The Resurgence of Natural Hair in TV, The Last Five Years

 

Natural hair is slowly picking up the pace, especially on most streaming platforms. 

Lately, natural hair has been having an incredible renaissance. 

Shaved heads, teenie weenie afros (TWAs), full blow outs, locs, box braids, cornrows, and more are being worn by many Black women characters on television. They are showing off their versatile creative expression of beauty— head first. This thrilling ride gives Black women viewers the extra courage to celebrate themselves in the mirror, to value what’s already there, and also provides immense inspiration for hair salon visits. For so long, the audience had to settle with the ironed image— the straight haired Black woman fitting in with her non-Black counterparts, hiding her roots to impress the masses. Although the straight hair image remains prominent today, actresses are letting their preference shine bright. In the past, nappy, coils, kinky hair was viewed unkempt, unprofessional, unruly— and this would be included in a televised storyline. 

Taylor Bryant’s article, The Problem With Natural Hair On TV, closes with this:

“Hopefully, these shows will act as inspiration for more Black actresses to feel comfortable shedding their wigs before the camera starts rolling. With more women embracing their natural hair IRL, it’s only right that this be accurately — and positively — reflected on the shows they regularly watch.”

One show Bryant highlighted was How to Get Away With Murder. Annalise Keating originally took her makeup and wig off after a hard day’s drama in earlier episodes. This stress related unmasking revealed a secret few were privy to know about her. Except the hair she hid from her workplace was gorgeous— always well moisturized and trimmed. Why cover such perfection? By the final season, however, Annalise wore her natural afro with pride and power; enhancing the strength and dignity of her character’s phenomenal growth. Natural hair is beautiful, resilient, and authentic. 

While characters like Florida Evans in the classic Good Times are still remembered, modern contemporary shows such as Insecure, Black Lightning, Queen Sugar, Greenleaf, and Blood & Water feature the flawless elegance of Black women’s natural hairstyles, a limitless range that was historically vilified (still is in some instances). This new wave of a positive intentional approach to Black women’s beauty— a validity growing from small screen to film— seems a form of activism that speaks volumes— “this is me, this is us!” 

Let’s keep the momentum going so that the next generation will continue seeing themselves reflected onscreen. The color of their skin and their texture and style of hair deserves recognition. 

Here are Black women television characters from various series in the last five years sporting natural hairstyles:

Our Kind of People’s Angela and Nikki Vaughn (played by Yaya DaCosta and Alana Bright from 2021-2022). 

How to Get Away With Murder’s Annalise Keating (played by Viola Davis from 2014-2020).

Black Lightning’s Lynn Pierce (played by Christine Adams from 2018-2021).

Insecure’s Issa Dee (played by Issa Rae from 2015-2021).

Insecure’s Kelli Prenny (played by Natasha Rothwell from 2015-2021).

Queen Sugar’s Nova Bordelon (played by Rutina Wesley from 2015-present).

The Falcon and the Winter Soldier’s Sarah Wilson (played by Adepero Oduye, 2021).

Wandavision’s Monica Rambeau/Geraldine (played by Teyonah Parris, 2021).

Cherish the Day’s Gently James (played by Xosha Roquemore, 2020).

I May Destroy You’s Arabella (played by Michaela Coel, 2020). 

A Black Lady Sketch Show various characters (played by Ashley Nicole Black from 2019-present)

All Rise’s Lola Carmichael (played by Simone Missick from 2019-present).

Random Acts of Flyness’s Najja (played by Dominique Fishback, 2018).

Star Trek:Discovery’s Commander Michael Burnham (played by Sonequa Martin-Green from 2017-present). 

Van Helsing’s Doc (played by Rukiya Bernard from 2016-2021, also presently recurring on Yellowjackets).

Blood and Water’s Thandeka Khumalo (played by Gail Mabalane from 2020-present).

Blood and Water’s Zama Bolton (played by Cindy Mahlangu from 2020-present).

Blood and Water’s Wendy Dlamini (played by Natasha Thahane from 2020-present).

Greenleaf’s Kerissa Greenleaf (played by Kim Hawthorne from 2016-2020).

Greenleaf’s Zora Greenleaf (played by Lovie Simone from 2016-2020).

Run the World’s Ella (played by Andrea Bordeaux 2021-present, image is from her guest starring on NCIS, 2013).

P Valley’s Mercedes (played by Brandee Evan’s from 2020-present). 

Dirk Gently’s Holistic Detective Agency’s Farah Black (played by Jade Eshete from 2016-2017).

Harlem’s Tye (played by Jerrie Johnson from 2021-present).

Harlem’s Dr. Elise Pruitt (played by Whoopi Goldberg from 2021-present).

Harlem’s Angie (played by Shoniqua Shandai from 2021-present).

‘Boxing Day’ Highlights Several Films With Surprises Of Its Own

 

The Lisa Dixon (Aja Naomi King) Boxing Day character poster. 

Aja Naomi King fans can breathe relief.

Our How To Get Away With Murder alum is the leading lady in Aml Ameen’s holiday romance, Boxing Day. King lights up the screen as Lisa Dixon, the American love of Jamaican-British writer, Melvin McKenzie (played by the film’s writer/director Ameen). Lisa is an accomplished casting agent moving up the film production ladder. She has been granted the opportunity of a lifetime— working with the Oscar winning director Peter Jackson in New Zealand! She’s also having a baby— but Melvin hates children!

Lisa (Aja Naomi King) is trying to keep her co-worker and friend Chantal (Rochelle Rose) from acting ratchet in public....

...and it just cannot be helped.

The first person Lisa tells is not Melvin. It is Chantal aka Ms. London. Unfortunately, Chantal is the funny, curvy Black woman side character trope that needs to die immediately. After the moment in the office hallway, playing up a raunchy caricature, Chantal is never seen onscreen again. Now Chantal can celebrate sex and all that comes with it. No problem in freely expressing the joys of consummation. Yet if Black screenwriters believe that the over the top version is better than the Mammy stereotype, they need to revisit. Since men can be portrayed as anything—no matter their age and weight— this courtesy should extend towards curvy Black women too. Otherwise, they remain trapped in this seemingly inescapable box. Chantal serves the purpose to make tawdry jokes onscreen and prop Lisa up via phone call.

“To Lisa, my darling love, the Voyage is you and I, this lifetime to the next.”— Melvin McKenzie’s dedication in his new novel, Voyage to Atlantis.

One of two gorgeous blown up images in Melvin’s utterly romantic proposal— Lisa (Aja Naomi King) and Melvin (Aml Ameen).

Part two.

Now Lisa and Melvin’s proposal scene is sweet and romantic— the Isley Brothers’ classic hit For the Love of Love playing, the sprinkled red rose petals, the live acoustic band. Melvin goes all out in traditional fashion. He even sings the lyrics. Although the audience is entering Melvin and Lisa’s relationship right after they’ve obviously reached a comfortable place. The two blown up photos convey their happiness, their photogenic chemistry. This proposal could have suggested where they first met, how they fell in love, and/or why is now the time to marry her. Behind every good marriage proposal is a story about the couple. However, the nice and intimate gesture at their home is interrupted by Lisa’s puking. She returns and accepts. They agree to keep it secret. Yet Lisa does not reveal the job offer or her baby news. 

And Melvin— well, he is keeping big secrets too.

The Prodigal Son Melvin (Aml Ameen) has returned with his Queen Lisa (Aja Naomi King). In Coming to America— Prince Akeem falls in love with an American named Lisa as well.

Melvin launches his book tour for his potentially successful new book Voyage To Atlantis in his London hometown with his newly cemented fiancée in tow. Lisa soon meets Melvin’s estranged relatives. Melvin fled due to his mother and father divorcing hence friction exists between Melvin, his parents, and younger siblings. He also abandoned his old girlfriend Georgia— a global singing sensation. It is wonderful to see a Black couple traveling together— see Lisa interact with Melvin’s fun, dynamic family. Almost everyone instantly loves her— the uncles especially. It also prepares her for the road ahead to New Zealand— a road that may or may not contain much inclusivity on a Jackson set. The biggie is that Lisa is a casting agent— she can hypothetically change all that for Jackson. Meanwhile in London, Lisa learns a different blackness— coming into that unique British comedy from the Black Caribbean perspective. Then Georgia happens to run into Lisa— a huge fan. They build a quick rapport until Lisa realizes that Georgia is Melvin’s ex-girlfriend. 

In front of the hotel that the trio are conveniently staying at, Lisa (Aja Naomi King) hits it off with Georgia (Leigh-Anne Pinnock) right on the street....

...and take a selfie together.

There are cheeky nods to Love Actually— the recreated card scene and even the cinematic color scheme for example. Yet My Best Friend’s Wedding elements are undeniable. Unlike the obsessive Julianne Potter’s clandestine sabotage schemes, Georgia is hellbent on winning back Melvin right before Lisa’s eyes. When Georgia throws significant emotional weight into serenading the Aretha Franklin classic Say A Little Prayer For You, (instead of the humor that George Downes and company display at the family brunch), Melvin is pulled in and Lisa notices. Now Lisa is no longer cool with Georgia.

Lisa (whose believable excitement is purely contagious) is all smiles listening to Melvin’s gift— and dances joyously to Donaeo’s Party Hard.

The fierce competition between Lisa and Georgia incessantly drags on with even Aretha (haha)— Melvin’s sister and Georgia’s assistant— quick to defend Georgia to Lisa. It could have been a complex triangle— something refreshing and unique versus two grown women competing for a man. It did not even have to be a triangle at all. Obviously, Melvin chose Lisa. Instead Georgia’s jealousy increases scene by scene— heightening at Melvin’s big family gathering. The game playing uncles treasure both Georgia and Lisa— the history and the future. Lisa stands her ground and strikes out her claws against Georgia’s sly remarks— letting it known that she refuses to be intimidated. While the ladies in one triangle battle using dominoes and snark— the triangle between Josh and Joseph becomes violent. Artist and poet Josh is desperately wooing Joseph’s ex Allison and the threatening Joseph wants him to leave her alone.

Lisa (Aja Naomi King) is not blind.

Melvin (Aml Ameen) is captivated by Georgia’s vocals. She is talented.

Highlights include Lisa’s terrible British and Jamaican accent, Lisa and Chantal rapping together over the phone and bonding over the Spice Girls, Melvin’s deep conversations with both of his parents which offered him introspective on his unresolved resentment issues, and Aretha initiating the laughter filled cupcake fight— which in the aftermath made everyone look like victims in a paintball game. Plus, Melvin’s relationship with his siblings began a healing journey— Aretha coming around to liking Lisa and helping her brother win his girl back. These heartfelt moments that Melvin’s Caribbean family share are familiar in ways that oceans and continents cannot change. 

Aretha (played terrifically byTamara Lawrance, far right) orchestrates the food fight to ease tension.

A frustrated Shirley (Marianne Jean-Baptiste) gives Melvin advice.

And another triangle between cousins: Josh (also Melvin’s younger brother played by Sheyi Cole) and Joseph (Samson Kayo) battling for Allison (Yasmin Monet Prince) comes to a rather amusing conclusion.

Aretha (Tamara Lawrance) and Melvin (Aml Ameen) bond.

The ending is feminist in nature— Lisa and Georgia working together to create the perfect outdoor forgiveness concert and Melvin accepting Lisa’s terms and conditions. It may seem overly sappy and cheesy. The sentiments are very endearing. Most past and present romance films feature women who drop their lives and choose the man. Their whole entire identity rests on love. Some do not travel the world. Some quit school. Some quit jobs. In the beginning, Lisa had internalized doubt and fear— simultaneously learning about her pregnancy and receiving a rare job offer. She realized that she could do both with or without Melvin. She had a resilience about herself— in the face of a new city, Melvin’s family, and his ex— and persevered. If things did not work out, Lisa Dixon was going to be okay. Chantal was more than ready to meet up with her in New Zealand too. 

Lisa holds her own playing dominoes with the Uncles and Georgia’s father.

She needs no help from her boo.

Overall, Boxing Day accomplishes its mission— telling a warm, fluffy story about the complications of love and its sacrifices through the Black lens. King— having experienced questionable material in the past— definitely has a fine quality screen presence. She can always turn rubbish into gold. Oscar nominee Marianne Jean-Baptiste is absolutely delightful as Shirley, Melvin’s divorced mom— hiding her white lover from everyone and knowing Lisa’s secret before Melvin. Her comedic timing was just what the film needed. The whole family antics were great— the bickering, the food, the dancing. Ameen has promise in acting, screenplay, and direction too. Hopefully, his next feature steps it up a notch.  

Lisa and Melvin’s heads form a heart.

So although Boxing Day has a few minor problems, it has enjoyable moments worth revisiting during the holiday season. Stay for the rolling credits too— the outtakes are hilarious. 

The Passions (and Pitfalls) of Michaela Pratt

Michaela Pratt (Aja Naomi King) in season one of How to Get Away With Murder. 

How to Get Away With Murder’s twelfth episode, Let’s Hurt Him, was somewhat refreshing— none of that privileged white boy mess. Unfortunately, Michaela remains beholden to the dead, murderous informant, verbally assaulting her ex Gabriel. She has forgotten how Asher slut shamed her in one breath and cried, “you’re the one” in the next. Yet she claims that he is tens times better than Gabriel could ever be??? Righhhhhhhhtttt. The entitled Asher Millstone lived up to Frank’s “doucheface” nickname. Somehow Bonnie and Michaela both fell for an impulsive man-child who used colloquialisms, danced terribly, threw tantrums, ran over Emily Sinclair (blaming Annalise for it), and long ago covered a rape happening in his own home. Asher’s unlimited access to Michaela (coming into her room at any time) did not help. And to have him actually propose marriage hours before dying— a big WTF. It was no surprise that he ratted out the Keating circle and died for those sins. 

Still, Asher is a troubling part of Michaela’s strange character descent. Now there is nothing wrong with sexual fluidity and owning that agency (which is partly what makes the multifaceted Annalise so superb). Yet it is problematic that every “good looking” story arc guy winds up sleeping with Michaela. And no one else. 

Annalise (Viola Davis) had seen a little of herself in Michaela (Aja Naomi King). 

For six seasons, this writing team has failed Michaela Pratt— a formerly engaged Yale grad who snatched her fabulousness crown away from her ex-fiancé’s meddling mother (played by the brilliant Lynn Whitfield) and stood her own at Middleton. The adoptee from the projects showed bite and independence. Her fall started with Eggs 911 (Rebecca’s blue-eyed foster brother) and the quest to finally obtain an orgasm. Wes— who knew all about the guy— did not warn her, failed to protect her. Then she fell for the murderous Caleb. Later, she cheated on Caleb with Asher, cheated on Asher with Marcus (from Scandal), tried to get with Marcus after Asher dumped her, and cheated on new boyfriend Gabriel, another murderer, with Asher. For a fabstintent girl quite eager to align herself with Tegan and best Annalise, her hypocritical behavior proved that she could not last a season without sex, especially with men who intentionally kill people. Well, not to say that she is Miss Innocent. After all, she pushed Sam down the stairs, helped dispose his mutilated corpse, and got Simon Drake, a gay man deported to his home country. 

Laurel (Karla Souza) and Michaela (Aja Naomi King) had sweet, young lawyer bonding moments. However, it is interesting to note that whereas Wes failed to protect Michaela from Eggs 911, Laurel does this same behavior— keeping Gabriel’s paternity a secret. This definitely presented a minor bump on Michaela’s friendship with Laurel.

Despite the murder cleanups, mean girl behavior, and a sexual appetite, Michaela worked hard and managed to graduate. She vouched for huge issues like racism and classicism— the same values as her old mentor Annalise, joined the team for the civil lawsuit case, and met her idol, Olivia Pope. For all her intelligence, the young woman has poor judgement and does not see obvious red flags. Like right now, her father is not the man she believes him to be. 

Michaela (Aja Naomi King) and Tegan (Amirah Vann) were hitting it off until Michaela’s huge fourth season betrayal. Although Tegan has slowly turned back to befriending her (even volunteering to be her lawyer), the relationship is not as close. No more expensive shoes for Michaela. Plus, Tegan is surely Team Annalise and not Team Informants.

Still, the writers struck out, missing the opportunity of not having Michaela bond further with Tegan or Annalise whom she once admired. In fact, last night’s episode had Connor saying, “we’re sorry” to Annalise, but Michaela could not bring herself to apologize once. She was wrong and still blaming Annalise. After everything that woman did to protect these kids, according to them (that blasted Oliver included) it is Annalise that deserves to take the fall for their crimes. Michaela’s hatred of Annalise has certainly been stewing, but it goes back and forth like a pendulum. One minute, the hate comes and the next, pure fascination and respect. Yet Michaela needs a strong woman figure. Her endearing camaraderie with Connor is always a treasure, a constant anchor, considering it is her strongest, asexual tie to a man. A Black woman scolding another Black woman, throwing her under the bus, puts the viewer in a tough, heartbreaking spot. There is desire and hope for them both to succeed. Michaela should thrive and pursue her career, but not at the expense of Annalise. So when Annalise impressively turned the tables on Connor and Michaela, it was laudable payback. 

Let’s just state the obvious— Aja Naomi King did a commendable job with the material given. Seeing a woman of her complexion on primetime television alongside Viola Davis was a double treasure. 

While Tegan and Annalise are beautifully opening up to each other, exposing parts of their vulnerable sides piece by piece, one cannot help wonder what would have happened if Michaela had embarked on the road of simply choosing herself. She may have rejected Asher’s proposal high on mushrooms, but the way she goes on and on about him does not speak independence. It suggests regret. That if he had not died, informant or not, she likely would have accepted his proposal.

With only three episodes left, Michaela and her fickle ways may either lead her down a jailhouse or perhaps she will join Asher in the afterlife. Maybe she can still win this thing— get away with murder.