

Let's get real honest, sis. I'm a 20-something woman who is too old for the games but still has milk on her tongue when it comes to love.
My experience with dating and relationships hasn't - in the slightest - been linear, but there are patterns that I've uncovered in hindsight. Now that I'm more comfortable in my skin, but out of the blinders of self-denial, I'm able to operate in the dating scene from my center.
My center, however, is full of multitudes and contradictory wants and needs.
Some days, it's raining inside of my womb and I only want someone to experience the storm with me. When the sun is out and our mouths are dried of the memory from the night before, I will gracefully walk you out. Other days, I crave emotion. I want the same hands that can grip me to softly hold my well-being, mirror my sensitivity, and light the candles to serenade the romance of eternity.
Some days, I want to be alone in solitude and solely focused on myself until I am nestled in the company of money bags on my silk sheets. But then, my neighbor Loneliness peeks her 'Bye Felisha' braided head in through my window and bares a gold-tooth smile.
To be honest, sometimes these multitudes got me f*cked up.
I'm beginning to wonder where I presently fall into the spectrum of dating. In past situationships, I've been the money bag, the wound healer, the faithful, naive, unassuming girlfriend, the doormat, and the maid.
I've also been the side piece, the emotional abuser, the sugar baby, the arm candy, the booty call, and the emotionally-detached-friend-that-told-you-she-liked-you-but-never-responds-to-your-texts-because-she's-living-a-double life.
I have a full resume of experience and can probably do a TED talk on them all.
Currently, I am in a space where I am looking back at my past selves and realizing a common pattern in the way I behaved that probably led to the black hole that is my dating history:
I was acting out of entitlement.
I adopted entitlement from the acceptance of my past pains that turned into victimization.
From this space of victimization, I conditioned myself to believe that I automatically deserved to be treated the way I wanted to be treated, without reciprocating the energy. After my first relationship (where I was the money bag, the unassuming, faithful girlfriend, and the doormat), I subconsciously vowed to myself that I would not be taken for granted ever again.
That only created a monster of ego. I was walking around with a crown on my head that only I could see. Such an aura only stained my situationships with resentment and toxicity, but I carried it with me into every union. (Though sometimes not consciously.) It wasn't until I sat back and wondered why everything around me was always heavy but veiled with misunderstanding.
Entitlement is just open wounds clothed in designer.
There is a whole demographic of women who aren't entitled that understand the value of reciprocity and a balance that breeds beautiful, healthy unions. It doesn't necessarily need to be in the materialistic way, either.
I am learning, through being the silent observer of my multitudes, that I am a woman that enjoys being spoiled but also spoiling the person I love; however, my entitlement that was rooted in my scorning limited me from opening myself up in such a way that could ultimately lead to that point of reciprocity. For a minute, I was walking around men's minds like I owned the place but also bringing in my past baggage and moving in without consent.
Ego checks are in commencement.
This is not an ego check that requires me to start doing a man's dishes or jump out of my skin to show him that I'm wifey material. (Because that's a whole ass "no.") This is me recognizing my own quirks as a woman and making a commitment to myself for perpetual self-improvement. I am worthy just the way I am, as I am able to accept my thorns that come bound, unassuming and inevitable, to the flower I am.
There is a thin line between knowing my worth enough to not settle and entitlement. But I'm beginning to believe that it is the very act of accepting my whole self. A part of that entails me having the confidence to tell another that they are not obligated to love me, but if they choose to, they must embrace my whole self just as I am embracing them. Because, any relationship is a mirror and we all deserve to leave the cracked ones behind.
When we act from a place of wholeness, we are never settling because we know our worth.
I'm still on the bridge about if I want to dedicate myself to a full-on relationship or enjoy the colorful canvas of dating, but I do know that I am able to operate from my center and truly assert the love that dwells within me.
Whatever reality I choose to nourish from my multitudes, I can definitely check my entitlement, and my ego, at the door before entering that sacred space.
Featured image by Shutterstock
Olivia Jade is a writer and creative engineer, intersecting wellness, culture, womanism, and self-development. She waters the flowers in her mind so others can recognize their own internal garden. Link up: @akaoliviajade (Twitter and IG) oliviajade.co
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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Feature image by AFF-USA/Shutterstock