The Harder They Fall has been the talk of social media since it premiered on Netflix last week. The film is a first of its kind. A western with a star-studded, all-Black cast that includes Idris Elba, Regina King, and LaKeith Stanfield, but what makes the story even more interesting is that the characters are all based on real people. While the real people have never met in real life, the actors in the film do and they come together to tell an explosive, yet touching fictional story.
While white men have historically been at the forefront of Western movies, The Harder They Fall puts an end to that by not only having an all-Black cast but also having strong Black female characters.
Regina King's character, "Treacherous Trudy," is just as powerful and respected as Idris Elba's character, who she plays alongside throughout the film. Zazie Beetz's character "Stagecoach Mary" plays alongside Jonathan Majors' character but proves herself to be more than just his love interest.
Lastly, we have "Cuffe," played by Danielle Deadwyler, who defies what a stereotypical woman is supposed to be. The film's director Jeymes Samuel spoke with Essence on the importance of having fearless female characters in the film.
"Just because the story takes place in the 1800s shouldn't give you license to make women subservient," he said. "When Nat Love says to Trudy Smith, 'Where's your boss? She goes, 'Boss?' When Nat Love says to Stagecoach Mary, 'What in my character makes you think I'd allow that?' She goes, 'I wasn't asking for your permission.' Ain't no subservience in this movie. We're kings and queens on horseback."
And why would the women be subservient when they were real-life badasses?
History.com says that Mary Fields aka Stagecoach Mary was the first Black woman to work as a mail carrier and she was known to sport two guns to fight off thieves. Because of her height and tough demeanor, she was feared by many, but also loved and respected.
At 17-years-old, Cathay "Cuffe" Williams became the first documented woman to serve in the United States Army, although she enlisted as a man. When she was found out, she was discharged and later joined the Buffalo Soldiers.
Cathay Williams, aka "Cuffe" was the first-ever Black woman to serve in the US Army. She enlisted as a man in 1866 under the name "William Cathay" when she was just 17.— McKenzie Jean-Philippe (@McKenzie_JP) November 6, 2021
Where is Cathay's biopic?!?! #TheHarderTheyFall pic.twitter.com/eJsxxIINfw
There is little known information about Gertrude "Treacherous Trudy" Smith, but according to Jeymes, she was a pickpocketer and well-traveled, which explains the character's accent. She also used to run with a woman named Dolly Mickey. It's also reported that the story her character in the film shared about her sister happened in real life.
So, there you have it. These ladies were not only badasses, but they were free Black women who made history. Even in the 1800s, they didn't let being Black and a woman stop them from living life on their own terms.
Now, that's powerful!
Featured image by Kevin Winter/WireImage via Getty Images
Yara Shahidi is a force to be reckoned with! The Grown-ish star continues to act in the college sitcom as she attends college in real life at Havard and she is also expanding her activism in a big way.
The actress just signed on for a multi-year deal with Dell XPS to help the next generation use their voice through technology, she is working with former first lady Michelle Obama to live-stream a discussion with college students nationwide and she founded Eighteen x 18, which focused on getting first-time voters to the polls in 2018.
And while Yara has captured our attention with the use of her voice, she has also wowed us with her elegance and style. Her Instagram page is filled with many enviable style moments, but her red carpet looks are to die for. A recent example is her look for the 2021 Met Gala.
Channeling the legendary Josephine Baker, Yara blew us away with her crystal beaded gown and matching long, fitted gloves while she rocked diamonds on her neck, ears, and headpiece. But according to an interview the Black-ish star did with Glamour, that's not even the best thing she has in her closet. The 21-year-old dished on her style, her favorite snacks (which are healthy, go figure!), and the last thing she read.
On Her Personal Style Journey
"My personal style is ever-evolving in that I feel like I have very distinctive eras. There used to be a time where I did not, could not stand jeans, but I loved high-tops. So as a little kid, I was in skirts and high-top tennis shoes. In my all-girls Catholic-school phase, I took the assignment seriously. I had knee-high socks, the plaid skirts, both in and out of school. And now a lot of this phase has been about finding pieces that help further my self-expression, which means I have a much wider dress code."
"I love a good tracksuit. One year of school all I wore were different monochrome tracksuits for every day. But now, whether you've seen me on the red carpet—let's say in that beautiful green dress that my Dior family made for me—or you've seen me in my regular street style, I love just the loud colors of my clothes. It makes me feel seen, especially as a young girl traversing so many new spaces. Often have my clothes helped give me confidence before I get to that space of being confident."
On Routines & Finding Balance
"It starts with the simple things. I love my morning time routine, and not just because I love the way it makes me look. It's the first moment in the day in which I'm starting by taking time for myself... No matter how busy it's been, I'm spending time with myself winding down."
"I'm trying to figure out how I want my schedule to look, and I think this is something for so many young adults. It's more common now than ever to be juggling many things. One thing that I've been doing recently that has been really helpful is taking time to think about what dream of dreams would look like for me? And then seeing ways in which I could make it happen.
"That moment of affirming and setting time aside to not be reactionary to what's happening around me, but to be proactive, has been really helpful."
On The Last Thing She’s Read
"I've been reading lots of essays. A good one is by Herbert Cole called 'I Won't Learn From You'! It's talking about the experience of an educator who has a student who's intentionally choosing not to learn from this teacher. But all in all, long story short, it's a really interesting conversation on the way in which race plays into our education and what it's like to be a part of a system that is not seeing you or recognizing you. It's really well written."
On How She Spends Her Day Off
"My favorite way to spend a day off is with family. We really do love each other and probably enjoy each other too much. We love to travel as a family, whether it be a trip where all we're doing is sitting and being next to each other, or it's a trip where we learn history and go on little mini adventures. Smaller things, when we don't get to just get on a plane and get away, would be listening to podcasts. I recommend Heavyweight—there's a new season!—Being Seen, Dead Eyes, and Everytown."
Featured image by Leon Bennett/Getty Images
Logan Browning has starred as Samantha "Sam" White in the Netflix show Dear White People for four seasons and now fans are saying goodbye to the show that pushed the envelope on race, identity and sexaulity. The show, which was originally introduced to us as a film, is about Black students at a predominantly white university who face adversity as minorities and work together to be seen and heard and change the narrative on campus.
Logan's character Sam hosts a radio show called "Dear White People" where she has difficult conversations about racism and controversies such as a blackface party that took place on campus.
Sam is smart, unapologetic, and is always down for the cause.
Unfortunately for fans of Sam and other characters, Dear White People has ended after four seasons, but they decided to end the show on a high note.
The fourth and final season is a musical, but that doesn't mean that they still haven't captured the essence of why fans loved the show in the first place. The comedy, the drama, the satire is still there and of course the struggle.
Logan touched on the ability to have a show that focuses on serious topics that is also coupled with humor.
"They say you gotta get folks laughing so their mouths are open and you can feed them the medicine, but also there is something very funny about being the only one. I mean, so many people have that experience and you're kinda laughing by yourself in your head so this is kinda cool 'cause everybody gets to laugh out loud with each other."
As far as the legacy she hopes the show will leave behind, the actress said:
"If you live in a world where you don't see yourself, you feel like you don't exist and to feel like you don't exist is dangerous and terrifying. So for someone to feel like they're seen in every space is important."
Logan hasn't announced any upcoming projects as of yet, but we're sure sis is booked and busy.
Logan Browning & Marque Richardson Tearfully Say Goodbye to “Dear White People”
Featured image by Amy Sussman/WireImage via Getty Images
Black women emcees have been an essential part of sculpting hip-hop music since the late '70s. The genre has grown from the streets of New York City to becoming one of the world's most influential in the world. Though hip-hop is still a very male-dominated industry, women have made their way of snatching the sound and owning their place in the industry.
When female rappers entered the scene, they showed up with bars as prolific or better than their male counterparts — dressed from head to toe in a sexy tomboy flair that was beyond captivating on stage. Black women emcees have created their own lane, starting from battle rapping about systemic challenges in the Bronx, N.Y., to going all the way "Up" with Cardi B celebrating sexual liberation.
Bardi Gang GIF by Cardi B Giphy
However, some of the biggest challenges in hip-hop music lie in the lack of radical feminism in the genre that shows a vast display of Black women artists of every shade, size, and sexuality—without being hypersexualized. They all need to be seen and celebrated as a mass-market artist.
Over the last few generations, the evolution of hip-hop's purpose and sound has changed dramatically—mainly for mass production and consumption. That's expected because change is inevitable in every form of music, but hip-hop is unique. It was used to amplify the voice of the unheard and highlight systemic oppression related to race and class issues. However, its hypermasculine aspect has always made combating sexism one of the most complex areas to address and has posed a challenge to forging progressive, long-term opportunities for Black women rappers.
Hip-hop scholar Kylie Thompson states in the analysis, When Feminism Meets Hip-Hop, "Some female hip-hop emcees have been able to challenge the sexist culture of the industry and assert a black feminist voice; albeit the large-scale commercialization of hip-hop makes it especially difficult for women's voices to be heard in a political context that runs counter to pervasive patriarchal structures. Thus, women must carefully adapt, form, and manipulate language in order to make their music both marketable and political."
These circumstances have made it significantly more difficult for women rappers to compete in a market that could care less about women succeeding in it because a high percentage of the content is about objectifying them.
Black women emcees carry a different burden on their shoulders: to be Black, female, get the same opportunities as their male counterparts and remain in high demand on the global charts. Black artists shouldn't just be the backbone to the sound. They should also be the face of the evolved sound.
This is a tribute to icons and hold them accountable so we can all show up better for all Black female hip-hop artists in the game, respectfully!
Let's take a deep dive of the evolution of hip-hop, amplifying the various forms of feminism throughout the genre's history, addressing hypersexuality, colorism, pretty privilege, and body positivity:
Black Feminism in Hip-Hop: Radical vs. Liberal
Before we can talk about the state of Black women artists in hip-hop, we must first broach the subject of feminism and the essence it carries in the music. Though every Black women artist isn't as intentional about being a feminist, most of the world automatically perceives them to be because of the lineage that several Black women iconic emcees started prior. There are two primary forms of feminism that are often conveyed in hip-hop; radical and libreral feminism, they are both needed, but the bigger question is whether they are both as appreciated by today's society.
Radical Black feminism came first because it was the only acceptable way to compete in the market with their male counterparts in the 70s. Hip-hop feminism centers Black women's voices via hip-hop as a means to increase agency, self-definition, and self-determination. Self-definition, according to scholar Patrick D. Bennett, refers to how Black women express their identities and experiences for themselves, while self-determination allows for Black women to choose who or what they want to be. In the documentary My Mic Sounds Nice: The Truth About Women and Hip-Hop, legendary hip-hop artist Roxanne Shantel said, "It wasn't about make-up or having outfits ready, I rapped in whatever I had on when I had a show or battle rap because it was about talent not looks."
In this timeframe of hip-hop, if you weren't a lyricist as a women emcee, you couldn't compete. And Black women rap artists like MC Lyte, Salt-N-Pepa, J.J.Fad, Queen Latifah, and the one-and-only Ms. Lauryn Hill, didn't hesitate to challenge sexism, addressing men and how they talk to or talk about women.
Hip-hop thought leader Imani Perry has written about this struggle within the male-dominated field, stating, "As a masculinist form with masculinist aesthetics, hip-hop and the art form's masculinist ideals of excellence and competitiveness have often forced women to occupy roles gendered male."
And the freedom men have to be anything they want to be, and most of society enables them without question, isn't the same expectation that applies to women—who are more likely to get harshly criticized by society collectively.
As hip-hop evolved in the 90s, the sound changed dramatically from women hip-hop artists, and liberal feminism became more mainstream and left radical feminism a bit in the shadows of hip-hop instead of it being its main focus. Kylie further states that "liberal feminism boils down to individualism, positing the individual as the 'be all, end-all of social life. This line of reasoning essentially aims to change or undo the socialization of individuals so that women can have and do what men can have and do." Liberal feminism brought forth undeniable individuality but took away from perpetuating social change and ignored the more significant issue of patriarchy.
In comparison, radical feminism addresses the collective issues the patriarchal system often looks away from. There is space for both radical and liberal feminism. But when it becomes too much of one versus the other, it often becomes detrimental to Black women rappers' progression in the industry.
Liberal Feminism And The Cost Of Hypersexuality In Hip-HopBooty GIF by Doja CatGiphy
Hypersexuality orchestrated by female hip-hop artists has become one of today's modern-day forms of feminism — to some, it may be an illusion, and to others, it may be perceived as power. The rise of liberal feminism exploring sexual liberation stemmed from the '90s with female artists Lil' Kim and Foxy Brown, both having an aligned rise in the industry that led to a divine royal battle. They brought unapologetic power to Black women's stance in hip-hop; both of them were phenomenal rappers that everyone wanted to listen to.
If you weren't listening to Notorious K.I.M., you were listening to Chyna Doll. But their sexualized stance also subconsciously brought a lot of pressure to other Black women artists in the industry.
In the documentary, My Mic Sounds Nice: The Truth about Women and Hip-Hop, Missy Elliott talked about feeling that "maybe I gotta go a little tighter to be sexy to be more acceptable," after Kim and Foxy took over the scene.
KMazur/WireImage via Getty Images
This changed the game entirely for women emcees and has made it a lot harder for radical women rappers to have a chance at success in mainstream hip-hop because most music today is being based on sexualization and very little content that speaks to the reality of the everyday woman.
Feminist writer Ariel Levy affirmed this further by saying that such a culture isn't progressive when women are capable of acting as participants of their own objectification. So we can't just blame men for objectifying us when now we are taking part in the same perspective to convince society that Black women rappers are enough and are as valuable to their male counterparts and that we'll agree to produce what sells most, delivering a homogeneous perspective of female dominance in today's hip-hop climate.
We have to be held as accountable as our male counterparts if we want to see sustaining change.
Communications studies professor-Jared Ball of Morgan State University wrote, "Today's contemporary hip-hop from women paves a space for these women, instead, to become the representative, as they have been increasingly able to compete and succeed with the men in the same genre. Regardless of artistic intent and the artist's desire to claim agency of their own bodies, these still may not exempt them from objectification."
So though Black women rappers are finally taking up more of the spotlight, their integrity is being challenged based on how they'd like to present themselves. Do all women in the game want to show more skin, or is it encouraged by people behind the lens of those scenarios?
To paint a picture of how powerful hypersexuality is in the industry, let's think of some of the most popular Black women rappers, Nicki Minaj, Cardi B, and Megan Thee Stallion. Though Minaj may be a bit more well-versed in the content she raps about, her biggest hits stem from the hypersexual lens. Lyrics like these featured in her song "Boss Ass Bitch":
P-p-p-pussy like girls
Damn, is my pussy gay?
It's a holiday, Play-With-My-Pussy Day
Pussy this, pussy that, pussy taken
Pussy ride dick like she a Jamaican
Pussy stay warm, pussy on vacation
You loose bitches need a pussy renovation
Y-y-you could eat it with a pussy reservation
P-p-pussy 'bout to get a standin' ovation
Clap, clap, clap for this pussy, nigga
The line, "But I can't give this pussy to a pussy nigga" depicts the imagery of manipulation and power plays gained through sex.
Most of Megan Thee Stallion's Billboard hits are all hypersexualized, from "Body," "Cry Baby," "Thot Shit," and "Savage," to "Hot Girl Summer."
In Stallion's song "Cry Baby," she raps:
Lay on my stomach, toot it up, do the crybaby (crybaby)
Look back, hold it open, now he annihilated (yeah)
Moaning like a bitch when he hit this pussy
Damn, he probably wanna wear my hoodie (ah)
Choke me, spank me, look at me, thank me (thank me)
If I give it to another nigga, he'll hate me (he'll hate me)
Spit, slurp, give him that work
Fell too fast for me, now the nigga hurt."
And as a result of parading the excess liberal feminism, she was recently awarded three Grammys in 2021 for "Best New Artist," "Best Rap Song," and "Best Rap Performance"—so in more ways than one society is fully here for hypersexuality being the center of the conversation.
And Cardi B's Billboard hits like "Up," "WAP," "Wildside" have been in high demand based on the several weeks they stayed glued to the top 10 spots on the Billboard charts. So at this point, their success sets the mark for what's in demand from Black women artists compared to vice versa. Cardi B and Megan Thee Stallion's "WAP" came in at No. 2 on the staff's pick of the best rap songs for 2020, and it spent four weeks as No.1 spot on the Billboard charts.
Then you have our good sis Nicki Minaj's "Anaconda," which spent 26 weeks at No.1 on the Billboard charts and perpetuates the image that appeals to mass audiences. Because of its success, this type of music will continue to be produced.
In that sense, liberal feminism supersedes the industry beliefs of radical feminism and its ability to sell. Sex sells, and songs about the collective do not.
Paras Griffin/Getty Images
The one-and-only Lauryn Hill's "Doo Wop (That Thing)," produced in 1998, was No. 1 on the Billboard charts for 22 weeks? The insanely talented and lyricist Missy Elliott still doesn't have a Billboard No.1 hit to this day, which is disheartening because of the impact she has had on hip-hop music, coming through with unmatched energy and bars as charismatic as any man or woman before or after her—yet it is not as valued collectively by music executives and society.
Where does the hip-hop industry allow women like Rapsody, Tierra Whack, NoName, Chika, and Little Simz the same opportunity to shine like most mainstream women artists that often project the homogeneous lens to thrive and compete in this highly ego-driven industry?
In many ways, we can't fully blame liberal women artists because they are trying to compete in a market that was never built for them, but the question is at what cost? Hip-hop scholars mentioned, "Many women have turned to claim or embrace their sexualities under the guise of true empowerment because they feel valued as a sexual object... But this liberal sexual empowerment, claiming the right to assert the individual agency to sexualize oneself, is only an illusion because the power given still comes from men and the male gaze."
And the biggest question of them all is why are most mainstream Black women artists light skin, bi-racial, or racially ambiguous, and the majority of the underground women rappers are dark skin women?
It's far from ironic that this is very much on script with the extensive history of colorism that affects Black women more than Black men in the music industry.
Colorism, Pretty Privilege And Body Positivity In Hip-Hop
Colorism to many ears may come off like a tiresome topic, but it's a very much-needed conversation in regards to dark skin Black women being misrepresented in the industry. And often, feelings of inadequacy crafted by colorist themes materialize in Black female rappers as well. Years ago, Lil' Kim spoke about her deep-rooted insecurities based on her complexion and body, leading to her extensive obsession with tons of cosmetic surgeries and skin bleaching.
Kim stated, "I have low self-esteem, and I always have. Guys always cheated on me with women who were European-looking. You know, the long-hair type, really beautiful women that left me thinking, 'How can I compete with that?' Being a regular black girl wasn't good enough."
Lil' Kim's struggle with being a "regular Black girl," and the apparent rejection of her Blackness by Black men even before entering the rap industry shows that America's European standards of beauty produce a proclivity for light skin by men and a lack of self-confidence in Black women, as seen in Lil' Kim.
With these European standards of beauty palpable in every part of the media and pop culture, its presence in rap is not nonplus. However, rap could change this narrative of "light is right." That toxic mindset and pretty privilege often co-exist in the hip-hop industry, allowing many individuals instant success if they fit a certain aesthetic. An interesting exception was when Saweetie went viral after she dropped her single "Icy Girl" and Hot 97's Ebro Darden didn't perpetuate the same narrative during an interview in February 2018. He described her freestyle as "basic" and mentioned she needed to work harder to "impress" him.
Regardless of his commentary, the bar is very low for certain female rappers to have easy access to success over their peers based on complexion. The industry is not as much fixated on thought-provoking lyrics and their impact. When you add the layers of additional intersectional walks of sexuality, particularly darker shades of women, and fatphobia–there is an inevitable amount of trauma and rejection to work through.
Grammy-nominated artist Chika told The Root,, "I am not the spokesperson for body positivity. I'm not the spokesperson for being dark-skinned. I'm not the spokesperson for having a nappy-ass dread head. I am none of those things. Stop asking me questions that you should figure out for yourself."
The reality is Black men aren't pressed because they are dark skinned or wear their fades or cornrows, but Black women are often trolled for their Blackness, and the guidelines are incredibly rigid and overwhelming to maneuver through. It's like just being Black and a woman is a more significant problem.
When white women wear our same hairstyles and get the additional surgeries enhancements, it's edgy and glorified, but let a Black woman be herself, and it's a problem. In Lizzo and Cardi B's song "Rumors" the duo challenges stereotypes of their personal trauma of not ever feeling like they amount too much, Lizzo is tenaciously working through fatphobia commentary.
And Cardi B recently addressed rumors about her BBL and other surgeries to enhance her assets. The reality is, there have been an underlying, deep-rooted issues in hip-hop that normalize the practice of artists suppressing their pain and insecurities.
This needs to be dismantled so Black women artists can have the space to not always feel like they need to take life-threatening measures for validation or to compete.
The Future For Black Women In Hip-HopSaweetie Dojacat GIF by Trés SheGiphy
The moral of the story: We need the balance of both worlds—radical and liberal feminism. There is room for both conversations to be had; everything does not revolve around sex, we can also make space to address the other hundreds of topics that we face as women. The market is currently too fixated on one area over another. And it continually takes away many opportunities from radical artists and leaves women questioning their integrity regarding showing more skin than they're comfortable with to be competitive in this market.
Some of the things women mainstream rappers can do to help shed light on rappers opposite of them is to seek them out and propose a collaboration. Whether it be a single, being an opener at their show, or just promoting their work to change the narrative of there being only one main type of women rapper in today's hip-hop.
The world may have found ways to commodify the sound, but there is power in unity and sculpting a new art form of hip-hop music.
Featured Image via Giphy
Sunday night was filled with watch parties, buzzing group chats, and never-ending social media posts all in celebration of the beginning of the end to HBO's Insecure. From debates surrounding friendship and relationships to healthy discussions around therapy, postpartum, and office culture, Insecure explored it all, and in a way that felt authentic and incredibly familiar. And while I'm a lover of many different types of television shows, I can honestly say Insecure is just different, special.
And I think I speak for a lot of us when I say as excited as I was for it to come back, I'm just as sad for its approaching end. But, if the first episode of season five is any indication of what's to come, they're definitely going out with a bang. And by that, I mean an emotional bang. Because this first episode was a lot to digest. By the way, I'm about to drop a lot of spoilers so if you haven't watched, head to HBO Max and then come back. But, for those of you that are caught up, here are some of our takeaways from the season five premiere episode.
1.Looking back helps you move forward.
There was something so uniquely beautiful about the cast going back to Stanford (Issa Rae's actual alma mater) for their 10-year reunion. It showed them in a way we kind of always imagined, walking through campus, talking, laughing, and making the memories that formed the relationships we've seen throughout the show. I also have to believe it served as a really good reminder of the things the characters may have previously wanted out of life and how some of those things may have changed while others stayed the same.
For example in this episode, Issa Dee commented on how since Tiffany and Derrick's first date, everyone knew they were a match. And now, here the married couple was walking together happily on the same campus. On the other hand, there's Issa who, while in school, thought she'd become a lawyer and open a firm with Molly, yet there she was excitedly waiting to speak on a panel about being an entrepreneur.
Sometimes looking back allows you to remember the things you wanted, celebrate the things you have, and re-evaluate what's next.
2.It's OK to take meaningful risks.
Issa admitting that she’s unsure if she’s on the right path is real AF.— Shanelle Genai✨ (@shanellegenai) October 25, 2021
Like even with the best of planning, the reality is we’re all really just winging this shit.
Sometimes it works, sometimes it doesn’t and we have to pivot. Whew.. #InsecureHBO
Pretty early in the episode, we learn that Issa has been flewed out, thanks to her alma mater and is on a special panel to talk about her new company, BLOCC (Black Life Opportunity, Culture, and Connection). However, when she stutters over what the acronym stands for, it becomes apparent that she's still ironing out the kinks. Nevertheless, during the panel, she's asked many intimidating questions like, "What's the biggest lesson you learned on your journey?" and "When did you know you were on the right path?" And for a moment, we see Issa appear uncomfortable after making one of those awkward yet hilarious outbursts we've grown accustomed to hearing.
But, then she does something else, she shares a transparent truth, that's she's not sure that she's made the right decision and wonders if she's wasting her time. And while that response may not have been a hit with the panel audience, it resonates with Insecure's. Because, thanks to layoffs and toxic office cultures coupled with social media's need to appear like we have it all together, many Insecure viewers know all too well about having to change career paths. And there's something so freeing in embracing uncertainty and chasing true fulfillment.
3.Some bonds are forever.
As we know, Insecure always starts a lot of conversation. I mean, one of the best things about the episodes is the gender wars and Twitter threads that appear after they air. But, one pretty clear thing is that this show is full of passionate relationships. And I don't just mean romantically. Issa and Molly's friendship has been a highlight of the show, and when season five begins, we're not quite positive where they stand. I mean sure, they seem friendly, but they're supposed to be best friends.
Friendly isn't really a word I'd use to describe the chemistry between best friends, it's supposed to be much deeper and more comfortable, but the two are clearly putting forth an effort to fix it. However, when they're at gunpoint holding onto each other (thanks to that shady Cheyenne) and later belting out in laughter, it becomes apparent that they have a forever connection. That's how it is with some people. You can go a long time without talking or even suffer hurdles in the relationship, but you're still always going to care for them, and I think Issa and Molly are a really good example of that.
4.Friends can be your soulmates, too.
Kelli deserves all the validation because she actually is the best friend to all of them. #InsecureHBO— stacey.cash (@staceynicole__) October 25, 2021
One of the things I really liked about this episode is that we learned even more about Kelli. Because while she's one of my favorite characters, I don't know as much about her as I do the others. And when the girls are in the car before all hell breaks loose, Kelli irritably shares an authentic truth: she feels like everyone only sees her as the "funny friend." And while the rest of the characters laugh, Tiffany looks at her sympathetically.
To me, that moment spoke to their relationship. Because sometimes when it seems that everyone else doesn't understand you, the person who truly gets you, always will. And at the end of the show when Tiffany verbalizes that emotion to the group by saying "she's my soulmate, sorry Derrick," as she apologizes to her husband, it was just a beautiful reminder of the people in my life I'm thankful for. And that sometimes, friends can be soulmates too.
5.Trust your gut.
Whew, this one was hard to type. Because I'm one of the people that is rooting for Issa and Lawrence to find their way back to each other. Now, I know it's been quite messy and he has a whole side baby now, but they clearly love each other! Still, if there's one thing this life has taught me, it's to trust your gut, intuition, or vibe – whatever you want to call it –it's there for a reason. And when Issa was riding in the car with Lawrence during that final scene, it was obvious there was something major she needed to get off her chest. And whether the decision to end things is temporary or permanent, it's good to know she trusted herself.
Who knows what would've happened if she stayed when she truly wanted to leave? Maybe she would have cheated on him again, maybe she would have ruined their relationship altogether, or even formed a wedge between him and his child. Now, I know that may have gone too far, but my point is it reminded me to always trust myself, even if it's difficult or uncomfortable to do so. Because you never know what the repercussions may be. Still, I hope they find their way back to each other.
But maybe she can grab dinner with Daniel before that because I'd like to see him on-screen one more time. (smiles)
Featured image by Giphy
HBO's hit show Insecure has been heralded as one of the best and most authentic shows on TV by fans thanks to its real-life depictions of friendships and romantic relationships. One of the friendships that keep fans tuned in is between Issa Rae's character Issa Dee and Yvonne Orji's character Molly.
Viewers have seen the best friends experience a rollercoaster of emotions in their personal lives and in their friendship and after five seasons, we still may not know where their friendship will end up.
Speaking with Entertainment Tonight, Yvonne revealed she was feeling some kind of way about how Issa and Molly's story ends.
"I told Issa I have beef for the first time in six years, but I think she did a great job," she said.
"I think Molly's happy. I hope the fans are going to be happy. They didn't even call that that was my last scene. I just felt it and I think they knew not to call it because it was already so heavy. In the scene is already emotional, so I'm trying to get through my lines. I'm crying and Issa's crying I was like, 'oh this is going to be a long night,' but we got through it, we hugged it out and it was just a beautiful experience."
The comedian has become accustomed to a lot of online hate as her character Molly. Many Insecure fans have accused Molly of not being a good friend to Issa, but during an interview with CNN, Yvonne says she "don't fight on Twitter" or "in real life" and she believes Molly has been a good friend to Issa.
"Can we go back to season one though? Can we go back to season one where she definitely saved Issa from Daniel and Lawrence meeting? Can we go back to season one where she drove to Malibu? Where do you want to start?" she said.
Yvonne may be right about that, but viewers witnessed their friendship make a turn for the worst after (Spoiler alert) their fight at the block party in Season 4, but based on the season five premiere, their friendship seems to be getting back on track because according to Yvonne, their relationship is based on authenticity.
"You know, when you can actually be honest and be vulnerable and authentic, like authentically you. They get each other because they've known each other for so long, but they also understand how each other vibes. And even in your friendships now, like you have to appreciate their quirks."
The fifth and final season of Insecure comes on Sundays at 10 pm ET.
Featured image by Jeff Kravitz/FilmMagic for HBO