

By now you’ve heard about Will Smith slapping Chris Rock at the Oscars after Rock told a bad joke related to Jada Pinkett Smith’s alopecia.
I’m less interested in talking about The Slap™ however and more interested in talking about something that happened mere moments later. A photo captured Will Smith being spoken to by Denzel Washington and Tyler Perry a few feet away from the Oscars stage during the first commercial break that came after the altercation.
There’s not much known to the public about what was said during the conversation aside from what Smith said during this acceptance speech when told the audience that Washington said “At your highest moment, be careful. That’s when the devil comes for you.” Reportedly Washington also went to comfort Pinkett Smith after speaking with Smith.
READ MORE: THE 94TH OSCARS BLACK HISTORY MOMENTS WE SHOULDN'T FORGET
It's a moment that’s gotten lost in all the chaos of the discourse that’s been generated after the events that unfolded. A moment of tenderness and love that resembles so much of what’s missing from the current conversation around Smith’s actions.
Regardless of how you feel about Smith’s action – disappointed, elated, angry, bemused – I’ve been frustrated about certain reactions that have fixated on wanting the actor to receive carceral punishment. Many people both in and outside the legal system view hitting someone without physical provocation to be illegal, punishable by imprisonment or at least some form of state sanctioned penalty such as probation or community service. But the calls to incarcerate Smith seem to ignore the fact that Rock has reportedly already declined to press charges against Smith, thus begging the question: who is it that we are protecting by insisting on carceral solutions if the person harmed here is not interested in pursuing any legal recourse?
The supposed violence people seem to be reacting to is not even the violence that allows for Rock to make a joke minimizing Jada’s health and using it as comedic fodder for a (mostly) white audience. The harm they’re reacting to has even less to do with Smith’s hand swiftly connecting to Rock’s face. It’s about forcing people to contend with impolite emotions and reactions in public. It’s the violence of violating the rule of civility in the face of oppression that white institutions such as the Oscars cloak themselves in. It’s evident by how many people have suggested that Smith should’ve just confronted Rock behind the scenes instead of on stage for all to see. Or how people who claim “violence is never the answer” can so easily suggest an inherently violent place like prison as a solution for every single problem that arises in our society. “Prisons do not disappear social problems, they disappear human beings,” as Angela Davis wrote.
If a Black man who has had a professional and personal reputation of being one of the nicest men in Hollywood for over the course of his three-decade career can immediately be villainized, I shudder at the thought of the way people are treating the Black boys and Black men in their everyday lives with considerably less social and monetary capital. Even the way white people continue to reconfigure Rock as a white person (“what if he were Betty White?!” What if he were Bob Saget?!”) in their supposed defense of Rock shows the limits of their concern and that they can’t even summon sympathy for the Black man that they’re claiming was harmed without casting themselves as the victims.
People struggle to imagine what accountability looks like without prisons but we must. Accountability in this situation could look like Smith, Pinkett-Smith, and Rock coming together to have a private conversation about what transpired and then bringing it to a public platform like Pinkett-Smith’s talk show Red Table Talk to have a discussion about alopecia, as well as ableism and misogynoir in comedy. And sometimes accountability looks like being pulled to the side by an elder like Washington that will gently but firmly correct you. Accountability is an act of love and community. And Sunday night showed us a brief glimpse of what that looks like.
After Decades-Long Career, Terri J. Vaughn Is Finally The Main Character: Exclusive
Terri J. Vaughn first captured our attention in the late ‘90s as Lovita Alizay Jenkins on The Steve Harvey Show. Decades later, she is starring in her very own series, She The People, which is now available to stream on Netflix.
The political sitcom, which she co-created with Niya Palmer and later teamed up with Tyler Perry Studios, is about a Black woman named Antoinette Dunkerson who runs for lieutenant governor of Mississippi. She wins and becomes the state’s first Black lieutenant governor. Now, she’s forced to balance working with a racist and sexist governor while also trying to keep her family from running amok.
According to the beloved actress, this project was a long time coming. “I’ve been trying to get my own television series for like 20 years, pounding the pavement, meeting with people, getting clothes, being lied to, just a whole bunch of stuff,” she says in an exclusive interview with xoNecole.
“But just keep going, because this is what I do. This is what I love, and I know how important it is for us to continue to show up and make sure that we are seen, make sure that our voices are heard. For several reasons. I just never give up. So here I am, 20 years later, finally sold my show.”
She The People is inspired by the true story of London Breed, who became the first Black female mayor of San Francisco, Terri’s hometown. And to help make the show more authentic, the Cherish the Day actress tapped former Atlanta mayor, Keisha Lance Bottoms to come on as a producer.'“I’ve been trying to get my own television series for like 20 years, pounding the pavement, meeting with people, getting clothes, being lied to, just a whole bunch of stuff."
After bringing the former mayor aboard, it was time to pitch again. And this time, the companies were pitching them. Ultimately, Terri decided to work with Tyler Perry on the series.
“We decided to do it with Tyler for several reasons. I love that. Well, most of the companies we met with were Black-owned companies, but he was the only studio,” she explains. “Tyler is like Walt Disney. That's literally what he is. He has the studio, he has the content. He operates just like Walt Disney.”
And thanks to the cast, the show is nothing short of laughs. The series also stars social media creator Jade Novah as Antoinette’s crazy cousin/ assistant, Shamika, Family Mattersstar Jo Marie Payton as Anotinette’s mom, Cleo, and Terri’s husband, Karon Riley, who plays Michael, her driver and love interest.
While we’ve watched Terri’s career blossom in various ways. From directing to producing, and playing diverse characters, the mom of two says her The Steve Harvey Show character will always be her favorite.
“Well, Lovita was definitely my favorite, especially for my time, the age and everything that I was. Now as a grown ass woman over 50, Antoinette Dunkerson is everything that I've wanted to play. She's everything. She's a mother of two teenagers. She's divorced, so she's co-parenting with her ex-husband. She has to wrangle in a very eclectic family,” she says.
“So I like playing characters that are really flawed and trying to figure it out and doing their best to try to figure it. And she's very flawed and she is trying to figure it out, and she fucks up sometimes. But her heart and what she's trying to do and what her vision is and purpose, it's all for the people. I mean, she the people. She’s for the people, she is the people.”
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For The Eldest Daughters Who’ve Always Carried The Load, You Deserve Softness Too
Some days, I wonder if I’ll lose myself in marriage.
As the oldest of six, I’ve been many things—second mom, fixer, emotional translator, peacemaker, protector. My childhood wasn’t heavy with pain, but it was full of responsibility. I’ve been “on” for as long as I can remember.
Even now, as a grown woman, the role doesn’t fully turn off. The habits remain: I show up when I’m exhausted. I give even when I’m on empty. I manage needs, anticipate moods, stretch myself to be enough—for everyone.
And lately, I’ve found myself asking: When is it my turn to be held?
@tohpazzz #eldestdaughter
I believe in marriage. Deeply. I’ve seen it up close—my parents have been married for 31 years. They’ve shown me the beauty of commitment, the sacred dance of sticking with someone through the highs and lows. But even with that example, I can’t help but ask: can I be a supportive wife and mother without losing myself in the process?
The truth is, eldest daughter syndrome doesn’t disappear when you become an adult. It travels. It seeps into your work ethic, your friendships, your faith, your dreams—and your view of partnership. We learn to lead, but often don’t learn how to be led. We learn to give, but not how to receive without guilt. We pour into others, but forget to ask if anyone has poured into us.
That’s why I’ve been intentional about preparing for love—not just the wedding, but the life after “I do.” I’m preparing not with Pinterest boards and color schemes, but with boundaries, therapy, and truth-telling. I’m learning to:
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I’ve realized that the version of me who always had to manage, anticipate, perform—that version doesn’t have to run the show anymore. I’m learning to believe I can be loved without being needed. I can be chosen without being essential to someone’s survival. I can build a home with someone, not for someone.
In a world that often celebrates hyper-independence and self-preservation, I still want partnership. Not as an escape, but as an extension of the life I’m already cultivating. And yes, it’s scary to think about giving parts of myself to someone else. It’s scary to think about showing up when I’m tired. But it’s scarier to imagine never allowing myself to be fully seen, fully loved, fully supported.
To the women who feel this too, you are not alone. You’re not wrong for wanting both. You’re not selfish for dreaming of a life where you’re a present, loving wife and mother and a woman with her own breath, voice, and rhythm. Balance may not always look perfect. But preparation? That’s sacred work.
We don’t have to bring the full weight of ourselves into our next chapter. We can lay some of it down. We can walk lighter. We can partner with someone who sees our capacity—and also sees our humanity.
And when the time comes, I won’t enter marriage as a martyr, but as a woman who knows her worth. I’m becoming her every day. She—the version of me who is whole, ready, and free—is worth the wait.
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