Mia retweeted
Most people in France can't afford housing.
They didn't blame immigrants, or transgender people, or video games, or avocado toast.
They blame the government. Because that's who's responsible. That's always who's responsible.
Mia retweeted
I'm fascinated by the rise of frictionmaxxing as a response to a frictionless life. We engineer away inconvenience, only to discover that some of the friction we removed was part of what made life feel alive in the first place
Mia retweeted
When she told that nigga he looked like a Chicago two step champ>>> somebody was in that writer’s room getting personal asf 😭
Mia retweeted
This is a good example of how casual grooming can be in the blck community he couldn’t wait to tell the child who she was and she stopped him, if this was his little brother or cousin he would’ve finished his sentences and showed or told them too look up her porn. She even says he is too young ! and he replies that’s when I “started” he was perfectly okay with robbing some random child’s innocence under the guise of masculinity.
Mia retweeted
#TheDropFX
anyone saying this they milked this clearly don't understand storytelling, the loss of rochelle is a weight that is immovable in that household, it sits and weighs on everyone except lamar until now, they layered on generational trauma and the results of it that led directly to rochelle's death and the very palpable yet permanent consequences and impact of that loss, since episode one you can see it but most importantly feel it, rochelle's loss was felt more than her presence ever was, this absolutely deserved an entire episode
Mia retweeted
Felicia Pride’s remarks about the making of the ‘A Different World’ sequel stand as a clear record of what intentional production can look like:
“We had an all-Black directing team that were all female and queer. We had a Black DP, we had a Black production designer, a Black costume designer, a Black head of makeup, a Black head of hair. We had a Black gaffer, we had Black Teamsters, which I've never seen in LA before in my life.
We also created an HBCU council of current students who acted as an advisory board of sorts for the writers room. We replicated that model on set, so we had current students on set who acted as an advisory board to our writer-producers.
I partnered with Netflix on their Next 13 program to have current students work as PAs across departments. 59% of our background were HBCU students and alumni. We were able to film at the AUC, at Spelman, Morehouse, and Clark. So I'm really proud of like those things that we did that were very intentional in the creation of this show.”
These were not incidental hires or last-minute inclusions. They were structural choices: an all-Black writers’ room, an all-female and queer directing team, Black department heads in key creative and technical roles, and a sustained partnership with current HBCU students as advisors, production assistants, and on-screen talent. Filming at the Atlanta University Center further rooted the series in the campuses it sought to represent. Pride and her team treated representation as practice rather than talking point.
They built pipelines while they built the show. In an industry where these outcomes remain rare, her statement is both a celebration of what was achieved and a reminder of what becomes possible when those decisions are made from the start.
The result is a production that does more than depict a different world, it helped construct one.
