nova’s phone. DP: Antonio Calvache.

In season one, episode six’s aptly titled, As Promised, Nova and Chantal meet on a radio show that seems a manufacturing of The Breakfast Club— a false community vibe that gets its kicks on Shade Room gossip. Nova and Chantal want to talk about their work, especially in regards to the tragic case of Too Sweet. Yet the raunchy male hosts focus on Nova’s sister— the famous basketball wife, Charley Bordelon West. Even the callers request only information on the titillating details, not much on the prison reform and bail aide that Nova wants to address. Afterwards, Chantal apologizes to Nova and flirtatiously places her number in Nova’s phone. They bond over Chantal’s Hindu necklace which represents Ganesh, the goddess of obstacles. Thus, this potentially symbolizes a short-lived pairing that definitely had a more intense, soft, tender chemistry as opposed to Nova’s other longer term lovers. 

From community activists to lovers, Nova and Chantal’s passion sets the screen on fire in the seventh episode, In No Uncertain Terms written by Denise Harkavy and directed by Neema Barnette. DP: Antonio Calvache.

Nova softly releases her emotional burdens on Chantal. DP: Antonio Calvache.

In No Uncertain Terms shows Nova and Chantal hooking up. Chantal tries sneaking off to leave— perhaps believing that they are a typical one night stand. Nova invites her to stay for breakfast— a positive sign of turning an overnight stay into an invitation to her world. The moment is riddled in stolen kisses and pensive stares with a vulnerable Nova admitting that she has never felt so free before. The difference between this new, refreshing relationship, versus Nova’s previous entanglement with the married white cop Calvin is that with Chantal there exists no residual shame, no inner turmoil between Nova’s “Black love is sacred” politics and her heart, and that poignant kind of blissful intimacy that can only be manifested with another woman. 

Nova and Chantal enjoy herbs in Nova’s garden. DP: Antonio Calvache.

Herbs of all kinds. DP: Antonio Calvache.

In the middle of Nova’s wondrous joy, however, is facing the consequences of stealing a hefty sum from the family farm account without permission. Hurricane Charley bursts on Nova’s property to blast her. The moment Charley sees Chantal, her anger increases. Charley calls Nova trifling. The rift between the sisters has been steadily drifting and drifting. Nova’s face appears hurt by Charley’s words, believing that her romance with Chantal disgusts Charley. In the next episode, Charley claims it is Nova smoking weed and having an affair (which she did not find out until the end of In No Uncertain Terms) that she finds problematic. 

Later, Nova and Chantal attend an artist interview in the artist’s studio. Chantal and Micah have one on one time looking at large scale representational paintings of stolen Black lives. While Charley scolds Nova’s lifestyle, her son is accepting and kind. It is quite beautiful that Nova introduces Chantal to Micah and leaves them to get along as she conducts her work. 

Where With All, speaking of hurricanes, the eighth episode has Chantal playing the passenger on Nova’s supportive ride for a fellow ninth ward citizen during a tropical storm. They’re obviously growing closer; their activism for the community tying them together, encouraging a deeper bond. An old lady in the backseat offers both solemn thoughts and unexpected humor. Overall, Nova and Chantal temporarily become the buddy comedy relief through a horrific storm that the poor city does not need. After all, Katrina was an environmental violence that still has repercussions to this day. 

Unfortunately, part of Chantal being the rider, is monitoring the driver’s phone. Aunt Vi is not the only repeated caller. Chantal sees Calvin pop up numerous times. Nova immediately tells her not to answer. Although Chantal asks no questions, her eyes do. Why be so defensive about this man? What’s the big secret? 

As the women hear that the storm is shifting to a second level category, Chantal invites Nova to stay with her. Nova declines, getting the wrong idea that Chantal wants her to move in. These two situations— Calvin and the moving in (which yes, is too soon)— are generating red flags. If returning to that moment when Chantal tries to sneak off in the morning of the previous episode and Nova saying that Chantal frees her, then it is understood that Chantal feels that something more is blossoming between them. In the car, they appear to be backtracking, especially Nova with her mixed signals. Chantal is trying to shelter Nova from the storm, but Nova immediately sets more boundaries, saying that she’s not that kind of person. She needs her space. And that should be okay. 

Chantal and Nova have breakfast again in So Far written by Anthony Sparks and directed by Salli Richardson-Whitfield. DP: Antonio Calvache.

Nova has Chantal try her skillet meal— changing the topic from the article Chantal is obsessing over. DP: Antonio Calvache.

So Far, the tenth episode, Nova and Chantal appear to be relaxed and well— another breakfast conversation, more love in the morning, lounging about in sleepwear. Chantal then makes a huge fuss over Nova’s upcoming conversation with Melissa Ford-Perry. A humble Nova is uncomfortable by this attention and tries to distract Chantal with food. Things come crashing down after Chantal invites her BLM group to Nova’s house to give Nova talking point ideas. Chantal and Nova have a huge argument. It is obvious that they are at different levels in their lives— Chantal the huge fan girl wanting to build on Nova’s successful platform and Nova guarding/keeping her writing/activist life separate from her relationship. 

When Chantal invites her group over to help Nova (after it has already been established that Nova prefers to work alone), Nova is visibly upset. DP: Antonio Calvache.

Chantal is hurt by Nova’s refusal. DP: Antonio Calvache.

Nova must always have it done in her own way. Writing is often a solitary practice. DP: Antonio Calvache.

Later, Chantal breaks up with Nova for several reasons— their politics are not aligning, Chantal interferes with Nova’s solitary practice, and Chantal discovers that Calvin is a white cop. It feels very rushed and insincere. They are not even fighting to stay together— Chantal is especially not listening to reason. Maybe Chantal cannot handle Nova’s boundaries. Then again, Chantal admits to looking through Nova’s drawers and finding pictures of Calvin. So that represents a trust issue. 

Nova admits to liking both Chantal and Calvin’s looks. That’s not enough for Chantal to stay. DP: Antonio Calvache.

Even though Nova and Chantal ended things, Chantal popped up in two more episodes throughout Queen Sugar’s run, showcasing that Chantal and Nova still had that community connection. In Yet Do I Marvel, season two, episode nine, Nova’s article on the Zika virus scares the whole of St. Joseph Parish. Chantal (who is now on the health community board) informs Nova that her words have petrified people. Interesting enough, Nova's boyfriend Dr. Robert’s ideas have somehow manifested into Nova’s work. Once upon a time, Nova declined Chantal’s aide. Also while Nova treasured Chantal’s Ganesh necklace, let’s not forget the ugly jewelry Dr. Robert gifted Nova— something that was not her. Like this relationship. Perhaps Chantal knew that too. 

In Yet Do I Marvel written by Jason Wilborn and directed by Julie Dash, Nova’s article on the Zika virus is not the only thing pissing off Chantal— though that is more seen in her body language at Dr. Robert. DP: Antonio Calvache.

Nova and Dr. Robert seemingly team up against Chantal’s stern attitude. DP: Antonio Calvache. 

In season four, episode four’s Skin Transparent, Nova’s Blessing and Bone book has painful repercussions. Almost her whole family does not show up to her book reading before her book tour. Only Micah, her beloved nephew. But guess who else proudly shows up to support her? 

Chantal Williams. 

It would have been even sweeter if Chantal reunited with Micah in the empty front seats reserved for family, but not everything is meant to be. Chantal’s beaming smile in a crowd of strangers is a most welcoming sight from the major blowback Nova experiences. 

In Skin Transparent written by Valerie Woods and directed by Numa Perrier, Nova reads a surprising excerpt from her Blessing and Blood memoir. DP: Antonio Calvache. 

Chantal is a vision in pink, very proud. DP: Antonio Calvache. 

Chantal brings a genuine smile on Nova’s face. DP: Antonio Calvache.  

Chantal holds Nova’s hand and asks her if she’s seeing anyone. Always a flirt. DP: Antonio Calvache. 

Queen Sugar certainly did not grant Nova and Chantal the time, space, and care to mature as a couple much less paint a full character analysis for Chantal. Nothing else is further detailed in Nova’s ex-girlfriend other than her communal activism. The show has a growing ensemble with many stories that intersect together in less than an hour. Yet the audience knows more about Calvin and Nova’s other boyfriends than Chantal herself. Another glaring problem is that queer couples, especially bisexual queer couples, always seem to veer back to heteronormativity. In Nova’s case, she returns to Calvin repeatedly, then Dr. Robert DuBois, and in between (like that strange Remy situation). Her queer relationships are flighty noncommittal flings that deserve much deeper depth. For example, Dr. Octavia Laurent, Nova’s former professor and lover is introduced during Nova’s book tour— after Nova previously dismisses Chantal’s request for emotional intimacy. There has definitely been missteps to Nova’s development over the years and her queerness is one. 

Nova calls Chantal over. DP: Antonio Calvache.

Chantal— currently utilizing self-care therapy— prefers that Nova come to her place and talk about her family issues. DP: Antonio Calvache. 

Queen Sugar’s final season returns on Tuesday, September 6th. Maybe Chantal will return again or maybe not. Either way, it was fond enjoyment remembering Chantal and Nova’s sweet potential together.