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Diallo Riddle and Bashir Salahuddin Bring Intelligent Humor to “South Side” on Comedy Central

LOS ANGELES SENTINEL — Are you ready to laugh? Yes, or no? I mean, really laugh like when you first heard Eddie Murphy get “raw” or when you discovered the work of the late Richard Pryor? If the answer is yes, then I am suggesting that you mark your calendar and get ready for “South Side,” because Comedy Central had the good sense to greenlight the series created by Diallo Riddle, creator and executive producer of “Officer Goodnight” along with Bashir Salahuddin, creator and executive producer of “Allen Gayle.”

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Diallo Riddle and Bashir Salahuddin Bring Intelligent Humor to “South Side” on Comedy Central

By Lapacazo Sandoval

Are you ready to laugh? Yes, or no? I mean, really laugh like when you first heard Eddie Murphy get “raw” or when you discovered the work of the late Richard Pryor? If the answer is yes, then I am suggesting that you mark your calendar and get ready for “South Side,” because Comedy Central had the good sense to greenlight the series created by Diallo Riddle, creator and executive producer of “Officer Goodnight” along with Bashir Salahuddin, creator and executive producer of “Allen Gayle.”

The press notes make a big deal about “South Side” being set in and around the working-class neighborhood of Englewood on the south side of Chicago. I’ve never been to the south side, but I know all of the characters in the hilarious series. I’m betting that once you watch the series that you will know those characters just as well.

“South Side” follows two friends who just graduated from community college, now they’re ready to take over the world but until they do, they’re stuck at “Rent-T-Own,” a retail and rental crossroads where “South Side’s” ensemble of quirky characters come together. Despite the obstacles of inner-city life, these friends and their co-workers all strive to achieve their entrepreneurial dreams. Brought to life by local Chicagoans, both in front of and behind the camera, this show gives viewers an authentic portrayal of what life on the South Side is all about.

Salahuddin and Riddle star in the series, alongside Sultan Salahuddin and Chandra Russell. First season guest stars include Lil Rel Howery, Nathaniel “Earthquake” Stroman, Jeff Tweedy, Lisa Raye McCoy, Kel Mitchell and Ed Lover.

Riddle is an Emmy and WGA nominated writer and actor, as well as a producer and showrunner who also moonlights as a DJ. Born in Atlanta, and a graduate of Harvard University, some of his credits include IFC’s upcoming series “Sherman’s Showcase,” which he co-created and is executive producing with his writing partner Bashir Salahuddin. He is also a series regular on “Marlon” and can be seen in HBO’s “Silicon Valley.”

Salahuddin has an Emmy nomination. He was born and raised on the south side of Chicago as one of eight kids and later graduated from Harvard University. In addition to his work on “South Side,” Bashir can be seen in IFC’s upcoming series “Sherman’s Showcase.” Additionally, Bashir has starred in Lionsgate’s “A Simple Favor,” 20th Century’s “Snatched,” and the SAG-nominated Netflix series “GLOW.”

Salahuddin and Riddle were previously consulting producers on “The Last OG” at TBS and developed their pilot “Brothers in Atlanta” with Broadway Video at HBO. Before creating their own shows, they were staff writers on NBC’s Late Night with Jimmy Fallon, where they wrote such notable pieces as “Slow Jam the News with Barack Obama,” and “The History of Hip-Hop with Justin Timberlake.”

This is an edited conversation phone conversation with Diallo Riddle and Bashir Salahuddin.

LOS ANGELES SENTINEL: Hey now, I’m so sorry that I could not meet you both in person. Things are finally being fixed in my Harlem apartment. I don’t know if I should be happy or terrified. Can you say gentrification is a bitch? Let’s start the conversation with you, Mr. Riddle.

DIALLO RIDDLE: Ok.

LAS: I love your last name. Mr. Riddle. Please, come to the front Mr. Riddle. And the Emmy goes too, Mr. Riddle. All kidding aside, you are an Emmy and WGA nominated writer and actor, producer, showrunner, and you moonlight as a DJ. So, when do you find time to sleep?

DR: I also have three kids. I don’t know what sleep is anymore. It’s crazy. I try to get a solid four or five hours every night, I’ll probably die soon.

LAS: Damn, you’re funny. This is why I need a podcast. I describe the comedy in your new scripted comedy ‘South Side’ as smart and slow.

DR: That’s my favorite Usher song.

LAS: Riddle, damn your quick but that’s what I should expect from a Harvard graduate.

DR: We both went to Harvard.

LAS: I know but he (Bashir Salahuddin) had eight siblings, I don’t know when he had time to study to get into Harvard.

DR: I had five siblings, I’m one of six.

LAS: Did you think when you started at Harvard that you would have a successful career as a writer on television?

DR: Actually, yes. We met at Harvard and we figured out pretty early that we liked the same type of stuff to laugh about. It was years later after we graduated, we were having dinner at my parents’ house. They had moved into a place called Park La Brea. They had sold their house and they just wanted a smaller place. My mother said, ‘hey you guys are really funny. Why don’t you guys write a script?’ At the time we thought that she was crazy, but looking back that was the beginning of us actually writing together.

LAS: Your mother is a smart lady!

DR: We really started our careers as writers. You know, a lot of people brag that their managers put them together but no, we were friends. Then we started acting in the stuff that we were writing. Truthfully, because sometimes we could not find someone to deliver the lines the way we wanted them delivered.

LAS: So, you both always loved being actors?

DR: Yes, giving him some credit he always knew that he wanted to be an actor even in college he would create a one-man play, and for me, as a writer, I was the guy who wrote a book in the third grade.

LAS: Pardon? Did you say that you wrote a book when you were in the third grade?

DR: Yes, I did. I was eight-years-old and I was published. I would go to the library and I would fill out the little slip to check out my book. It was a World Word II spy thriller. The main character was named Ripple and he was a Black fighter in World War II and he was going to assassinate Hitler.

LAS: I can see the Netflix original animated series, now. I want to be in that writers’ room!

DR: I’ve never told that story in an interview so I’ve just given you a worldwide exclusive.

LAS: What’s the secret to a successful writing partnership? Advice?

DR: You have to listen to your partner and you have to respect them. At the end of the day, we’ve known each other long enough that we can always be honest with one another.

LAS: What I loved about ‘South Side’ is that I know all of the characters and I’ve never been to the South Side of Chicago.

DR: We love that you said that! That was the goal of the show.

LAS: Goal reached, Mr. Riddle. Hey now, I’ve not forgotten you, Bashir Salahuddin.

BS: I didn’t think you did. I play Officer Goodnight on the show.

LAS: I love that character! Gosh, you are not well. I mean that character is not well. You are understatedly ‘flippin’ funny.’

BS: Thank you. So are you.

LAS: (laughing) I also really like his partner, Sergeant Turner. Her comedy has levels.

BS: Chandra Russell, she’s my wife. She’s a natural treasure.

LAS: Stop it. Really? She’s talented. I want to chat with her and find out if you are a natural treasure!

BS: We will arrange that for you. Not a problem. We grew up with a lot of the actors so we know all these people personally, we know how they are funny. So, when we are writing the show it allows us to give them every opportunity to score.

LAS: You have rich characters. They are all good. There is not one that does not work and that’s rare.

BS: The show is excellent. It’s the best show on TV.

LAS: (Laughing) This is where I need a podcast, how do I describe your deadpan tone and pitch? Onwards. What do you want people to know that I’ve not asked?

BS: Even though our show is called ‘South Side,’ we’re not trying to elevate the South Side above any other part of Chicago. Specifically, when it comes to Black folks, we are all Black — different experiences, different circumstances and sometimes similar challenges. The reason that you felt you could still feel the love when you come from North Philly, South Bronx, Harlem, Atlanta, South Central, Los Angeles, Montreal, wherever, I just want to say we are so proud that our show is providing a place for people from places like that to show how funny they are and the diversity of their interests, and we’re excited that everybody from those places or that have never even been to those places watch our show and enjoy themselves. And I think that we won.

“South Side” will premiere Wednesday, July 24 at 10:30 p.m. ET/PT.

This article originally appeared in the Los Angeles Sentinel.

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Art

Misty Copeland Shapes Ballet’s Tomorrow

THE POSITIVE COMMUNITY — Misty Copeland will curate the 2026 Joyce Ballet Festival, a two-week event in New York City from August 4-16. This role allows her to influence the future of ballet by showcasing a wide range of dancers, choreographers, and companies. The festival will present both established and contemporary works, blending classical traditions with new artistic expressions.

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Misty Copeland at the 2026 Met Gala, wearing fashion in theme of "Costume Art" Date 4 May 2026, 19:39:21

This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.

Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.

That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.

Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.

The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.

The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.

The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.

For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.

Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.

The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.

Based on reporting by The Positive Community.



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Oakland Post: Week of August 5 – 11, 2026

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