For many newly engaged couples, the euphoria of their engagement is quickly replaced by the stress and chaos of wedding planning. For writer Ashley Reese and her new husband Robert Stengel, the anxiety around planning their recent nuptials was only intensified by having just a week to plan and execute it.
“That’s still something I’m really shocked by,” Reese tells xoNecole as she continues to try and wrap her head around the events that preceded the beautiful day.
The Brooklyn-based couple’s short notice matrimonies came after a tumultuous few years for them that started back in 2019, when Stengel began experiencing stomach issues. “We had just come back from a trip to Hong Kong and he had some symptoms like bloating and GI stuff,” Reese recalls. After weeks of medical testing, Stengel received a diagnosis of peritoneal mesothelioma, a rare cancer that only about 300 to 500 people are declared to have every year.
For Reese, who at the time wrote for the feminist publication Jezebel, and Stengel, who had to put his law school career on hold, their hopes for the future were traded in for a series of uncertainties. “I was 28 at the time and I think when you’re at that age, that’s an age where you think about marriage, you think about settling down, you think about the future,” Reese says. “And for that to be a moment when the future became very uncertain to us – it was very jarring.”
After rounds of chemotherapy, followed by surgery and even more chemo, the future was beginning to look bright for the couple. Stengel went into remission just as parts of the country locked down in response to the pandemic. “I remember people in 2020 being like ‘2020 is like the worst year of my life; I didn’t think anything could get worse than this,’ and I’m like, yeah my shit time started in 2019,” Reese said. “The pandemic was like a walk in the park compared to dealing with the fact that your partner has very fatal cancer.”
Life was beginning to look hopeful for the couple again. Stengel started law school and Reese started a new job at Netflix. Things were going well until earlier this year in April when Reese and Stengel were told that the cancer had returned. “That was scary but we were told that they would try immunotherapy which was a newer kind of a treatment option that wasn’t really available to us when he was first diagnosed and they can have high success rates,” Reese said. “I was really hopeful.”
Reese described the situation as going downhill around May. Stengel’s illness progressed rapidly, prohibiting him from keeping food down causing him to lose a lot of weight in a short amount of time. He was hospitalized for weeks on end. This was also around the time that Reese learned she was one of the many people who were laid off from Netflix. She got the news just as she entered the doors of the cancer hospital. “It’s one thing to deal with cancer, it’s another thing to deal with cancer and also losing your job,” she said.
Losing her job meant losing her and Stengel’s health insurance. In a small turn in fortune, they were able to secure the money they needed for Stengel’s further treatment after strangers helped Stengel’s GoFundMe exceed its goal. The relief that provided only made room for the rough summer they had. “He couldn’t eat certain foods, we had to do like feeding tubes. A lot of his medicines had to be put [in] through syringe,” Reese said. “You kind of turn into a nurse overnight.”
Ashley and Robert with their community on their wedding day
Sylvie Rosokoff
On October 7th, Reese said Stengel sat her down after months of ongoing treatment. “He had the kind of ‘manage your expectations’ talk with his team,” Reese said. Stengel decided to pivot from treatment to palliative care, meaning he had chosen to live the remainder of his days under hospice care.
Reese said it was that same day that Stengel decided to call Reese’s parents to ask for Reese’s hand in marriage. A day later, Reese said that she told Stengel “let’s get married – next week.”
“He was given weeks or months,” Reese says. She told him: “I don’t want to take a gamble on waiting like a couple of weeks or months to get married, let’s get married ASAP.”
Ashley Reese
Sylvie Rosokoff
With just a week to pull together a ceremony in their backyard, Reese sent out a mass text to as many of her close friends as she could. “I was like, ‘Hey are you going to be in town on the 16th? We think we’re going to get married,’” Reese texted. To Reese’s pleasant surprise, not only were many of her close friends available to attend, they also began to volunteer to help pull the wedding off. Friends of both Reese and Stengel began offering to pay for photographers, invitations, floral arrangements, and furniture. “People were coming out the wood work being like, ‘I will clean your apartment,’”Reese said.
In just a matter of days, Reese’s dream of a wedding materialized. “It was really a community effort, something that I would not have been able to pull this off in a week,” Reese said. “I had this very nebulous thought of how things would go.”
On the day of the wedding, which Reese described as being a bit “chaotic” due to her lack of sleep, all the communal efforts came together to make a beautiful day for her and her soon-to-be husband. “After getting my makeup done, I see the house completely transformed, the backyard completely transformed,” Reese said. “It was just simply beautiful.”
Reese said her friend, writer Zeba Blay, said something to the effect of: “Look at these people we know through all these different walks of life – from schools, neighbors, work. People we just met through our journey as a couple.” She continued: “She’s like ‘look around at all the people who are here to celebrate you from different backgrounds, races, religions.” Reese joked, “It looked like the fucking UN in there.”
Might as well post this here too, but for folks who wanted to know how our wedding came together in one week, here it is ❤️ pic.twitter.com/gP0k8pOXFv
— Ashley Reese (@offbeatorbit) October 27, 2022
A week after the wedding, Reese posted a video of the day to both her Twitter and Tik Tok, both going viral on their respective platforms, with strangers around the world celebrating their love story. But even with all of the joy and love, there’s still sadness. “I’m worried about the post-wedding high dwindling and I’m left with this reality that my now husband is dying,” Reese said. While the wedding was a beautiful day of celebration, it also in many ways felt like a goodbye between her and Stengel, she said.
Despite the tragedy of slowly losing him, Reese and Stengel’s community rallied behind them in their time of need. “You don’t get to that overnight,” She says. “You get to that by fostering community and being there for each other. As much as people were there for me, I will be there for those same people.”
You can donate to Ashley and Rob’s GoFundMe here.
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Amber Riley has the type of laugh that sticks with you long after the raspy, rhythmic sounds have ceased. It punctuates her sentences sometimes, whether she’s giving a chuckle to denote the serious nature of something she just said or throwing her head back in rip-roarious laughter after a joke. She laughs as if she understands the fragility of each minute. She chooses laughter often with the understanding that future joy is not guaranteed.
Credit: Ally Green
The sound of her laughter is rivaled only by her singing voice, an emblem of the past and the future resilience of Black women stretched over a few octaves. On Fox’s Glee, her character Mercedes Jones was portrayed, perhaps unfairly, as the vocal duel to Rachel Berry (Lea Michele), offering rough, full-throated belts behind her co-star’s smooth, pristine vocals. Riley’s always been more than the singer who could deliver a finishing note, though.
Portraying Effie White, she displayed the dynamic emotions of a song such as “And I'm Telling You I'm Not Going” in Dreamgirls on London’s West End without buckling under the historic weight of her predecessors. With her instrument, John Mayer’s “Gravity” became a religious experience, a belted hymnal full of growls and churchy riffs. In her voice, Nicole Scherzinger once said she heard “the power of God.”
Credit: Ally Green
Riley’s voice has been a staple throughout pop culture for nearly 15 years now. Her tone has become so distinguishable that most viewers of Fox’s The Masked Singer recognized the multihyphenate even before it was revealed that she was Harp, the competition-winning, gold-masked figure with an actual harp strapped to her back.
Still, it wasn’t until recently that Riley began to feel like she’d found her voice. This sounds unbelievable. But she’s not referring to the one she uses on stage. She’s referencing the voice that speaks to who she is at her core. “Therapy kind of gave me the training to speak my mind,” the 37-year-old says. “It’s not something we’re taught, especially as Black women. I got so comfortable in [doing so], and I really want other people, especially Black women, to get more comfortable in that space.”
“Therapy kind of gave me the training to speak my mind. It’s not something we’re taught, especially as Black women."
If you ask Riley’s manager, Myisha Brooks, she’ll tell you the foundation of who the multihyphenate is hasn’t changed much since she was a kid growing up in Compton. “She is who she is from when I met her back when she was singing in the front of the church to back when she landed major roles in film and TV,” Brooks says. Time has allowed Riley to grow more comfortable, giving fans a more intimate glimpse into her life, including her mental health journey and the ins and outs of show business.
The actress/singer has been in therapy since 2019, although she suffered from depression and anxiety way before that. In a recent interview with Jason Lee, she recalls having suicidal ideation as a kid. By the time she started seeing a psychologist and taking antidepressants in her thirties, her body had become jittery, a physical reminder of the trauma stacked high inside her. “I was shaking in [my therapist’s] office,” she tells xoNecole. “My fight or flight was on such a high level. I was constantly in survival mode. My heart was beating fast all the time. All I did was sweat.”
There wasn’t just childhood trauma to account for. After auditioning for American Idol and being turned away by producers, Riley began working for Ikea and nearly missed her Glee audition because her car broke down on the highway while en route. Thankfully, Riley had been cast to play Mercedes Jones. American Idol had temporarily convinced her she wasn’t cut out for the entertainment industry, but this was validation that she was right where she belonged. Glee launched in 2009 with the promise of becoming Riley’s big break.
In some ways, it was. The show introduced Riley to millions of fans and catapulted her into major Hollywood circles. But in other ways, it became a reminder of the types of roles Black women, especially those who are plus-sized, are relegated to. Behind the scenes, Riley says she fought for her character "to have a voice" but eventually realized her efforts were useless. "It finally got to a point where I was like, this is not my moment. I'm not who they're choosing, and this is just going to have to be a job for me for now," she says. "And, that's okay because it pays my bills, I still get to be on television, I'm doing more than any other Black plus-sized women that I'm seeing right now on screen."
The actress can recognize now that she was navigating issues associated with trauma and low self-esteem at the time. She now knows that she's long had anxiety and depression and can recognize the ways in which she was triggered by how the cult-like following of the show conflicted with her individual, isolated experiences behind the scenes. But she was in her early '20s back then. She didn't yet have the language or the tools to process how she was feeling.
Riley says she eventually sought out medical intervention. "When you're in Hollywood, and you go to a doctor, they give you pills," she says, sharing a part of her story that she'd never revealed publicly before now. "[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that's not fixing my problem. If anything, it's making it worse."
“[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that’s not fixing my problem. If anything it’s making it worse.”
Credit: Ally Green
At one point, while in her dressing room on set, she rested her arm on a curling iron without realizing it. It wasn't until her makeup artist alerted her that she even realized her skin was burning. Once she noticed, she says she was "so zonked out on pills" that she barely reacted. Speaking today, she holds up her arm and motions towards a scar that remains from the incident. She sought help for her reliance on the pills, but it would still be years before she finally attended therapy.
This stress was only compounded by the trauma of growing up in poverty and the realities of being a "contract worker." "Imagine going from literally one week having to borrow a car to get to set to the next week being on a private jet to New York City," she says. After Glee ended, so did the rides on private planes. The fury of opportunities she expected to follow her appearance on the show failed to materialize. She wasn't even 30 yet, and she was already forced to consider if she'd hit her career peak.
. . .
We’re only four minutes into our Zoom call before Riley delivers her new adage to me. “My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway,” she says.
On this Thursday afternoon in April, the LA-based entertainer is seated inside her closet/dressing room wearing a cerulean blue tank top with matching shorts and eating hot wings. This current phase of healing hinges on balance. It’s about having discipline and consistency, but not at the risk of inflexibility. She was planning to head to the gym, for instance, but she’s still tired from the “exhausting” day before. Instead, she’s spent her day receiving a massage, eating some chicken wings, and planning to spend quality time with friends. “I’m not going to beat myself up for it. I’m not going to talk down to myself. I’m going to eat my chicken wings, and then tomorrow I’m [back] in the gym,” she says.
“My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway."
This is the balance with which she's been approaching much of her life these days. It's why she's worried less about whether or not people see her as someone who is humble. She'd rather be respected. "I think you should be a person that's easy to work with, but in the moments where I have to ruffle feathers and make waves, I'm not shying away from that anymore. You can do it in love, you don't have to be nasty about it, but I had to finally be comfortable with the fact that setting boundaries around my life – in whatever aspect, whether that's personal or business – people are not going to like it. Some people are not going to have nice things to say about you, and you gotta be okay with it," she says.
When Amber talks about the constant humbling of Black women in Hollywood, I think of the entertainers before her who have suffered from this. The brilliant, consistent, overqualified Black women who have spoken of having to fight for opportunities and fair pay. Aretha Franklin. Viola Davis. Tracee Ellis Ross. There's a long list of stars whose success hasn't mirrored their experiences behind the scenes.
Credit: Ally Green
If Black women outside of Hollywood are struggling to decrease the pay gap, so, too, are their wealthier, more famous peers.
Riley says there’s been progress in recent years, but only in small ways and for a limited group of people. “This business is exhausting. The goalpost is constantly moving, and sometimes it’s unfair,” she says. But, I have to say it’s the love that keeps you going.”
“There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman,” she continues. “We’re still niche. We’re still not main characters.”
"There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman. We’re still niche. We’re still not main characters.”
Last year, Riley starred alongside Raven Goodwin in the Lifetime thriller Single Black Female (a modern, diversified take on 1992’s Single White Female). It was more than a leading role for the actress, it also served as proof that someone who looks like her can front a successful project without it hinging on her identity. It showcased that the characters she portrays don’t “have to be about being a big girl. It can just be a regular story.”
Riley sees her work in music as an extension of her efforts to push past the rigid stereotypes in entertainment. Take her appearance on The Masked Singer, for instance. Riley said she decided to perform Mayer’s “Gravity” after being told she couldn’t sing it years earlier. “I wanted to do ‘Gravity’ on Glee. [I] was told no, because that’s not a song that Mercedes would do,” she says. “That was a full circle moment for me, doing that on that show and to hear what it is they had to say.”
As Scherzinger praised the “anointed” performance, a masked Riley began to cry, her chest heaving as she stood on stage, her eyes shielded from view. “You have to understand, I have really big names – casting directors, producers, show creators – that constantly tell me ‘I’m such a big fan. Your talent is unmatched.’ Hire me, then,” she says, reflecting on the moment.
Recently, she’s been in the studio working on original music, the follow-up to her independently-released debut EP, 2020’s Riley. The sequel to songs such as the anthemic “Big Girl Energy” and the reflective ballad “A Moment” on Riley, this new project hones in on the singer’s R&B roots with sensual grooves such as the tentatively titled “All Night.” “You said I wasn’t shit, turns out that I’m the shit. Then you called me a bitch, turns out that I’m that bitch. You said no one would want me, well you should call your homies,” she sings on the tentatively titled “Lately,” a cut about reflecting on a past relationship. From the forthcoming project, xoNecole received five potential tracks. Fans likely already know the strengths and contours of Riley’s vocals, but these new songs are her strongest, most confident offerings as an artist.
“I am so much more comfortable as a writer, and I know who I am as an artist now. I’m evolving as a human being, in general, so I’m way more vulnerable in my music. I’m way more willing to talk about whatever is on my mind. I don’t stop myself from saying what it is I want to say,” she says.
Credit: Ally Green
“Every era and alliteration of Amber, the baseline is ‘Big Girl Energy.’ That’s the name of her company,” her manager Brooks says, referencing the imprint through which Riley releases her music after getting out of a label deal several years ago. “It’s just what she stands for. She’s not just talking about size, it’s in all things. Whether it’s putting your big girl pants on and having to face a boardroom full of executives or sell yourself in front of a casting agent. It’s her trying to achieve the things she wants to do in life.”
Riley says she has big dreams beyond releasing this new music, too. She’d love to star in a rom-com with Winston Duke. She hasn't starred in a biopic yet, but she’d revel in the opportunity to portray Rosetta Tharpe on screen. She’s determined that her previous setbacks won’t stop her from dreaming big.
“I think one of my superpowers is resilience because, at the end of the day, I’m going to kick, scream, cry, cuss, be mad and disappointed, but I’m going to get up and risk having to deal with it all again. It’s worth it for the happy moments,” she says.
If Riley seems more comfortable and confident professionally, it’s because of the work she’s been doing in her personal life.
She’d previously spoken to xoNecole about becoming engaged to a man she discovered in a post on the site, but she called things off last year. For Valentine’s Day, she revealed her new boyfriend publicly. “I decided to post him on Valentine’s Day, partially because I was in the dog house. I got in trouble with him,” she says, half-joking before turning serious. “The breakup was never going to stop me from finding love. Or at least trying. I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness, and you enjoy it and work through it.”
Credit: Ally Green
"I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness and you enjoy it and work through it.”
With her ex, Riley was pretty outspoken about her relationship, even appearing in content for Netflix with him. This time around is different. She’s not hiding her boyfriend of eight months, but she’s more protective of him, especially because he’s a father and isn’t interested in becoming a public figure.
She’s traveling more, too. It’s a deliberate effort on her part to enjoy her money and reject the trauma she’s developed after experiencing poverty in her childhood. “I live in constant fear of being broke. I don’t think you ever don’t remember that trauma or move past that. Now I travel and I’m like, listen, if it goes, it goes. I’m not saying [to] be reckless, but I deserve to enjoy my hard work.”
After everything she’s been through, she certainly deserves to finally let loose a bit. “I have to have a life to live,” she says. “I’ve got to have a life worth fighting for.”
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