
Message From A Mad Black Woman: Y’all Keep The Blue Bracelets, We’ll Take Our Rest.

Mere hours after the 2024 presidential election results made it clear that the United States would need to gird its loins for a second Trump presidency, a gaggle of women ran over to social media to announce that blue bracelets would serve as a new sign of solidarity. A safe space, if you will.
This declaration came about in response to Black women openly voicing their disappointment in both the election results and exit poll data that showed that not just white people, but Latinos and women of “all other races” had played a surprising role in the now President-Elect, Donald Trump’s reelection.
These exit polls quickly became the object of Black women’s attention and ultimate disappointment. Because while Black women went out and reliably voted for Vice President Kamala Harris to the tune of 91%, white women handed Trump 53% of their collective vote, Latino women 36%, and women of “other races” 46%.
On the night of November 5, 2024, Black women were left in shock. This shock would morph into disappointment, and the disappointment was a consequence of what, some would begin to argue, felt like, well, betrayal.
Like Rome, though, this heart-wrenching disappointment wasn’t built in a day.
Screenshot from "2024 Exit Polls," NBC News, accessed Nov. 12, 2024.
The Set-Up
On Sunday, July 21, President Joe Biden announced that he would not be seeking reelection - a decision that followed the disastrous one-and-done debate against former president Donald Trump, the subsequent wavering of major donors, and growing calls for a new candidate to run on the Democrat’s ticket. Hours after Biden’s announcement, Vice President Kamala Harris would send Beyoncé's internet into a frenzy by announcing that she would seek the party’s nomination.
That July night, 44,000 Black women assembled via Zoom to stress test the limits of the meeting app, break historical fundraising records, and strategize - subsequently setting into motion a series of virtual meet-ups. As a result, more Zoom meetings cropped up, bringing together attendees connected through countless combinations of backgrounds, orientations, and genders.
One said meeting was held by and for 164,000 “White Women for Kamala” who’d come together to publicly declare that they’d regretted not doing more in 2016 and were ready to use their privilege for the sake of advocacy and allyship.
A woman wearing an anti-Trump button as she listens to Democratic presidential nominee VP Kamala Harris speak at a campaign event on Oct. 18, 2024.
Bill Pugliano/Getty Images
For months, white women made it a point to convince Black women that they were on board - ensuring us that they were ready to seize their second chance at pushing back on the pillars of the patriarchy. The same group who’d failed to answer the call of rejecting Trump’s racist, sexist, and xenophobic antics before swore, for months, that they’d seen the error of their ways and were looking for redemption. The alleged fix? Betting better. Doing more. Voting differently.
While there was an understanding undertone of apprehension from Black women, the rhetoric began to lend itself to hope — with some going so far as to lift the moratorium on cookout invites. There seemed to be a collective sigh. A brief moment of unity.
The Let-Down
Little did Black women know, they were about to be played like a fiddle by the same group who, like in 2016 and 2020, were more interested in their own self-preservation than in actual change. This short-lived hope was dashed on Nov. 5 as the true nature of performative allyship became evident.
Turns out, the Black women who’d served at the helm of the movement, bless their hearts, had been bamboozled. Hoodwinked. Swindled. Like a modern-day Boo Boo the Fool. Believing the hook, line, and sinker, it was almost cute, in a tragic sort of way. They saw the potential, the hope, and the promise, drinking the red Kool-Aid, so to speak, eagerly awaiting the revolution.
The excessive blue hearts and social media commentary pledging solidarity had turned out to be performative or had over-indexed the voices of the 44% who were actually in solidarity. Either way, the seemingly overwhelming allyship wasn’t there, reminding Black women that while they are constantly expected to stand on the front lines for so many, rarely is there any ally who will actually show up for them.
A History of Short-Lived, Self-Serving Allyship
The 2024 election wasn’t the first time we’d seen this type of performative allyship, though. While a noble concept in theory, the kinds of allyship that have been displayed in many movements across The States have far too often missed the actual point. In fact, throughout U.S. history, allyship has actually been used more as a tool to bolster a single group’s positioning in the social hierarchy rather than genuinely advocating for the progression of marginalized groups.
Think back to 2020. Just months after the COVID-19 pandemic forced much of the country into isolation, remote work, the acknowledgment of essential workers as, well, essential, and, for some reason, bread-making. For 9 minutes and 29 seconds, the world watched, helplessly, as a powerless George Floyd was slowly pulled away from the world, drained by Officer Derek Chauvin's knee to his nape. In a traumatic 8 minutes and 46 seconds, the world seemingly changed.
Ira L. Black/Corbis via Getty Images
Protests quickly spread across the globe, and along with it, a wave of “allyship” swept across America. Large corporations, scrambling to answer the calls of Black employees, consumers, and investors demanding that they use their financial prowess to do more to prevent the next Floyd, almost instantly began releasing statements of solidarity, pledging donations to “racial justice” causes, and promising to promote more Black employees.
However, as quickly as these gestures showed up, most were forgotten, with almost all proving to have provided minimal impact on the groups they’d pledged to help. While some companies, like Target, increased their spending on Black-owned businesses, others faced scrutiny for their lack of substantive change.
A study by Color Of Change found that only 17% of companies that pledged donations after Floyd's death had fulfilled their commitments. Data compiled by theWashington Post found that two years after America’s 50 largest publicly traded companies pledged a collective $50 billion to racial justice causes, just 37 had disbursed a collective $1.7 billion. What’s worse?
Ninety percent of the pledged amount - or $45.2 billion - had been allocated in the form of mortgages, loans, and investments that the companies themselves would more than likely benefit from. These companies said one thing and did another and still found a way to benefit from the delta.
Performative Allyship: Civil Rights & Women’s Liberation Movements
This type of allyship is new, though. It didn’t take long for powerful groups to figure out that the simple appearance of allyship was, for the most part, good for business and the bottom line. For decades, powerful entities have publicly supported movements only to be later found to have engaged in discriminatory practices, highlighting the consistent disconnect.
During the Civil Rights Movement, companies issued statements of solidarity and even donated to civil rights organizations, but behind the scenes, they continued to segregate their workforces and refuse to hire Black employees for higher-level positions. During the Women's Liberation Movement, advertisers capitalized on the feminist moment by incorporating imagery and slogans associated with women's empowerment into their campaigns, while the underlying message of many advertisements reinforced traditional gender roles and stereotypes.
The difference between what is said and what is done has time after time exposed the shallowness of allyship, highlighting how it has mostly served as a tool for public relations rather than a genuine commitment to social justice and to the marginalized groups who are most at risk by the upholding of the status quo.
For two election cycles straight, white women posed as allies and still voted in a way that upheld the power structure that they benefit from - with many understanding that the survival of white supremacy is of more value to them than sexism and misogyny is a threat. In 2016 and 2020, 52% and 55% of white women, respectively, decided that they’d rather keep their position of second place in the social hierarchy than risk dismantling it and being forced to find a new place in society.
Latino women and women of “all of the races” followed the trend - blatantly ignoring the warnings of the same Black women who have not only been on the front lines of social justice but who are often called into the lead movements in communities that are not there own - increasing their support for Trump between 2016 and 2025 by 13% and 15% respectively.
Screenshot from "2020 Exit Polls," NBC News, accessed Nov. 12, 2024.
The Blue Bracelets are Going to Be A “No”
On the night of Nov. 5, 2024, Black women watched their country look at a qualified, experienced, capable, and willing Black woman and say, “Nah, we good.” It was on this night that a group that had been denied democratic rights for centuries, but had still attempted to rescue American democracy far too many times, only to be let down, put away the warnings, and began issuing a new declaration - they were opting out.
Black women have decided to lean into rest and recuperation - uninterested in any additional work that will, more than likely, end in disappointment and betrayal. For many Black women, the suggestion to wear blue bracelets as a symbol of solidarity is patronizing and dismissive of a greater and more complex issue. It’s a way to absolve the women who let Black women down for failing to keep promises made while simultaneously positioning the wearer as morally superior.
It fails to address the historically deep betrayal that Black women have experienced at the hands of their country and, more specifically, their own countrywomen. The request reduces the fight for equality to a simple, superficial gesture when allyship isn’t aesthetic and Black women deserve more than a symbol.
While the blue bracelets may be the new fashion choice for white women attempting to set themselves apart, to symbolize that they were on the right side of history, for many Black women, it’ll always be difficult to trust. In fact, it may serve as a symbol of a hollow and fleeting promise for the Black women who have done the tireless and thankless work for justice and equality.
For now, Black women are choosing themselves. Anywhere between a few days and the next four years should be enough time to reset and recoup. And who knows, they may even find the excess capacity means energy to train as pilots, restart forgotten yoga practices, expand the business, or earn that second Ph.D.
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Eva Marcille On Starring In 'Jason’s Lyric Live' & Being An Audacious Black Woman
Eva Marcille has taken her talents to the stage. The model-turned-actress is starring in her first play, Jason’s Lyric Live alongside Allen Payne, K. Michelle, Treach, and others.
The play, produced by Je’Caryous Johnson, is an adaptation of the film, which starred Allen Payne as Jason and Jada Pinkett Smith as Lyric. Allen reprised his role as Jason for the play and Eva plays Lyric.
While speaking to xoNecole, Eva shares that she’s a lot like the beloved 1994 character in many ways. “Lyric is so me. She's the odd flower. A flower nonetheless, but definitely not a peony,” she tells us.
“She's not the average flower you see presented, and so she reminds me of myself. I'm a sunflower, beautiful, but different. And what I loved about her character then, and even more so now, is that she was very sure of herself.
"Sure of what she wanted in life and okay to sacrifice her moments right now, to get what she knew she deserved later. And that is me. I'm not an instant gratification kind of a person. I am a long game. I'm not a sprinter, I'm a marathon.
America first fell in love with Eva when she graced our screens on cycle 3 of America’s Next Top Model in 2004, which she emerged as the winner. Since then, she's ventured into different avenues, from acting on various TV series like House of Payne to starring on Real Housewives of Atlanta.
Je-Caryous Johnson Entertainment
Eva praises her castmates and the play’s producer, Je’Caryous for her positive experience. “You know what? Je’Caryous fuels my audacity car daily, ‘cause I consider myself an extremely audacious woman, and I believe in what I know, even if no one else knows it, because God gave it to me. So I know what I know. That is who Je’Caryous is.”
But the mom of three isn’t the only one in the family who enjoys acting. Eva reveals her daughter Marley has also caught the acting bug.
“It is the most adorable thing you can ever see. She’s got a part in her school play. She's in her chorus, and she loves it,” she says. “I don't know if she loves it, because it's like, mommy does it, so maybe I should do it, but there is something about her.”
Overall, Eva hopes that her contribution to the role and the play as a whole serves as motivation for others to reach for the stars.
“I want them to walk out with hope. I want them to re-vision their dreams. Whatever they were. Whatever they are. To re-see them and then have that thing inside of them say, ‘You know what? I'm going to do that. Whatever dream you put on the back burner, go pick it up.
"Whatever dream you've accomplished, make a new dream, but continue to reach for the stars. Continue to reach for what is beyond what people say we can do, especially as [a] Black collective but especially as Black women. When it comes to us and who we are and what we accept and what we're worth, it's not about having seen it before. It's about knowing that I deserve it.”
This interview has been edited for length and clarity.
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Feature image by Leon Bennett/WireImage
Ryan Coogler Talks 'Sinners,' Black Ownership & The Deal That Has Hollywood Shook
Ryan Coogler isn't new to the acclaim, he's true to it. With his latest film, Sinners, a genre-defying vampire horror film set in the Jim Crow South, might just be his most personal work yet, and audiences are showing up for it! The film has already pulled in $163 million worldwide after just two weekends in theaters, according to Screen Rant (via The Numbers).
The Oakland-born filmmaker, who rose to fame with Fruitvale Station and reshaped modern cinema with Black Panther, has another bona fide hit on his hands with the R-rated story that blends history, horror, and deep-rooted Black storytelling in a way that only he can.
In a recent interview with Democracy NOW!, Ryan opened up about the inspiration behind Sinners, his longtime collaboration with Michael B. Jordan, who plays dual roles in the film, and why this project marks a turning point in his career.
“It’s ironic because what my grandmother and her mom before her and my mom are known for is their gumbo,” Ryan shared with the outlet. “They cook a style of gumbo that comes from Port Arthur, Texas... and this was my opportunity to make some cinematic gumbo. I took some things that might seem disparate in the description, but I think they go really well together.”
That gumbo? A moody, blood-soaked love letter to the blues, to his late uncle, and to the genre-bending power of Black art. After his uncle passed, Coogler turned to blues records for comfort, describing how it felt like conjuring his uncle’s spirit. That led him to Delta blues, and ultimately, to Sinners.
“Through my research into the music, I learned more about the music industry and how much the concept of genre is related to racism,” he said. “The classification of different types of music… even though it was the same song sung the same way, they were looking at the color of the skin of the person who was singing it and enforcing the apartheid even through the artistic business model.”
The film, in many ways, is his rebellion against that system. “I wanted to make a film that was kinda raging against the concept of genre,” Ryan explained. “Making the audience constantly question, even while they are watching it, whether genre is a music angle or a film angle.”
But Sinners is more than about transcending genres, it’s also a family affair. Ryan's wife and producing partner, Zinzi Coogler, helped bring the vision to life through their production company Proximity Media (founded in 2021 with producer Sev Ohanian). Currently pregnant with their third child, Zinzi remains an essential force behind Ryan’s work and his world. “Zinzi is my favorite person in the world,” he said tenderly.
“I’ve been around her a long time, and it still somehow feels like it’s not long enough. She knows me very well… We’re very different, which is very helpful. We got two different communication styles, two different ways of seeing the world. So in general, if I have an issue-situation that I can’t crack, because she comes at things with a different angle, normally she can crack it very easily.”
Their partnership is as spiritual as it is professional. When asked about how he got into filmmaking in the first place, Ryan reflected on Zinzi’s early support, calling her gift of Final Cut Pro the “kindest thing” anyone has ever given him.
(L to R) Zinzi Coogler and Ryan Coogler photographed at 'Sinners' premiere.
Jeff Spicer/Getty Images for Warner Bros. Pictures
And while Sinners is a love letter to the past, the business side of it is firmly about the future. His now widely discussed deal with Warner Bros. includes First Dollar Gross and IP ownership after 25 years, something that’s raised both eyebrows and excitement within Hollywood circles. “I’m not the first filmmaker to get any of these deals,” he told the host.
“And Warner Bros is not the first studio to provide these deals to a filmmaker. I think that a lot has been made of my deal in particular. I’m not totally sure why… I have my guesses, but I’ve been in the industry long enough to know what kind of deals are possible.”
When Democracy NOW! host Amy Goodman pressed further, referring to headlines like Vulture’s "Hollywood Execs Fear Ryan Coogler’s Sinners Deal Could End the Studio System," Ryan chuckled and offered a smooth but telling: “I’d rather not say.”
Still, he made it clear why securing that deal mattered:
“As a writer-director, I’ve made over $2 billion in the global box office, I’m not yet 40 years old. It’s taken a lot of time, commitment, energy, and I’ve missed out on a lot of things in my life on films that will always be owned by other people. For this one, because it’s so personal… I asked for a few things that were very important to me… Thankfully, I was able to get those things I was asking for.”
Sinners may be a film about blood, spirits, and survival, but more than anything, it’s a story of legacy.
For Ryan, it’s not just about the art or the accolades; it’s about reclaiming the stories, sounds, and soul of Black America and owning the narrative, both on-screen and off.
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Featured image by Tim P. Whitby/Getty Images for Warner Bros. Pictures