

Many of us have heard the refrain “If he wanted to, he would” in response to relationship troubles with seemingly withholding men. It’s a phrase that says, “he’s just not into you.” But what if there’s a little more to the story? Though it’s certainly still a sign to move on, it does point to a missed conversation about the treatment of women.
"He does neglectful or bad things to you because he doesn't like you" ignores everything we've learned about abuse, control, trauma, and intimate partner violence. People's level of interest is not directly correlative to the treatment of their partners. It's actually a reflection of their inner state. In a world where misogyny exists, the increasingly poor treatment of women is not a coincidence or evidence of desire.
It is an expression of belief about how you engage the feminine. In the context of misogyny, how others engage women is often about power.
"If he wanted to, he would."
This is certainly true, but who is speaking to the broader culture and trend of neglectful men? What happens when men never seem to “want to” as a means of normalized engagement?
Are there benefits to men for not “wanting to,” such as creating a dating culture where they have to do less work?
Did it ever occur to you that, in many cases, he may actually be grooming you for cycles of abuse using “pick-up tactics” and/or it is his own fear that keeps his heart small? That many men are taught to continuously deliver low so that the bare minimum feels very big? That cold selfishness is taught to men in capitalist society as a means of survival and identity? That the denial of your own heart's desire is on purpose? That it's not about want, but fear and control? That many men are only taught to relate to women by withholding?
We’ve all been there, men who make us jump through rings of fire for extremely “mid” or even abusive relationships.
Most of us have experienced partners who refuse to acknowledge our needs and humanity because it keeps us small and them in control. Even in cases where carelessness is not intentional, society rewards men for careless behavior. Instead of sanctioning that behavior as undesirable, we label the women as “not desirable enough” to elicit care from a man. Instead of collectively raising the bar of poor behavior and communally calling men to task who exhibit poor behavior, we place the burden of desire on women.
This is not an isolated experience. Men everywhere seem to have collectively created a standard of lack.
Women increase our level of care, hoping that it will eventually lead to better treatment and intimacy while withholding men rest and dangle an emotional carrot on a stick.
They benefit, while women are pressured to constantly perform desirability to men’s tastes because it’s linked to our humanity, survival, and the care we receive. Then it’s taken for granted that for some women, those deemed beneath the patriarchal valuation of “worthy,” men rarely ever seem to “want to.”
Tiered kindness in dating treatment is a method of control.
It says that some people are more worthy of care, depending on how much they inspire our desire. It says that others are merely for our pleasure and therefore deserving of a denial of resources while we engage them. Those with more societal power can pull back positive treatment at their own whims and give it to those they deem “worthy,” as opposed to honoring women they engage as a value system. (Even when those women fall outside the realm of their “desire.”)
Practicing a system of care as a broader social value means that it can no longer be apportioned according to the ever-changing whims of men and their patriarchal standards. Poor or careless treatment is often used to damage a woman’s self-esteem so that her partner can remain in control and not have to show up entirely. Sometimes, the carelessness is the point. It’s an entry point into manipulation by manufacturing desperation and establishing a low bar. It’s a way of re-establishing and reinforcing existing power dynamics and reminding women of “place.”
A partner who has been careless with others is not in the practice of love, so where one suffers, all do.
This practice rarely springs up for the “right woman” in a way that is sustainable over a long period. Selfishness towards anyone you date will appear elsewhere because "liking" people is something that fluctuates. We can make the mistake of thinking we are above the dangers of misogynist dating culture because we are too smart, pretty, or societally celebrated, but this is ultimately a house built on sand and others’ ever-shifting desires.
Where systems of care as cultural norms are absent, all eventually suffer.
We are often all too quick to blame women for whatever happens to us in the space of our innocence and learning. Not "liking" someone isn't an excuse to treat people poorly and for society to then put the blame on the recipient of the behavior. Many of us are trained from an early age that to be a woman means to do the labor of deciphering emotionally unavailable and cryptic men.
Men are taught to shut down and withhold their feelings, and women are taught to do the work for them and adjust.
Establishing a “normal” or a baseline to judge what is happening around us can, in fact, be very difficult, especially when the world does its best to keep us disconnected from our own hearts, and “normal” is often really bad. It’s especially difficult when everything women do is scrutinized and quickly punished. When we “see it coming” and state our case, women are accused of being harpies that are overly critical of men. When we don’t, we are blamed for whatever happened to us and asked, “Why didn’t you know better?” People say you should see everything coming as a woman when it comes to men.
A better analogy is that you always have to navigate some tricky territory as a woman. You're wading through the river, and it suddenly dips off into a deep current, and the water is over your head. You thought you had it, but you ain’t got it. Others are quick to tell us all the ways we are inferior for failing to avoid the violence of others, often in the guise of tough love. Sometimes you fall in the river when you are learning how to swim.
A lot of “tough love” is actually just people’s frustration with your process. Which is just frustration with their own process and the process of life in general. Abuse and withholding in relationships with men can be a deeply ingrained issue that actually has little to do with the person on the receiving end. Sometimes it’s just easier for others and ourselves to say, “he’s not into me” to expedite the stickiness and complication of feeling stuck. We lash out with our own feelings of helplessness and convince people, especially women, it’s for their own good.
The point here isn't the person's level of interest, it’s that this is the way they behave relationally as a human being. They believe the standard of care and humanity for those you deal with is based on the amount of pleasure you can currently extract. They have a tier system for humanity. Often, even within these societally constructed tiers, every person has their own code.
You can never truly know "why" someone is treating you poorly and SEEMINGLY showing care to others, but you can acknowledge it’s a reflection of their own inner state and not you. From there, you can begin to take steps that ensure your own well-being, whatever that looks like for you.
The journey to that care can be a long one.
People often trivialize the journey of being and becoming a woman. It’s a remarkable and complex experience. We can’t pretend anyone has all the answers to avoid heartbreak or survive patriarchal cultures because they don’t. No one’s cracked the code.
After being left so cold by men and the world, so many of us are in need of healthy, generous, patient, and warm lovemaking.
Women and the feminine everywhere are starving for genuine connections and intimacy. We are in need of a return to self, based in radical love and community and lovers that reflect that process. The path there is not to slam women down for misreading the behavior of others but to acknowledge that their behavior does not define us.
We are courageous, fearless, gorgeous, and vital, even despite the best attempts to thwart our divine becoming.
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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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