

Afro-futurism is back in a big way.
With the release of Black Panther, the sci-fi fantasy ideology is back in the mainstream. And there's no better person to lead us into a brave new future other than Janelle Monáe.
With the teaser for her newest effort in two new songs "Django Jane" and "Make Me Feel", Dirty Computer goes deeper into the sci-fi future narrative that has been the focal point of her career. She's been on a mission to bring us into a utopia that we've maybe been too jaded to see. Through her alter-ego, an android named Cindi Mayweather, Monáe seeks to be "the mediator between the haves and have not," a quote inspired by Fritz Lang's film Metropolis.
Much of her identity bounces around in a hall of smoke and mirrors.
She interpolates biographical facts about Cindi Mayweather, with her own autobiography, often deflecting from the life she's lived in favor of the future reality she's created with Mayweather. A girl from Kansas City? No, she's from the year 2719. Her dating life? She only dates androids. A black girl who grew up poor? No. She an archandroid messiah sent to earth to end division and discrimination.
Damn.
Monáe's futuristic reality seems like a far-out idea. Androids? Ok sis. But for her this isn't a gimmick or farce; it's a system of belief. She follows in the footsteps of afro-futurist giants who've created version of their own future utopias. Octavia Butler's Earthseed series, George Clinton and the P-Funk spaceship, Star Trek's Uhuru and countless other are all united by this central idea; redeeming the lives of the disenfranchised by taking them to majestic futures.
But Monáe's manner of expression probably most closely follows the godfather of afro-futuristic music: Sun Ra.
He was a man, a myth; he was nothing and everything. He was a patron saint of those who gravitated towards the unknown, the weird and the progressive. In his day, his futurist philosophy resonated with the hippies and those who had an affinity for the surreal. Even after his death, his influence is strong. From Erykah Badu to Flying Lotus, any of your favorite music acts point to Sun Ra as an inspiration. While afro-futurism does not begin with him, Ra is like an intergalactic saviour, bringing this new philosophy of belief to Earth.
Just like Monáe, Ra was enigmatic with a biography that was scant and unknown to most. His birthdate, name at birth, and his personal history was traded for a narrative that is centered on creating a new reality for the most disenfranchised, specifically African-Americans.
Drawing from different belief and religious systems, Ra didn't consider his beliefs to be a fantastical notion or a form of escapism. He believed he was speaking an obvious truth. He believed he was from Saturn and didn't belong on Earth.
Just as Monáe uses the android as a metaphor for "the other," Sun Ra uses the alien as metaphor for "the other."
"I do not come to you as a reality; I come to you as the myth, because that's what black people are. Myths. I came from a dream that the black man dreamed a long time ago. I'm actually a presence sent to you by your ancestors," Ra says in his 1971 lecture at UC Berkeley.
Damn.
Working under the belief that black people didn't belong on earth, he created his film Space is the Place. After coming from an extended trip around the galaxy, Sun Ra and his "arkestra" come back to Earth to take black people to settle on another planet.
Monáe dreamt of worlds, too, and for her they aren't pipe dreams. "And then I dreamt of a world where there were more aliens and androids that humans, I controlled them and I could tell stories that changed people's lives," she says in a 2013 interview with Les Inrockuptibles.
This is a reality she believes in and lives in.
For Monáe and Ra, their vehicle to this new world is music. And their music stretched the limits and challenged our perceptions of music. As defined by Mark Dery in "Black to the Future," afro-futurism is black struggle and ideas expressed in different worlds and realities. As forward thinking as afro-futurists are, they often call back to the past, taking symbols and relics and reimagining them. With music, they reference the past and redefine those sound for their new worlds.
Monáe's influences are far reaching. As a black woman, she's automatically pigeon-holed as an R&B artist, but she pushes against that notion. She bounces from romantic classical music to funk to folk and everything in between. Some may call her weird for her tastes in music, but it only further fuels her mission to end discrimination.
"Or just another little weirdo/ Call me weak or better yet you can call me/ You can call me your hero, baby," she sings in "Faster".
Having albums that goes from the funky to 60's pop to the Marvin Gaye and Simon & Garfunkel tinged songs, it would seem that Monáe is directionless in her pursuits, but she knows exactly where she's going.
Much in the way that Ra's arkestra members resonated with his philosophy, it's easy to fall into Monáe's android gospel through the way she makes seemingly disparate music genres connect flawlessly.
Atonal and cacophonous, some of Ra's compositions truly demanded for his audiences to change the way they process music. His music traveled from conventional to surreal works that seemed to only makes sense if you are willing to venture past convention into a chaotic void.
Ra's been gone for nearly 15 years, but Monáe has taken the mantle. In her own way, she's spread the gospel of a future reality that considers "the others." She favors a tailored tux over robes and Egyptian regalia, but it's all relative.
With the upcoming release of her "emotion picture" Dirty Computer, it's easy to see her as the new leader of the new guard of afro-futurists.
The head of Wondaland Society, a leader in the movement for women's rights; she really is the archandroid.
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Chinwe Oniah is a freelance writer who writes about popular music and culture. She's appeared in Pigeons and Planes, REHAB Online Magazine, California Magazine and others. Find her somewhere on the internet @thewaysofchin.
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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Patricia "Ms. Pat" Williams has always marched to the beat of her own brutally honest drum — and that’s exactly what makes her so magnetic to watch. Whether she’s making us laugh until we cry on The Ms. Pat Show or now laying down the law on her courtroom series Ms. Pat Settles It, the comedian-turned-judge proves time and again that there’s nobody quite like her. Unfiltered, hilarious, and real to the core, she’s made a name for herself by turning her life’s journey — including the pain — into purpose.
Now in her second season of Ms. Pat Settles It, airing on BET and BET+, she’s not only delivering verdicts — she’s dishing out life lessons in between the laughs. The show feels less like your typical courtroom drama and more like your outspoken auntie running a court session at the family cookout, complete with celebrity jurors, petty disputes, and a whole lot of real talk. xoNecole sat down with Ms. Pat to talk about her wildest cases, balancing motherhood and fame, and why sleeping in separate bedrooms might just be the key to joy.
CASE CLOSED, BUT MAKE IT CHAOS
If you’ve ever tuned in to Ms. Pat Settles It, you already know the episode titles alone deserve awards. But when we asked Ms. Pat which case stood out most, she didn’t even have to think twice. “There was this one woman — Shay — who got out of federal prison and was working for her old bunkmate. But the bunkmate didn’t want to pay her!” she says, chuckling. “That girl came in the courtroom like a firecracker.”
It’s moments like those that remind viewers Ms. Pat isn’t just bringing the laughs — she’s giving people a platform, even if it’s a little messy. And if her court ever gets turned into a real-life franchise, we need Shay on the promo posters immediately.
WHEN THE CELEBS SHOW OUT
It’s already hard enough to get a word in with Ms. Pat running the show, but throw in a celebrity jury featuring Tamar Braxton, Ray J, TS Madison, and Karlous Miller? Whew. “I don’t even try to control them,” she laughs. “Thank God we have something called editing.” According to her, behind the scenes, things get wild — but that chaos is part of the magic. “People only see the cut-down version. What you don’t see is all of us losing it in real time.”
Still, Ms. Pat makes it work. The courtroom becomes a stage, but also a safe space for guests and jurors to show up as their full, unfiltered selves. “It was a wild season,” she explains. Let’s be honest — if your jury looks like a BET Awards afterparty, you might as well let it rock.
IF FAMILY COURT WAS REALLY A THING
Ms. Pat might wear the robe on screen, but at home, she’s still managing her own wild bunch. When asked what kind of case her kids would bring into her courtroom, she burst into laughter. “Oh, they’d be suing my oldest son for eating their food,” she says. “You know how you have that one roommate that eats up everybody’s food? I can see my oldest son getting sued for that..”
And let’s face it, we’ve all either been that sibling or have one. Ms. Pat says moments like that — the everyday family squabbles and real-life irritations — are what make her courtroom show so relatable.
THE VERDICT SHE WISHES SHE COULD REWRITE
Ms. Pat is known for keeping it real, even when the conversation turns serious. When asked if there was one “verdict” in her real life she’d change, she pauses for a second before answering. “I wish I had graduated high school,” she admits. “All my kids went to prom and I took all of their high school diplomas.”
“I wish I had graduated high school,” she admits. “All my kids went to prom and I took all of their high school diplomas.”
It’s a rite of passage in most Black households — your diploma doesn’t really belong to you, it lives at your mama or grandma’s house like a family heirloom.
HOW SHE STAYS GROUNDED
Between filming TV shows, headlining comedy tours, and running a household, Ms. Pat makes it very clear: she will find time to rest. “People swear I don’t sleep, but I do — I just knock out early and wake up early,” she shares. “And sometimes, I’ll just sit in my car.” She’s also a big fan of solo naps and mini getaways when things get overwhelming.
But one of her favorite forms of self-care? Separate bedrooms. “Me and my husband don’t sleep in the same room. That way, when I don’t feel like being bothered, I go to my space,” she laughs. She’s also found a new love for facials. “They’re addicting! I don’t need a lot — just sleep, a facial, and a little quiet.” Honestly? That’s a self-care routine we can get behind.
FROM PAIN TO PURPOSE
Ms. Pat’s story is one that’s deeply rooted in resilience — and she’s always been transparent about how her journey shaped her. Her advice to other Black women trying to turn their pain into purpose? Speak up. “You have to tell your story,” she says. “Because once you tell your story, you realize you’re not the only person that’s been through that situation.”
She adds that sharing your truth can be one of the most powerful things you do. “When you give a voice to pain so many other people who have that pain gravitate to you,” she says. “To heal, you have to speak out loud about it. What you keep inside is what eats you up.” Coming from someone who built an entire brand on truth-telling? We believe her.
WHAT’S NEXT FOR MS. PAT?
While Ms. Pat’s got her hands full with Ms. Pat Settles It and her comedy show, she hints there’s much more to come. “I got some stuff poppin’ that I can’t even talk about yet,” she teases. “But just know, like Kendrick [Lamar] said, we about to step out and show ‘em something.” That multi-genre deal with BET and Paramount is clearly working in her favor — and she’s not slowing down anytime soon.
She says one of her proudest moments in this chapter of her career is seeing things she once dreamed of finally come to life. “In this business, you never know what’s gonna work or what’s gonna stick. But now I’m working with a network that really understands me — and that’s special,” she says. “I feel seen. And I’m just getting started.”
Whether she’s in the courtroom cracking jokes or catching up on rest in her own sanctuary, Ms. Pat is living proof that success doesn’t have to come at the cost of authenticity. She’s rewriting the rules in real time — on her terms, in her voice, and for her people. As she continues to turn pain into purpose, laughter into legacy, and everyday mess into must-see TV, one thing’s clear: Ms. Pat is in her prime. And we’re lucky enough to watch it unfold.
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