Netflix’s ‘Nappily Ever After’ misses the mark, but there are celebrations of black hair all over television
IN NETFLIX’S ‘Nappily Ever After’, an advertising executive (Sanaa Lathan) impulsively shaves her head after a breakup, and finds freedom in embracing her natural beauty. But is the moment as empowering as it seems?
‘Nappily Ever After’, which hit the streaming network last week, is based on Trisha R. Thomas’ 2000 book of the same name. A film adaptation of the novel, which spawned an eight-book series, had previously been in the works at Universal Pictures with Halle Berry attached to the lead role.
In the years since, Chris Rock examined the complex relationship black people women in particular - have with their hair in the wellreceived documentary ‘Good Hair’. Companies including Miss Jessie’s, SheaMoisture and Carol’s Daughter, buoyed by their largely black consumer base, helped propel natural hair care into a billion-dollar industry.
That’s one reason ‘Nappily Ever After’ feels so dated. Worse, the film’s ostensible celebration of black hair falls flat as experienced through its perfection-obsessed protagonist, Violet Jones, who shaves off her perpetually hot-combed hair after her longtime boyfriend, Clint (Ricky Whittle) fails to deliver the marriage proposal she believes is imminent.
Violet’s big chop leads her on a path to self-discovery, but we never really find out who she is. And even after she shaves her head, there is so much focus on what she looked like before - and the idea of straight hair as “perfection” - that Violet’s decision feels less like a cathartic hair journey, and more like a misguided rocket launch. In the end, it’s hard to tell where she lands.
‘Nappily Ever After’s’ missteps seem even more egregious in light of the more subtle and authentic homages to black hair that have arrived on the small screen in recent years. Beyond embracing natural styles, shows like ‘Insecure’, ‘Atlanta’ and ‘This Is Us’ have portrayed the versatility of black hair that hasn’t been chemically processed or damaged by heat. One pivotal moment happened in 2014 on ABC’s ‘How to Get Away With Murder’. Viola Davis, who plays defence attorney Annalise Keating, removed her makeup and took off her wig - a straight, brown style with honey-hued highlights - to reveal her kinky natural hair.
Comedian Phoebe Robinson called the scene “the single greatest moment in black women television history” in her 2016 book ‘You Can’t Touch My Hair’.
“This scene was so real, so honest, so raw, so everything because this is what a lot of black women look like when not in public. To present that to America was huge,” Robinson wrote. “Not only did it show what beauty preparation is like for many black women, it let most, if not all, nonblack people into a world that had previously been off-limits to them.”
The moment was also appreciated by one of Davis’ peers: Tracee Ellis Ross, who wrote about the scene’s importance in an essay that year for Entertainment Weekly.
“Our culture has created a very limited view of what beauty is and can be,” Ross wrote. “I think right now television is one of the places where women are pushing up against that and saying, ‘You know what? I don’t need to play this game anymore in order to be considered beautiful.’”
The ‘Black-ish’ star noted that “it’s huge” for her to be wearing her own hair natural on the ABC sitcom, which will return for its fifth season next month. She added that it made sense for her character, a busy mom, who works as an anaesthesiologist.
“I’m very conscious of how I wear my hair on the show, and yet it’s the way I wear my hair as Tracee,” she wrote. “You hire me, you hire my hair.”
Over on Freeform, Ross’ onscreen daughter Yara Shahidi alternates between sleek braids and curly styles as Zoey Johnson on the spinoff ‘Grown-ish’.
NBC’s ‘This Is Us’ has also been praised for its authentic representation of black hair. As Beth Pearson, Susan Kelechi Watson wears a variety of natural styles, including braids, twists and curls. So do her and her husband, Randall’s (Sterling K. Brown), on-screen daughters, Tess (Eris Baker), Annie (Faithe Herman) and Deja (Lyric Ross).
In an interview with Vulture last year, Watson said that NBC embraced her natural aesthetic early on.
“It’s my shout-out to black women, because for so long we’ve been told we have to look a certain way, or our hair has to be a certain way just to even be accepted or as a part of what is considered to be the American standard of beauty,” Watson told the site. “But you know, for all this, we just have a different texture hair, and there are beautiful things we could do with our hair.”
Hair care is an innate part of life for Beth. “I wake up every morning next to a headscarf and coconut oil. I’m married to a black queen,” Randall memorably declared last season. In another episode, the couple struggled to communicate with Deja - the daughter they began fostering in Season 2 - about her hair, which went unwashed and unstyled for an extended period.
I’m very conscious of how I wear my hair on the show, and yet it’s the way I wear my hair as Tracee. You hire me, you hire my hair. Tracee Ellis Ross, actress