
The first time I heard about the "Mo'Nique Boycotting Netflix" issue was in the car on the way to work. Charlamagne Thagod from The Breakfast Club was giving her Donkey of the Day.
In typical Charlamagne fashion, he wasn't just talking about the situation, he went in. He pretty much called Mo'Nique a joke. Even going as far to pull in clips from her Sway in the Morning interview. He called her delusional for saying that she was the most decorated comedian alive, ending it by saying that you're only as valuable as your current market value.
What Charlamagne failed to point out is that Mo'Nique is the only female comedian that has have similar careers like our legendary male comedians, i.e. Steve Harvey, Martin Lawrence, and Kevin Hart. Mo'Nique has had a hit sitcom on the UPN, a hit talk show on BET, movies, and many successful comedy tours.
When I got in the office, the first thing I did was listen to the Sway in the Morning interview. In the interview, Mo'Nique walks us through the timeline and details with Netflix. She explained how Netflix reached out to her and asked if their representatives could come see her show. Three representatives saw the show and all of them loved it. Netflix then came to her with an offer of $500.000.
Now, I don't pretend to know anything about comedian pay days, but coming from Netflix, $500,000 seemed extremely low. Especially after the offers of $40 million for Chris Rock, $60 million for Dave Chappelle, $100 million for Jerry Seinfeld, and $11 million for Amy Schumer. Taken aback by the offer, Mo'Nique and her husband went back to Netflix to show them proof of her international reach. Still, Netflix didn't budge on the offer and instead gave her a ridiculous excuse that they didn't go off resumes. Instead, they based their offers based on anticipation.
I'm just going to put it out there that I damn sure wasn't looking for a Jerry Seinfeld or Amy Schumer special.
Anyway, with her back against the wall, she brought up Amy Schumer and her $11 million payout. It's no secret that Amy Schumer pushed back on Netflix and demanded a larger salary. She did this simply on the strength of how much Dave Chappelle and Chris Rock was offered. The gag of it all is the special turned out to be trash and not worth the investment.
Later that night, I'm strolling up Twitter. I run across a video of Mo'Nique in front of her award case. (She has receipts.) She breaks down the box office numbers from Amy Schumer's budget for Snatch, which was $42 Million and grossed $45 million, making a mere $3 million profit. Whereas her film Precious had abudget of $10 million and grossed $47 million, making a profit of $37 million. The film was also nominated for six Academy Awards in which Mo'Nique won Best Supporting Actress.
See, I grew up with The Parkers on television. Being a heavier girl with a dream of acting, it was seeing Mo'Nique and Countess on the screen that gave me hope. It was Mo'Nique who gave me confidence in my body. She made it cool to say, "skinny bitches are evil." And even if you're not a fan of the fat girl jokes, Mo'Nique still has done things to push our culture forward.
Instead of rallying behind someone who has given their career to us, we laugh. We say that she should be humble and change her approach.
It seems every time someone attempts to take up for us, we say "Sit Your Ass Down." Yet, we complain about companies saying racist sh*t and just apologizing. Black Twitter will go in an uproar for a week. Then move on to the next topic. We are the only race with the greatest buying power but refuse to use it when it counts. Aren't you tired of this cycle of blatant racism being covered up with a half ass apology?
I would like to think this is just a Mo'Nique issue, but it's not.
In fact, we quickly dismiss anyone who questions the norm.
When Jay-Z announced Tidal, people was talking about how expensive it was, yet we spend hours searching the internet for free content from Tidal.
When Will Smith and Jada Pinkett-Smith called for a boycott of the Oscars for lack of representation everyone said they was only doing it because Will didn't get a nomination that year. Yet, we will watch the Oscars and tweet #OscarsSoWhite.
When Kanye was ranting about how racist the fashion industry was, we told him he had "rich n*gga problems" and to stick to rapping. Yet, we will buy the knockoff Yeezy clothes from Zara and H&M.
At what point is enough going to be enough? When are we going to demand that the industry respect us and our legends? When will we realize that change doesn't come with convenience?
That same energy we have towards Black Panther should be for anybody who's pushing our culture forward. If we don't change the norm now, what happens if Issa pisses off the wrong person? Or Tiffany Haddish? Are we saying it's okay to strip them of everything they have done because they aren't "hot" right now? Nah, f*ck that! If we can root for Shonda Rhimes and Ellen Pompeo to get their money, why can't we stand behind Mo'Nique and demand that Netflix run her money? Or would that be too much like right?
We're at a very pivotal time in our country.
Obama may not be in office but that doesn't mean we can't keep his spirit of change alive. We can continue to push our culture forward, but it has to start from the inside. We must be like Issa Rae and root for everybody black, including Mo'Nique and any other celebrity that dares to question the status quo. It's time we get behind our legends.
We can easily make our presence known and felt. And not just on the Internet as a trending topic. We can hit them where it hurts: their pockets. It's going to be uncomfortable. We may not be able to watch our favorite shows or go to our favorite cheap clothing stores. But that's the price we pay to ensure we're not having this same conversation again in 10 years.
Real change doesn't come with convenience.
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Honest Am is a Detroit-based writer and podcaster. She co-hosts Dear Showrunners and is the creator of the Honestly, Sis newsletter. She prides herself on her knack for finding life lessons in television, movies and celebrity drama. Jay-Z is her godfather and Kanye West is her spirit animal.
Keep up with her on social @AmBee and join the Honesty Circle here!
Claudia Jordan, Demetria McKinney & Jill Marie Jones On 'Games Women Play' & Dating Over 40
What do you get when you mix unfiltered truths, high-stakes romance, and a few well-timed one-liners? You get Games Women Play—the sizzling new stage play by Je’Caryous Johnson that’s part relationship rollercoaster, part grown-woman group chat.
With a powerhouse cast that includes Claudia Jordan, Demetria McKinney, Jill Marie Jones, Carl Payne, Chico Bean, and Brian J. White, the play dives headfirst into the messy, hilarious, and heart-wrenching games people play for love, power, and peace of mind. And the women leading this story? They’re bringing their whole selves to the stage—and leaving nothing behind.
From Script to Spotlight
The road to Games Women Play started over 20 years ago—literally.
“This script was written 20 years ago,” Jill Marie Jones said with a smile. “It was originally called Men, Money & Gold Diggers, and I was in the film version. So when Je’Caryous called me to bring it to the stage, I was like, ‘Let’s go.’” Now reimagined for 2025, the play is updated with sharp dialogue and modern relationship dynamics that feel all too real.
Demetria McKinney, no stranger to Je’Caryous Johnson’s productions, jumped at the opportunity to join the cast once again. “This is my third time working with him,” she shared. “It was an opportunity to stretch. I’d never been directed by Carl Payne before, and the chance to work with talent I admire—Jill, Claudia, Chico—it was a no-brainer.”
Claudia Jordan joked that she originally saw the role as just another check. “I didn’t take it that seriously at first,” she admitted. “But this is my first full-on tour—and now I’ve got a whole new respect for how hard people work in theater. This ain’t easy.”
Modern Love, Stage Left
The play doesn’t hold back when it comes to the messier parts of love. One jaw-dropping moment comes when a live podcast proposal flips into a prenup bombshell—leaving the audience (and the characters) gasping.
Demetria broke it down with honesty. “People don’t ask the real questions when they date. Like, ‘Do you want kids? How do you feel about money?’ These convos aren’t happening, and then everyone’s confused. That moment in the play—it’s real. That happens all the time.”
Jill chimed in, noting how the play speaks to emotional disconnect. “We’re giving each other different tokens of love. Men might offer security and money. Women, we’re giving our hearts. But there’s a disconnect—and that’s where things fall apart.”
And then Claudia, of course, took it all the way there. “These men don’t even want to sign our prenups now!” she laughed. “They want to live the soft life, too. Wearing units, gloss, getting their brows done. We can’t have nothing! Y’all want to be like us? Then get a damn period and go through menopause.”
Dating Over 40: “You Better Come Correct”
When the conversation turned to real-life relationships, all three women lit up. Their experiences dating in their 40s and 50s have given them both clarity—and zero tolerance for games.
“I feel sexier than I’ve ever felt,” said Jill, who proudly turned 50 in January. “I say what I want. I mean what I say. I’m inside my woman, and I’m not apologizing for it.”
Demetria added that dating now comes with deeper self-awareness. “Anybody in my life is there because I want them there. I’ve worked hard to need nobody. But I’m open to love—as long as you keep doing what got me there in the first place.”
For Claudia, the bar is high—and the peace is priceless. “I’ve worked hard for my peace,” she said. “I’m not dating for food. I’m dating because I want to spend time with you. And honestly, if being with you isn’t better than being alone with my candles and fountains and cats? Then no thanks.”
Channeling Strength & Icon Status
Each actress brings something different to the play—but all of them deliver.
“I actually wish I could be messier on stage,” Claudia joked. “But I think about my grandmother—she was born in 1929, couldn’t even vote or buy a house without a man, and didn’t give a damn. She was fearless. That’s where my strength comes from.”
For Jill, the comparisons to her iconic Girlfriends character Toni Childs aren’t far off—but this role gave her a chance to dig deeper. “If you really understood Toni, you’d see how layered she was. And Paisley is the same—misunderstood, but strong. There’s more to her than people see at first glance.”
Demetria, who juggles singing and acting seamlessly, shared that live theater pushes her in a new way. “Every moment on stage counts. You can’t redo anything. It’s a different kind of love and discipline. You have to give the performance away—live, in the moment—and trust that it lands.”
Laughter, Lessons & Black Girl Gems
The show has plenty of laugh-out-loud moments—and the cast isn’t shy about who steals scenes.
“Chico Bean gets a lot of gasps and laughs,” Claudia said. “And Naomi Booker? Every scene she’s in—she’s hilarious.”
But the play isn’t just about humor. It leaves space for reflection—especially for Black women.
“I hope we get back to the foundation of love and communication,” said Demetria. “A lot of us are in protector mode. But that’s turned into survival mode. We’ve lost softness. We’ve lost connection.”
Claudia agreed. “We’re doing it all—but it’s not because we want to be strong all the time. It’s because we have to be. And I just want women to know: You can have peace, you can be soft. But stop bringing your old pain into new love. Don’t let past heartbreak build walls so high that the right person can’t climb over.”
Final Act: Pack the House
If there’s one thing this cast agrees on, it’s that this play isn’t just entertainment—it’s necessary.
“Atlanta is the Black entertainment hub,” Claudia said. “We need y’all to show up for this play. Support the arts. Support each other. Because when we pack the house, we make space for more stories like this.”
Games Women Play is more than a play—it’s a mirror. You’ll see yourself, your friends, your exes, and maybe even your next chapter. So get ready to laugh, reflect, and maybe even heal—because the games are on.
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It’s officially Miss Keri, Baby season again—and if you ask us, it’s been a long time coming. After 15 years away from the music scene, Keri Hilson has returned not only with a brand-new album, but also a captivating new role in Lifetime’s Fame—the latest installment in The Temptations film franchise.
Between the album We Need to Talk: Love and her leading role in Fame, this isn’t just a comeback—it’s a rebirth. The Grammy-nominated singer-songwriter turned actress is letting us into her world like never before, unpacking themes of vulnerability, healing, and inner strength with grace, grit, and raw artistry.
Now streaming on Lifetime, Fame follows two superstar sisters—played by Keri and singer/actress Keshia Chanté—as they navigate the cost of stardom, sibling rivalry, and the dark side of desire. The film also stars Romeo Miller, Ecstasia Sanders, Nathan Witte, and Sophie Carriere, and is executive produced by Derrick Williams and Adriane Hopper Williams of the Seven Deadly Sins franchise.
As for the music? We Need to Talk: Love is a three-part album (Love, Drama, Redemption) that tells the story of a woman who’s been through it—and has risen from the ashes. “It was time to speak for myself,” Keri says.
We sat down with Keri to talk about her return to music, her passion for acting, the emotional depth of Fame, and how she’s learning to care for herself amidst the chaos.
From R&B Queen to Drama Star: Keri Gets Into Character
“Even though she’s famous—as am I—it was really her humanity that I wanted to portray.”
Keri plays Cherish, one half of a superstar sibling duo who must confront their fractured relationship in the wake of a traumatic robbery. For Keri, the role was more than a character—it was a psychological study.
“I enjoy departures from reality. That’s why I love acting,” she shares. “Psychology is one of my favorite things in life. I became a writer because I’m an observer of human nature, emotion, and behavior. I think I did a good job showing her humanity.”
The Fame Isn’t Always Worth the Price
“Keep the main thing the main thing.”
Keri doesn’t sugarcoat the industry. When asked about what Fame reveals about the dark side of celebrity culture, her answer is clear:
“It’s a cautionary tale. It reminds you to keep your family close and not allow anything to come between them—especially in pursuit of success. Keep the main thing the main thing. For me, that’s family, love, spirituality, and values.”
Three Chapters, One Story: Love. Drama. Redemption.
“I’ve shed the fear. It was time to tell my own story.”
Released April 18th, We Need to Talk: Love is Keri’s first album in 15 years—and a deeply personal one at that. The three-part project (Love, Drama, Redemption) represents a timeline of healing and growth.
“I’m finally in a place where I’m able and willing to open up more,” she says. “For a while, I became really guarded—shell-shocked, even—after making mistakes in the public eye. Whether it’s all your fault or not, the scrutiny takes its toll. But now, I’ve shed that fear. It’s time to tell my story.”
Cooking, Walks, and Recalibrating in the Chaos
“I’m not doing the best job—but I’m doing what I can.”
Between eight-hour rehearsals, press runs, and music releases, Hilson admits she hasn’t quite figured out the balance yet—but she’s trying. For her, the key is carving out small rituals of normalcy.
“I enjoy cooking. That’s my sanctity,” she says. “I’ll go home, take my makeup off, put on my rehearsal clothes, and cook a meal. I take walks. I run. These little things help me feel like myself again.”
Art Imitates Life (and Album Tracklists)
“Cherish goes from Love… to Drama… to Redemption.”
Asked which album chapter her Fame character would fall into, Keri doesn’t hesitate. “She fits into all three,” she says. “You see her go from love, to drama, to redemption. That arc mirrors the journey of so many women who’ve had to navigate pain and find their way back to themselves.”
No Pressure, Just Art: Keri Wants You to Feel Something
“Just enjoy the art. That’s it.”
After all the time, patience, and healing, Keri isn’t asking for much. She just wants fans to press play—and feel something.
“I just want people to enjoy what they’re seeing and hearing. Enjoy me on screen. Enjoy me through their ears. People have waited, and I feel blessed by that. That helps me keep it all pure and simple.”
As Keri Hilson steps boldly back into the spotlight, it’s clear this era is all about alignment, artistry, and authenticity. With Fame airing on Lifetime and the first chapter of We Need to Talk: Love setting the tone, we’re more than excited to see what’s next.
As she continues to unfold the album’s next two chapters—Drama and Redemption—one thing’s for sure: this isn’t just a comeback. It’s a reintroduction. And we’ll be watching, listening, and cheering her on every step of the way.
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