Netflix’s "She’s Gotta Have It" Gives Viewers a Different Side of Black Love
Struggling artist. Little Black dress. Three lovers. One woman.
These aren’t the typical ingredients of Black Love on television, but the latest Netflix series directed by Spike Lee based off his 1986 film, She’s Gotta Have It, gives viewers a unique perspective of a millennial style of Black Love.
The series begins with a re-introduction of Nola Darling, a 27-year-old artist living in Brooklyn, New York, juggling her career and love life, while fighting patriarchal politics as a Black woman in America. The reboot proves to be more than a showcase of Nola’s relationships; it provides an interesting perspective of expectations of love in today’s society, specifically from the perspective of a Black millennial woman. The dynamics of Nola’s relationships with her lovers - Mars Blackmon, (Anthony Ramos), Jaime Overstreet (Lyriq Bent) and Greer Childs (Cleo Anthony) – give audiences a glimpse of Black Love that is frequently neglected in mainstream media.
Millennials are often criticized of being self-absorbed, entitled, non-committal and on the surface, Nola’s multiple relationships and unwillingness to commit could be attributed to this generational mentality, but Lee develops her character past that to embody elements of (self)love that isn’t typical of media depictions of Black women in romantic relationships. Nola has identified what she wants romantically, sexually and physically and she does not allow her sexuality to conform to respectability politics plagued by Black women. In recognizing how she experiences love, Nola unapologetically ensures those needs are met with her interactions with her suitors.
Nola’s most fulfilling relationship is with Opal Gilstrap (Ilfenesh Hadera), the single-mother who seems to encompass all of the characteristics of Nola’s male suitors. In therapy, Nola describes Opal as the woman she hopes to be, almost like she serves as a reflection of what’s to come. Their relationship is free from the constraints of ownership, gender roles and the male bravado Nola encounters with her male suitors. With Opal, she feels more of an equal instead of property, with Mars she can be carefree, with Jamie she feels protected and intellectually stimulated and with Greer she gets culture – combined they maker her ideal mate.
Unlike many of the stereotypical representations of Black women, Nola’s sexual liberation is not attached to daddy issues, low self-esteem or the overwhelming need to be accepted nor are her relationships plagued with lies and infidelities. Instead she offers an empowered vision of the millennial Black woman, maintaining her self-respect and boundaries within her relationships. Viewers witness a woman nurturing herself, her well-being, sexual needs and mental health instead of constantly taking care of others as so often depicted.
Although the male gaze has plagued portrayals of Black women in Hollywood, especially when it comes to their role in romantic relationships, Lee uses this series as a platform to discuss feminist issues such as objectification of women and sexual double standards. Through these discussions and physical encounter with a man who cat-calls her one night while walking home, Nola never becomes the damsel in distress. She lives her life and loves on her own terms, free of the constraints placed on women in romantic relationships.
She’s Gotta Have It shifts the narrative of Black Love in Hollywood. Nola’s power and confidence as she navigates her family, career and love life embodies an element of selfishness that all relationships might benefit from. Nola’s lovers represent a comprehensive, great love; a love that can’t be accomplished without self-love. As the narcissistic, selfie taking Greer said in episode one, “There is no crime in loving one’s self; that’s the greatest love of all.” A sentiment exemplified by Nola Darling’s life.