November 2026

URBAN

BE’N ORIGINAL FOUNDER / PUBLISHER

DAKARI ELI EDITOR IN CHIEF / VP OF A&R

COVER PHOTOGRAPHY Joshua Kiss

CONTRIBUTORS Priya Williams, Octavia Bostick, Mr. Joe Walker, Tiara Cooper, Lashuntrice Bradley, Shamika Sanders-Sykes, Sciler Williams, Bobby Jenkins, Lilah Marie, Aidan Werder, Mia Nicole, Elisia Bryant, Na'ilah Burston

This magazine is written by and for people who inspire and are inspired by urban culture in all of its forms . We don’t just write about the urban culture, we live it.

Urban Magazine is published monthly by BE’N ORIGINAL ENTERTAINMENT. Reproduction or use of any part of this publication without written consent is prohibited. We assume no responsibility for the advertisements made herein or the quality and availability of the products herein.

One month left for 2026, and there's still so much more to be done. You don't have to wait until the new year starts to become a new "you."

We have some big things planned for 2027, but we are going to just show you 'cause I hear that it's better than telling.

But speaking shows, this issue features Raamla Mohamed Hunter, the creator and showrunner of one of my favorite television series, Reasonable Doubt.

I swear I love it when someone's hard work pays off in a major way. She is a great example of paying dues, rising from production assistant to bringing her own show to life.

You have to respect that.

Oh, and by the way, my debut novel, "Power Kingdom," will be available at Barnes & Nobel and Amazon starting November 20th. I promise I won't let you down.

Professionally yours, BE’N ORIGINAL Publisher/Founder, Urban Magazine

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06 EDITORIAL 17 POETRY 24 BUYERS GUIDE 32 KEISHA LANCE BOTTOMS 36 P-VALLEY 50 SHARIEF JOHNSON 58 CHEF BAE 66 AMBER SHANA WILLIAMS 72 ANGELA GROVEY 82 RAAMLA MOHAMED HUNTER

Written by Georgia Douglas Johnson

Don’t knock at my door, little child, I cannot let you in, You know not what a world this is Of cruelty and sin. Wait in the still eternity Until I come to you, The world is cruel, cruel, child, I cannot let you in! Don’t knock at my heart, little one, I cannot bear the pain Of turning deaf-ear to your call Time and time again! You do not know the monster men Inhabiting the earth, Be still, be still, my precious child, I must not give you birth!

LIFE

Written by Paul Laurence Dunbar

A crust of bread and a corner to sleep in, A minute to smile and an hour to weep in, A pint of joy to a peck of trouble, And never a laugh but the moans come double; And that is life! A crust and a corner that love makes precious, With a smile to warm and the tears to refresh us; And joy seems sweeter when cares come after, And a moan is the finest of foils for laughter; And that is life!

JOY

Written by Clarissa Scott Delany

Joy shakes me like the wind that lifts a sail, Like the roistering wind That laughs through stalwart pines. It floods me like the sun On rain-drenched trees That flash with silver and green. I abandon myself to joy— I laugh—I sing. Too long have I walked a desolate way, Too long stumbled down a maze Bewildered.

Written by Lís Bryant

I’m mourning lessons only pain can teach And ideas of love that are out of reach A wounded soldier with no room to be weak I keep my Head up, chest out while they twist the truths I don’t speak but something’s changing in me I stopped submitting to their decrees I stopped explaining my reasoning I can walk away or burn it down But I promise I’ll be free

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Photo Credit: Gizelle Hernandez

Former Atlanta Mayor Keisha Lance Bottoms made history Tuesday, becoming the first Black woman elected governor of a U.S. state after defeating Republican businessman Rick Jackson in Georgia’s gubernatorial election. The Democrat’s victory also makes her Georgia’s first woman governor and first Black governor, marking a turning point in a state with a history of racial inequality and political division. Bottoms, 56, will succeed Republican Gov. Brian Kemp, who was barred from seeking a third consecutive term. Her victory ends more than two decades of Republican control of the governor’s office and marks the first Democratic win in the race since 1998. The former mayor defeated Jackson, a billionaire health care executive who invested heavily in his campaign. Her victory reflects Georgia’s changing political landscape and the growing influence of Black voters. Bottoms served as Atlanta’s mayor from 2018 to 2022, leading the city through the COVID-19 pandemic and nationwide protests following the killing of George Floyd. Before becoming mayor, she served on the Atlanta City Council. After leaving office, Bottoms joined President Joe Biden’s administration as director of the White House Office of Public Engagement and later served as a senior adviser.

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STARZ’s hit drama P-Valley returns Dec. 4 for its third and final season. Creator Katori Hall brings viewers back to The Pynk, where Uncle Clifford, Mercedes, and the crew face rising tensions, shifting loyalties, and new challenges. After four years, the series prepares to deliver its final chapter with a twoepisode premiere.

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Comedian/actor Sharief Johnson is preparing to release his second comedy album, I Wish That Was a Joke Too. In this interview, he discusses growth, acting, and his plans to expand into film and TV.

You're recording your second comedy album, I Wish That Was a Joke Too during your comedy festival. What has changed most about you as a comedian since your first album? I've grown as a comedian, personally, onstage, and as an actor. When I recorded my first album, I Wish That Was a Joke, I was discovering how powerful my truth was and how funny it could be. I Wish That Was a Joke Too takes everything to another level. I feel like I'm in a great groove, both in comedy and in life. When I recorded the first album, I only had one child. Now I have two, and marriage and fatherhood have brought different experiences into my life. There are so many things happening that I couldn't make up if I tried.

Your comedy is built around storytelling and situations people recognize from everyday life. How do you decide when something that happens in real life has enough humor to become part of your act? I have to credit Katt Williams for something he said about finding your voice as a comedian. When you reach that point, you realize the person you're really trying to make laugh is yourself. A lot of times, we're looking outward for answers when they're already inside us. That's how I approach comedy. If something genuinely makes me laugh, chances are it will connect with an audience. But if I'm forcing a joke and hoping people laugh, I'm gambling. And I don't like gambling. I've made that mistake before, trying to make something funny because I wanted it to work. Now, I trust my instincts. When something happens in my life and I can't stop laughing about it, that's usually what I bring to the stage. The key is authenticity. If it's genuinely funny to me, I believe someone else will find the humor in it, too.

You've been performing stand-up for more than a decade. What did the early version of Sharief Johnson get wrong that you understand much better today? The biggest mistake I made was listening to too many people who thought they knew what was best for me. Early in my career, I was naturally good at improvisation and crowd work. Audiences loved it, especially in urban comedy clubs. But some mainstream clubs told me I was all over the place. I started changing my approach to fit what they wanted.Looking back, I was already on the right track. I just allowed other people's opinions to pull me away from what made me different. I've learned that the audience is our real boss. Bookers and casting directors come and go, but the audience tells you what connects. If I could go back, I'd tell my younger self to trust his instincts. Don't ignore constructive criticism, but don't let someone else's vision replace your own. The people will tell you when something works.

Television audiences know you as Damon from Power Book III: Raising Kanan. How has acting in a drama affected the way you think about timing, character, and storytelling when you return to stand-up? Acting has been a game changer for my comedy. Before acting, I was already telling stories and bringing characters into my performances, especially when talking about my mother and family. But acting helped those characters come alive. I'm much more theatrical now. Before, audiences listened to me tell funny stories. Today, they're watching me perform those stories. Sometimes, I don't even have to say anything to get a laugh. My body language tells the joke. Acting also taught me to be comfortable with serious moments. As comedians, we're always chasing the next laugh. Now, I understand that holding someone's attention is just as important. The best comedians aren't just funny. They're interesting. They can make you laugh and then say something that stays with you. That's what acting, especially working on Raising Kanan, has brought to my stand-up.

Did appearing on Raising Kanan introduce your comedy to people who might not have known you as a standup comedian? Has it changed what audiences expect when they see you live? Absolutely. What's funny is that a lot of Power fans didn't know I was a standup comedian, and some of my comedy fans didn't know I was acting. I built my comedy audience the old-school way, performing in clubs, bars, and latenight shows. It was a slow process, but I developed a core following of people who appreciated my comedy.Then Raising Kanan introduced me to another audience. Those Power fans are serious about supporting the people they like. Once they discover I do stand-up, many come out to see me perform. There's no better feeling than having someone appreciate both sides of what I do.

I don't want to be boxed into one thing. I'm a comedian, an actor, and a creative person. It's rewarding when audiences recognize that I can do more than one thing.

You've performed at festivals including Netflix Is a Joke Laughing Skull, and Big Pine, where you earned Best of the Fest honors. What do comedy festivals teach a comedian that performing regular club dates does not? Comedy festivals are game changers, especially for comedians of color who may not know about the opportunities available through them. At festivals, you're meeting agents, managers, bookers, producers, and other comedians. You're building relationships with people who can help advance your career. My first experience at Laughing Skull didn't immediately lead to bookings or representation. But I kept showing up. Eventually, those relationships started creating opportunities, including connections that helped me produce my comedy specials. The biggest lesson is patience and consistency. You can't approach a festival thinking that being the funniest person automatically guarantees success.You have to keep showing people what you can do. When industry professionals see you delivering at different festivals, they realize you're not a one-time success. My advice is to keep improving, build relationships, and trust the process. What's meant for you will come when you're ready.

You're recording this album in New York, where audiences can be demanding and quick to let comedians know whether something works. What does performing for a New York crowd bring out of you? I developed my comedy skills in New York, so performing here is second nature. There's nowhere else like it for stand-up comedy. I recently performed about 15 shows in one week. You can't get that kind of stage time everywhere. New York audiences have seen it all. They know comedy, and they're not going to laugh at something just because you're onstage. If your material isn't working, they'll let you know. That's what I love about performing here. My comedy comes from an honest place, and I want the audience to be just as honest with me. New York forces you to bring your best every time. You can't take shortcuts. I believe that energy will make this album even better. When people hear it, they'll hear material that was tested in one of the toughest comedy environments in the world.

With stand-up, acting, and writing all becoming parts of your career, what does the next chapter look like for you? Producing more of my own work. I've always been creative, and I've shared ideas with people throughout my career. Now, I'm at a point where I want to bring those ideas to life myself. I've spent years developing my craft and looking for validation from other people. I've realized that I don't need to wait for someone to tell me it's time. We're made in God's image, and the first thing God did was create. I believe we have to create our own universe. When I look at the people I admire, they're all creators in some way. That's the direction I'm moving in... The next chapter is about taking ownership of my creativity and putting more of my own projects into the world.

Be'n original

Atlanta celebrity culinarian Chef Bae has built a brand rooted in traditions and recipes. She discusses her grandmother's influence, overcoming grief, and strategically expanding her culinary business.

I want to start with where your passion for cooking began. What are your first memories in the kitchen? My first memories in the kitchen go all the way back to the early '90s in Cleveland, Ohio. My grandmother Dorothy had a big family, so she would cook big meals during the week. It could be a Tuesday or Wednesday, and because she had five children, along with herself and her husband to feed, she would sometimes make catering-sized meals. Some of those meals were like holiday dinners on a regular day of the week. I learned so much from her. She's the reason I learned how to cook and why I wanted to pursue a career as a chef.

What was your first real step toward your culinary career? My first real step was creating a menu back when I was in high school and selling my food to my friends and peers. From there, I continued sharing my food, whether it was with family or friends. When social media came around, I started posting pictures of my food constantly. It brought in so many friends and supporters from around the world.

How did you establish yourself as a private chef after that? I established myself as a private chef by continuously putting myself, my food, and my business out there. As I marketed myself and my brand, people had no choice but to become familiar with the girl they kept seeing in their newsfeeds. From there, people would reach out to me through direct messages, emails, or comments to ask about my services.

You've cooked for numerous celebrities and catered various events. What's your favorite type of event to cater? Is there a particular experience that stands out? That's a great question. I enjoy catering events where people are coming together. It could be birthdays, baby

showers, or whatever the occasion. I love helping people bring their events together and making them memorable, especially with good food. The Southern comfort food I make works well for those types of occasions because there are generous portions. No one leaves hungry. Soul food brings people together. Those are the types of events I love to cater. One of the most memorable events I catered was a celebration connected to YSL. It was a gathering of family and friends, and the atmosphere was incredible. Everyone was celebrating, laughing, and enjoying themselves. It was fun, vibrant, and full of life. That's what made it such a memorable experience for me.

You've also written several digital cookbooks covering everything from seafood and soul food to brunch and even baby food. What's one dish that takes you back to the beginning with Ms. Dorothy? A dish that takes me back to the beginning is definitely oxtails. You're taking me down memory lane because that woman knew how to make delicious, tender oxtails. And her mac and cheese? I'd put up my mortgage money and everything else on the fact that she made the best mac and cheese ever! It's those types of meals, the hearty, soulful dishes that were inexpensive back in the day, that I truly remember.

When my grandmother passed away in 2013, I remember feeling really sad, but I needed some type of comfort. I found that comfort in recreating the dishes she made. My grandmother never wrote her recipes down, but I learned them through repetition and cooking alongside her.

Let's talk about your seasonings. For those who aren't familiar, what's the vibe of your blends? I have a traditional seasoning that goes great on all kinds of meat and vegetables. People even put it on popcorn, so it's very versatile. It's not overly salty, and that was one of the main things I focused on when creating it. We know that sodium levels tend to run high in products in our community. If you put too much seasoning on a thin piece of steak or a certain cut of meat, it can become overly salty. So, I kept the sodium content in mind. I also have a seafood seasoning. And for those who have asked, there's no actual seafood in it! It brings out and amplifies the flavors of seafood, but it also works well on things like potatoes and vegetables. It has bold hints of garlic, dill, and lemon, everything a seafood lover's heart could desire. Then I have a cinnamon sugar seasoning inspired by my firstborn daughter because she's so sweet. With that being said, the vibe is Southern spices meet modern chef.

With twenty years of experience, what keeps your passion alive?

“WITH TWENTY YEARS OF EXPERIENCE, THERE ARE SEVERAL THINGS THAT KEEP MY SPARK GOING. MY LOVE FOR FOOD IS ONE.”

With twenty years of experience, there are several things that keep my spark going. My love for food is one. The second is keeping traditions alive for myself, my two daughters, and all the people out there who may not have had a Dorothy in their lives. You'd be surprised how many people didn't have the opportunity to learn certain life skills growing up. I'm just so grateful to be able to share that knowledge. Everyone who knows me personally knows that I call her Nanny, but I make sure to say her name because I want people to know the real reason behind what I do. I want her memory to live on through me. The third thing that keeps my spark going is my family. My husband, my children, and my mom are the ones who keep that spark alive. They encourage me, and I can bounce ideas off them for feedback and support.

What kind of growth do you envision for Cutting Up With Chef Bae? I've grown from being a chef who provides a service to building a brand with my own cookbooks, seasonings, and content. Personally, I know the sky is the limit. I'm learning to be more confident when talking about my work and recognizing the value of my experience. Moving forward, I want my products in more homes and eventually on store shelves. I'm also looking to explore television opportunities and brand collaborations. I want to show what I'm really capable of now that I've proven myself over the last decade or so. I really want to put my products out there and provide solutions for people who need them. Whether it's quick, delicious recipes for a family, a mom who's worked 80 hours this week and is burned out, or a young chef who's intimidated and doesn't know how to cook a certain dish or cater an event, I want to help.I want my brand to be a go-to resource. That's the growth I'm working toward.

lÍs

9-SAFE

Photogrpaher: Jonny Marlow Stylist: Anna Schilling Hair Stylist: LaRae Burress Makeup Artist: Dion Xu

From bringing authenticity to Tamar in The Chosen to embracing a life guided by purpose, actress Amber Shana Williams is learning that power comes from knowing who you are and refusing to shrink.

As The Chosen approaches one of its most anticipated chapters, how has your understanding of Tamar changed since you first stepped into the role? At the beginning of the show, I wasn't quite sure who she was. I looked her up in the Bible because I knew of a couple of Tamars, and I thought, ‘This can't possibly be that Tamar because this is the New Testament.’ After doing some research and talking with the team, I realized she was a creative take on one of the friends who brought the paralytic to Jesus. Initially, I thought she was there to help move the story along. But after spending so many years portraying her, she's become like family. I'm her biggest advocate, and she's taught me to take up space. There's a beautiful scene in Season 3, Episode 6, when the women confront their differences. Tamar never apologizes for who she is. Instead, she apologizes that Mary didn't feel she could be who she truly was and was constantly punishing herself. I've grown to respect Tamar almost as a peer. She's shown me that compassion, empathy, and love can guide you, and that kindness and niceness are not the same thing. Being kind is much more important, and she exemplifies that in every way.

Tamar stands out as an Egyptian- Ethiopian character on the show. How much thought goes into ensuring that her cultural identity, strength, and humanity come through authentically? I try to make that a priority. I have the utmost respect for any character whose background differs from mine, so I've tried to collaborate on her development wherever I can, from her hair and clothing to her language and the moments she experiences. A wonderful example came in Season 6. There was a scene involving several characters who spoke a different language, including Tamar's mother tongue. Originally,

“AUTHENTICITY IS IMPERFECT. IT'S FLAWED, DOUBTFUL, STUBBORN, AND FULL OF COMPLEXITY.”

Tamar's lines were in English. I went to the writer-director and suggested that the scene would feel more authentic if she spoke her native language during such an emotional conversation. They trusted me, and we were able to honor her Ethiopian heritage and the experience of being an outsider. When people speak English as a second language, they don't always think in that language during moments of heightened emotion.

Tamar connects with people who have had to fight to be seen, accepted, or understood. Why do you think audiences identify with her so strongly? We don't often get to see ourselves represented in these spaces, at least not authentically. Authenticity is imperfect. It's flawed, doubtful, stubborn, and full of complexity. When we show someone being true to herself in all those ways, we see that people aren't monoliths. Audiences relate to standing out in a room, sometimes for what other people see as the wrong reasons, and refusing to let that stop them. Tamar doesn't just represent Black women. She represents women, religious differences, and the experience of being a foreigner trying to find her place. A lot of us are doing that every day, just trying to figure out where we belong.

What do you hope viewers take from Tamar's story by the end? I hope people understand that they belong, whether or not the space they're in encourages them to believe that. Sometimes you have to show people how to treat you by example. I love that Tamar does that. She sets the standard for everyone around her.

You lived in Spain over ten years. How did that shape your fashion, lifestyle, and pace in life? I've always loved that side of Hollywood: fashion, red carpets, and all the things that brought a sparkle to my eye growing up. As I've gotten older, I've realized that fashion is a much more important form of expression than I once thought. Living in Spain and traveling abroad taught me that you can say a lot with the simplest gestures and fashion choices. In the U.S., we tend to be bigger, louder, more colorful, and more sparkly. I've found a middle ground and developed an appreciation for simplicity and minimalism while still leaving room for drama and self-expression. Sometimes clothes can say what our words cannot.

“IF I RUN MYSELF RAGGED, I WON'T BE ABLE TO ENJOY THE THINGS I'VE WORKED SO HARD FOR.”

What are you enjoying most about experimenting with fashion at this stage of your career? I want to take risks. Sometimes you get it right, and sometimes you miss, but I want to have fun discovering different facets of who I am through fashion. I admire stars who take risks with their style. It shouldn't feel like a burden. If you're constantly fidgeting or uncomfortable, that look probably isn't for you. I love when style feels like an extension of who you are. It's an opportunity to play with color and texture. I always say, whether I'm going to an event or just going out with the girls, ‘You may not hear me, but you'll see me.’ You may not hear what I have to say, but you will see me when I walk into the room. I carry that everywhere.

passed on an audition or a job, people wouldn't see me or I wouldn't work again. But there will always be another opportunity. There's only one me. If I run myself ragged, I won't be able to enjoy the things I've worked so hard for.

Managing an autoimmune disorder, you've created self-care habits beyond usual wellness. What have you learned about tuning into your body? It took a lot of mistakes and trial and error to learn to listen to my body with respect. I've pushed myself so hard that I became quite ill. I've carried burdens that triggered disorders I didn't even know I had. I remember my rheumatologist emphasizing that I needed to focus more on my physical health.

You've mentioned learning to slow down and reject a culture that sees rest as a reward. How has this changed your work and life? It's taught me to set boundaries, not just with other people, but with myself. There are times when I'm thinking, ‘I have to send this email. I have to do this work. I have to do this and that.’ Suddenly, you're up late, you haven't slept enough, and you haven't eaten. Then you realize it could have waited. What you actually needed was rest and peace of mind. You can't care for yourself when you're so focused on pleasing other people. Even though I love my job, I've learned to say no, sometimes even to work I want. I used to feel guilty and worry that if I

After playing a graceful character for years, you're ready to try grittier roles. What stories or risks will you explore next? I want to play someone who feels completely different from me. We've spent so much time seeing other people, situations, and cultures as ‘the other.’ But when you have to embody someone through storytelling, you realize how much you may have in common, even with characters whose morals you strongly disagree with. I want a role that challenges me in that way and helps me understand both myself and other people more deeply.

be'n original

Photogrpaher: Sequoyah Wildwyn-Dechter

In an exclusive interview, actress Angela Grovey opens up about her role as Krystal on Reasonable Doubt, performing on Broadway, the lessons she's learned along the way, and what's ahead in the future.

Krystal has become one of those characters who can say what everyone else in the room may be thinking. As you enter Season 4 of Reasonable Doubt, what have you learned about her that you didn’t understand when you first took the role? Well, she is still very direct, which I love so much about her because she’s spicy, but she does it for all the right reasons. This season is heavy for a lot of our characters, and I didn’t really realize how sensitive she was until this season, exploring some new things. It just makes me love her even more because she’s showing another side of who she is and how she rocks in business and in life.

This season begins with Jax and the Stewart Firm dealing with the fallout of a brutal attack while also facing a case that has become a media storm. How does that pressure affect Krystal and her relationship with Jax?

The stakes are always high when you work with Jax Stewart, but this one is a lot. She’s starting her own law firm, and Daniel and I are going with her and really trying to get it off the ground. Then, for her to be shot inside our office is massive, but we still have to pay bills. We have to continue to move along. So there’s a lot of pressure for us when we start the season. It’s intense.

How do you find the balance between being funny and making sure the character still feels grounded in the world of the show? I think comedy is based in truth. As an actor, regardless of what kind of material I’m handling, I always try to approach it from a realistic place. Krystal doesn’t have a filter. I think her lack of a filter makes her funny, but she’s very serious about what she does, and she goes hard for the people she loves. She just doesn’t sugarcoat it the way everybody else does, and I think that’s a little funny.

“IT’S SO EXCITING WHEN WE GET NEW PEOPLE COMING INTO A SEASON WITH US.”

Reasonable Doubt has continued to expand its ensemble, and Season 4 brings in new performers, including Meagan Good, La La Anthony, and Rutina Wesley. What has that growth meant for you as an actor, and how has it changed the energy on set? Oh, my God. It’s so exciting when we get new people coming into a season with us. I love it when we get to play with other actors. You just named some amazing people, and Tank joining us this season has been fantastic, too. It brings a level of excitement and energy because you admire these actors and their work, so you want to make it a good environment for them. Then you hear them say they’re fans of the show and that they get nervous about coming to work with us, and it’s like, “Oh, my God. Let’s just all have fun.”

After working in television for several seasons, what does stepping back onto a Broadway stage give you that television can’t? I think the live aspect of theater is something that can’t be duplicated. In television and film, you get an opportunity to shoot something from a couple of different angles, turn it around, and then have editors go in and cut and paste it. Onstage, you get one shot to do it, and then you’ve got to leave it all out there. You have to have some crazy adrenaline sometimes to do that, but it’s also so rewarding to know that you’re in this dialogue with the audience, listening and responding with you at the same time. I get something very different when I’m onstage than I do when I’m on a set. I love both of them, but I get a different reward from each.

When you look at your journey now, was there a particular role or experience that changed how you saw yourself as a performer? Oh, wow. Excellent question. I did this play when I first got to New York that I was so excited to do. It was called Wig Out! I was working with a bunch of actors I really respected. It was Tarell Alvin McCraney’s play, and I was working with Tina Landau. It was fantastic. I was making no dollars. I had a survival job on the side to make ends meet, but I was so happy and so fulfilled. I felt like I was giving my all in that performance, and it was wonderful. While I was doing the show, unbeknownst to me, the writer of Joyful Noise saw me and wrote a part in his film for me. When I think about some of the most impactful and meaningful work I’ve done, I have to go back to my time in Wig Out! at the Vineyard because I wasn’t doing it for fame or money. I did it because I’m an artist, and I love doing that. The payoff was massive, but I did it for all the right reasons. For me, that has

“COMEDY IS FUN. I GET TO KEEP IT NICE AND LIGHT, BUT SOMETIMES I BELIEVE IN A LITTLE BALANCE.”

always been a reminder to reset with any project I go into and say, “This is a new adventure for you, and you never know what will happen because of it.” That’s how I like to approach all my work. You never know what’s going to happen. Just go in and do good work.

Is there a part of your musical background you’d like audiences to discover through Krystal? No, I kind of love that. There’s never been a moment where everybody goes to karaoke and all of a sudden you’re like, “Oh, Krystal can sing.” I kind of love that. Recently, with the passing of Dolly Parton, a lot of people started watching Joyful Noise again, and I got so many text messages from friends who were like, “Oh, my gosh. I didn’t know that was you.” And I was like, “Yeah.” I kind of like being a chameleon and being a little surprise every now and then. I like that a lot. I’m not in need of Krystal singing an 11 o’clock number at the office party.

Between Krystal, Mama Morton, your work with Broadway Inspirational Voices, and everything else you’ve done, audiences have seen several sides of you. What is one side of you, or one type of role, that Hollywood or Broadway has yet to discover?

I’d love to try my hand at some really dramatic stuff, which sounds crazy because I’m on Reasonable Doubt and it’s quite dramatic. But I’d love to continue to stretch my wings with some meaty dramatic roles. The more life you live, the more experience you can draw on. I love doing comedy. Comedy is fun. I get to keep it nice and light, but sometimes I believe in a little balance. So if the universe—or God—is listening to this, I wouldn’t be afraid of a little more dramatic work in my life.

I hope that for you. One last question, if time allows: What’s up with Krystal and Daniel at the office? Is that going to be a thing for the people? I mean... What do you mean? Is it a thing? Are you asking whether we still bicker and banter, or are you saying you think it’s something else? Just watch.

I’m leaning toward hoping it evolves into something else because it would be great. It’s what the fans want. I’m not speaking for myself. I’m just talking about what the people want. Well, the people have spoken, and you are not alone. I’ll just say, keep watching, and you’ll see where we’re headed.

be'n original

Photogrpaher: Calvin Leonard

Greatness is never achieved overnight. It's built through perseverance, purpose, and the courage to pursue a vision. Raamla Mohamed Hunter embodies that journey, rising from production assistant to creator and showrunner of Hulu’s Reasonable Doubt. Through the complex world of attorney Jax Stewart, she challenges conventional portrayals of Black women on television, bringing authenticity and depth to every storyline.

In this exclusive conversation, Hunter discusses her journey, the evolution of Reasonable Doubt, and the difficult decisions behind bringing her vision to life.

WORDS BY BE'N ORIGINAL

“I FEEL REALLY HAPPY THAT I TOOK ALL THOSE STEPS BECAUSE I LEARNED SOMETHING AT EVERY LEVEL.”

You started your television career as a production assistant and worked your way up to showrunner. How did that experience shape your approach to leading a writers’ room and executing a long-term vision for Reasonable Doubt I feel really happy that I took all those steps because I learned something at every level. As an assistant, I learned the attention to detail you have to have. Being able to observe what it looks like to be a showrunner and a writer before I actually did it was a great experience. I was in the room as a researcher, gathering stories and pitching stories, even though I wasn’t yet a writer. Then I became a writer, and that required a whole different set of skills: pitching, listening, and thinking at the same time. For probably two years, that was very challenging for me. Then I got to be on set and produce a lot of episodes when I was on Scandal and, subsequently, Little Fires Everywhere I learned a lot from other writers and directors. I remember Debbie Allen directed a couple of my episodes on Scandal. She said, “Come from behind the monitors. Come and look at the camera. Look, you see what I’m doing here?” I was very blessed to have all these mentors and smart people around me. I became an assistant in 2009, and I started on this show in 2021. When you tell the story of that journey in 30 seconds, it sounds fast. But we’re talking about more than a decade of working and perfecting the craft, and then learning the showrunner role as well. I’m always learning. I learn things from everyone, from my unit production manager to the key grip. When I’m on set, I ask questions. I believe the best way to do the job is to keep having fun and keep learning how to do better. I learn from the audience, too: what they think works, what doesn’t, and what they respond to. It’s all helpful in my creative process.

What lessons from those storytelling environments did you carry into building Reasonable Doubt I was very fortunate to work under Shonda Rhimes for many years. She was really tapped into the audience and her characters. When we were in the writers’ room, she would ask me, “What’s Olivia’s story?” We had to really understand what Olivia was doing. That training taught me to know what my characters are doing and what their arcs are. Even when I want to focus on plot or something else, I make sure the story is grounded in the characters.

Reasonable Doubt allows Jax to be ambitious, flawed, vulnerable, and morally complicated. Why was it important to give a Black woman that level of complexity on television? Black women have that level of complexity anyway. I just felt I hadn’t seen it fully explored on television, particularly with a woman who is married, has kids, and has friends. There are all these different aspects of life that she’s juggling, and I think that’s part of what’s difficult about being a woman. On top of that, being a Black woman in a

Photogrpaher: Joshua Kiss

corporate environment brings pressures, including the pressure she puts on herself to be successful. She’s also the breadwinner. There are so many realistic aspects of her life that I’ve seen friends go through and have experienced in my own life. I wanted something that felt relatable but also entertaining. That’s how Jax was born. She was inspired by Shawn Holley, who struts around in heels from courtroom to courtroom and represents high-powered, famous people. Her mind works like Jax’s: She can see beyond someone’s personality and really look at the law. That was my starting point. Then I wanted Jax Stewart to have a messier, more complicated personal life.

About her personal life, I liked how you portrayed Jax’s mother in Episode 6; she reminds me of my own mother, indifferent to my achievements. My mom is obviously very happy about the show, but it’s still, “Can you call? Can you stop by and help me with my folder?” or something else she needs done. If I went to my mom’s house and started cussing at her, she’d say the same thing: “Who are you talking to? I must be having a dream, because who are you talking to?” My grandmother’s name was Luell, and Mama Lou is kind of based on her. She was definitely a firecracker and a personality, for sure.

The Stewart firm is still finding its footing while facing a case that could threaten everything Jax has built.

What interested you in exploring the pressure of building something of your own while your personal life is in turmoil? Sometimes in life, one part is going extremely well while another part isn’t going well at all. Sometimes, at the peak of something, you face a major challenge you have to figure out. I remember starting grad school at USC. Within about a month of beginning this amazing program, I found out my dad had leukemia. I had to deal with that, and he ended up dying while I was in grad school. Life has a lot of highs and lows. Jax did this triumphant thing and was excited to start anew, and now suddenly Monica is coming in and shooting at her, and she has to deal with that. It’s a dramatic version of how life works, obviously, but I think it’s realistic at times.

You’ve said you approach the series as a fan and ask yourself what you would want to see next. What did you want to see from Jax or the show that you hadn’t explored before? I like to see Jax win, but I also like her to take accountability. My favorite moments are when she can do that, whether it’s with her friends, Lewis, her coworkers, or her team. I don’t think of her arc as existing only within one season. Of course, I think about her arc in each season, but I also think about how I want Jax to end up. That’s what guides me when I’m thinking about the ups and downs. It’s a roller coaster, but my goal is for it to end in a good place.

“SOMETIMES IN LIFE, ONE PART IS GOING EXTREMELY WELL WHILE ANOTHER PART ISN’T GOING WELL AT ALL.”

Reasonable Doubt explores race, relationships, ambition, power, and the justice system. How do you balance those themes without making the audience feel as though they’re being taught a lesson? It’s a very tough balance, for sure. A lot of it comes down to thinking about how to keep the audience entertained while also delivering the message. Sometimes we can do that in subtle ways, whether through Jax, her friends, or a case. We want the audience to connect because they’re drawn in by the characters, rather than have the show feel too preachy.

marriage looks like. I wouldn’t say I have more empathy for Jax. If anything, I’m a little more like, “Whoa, why did you do all that stuff? That’s kind of crazy.” But my life has definitely informed the journey I want Jax to take, and it still lines up with what I’ve wanted for her. My experiences have shaped what I want to see from Jax in the future.

How do you manage your attachment to a character or actor while staying committed to what’s best for the story? Some creators are willing to kill off anyone if it moves the story

Jax often faces situations in which what is legally defensible may not be morally right. As the creator, where do you draw the line between understanding her choices and agreeing with them? That’s been an issue for her, right? I think that’s what comes to a head this season. That’s why the Eric Cropper character was important. It goes back to what Corey was saying at the beginning: What is her mission statement? What forward. It’s always about what’s best for the show. If I kept every actor I liked, everyone would still be on the show. Michael Ealy would still be there. There are so many people. Even the actor who played JT, Shanelle’s husband — I liked the actor, not his character. There have been so many actors, including Kyle Bary. It’s hard. I have a rule that I don’t create stories based on my feelings for an actor, and that goes both ways. Some does she want for the firm? Is Corey right people might write an actor out or punish that all money isn’t good money? Those them because they don’t like the actor.

are the questions she has to ask herself

For me, it’s about what’s best for the this season while dealing with Eric. Is story. As long as you do what’s best for this the direction she wants to go with her clients and her firm? What does she really want?

the story and the show, you’re being true to the series you created. Sometimes a character’s story is over, After four seasons, how has your understanding of Jax changed from the woman you originally envisioned to the character she has become? It’s interesting because, as the show has gone on, my personal life has changed a lot. When I did Season 1, I was single. Then I got into a relationship, and now I’m married and have two stepkids. It’s been interesting to write the show from that perspective, knowing what being in a and that’s what needs to happen. It can be hard. When Michael Ealy filmed his character’s suicide, I cried on set. It was very hard to watch this character I cared about go through that and, as a Black man, have his story end that way. I also knew I was saying goodbye to Michael, who’s such a fantastic actor. But I told him, “This is how it has to end. Jax and Lewis need to repair their marriage, and they can’t have you in the way of that.”

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