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Why Series Like 'A Black Lady Sketch Show' Are So Needed

A Black Lady Sketch Show is shifting the narrative around black womanhood and what we are capable of creating.

Culture & Entertainment

Television plays an important part in how we see ourselves. We love to feel seen through our favorite characters and we hold them near and dear to our hearts, but we don't often stop to consider how WHERE we're feeling "seen" on TV impacts us.

Thanks to the debut of the Robin Thede-created and Issa Rae-produced A Black Lady Sketch Show (and other contemporary television shows with Black leading ladies), we are receiving some much-needed representation for Black women and girls outside of the reality TV realm. The sketch comedy show, written by a team of Black women, takes an if-you-know-you-know approach to comedy by refusing to explain jokes for an audience that the jokes weren't intended for. In starring roles, Robin Thede (who also writes and produces the show), Quinta Brunson, Ashley Nicole Black, and Gabrielle Dennis take the lead week-to-week in various skits.

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The hit series is also packed with cameos from some of the biggest Black actresses in the world (like Angela Bassett, Laverne Cox, Kelly Rowland, and Nicole Byer), displaying a type of silly humor we aren't used to seeing from them. And as of this week, A Black Lady Sketch Show has been renewed for a second season by HBO! What makes the show's existence even more refreshing is that for a while there was quite the black-girl drought on scripted television series.

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From a young age, I was able to turn on my TV and immediately feel represented due to shows like That's So Raven, Moesha, and Sister, Sister. These shows featured regular Black girls being just that - regular Black girls. The shows didn't center around race, and the characters portrayed weren't based in racist stereotypes. It was a great time to be a little Black girl in her formative years, but as I became a teenager, shows like these all but disappeared from the small screen.

Gone were the days of flipping through channels and seeing Black girls who both looked and acted like me. Gone were the days of seeing Black girls living normal teenage lives with their Black friends having a good Black-ass time.

Gradually, we were being shifted into a new era of television; one where the only place I could find Black women on TV was reality TV. While Black women like Tiffany Pollard are ICONIC in their own right, for an impressionable teenage Black girl to only be able to see herself on TV in "real" characters like Natalie Nunn and Tiffany Pollard was detrimental.

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Around the time of this black-girl drought, I was attending a mostly white middle school in an even whiter program. They regularly conflated me with the stereotypes of Black women they were seeing on TV. They told me I reminded them of New York (because what other negresses have we seen?) They decided they'd call me "Shaniqua" instead of my actual name, and they regularly treated me like I was scary and aggressive.

While I knew who I was at my core, being around white people all the time and also not being able to see healthy black girl representation on TV took a toll on my teenage psyche.

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A Black Lady Sketch Show is shifting the narrative around black womanhood and what we are capable of creating.

Aside from being outstandingly well-done, it shows little black girls that we don't have to be confined to whatever box non-black show creators put us in. We can create our own shows, and take back the narrative of what black womanhood looks like. Black womanhood can look like my personal favorite sketch from the premier, Hertep, or it can look like Bad Bitches who need a Bad Bitch Support Group!

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The existence of this show means we finally get to display as many facets as we actually have.

It means expanded opportunities for other black creators to get their shot. We deserve choices the same way white people have choices in what type of content they'd like to consume. We should have never been banished to The Land of Reality Television, and it is amazing to see Black women taking it upon themselves to make sure that never happens again.

Black women deserve to be able to watch reality TV, scripted series, sketch shows and everything in between and see themselves accurately represented. As Chimamanda Ngozi Adichie says, "The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story."

Featured image by Amy Sussman/Getty Images

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You may not know her by Elisabeth Ovesen – writer and host of the love, sex and relationships advice podcast Asking for a Friend. But you definitely know her other alter ego, Karrine Steffans, the New York Times best-selling author who lit up the literary and entertainment world when she released what she called a “tell some” memoir, Confessions of a Video Vixen.

Her 2005 barn-burning book gave an inside look at the seemingly glamorous world of being a video vixen in the ‘90s and early 2000s, and exposed the industry’s culture of abuse, intimidation, and misogyny years before the Me Too Movement hit the mainstream. Her follow-up books, The Vixen Diaries (2007) and The Vixen Manual: How To Find, Seduce And Keep The Man You Want (2009) all topped the New York Times best-seller list. After a long social media break, she's back. xoNecole caught up with Ovesen about the impact of her groundbreaking book, what life is like for her now, and why she was never “before her time”– everyone else was just late to the revolution.

xoNecole: Tell me about your new podcast Asking for a Friend with Elisabeth Ovesen and how that came about.

Elisabeth Ovesen: I have a friend who is over [at Blavity] and he just asked me if I wanted to do something with him. And that's just kinda how it happened. It wasn't like some big master plan. Somebody over there was like, “Hey, we need content. We want to do this podcast. Can you do it?” And I was like, “Sure.” And that's that. That was around the holidays and so we started working on it.

xoNecole: Your life and work seem incredibly different from when you first broke out on the scene. Can you talk a bit about the change in your career and how your life is now?

EO: Not that different. I mean my life is very different, of course, but my work isn't really that different. My life is different, of course, because I'm 43. My career started when I was in my 20s, so we're looking at almost 20 years since the beginning of my career. So, naturally life has changed a lot since then.

I don’t think my career has changed a whole lot – not as far as my writing is concerned, and my stream of consciousness with my writing, and my concerns and the subject matter hasn’t changed much. I've always written about interpersonal relationships, sexual shame, male ego fragility, respectability politics – things like that. I always put myself in the center of that to make those points, which I think were greatly missed when I first started writing. I think that society has changed quite a bit. People are more aware. People tell me a lot that I have always been “before my time.” I was writing about things before other people were talking about that; I was concerned about things before my generation seemed to be concerned about things. I wasn't “before my time.” I think it just seems that way to people who are late to the revolution, you know what I mean?

I retired from publishing in 2015, which was always the plan to do 10 years and retire. I was retired from my pen name and just from the business in general in 2015, I could focus on my business, my education and other things, my family. I came back to writing in 2020 over at Medium. The same friend that got me into the podcast, actually as the vice president of content over at Medium and was like, “Hey, we need some content.” I guess I’m his go-to content creator.

xoNecole: Can you expound on why you went back to your birth name versus your stage name?

EO: No, it was nothing to expound upon. I mean, writers have pen names. That’s like asking Diddy, why did he go by Sean? I didn't go back. I've always used that. Nobody was paying attention. I've never not been myself. Karrine Steffans wrote a certain kind of book for a certain kind of audience. She was invented for the urban audience, particularly. She was never meant to live more than 10 years. I have other pen names as well. I write under several names. So, the other ones are just nobody's business right now. Different pen names write different things. And Elisabeth isn’t my real name either. So you'll never know who I really am and you’ll never know what my real name is, because part of being a writer is, for me at least, keeping some sort of anonymity. Anything I do in entertainment is going to amass quite a bit because who I am as a person in my private life isn't the same a lot of times as who I am publicly.

xoNecole: I want to go back to when you published Confessions of a Video Vixen. We are now in this time where people are reevaluating how the media mistreated women in the spotlight in the 2000s, namely women like Britney Spears. So I’d be interested to hear how you feel about that period of your life and how you were treated by the media?

EO: What I said earlier. I think that much of society has evolved quite a bit. When you look back at that time, it was actually shocking how old-fashioned the thinking still was. How women were still treated and how they're still treated now. I mean, it hasn't changed completely. I think that especially for the audience, I think it was shocking for them to see a woman – a woman of color – not be sexually ashamed.

I hate being like other people. I don't want to do what anyone else is doing. I can't conform. I will not conform. I think in 2005 when Confessions was published, that attitude, especially about sex, was very upsetting. Number one, it was upsetting to the men, especially within urban and hip-hop culture, which is built on misogyny and thrives off of it to this day. And the women who protect these men, I think, you know, addressing a demographic that is rooted in trauma that is rooted in sexual shame, trauma, slavery of all kinds, including slavery of the mind – I think it triggered a lot of people to see a Black woman be free in this way.

I think it said a lot about the people who were upset by it. And then there were some in “crossover media,” a lot of white folks were upset too, not gonna lie. But to see it from Black women – Tyra Banks was really upset [when she interviewed me about Confessions in 2005]. Oprah wasn't mad [when she interviewed me]. As long as Oprah wasn’t mad, I was good. I didn't care what anybody else had to say. Oprah was amazing. So, watching Black women defend men, and Black women who had a platform, defend the sexual blackmailing of men: “If you don't do this with me, you won't get this job”; “If you don't do this in my trailer, you're going to have to leave the set”– these are things that I dealt with.

I just happened to be the kind of woman who, because I was a single mother raising my child all by myself and never got any help at all – which I still don't. Like, I'm 24 in college – not a cheap college either – one of the best colleges in the country, and I'm still taking care of him all by myself as a 21-year-old, 20-year-old, young, single mother with no family and no support – I wasn’t about to say no to something that could help me feed my son for a month or two or three.

xoNecole: We are in this post-Me Too climate where women in Hollywood have come forward to talk about the powerful men who have abused them. In the music industry in particular, it seems nearly impossible for any substantive change or movement to take place within music. It's only now after three decades of allegations that R. Kelly has finally been convicted and other men like Russell Simmons continue to roam free despite the multiple allegations against him. Why do you think it's hard for the music industry to face its reckoning?

EO: That's not the music industry, that's urban music. That’s just Black folks who make music and nobody cares about that. That's the thing; nobody cares...Nobody cares. It's not the music industry. It's just an "urban" thing. And when I say "urban," I say that in quotations. Literally, it’s a Black thing, where nobody gives a shit what Black people do to Black people. And Russell didn't go on unchecked, he just had enough money to keep it quiet. But you know, anytime you're dealing with Black women being disrespected, especially by Black men, nobody gives a shit.

And Black people don't police themselves so it doesn't matter. Why should anybody care? And Black women don't care. They'll buy an R. Kelly album right now. They’ll stream that shit right now. They don’t care. So, nobody cares. Nobody cares. And if you're not going to police yourself, then nobody's ever going to care.

xoNecole: Do you have any regrets about anything you wrote or perhaps something you may have omitted?

EO: Absolutely not. No. There's nothing that I wish I would've gone back and said to myself, no. I don’t think at 20-something years old, I'm supposed to understand every little thing. I don't think the 20-something-year-old woman is supposed to understand the world and know exactly what she's doing. I think that one of my biggest regrets, which isn't my regret, but a regret, is that I didn't have better parents. Because a 20-something only knows what she knows based on what she’s seen and what she’s been taught and what she’s told. I had shitty parents and a horrible family. Just terrible. These people had no business having children. None of them. And a lot of our families are like that. And we may pass down those familial curses.

*This interview has been edited and condensed

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Feature image courtesy of Elisabeth Ovesen

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