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How Iantha Richardson controls the narrative in Hollywood

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Iantha Richardson arrives at the premiere of ‘White Men Can’t Jump’ held at the El Capitan Theater on May 11, 2023 in Los Angeles, California. (Photo by John Salangsang/Variety via Getty Images)

Iantha Richardson never desired to be an actress.

“I just knew I would dance abroad in Europe and perform contemporary ballet, but life wasn’t like that,” the star tells ESSENCE. However, by coincidence, she discovered a brand new passion that saw her appear on screens in over 9 million homes weekly.

The star of the popular ABC cop drama and the recent all-black remake of the 1991 cult classic, the DC native moved from New York to Los Angeles in hopes of using her punchlines professionally. Instead, she landed in front of the camera after taking acting classes with a friend.

One class led to several, which led to an agent and management, which led to Benny Got Shot, an AFI thesis film directed by Malcolm Washington, son of Denzel and Pauletta. This led to her playing the adult Tess, which opened the door to even greater opportunities for her.

While she’s going to at all times be in love with dancing – “it’s something that’s still in my back pocket,” she tells us – acting on certainly one of Primetime TV’s hottest shows currently takes up most of her time. And rightly so.

How Iantha Richardson controls the narrative in Hollywood
WILL TRENT – ABC’s “Will Trent” starring Ianta Richardson as Faith Mitchell, Jake Mclaughlin as Michael Ormewood, Ramn Rodr’guez as Will Trent, Erika Christensen as Angie Polaski and Sonja Sohn as Amanda Wagner. (ABC/Streiber’s Art)

As Faith Mitchell, the title character’s reluctant GBI partner, Richardson brings a depth, wit and charm to the character that in many other police procedural shows could be irrelevant to the overall story. Faith is a black woman in a politically precarious position, harboring contempt for her partner for whistle-blowing to other cops, while consistently striving to be on the “right side of the law.” Faith is complex and interesting, and her own insecurities could also be obstacles and personal demons to beat.

“I like her perseverance. I like her resilience. I like her heart above all else,” Richardson says of her character. “I think as a black woman in a male-dominated space, a space that in 2024 would not be considered for someone black or brown who wants to be a police officer. But I think he’s doing it for the right reasons and not sacrificing who he is.”

Inspired by her close friend, a real-life black female detective from Washington, D.C., Richardson portrays her character’s compassion and caring through lived experience.

“I like the fact that she went from being a police officer to being a detective. And I said, “Well, how do I do that?” How do you feel with it? What does it look like there? Because the police have a very bad reputation, especially through our lens. “But she is literally one of the most compassionate officers and she does it because she wants to help people.”

How Iantha Richardson controls the narrative in Hollywood
WILL TRENT – Iantha Richardson plays Faith Mitchell on the ABC series Will Trent. (ABC/Streiber’s Art)

“Episode seven is really cool,” Richardson says of tonight’s episode . “For me personally, not even for Faith. I actually have to do a number of stunts, which inserts perfectly with what I need to do in the future, which is to develop into an motion hero sooner or later in my life.

“There’s a lot of family themes, there’s a lot of really cool action, and Will and Faith work together in such a beautiful way that their relationship has evolved and you can see that in this movie.” Richardson irritates. “They’re on the verge of communication right now and they’re really just understanding each other.”

In addition to his work in front of the screen, Richardson is behind the lens, producing and directing his own projects. The star is currently purchasing for her first appearance. The film, tentatively titled “Attached,” takes place in Detroit and relies on the concept of soul ties. He’s also looking forward to directing his first TV episode soon.

“As I get more into this business, I realize that it’s very important to be able to control the narrative in your own way,” he says. “As actors, we often support someone else’s story – which is also really cool, to be able to be a servant and to be able to play these wonderful characters like Faith. But I’m very excited to collaborate with other artists to tell other stories that I think should be spotlighted, and I think producing gives you the opportunity to manage and bring together different voices to create something new, fresh and unprecedented.”

In the wake of last 12 months’s strikes, Richardson recognizes the challenges she faces as a creator of color looking for the green light for original content. But she never let the statistics discourage her – “I think if something’s going to be done, it will be done,” she tells us – she believes in what she creates and trusts that it would find its platform and audience.

“I think people are still looking for content from people of color. I think it just has to be really special,” he explains. Richardson is enthusiastic about shedding light on narratives and their points that will not be often dropped at the fore.

“I like to tell stories that are not necessarily what people want to hear, but stories that are true.”

This article was originally published on : www.essence.com
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Celebrity Coverage

How Diana Ross’s Halloween look was created Uche Moxama – essence

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Courtesy of Cindy Romero

Halloween is the perfect time of 12 months to advertise an icon. This 12 months, for instance, Beyoncé morphed into funk rock star Betty Davis and Coco Jones referenced Donna Summer’s album covers. And for the content creator Uche Moxamrecreation of the 1969 Diana Ross film.I’ll wash this guy out of my hair” on the duvet, the immediate answer was “yes.”

How Diana Ross Uche Moxama's Halloween look was created
FRANK CARROLL/NBCU PHOTO BANK

“I grew up listening to great artists: Whitney, Diana, Donna Summer, the list goes on,” Moxam tells ESSENCE. “Not only were they the powerhouse of their decade, but they also provided representation of beautiful, strong and talented black women who were rarely represented in the media at the time.”

For a protracted time, Moxam had been waiting for the suitable moment to rework into Diana Ross’s mountain of curls (as if released from a set of very large curlers) from the GIT Broadway special. However, probably the most iconic a part of the look was also probably the most difficult to create. “The biggest challenge was supposed to be the hair,” she says, contacting a hair stylist Alan Schober.

How Diana Ross Uche Moxama's Halloween look was created

“Alana managed to arrange each bundle of hair individually and artistically to achieve the effect shown in Diana’s film,” he says. “I wanted the hair texture to be three-dimensional, not just using Photoshop or a black board.” Using a 65-inch cardboard as a base and more bundles of hair than she could count interwoven with Moxam’s real hair, Schober turned her costume right into a masterpiece.

How Diana Ross Uche Moxama's Halloween look was created

“I focus on a natural look [for everyday beauty] but Halloween is truly a time to become someone else,” she says.

However, Uche Moxam’s makeup veered away from Ross’s neutral lip with glazed lips and cheeks sculpted with blush, becoming an icon in its own right. “I’ve been wanting to bring it to life for some time and this year I managed to do it.”

How Diana Ross Uche Moxama's Halloween look was created


This article was originally published on : www.essence.com
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The best beauty moments of Halloween 2024 – essence

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@janellemonae / Instagram

Celebrities have been known to bring creative costumes every Halloween. From area of interest cosplay to Heidi Klum’s annual Halloween party with high-budget SFX makeup and rugged references, stars never fail to live as much as their past looks. And last night turned out to be no different.

For example, when Janelle Monaé called a surreal version of ET, it took a team of five SFX artists to create the life-size costume. Lizzo has 4 looks starting from red body paint to scissored skin: the set includes an Ozempic pack, a honey bunny, Edward Scissorhands, and a never-rejected face card.

Although Doja Cat as a sunflower is a reference to the 2001 video game, Halloween will not be limited to fictional characters. Beyoncé took on the persona of funk-rock singer Betty Davis, Winnie Harlow referenced Diana Ross, and Coco Jones referenced Donna Summer’s album covers. Meanwhile, Megan Thee Stallion proved that Halloween lasts all 12 months long by dressing up within the anime cosplay she probably would ever wear.

Below, ESSENCE rounds up our favourite beauty moments from Halloween 2024.

This article was originally published on : www.essence.com
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WNBA earnings are rising, but will they be enough? The real story behind the numbers – the essence

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LAS VEGAS, NEVADA – OCTOBER 06: A’ja Wilson #22 of the Las Vegas Aces brings the ball up the court against Betnijah Laney-Hamilton #44 of the New York Liberty in the first quarter of Game 4 of the 2024 WNBA Playoffs Semifinals at Michelob ULTRA Arena on October 6, 2024 . in Las Vegas, Nevada. The Liberty defeated the Aces 76-62, winning the series three games to 1. NOTE TO USER: User expressly acknowledges and agrees that by downloading and/or using this image, User consents to the terms of the Getty Images License Agreement. (Photo: Ethan Miller/Getty Images)

When Angel Reese signed with the Chicago Sky and was chosen seventh overall in the 2024 WNBA draft, it entered a league completely different than five years ago. The compensation landscape has modified dramatically – but let’s be honest about whether these changes are truly transformational or simply an incremental step towards what these athletes deserve.

The raw numbers tell the story of progress. 2024 WNBA season boasts the highest earnings in the history of the leagueand top players will be capable of earn as much as $241,984. Supermax pay has increased 94% since 2019, when the league’s elite players reached $121,500. Even minimum wage for newbies increased to $64,154 – greater than double the amount in 2019. But that is where it gets complicated. While The WNBA salary cap has reached $1.4 million per team in 2024, The NBA salary cap is $140 million. Yes, you read that right. And before anyone makes the “but revenue” argument, let’s acknowledge that even after accounting for differences in league revenue, WNBA players receive about 33% of the league’s revenue, while NBA players receive about 50%.

For most WNBA players, to make it work, meaning playing year-round. According to AP, about 50% of players also compete abroad during the WNBA off-season. Stars like Breanna Stewart and A’ja Wilson can fetch top dollar in each markets, but this double duty comes at a value – physical fatigue, time away from family and the mental strain of never really having an off-season season.

Marketing dollars tell a totally different story. League Collective labor agreement for 2020 included provisions for increased marketing opportunities, but in 2023, only a handful of players have signed deals with major brands. Meanwhile, Caitlin Clark’s NIL valuation has reached $3.1 million before she even declared for the WNBA draft – highlighting each the potential and the disparity in how women’s basketball talent is valued.

The racial dynamics are particularly striking. In the league where over 60% of gamers are black womenthe conversation around fair pay is not only about gender – it’s about racial equality in sports. When we discuss WNBA salaries, we’re talking about undervaluing the work of Black women, and it is a story that reverberates far beyond the basketball court.

The league has taken steps in the right direction. The latest CBA introduces progressive elements similar to fully paid maternity leave, improved travel accommodations and potential income sharing opportunities. These changes come after years of player activism, led by women like Angel McCoughtry and Nneka Ogwumike who weren’t afraid to demand higher.

But let’s be clear, higher than before does not imply ok. When the WNBA minimum salary is barely above median household income in the USwe’re not only talking about the gender pay gap – we’re talking about the fundamental devaluation of girls’s skilled sport.

The query is not whether WNBA players should be grateful for these raises. The query is why, in 2024, we still have to make the case for fair compensation for skilled athletes who consistently produce world-class results, drive civil conversations, and encourage the next generation of athletes.

Pay rises are the starting, not the end. As viewership increased, the 2024 WNBA Finals saw: Viewership increase by 115%. in comparison with the previous 12 months – the pace of real changes is gaining momentum. The numbers are growing, yes, but until they reflect the true value these athletes bring to the game, our work isn’t done.

This article was originally published on : www.essence.com
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