One woman is reminding us the importance of not only looking at the past, but also creating our own visions of the future.

As International Women’s Month comes to a close, it’s important to analyze all that we wish to become and hold space for those dreams. 

Dr. Kari-Claudia Allen, a self-proclaimed Black girl visionary, is a board-certified physician, community leader, inspirational speaker, and woman of unassailable faith. She’s currently working as a professor of academic family medicine at the University of South Carolina. She’s also an expert on maternal-child health with a focus on diversity, community, and inclusion.

Dr. Kari-Claudia Allen offers the resounding wisdom that we as people, especially Black women, can start a new chapter. She created the Envision Journal, which is filled with vision boards, inspirational quotes, affirmations, writing prompts, interactive sections, and even playlists. The content covers the topics of faith, relationships, family, finances, radical self-care, self-love, gratitude, and more.

BGN was able to catch up with Dr. Kari-Claudia Allen and learn about her journey and the creation of her Envision Journal.

What inspired you to create the Envision Journal?

In December of 2018, I was in the kitchen of one of my friends and at her kitchen table, she was making a vision board. I had made vision boards in the past but I had never really saved them. She was trying to make one out of a blank composition notebook. She cut the vision board items out and pasted them into the notebook to try to keep them all in one place. 

I was like, “What are you doing?” She got some magazines and some clippings, and I wanted to do this, too. So, she gave me a blank composition book that she had, and I started gathering some magazine clippings. 

Instead of making a vision board, I wanted to make a vision journal. I wrote what I was imagining and envisioning, looking for everything significant. I spent hours working on the notebook. I remember almost a spiritual feeling coming over me. I started writing my gratitude list, a love letter to myself, and I remember thinking, “Oh my gosh, this is so powerful! I’m tapping into dream making,” which I hadn’t done in so long. 

I decided I wanted to have a girl’s night to teach my other friends how to make a vision notebook. This turned into encouragement from my friends and eventually 35 people at a local boutique during my first visual journal workshop. We had a blast. I kept thinking this is something. In 2019, halfway through the year, I had accomplished 90% of what was on that list just because I wrote it down, thought about it, and manifested it. That’s how the idea of the vision journal came about. The vision journal was born out of that, and I started doing workshops all over the place. 

How did you overcome the largest adversity of your life?

After living what many called “the perfect life,” I lost it all in 2014 and hit rock bottom. I was forced to completely start over, including my medical career. Not only did I leave a job I had worked incredibly hard for, but I was also going through a very painful divorce. My faith was slipping, and it was difficult to see a way forward. Not only did I have to believe in a purpose and power that is higher than me, I had to speak life back into myself. My words of affirmation spoke to a place that was greater than my brokenness. I was posting sticky notes all over my mirror, journaling, doing yoga, and just trying to do all the self-care things I could think of to heal my heart. And it worked. Radical self-care saved me.

As I healed and grew more and more into my authentic self, I knew I had to share the tools I had gained with other women. Creating and working my vision journal changed my life in a matter of months. I have always been a journal lover and have been writing in journals and diaries since I learned to write. I’m the woman who has splurged on pretty planners, calendars, and journals of all sorts — but nothing transformed my thinking like my vision journal did. When I found this secret, I knew I had to share it with the world. In fact, it was always shocking to me that more people weren’t using vision journals. When I tell people about them, the immediate response is always: “I’ve heard of vision boards, but what’s a vision journal?” I love that moment because I get to share this amazing thing that I know is going to radically change their worlds.

What does Black girl visionary mean to you?

It defines who I am. It means to keep fighting, to keep living. I think of my ancestors a lot. I think of what they endured and what they imagined. I even think back to the Civil Rights movement and how hard our ancestors fought, how hard Martin Luther King and his colleagues fought based on a vision that they had never seen before. Just the ability to dream and think that there has to be a better way — I believe we can do better and be better. 

Do you have a message for Black girls and women who feel like they’ve lost their connection to their dreams and aspirations?

Yes, absolutely. My watchwords are to envision, manifest, thrive. I think of what those three words mean. To envision means envisioning your most authentic and abundant self. What does your life look like? Are you living and breathing all the joy that you can? To manifest is manifesting your dream into your reality by living out your purpose. So, if you believe it, you can have it. I live by that. If you can see it, you can definitely have it. 

Then, to thrive comes from thriving in this life you’ve built and knowing who you are and what you can offer this world and what is possible for you, which is absolutely anything.

I love that Oprah Winfrey quote where she says, “Create the highest, grandest vision possible for your life because you become what you believe.” You become what you do. So, if you have found yourself disconnected, feeling exhausted by adulting or things that just come up in life, know that it’s never too late to journal a dream.

To me, having a vision is like having a memory. Even if you can’t recall it right now, it’s never gone, because the brain never forgets. So, you still have your vision. The more you reconnect to the source of your power and your strength — whatever your guide is — the more that you connect with that, the more that you connect with yourself. 

The Envision Journal is available on myenvisionjournal.com for around $30 and Black Girl Nerds readers can use the exclusive code: BLACKGIRLNERDS (all caps, one word) and save 11% on their journal purchase.

Oduye is known for her roles in Dee Rees’ Pariah, The Big Short, Twelve Years a Slave, and When They See Us.

Being one out of seven siblings raised in a large Nigerian family, Oduye is no stranger to the importance of sibling relationships and family. 

She connects to her character Sarah through the desire to protect family. In
Episode 1, we learn that Sarah lives in Louisiana and struggled during the Blip to fend for both her children and family business by herself. 

BGN was able to catch up with Oduye about her role as Sarah and appreciate the way Oduye illustrates the love and sacrifices from Black women like Sarah that are so often the foundations of their families, superhero brothers included.

Is it important to explore Sam’s family background in the series, and if so, why?

Yeah, at this particular point in terms of where we left off on End Game, this man is being passed this mantle of Captain America. I think if you’re going to expand the story, we have to see where he comes from and which issues this show is tackling. Like, what does it mean to have someone carry this mantle? What does it mean to be American? With everything going on in this country and Sam Wilson being a Black man?

It goes deep, and you have to show those roots. So, I think that’s definitely one of the things that drew me to the project. Already in the first episode, these things are coming up — how can you explore that side without getting into the nitty-gritty of the family and everything, ramifications of what’s happened when everything got back to normal and where we left off in Avengers: Endgame.

When Sam returns, do you think that Sarah feels like he doesn’t understand the struggles that she’s experienced during the five years of the Blip?

Yeah, just trying to imagine what it would be like for that to happen and then all of a sudden people to come back on both sides. They’re trying to go back to where they left off with so much time having passed, and people having had to deal with a whole bunch of stuff. I think that obviously there’s love, but there’s also like, “You need to understand,” from both sides of it. “You need to understand, you need to understand.”

It’s hard because he doesn’t know what she’s going through. She doesn’t know what he went through. It’s navigating that, which I can only imagine was happening a million-fold for everyone else around the world when people just came back to their families and loved ones. The ramifications of that and what that was like has definitely affected the relationship. Yes.

Do you feel that Sam’s entire superhero career has taken a toll on his relationship with Sarah?

I’m one of seven and when you get to a certain point, you have your own life. I mean, she [Sarah] has kids and she’s a widow even though she was married. When you have a sibling depending on the age, they go off to college, maybe they go to a different city, different state. It’s just kind of that’s what they do.

I have siblings who live across the country. My brother, he was a prosecutor and he’s in LA, and that’s what he does. It’s just a different direction. The relationship takes a different form because we’re not kids anymore.

So, I don’t necessarily think it’s what he [Sam] does that takes a toll. I think it’s just everything that happened as a result of what he does. The Avengers just took a toll on her as well as anybody in the world. 

One of the highlight scenes of the first episode is when Sam and Sarah go and try to get the loan. We see that Sam has an inability to save the day, but it’s not a high stakes situation that he’s used to. What does this scene highlight about the inequities that still exist for someone, specifically a Black man, regardless of his superhero title? 

I mean, you said it so beautifully. It doesn’t matter. You legit can save the world, and it doesn’t matter. Obviously, there’s a protocol, but at the same time we see, you’re useful for what you’re useful for and then reality hits. 

In that scene, Sarah is kind of like, “I told you, I already told you that I tried and I told you,” and he thinks he can go in there and fix it and get it done. Then, it’s like, no matter how many of us that happens to, it doesn’t matter where you go, what kind of car you drive, what your job is. You know, there are things that just happen. These inequities are baked into the fabric of our society as we’ve just seen time and time again. It has blown up in our faces — well, the country’s faces — from many of us not unnecessarily so, in this past year. 

It’s sad, but it’s true and I think that’s why it’s important for those of us who are at the edge of those inequities and why the community is important and family and love and how we come together to mitigate and make things happen. 

Sarah is a single mom. She’s lost her husband. In many ways, she’s lost her family. So, she’s bearing a lot on her shoulders. Would you say that Sarah is a hero? 

Yes, I definitely think so, because I think about her like I think about my mom, I think about those who are our mothers, caretakers. You know, it’s only until I really became an adult and I saw my mother for the woman, the human being that she is, that I realized, wow, women time and time and time and time again, just take on so much. And obviously, in the context of the Sarah Wilson story, it’s like compounded with, the Blip happening and more.

You know, so many people that we know in real life are superheroes. What people are able to do under extraordinary circumstances with a certain amount of resources is incredible. I mean, I am legit an example of my mother’s superhero-ness, and that definitely is reflected in Sarah, in my humble opinion. And, you know, I love that.

The first episode of The Falcon and the Winter Soldier is available for streaming on Disney+ now, with new episodes premiering on Fridays.

Audiences will get to enjoy the multitalented Kelly Marie Tran as Raya and the lovable and hilarious Awkwafina as Sisu, for a magical story of redemption and trust.

Before diving into the movie, it’s important to get some of the central takeaways from the recent press conference that included the entire cast, writers, producers, and directorial team.

The Zoom press conference included Tran, Awkwafina, Gemma Chan (Namaari), Daniel Dae Kim (Chief Benja), Sandra Oh (Virana), Benedict Wong (Tong), Izaac Wang (Boun), Thalia Tran (Little Noi), Don Hall (Director), Carlos Lopez Estrada (Director), Osnat Shurer (Producer), Qui Nguyen (Writer), Adele Lim (Writer) and Jeannie Mai from The Real as the moderator.

We’ve compiled the top noteworthy moments that will definitely have you feeling extra hyper for the film. Plus, there are moments of Southeast Asian representation and an overall Asian pride that you will not want to miss.

Benedict Wong’s Tong Costume

As if there weren’t already enough to smile about, Benedict Wong came dressed to impress in his amazing Tong costume. 

Mai teased that he arrived “underdressed” and Wong replied that he “went casual” and had his sweatpants on. He even mentioned with a laugh that he had a horse in the next room that he could bring in. 

Oh smiled and said, “Benedict, you put us all to shame.”

He pretty much stole the entire press conference upon arrival. Even Kim had to get in on this moment, saying, “Benedict, I’m not only impressed with your wardrobe, but I love the fact that your bathroom tile is actually Raya-themed colors.”

Wong had everyone start the conference with a laugh as he declared, “I’m willing to go the extra mile.”

If you didn’t already know how amazing Wong is, you know now.

The Entire Film Was Made by People Working in 400 Homes

When watching the film, it may look like most animated films from the surface, but the reality is that Raya was crafted by hundreds of people who were never in the same studio together due to the pandemic.

Kim explained, “It was amazing being able to record from home because living in Hawaii, anytime I try to travel to go shoot something, it’s at least five hours and sometimes eleven by plane.” For him, being able to walk downstairs in his T-shirt and shorts was great. However, he also explained, “It wasn’t without hiccups.”

When recording a large chunk of dialogue one day for about an hour from home, Kim realized that none of his audio had actually successfully recorded during that hour. He joked about how that’s what happens when the recording is left to the actors but noted that thankfully, it didn’t happen again.

Mai asked everyone how they were able to form camaraderie without being in the same studio, and Tran provided some insight. “Honestly, all the credit has to go to the story team and the editing, and the entire team working behind the movie,” she explained. “All of the actors, at least in my case, were all kind of isolated, and we were recording by ourselves. To see the movie now, totally finished, and see all of the amazing chemistry that all of these incredible characters have, I think that says a lot about the expertise of Disney animation and the incredible team working behind this movie, and also the cast, obviously.”

We couldn’t agree more with Tran, as there’s nothing in the film that would suggest that it was made in such a nontraditional way, proving that when there’s a challenge, Disney knows how to rise to the occasion. 

Awkwafina on The Visually Stunning Animation

Awkwafina shared with audiences, “I’m gonna be honest. I first saw the clip that was put together during D23 and I was a little confused. I was like, is this a live-action movie? Let me get my agent on the phone—because it looked so realistic: the rain, everything! So, that was confusing, but then also, you realize we’re coming in sometimes without pants, you know, that’s optional. We come in and we do the job, one Croc on, and that’s what we’re doing. But then you realize all that really goes into this and we’re recording simultaneously as it’s being animated.”

When she first saw Sisu, she said, “That’s me.”

The Films Representation of Southeast Asian Culture and Themes of Redemption

The diverse and colorful land of Kumandra is strongly inspired by Southeast Asian culture. From the food to the hairstyles, the film is like a love letter to Southeast Asian pride. With traits like respecting elders and community building, the film spoke something true to everyone involved in the production.

Mai asked everyone what they wanted audiences to takeaway from their roles, especially when it came to reflecting Southeast Asian culture.

Chan replied, “One of the things that really drew me to this story and resonated with me  is the fact that Namaari is the antagonist but she’s not a cut-out villain. It’s not black-and-white. I find that very interesting. She and Raya are also kind of two sides of the same coin. You could imagine them having each other’s upbringing and easily taking each other’s place.”

Chan continued, “Our world is complex and the problems of the world are only going to begin to be solved when we work together, and the lack of trust and division is a huge problem. But you can understand why the people of Fang are trying to protect themselves. You can understand why we have elements in this society that want to protect their own self-interest. I think these are very complex themes to explore in a family film and applaud the storytellers for tackling this. It couldn’t come at a more timely moment for where we are and the position we’re in within the world right now.”

Mai brought up the striking similarities between the film’s importance of trust and resisting division to the violent attacks that the Asian community has been experiencing during the pandemic.

The timing of the film lines up with several vital current events that many of the cast members, including Daniel Dae Kim, have publicly spoken on. The press conference drew a very important connection to accurate representation and combating racism. 

Kim explained, “I think that we can’t undervalue the power of the fact that this is a Disney movie and the people in large part will be watching this with their families. Parents will be with their children seeing this kind of representation and understanding what is possible.” 

He continued, saying, “I’m also thinking of all the children who will be seeing Raya for the first time and seeing an Asian female who kicks ass and becomes a queen. She’s on the path to becoming a ruler, and she’s being groomed by her father to that in a loving relationship. All of these things are such a positive portrayal. It’s exposure that brings understanding and that understanding is what changes perception. What this movie does on the scale of those things can’t be underestimated.” 

We hoped that helped you get ready for Raya and the Last Dragon, whether you’re seeing it in theaters or at home with Disney+. It premieres today, March 5, so grab your family and get ready to head over to Kumandra.

This year, following Black History Month and adding to Women’s History Month, Egbuonu’s powerful film has been picked up by the multi-talented and iconic Oprah Winfrey and her team at OWN.

The film’s premiere on OWN will not only reach a wider audience, it will also highlight how important it is for the stories of Black women to be told on a larger stage.

The film features interviews with Black women leaders and academics that include Dr. Joy Degruy, Dr. Patricia Hill Collins, Dr. Melina Abdullah, and many other phenomenal Black women.

At the heart and soul of this documentary lies a deep love and passion for Black women and their exceptional contributions to the world. The film will be premiering at the start of Women’s History Month and will have an encore airing on Saturday, March 9, in commemoration of the one-year anniversary of Breonna Taylor’s murder.

BGN was able to catch up with Egbuonu and discuss the importance of Invisible Portraits being acquired by the OWN Network, how it inspires Black filmmakers, and what non-Black people can take away for its message.

What was your first reaction when you found out Oprah wanted to acquire the rights for Invisible Portraits?

Well, it felt surreal because Oprah is someone who I’ve looked up to my entire life. Oprah was the first Black woman I saw on TV who felt life affirming, who I saw myself in. So, to be able to work with her on only my first directorial debut and to partner with her for a film that’s about Black women felt very special.

Even to this moment, it still feels so unreal to me sometimes. But I couldn’t think of a better person or better studio to partner with than the OWN network.

How does it feel to have Invisible Portraits arriving just in time for Women’s History Month?

It feels special. Being able to create something that speaks to the Black woman’s experience in America has also been something that I could not have imagined. If you told me five years ago or if I had to tell the younger version of Oge that I would create a documentary that would speak to the Black woman’s experience, or rather, serve as an entry point, I would have never believed you.

So, to be in a position now to not only have created a documentary that can serve as an entry point to a Black woman’s experience — because we’re not a monolith, right? There’s so many more other aspects that need to be told. But to create something that serves as an entry point and in partnership with the Oprah Winfrey Network, with ABC of Women’s History Month, is nothing short of divine timing, I would say.

What is your advice to other Black women filmmakers trying to create films that authentically tell our stories?

My advice is to continue to tell stories. I think it’s important that we continue to persevere and cultivate a basis to tell those stories. Tell them even if you’re afraid. I was so afraid in making Invisible Portraits that I didn’t think that I would be quick enough to tell the story right. But luckily for me, I had a community of people around me who lifted me up and supported me. It reminded me of who I was in the process of making it.

So, I would say to do it afraid. These stories need us to tell them, they need our voices, they need us to be a vessel. I just hope that they continue to persevere and find community, because no one can go it alone, right? Community is so, so very important. That would be the advice that I would give.

What do you want non-Black people to take away from this film?

I often say that I want this documentary to serve as a love letter to Black women in a re-education type of deal, so I hope that this documentary serves as a re-education for the rest of the world.

I hope that folks who are not Black see this documentary and that it serves as an entry point to the re-education to the understanding of the Black woman’s experience, and that they start to help Black women and start to cultivate spaces of care for Black women. I think that is the biggest takeaway that I want people who are not Black to take away from this documentary.

What are you planning to work on next?

I mean, there’s so much that I’m thinking about working on next, including a book. I’m also thinking and working on other projects, commercial branded content and another documentary. So, a lot of research is happening right now.

Is there anything else that you wanted to share? 

My only thing is that I think that narrative control is very important. It reminds me of this quote in which Toni Morrison talks about how definitions are for the definer, not the defined. So, when you start to see these stories or these films that are often depicting Black folks in very dehumanizing forms, that’s not for us to take on, that’s not who we are. So for me, I just really hope that more Black folks and more by BIPOC folks, and more folks in the disability community are able to be positioned where they’re able to tell their stories so they’re able to tell their narratives and where they’re able to change the narrative. Hopefully they’ll be able to change the narrative and to cultivate stories that are true reflections of who we are, cultivating stories that stop dehumanizing us.

I’m just very grateful to be in this position but I want more people to be in this position with me.

Invisible Portraits is available for OWN subscribers through the OWN app.

Similarly, in the Netflix original show Grand Army, written by Katie Cappiello and somewhat based on her play Slut: The Play, consent is approached in a unique way. It’s easy to write off Grand Army as another Degrassi-like teen melodrama, and sometimes it definitely is that. This isn’t necessarily a bad thing for fans of the late Canadian show.

However, it does do something that many shows fail to do: make audiences critically think about consent through the character Joey Del Marco, portrayed by Odessa A’Zion.

How De-Escalation Can Be Part of Consent

For those who have seen the show, the link between consent and Marco’s story seems straightforward. However, when it comes to judgment, the show gives viewers reasons not to be on Marco’s side. From her sexually provocative behavior to her impulsiveness, some can agree that the actions she took around her three male friends were inappropriate. 

However, the show begs the question of when it’s time to de-escalate a situation and what it truly means to be a friend. 

During the third episode entitled “Relationship Goals,” Marco and her close friends George Wright (Anthony Ippolito), Luke Friedman (Brian Altemus), and Tim Delaney (Thelonius Serrell-Freed) go to the movies together. They all drink heavily throughout the night. Marco not only flirts with all of the boys, she sits on Wright’s and Friedman’s laps while kissing them. When they enter the cab, this continues. Wright and Friedman assumed that Marco wasn’t a virgin because of her body positivity and feminism.

They label her as “wild” and speak about her as if she’s inherently promiscuous. Delaney is angry, not because things were escalating too far with the other boys, but because he wanted Marco to be “only his.” In some way or another, each boy decided to label and claim her. The reality is, plenty of people want the ability to explore their sexuality in a positive and consensual way. 

Marco’s friends had all had sex before, and she seemed comfortable expressing herself sexually with people she trusted. She believed that they were her friends. However, within true friendship, there is a line of communication and de-escalation. 

Rape culture often thrives on the belief that if a girl or woman is “too sexual,” then they are “leading someone on” and “asking for it.” The show carefully puts these markers into place. It gives viewers a million reasons to uphold that belief, as Marco’s rape is framed by her rapists as an “orgy” that she shouldn’t be “embarrassed about.”  Delaney was silent and passive as he allowed Marco to be raped by their friends and did nothing. His perceived ownership of her and anger over not monopolizing her body fueled his revenge.

Revenge is used here because his unwillingness to act and even try to help her, and then joining his friends in gaslighting her, is a deliberate response drawn from his possessiveness. Delaney believed that in being the “nice guy,” he had the authority to punish Marco for being the “slut.” He asked her not to flirt with the other boys, and when she ignored him, his passivity to her rape echoed his belief that it’s what she deserved. 

The show decided to delve into the complexity of this experience further by expressing that Marco still loved her “friends” after their deplorable actions. However, real friends know the difference between consent and force, and don’t overlook it or shift the blame on someone else.

Grand Army illustrates the trauma that’s evoked when those we trust not only take advantage of that trust but also belittle and diminish it. 

Performative Feminism and Toxic Masculinity

Another part of this series gives viewers a glance at performative allyship and activism.

The show takes many opportunities to point out Marco’s clear white privilege and how the sexism she faces is not through an intersectional lens. However, what people may not be analyzing enough is the fake allyship of her male friends.

Leading up to Marco’s rape, her guy friends seem like they’re on board with her autonomy. However, the red flag is that they’re selectively supportive of only her because they’re attracted to her. Meanwhile, Wright mocks the breasts of Leila Kwan Zimmer (Amalia Yoo) for having brown areolas that seem to be “too Chinese” for him while also wanting to use her for his sexual pleasure. He later laughs at her inability to arouse him properly, but also identifies himself as a feminist and later on, a gay ally. 

Those who practice performative allyship unfortunately follow common threads — they are in it for superficial and often self-reverential reasons.

Performative feminism takes a unique toll, as people will wear shirts to promote feminism, use hashtags, and even, in Delaney’s case, talk about admiring women in power, like Alexandria Ocasio-Cortez. While this may be a cliche topic for some people, it’s ultimately a reminder that people like this exist within just about every movement space, and even within some “friendships.” 

To say the least, they are fake friends; to say the most, they are dangerous. Marco regarded her friends as people who would protect her, and they turned around and tried to destroy her. The show highlights how people will chant activism and then blame the oppressed for their own demise. Those who want to make a change are constantly gaslighted by enemies in disguise.

At times, it seemed like the show that had it all. From humor to adventure and even a little mystery, every episode had something scandalous to talk about. It had everything — with the exception of actually reflecting the real New York and an accurate representation of the diverse metropolis. From the Fenti to the overuse of the word “fabulous,” Sex and the City was best known for being fake.

While beloved by many and an admittedly addicting series, it was sad that it ignored Black and Brown communities and how stylish, sexy, and intriguing they are. 

The show not only pretended that Black people and people of color were virtually nonexistent, it also seemed to randomly pull them out to use as “magical Negros” to help the plot along. The show would let them exist when there was a “ghetto fight” in the bar or some “sexually explicit” trans characters, but would never ever allow them to be fully recognized people.

Even with a few seemingly more developed Black characters in the series, it seemed like the show felt obligated to check off some boxes without crafting authentic narratives with care.

One central example is Samantha Jones (Kim Cattrall) dating a Black man named Chivon (Asio Highsmith) and being “dissed” by his sister to supposedly show that Black people can be racist in an incredibly offensive and stereotypical depiction of Black people used exclusively for a very awful episode. Chivon’s sister, Adeena (Sundra Oakley), is one of the few Black women on the show as a whole, and the only one given a central role in an episode. Unfortunately, the role is a painfully stereotypical depiction of “the angry Black woman” trope, as it frames Jones as the “victim” of racism.

At this point, the show doesn’t seem like it could get more first-wave white feminist if it tried, and we believe they were probably trying. It’s very clear that in the realm of Sex and the City, Black men are for sexualizing and Black women are for villainizing.  This is even more evident later in the series when Miranda Hobbes (Cynthia Nixon) dated Dr. Robert E. Leeds (Blair Underwood), and the show paralleled their relationship to an interrracial soap opera between a white British woman and a Black man. 

The show decided to randomly use a Black man as a stereotype and fetish. Both Chivon and Leeds were used as hyper-sexual characters that are enjoyed for their Black masculinity but kicked to the curb when it comes to having a seat in the “actual story.” While they made Leeds a doctor, it had to be in sports medicine. Apparently, it was okay and maybe necessary to play “Proud Mary” by Tina Turner when he and Hobbes had sex for the first time. 

In the same light, Chivon worked in the rap and hip-hop industry and took Jones to “dangerous” clubs with music that wasn’t shy about using the N-word. Yet, it seems like the show tried to infer that he was kind of poetic, by mentioning that “not all rap has a hard edge.” It was a mess. During the final season, Jones has cancer and begins wearing wigs. One episode, she sports an Afro wig and calls herself “Foxy Brown” while using an Afro pick and even says, “Hold on, Sista’s gotta get ready,” as she picks the Afro. 

This additional mockery is not only unnecessary, it’s blatantly racist. The show could have had fun with Jones’s wigs without making fun of Black women and their natural hair and Black culture as a whole. These examples make it very clear that Black people only exist in the world of Sex and the City when the show feels the need to mock them or fetishize their bodies.

While this iconic show got a lot of things right, it definitely handled diversity, Blackness and New York wrong. It was also heavily transphobic and loved ensuring that trans people were also Black and Brown folks. The show couldn’t even begin to handle any kind of accurate representation, let alone intersectionality. Well, actually, they represented the whiteness and racism of each main character pretty accurately, but it was and will always be unacceptable. 

This new reboot is an opportunity to finally get things right. While many fans are more than a little stung by the news that Cattrall won’t be returning, this seems like a chance to finally include an authentic Black woman who isn’t a token or a stereotypical plot-moving character, but a real person with a meaningful story.  She deserves to be just as fabulous, smart, dynamic, and, of course, as sexy as the rest of the women while also having her intersectional womanhood recognized and explored.

Actors like Angela Bassett, Phylicia Rashad, and Vivica Fox would be great fits to match the age group of the returning cast members, and there’s no questioning the style, sexiness, and intellect these powerhouses would bring to the table, if they’re given the chance. 

The original Sex and the City was built on whitewashed first-wave feminism; the reboot needs to be intersectional Black and Brown second-wave feminism.  It’s true, things are looking dismal, but one thing is for sure, if they try to recreate another homogenized version of New York or an anti-Black storyline, this time people will have a lot more to say. This era isn’t the same one that the show was first released in. With more Black and Brown people having a say, the reboot will go down in flames if true attention isn’t paid to diversity.

It may be a crummy continuation, as many reboots are, but hopefully its potential failure won’t be due to a refusal to hire Black and Brown writers, cast Black and Brown people, and actually see that there are consequences for whitewashing the world. Many people from different backgrounds can agree that Sex and the City is an amazing show, which makes the racism even more difficult to stomach. 

The reboot may be doomed when it comes to quality, but hopefully it won’t be doomed when it comes to redemption. It’s time to add a fabulous Black woman to the cast and make sure her story matters.

Gay is the iconic writer of the New York Times bestselling Bad Feminist, which is a collection of essays exploring policy, feminism, and critiques of societal norms. From her powerful memoir Hunger to her epic work on the World of Wakanda Marvel comic books, Gay continues to inspire audiences around the world.

BGN was able to catch up with Gay and learn more about her MasterClass. Each lesson is focused on teaching viewers how to use their own personal narratives, traumas, and struggles to write compelling and unapologetic works. 

Gay shared some insight with us that’s a true testament to all that Black women can accomplish despite the gatekeeping that exists in the publishing industry and the entire world.

What is your advice for Black women who want to get published, and what are some barriers that they may face?

Systemic racism is everywhere, and publishing is no more immune to it than any other industry. So, as a Black woman, you are going to face quite a lot of racism, which doesn’t mean you should tell yourself that it’s not possible for you to make it as a writer. But you do need to be aware of and prepared for the issues that you’re going to encounter

The main one being that publishing tends to believe in “the law of one,” which is to say that if there is a Black person doing something, there can be no other Black people who do that thing. It’s really an unfortunate way to do business. It’s an unfortunate way to curate creativity, and we have to push back against that. Part of the responsibility of people who do succeed is to make sure that you’re never the only one or the last one to do something because otherwise publishing will continue to think that they can behave this way.

What do you think makes a personal essay the most authentic and honest?

I think when you allow yourself to be bold when you allow yourself to be vulnerable in ways that are still within your boundaries and you give readers that moment of connection where they can see something of their own experience. I think it can be incredibly powerful, but I also think when it comes to personal essays, you have to find a way to look beyond yourself and it cannot simply be testimony or a recitation of experience. You have to contextualize it in some way and show readers why they should care about whatever it is you’re telling them about. 

You also sometimes have to do research. I think a lot of people underestimate the importance of research and writing a personal essay, but it is indeed very important.

Considering your MasterClass and your work with The Audacity, what are some ways that Black female writers and journalists can help promote each other within the industry?

I think it’s always important to shout each other out and to promote each other’s work. This doesn’t mean you have to like everyone or love everyone. You certainly don’t have to like everything that Black women write or create. But I do think when you do encounter work that you respect and admire, talk about it, because, again, we cannot work from a mindset of scarcity. There’s room for all of us at this table. In fact, we have to, frankly, build new tables and tables that will accommodate all of us.

I try to shine light on whoever I can whenever I can, because I know that it’s only going to make the world of letters stronger when there are more of us driving. 

If there was one thing in particular that you would want non-Black writers to know, what would it be? 

I would like non-Black writers to realize that we are dealing with systemic issues that they may never see or understand, and so it really does not behoove them to say the kinds of nonsense I see white writers saying, like, “Oh, I’m a white guy, I don’t have a shot in hell,” when in fact, 90 percent of books are being published by people who look like you. I think it’s important that white people educate themselves about the realities of this industry.

What are you hoping for audiences to learn from your MasterClass?

I hope that audiences learn that writing is a practice and a craft, and it takes work, but it is something that is open to anyone who’s willing to sit down and actually put in that work, and it can be a really joyful thing. I really wish more people understood that the barrier to entry for writing, which is different from publishing, is very low. So, anyone can do it.

Do you have anything else you’d like to mention to BGN readers?

I just want to shout out one of my producers for the MasterClass. Her name is Diane Houslin, and she was really wonderful. She was the person who helped shape the class. There were other people, of course, as well, but she was the person I was speaking to during the filming. You can’t see her, and she was phenomenal. She really did a deep dive and understood my work and knew which questions to ask to get a good class.

Just because you see one person on the screen does not mean one person made it. There was a significant team of people that contributed to making this MasterClass. I must say, I’ve never had such a great experience. This one was just outstanding.

Gay’s class is exclusively on MasterClass, and for those that subscribe, there’s unlimited access to over 100 instructors with an annual membership.

There are many of us that can’t go to restaurants, visit partners and other loved ones, or even go out shopping for gifts. However, there are still options to give anyone something special, no matter how far apart they may be.

BGN has compiled a Valentine’s Day and Galentine’s Day gift guide, because whether it’s with your partner or your gals, there’s plenty of love and lavish to go around in many different ways.

So, without further ado, we’re going to share some of the best online order buys. From classic to creative, we want to give all of our readers reasons to totally nerd out based on their favorite things.

The Boujie Nerds

Let’s face it, many of us and our loved ones enjoy upscale and luxurious things. There’s nothing wrong with wanting to be spoiled with the finest every now and then, especially with the right products.

This list is for our peeps who love to be silky smooth and smell like they just rolled around in a pile of roses. 

• MYK Silk

Many of us have a satin bonnet that we enjoy using at night to keep our curls intact. However, most of them are nothing compared to the silk from MYK Silk.

Created with soft and refined mulberry silk, these sleeping caps, pajamas, bedding, and even scrunchies are the sheer definition of glamorous.

With everyone staying home more often during the pandemic, these silk products are perfect to make staying at home feel like a visit to a 5-star spa.

Plus, MYK Silk has a Valentine’s Day special that features 20% off site-wide for several silky items.

• Masami

For those in favor of the fancy, one item sometimes isn’t quite as fulfilling as a box of goodies, and Masami’s Taste of Luxury Gift Box does the trick.

Their dedication to hair moisture, skin health, ,nutrients and refreshing scents is truly a game-changer in the beauty world. Their products also work great on various hair and skin types.

The Taste of Luxury Gift Box includes the Masami Mekabu Shampoo and Conditioner, the Serucell KFS Cellular Protein Complex Serum, Hand and Surface Sanitizer, an Isle de Nature scent coir, Romer Skincare’s Nourishing Gel-Oil Cleanser, and Veronique Gabai fragrance sample for around $85.

These items come in a limited edition; handmade Bento Boxes that smell good enough to eat.  

• Jupiter

Our loved ones with hair and scalp problems often get left out of the mix when it comes to receiving hair care products that they can actually use.

For those with dandruff, scalp sensitivity, eczema, and other irritations, typical hair shampoos and conditioners just won’t do. Luckily, Hello Jupiter has all hair and scalp types covered.

Perhaps a true match made in heaven, their Balancing Shampoo and Nourishing Conditioner are two household items known for their treatment for scalp redness, itchiness using natural ingredients to both clean and hydrate the hair. 

They also have hair serums, masks, elixirs, and even scalp brushes to provide a complete self-care spa session with giving a flake who cares.

The Pop Culture Nerd

This section is one big love letter to our anime watching, video game playing, television binge-watching friends who love, maybe even are addicted to, buying and collecting the merch from their favorite fandoms.

There are some great options to give them exactly what they pine for while also making sure to stay true to the Valentine’s and Galentine’s Day theme.

• Loot Crate-Lovesick Theme

There aren’t many pop culture nerds who can resist feeling more than a little lovesick for Loot Crate with goodies in the February Loot Wear box that features movie and show favorites like Wall-E, Edward Scissorhands, Gremlins 2, Bob’s Burgers, Looney Tunes, and Disney Villains. 

It’s part of Loot Crate’s Loot Wear line that’s perfect for keeping warm during the winter months while allowing everyone to hold their nerd flags high. 

The Lovesick-themed line of Loot Wear starts at $9.99 plus shipping. Possibly the best part is that Loot Crate allows people to mix and match their favorite clothing or simply order them all. This is a limited box, so be sure to order before or after Valentine’s by February 19 at 9pm PST to pick up a box for bae, bestie, or both.

• Sugoi Mart

All Kawaii culture-loving folks with a sweet tooth are about to fall head over heels for Sugoi Mart, that is if they haven’t already. 

Their anime-themed chocolate boxes are dangerously dote-worthy and delicious. From Pokemon to Sailor Moon and many more, this adorable Japanese mart has all the love and sweetness anyone could ask for.

They even have Sailor Moon lipstick chocolates and classic Disney themed chocolates. Ranging from $15 to $40 depending on the box size and brand, these chocolates are great for any budget. 

• Love Pop

Love Pop takes classic Valentine’s Day and Galentine’s Day cards to the next level. These aren’t just pop-up cards, they’re nerdy 3-D cards.

They have a heart-melting BB-8 pop-up card and other Star Wars ones, along with their stunningly suspenseful Nightmare Before Christmas cards. There’s even (gasp) a Deadpool one.

Depending on the card, they can range from about $15 to $40 and more for bundles. They’re not just cards, they’re excellent home décor as well.

The Nerd of All Trades

A lot of people may think that a nerd of all trades simply equates to someone who loves everything, but there’s definitely some discernment between what they enjoy or dislike. It just so happens that they can appreciate a broad range of goodies. 

Let’s just say they aren’t just mixed baskets, but they also love mixed baskets of goods. Thankfully, we’ve found combos to give them a taste of all of their favorite flavors.

• Send a Cake

Reading the name of this website may sound a bit generic and cliche, at first. However, after one video watch of these cakes in action, customers soon realized that this actually entails an entire production. 

Their special Valentine’s Day box includes a Love Explosion Gift Box, a Red Velvet Sparkling Cake, a Flying Butterfly Surprise, and a Flower Shower. 

Prices start at around $60 per box.

It’s a classic Valentine’s and Galentine’s Day gift with a little extra snap, crackle and pop. 

• Anima in Bloom

That’s right, Anima in Bloom is no ordinary place for handcrafted home and skincare goods, it’s all about harnessing mystical power and shopping with intention. Afterall, Anima does mean soul, and this shop has lots of that.

The Mighty Aphrodite Intimacy and Self-Love Gift Set is perfect, as it includes a lavender and vanilla candle for self-love and romance, a pumpkin spice candle for transformation, vanilla sweetheart soap, amethyst bath salts, an amethyst cluster, and more.

It’s a great bundle for couples or for a magical self-care ritual and runs for around $83.

B Positive stars Thomas Middleditch as Drew, a divorced father who needs a kidney transplant, and Annaleigh Ashford as Gina, Drew’s quirky kidney donor and former high school friend.

Starring along with them is the multi-talented Kether Donohue as Gabby, Gina’s best friend with many jobs who loves to party, Sara Rue as Julia, Drew’s ex-wife, and Izzy G. as Maddie, Drew and Julia’s daughter.

Terrence Terrell plays the character Eli, a retired football player with high energy who befriends Drew during dialysis. 

Terrell is an Emmy Award-winning actor best known for his roles on Modern Family, Giants, and Criminal Minds.

He is also the author of the critically acclaimed books Blacky and The SHES.

BGN was able to speak with Terrell about his role as Eli, his favorite show moments and the greater meaning behind the show’s focus on kidney transplants and healthcare. Terrell shed a bright light of the importance of B Positive’s message and how Eli brings something truly special to the cast.

Terell’s Favorite Part about Playing Eli

“He’s the part of you that you don’t like to show, like the part that brags and looks in the mirror like, ‘Yeah, I look good, this outfit is gonna kill ’em.’ So, Eli, with his confidence and his arrogance — I can do it on camera and not be judged for it. He’s a Superbowl superstar — he’s that part of you that you just don’t like to show, but everyone has an ego-type thing.”

Terrell Explains His Personality Compared to Eli’s

“I think that we have some similarities because he’s very caring and his personality will come out even more to show the care inside of him. 

“He’ll be a little bit more mindful as the season goes on. So, I feel like Eli is a part of me in terms of his vulnerability and how he’s very caring, but also the part of me right before you run a race and you have to psych yourself up, like, let’s go, let’s go, let’s go! He’s my alter ego in real life.

“My full name is Terrence Terrell Davis, but I go by Terrence Terrell, because that’s going toward my alter ego, so Eli is like my alter ego.” 

Terrell on What Makes Eli a Good Friend to Drew

“He’s a good friend to Drew because, in his past, I feel like Eli has had to climb his way up through a lot of different things in his life, so Drew reminds Eli of his younger self. So, he’s like the little brother that he never had. Eli is looking out for Drew, and like I said, as the season progresses, episodes 8–9, you really see Eli taking Drew by the hand and trying to lead him a bit more. He really is the big brother that Drew never had.”

Terrell Explains Why It’s Hard for Eli to Be Unable to Play Football

“Football is a very aggressive sport. When football players get hurt, and I have a lot of friends who are actually professional football players, when they get hurt, a lot of times you don’t see on the sidelines that they’ll get a shot. They’ll get a needle, shoot them up, and they go right back out. 

“So, even now, a lot of them, even though they’re retired, have to get steroid shots in their sides and different things for injuries.

“Eli can’t go back to playing football because of health reasons and with dialysis. There are a lot of things I’m learning on this show, even when you get a kidney transplant, the kidney literally has a warranty to it. 

“It can last maybe the rest of your life or 5 to 6 years, or less, depending on your lifestyle. So, for Eli to actually live and continue to be healthy when he gets the kidney transplant or whatever goes on, he’s going to have to take extra, extra care because putting the helmet on is not going to do the same thing for him.”

Terrell on the Importance of B Positive’s Focus on Kidney Health and Transplants

“Hopefully we inform a lot of audience members so that we can actually get more information on kidney donations or just organ donations. You know, just by checking that little box on your driver’s license, some people are scared that if they check it [and get into an accident,] no one will try to save them because they’re an organ donor. 

“In the South, that’s the joke. People will be like, ‘Don’t check the box — if you do, they won’t save you.’ So, I feel like this show is going to open up so many doors to look more into educating yourselves and anyone around you about organ donation.” 

Terrell Shares His Favorite Episode So Far

“The favorite episode right now? So many good things coming up, I’m trying not to give away too much.

“My favorite episode now would have to be Episode 8. I believe this is the one when we actually get out of dialysis and we get to go into Drew’s world and to his house, so there are going to be a lot of vulnerable moments and we’re going to get even closer in Episode 8.” 

Terrell’s Final Thoughts for BGN

“Once again, the show is entertaining, but at the same time, it’s going to educate you and anybody around you to just look into helping and reaching out and being understanding of all that is happening today and really just trying to look out for one another. 

“If you can help somebody in a little way, even if it’s just checking on them, especially during these times, or educate yourself, and see if you’re a match with someone for a kidney donation.”

Season 1, Episodes 1-6 of B Positive can be streamed on CBS All Access for free. More episodes will be released later on in 2021. 

In the meantime, it’s a good time to catch Terrell as Eli and begin learning more about the importance of kidney donation while having some entertaining laughs with this playful cast of characters.

A cartoon seldom has the power to evoke such powerful ethos and emotion all while simultaneously making us laugh and contemplate social constructs.

However, Adventure Time was the catalyst for more groundbreaking cartoons to emerge with a newfound depth. It’s not just a show for entertainment — it’s an experience that continues to ignite imagination and boundless ambition. 

Shows like Steven Universe, Infinity Train, Hilda, OK K.O.! Let’s Be Heroes, Avatar: The Last Airbender, and more have changed the way that people consume cartoon media and added a unique kind of soul that few shows have ever achieved. They push boundaries and tap into notions that challenge societal norms in ways that both children and adults can identify with.

So, when viewers were treated to the announcement of Adventure Time: Distant Lands with some exclusive teasers during last year’s Comic-Con@Home and then blessed with the first two episodes airing later in 2020, there was a lot to talk about.

Specifically, with Adventure Time: Distant Lands‘ second episode, “Obsidian.” 

Already such beloved characters in Adventure Time, Princess Bubblegum and Marceline have established an incredibly passionate and devoted fan base both as their characters and in real life. Olivia Olson (Marceline) and Heidi Hynden Walch (Princess Bubblegum) have had people gushing for years, particularly with their adorable dating history and complicated, yet amazing relationship. With Olson’s sultry and rich emo vampire tunes to Hynden’s genius yet often chaotic portrayal of everyone’s sweetest princess, the two have always had the makings of a power couple.

While fans were given some hints and showrunners clued everyone in that the two used to date, their romantic relationship is finally explored on HBO MAX, as Cartoon Network may have found the depiction of a gay relationship a little too provocative for kids.

Fortunately for audiences, HBO MAX delved into the beauty and complexity of their relationship with a phenomenal episode full of new story, resonating music, and some totally dote-worthy moments.

Themes of Monstrosity 

This hour-long special embarks on a deep-dive adventure through more of Marceline’s past and the complications within her relationship with not only Princess Bubblegum, but also with her ability to express and receive love in general. The trauma of Marceline’s life is examined throughout the original series, with many flashbacks and references to her past with Ice King and even her mother.

However, there were still several gaps in her past that viewers looked forward to uncovering. “Obsidian” delves into some of Marceline’s darkest memories and why certain conflicts with Bubblegum are heightened by her own unresolved emotional neglect. The show has historically handled issues of mental health very well, and this episode only continues that successful track record. 

This episode also explores Marceline’s struggle to come to terms with herself as a vampire who appears to be stronger than she actually is. When audiences add her intersectional identity as a vampire, part Black human, and an orphan, it’s clear to see that she is still in the process of healing.

Her supernatural powers help to provide her with the persona of “being okay,” when her past creates an overwhelming vulnerability that Bubblegum seems to be one of the few people to see. “Obsidian” illustrates how relationships can become complicated and even toxic when people attempt to walk away from psychological scars rather than working with themselves and their partner to resolve them and support one another.

Both Marceline and Bubblegum try to hide their insecurities. Marceline doesn’t want to be honest and open because she is terrified of losing Bubblegum the way she lost many people that she’s loved. Bubblegum struggles to admit that she’s jealous of Marceline and wishes she could impress and connect with people the same way. Often finding leadership challenging, Bonny just wants to feel valuable. They are simultaneously determined to conceal what they view as monstrous qualities inside of them, but the show expresses that having emotional complexity and trauma doesn’t make someone a monster — it makes them real.

The episode also dispels the false glorification of perfection through the shattered character Glass Boy. Growing up in the Glass Kingdom, it’s viewed as ugly, disabled, and grotesque to be shattered or scratched. However, the episode concludes that everyone is in fact shattered in different and unique ways, and it should be embraced. Fans learn that Glass Boy isn’t the only shattered one, but he was the only one brave enough to show his flaws. This highlights the way in which people spend so much time and energy trying to achieve the image of stability, and even superiority, to alleviate their own internal suffering and self-destructive thoughts.

Basically, this episode is great medicine for the mind on top of some very funny and exciting moments. It’s real, it’s raw, and it’s gold. It reminds us that we can go through life hiding ourselves and feeling lonely, or we can come to terms with our flaws and process our trauma. 

Marceline and Bubblegum don’t magically resolve all of their problems, but they take the first steps to talk about them and face their own feelings of monstrosity. 

Sexuality and Romance

Following the events of Adventure Time, fans learn that Marceline and Bubblegum are together again, but it’s not all roses and daisies. While they seem to be in a more honest place, there are things that Marceline isn’t comfortable sharing with Bubblegum and vice versa.

The mission to save the Glass Kingdom again brings back difficult memories for both of them as they recall their painful breakup and some triggers from the past. The couple reverts back to their previous coping mechanisms and are torn apart. “Obsidian” thoughtfully explores how couples are often thrown back into old bad habits when unexpected triggers come into play.

Although both are stubborn, taking time apart to think helps both of them to understand the source of their frustrations. It’s apparent that they both face trepidation when it comes to admitting that they are at fault in different ways. This moment reflects that often painful process of growing and changing for the better.

The show doesn’t over-accentuate them being two women in a romantic relationship, which is refreshing. It’s not about them being gay, it’s about them as two people navigating their lives together. With that said, the HBO version doesn’t leave us hanging when it comes to the romance either. Not only do we get a heartbreakingly wonderful and hauntingly beautiful song from Olson but we are also graced with an adorable (and long awaited) kiss between Marceline and Bubblegum. It’s a moment that solidifies the fact that it should be okay to normalize same sex, trans, and non-binary relationships everywhere, including cartoons. 

From the iconic fan cosplays and artwork to the heated Marceline and Bubblegum debates and discussions, it was a moment for the TV history books and it was amazing.

“Obsidian” is the most recent episode of Adventure Time: Distant Lands on HBO MAX. Fans are eagerly awaiting the announcement of their next adventure.