From his breakout role in Barbershop and Barbershop 2, Michael Ealy has quickly risen through the ranks as one of Hollywood’s leading male actors. For the last few years, Ealy has jumped from TV to film and back to TV in Fox’s season 3 The Following, where he preimered as Theo, a brilliant, chameleon-like killer who pushes former FBI agent Hardy (Kevin Bacon) to the brink March 30.

 

On playing against his nemesis, “Kevin is an icon in the business, and his character is, as you see this season, his character is so much closer to the villain’s than you think. You think he’s an FBI guy; he’s going to do the right thing.  We were talking about this on set the other day, and I was like, “You know, I think Ryan might have a higher body count than Theo or Joe.”  He has, it’s interesting the way the show is set up, but I find that technically his character has ended more lives than any of the villains on the show.  It’s something that nobody pays attention to or thinks about. It’s interesting because he does it as law enforcement, so it’s okay.  But at the same time, make no mistake he’s saving lives. 

 

Ealy often plays the good guy, however in The Following, he plays a villain.  On whether he prefers to playing good or bad, “I think for me it’s about showing range and versatility, and when the opportunity to join The Following came up, it was the first or second time I was given the opportunity to actually play a villain.  You’re right, I have played a lot of good guys, but it’s a nice change.  It’s a really nice change of pace.  I don’t know if I prefer it so much as I just enjoy being able to go back and forth.”

 

Executive producer Brett Mahony describes Theo as a chameleon. He stretches himself as a serial killer and is multi dimensional. “Theo has the ability to morph into various identities, both physically and logistically.  So if he takes on a different persona, or a different identity rather, he’ll change himself physically. Even at one point I think he wears contact lenses.  We go through the motions; he goes into full detail whenever he takes on an identity to kill.”

 

He takes on the role of a killer who wants to be different from other serial killers. “Obviously you look into certain serial killers and you read up on these guys and the narcissism behind them, and if anything, I kind of wanted to become somewhat of an anti-serial killer.  In that, unlike Joe, Theo does not seek the glory, the fame, and the followers.  And that’s what I think; this is where I kind of separated myself from most serial killers. At the same time he does possess some of the narcissist qualities that other serial killers do have.  But one of things you’ll see in the first episode that comes up on Monday, is he doesn’t necessarily embrace just one particular style, or one signature.  He has embraced them all and he doesn’t believe in limiting himself to just one methodology or one signature, it’s pretty disturbing in that way.

 

On how Theo compares to other roles, “I think the challenge was to try and understand the character.  Previous characters that I’ve played, I've always been able to kind of identify with some element, if not most of the elements of the character, not only because they’re good guys, but because of whatever it is that they’re searching for in life.  And what I found difficult about Theo was, I don’t have a blood lust, I don’t have a desire to kill, and more importantly, based on what I’ve read and doing research about these guys and sociopaths in general, being born this way is not something that can really be figured out or explained.  The idea that the difference between me and Theo is just a genetic code is frightening.  It’s kind of frightening because technically I could be Theo if I just had a different genetic code. I wouldn’t be an actor, I’d just be Theo, and that was frightening to me. Oftentimes in my own career, I’ve chosen to stay underneath the radar and protect my family, and protect myself prior to having a family, and do my work, and retreat back into my little bubble. 

 

Ealy, who plays an elusive serial killer, is happy to have his family who helps balance himself while playing a villain. It was actually one of my concerns before taking the role, was how dark am I going to get with this, and what is that going to mean to me in terms of detoxing when the time is right?  You know, I think that’s one of life’s beautiful lessons in terms of having a family.  They tend to yank you out of whatever you’re in and force you to deal with real life.  It kind of wakes you up and you realize I’m playing pretend here.  As convincing as it is, I'm playing pretend.  And like a dirty diaper, something that Theo would never, ever deal with.  So it makes you, it almost instantly snaps me out of that, and so that’s been very helpful in terms of not staying too dark. 

 

Ealy starred in FOX’s sci-fi drama Almost Human, where he played an innocent android. The show was cancelled after one season. On the big screen, he will star alongside Sanaa Lathan and Morris Chestnut as an ideal suitor in The Perfect Guy (2015) where he is the executive producer.

 

On choosing his roles, “I tend to look for roles that have impact.  I paid my dues early on where I was just happy to be in the show or in the movie.  And at this point in my career I need to have impact in the story I need to be focused upon, because that’s the only way I can really impact the show.  To be able to come into this show and be the new big, bad villain, that was an impactful role.  And as I said before, it was also a role that it took me a while, but eventually I was able to find an “in” and a connection with this character and that’s always the challenge. You should always challenge yourself as an actor to find the connection between you and the character, and this one was probably one of the most difficult times I've ever had finding the connection.

 

The Following airs on Monday nights on Fox.

Compton City Councilmember Janna Zurita did not plan for a life as public servant, but if the calling ever heeded she knew that she would be more than prepared for the task at hand.

 

Janna is the daughter of retired public administrator for the Department of Water and Power Clarence Zurita, two-term Coun­cil­member Delores Zurita and the sister of Compton Unified School District Board of Trustees Vice Presi­dent Satra Zurita.

 

“I came from a family where community service was instilled in me at an early age. My mother directed the oldest and largest non-profit Meals On Wheels Program for 43 years where I grew up volunteering as a young kid where I served as their organizer for senior citizen home bound meals,” Janna explained.

 

She initially ran for Compton City Council because she was unhappy with the services and business as usual at City Hall.

 

“Prior to getting involved in my first campaign I was just unhappy and tired of complaining and getting no results. I discovered the city had a $42 million plus deficit from mismanagement.

 

Janna learned the city had spent $10 million on special events and officials awarding contracts to family members.

 

“It was an eye opening experience. I then knew why I was unhappy about the services. They were spending tax dollars on frivolous projects,” Janna said.

 

So she ran against a popular eight-year incumbent Barbara Calhoun on June 7, 2011 and won the District I race overwhelmingly.

 

Although it was her first campaign for political office she arrived on the scene with a bang.

 

After serving for four years on the council, the city has erased the debt and now has over $1 million in reserve.

 

“We are now paying our bills on time,” she added. “We’ve restored our credit rating and secure our tax revenues.”

 

Janna says it’s the first time in a decade the city has maintained a level of fiscal responsibility, paying their bill on time.

 

“It’s also the first time under my leadership that the employees have received a pay raise in almost eight years.

 

So, after being instrumental such a renewed level of economic stability, Janna is now the incumbent in District 1 and running to retain her seat on the council in the Compton primary elections April 21.

 

A product of the Compton Unified School District, Janna graduated from Compton High School in 1982. She furthered her education at Compton Community College and Long Beach City College, where she was trained and certified as a surgical nurse.

 

Prior to being elected to the Compton City Council, Zurita worked at various hospitals in the Los Angeles and Orange County areas. She also managed her own business.

 

Delores Zurita and Blondell Filer started the Dickison Com­munity Lighted Schools Meals On Wheels Program in 1968. Janna served as a fundraiser and special events coordinator.

 

Prior to becoming a councilmember Janna was elected to the Los Angeles County Democratic Party Central Committee, representing the 52nd Assembly District.

 

Currently the youngest member of the Compton City Council, Janna was selected as Mayor Pro Tem on July 5, 2011. She currently represents the city as an alternate on the California Joint Powers Authority and the Sanitation Districts of Los Angeles County (District 1).

 

As a member of the Compton City Council, Janna continues to champion the causes she promised to address when campaigning. She has led the charge to reduce water rates in the City of Compton. Working to improve the quality of life for all Compton residents, supports public safety, clean and safe parks and neighborhoods, enhanced street and sidewalk services, new business development, and senior services.

 

She is fighting to reduce water bill payments for residents of Compton.

 

“Among our top priorities in District 1 is safety, economic development and repairing pot holes,” she continued.

 

Janna has vowed to continue her good work on the council if re-elected on April 21.

 

“When I got here we had a deficit. Now we have a reserve. Compton employees were being laid off and now they are being hired with raise increases. We have transparency and accountability today because I want to be accountable.”

 By Sandra Varner   Special to LAWT  

 

Lee Daniels knows something about building an empire.   

 

Since his bold foray into storytelling some 14 years ago, steeped in rich and boundless terrain of archetypical characters—some heroic, some cautionary--this courageous and strident producer, writer and director is perched atop one of TV’s most watched primetime dramas. 

 

 

Empire, FOX TV’s Wednesday night ratings leader, refutes what heretofore had been thought unachievable—a successful network TV drama with a majority black cast, creator, producer and director in the person of Daniels. 

 

 

That scandal has been dismissed altogether. Many in the industry--particularly those who green light projects--have argued otherwise, Daniels knew it to be so; his career DNA bears record of the evidence. 

 

 

His fortune is a dynastic offspring. Daniels brought in top talent to direct additional episodes of Empire: Sanaa Hamri (“The Devil Quotes Scripture”), John Singleton (“Dangerous Bonds”), Rob Hardy (“Sins of the Father”), Mario VanPeebles (“Die But Once”), Rosemary Rodriguez, Michael Engler, Danny Strong, Debbie Allen and others. The producer in him knows the value that shared intelligence yields.  

 

 

Empire’s success follows predecessors Grey’s Anatomy and Scandal from creator Shonda Rhimes, both ABC hits and ratings toppers.  Joining them are BET hits, The Game and Being Mary Jane from Salim and Mara Brock Akil. Tyler Perry’s The Haves and the Have Nots gave OWN respectable placement in the TV viewing game.  All combined these shows makeup an enviable slate of thriving primetime dramas created and shepherded by African Americans, in recent years. 

 

 

There will be more.  Success begets duplication--Rhimes’ How to Get Away with Murder, Exhibit A. 

 

 

Moreover, these dramas too, had predecessors with African Americans in visible roles spanning the past five decades:  

 

 

Any Day Now (Lifetime 1998-2002) with Lorraine Toussaint and Annie Potts

 

ER with Eriq LaSalle and Gloria Reuben (NBC 1994-2009)

 

Hill Street Blues (NBC 1981-1987) with Michael Warren and Taurean Blacque

 

I’ll Fly Away (NBC 1991-1993) with Regina Taylor and Sam Waterston

 

Homicide: Life on the Street (NBC 1993-1999) with Andre Braugher, Clark Johnson and Yaphet Kotto

 

In the Heat of the Night (NBC 1988-1992, CBS 1992-1994) with Howard Rollins and Carroll O’Connor

 

LA Law (NBC 1986-1994) with Blair Underwood

 

Law & Order (NBC, franchise began in 1990) cast has included Richard Brooks, Ice T, Jesse Martin, Tamara Tunie, Anthony Anderson and S. Epatha Merkeson

 

Mission Impossible (CBS 1966-1973) with Greg Morris

 

Soul Food (Showtime 2000-2004) with Rockmond Dunbar, Nicole Ari Parker-Kodjoe, Vanessa Williams and Darrin Henson

 

Starsky and Hutch (ABC 1975-1979) with Antonio Fargas

 

St. Elsewhere (NBC 1982-1988) with Denzel Washington

 

The Wire (HBO 2002-2008) with Idris Elba, Sonja Sohn and Andre Rojo

 

Touched by an Angel (CBS 1994-2003) with Della Reese and Roma Downey

 

Treme (HBO 2010-2013) with Khandi Alexander, Wendell Pierce and Oscar winner Melissa Leo) 

 

 

The abovementioned list and other shows were hot topics around water coolers in their epic heyday; as was Diahann Carroll who upped the ante for TV’s Dallas (CBS) in the mid 1980s.  In the 1960s, Carroll broke ground with TV’s Julia (20th Century FOX) about a widowed nurse and her young son. Carroll won a Golden Globe for Best Female TV Star in 1969.

 

 

Over the years, there have been African American centered dramas that were beloved by segments of the population but didn’t survive a lengthy first run. City of Angels directed by Paris Barclay with Hill Harper, Paula Newsome and Octavia Spencer; Under One Roof with James Earl Jones, Malinda Williams, Joe Morton, Vanessa Bell Calloway and Obba Babatundé; The Chicago Code with Jennifer Beals and Delroy Lindo; Thomas Carter’s Equal Justice with Joe Morton and Vanessa Bell Calloway and; Frank’s Place with Tim and Daphne Reid all come to mind.  

 

 

There’s also the 50-50 scenario when a primetime drama has a good run for three to five seasons such as TNT’s Hawthorne with Jada Pinkett Smith and Marc Anthony.  Another, Lincoln Heights with Russell Hornsby and Nicki Micheaux on the ABC Family network went off the air despite a ground swell of rallying supporters. 

 

 

Presently, the coin has flipped for many; Pinkett Smith has a principal role on FOX TV’s popular vampire esque drama, Gotham.  Joe Morton won a Primetime Emmy and an Image award for his role on Scandal; Hornsby costars on NBC’s sci-fi detective drama, Grimm. Sleepy Hollow with Nicole Beharie and Resurrection--based on the Jason Mott novel starring Omar Epps are FOX-TV hits. 

 

 

Notable by all accounts, the full list of African American centered or themed TV dramas is by no means exhaustive nor can it be completely documented in this article. 

 

 

Historically, African Americans cast in leading or significant roles, positioned in front of and behind the camera are proven entities--their embrace has not always been consistent or triumphant. Today, it appears the up and down trend has ebbed, spiraling toward a constant ascendance. 

 

 

Of course, one must not get carried away.  Even with the success of Empire and others, the entertainment industry is driven by one color—green.  When ratings equal profit, it’s golden; if either changes so goes the fame and the fanfare. 

 

 

Affirmatively, there is no indication we’ll wave goodbye to any of the current hits anytime soon; they are all too hot and fan-obsessed.  Social media plays a role in keeping the momentum elevated. Therewith, a number of storylines are deemed relatable. Friends and followers can interact in real time. 

 

 

Increasingly, Lee Daniels and peers are planting stakes into fertile ground, hopefully for consecutive years to come.  They are creating a lineage in the entertainment sphere that will sustain a legacy of perennial hits—likened to film franchises and syndicated TV shows.  

 

 

In the case of Daniels, his legacy is intrinsically linked to scaffolding a critically acclaimed pallet of successive films, one even with his name preceding the title, i.e. Lee Daniels’ THE BUTLER.   

 

 

Oscar winner Forest Whitaker (“Last King of Scotland”) took home Image and AAFCA awards for his leading role in THE BUTLER (2014). Oprah Winfrey gave an Oscar-worthy performance in the same film. Halle Berry’s Best Actress Oscar was bestowed for MONSTER’S BALL in 2001, produced by Daniels; Mo’Nique Imes’ Best Supporting Actress Oscar was bestowed for PRECIOUS (2009), directed by Daniels, based on the Sapphire novel “Push.”  

 

 

Decided career bumps have resulted from pivotal character arcs via standout performances by many who were cast in a Lee Daniels’ film, namely Paula Patton, Xosha Roquemore, Yaya DaCosta, David Oyelowo, Mariah Carey, Lenny Kravitz and Colman Domingo. 

 

 

Inclusively, Kevin Bacon, Oscar winners Billy Bob Thornton and Dame Helen Mirren were cast in a Daniels’ film: “The Woodsman,” “Monster’s Ball” and “Shadowboxer,” respectively. 

 

 

Outspoken views spew liberally from Daniels’ whose bawdy, unapologetic prowess has been sanctioned. 

 

 

Oscar nominees Taraji P. Henson and Terrence Howard--paired with a killer music bed, intoxicating vocals from sexy newcomers and seasoned gamers--give Empire the likely edge to carry over into TV syndication. Daniels’ skills in writing, directing, producing and yes, humility paved the way. 

 

 

At the onset of Empire’s preeminence, LAWT spoke with the 55-year-old guardian of his sister’s children, about the enormous influence he possesses-- 

 

 

LAWT:  What a way to start the New Year.

 

Lee Daniels: Thank you so much, that’s very nice of you.  I was so thankful for this new project.  Every time I do something, I go, ‘oh well, I guess that’s a wrap for a while. Then, just when you think it may not happen, something opens up.’

 

 

 

LAWT: Well, let’s start with the cast, truly a gift. You’ve got two Oscar nominees in the starring roles. Terrence Howard (2005’s “Hustle & Flow”) and Taraji P. Henson (2008’s “The Curious Case of Benjamin Button”) cast as the embattled, indomitable, and in love still, Lucious and Cookie Lyon. 

 

 

Daniels: I really had somebody else in mind for Lucious but when I spoke to Taraji about it she said, ‘well, I don’t like that choice. I think you should go with Terrence Howard.’ 

 

 

In that moment I thought, gosh, this really is Cookie.  She’s telling me who I should cast. This is the reason I wanted her; that she chose a friend who incidentally is Terrence Howard [also cast in Daniels’ THE BUTLER] was good. We were trying to figure out what we could do together after The Butler. I had him come in and test; he came in crazy bombastic but I felt his character needed to have a darker complexion.  I just told him, ‘I can’t cast you because you’re both yellow; I don’t want two yellow kids in my show.’ (laughter) 

 

 

LAWT: I love you Lee Daniels! (laughter) 

 

 

Daniels: They said to me, ‘shut up Lee and go figure it out.  When have you ever worried about what anyone said about you?’ Then we went off and cast the (Lyon) sons, hard to do because I had to figure out whether or not I could cast singers that could act or cast actors that I would have to teach to sing. I couldn’t teach an actor to sing; it had to be God’s gift.  I was very blessed to come across both Jussie Smollett (Jamal Lyon) and Bryshere Gray (Hakeem Lyon), the two younger brothers.  They came in for the audition and nailed it. Then I got the older brother, Trai Byers (Andre Lyon), who is also cast in “Selma.”  He went to Yale and is really good…that became the Lyon family. Lastly, I got on the phone with my number one girl (PRECIOUS’ star, Oscar nominee Gabourey Sidibe) and said, ‘Gabby put on a blond wig, let’s go.’ 

 

 

LAWT: You chose Malik Yoba as Lucious’ best friend and business partner, Vernon Turner.  The intensity in this character’s eyes is beguiling.  What back story and chemistry did you need to establish between them?  

 

 

Daniels: It’s collaboration but here’s the great part of working with these incredible actors, they do what you say like the old school kids who say, ‘yes sir.’ When I did “The Butler” with Jane Fonda, Robin Williams…all of the greats, the incredible actors in that cast, all of them would say, ‘yes sir’ because they know that you’re the captain of the ship.  

 

 

You’re the visionary and they submit to your vision.  When you submit, you don’t hold back as an actor. On the other hand, it’s hard to submit because you have your own idea of who a character is.  I wrote it so I know, in my head, what I want. They’ll nuance it and bring their own stuff to what I’ve created and its collaboration. 

 

 

LAWT: You’ve also chosen to have several generations interrelated, giving a broader appeal to diverse audiences.  Was that a conscious intention during the creation process?  

 

 

Daniels: I wanted “Empire” to take off where “The Butler” left off; we had done the Civil Rights era straight up to the beginning of electing America’s first black president.  I said to my writing partner (Danny Strong), ‘let’s just pick up where we left off.’ Empire is really about the African American experience post Civil Rights, from the beginning of rap music to today. 

 

 

LAWT: Then your second gift is the Civil Rights Movement and how it gave way to “The Butler” that paved the way to Empire.  There are shadings of Berry Gordy’s Motown; Debbie Allen’s Fame, a Jackson Five patina and reference to the first African American US President, available to your creative inclinations.   

 

 

Daniels: You’re going to make me cry; I am going to hang up the phone right now. Stop talking to me like that; I’ll hang up on you. I don’t do well with praise, thank you so much. I swear the hairs on my arms just raised, that was beautiful. 

 

 

LAWT: You also highlight several coexisting memes--single parenting, female incarceration, racial tension, same sex love—that are contextualized without being preachy or obvious, that is your gift. What do you want to develop from this broad swath of subject matter surrounding the Lyon family, essential to the issues that you draw from? 

 

 

Daniels: If you really study my work at its core is family. I exorcize all of my demons…I don’t go to therapy, my films are my therapy.  I get rid of all of the stuff that has been festering in me and my family through my work.  This is really me figuring out who I am because I’m in all of those characters that are on the screen.   My family is in all of them.  I think the reason my work strikes home and feels real is because it is real.  It’s real life, it’s my life.   I’m a little bit of Lucious--my dad was a lot of Lucious. I am Jamal, my brother is Hakeem, my sister is Cookie; these people live in me. 

 

 

I think what’s great about the show is we see all sides; I’m very comfortable in the projects, I’m very comfortable in North Philly and West Philly.  I’m also comfortable in Oprah’s home for a dinner party. I think there are a lot of African Americans who are millionaires and we just don’t know how they function.  We don’t see them in their world; at the end of the day we’re still African Americans.  We still come from an ancestry that ate chitlins--that’s in our DNA, that’s who we are.  We have morphed through the years and have become more sophisticated. I think our DNA hasn’t changed and I’m just here to expose it. Does that make any sense? 

 

 

LAWT: Yes, it does. Making the choice of FOX-TV for Empire’s home, how so? 

 

 

Daniels: It was a bidding war and every network wanted it. We have Brian Grazer as Executive Producer who really knows the business.  That white cat knows the pulse of the African American experience; just look at some of the films he’s done: 8 Mile, Boomerang, Life, Undercover Brother, Inside Man, Get On Up, American Gangster… 

 

 

He knows that world and is able to communicate to the studio for me because I go in there ballistic, you know.  He’s a great buffer to explain me, both worlds. I chose FOX because Dana Walden and Gary Newman (Executives at FOX Broadcasting) are over there and they really responded.  Of all the networks, they seemed to want Empire most. 

 

I felt that going to HBO, which I will be doing something there very soon, or to another cable network would have been safe for me because I can do my old bag of tricks (with a harder edge), but I’ve got a PG13 rating with this one.  That classification really pushes me, creatively, to come up with ways to do a hip hop story without curse words in it.  

 

Another reason to go with FOX was because they were so provocative.  But the third reason was that most of my family, like a lot of families can’t afford cable;  I know they’ve got FOX so those were the three determining factors that pushed me to them [FOX]. 

 

 

LAWT:  Imitation is said to be the highest form of compliment in this business; I expect there will be others that try and mount an Empire, elsewhere. 

 

 

Daniels: I’m sure and that’s OK; we’ll just go and do something else. It’s all good. I think with duplication comes more opportunities for African Americans. What has been the most exciting part of this journey, for me is, normally I employ African American actors and that’s been a real high but now it’s on another level.   We have an incredible team of writers, African American writers, and it’s staggering to know the jewels out there that are our writers, it’s beautiful.  

 

 

We have a plethora of African American directors for several episodes and I’m telling you I don’t know what I’m more excited about—that I am able to tell my story or that I am able to get this group of people together.  It’s truly a party when we get together.  The great part of it all is that I didn’t even know the ripple effect that it [Empire] was going to have. So when you say “imitation” I hope that means my people are working. 

 

 

LAWT: I describe you as “The Maestro” particularly in reference to THE BUTLER; it’s as if a symphony was assembled to make that film. Everybody knew their parts in history as it were.  Everybody knew their instrument, their facility and capacity to shoulder those heroic characters.  Similarly with Empire, you are “The Conductor” of this symphony.  How does that feel Lee Daniels? 

 

 

Daniels: You’re funny because once again you’ve touched me.  I told you I don’t know how to take compliments--I’m blushing, if you could see a black man blush. Here’s the thing, you tap into my spirit.  I am operatic in all of my stuff; all of my films are operatic in their own way.  Empire is a dramatic musical, an opera.  To actually do a TV show that feels sort of operatic in its own way, I’m very pleased you caught on to that.  God bless you and thank you so much from the bottom of my heart, your kind words really made my afternoon.