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Black Fatherhood Shines in New Animated FIim

THE AFRO — For the most part, Historically, stories about Black fathers in mainstream media often carry a misleading, yet pervasive tones of absenteeism, hyper masculinity, insensitivity, and irresponsibility, monolithic. But this week, the beauty of Black Fatherhood debuts. But this is narrative does not fairly represent the role of the Black fatherhood.

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By AFRO Staff

For the most part, Historically, stories about Black fathers in mainstream media often carry a misleading, yet pervasive tones of absenteeism, hyper masculinity, insensitivity, and irresponsibility, monolithic. But this week, the beauty of Black Fatherhood debuts. But this is narrative does not fairly represent the role of the Black fatherhood.

Hair Love is a heartfelt animated short film that centers around the relationship between an African-American father, his daughter Zuri, and the most daunting task a father could ever come across – doing his daughter’s hair. The short, a passion project from Matthew A. Cherry, will be making its theatrical debut in North America on Aug. 14.

Directed by Cherry (executive producer, “BlacKkKlansman”), Everett Downing Jr. (animator, “Up,” “WALL·E”), and Bruce W. Smith (creator, “The Proud Family,” animator, “The Princess and the Frog”), Hair Love is a collaboration with Sony Pictures Animation that was launched as a Kickstarter campaign in 2017 with a fundraising goal of $75,000. Strong support led to the campaign amassing nearly $300,000, making it the most highly-funded short film campaign in Kickstarter history.

“To see this project go from a Kickstarter campaign to the big screen is truly a dream come true,” said Cherry. “I couldn’t be more excited for ‘Hair Love’ to be playing with ‘The Angry Birds Movie 2’ in front of a wide audience and for the world to see our touching story about a Black father trying to figure out how to do his daughters hair for the very first time.”

“Hair Love” features the voice of Issa Rae (“Insecure”) as the young girl’s mother. The short is produced by Karen Rupert Toliver, Stacey Newton, Monica A. Young, Matthew A. Cherry, and Lion Forge Animation’s David Steward II and Carl Reed. Peter Ramsey (“Spider-Man: Into the Spider-Verse”) and Frank Abney (animator, “Toy Story 4”) serve as executive producers.

“This is such a special story that means so much to us,” added Ramsey, “Matthew has rallied an insanely talented group of people to get this short made, and to be able to share it with the world is a gift. We hope that audiences can feel this team’s dedication up on the big screen, we are incredibly proud of it.”

The short’s co-executive producers include Jordan Peele, Andrew Hawkins, Harrison Barnes, Yara and Keri Shahidi. The short’s associate producers include N’Dambi Gillespie, Gabrielle Union-Wade & Dwayne Wade Jr., Gabourey Sidibe, Stephanie Fredric and Claude Kelly.

Physical production of “Hair Love” has taken place at the Los Angeles-based animation studio, Six Point Harness (“Guava Island”).

The picture book “Hair Love” was released by Kokila Books/Penguin Random House releasing on May 14, 2019, and became a New York Times Bestseller.

This article originally appeared in The Afro.

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Oakland Post: Week of June 17 – 23, 2026

The printed Weekly Edition of the Oakland Post: Week of June 17 – 23, 2026

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Books

Book Review: Something We Said: Richard Pryor, A Notorious Word, and Me

Though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

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By Terri Schlichenmeyer

Author: Elizabeth Stordeur Pryor, Copyright: c.2026, Publisher: Simon & Schuster, SRP: $29.00, Page Count: 304 pages

Sticks and stones may break my bones.

You know the rest of that childhood rhyme, and you know it’s not true: words have meaning, and they can cut like a knife. And yet, though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

The college lecture was supposed to have been about the 1850 Fugitive Slave Act.

It was supposed to be a lively discussion, but unintentionally it quickly veered off course. When a White student quoted a movie line featuring the “n-word,” the room went quiet, and Professor Elizabeth Stordeur Pryor panicked.

She’d grown up hearing that word, and seeing it, and she’d experienced the painful feelings attached to it. She knew who wrote that movie line. It was her father, Richard Pryor.

In her first few years, Pryor spent most of her time in a White world, hearing her mother’s tales of her larger-than-life father, and trying to grasp meaning in her father’s albums, peppered as they were with a word that was off-limits to her.

When she was six, she met her father for the first time. She began to visit him regularly.

It was fun at her Dad’s house; though he was sometimes moody, he taught her to fish and play dominoes. She became close with her siblings, fearful of her great-grandmother, and confused about a word that her father’s uncles threw around like a beach ball. It was a forbidden word at her mother’s house, but her father used it. Differently. Often.

The word hurt. She knew first-hand that it did.

“The word became a degrading slur that shackled all Black people together into a single, inescapable tribe,” she says.

So why was it okay for certain people to say it?

Knowing that, in the years since Richard Pryor’s accident and his death from multiple sclerosis, he’s become somewhat of a legend. It is a very satisfying thing, isn’t it? So is reading about him, especially from the viewpoint of one of his seven children. But his is not the only story you get inside “Something We Said.”

Wrapped around the life of Richard Pryor is the life of a word that straddles a line between danger and provocation, a word that author Elizabeth Stordeur Pryor refuses to say or even print. As she tells readers about her father and her loving-but-difficult relationship with him, she warily circles that word, as if it might bite. You may cringe, but she weighs it carefully, helping readers see it as a chameleon before always bringing us back to her father, his work, and his life before and after her and that word.

It’s a push-pull balance that holds readers fast, and keeps them there. It’s perfect for fans of this genre, or Richard Pryor, or of language – and it’s going to make you think. If you want a good memoir this week, one that may send you to your old album collection, “Something We Said” is rock-solid.

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Oakland Post: Week of June 10 – 16, 2026

The printed Weekly Edition of the Oakland Post: Week of June 10 – 16, 2026

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