
Rachel Lindsay On Leaving 'Extra,' Betting On Herself, & Entering A Season Of 'Rest And Renew'
There are two words that Rachel Lindsay keeps returning to over and over again: Rest and renew.
The ambitious, self-described “type A” media personality just left one of her more prominent roles after three years, and instead of being anxious about the downtime, she’s finally learning to take a few moments for herself.
When we talk via Zoom in late August, Lindsay, 38, has just returned from a lunch date with a friend, the type of midday social outing she’d never had time for previously. In a week, she’ll be heading to Europe for an Eat, Pray, Love trip. It’s the first time she’s had time to go to Europe in five years.
“You ask me what I have time to do? Take care of me,” she says, beaming.
In the past six years, Lindsay has made a lot of changes. After becoming the first Black woman to lead ABC’s Bachelorette dating series in 2017, she fell in love with Bryan Abasolo, the man she chose on the show, and married him. Enamored with the world of entertainment but also accustomed to the stability that being an attorney provided her, she returned to practicing law in her native Dallas, Texas, while pursuing media opportunities on the side.
For a time, Lindsay would fly herself to Connecticut to co-host ESPN’s Football Frenzy radio show. The role was perfect for the Dallas Cowboys fan and sports fanatic who majored in sports management and once dreamed of becoming an agent. In 2019, when she finally felt she’d saved enough money and made enough connections, she made the leap and left the legal profession behind, determined to bet on her entertainment dreams.
Working as an on-air correspondent for Extra was one of Lindsay’s first big roles as a full-time media personality. In this job, she interviewed celebrities such as Halle Bailey and Anthony Anderson. She also notably conducted the controversial interview with Bachelor host Chris Harrison that subsequently led to his departure from the franchise. After Harrison told Lindsay he felt people needed to have “grace” for a contestant who had attended an “Old South” party, Lindsay publicly announced her plans to distance herself from the series.
Today, she cites changes in Extra’s leadership and her responsibilities as the reason for her recent departure after three years. “I just didn’t fit within the new regime,” she reveals to xoNecole.
Lindsay is currently focusing her energy work-wise on her two podcasts with The Ringer Podcast Network, the Higher Learningshow with Van Lathan, and Morally Corrupt. Despite the extremely different subjects – Higher Learning touches on race and politics while Morally Corrupt finds Lindsay commenting on her favorite Bravo reality shows – she gushes when speaking about both, calling podcasting “the most liberating thing you can do.”
On Higher Learning, she’s challenged by her co-host, Lathan, to think in new ways. She’s regularly in conversation with prominent figures such as Tracee Ellis Ross and Billy Porter.
Lindsay, a “Bravoholic” whose favorite Real Housewives franchise is Potomac and whose favorite Housewife is Nene Leakes, is no less passionate about Morally Corrupt, even if the subject matter is much lighter. “I’ve always loved reality TV because it was such an escape from my real world. Part of me admired people who could put themselves out there in a way that I believed I never could, until I went on reality TV,” Lindsay says.
Courtesy of Rachel Lindsay
The podcast host says she never intended to find love when she went on The Bachelor, and she was surprised when she was asked to lead season 13 of The Bachelorette. Going from viewer to reality TV star quickly opened her eyes to the demands of being a public figure. After receiving initial criticism from viewers about choosing and marrying Bryan Abasolo, she realized she wanted to become more protective of certain aspects of her personal life.
“I quickly learned that we had to protect what we had, and stop trying to prove it to other people and convince people to know what we knew to be true,” she says. “I wish I could share more of my relationship. But the moment you do that, you have to continue to provide more and you have to continue to answer.”
In many ways, Lindsay benefited from being on a show like The Bachelorette, where the contestants are confined to a limited environment over a temporary amount of time. She says she doesn’t think she could ever be on a reality show where she’s expected to reveal all aspects of her life constantly. In fact, she says if she ever had pregnancy news or updates about her relationship with Abasolo, she wouldn’t make a big public announcement.
Since walking away from The Bachelor franchise, the former Bachelor Happy Hour host says she’s been approached to participate in recent seasons, specifically this year’s season with Black lead, Charity Lawson. Lindsay says she ultimately declined to participate. “I just started thinking I can have a relationship with Charity – whose number I do have and I have talked to – outside of the show. I don’t need to come on television to put that out there for other people,” she says.
Reflecting on her life today, Lindsay is trying to learn the benefits of being still. She’s not planning to do any on-air correspondent work for the time being, and she’s not planning to release another book, the followup to the collection of essays Miss Me with That or the fictional Real Love.
As her 40th birthday approaches in a couple of years, she’s been thinking a lot about the popular quote, “You are, right now, as young as you'll ever be again” from the FX drama Fleishman Is in Trouble. If she does start on a new creative project, it might delve into this notion, she says. “I think I could do something in that space about adulthood and getting older and maybe questioning things in life because I think we all do it,” she tells xoNecole.
Lindsay is not rushing the process, though. For now, she’s remembering to rest and renew.
“We'll see what comes out of this state that I'm in.”
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Featured image courtesy of Rachel Lindsay
Amber Riley has the type of laugh that sticks with you long after the raspy, rhythmic sounds have ceased. It punctuates her sentences sometimes, whether she’s giving a chuckle to denote the serious nature of something she just said or throwing her head back in rip-roarious laughter after a joke. She laughs as if she understands the fragility of each minute. She chooses laughter often with the understanding that future joy is not guaranteed.
Credit: Ally Green
The sound of her laughter is rivaled only by her singing voice, an emblem of the past and the future resilience of Black women stretched over a few octaves. On Fox’s Glee, her character Mercedes Jones was portrayed, perhaps unfairly, as the vocal duel to Rachel Berry (Lea Michele), offering rough, full-throated belts behind her co-star’s smooth, pristine vocals. Riley’s always been more than the singer who could deliver a finishing note, though.
Portraying Effie White, she displayed the dynamic emotions of a song such as “And I'm Telling You I'm Not Going” in Dreamgirls on London’s West End without buckling under the historic weight of her predecessors. With her instrument, John Mayer’s “Gravity” became a religious experience, a belted hymnal full of growls and churchy riffs. In her voice, Nicole Scherzinger once said she heard “the power of God.”
Credit: Ally Green
Riley’s voice has been a staple throughout pop culture for nearly 15 years now. Her tone has become so distinguishable that most viewers of Fox’s The Masked Singer recognized the multihyphenate even before it was revealed that she was Harp, the competition-winning, gold-masked figure with an actual harp strapped to her back.
Still, it wasn’t until recently that Riley began to feel like she’d found her voice. This sounds unbelievable. But she’s not referring to the one she uses on stage. She’s referencing the voice that speaks to who she is at her core. “Therapy kind of gave me the training to speak my mind,” the 37-year-old says. “It’s not something we’re taught, especially as Black women. I got so comfortable in [doing so], and I really want other people, especially Black women, to get more comfortable in that space.”
“Therapy kind of gave me the training to speak my mind. It’s not something we’re taught, especially as Black women."
If you ask Riley’s manager, Myisha Brooks, she’ll tell you the foundation of who the multihyphenate is hasn’t changed much since she was a kid growing up in Compton. “She is who she is from when I met her back when she was singing in the front of the church to back when she landed major roles in film and TV,” Brooks says. Time has allowed Riley to grow more comfortable, giving fans a more intimate glimpse into her life, including her mental health journey and the ins and outs of show business.
The actress/singer has been in therapy since 2019, although she suffered from depression and anxiety way before that. In a recent interview with Jason Lee, she recalls having suicidal ideation as a kid. By the time she started seeing a psychologist and taking antidepressants in her thirties, her body had become jittery, a physical reminder of the trauma stacked high inside her. “I was shaking in [my therapist’s] office,” she tells xoNecole. “My fight or flight was on such a high level. I was constantly in survival mode. My heart was beating fast all the time. All I did was sweat.”
There wasn’t just childhood trauma to account for. After auditioning for American Idol and being turned away by producers, Riley began working for Ikea and nearly missed her Glee audition because her car broke down on the highway while en route. Thankfully, Riley had been cast to play Mercedes Jones. American Idol had temporarily convinced her she wasn’t cut out for the entertainment industry, but this was validation that she was right where she belonged. Glee launched in 2009 with the promise of becoming Riley’s big break.
In some ways, it was. The show introduced Riley to millions of fans and catapulted her into major Hollywood circles. But in other ways, it became a reminder of the types of roles Black women, especially those who are plus-sized, are relegated to. Behind the scenes, Riley says she fought for her character "to have a voice" but eventually realized her efforts were useless. "It finally got to a point where I was like, this is not my moment. I'm not who they're choosing, and this is just going to have to be a job for me for now," she says. "And, that's okay because it pays my bills, I still get to be on television, I'm doing more than any other Black plus-sized women that I'm seeing right now on screen."
The actress can recognize now that she was navigating issues associated with trauma and low self-esteem at the time. She now knows that she's long had anxiety and depression and can recognize the ways in which she was triggered by how the cult-like following of the show conflicted with her individual, isolated experiences behind the scenes. But she was in her early '20s back then. She didn't yet have the language or the tools to process how she was feeling.
Riley says she eventually sought out medical intervention. "When you're in Hollywood, and you go to a doctor, they give you pills," she says, sharing a part of her story that she'd never revealed publicly before now. "[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that's not fixing my problem. If anything, it's making it worse."
“[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that’s not fixing my problem. If anything it’s making it worse.”
Credit: Ally Green
At one point, while in her dressing room on set, she rested her arm on a curling iron without realizing it. It wasn't until her makeup artist alerted her that she even realized her skin was burning. Once she noticed, she says she was "so zonked out on pills" that she barely reacted. Speaking today, she holds up her arm and motions towards a scar that remains from the incident. She sought help for her reliance on the pills, but it would still be years before she finally attended therapy.
This stress was only compounded by the trauma of growing up in poverty and the realities of being a "contract worker." "Imagine going from literally one week having to borrow a car to get to set to the next week being on a private jet to New York City," she says. After Glee ended, so did the rides on private planes. The fury of opportunities she expected to follow her appearance on the show failed to materialize. She wasn't even 30 yet, and she was already forced to consider if she'd hit her career peak.
. . .
We’re only four minutes into our Zoom call before Riley delivers her new adage to me. “My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway,” she says.
On this Thursday afternoon in April, the LA-based entertainer is seated inside her closet/dressing room wearing a cerulean blue tank top with matching shorts and eating hot wings. This current phase of healing hinges on balance. It’s about having discipline and consistency, but not at the risk of inflexibility. She was planning to head to the gym, for instance, but she’s still tired from the “exhausting” day before. Instead, she’s spent her day receiving a massage, eating some chicken wings, and planning to spend quality time with friends. “I’m not going to beat myself up for it. I’m not going to talk down to myself. I’m going to eat my chicken wings, and then tomorrow I’m [back] in the gym,” she says.
“My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway."
This is the balance with which she's been approaching much of her life these days. It's why she's worried less about whether or not people see her as someone who is humble. She'd rather be respected. "I think you should be a person that's easy to work with, but in the moments where I have to ruffle feathers and make waves, I'm not shying away from that anymore. You can do it in love, you don't have to be nasty about it, but I had to finally be comfortable with the fact that setting boundaries around my life – in whatever aspect, whether that's personal or business – people are not going to like it. Some people are not going to have nice things to say about you, and you gotta be okay with it," she says.
When Amber talks about the constant humbling of Black women in Hollywood, I think of the entertainers before her who have suffered from this. The brilliant, consistent, overqualified Black women who have spoken of having to fight for opportunities and fair pay. Aretha Franklin. Viola Davis. Tracee Ellis Ross. There's a long list of stars whose success hasn't mirrored their experiences behind the scenes.
Credit: Ally Green
If Black women outside of Hollywood are struggling to decrease the pay gap, so, too, are their wealthier, more famous peers.
Riley says there’s been progress in recent years, but only in small ways and for a limited group of people. “This business is exhausting. The goalpost is constantly moving, and sometimes it’s unfair,” she says. But, I have to say it’s the love that keeps you going.”
“There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman,” she continues. “We’re still niche. We’re still not main characters.”
"There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman. We’re still niche. We’re still not main characters.”
Last year, Riley starred alongside Raven Goodwin in the Lifetime thriller Single Black Female (a modern, diversified take on 1992’s Single White Female). It was more than a leading role for the actress, it also served as proof that someone who looks like her can front a successful project without it hinging on her identity. It showcased that the characters she portrays don’t “have to be about being a big girl. It can just be a regular story.”
Riley sees her work in music as an extension of her efforts to push past the rigid stereotypes in entertainment. Take her appearance on The Masked Singer, for instance. Riley said she decided to perform Mayer’s “Gravity” after being told she couldn’t sing it years earlier. “I wanted to do ‘Gravity’ on Glee. [I] was told no, because that’s not a song that Mercedes would do,” she says. “That was a full circle moment for me, doing that on that show and to hear what it is they had to say.”
As Scherzinger praised the “anointed” performance, a masked Riley began to cry, her chest heaving as she stood on stage, her eyes shielded from view. “You have to understand, I have really big names – casting directors, producers, show creators – that constantly tell me ‘I’m such a big fan. Your talent is unmatched.’ Hire me, then,” she says, reflecting on the moment.
Recently, she’s been in the studio working on original music, the follow-up to her independently-released debut EP, 2020’s Riley. The sequel to songs such as the anthemic “Big Girl Energy” and the reflective ballad “A Moment” on Riley, this new project hones in on the singer’s R&B roots with sensual grooves such as the tentatively titled “All Night.” “You said I wasn’t shit, turns out that I’m the shit. Then you called me a bitch, turns out that I’m that bitch. You said no one would want me, well you should call your homies,” she sings on the tentatively titled “Lately,” a cut about reflecting on a past relationship. From the forthcoming project, xoNecole received five potential tracks. Fans likely already know the strengths and contours of Riley’s vocals, but these new songs are her strongest, most confident offerings as an artist.
“I am so much more comfortable as a writer, and I know who I am as an artist now. I’m evolving as a human being, in general, so I’m way more vulnerable in my music. I’m way more willing to talk about whatever is on my mind. I don’t stop myself from saying what it is I want to say,” she says.
Credit: Ally Green
“Every era and alliteration of Amber, the baseline is ‘Big Girl Energy.’ That’s the name of her company,” her manager Brooks says, referencing the imprint through which Riley releases her music after getting out of a label deal several years ago. “It’s just what she stands for. She’s not just talking about size, it’s in all things. Whether it’s putting your big girl pants on and having to face a boardroom full of executives or sell yourself in front of a casting agent. It’s her trying to achieve the things she wants to do in life.”
Riley says she has big dreams beyond releasing this new music, too. She’d love to star in a rom-com with Winston Duke. She hasn't starred in a biopic yet, but she’d revel in the opportunity to portray Rosetta Tharpe on screen. She’s determined that her previous setbacks won’t stop her from dreaming big.
“I think one of my superpowers is resilience because, at the end of the day, I’m going to kick, scream, cry, cuss, be mad and disappointed, but I’m going to get up and risk having to deal with it all again. It’s worth it for the happy moments,” she says.
If Riley seems more comfortable and confident professionally, it’s because of the work she’s been doing in her personal life.
She’d previously spoken to xoNecole about becoming engaged to a man she discovered in a post on the site, but she called things off last year. For Valentine’s Day, she revealed her new boyfriend publicly. “I decided to post him on Valentine’s Day, partially because I was in the dog house. I got in trouble with him,” she says, half-joking before turning serious. “The breakup was never going to stop me from finding love. Or at least trying. I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness, and you enjoy it and work through it.”
Credit: Ally Green
"I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness and you enjoy it and work through it.”
With her ex, Riley was pretty outspoken about her relationship, even appearing in content for Netflix with him. This time around is different. She’s not hiding her boyfriend of eight months, but she’s more protective of him, especially because he’s a father and isn’t interested in becoming a public figure.
She’s traveling more, too. It’s a deliberate effort on her part to enjoy her money and reject the trauma she’s developed after experiencing poverty in her childhood. “I live in constant fear of being broke. I don’t think you ever don’t remember that trauma or move past that. Now I travel and I’m like, listen, if it goes, it goes. I’m not saying [to] be reckless, but I deserve to enjoy my hard work.”
After everything she’s been through, she certainly deserves to finally let loose a bit. “I have to have a life to live,” she says. “I’ve got to have a life worth fighting for.”
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Nicole Beharie Reflects On Her Role In 'Breaking' & Working With The Late Michael K. Williams
Breaking actress Nicole Beharie was only recently informed that a clip of her in the Black Mirror "Striking Vipers" episode keeps resurfacing on social media three years after the episode first aired on Netflix. When asked about it during the press cycle for her latest film, she seems stumped about what draws fans to this particular performance.
“I don’t fully know. I’m just really humbled. I just do the work. I don't even read reviews and get too tied up in what happens after,” she tells xoNecole. “I got into this work because I wanted to connect with people and understand things about humanity. If people are connecting with something so small that means the world to me.”
Perhaps what people are reacting to in the "Striking Vipers" scene is the subtle but powerful decisions Beharie makes in portraying a wife whose husband seems to have inexplicably emotionally checked out of their family life. She embodies both the measured frustrations and empathy of someone seeking honesty from their partner. It’s a master class in acting, but it’s also fairly common of Beharie’s acting performances.
She brings this same nuance to her role as Estel Valerie, a bank manager who is held hostage by a veteran who is seeking money owed to him by Veterans Affairs. John Boyega stars in the film as the veteran, Brian Brown-Easley, while Rosa Diaz plays another terrified bank employee and the late Michael K. Williams portrays a negotiator. Breaking is based on an article about the real-life story of Easley, who took two hostages in a Wells Fargo in metro Atlanta in 2017 claiming the V.A. owed him $892.
Beharie says she didn’t know much about the story when she originally read the script, but she eventually did a number of things to prepare for the role, including traveling to Marietta, Georgia where the bank was located. (The branch was permanently closed following the incident.) “I had to sort of figure out what the protocol is for being a bank manager,” she says. “What’s the day-to-day and then what are you taught to do when there’s a robbery?”
The actress says she reviewed “police statements, written statements, CCTV footage, footage of outside of the bank and lots of photographs” to learn about the woman her character is based on, but she ultimately decided not to reach out to the woman herself out of respect for the trauma she endured. “I felt like it was kind of close to home and we could take care of it without having to bring it back up for people,” she says.
Throughout the film, Beharie brings nuance to a character who has been placed in an unimaginable situation. As Estelle Valerie, she is both compassionate for Easley, resolute in trying to protect herself and the others inside the bank, and outspoken about her frustrations with the police department for the way they are handling the hostage negotiations.
Embodying a character who is navigating a traumatic situation is not easy. “Maintaining that level of fear, having that fight or flight response in your body for 12-14 hours a day for a few weeks can be a lot,” she says.
Still, she’s quick to praise her fellow cast members for their work on camera and behind the scenes. “[Boyega] just absolutely came in kicking the door, waving the 44. Total commitment, full energy, focus, and clarity,” she says of the lead actor.
She’s more solemn when reflecting on WIlliams’ role. It’s one of the final projects the celebrated actor worked on before he died last year. “This has been a weird last few days, having this movie come out and seeing his face, and him not being a part of the press junket,” she says.
Most of Beharie’s scenes take place inside the bank with Boyega and Diaz, but she has one off-camera phone call with Williams. The late actor was scheduled to be off work the day Beharie filmed the scenes, but he showed up to read lines with her. “I don’t know if people who are not in the business know this or not but that’s sort of an unheard of thing. That’s a very, very, exceedingly generous thing to do,” she says. “That’s the kind of thing I want to take with me. That’s the kind of person I want to be when I’m on set.”
Ultimately, Beharie says these moments with the rest of the cast, and the overall message of the story is what made the challenging role worthwhile. “Brian went through all that he went through so that he could be heard, and so that what was really owed to him would be his. That’s what I took from the story.”
Breaking is now in theaters.
Featured image by Matt Winkelmeyer/Getty Images
Nathalie Emmanuel On Her First Leading Role & The Liberation Of Cutting Her Hair
Landing her first role as the lead character in a film has been “surreal” for English actress Nathalie Emmanuel mostly because she remembers all the times she considered giving up on her dream career.
The Emmy-nominated actress, best known for portraying Missandei in HBO’s Game of Thrones, appearing alongside Kevin Hart and John Travolta in the former Quibi series Die Hart, and acting in the most recent films from the Fast & Furious franchise, is set to star in the horror film The Invitation. The film is out in theaters as of Aug. 26.
Emmanuel, 33, said the starring role is made all the more special by the fact that she’s working in a genre that doesn’t typically have diverse leading characters. “The idea of playing a female lead as a woman of color and in the horror genres space, it's just sort of, not really something that you see,” she tells xoNecole.
The actress wouldn’t give too much of the Dracula-inspired film away, but she described the premise as “the worst-case scenario of doing a DNA test and finding out your ancestry.” Emmanuel portrays Evie, an only child who has lost both of her parents when a newly discovered relative invites her to a seemingly glamorous destination wedding.
“It's on the backdrop of this very wealthy aristocracy in Britain, and the sort of power structures involved intersecting with a woman who is a Black, mixed-race and working class,” she says. According to Emmanuel, it was the female-centered lens through which director Jessica M. Thompson tells the story that originally drew her to the project. During her childhood in England, the actress says her parents were very protective of the media she consumed, but she says she got into vampire mythology later in life.
The Invitation is a long-time coming for an actress who first landed her first role in a West End theater production of The Lion King at just 10 years old. In 2013, she landed the role of Missandei on Game of Thrones while working in retail. “I was working in retail, and I was folding clothes and cleaning and doing things to get by,” she reveals. “After a long time of not getting seen for things or being cast in anything, you start to doubt yourself, and then you have to decide whether you're going to keep going or give up. That’s happened many times.”
Emmanuel is on the cusp of a new time in her career, but she’s also switching things up in her personal life, too. Earlier this year, she documented the emotional moment when she cut her signature curls and posted the video on social media. “There was something really empowering about shedding this thing that had so many complex emotions attached to it and just kind of starting again,” she says. Today, she wears her hair in a cropped cut, with her curls framing the top of her face. Cutting her hair is a decision Emmanuel says she’s been considering since she was a teenager, although the motivation has changed.
Despite being complimented as an adult for showcasing her natural hair on television, Emmanuel says struggled with feeling like her hair was a “problem that needed to be managed” as a teenager. “The first time I asked my mom, I was maybe 14 or 15. And she was right to say no, because I think it came from a place of frustration or seeing what was considered beautiful and not being that,” she notes.
As an adult, work demands and the comments she got from fans kept her from cutting her hair initially. “I was so proud of that and so happy that I could be that for somebody because I had such a long journey to that place myself. So I then I kept it because I wanted as many people as possible to feel good about their natural texture.”
Emmanuel is hoping to continue to inspire Black and biracial women, although this time on her own terms. With this new film, a forthcoming season of Die Hart (now on Roku), and a starring role in the forthcoming film Megalopolis alongside Adam Driver, Laurence Fishburne, and Forest Whitaker, she’s hoping to continue to showcase her range as an actress, too. “I've done the comedy stuff a bit. And now I'm doing a bit of horror. I've done the dramatic stuff, the fantasy thing. The more I can diversify my body of work, the better."
The Invitation is out in theaters now.
Featured image by Ilya S. Savenok/Getty Images for Sony Pictures Entertainment