After a long time of everlasting work, the roles of the characters and unwavering perseverance, they became the decisive chapter in the long-term profession of William Stanford Davis-I in no case is the latter. Known to the Millions as Mr. Johnson, delightfully the unusual and infinitely clever guardian from the most charming fictitious school in Philadelphia, Davis turned something that began as a repeated place with a repeatedly awarded, favorite fan.

“When you enter as a guest star, you visit someone’s house,” said Davis. “You don’t want to overturn the furniture.” But when the creator of the series Quint Brunson told him that there was a daily series, this guy became a family. “It’s an indescribable feeling because it’s all you worked on. But it was the most amazing thing to even hear these words out of her mouth – it changed my life.”

Now, three-time nominated for the NAACP Image Award-i winner of 2024, an impressive actor supporting in the comedy series-Davis finally receives the recognition that his talent has long justifies. In addition to awards, the most resonated by the emotional combination of Davis together with his character, together with the talented solid of the series. Mr. Johnson, together with his underground edges and sharp one lines, appeared as a secret weapon. “I love them all,” he talks about his stars. “You work on some sets in which you can’t wait to go home. In this I can’t wait to return.”

“I love them all in my own way,” said Davis about his stars. “Sometimes you work on some sets where you can’t wait to go home, but with []I can’t wait for the return, because it’s so much fun, so much love. “The undeniable fact that an actual bond outside the screen helped revive the series in a way that connects to the viewers. They develop into great moments.”

The performance of Mr. Johnson was greater than a groundbreaking role for the countryman St. Louis – it opened to a brand new creative territory. He appeared in the upcoming drama next to Wanda Sykes, adopting a more serious role that shows his range. While preparing for the character, Davis drew from his own experience, teaching acting, shaping a job that might increase his older profession anyway.

While his character in May enjoy bizarre antics and conspiracies, Davis’s approach to craft is rooted for intention and immunity. His path was long, full of moments of uncertainty and dedication. But when he devoted himself to the journey, there was no turning back. For him, acting will not be only a profession – it’s a calling that is decided so long as the road stretches forward.

“There is an old prince Ellington who says:” Rule primary doesn’t hand over. Rule number two never forgets Rule primary ” – explained the actor. “When I committed to this, there was no turning back.” Interestingly, he is his first regular role. He was 32 when he moved to Los Angeles to continue his full -time acting, and now, years later, he lives a dream he refused to give up. “That’s all I actually desired to do,” he says. “So I just decided that I’d proceed until I can do it – or ride it until the wheel falls.”

Season 4 was provided by one of his best programs to this point, pushing each character to a brand new breakthrough, while going to land in honest, hope. The final was related to long-term stories-a method in his dream role as a director, Barbara found a renovated goal, and Ava, despite her release, left with a way of grace. The solid went to Philadelphia to film the last episode of The Children’s Touch Me Museum, a bizarre and matching background for closing moments.

At the center of this cultural juggernaut is of course Brunson, whom Davis calls “boss”. He says: “He knows exactly what he wants – and he does it in such a loving way. Every detail on this screen is her vision.”

For Davis, being part of this vision changes life. But even now, with prizes and the famous role of his name – it is much from the end.

The current scene of Ryan Coogler’s director’s profession appears in the middle of the stage, which binds every generation of black people and our music in Stawna, an intercultural sequence of music that takes place in a single shot. The scene wherein Sami’s musical performance connects the diaspora in time and space, becomes a turning point of the film and crystallizes the major motif: Love Your Blackness and the house from which it comes, because there’ll at all times be someone who will accept your magic. At this point, it takes on a deeper meaning and one which confirms us and hugs us until the end lines.

In Jim Crow-Ero after World War II, Mississippi Delta is a vampire horror about the set of twins, Smoke and Stack (each played by Michael B. Jordan), who return home from the years of travel to war, Chicago and other unspoken parts of the world to open Jamoke. Friends, lovers and family gathered together to launch this place for the Great Night. Their younger cousin Samma (played by Miles Caton, making his unforgettable debut) is a musician they need to make every thing work. But his music is drawn to the Trio of Vampire who want his soul.

It is that this soul that makes it so beautiful.

When the twins travel through Clarksdale, collecting their community, they regain their love for the home to which they need to return. With every friend they find – Cornbread, Delta Slim – the twins have gotten more and more. But it is just not only the twins who turn out to be one in every of the house while traveling. They also fill the audience with a way of connection and belong to their ancestors Mississippi.

As a black boy from Jackson, Mississippi, just a few hours from Clarksdale, I discovered that each scene is sort of a siren to the place that made me. Every arrows of the Beautiful fields that jogged my memory of Delta’s riding to hear my father, the brightest sunrises, which collapse to the darkest stars, the way every character felt music of their bones-he struck me in a spot that made me. When Sammie wore this cotton bag at the starting of the film, I used to be beaten because I remembered that my grandfather, whom I never met, said that he was able to select 300 kilos of cotton a day, and the pride I feel each time I remember this feat.

I, without hyperboli, moved to the fringe of my seat and pointed to the screen when Chinese shops, family of Chow, appeared early, because I also felt at home. I used to be delighted with the relationship between Chinese culture and Mississippi a few years ago during the research of my book, about my father, movement for civil rights and mississippi. I used to be fascinated History of what ChinnBlack fighter about freedom with Chinese heritage. I learned about Chinese individuals who settled in the delta during reconstruction and worked on plantations before they opened grocery stores that served black individuals who couldn’t shop in white factories. Chinn was just before Jackson in a city called Canton, where the locals assured me that the name of the city had Chinese origin, even when historical documents couldn’t confirm it. So yes, the vortex, their southern accents and their mixed culture also seemed to be home.

Then there have been women. Deep southern, sensible, churches of ladies, equivalent to Pearline (Jayme Lawson), who loved their sensuality just as she loved their gentleness. Or Mary (Hailee Steinfeld), whose blood line is equally complicated and exposed to bigotry, which made her keep her heritage secret. But she was still a family, allowing her to accept black individuals with whom she grew up. And then there may be Annie, physical incarnation of the house. He represents a family house for West Africa and traditional diaspora religions. It is a cable for afterlife and recently converted vampires who wanted her to join them. And she is at home for smoke, whose body never forgot her, even when he was in Chicago, Mississippi from the North.

Annie (Wunmi Mosaku) can be a brand new home for movies equivalent to we simply don’t see the full, dark -skinned black women as love interests in movies, especially in movies wherein the Super -Business of Action, equivalent to Michael B. Jordan, is fully developed by her emotionally and physically. And yes, men love, want and search for sexually, please, black women also feel like a selected variety of home.

In general, Coogler spends the first half of the film, putting on a house and soul. Traditionally, we call it constructing the world. But that is different. It is throughout the world, showing us parts of our black present in Mississippi and restoring knowledge that we didn’t know that we had forgotten.

And as soon as we remember to love our black house, we knock on the door, threatening to take it all.

Which reaches this musical number. When Samma begins to sing on this pond Juke, he recalls ghosts from the past – drummers from West Africa, whose dance and drums were the basis of those blues. But he also recalls the spirits of the future – the turntable and DJ appear on the stage; The ballet dancer crosses the club; Duders from the west coast with rags appear under their fitted. The story of Black Art is collapsed on an extended, one arrow that led me to the fringe of tears.

The musical number ends with a metaphorically wardrobe joint in flames; The structure is unable to stop many infinite genius. But music also encourages Remmic, a vampire of Irish origin, who experienced his homeland peers and wants Samm’s musical gifts to reach them in the same way as Sammu called his ancestors during his performance.

The metaphor of face values ​​is obvious: it is about colonization and cultural appropriation. Blood cannot take what’s yours unless you invite them. The terror of their infiltration is at all times right outside. They swear that they need “equality”, but they only want to steal our hearts, remove them and force assimilation. After all, there may be a reason why black people have recently transformed into vampires, suddenly Irish singing and dancing outside Yuke. There is definitely a musical conversation about who can define the species, who takes and who gives. If Kendrick Lamara’s “Not Like Us” is abstract, then the whole thesis about what happens after we are exhausted by bloody love, pouring into our art – and the meaning of keeping the bite signs away from our body.

But there’s something more dangerous in the presence of demons. Vampires don’t need only our music or our culture. They want our homes. They want to eliminate us so completely from our existence that we have now nothing; Even the memories of our souls will probably be dimmed. But Coogler again reminds us that our culture travels with us. You can burn Juke Staw or try to destroy any one that remembers what happened at night in the Mississippi delta, where the screams torn out at the clean sky. But it won’t work.

That is why a lot fantastic thing about the film took place in a special structure: cars. In these transport modes, Stack first hears how his cousin sings, and we see everlasting joy that appears on his face – a moment that returns at the end of the film. It was on this automobile that Stack created his own legends that traveled, including the fictitious history of origin for Sami’s guitar. In this automobile, Delta Slim turns its history of origin into blues music. And on this automobile Samma takes the guitar and finds freedom elsewhere.

However, nobody leaves Mississippi. As James Baldwin once wrote: “Perhaps the house is not a place, but simply an irrevocable state.” Samma didn’t take the guitar and left Mississippi. He got into the automobile and took Mississippi with him. This is commonly an undesirable a part of great migration; Black people didn’t leave Mississippi to find life in other parts of the country. They took Mississippi with them to the remainder of the country, so once I lived in Chicago, I met dozens of people that had Kinfolk near my hometown. In this manner, you possibly can trace the country’s music on the same plantations in the delta.

And so he was born and raised by the director in Oakland, a city that became the center for black during the second great migration thanks to the “Ralugom Sunset Railroad” of the Southern Pacific, which was established in Louisiana, can reach for this family and create something that attempted to regain our history and renovate our future.

This is a story wherein he flows home solely through our veins that even the vampire’s teeth cannot bring it out, regardless of how much they fight.

2025 means 25 years of “Highest Night of Culture”, BET awards. Before the anniversary celebration, Bet announced that the comedian and actor Kevin Hart could be the host of the award.

“I love the celebration! It is a chance to reflect, cultivate and honor unforgettable moments of life,” said Hart in a press release. “I am really honored that I can organize the 25th BET awards and celebrate the largest night of culture. This year is the 25th anniversary, and my partners in Hartbeat, Bet and Jce (Jesse Collins Entertainment) make all the stop to remember. This is a black affair, and you are all invited.”

For Hart Hosting The Award, the show is a bit full of moment. From the hosting of the comedy “Comic View: One Night Stand” in 2008, to the executive producer and appeared in the series of parody “Real Hollywood” 2013, The Star has an extended history with a network.

“For over a decade, Kevin Hart was a beloved part of the BET family and we could not be more excited that he returned to organize BET awards on the occasion of the 25th anniversary,” said the president and general director of Bet Scott Mills. “His unmatched talent, contagious energy and a deep connection with our audience make him an excellent host of this historical ceremony. Kevin was constantly crossing the boundaries of amusement. On the heels of the successful premiere of Bet+ the original series Lil Kev, we are happy to expand our partnership and continue to introduce groundbreaking projects.”

“Kevin Hart is the artist’s power. His influence includes a comedy, film, television and not only. We celebrate 25 years of BET awards, we could not come up with a more dynamic host of this historical night” – added Connie Orlando, EVP, special specialties, music program and music strategy. “Kevin’s incomparable charisma, comedy glow and deeply rooted connection with our culture make it a great choice to commemorate this milestone.”

“For 25 years, the BET awards have been one of a handful of scenes strengthening and celebrating black talents, and the opportunity to provide the 25th anniversary of Marek, promises to provide final performances, powerful moments and sincere tribute reflecting the depth and wealth of black culture over the last quarter.”

2025 Bet Awards Air in the Network on June 9, 2025.