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Check out every Black show canceled in 2026 so far. Fair warning: the list is LONG. Read about the TV industry’s problem.
We are only halfway through 2026 and the television industry is already out here swinging the cancellation axe like it has something to prove. Check out all the Black TV shows canceled in 2026 so far. Fair warning: the list is LONG. 
Across networks and every major streaming platform, shows are getting the axe at a pace that is genuinely hard to keep up with. And if you have been paying attention to which shows keep ending up on the chopping block, you may have noticed a pattern that a lot of people in the culture are getting tired of talking about. Black-led content, Black-created projects and shows built for and around our community keep disappearing, often before they ever get a real chance to find their audience or build the kind of momentum that shows with different demographics receive.
Men’s Journal reported that 33 shows have already been canceled across networks, cable channels and streaming services in 2026 so far. Netflix is leading the charge among streaming platforms as the single entity responsible for the most cancellations. And when you pull back the lens specifically on the Black content that got cut, the picture gets even more frustrating. 
What’s On Netflix tracked the streaming giant’s moves closely. The reality dating show that jumped from YouTube to Netflix. The Tyler Perry show that got a mid-run name change nobody asked for. The critically acclaimed hip-hop-adjacent series that never once cracked the top ten despite having a built-in fan base ready and willing to show up for it. These are not shows that failed the audience. In many cases, these are the platforms that have failed.
The broader cancellation trend raises a question that the industry keeps refusing to answer directly. When a show with a predominantly White cast and middling ratings gets a second and third season to find itself, that is described as creative patience. When a Black show does not immediately post record-breaking numbers in its first few weeks, it gets cut and the algorithm gets the blame. The receipts do not lie and neither does the list below.
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One of the most critically celebrated shows Netflix had in its catalog, The Vince Staples Show, earned praise from virtually every corner of the entertainment press for its sharp, deadpan portrayal of life in Long Beach. Despite a strong critical reception, the show never made a significant impact on Netflix’s top-ten charts upon its initial release, and when its second season similarly struggled to move numbers, Netflix made the call to cancel. The audience that wanted this show existed. The platform just never figured out how to reach them.
Tyler Perry has an undeniable track record with Netflix, but this one never got off the ground the way it should have. Originally titled She The People, the show’s name change to Miss Governor is widely considered a contributing factor in a drop in viewership that led Netflix to announce it has no plans to bring it back for a second season. Renaming a show mid-run and then being surprised when the audience cannot find it is a creative decision worth examining.
The reality dating format that built a massive following on YouTube made the leap to Netflix as a live-event series, which, in theory, should have been a win for everyone involved. The series streamed live on Netflix and will ultimately not be coming back, as the platform re-evaluates its entire live programming strategy, with the departure tied to the exit of the executive responsible for the show.
Karamo Brown’s daytime talk show brought a perspective to daytime television that it genuinely needed, centered on mental health, community and the kind of honest conversations that most daytime formats are too polished to have. It is gone now and daytime television is worse off for it.
Amazon’s entry into the young adult ensemble space felt like exactly the kind of show that could have built a generational following with the right support behind it. It did not get that support.
With a diverse young cast and the weight of one of television’s most beloved franchises behind it, this one had every advantage it needed. Paramount+ had other plans.
The year is not even over. We will keep watching and keep the list updated as the industry continues to make decisions that the culture will have receipts on for years to come.
RELATED: 10 Best Martin Lawrence Movies Ranked
Black TV Shows That Have Been Canceled In 2026 So Far was originally published on globalgrind.com

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HelloBeautiful x MadameNoire celebrated our Women To Know cover stars Danessa Myricks, Janell Stephens and Ashunta Sheriff with a Juvia’s Place sponsored breakfast that included a beauty confessional booth that was a main attraction.
Above the street inside the EDITION Hotel is a green sanctuary in the heart of Times Square. Daylight peeks from the ceiling in between intertwined vines. The room is almost as beautiful as the Black women who’ve convened for a celebratory breakfast, sponsored by Juvia’s Place, in honor of our annual Women To Know: Founding Mothers cover. Our cover stars, Danessa Myricks, Janell Stephens, and Ashunta Sheriff arrive to accept their flowers in a carefully curated room of beauty editors, industry insiders and influencers.
While lunch flowed, family style, and drinks poured over custom Women To Know ice cubes, guests flocked to the textured green confessional booth with the golden Juvia’s Place moniker. It became a main attraction during the event for guests to step inside and share responses to thoughtful beauty questions.
Women To Know cover beauty Danessa Myricks beamed with joy stepping into the spotlighted booth. “I certainly feel the most beautiful when I’m in service of someone else. I think it’s no better feeling when you can add value to someone’s life, make them feel good about themselves, celebrate someone,” she shared.
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Syreta Oglesby, celebrity PR rep, revealed getting ready, to her, means, “You have to always remember you are the main character in your own life. It’s your ascending and it’s also your attitude when you wake up in the morning. Make sure you settle in for the day so you have an amazing day because it also radiates from the inside out.”
Thank you again to our sponsor Juvia’s Place. The activation was produced by @iamrenaebluitt. Booth by @clicknitphotobooth
The Juvia’s Place Beauty Confessional Was A Main Attraction At Our Women To Know Breakfast was originally published on hellobeautiful.com

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May 9, 2026
The Trump administration is accusing The New York Times of unlawfully favoring diversity over merit in a high-profile hiring decision
The Equal Employment Opportunity Commission (EEOC) has filed a federal lawsuit against The New York Times, alleging the media company discriminated against a white male employee in a promotion decision tied to diversity, equity, and inclusion.
Filed on May 5, the lawsuit alleges that the newspaper violated Title VII of the Civil Rights Act after a white man was reportedly denied a deputy real estate editor role in favor of a multiracial woman from outside the company. According to the complaint, the selected candidate allegedly had limited experience in real estate journalism despite the role requiring that expertise.
EEOC Chair Andrea Lucas said the agency believes race and sex were factors in the hiring decision, arguing that “there is no such thing as reverse discrimination” because all forms of workplace discrimination are unlawful under federal law.
The complaint also points to The Times’ public diversity initiatives and internal goals to increase representation of women and people of color in leadership positions. Federal officials claim those efforts may have improperly influenced hiring practices.
“A necessary consequence of NYT’s intent to increase the percentage of non-White leaders would be a decrease in the percentage of White leaders,” the lawsuit states. “Particularly, decreasing the percentage of White males in leadership would contribute to the NYT’s dual goals of increasing the percentages of females and ‘people of color’ (as defined by NYT) in leadership.”
The legacy publication strongly rejected the allegations, calling the lawsuit politically motivated and defending its hiring process as fair and merit-based. A spokesperson for the company said the selected candidate was highly qualified and accused the EEOC of targeting the publication as part of a broader political campaign against DEI programs, according to Axios.
The Times dismissed any notion that the hiring process had violated federal labor law – and said it would “vigorously” defend against any lawsuit.
“The New York Times categorically rejects the politically motivated allegations brought by the Trump administration’s EEOC,” Danielle Rhoades Ha, a Times spokesperson, said in a statement.
The lawsuit marks another escalation in the Trump administration’s ongoing scrutiny of corporate diversity initiatives. Since returning to office, the president has aggressively challenged DEI policies across media companies, corporations, and universities. His administration has even argued that some programs unfairly disadvantage white employees.
RELATED CONTENT: White Woman Files Discrimination Lawsuit After Being Denied Entry Into Black Infant Health Program

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“I understood that that did not define me,” Tamron Hall reflects on leaving the Today Show and choosing herself despite a $2 million offer.
 
In 2017, Tamron Hall made the bold decision to walk away from her seat on the coveted “Today Show.” Though she launched her own successful talk show years later, Hall’s decision to walk was a pivotal moment in her career. In a recent conversation with Scott Evans, the journalist opened up about what happened behind the scenes. 
 “I was walking over to MSNBC, and a text message came from my then agent,” she recalled. “And then he said they are making a big change, and you’re no longer in. Here’s what they’re offering. And he proceeded to bullet-point in a text all these things that they were offering to keep me.”
She continued: “I almost, like, blacking out because your whole life is flashing before you. I remember I texted my mom, and I said, ’It’s done.’ And I wrote my agent back and said, ‘I’ll pass.’ It was $2 million a year [deal]. “
A post shared by Scott Evans (@iamscottevans)
As Evans voiced his bewilderment at her decision to pass, Hall shared the intention behind her decision to decline the offer. 
“Because all money ain’t good money,” she stated.
“The kind of faith and self-assuredness you have to have,” the “House Guest” creator interjected. 
At the time, fans felt blindsided by Hall’s decision to leave the morning show. And as previously reported by theGrio, the talk show host felt equally blind sided by the decision to replace her with Megyn Kelly. An unnamed source close to Hall at the time reported that the news came just days after executives congratulated the team for the show’s high rankings. 
“She wasn’t going to settle for sitting on the sidelines,” the source said. “She basically said thank you, but no thank you.”
Hall, who has worked in the industry for years, remembers her mother being particularly proud of her decision to leave the show. 
“My mother was always proud, but she said to me, ‘I am so proud of you, because do you know how many times we’ve had to get off the sidewalk for someone else to walk?’” Hall recalled. “I thought about all the other young Black women in journalism, and I said, if they see me lose, they may think they can’t win. And that day is why I turned it down. And I’m not trying to sound like I was a sacrifice or anything.” 
“No, but you understood your position on one of the top morning shows in the world,” Evans added before Hall concluded: “And I understood that that did not define me.”

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The New York congresswoman — and rumored 2028 presidential candidate — sought to encourage parishioners at Ebenezer Baptist Church as Black voters grapple with last week’s Supreme Court ruling that drove a dagger in the heart of the Voting Rights Act.
U.S. Rep. Alexandria Ocasio-Cortez, D-N.Y., excoriated President Donald Trump and Republicans over the swift redistricting that is threatening to eliminate Black leadership and representation across the U.S. South, telling a Black church congregation, “We are not going back!”
While delivering remarks at Ebenezer Baptist, the former Atlanta church of Dr. Martin Luther King Jr., on Sunday, the New York congresswoman — and rumored 2028 presidential candidate — sought to encourage congregants as Black voters grapple with last week’s devastating Supreme Court ruling that drove a dagger in the heart of the Voting Rights Act of 1965.
“I don’t take lightly the peril that we are facing just one week after the Voting Rights Act was gutted,” said Ocasio-Cortez, who was invited to speak by Ebenezer’s senior pastor, U.S. Senator Rev. Raphael Warnock. “And in the days since, we have learned why the Voting Rights Act existed as the maps in Tennessee and Louisiana across this country, as the Supreme Court, to the reverend’s point in Virginia, overturned the maps 10 to 1, to literally draw Black Americans out of power.”
The 36-year-old progressive lawmaker added, “We are living in terrifying times, but we are people of faith, and our faith is the foundation that gives us the courage to fight in the face of overwhelming odds.”
Ocasio-Cortez drew on the legacy of Dr. King, telling Ebenezer parishioners, “Like Dr. King, baptized in this Church on this hallowed ground, who believed in the audacious idea that maybe this country could maybe live up to the promises we made in our founding documents, I’m here today, brothers and sisters, with a simple message: We stand together, and we are not going back!”
As theGrio previously reported, the Supreme Court’s April 29 ruling making it harder for Black voters to prove racial discrimination in voting laws has resulted in a wave of southern states redrawing their congressional maps to dilute Black voting power. As a consequence, nearly two dozen members of the Congressional Black Caucus could lose their seats in this November’s midterm elections.
AOC delivered a message of unity and sent a direct message to Trump and his MAGA party: “What happens to Georgia, happens to New York. What happens to Tennessee, happens to California. What happens to Louisiana, happens to all of us, Ebenezer, because this is America. We are not divided by state. We are united by our humanity and common citizenship.”
She added, “Because no man can grant us our humanity. No law can erase it, no king, no system, and no president can strip it away! Because it is not given by man — it is ordained by God!”
Congresswoman Ocasio-Cortez, who is running for her fifth term in office, is rumored to be considering higher office — though it is unclear whether that will be for the U.S. Senate in 2028 or the U.S. presidency. Responding recently to the speculation of a run for the White House, AOC did not confirm or deny.
“They assume that my ambition is positional,” she told David Axelrod at the University of Chicago’s Institute of Politics on Friday. “They assume that my ambition is a title or seat, and my ambition is way bigger than that. My ambition is to change this country.”
The New York lawmaker continued, “Presidents come and go. Senate [and] House seats, elected officials come and go, but single-payer healthcare is forever,” she added to cheers. “A living wage is forever. Workers’ rights are forever. Women’s rights. All of that. When you aren’t attached. When you haven’t been like fantasizing about being this or that since the time you were seven years old, it is tremendously liberating.”
The congresswoman added, “Because I get to wake up every day and say, ‘How am I going to meet the moment?’”
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The Grammy Award-winning album’s brief absence fueled speculation that the Compton rapper was gearing up for a new album rollout or even trolling one of his longstanding rivals.
For a brief moment, Kendrick Lamar‘s chart-topping 2024 album “GNX” was nowhere to be found on Apple Music.
Not only was the album temporarily removed, but so were music videos for songs like “Luther” and “Not Like Us.” While the album remained on Spotify, it was also temporarily removed from Tidal, sparking debates and conspiracy theories online as to the reasoning behind the move.
On YouTube, fans noticed the music videos for both “Luther” and “Not Like Us” were re-uploaded on the platform and hours later, “GNX,” the music videos shot for it, as well as the 2024 diss track “Euphoria,” all reappeared on Apple Music.
The likely occurrence for the switch is a license transfer, as the songs and albums no longer fall under Universal Music Group but rather under an exclusive license to Interscope Records.
Still, a simple clerical change didn’t stop the belief that the multi-time Grammy winner would re-release them to squash any momentum from Drake’s upcoming “Iceman” release. Even though the battle ended two years ago and has been given additional life through Lamar’s Super Bowl halftime show, the “GNX” tour and Drake’s ongoing litigation about “Not Like Us,” the two rappers are sadly tied at the hip in online hip-hop discussions despite having entire careers and accolades outside of their feud.
Drake’s “Iceman” album drops on Friday.
Outside of his record-breaking “Grand National Tour,” Kendrick has kept a low profile, appearing at the Grammys in February to collect trophies for Best Rap Album, Record of the Year, Best Rap Song, Best Rap Performance and Best Melodic Rap Performance. Last week, he returned to his alma mater, Centennial High School in Compton, California, for a dedication of the school’s newly redesigned campus. Joined by other notable alumni like Dr. Dre and will.i.am, the dedication served as a homecoming for Lamar, who reunited with his seventh-grade science teacher.
“I’ll never forget you,” he told her.
Kendrick Lamar reunited with his 7th grade Science teacher after she was told by her daughter to ‘just show up, he will recognize you.’

Kendrick shared a hug and told her, “I’ll never forget you.” pic.twitter.com/svQneNZxvy

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May 10, 2026
Mothers have no shortage of songs that honor and express gratitude for their love and care
Mothers have no shortage of songs that honor and express gratitude for their love and care. Across different musical styles and time periods, artists have drawn on their mothers as creative inspiration, writing songs about motherhood, maternal challenges, and devotion. This selection features popular songs that celebrate mothers through storytelling and musical tribute, showing why motherhood remains a timeless, universal theme in music.
The song “Mama Knew Love” by Anthony Hamilton tells the story of a son who observed his mother’s love through her actions. The 2005 release “Ain’t Nobody Worryin’” features this Southern soul track, which showcases Hamilton’s storytelling abilities while drawing from his Charlotte upbringing. The song “Mama Knew Love” is in keeping with conventional Mother’s Day tribute patterns by recognizing a mother’s hardships and commending the sacrifices and commitments she’s made in her parental role.
The 1997 Soul Food soundtrack included Boyz II Men’s Grammy-winning R&B track “A Song for Mama,” which honors maternal love and guidance. The song follows Philadelphia R&B tradition by highlighting the mother’s role as an emotional anchor and teacher. The song’s crossover success established it as the ultimate “mom song” of the 1990s, which became essential for Mother’s Day and family celebrations.
The song “Hey Mama” from Kanye West’s 2005 album “Late Registration” serves as a heartfelt tribute to his mother, Donda West. During his early mainstream hip-hop career, Kanye West created the song to honor Donda’s life. The song took on a deeper emotional meaning after Donda died in 2007. Through his live performances of “Hey Mama,” Kanye established the song as a timeless anthem for maternal love.
The classic R&B song “I’ll Always Love My Mama” by The Intruders came out in 1973 as part of their Philly soul music legacy. The song, which songwriter Kenny Gamble wrote about his mother, has become a traditional Mother’s Day song, played at family events and celebrations for many years. The song “I’ll Always Love My Mama” emerged from the Philadelphia soul movement of Gamble and Huff, yet remains a timeless tribute to the unbreakable bond between mother and child.
The song “Mom” is a heartfelt tribute to mothers and appeared on Earth, Wind & Fire’s 1972 album “Last Days and Time.” The early 1970s funk and soul band Earth, Wind & Fire created this track as part of its musical evolution in R&B and funk. Maurice White and Verdine White wrote “Mom” to highlight family appreciation alongside spiritual grounding, which represents fundamental themes in the band’s musical collection.
During her breakthrough era in 2023, Victoria Monét released “On My Mama” as a confident and celebratory track, which earned her a Grammy for R&B music. The contemporary R&B track with West Coast production demonstrates how maternal lessons still shape modern musical narratives about identity, confidence, and womanhood, even though it is not a traditional ballad.
The song “Grandma’s Hands” is a soulful tribute to Bill Withers’ grandmother, which was released in 1971 on his album “Just As I Am.” Through Withers’ personal songwriting approach, the song expands the meaning of “motherhood” by recognizing grandmothers as female matriarchs who often serve as the glue holding family and community bonds together. 
The 1995 album Me Against the World featured Tupac Shakur’s deeply personal tribute to his mother called “Dear Mama.” The West Coast rap scene produced this hip-hop golden era song, which pays tribute to Tupac’s mother, Afeni Shakur. The song “Dear Mama” narrates Tupac’s childhood struggles with poverty and his mother’s fight against addiction while being an activist, and has become one of the most emotionally powerful rap songs in history. The song’s enduring cultural significance has made it a common reference point for motherhood in contemporary musical works.

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Cupid complaining to Venus was acquired by London’s National Gallery in 1963 Courtesy National Gallery, London
A National Gallery masterpiece by Lucas Cranach the Elder once hung in Adolf Hitler’s private apartment in Munich. We are reproducing an early 1940s photograph revealing that the Führer placed Cupid complaining to Venus (1526-27) in his sitting room. This is the first time that the photograph has appeared in an English-language publication. (It was previously published in Germany by Birgit Schwarz, an expert on Nazi-era provenance.).
In 1963, the National Gallery bought the Cranach painting in good faith from E. and A. Silberman Galleries in New York. According to the National Gallery’s recently retired curator Susan Foister, the dealer had provided “a false provenance”.
Abris Silberman, the dealer’s co-founder, had written to the National Gallery that the Cranach had sold at auction in 1909 and then “through inheritance the painting became the possession of the party from whom we obtained this picture”. This was untrue. Silberman had bought the painting from an American former war correspondent who had acquired it in the most bizarre circumstances.
In 1945 Patricia Lochridge, then a 29-year-old journalist writing from Germany for the magazine Woman’s Home Companion, was invited to participate in what was effectively a stunt. For one day in late May or early June, the commander of American forces in Germany’s Berchtesgaden area appointed her burgermeister (mayor). Berchtesgaden, very close to the Austrian border, was where Hitler had established his Alpine redoubt.
On her day in power, Lochridge was taken to a storehouse of recovered art and told by American forces that she could choose a painting to take home. Lochridge selected the Cranach. Her son Jay Hartwell explained to the National Gallery in 2004: “My mother was told she could go into the warehouse and pick out whichever piece she wanted. She then smuggled the painting into the United States.”
In this early 1940s photograph, later published in a 1978 furniture auction catalogue, the Cranach painting is just to the right of the door Auktionskatalog Hermann Historica, Munich
The National Gallery has since 1999 been completely open and transparent about the Cranach’s lack of a proper provenance for the Nazi period (1933-45). A spokesperson tells The Art Newspaper: “We continue to welcome any further information relating to the painting as part of this ongoing and longstanding research.”
The key questions are: Who was the owner of Cupid complaining to Venus in the 1930s before it appeared on Hitler’s wall? And was the painting seized from a Jewish collector or the subject of a “forced” sale?
We can now at least establish which year Hitler probably acquired the work, although its source remains a mystery. Cupid complaining to Venus appears in a slightly blurred early 1940s snapshot of the interior of Hitler’s Munich apartment at 16 Prinzregentenplatz. The photographer is unknown.
The photograph emerged in an unexpected place, published in a furniture auction catalogue, where it was reproduced in order to authenticate a set of shelves that was being sold with a Hitler provenance. This was in Munich’s Hermann Historica auction of 10-11 November 1978. It went unnoticed at the time that the Cranach appeared in the photograph, in the corner of the sitting room.
Schwarz, a specialist who is writing a book on Hitler’s personal art collection, later cleverly spotted the Cranach. She published her detailed findings in German in Kunstchronik (December 2023).
A contemporaneous written reference to the Cranach in Hitler’s apartment appears in a 1937 book by the British journalist and fascist sympathiser George Ward Price. In I Know These Dictators he reported having visited the home of Hitler, who had “recently acquired a Cranach and two Bruegels for his Munich flat”. Price had interviewed Hitler in Munich in March 1936, which suggests that Cupid complaining to Venus may have been acquired in 1935.
Hitler owned an extensive private art collection and by the early 1940s had access to the several thousand works that had been acquired for his projected Führermuseum in Linz. The fact that he chose the Cranach for his sitting room suggests that he felt a particular personal affinity for Cupid complaining to Venus. It was in this room that Hitler often entertained his mistress, Eva Braun.
In 2006, Schwarz discovered an album, at the US Library of Congress, of photographs of individual paintings in Hitler’s collection. The Cranach was included. But the sitting room photograph establishes an even closer link to the Führer, since the picture was hung in his private apartment.
The only certain fact about the earlier provenance of Cupid complaining to Venus is that it had been auctioned in Berlin in 1909, when it was bought by an unidentified dealer. It is possible that it is a Cranach of the same subject that was sold in 1935 by the Chemnitz-based collector Hans Hermann Vogel to a Berlin buyer whose surname is recorded as Allmer, although this painting was recorded as having slightly larger dimensions.
Cupid complaining to Venus could have been acquired by Hitler in 1935 at a fair market price, but by that time it is much more likely that it was seized from a Jewish collector or sold in a “forced” sale. So far, no descendants of the pre-1935 owner have come forward. Sadly, this could mean that an entire family was wiped out in the Holocaust.
The Cranach painting depicts the winged figure of Cupid, who is complaining to Venus, the naked goddess of love, that he has been stung by bees. He holds the honeycomb that he has taken from them.
One wonders whether Hitler—who enjoyed what was probably a stolen masterpiece—noticed the short text the artist had inscribed in the upper-right-hand corner of the painting. (It is now barely visible in reproductions.) Cranach’s text explains that Cupid was stung because he had been “stealing” honey from a beehive.
The extraordinary story of Cupid complaining to Venus began to unravel in 2006, when The Art Newspaper reported Patricia Lochridge’s account of how she had been appointed the mayor of Berchtesgaden for a day in 1945. She had begun her report in Woman’s Home Companion (July 1945) with an explanation: “Suppose you had the job of governing Hitler’s hometown of Berchtesgaden. How would you meet the problems of a wrecked German town? I tried it for a day.” As something of an escapade, the young female journalist had been appointed by lieutenant Robert S. Smith, the head of the military government for the area.
Lochridge then went on to discuss looted art: “As governor, I found I was also responsible for the safety of Göring’s [Hitler’s deputy] $100m worth of stolen art.” She visited the secure store in the nearby village of Unterstein, which held 1,375 paintings, including five Rembrandts, along with works by Van Dyck, Rubens and Canaletto. On being allowed to take one painting, Lochridge chose the Cranach.
After the war, Lochridge worked for Unicef in New York. She married and then used her husband’s surname, Hartwell. Although she may have had her suspicions about the origin of the Cranach, she would never have known that it had once hung in Hitler’s sitting room. In New York, it was in her own sitting room.
In 1962, the Hartwells offered to sell the work to New York’s Metropolitan Museum of Art, but a sale never went ahead. The following year, the painting was sold to London’s National Gallery. Lochridge died in Hawaii in 1998.
We uncover the remarkable story of how a US war reporter governed Hitler’s mountain retreat for a day and took control of Reichsmarschall Göring’s collection of stolen art
The painting was taken from Germany at the end of World War II

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We should be particularly concerned about the trend of Trump and many in his administration bullying around members of the free press when they are asked relevant, substantive, journalistic questions.
Not a single day goes by without President Donald Trump proving throughout the day that, for him, we have greatly lowered the bar for what’s considered acceptable behavior for a commander in chief, or any elected official, for that matter. (Or any well-adjusted adult, for that matter.)
But we should be particularly concerned about the trend of Trump and many in his administration bullying around members of the free press when they are asked relevant, substantive, journalistic questions that simply make things too uncomfortable for politicians who only know how to communicate to the public in platitudes and propaganda.
Also, Trump really, reeeeeally hates Black woman reporters, and ABC News’ Rachel Scott is proof.
On Thursday, Trump staged a visit to the Lincoln Memorial to show off his new paint job on the Reflecting Pool. Scott asked the president a simple question that, under the same circumstances, any other president would be asked and expected to answer with some modicum of presidential decorum.
“Mr. President, you are here against the backdrop of the war in a Iran. Why focus on all these projects right now, especially with gas prices soaring?” she asked.
Trump, as usual, did not respond with a modicum of presidential decorum.
“You know why? Because I wanna keep our country beautiful and safe. Beautiful also. This place was a disgusting place. It was, Washington Monument, the Lincoln Memorial, and we had a terrible, disgusting … you probably don’t see dirt. But I do. And you walked down this pond. If you would’ve walked down, they’ll tell you better than anybody. They had to take 11 or 12 truckloads of garbage out of that lake, out of that water. And it sat there for years like that. And that’s not what our country’s about. Our country’s about beauty, cleanliness, safety, great people. Not a filthy capital,” Trump began, sounding like a bratty, indignant child who just got told his sand castle was uneven on one side. (Also, I can’t be the only one who wishes someone would beat him over the head with a thesaurus until he comes up with another word besides “beautiful.”)
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Then Trump retreated into his usual display of delusion and defensiveness by lobbing personal attacks at Scott.
“Such a stupid question that you asked. We’re fixing up the reflecting pond to the Lincoln Memorial, the Washington Monument. And you say, ‘Why are you fixing anything up?’ Because you can understand dirt, maybe better than I can. But I don’t allow it,” he continued, ignoring what Scott had actually asked him, which was not why he was cleaning the pool, but why he was making such a big presentation out of it when he should be focused on the pointless, disastrous war he started, and the tanking economy, which, along with the war and his poorly-handled mass deportation efforts, has given him the lowest approval ratings in the history of presidential approval ratings.
“This is one of the worst reporters. She’s with ABC fake news and she’s a horror show. She’s saying, ‘Why would you bother fixing this up? Why would I bother taking 11 or 12 truckloads of filth out of the water in front of the Lincoln monument?’ That’s what made our country great. Beauty made our country. People made our country great. A question like that is a disgrace to our country,” Trump concluded, before appearing to call Scott a “b—h” as he walked away. At least that’s what it looked like to many people who viewed the footage on social media.
The fact of the matter is Trump’s war in Iran and the economic woes that have come with it have dominated the news cycle and the concerns of most U.S. citizens, who are viewing the horrors daily from the outside looking in. Trump literally posts about Iran every hour on the hour, and that’s probably being generous. What’s been more frustrating for many people is that, while all of this is going on, Trump is constantly rambling on about his stupid-ass bunker-ballroom, the damn pool at the Lincoln Memorial that no one has ever asked him about, and whatever mundane side mission pops into his head while he continues to make the so-called greatest nation in the world a global laughing stock.
So, why wouldn’t a journalist address the elephant in the room, rather than appease our petulant child of a president, which is not the job of the press?
Mind you, Trump did this to Scott before when he was still running for his second term in 2024, and he did it when Black journalists were on their home court, at the National Association of Black Journalists (NABJ).
From our previous report:
When Rachel Scott, the senior congressional correspondent for ABC—and, in all honesty, the only one of the event’s three panelists who seemed to have the gumption to address the orangey-white nationalist elephant in the room—asked Trump about his racism and his insults to the media, specifically Black media, he lashed out at her as if he was dumbfounded that he was invited to a Black event to answer questions that are relevant to Black people.
“You attack Black journalists, calling them ‘a loser,’ saying the questions that they asked are, quote, ‘stupid and racist,’” Scott said to Trump. “You’ve had dinner with a white supremacist at your Mar-a-Lago resort. So my question, sir, now that you are asking Black supporters to vote for you, why should Black voters trust you, after you have used language like that?”
Scott could have gone much further than she did with her opening question to Trump, but it wouldn’t have mattered, because Trump’s response would have been the same angry, whiny, hyper-white-privileged and childish non-response.
Here’s Trump’s out-of-the-gate response:
“First of all, I don’t think I’ve ever been asked a question in such a horrible manner, a first question. You don’t even say ‘Hello, how are you.’ Are you with ABC, because I think they’re a fake news network, a terrible network,” Trump said, also whining that Scott’s perfectly reasonable and relevant question was “nasty.”
First of all, Trump is, per usual, lying. He’s lying about never before being asked such a question in what he considers a “horrible manner.” Of course, he’s been asked before about his constant personal insults to his detractors and his rude, offensive and bigoted behavior. It’s his responses to those questions that are always the same, and they always end with him throwing a fit, especially when it’s Black journalists who persecute him by, well—asking him questions he doesn’t want to answer but should certainly be able to if he wants our votes.
And nothing has changed since he managed to get himself reelected. In fact, it has only gotten worse. Now, he’s calling female reporters “piggy,” berating them for any question that denotes anti-Trump criticism, and his Cabinet members and press secretary have also made a habit of doing the same, telling reporters they’re asking stupid questions, when, actually, they’re asking relevant, topical, and practical journalistic questions that any elected or appointed official should be ready to answer.
Trump doesn’t appear to have learned anything from his recent humiliation that came as a result of his throwing a temper tantrum that had him screaming “I’m not a pedophile” and “I’m not a rapist” at 60 Minutes host Norah O’Donnell, who had only read part of a suspected gunman’s manifesto, which didn’t even address the president by name.
Again, these reporters are not tripping Trump up with “gotcha” questions; they’re asking questions anyone who calls themselves journalists, and respects the craft of journalism, should ask — or at least that used to be the expectation before we lowered the standard to accommodate the moronic, outwardly bigoted, woefully incompetent man-child we put back in the White House.
It is a sad state of affairs, to say the least.
SEE ALSO:
Trump, Angry Over Aging Report, Berates Female Journalist

Black Journalists And Black Freedom Go Hand-In-Hand

Donald Trump Disrespects Another Black Female Journalist

Trump Attacks Black Woman Reporter Rachel Scott For Asking Him What We All Want To Know was originally published on newsone.com

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The WNBA sneaker culture is significant and growing. Here are all the signature shoes in the league’s history.
WNBA sneaker culture has always been there, but now the rest of the world is finally catching up. For years, fans knew the league had hoopers with real style, real personality and real influence, but the sneaker industry did not always move as if it knew that. Player Exclusives were popping up on court, athletes were making tunnel fits part of their personal brands, and sneaker pages were starting to zoom in on what players were wearing on their feet. The issue was simple: a lot of the shoes fans wanted were impossible to buy.
That gap is starting to close. As Andscape recently pointed out, Player Exclusives have become more common across the WNBA, with players using sneakers to tell personal stories, honor culture, celebrate milestones and show off identity. But most of these PEs still never reach retail, even when screenshots go viral and fans immediately start asking where they can cop. That is why signature shoes matter so much. They’re not just sneakers; they are proof that brands see these women as market movers, not just athletes wearing someone else’s product.
The timing also could not be better. The WNBA is entering a new era where stars arrive with built-in audiences from college, social media can turn one on-court sneaker moment into a full conversation, and brands are being forced to admit that women’s basketball is no longer a niche. Sabrina Ionescu’s line has crossed over into the NBA, A’ja Wilson’s Nike run became one of the biggest sneaker stories in women’s hoops, Angel Reese helped bring Reebok Basketball back into the conversation, and Caitlin Clark’s expected Nike signature is already being treated like a major release before it even hits shelves.
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The bigger picture is this: the WNBA sneaker wave is no longer just about visibility. It is about access, storytelling and investment. Fans do not just want to see the shoes on TV; they want to wear them, collect them and feel connected to the players who are changing the culture. With more signature lines active now than the league has seen in years, this feels like the start of something that should have been normal a long time ago.
Sheryl Swoopes is the blueprint. Before the WNBA even tipped off, Swoopes became the first woman in sports history to get a signature basketball sneaker with the Nike Air Swoopes in 1995. Her line eventually stretched across seven silhouettes from 1995 to 2002, making her the WNBA signature sneaker GOAT in terms of volume. Nike also brought back the Air Swoopes II in 2018, making Swoopes the first woman to have a signature shoe retroed.
Rebecca Lobo was one of the original faces of the WNBA, and Reebok made sure she had her own sneaker when the league launched. “The Lobo” debuted around the WNBA’s inaugural 1997 season, with Andscape noting that Lobo remembered seeing the shoe displayed at Lady Foot Locker in New York. Reebok later followed with the Lobo II, making her one of the earliest women’s basketball players to get the full signature treatment.
Lisa Leslie’s Nike Total Air 9 dropped in 1998 and brought a different kind of flavor to WNBA sneaker culture. Leslie wanted the shoe to feel elevated, even saying she patterned part of it after Chanel, which explains the quilted black leather look. It was also expensive for the era at $140, but that spoke to Leslie’s star power as one of the most dominant and marketable players in league history.
Before she became one of the greatest coaches in basketball, Dawn Staley was already a sneakerhead with her own Nike line. The Zoom S5 debuted during her WNBA career and reflected her Philly-rooted love for shoes that looked good but still performed. The model featured a glove-like fit, support straps and Zoom Air cushioning, and Staley has proudly called it one of the flyest women’s basketball shoes ever.
Cynthia Cooper played her way into a signature sneaker. After leading the Houston Comets dynasty and stacking MVPs and Finals MVPs, Cooper released the Nike Air C14 in 1999. The shoes carried extra emotional weight for her because they came during a season when she lost her mother and teammate Kim Perrot, making it one of the more personal signature stories in WNBA history.
Nikki McCray’s FIla Nikki Delta gave the Washington Mystics’ first franchise player her own moment. Fila reportedly offered McCray a $1 million deal and guaranteed her a signature shoe, making her the only WNBA player to receive a signature sneaker from Fila. The shoes included personal touches like flames for her speed, her No. 15 on the bottom and colorways tied to Team USA and the Mystics.
Chamique Holdsclaw entered the WNBA with massive expectations, and Nike treated her like the next star up. Her Shox BB4 Mique released in 2001 after her Rookie of the Year season, with the follow-up Shox Mique II arriving the next year. The shoe had her “H” logo on the tongue, rocket-inspired design details, and a $150 price tag, which Andscape noted made it the most expensive women’s signature shoe at the time.
Diana Taurasi got her own Nike signature early in her pro career, with the Air Max Taurasi arriving in 2005 and the Shox DT following in 2006. The Air Max Taurasi featured her “DT3” logo and “Taurasi” text, while the Shox DT carried her name on the insole. Taurasi’s line was also significant because she was the last WNBA player to have a Nike signature for years before the newer wave arrived.
Candace Parker helped bring the signature conversation back in the 2010s. After signing with Adidas in 2008, she launched the Ace Commander in 2010 and followed with the Ace Versatility. The “Ace” name came from the end of her first name, and the line included personal details like her No. 3 logo and design elements tied to her personality, her daughter and her Tennessee roots.
Breanna Stewart restarted the modern WNBA signature shoe wave. When she signed with Puma in 2021, her deal included a guaranteed signature shoe, and the Stewie 1 arrived in 2022 as the first WNBA signature shoes in more than a decade. Since then, Puma has built the line out through the Stewie 5, with Andscape noting Wilson is one of the current signature headliners and that Stewart has five models with Puma.
Elena Delle Donne’s Nike Air Deldon arrived in 2022 with a purpose bigger than basketball. The shoe used Nike’s FlyEase technology, which was inspired by Delle Donne’s desire to create something stylish and functional for people like her sister Lizzie, who has disabilities. Delle Donne became the 11th player in WNBA history to get her own signature shoe, and the Air Deldon remains one of the most meaningful signature sneakers in the league’s history.
Sabrina Ionescu’s Nike line has become one of the most important modern basketball signature lines, period. The Sabrina 1 launched in 2023 and quickly crossed over with NBA players, college hoopers, and everyday hoopers. Nike has since introduced the Sabrina 4, set for a summer 2026 release, with Andscape noting the line has become one of the most-worn across both the WNBA and NBA.
A’ja Wilson’s signature line was overdue, but once Nike finally launched it, the impact was immediate. The Nike A’One debuted in 2025 and was built around Wilson’s story, including pearl-inspired details tied to her grandmother. Then Nike unveiled the A’Two in 2026, with the shoe set to release globally May 2 in full-family sizing. Andscape also reported that Wilson’s A’One ranked No. 2 among best-selling new models on StockX, showing her signature line is not just symbolic — it is moving product.
Angel Reese’s Reebok Angel Reese 1 made her one of the fastest WNBA players in two decades to receive a signature shoe. The sneaker officially hit retail on Sept. 18, 2025, for $120 and launched in three colorways: “Receipts Ready,” “Mebounds,” and “Diamond Dust.” The shoe sold out on Reebok’s website within hours across all 24 sizes and all three launch colorways, which is exactly the kind of proof brands claim they need when deciding whether women’s basketball can sell.
Jacy Sheldon is one of the names people may not immediately think of, but she absolutely belongs on this list. HOLO Footwear gave Sheldon a signature shoe and equity in the company, and the JS:01 officially released around WNBA All-Star weekend in 2025. HOLO said the “Bubblegum” colorway sold out within 24 hours online at Dick’s Sporting Goods, and the brand committed to adding more colorways afterward.
Caitlin Clark’s Nike signature shoe is the big upcoming piece of the puzzle. It has been reported as the Nike Caitlin 1, with sneaker outlets saying it is expected to release in 2026, though Nike has not fully rolled out official product details the way it has for A’ja or Sabrina’s shoes. Until Nike formally confirms everything, we’ll wait for one of the most anticipated WNBA sneaker releases ever.
RELATED: Don’t Miss Out: Air Jordan Release Dates 2026 Calendar
WNBA Sneaker Culture Is On The Rise: Here Are All The Signature Shoes was originally published on cassiuslife.com
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The president has a long history of going back and forth with Black women journalists, from Yamiche Alcindor to April Ryan, Jasmine Wright and others.
During both of President Donald Trump’s presidencies, he has often sparred with Black women journalists. From Yamiche Alcindor to April Ryan, Jemele Hill, and Abby Phillip, Trump has, on several occasions, referred to them as “second-rate” or “losers” for merely asking pertinent questions about his own actions.
Alcindor and Ryan were frequent Trump targets from 2017 through 2021 and Hill, after calling him a “white supremacist” on Twitter in 2017, drew Trump’s ire as he went after her then employer, ESPN.
“With Jemele Hill at the mike, it is no wonder ESPN ratings have ‘tanked,’ in fact, tanked so badly it is the talk of the industry!” he wrote on Twitter at the time.
The clashes with Black journalists continued Thursday when Trump, during a gathering outside the Lincoln Memorial, took a question from ABC News’ Rachel Scott. Scott, who has been the subject of a previous Trump tirade, asked why his focus was on projects such as cleaning up the reflection pond near the monument while the country was still involved in a war in Iran. Although some on social media believed Trump referred to Scott as a “bitch” for her comment, his actual remarks added to a well-known pattern.
“You can understand dirt maybe better than I can, but I don’t allow it,” Trump said. “This is one of the worst reporters. She’s with ABC Fake News, and she’s a horror show. A question like that is a disgrace to our country.”
Reporter: Why focus on all these projects as gas prices are soaring?

Trump: Such a stupid question. You can understand dirt better than I can baby but I don’t allow it. pic.twitter.com/uqzR1uqSoI
Trump’s actions led to a swift rebuke by the National Association of Black Journalists, which issued a statement on Monday condemning his remarks and demanding that Black women journalists be given respect.
“The National Association of Black Journalists (NABJ) is calling for an immediate end to the continued tone of disrespect, hostility and public denigration directed at Black women journalists who are doing their jobs,” the statement began. “The latest incident involving ABC News Senior Congressional Correspondent Rachel Scott is part of a larger and deeply troubling pattern: Black women journalists are too often singled out, insulted or demeaned for asking legitimate questions, reporting facts and holding power to account.”
The statement added, “The president’s reference to “dirt” while insulting a Black woman journalist was especially disturbing. Whatever his intent, the remark landed as part of a familiar pattern in which Black women journalists are demeaned personally rather than answered substantively.”
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NABJ released a similar statement in defense of Alcindor and other Black women journalists last September when Trump berated the longtime journalist for asking about a Truth Social post regarding the deployment of the Department of War to Chicago amid calls for the national guard to be deployed in majority Black, Democrat-led cities. This time, the organization specified journalists who’ve been attacked by Trump in recent years, including Alcindor, Ryan and Jasmine Wright.
“NABJ will always defend the ability of Black journalists to do their jobs fully, freely and safely,” NABJ President Errin Haines wrote on Monday. “When Black women journalists are targeted, insulted or demeaned for asking legitimate questions, it is not only an attack on them personally – it is an attack on the role of a free press in our democracy. We will not allow our members or our profession to be diminished for doing the work the public depends on.”
Previously, Trump railed against Scott during his controversial appearance at the 2024 NABJ conference in Chicago. When Scott asked him about his prior attacks on Black journalists, Trump referred to her as “nasty” and “hostile.”
“I don’t think I’ve ever been asked a question in such a horrible manner. First question, you don’t even say, ‘Hello, how are you?’ Are you with ABC? Because I think they’re a fake news network, a terrible network. I think it’s disgraceful that I came here in good spirit,” Trump said in response to the question about his actions toward Black journalists.

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Roth channeled Renaissance painter Irene di Spilimbergo in his performance during the Biennale preview week
Courtesy the artist and Lucien Pagès
There is a plethora of events around the Venice Biennale but some stand out more than others. One talking point was a performance held 7 May at Palazzo dei Fiori, a Renaissance Venetian palazzo, devised by Jordan Roth, the US multi-disciplinary artist who wowed crowds earlier this week at the Met Gala in New York with a “living sculpture” look. Presented in collaboration with Performance Space New York’s Visionaries Circle patrons group, the work staged in Venice was attended by art world luminaries such as Scott Rothkopf, the director of the Whitney Museum of American Art in New York, and the London-based dealer Kristin Hjellegjerde. Guests were unsure what to expect as they filed into the grandest of halls. But Roth left the onlookers speechless and silent as he tore apart vinyl prints of the 16th-century polymath Irene di Spilimbergo affixed to a glass pane in a custom gilt frame, elegantly repositioning and refashioning the fragments into compelling collages accompanied by classical music. “Bound within the frame, Roth and the paintings are fused together, muse and artist becoming one,” says a pithy project statement.
A chocolate gladiator features in Valletta-based artist Charlie Cauchi’s film and accompanying installation in the Arsenale
Derrick Adams’ piece features “beams of gold signifying the brilliance and reach” of the curator’s influence
The new mother may have upstaged some of the artwork on show
The artist’s contribution to In Minor Keys includes a decked out truck driven from London to Venice

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EXCLUSIVE: On Mother’s Day, Talarico released a comprehensive policy strategy to support pregnant and postpartum women, as Black women are three times more likely to die from childbirth-related causes.
James Talarico, the Democratic nominee for U.S. Senate in Texas, unveiled on Sunday a plan to tackle maternal mortality, theGrio reports exclusively, emphasizing the outsized crisis it is having on Black women.
On Mother’s Day, Talarico released a comprehensive policy strategy to support pregnant and postpartum women, including nationwide paid maternity leave legislation, improved data collection, and investment in maternal health research.
“I’m proud to announce our comprehensive plan to tackle the maternal mortality crisis — an issue that has disproportionately impacted Black women in Texas and across the country for far too long,” said Talarico, a Texas State Representative, who is hoping to flip the U.S. Senate seat in Texas for Democrats for the first time in more than 30 years.
The maternal mortality rate in the United States is the highest among wealthy nations, with Black women being three times more likely to die from childbirth or postpartum complications. According to the Centers for Disease Control and Prevention (CDC), while the maternal mortality rate has decreased for white, Hispanic, and Asian women in recent years, it has increased for Black women.
The Black maternal health crisis has gained increased attention in recent years as a result of high-profile cases of Black women who have died during or after childbirth in states where reproductive access is limited as a result of anti-abortion laws following the 2022 U.S. Supreme Court case, Dobbs v. Jackson, which reversed 50 years of reproductive health access under Roe v. Wade.
To address the maternal health crisis and the clear disparities impacting Black women, Talarico proposes guaranteeing all new mothers time off through nationwide paid maternity legislation. His plan would also improve data collection, provider training, and investment in maternal health research, ensuring that maternal mortality review committees (MMRCs) in every state can better understand the maternal mortality crisis. The Democrat says he also wants doctors to have the necessary skills to treat the most affected patients, and for policymakers to make decisions that properly represent Black and brown communities.
Talarico’s plan is supported by Texas State Rep. Toni Rose, who successfully passed bipartisan legislation, HB12, that extended Medicaid and CHIP postpartum coverage.
“The maternal mortality crisis in Texas and across our nation is unacceptable, and Black women are bearing the heaviest burden,” said Rose. “I fought to pass House Bill 12 to expand care for new mothers because no woman should die bringing life into the world.”
She said of Talarico: “Representative Talarico understands what’s at stake, and his plan shows he’s ready to take this fight to Washington. We need a champion in the U.S. Senate, and I’m proud to stand with him.”
Talarico, who said he was “honored” to follow in Rose’s footsteps, said he plans to “build on her trailblazing work in the U.S. Senate,” if elected on Nov. 3.
The Democratic Senate nominee’s plan also includes extending Medicare to Americans of all ages and restoring tax credits under the Affordable Care Act, or Obamacare. The plan would mandate that states extend Medicaid coverage for pregnant and postpartum women up to 12 months, and expand federal grant programs to educate pregnant and postpartum women about healthcare options and connect them to resources.
The comprehensive maternal mortality proposal also seeks to end maternal care deserts by requiring insurance coverage for doula and midwife services, expanding access to telemedicine, and funding workforce development programs that recruit and retain maternal care providers, including those from underserved communities.
Talarico wants to also extend eligibility for the WIC program and expand the Healthy Start Program to support families with home visits, care coordination, parenting education, and other services before, during, and after pregnancy.
Talarico’s emphasis on addressing the Black maternal health crisis comes as he is working to gain the support of more Black voters in Texas, which has the highest number of Black Americans of any state in the country. High turnout among Black voters is critical for a Democrat to win in Texas, a state that has long been Republican-dominated.
In the March primary election, Talarico defeated U.S. Rep. Jasmine Crockett, a popular Democrat who had strong support from Black voters. Now, Talarico is hoping to bring those voters into his coalition of supporters.
In a statement to theGrio, Talarico said, “In the Texas Legislature, I led the fight against racist redistricting maps and private school voucher scams rooted in school segregation. I secured major criminal justice reforms, banned reality TV policing, and passed legislation to lower the cost of childcare, housing, and prescription drugs.”
However, the Texas lawmaker said, “There’s so much more work to do,” adding, “For far too long, Black communities have been overlooked, undervalued, and taken for granted by both parties in this broken, corrupt political system. That’s why we’re centering issues like maternal health in this campaign.”

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May 10, 2026
The actress, author, Real Housewives star, and former fashion model reflects on the moments that shaped her in an intimate new Audible Original
Garcelle Beauvais has spent decades in the public eye: on runways, on sets, on red carpets, and on Real Housewives—one of the most-watched reality franchises in television history. Now she’s spilling the tea about her journey and how she learned to stand firm, find her power in authenticity, and walk away on her own terms.
Her latest work, written and narrated by Beauvais, allows listeners unprecedented intimacy as she shares behind-the-scenes moments, personal revelations, and hard-won wisdom about relationships, identity, and what it means to refuse to shrink yourself for anyone. Protecting My Peace…At ALL Costs arrived exclusively on Audible this week.
“This is a story about knowing when your spirit says no more, and having the courage to honor that truth,” said Beauvais in a statement. “Learning to protect my peace, set boundaries without apology, and finally walk in the power that I have always carried isn’t selfish. It’s survival.”
“I wanted to share what I’ve learned about walking into rooms as my full self and refusing to leave any part of who I am at the door,” she continued. “Sometimes the most radical thing you can do is simply choose you.”
From growing up in Haiti to making it in Hollywood, raising three boys, navigating two failed marriages, and her groundbreaking run on The Real Housewives of Beverly Hills, Beauvais reflects on the experiences that shaped her life and shares the lessons they taught her in intuition, discernment, love, and faith.
In just-released clips from the audio book, she opens up about how news of her husband’s infidelity affected her career when it leaked to the press:
“My whole world exploded… The fallout didn’t stay inside my house. It followed me into audition rooms, on sets, through industry events where everyone knew my name—and my business.”
She also takes us behind the scenes of how Real Housewives of Beverly Hills affected her mental health, leading to her now infamous reunion show walk-off:
“When I realized I was crying more than I was excited to go to work, I knew something had to give. The executives were worried about me. They had never seen me that broken up. They recommended I talk to the show’s therapist. And he said something that stopped me cold, ‘It sounds like the negative is catching up to the positive.’”
RELATED CONTENT: Garcelle Beauvais Becomes 1st Black Cast Member of Real Housewives of Beverly Hills

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Photo by Lianhao Qu on Unsplash
This year’s May auctions in New York are shaping up to be a major moment for the art trade, with works cumulatively estimated at to bring between $1.8bn and $2.6bn coming up for sale at Christie’s, Sotheby’s, Phillips and Bonhams. The auction houses will be looking to build on the momentum of last November’s sales, whose results were widely seen as signs of recovery after a three-year slump—and the optimism in the field is palpable.
At Sotheby’s alone, the sales’ low pre-sale estimate of $690.4m is 70% higher than the total hammer figure from the May 2025 season, and on the high end, the auction house could bring in as much as $942.5m. And Christie’s is aiming even higher, with an expected total between $1b and $1.5b.
The two rival houses split two of the most-anticipated estates of the season, from two legendary dealers, with Christie’s landing the collection of Marian Goodman and Sotheby’s offering Robert Mnuchin’s holdings.
Gerhard Richter, Kerze (Candle), 1982 (est $35m-$50m) Courtesy Christie’s Images Ltd.
The expected top lot from Goodman’s collection, hitting the auction block at Rockefeller Center on 20 May, is Gerhard Richter’s Kerze (Candle), which is part of his unexpected turn from celebrated abstractions to still-life painting in the 1980s. The dealer purchased the 1982 painting before she began representing Richter in 1985 and found it so inspirational she sent him a cold letter suggesting they work together—a partnership that would go on to last 40 years. Christie’s has given the canvas an estimate of $35m to $50m.
Sotheby’s has placed a $130m total estimate on its Mnuchin lots, which are the subject of a dedicated evening sale at the Breuer Building on 14 May. The group is led by a $70m to $100m Mark Rothko painting titled Brown and Blacks in Reds (1957). Joseph E. Seagram & Sons, Inc acquired it the year Rothko painted it and it is believed to have shaped the direction of Rothko’s famed Seagram Mural commission for New York’s Four Seasons restaurant the following year.
Mark Rothko, Brown and Blacks in Reds, 1957 (est $70m-$100m) Courtesy Sotheby’s
“So many of the best American collectors bought all their works from or with the advice of Bob Mnuchin,” Lucius Elliott, Sotheby’s head of contemporary art marquee sales in New York, tells The Art Newspaper. “And the ultimate endorsement is that these are the works he held back.”
Another important estate on offer at Sotheby’s this month is that of the Italian Surrealist Enrico Donati and his wife, Adele Donati. Among the 45 lots from his holdings is Pablo Picasso’s 1909 painting Arlequin (Buste), which will be included in the multiple-owner evening sale of Modern art on 19 May. It is a rare chance to snap up one of his major Cubist works, and could fetch up to $40m (though when it came to market 18 years ago, it failed to sell).
Constantin Brâncuși, Danaïde, around 1913 (est on request, in the region of $100m) Courtesy Christie’s Images, Ltd.
Christie’s is bringing to auction additional holdings from the late Condé Nast chairman S.I. Newhouse, who died back in 2017. The 16 lots from his collection will be featured in a dedicated sale on 18 May immediately preceding the firm’s multi-owner evening auction of 20th-century art. The group is estimated to collectively bring in as much as $450m and is led by a pair of $100m works: the drip painting Number 7A (1948) by Jackson Pollock, and Danaïde (around 1913), a bronze and gold leaf sculpture of a stylised head by Constantin Brancusi. (When Newhouse bought it, in 2002, it set a world record for a sculpture at auction of $18.1m.)
In its evening sale of 20th-century art on 18 May, Christie’s will also offer a trio of works that belonged to the late arts patron Agnes Gund, by Mark Rothko, Cy Twombly, and Joseph Cornell, which could together bring in $123m. And from the collection of the late philanthropist Marilyn Arison, an impressive selection of Impressionist works will likely be led by Edouard Manet’s floral still life Pivoines dans une Bouteille (1864). It is the last in a series of six by the artist in private hands, and it is estimated at $7m to $10m.
Jean-Michel Basquiat, Museum Security (Broadway Meltdown), 1983 (est in excess of $45m) Courtesy Sotheby’s
Sotheby’s, meanwhile, is expecting major results from works by Jean-Michel Basquiat and Willem de Kooning during it’s the Now & Contemporary evening sale on 14 May. Basquiat’s Museum Security (Broadway Meltdown) is expected to bring $45m and and De Kooning’s Untitled III is estimated at $25m to $35m. There is also the potential for a new record for a Vincent van Gogh work on paper, when the auction house offers an impressively large and chromatic watercolour, La Moisson en Provence (1888), estimated at $25m to $35m, during its evening sale of Modern art on 19 May. (A work from the same series achieved $35.8m, the current auction record for his works on paper, at Christie’s in 2021.)
And from the collection of the German Swiss socialite and playboy Gunter Sachs, Sotheby’s will offer Andy Warhol’s 1974 portrait of Sachs’s wife, the titular Brigitte Bardot. Based on a Richard Avedon photograph, it is estimated at $14m to $18m. (A different version of this work sold in a live single-lot auction conducted by Loïc Gouzer’s Fair Warning platform for $16.7m last November.)
Andy Warhol, 4 Colored Marilyns (Reversal Series), 1979-86 (est $4m-$6m) Courtesy Phillips
Collectors will also get a chance to bring home some of Warhol’s women at Phillips on 19 May, where the 1964 silkscreen Sixteen Jackies leads the evening sale with a $15m to $20m estimate. And Jacqueline Kennedy is joined there by Warhol’s 4 Colored Marilyns (Reversal Series), depicting Marilyn Monroe in blue and green on a black background. The work, which has never come to auction before, could make $4m to $6m.
Other highlights at Phillips include a rich collection of Danish art amassed by the late US ambassador John L. Loeb Jr, and a singular work on canvas by Lee Bontecou that has not been on public view in two decades. The untitled piece, depicting a fragmented wave-like form, could bring in between $1.2m and $1.8m.
Lee Bontecou, Untitled, 1985-2001 (est $1.2m-$1.8m) Courtesy Phillips
“While she is rightly celebrated for her revolutionary steel relief sculptures, this expansive work occupies a category entirely its own. There is nothing else quite like it in her entire body of work,” Robert Manley, Phillips’s chairman of Modern and contemporary art, said in a statement, calling it “a rare opportunity for our collecting community to encounter Bontecou at her most ambitious and visionary”.
And as prices for longer-overlooked mid-century women abstract artists continue to tick up, it is worth keeping an eye on the result at Phillips for Fortune, a colourful 1960 work by the second-generation New York School painter Pat Passlof. The estimate is between $300,000 and $500,000, but her work has already achieved a new secondary-market record this year, with a $537,600 result (including fees) at Sotheby’s New York in February. In total, Phillips is expecting to bring in between $108.7m and $157m from its New York sales this month.
Yoshitomo Nara, …Words Mean Nothing at All, 2012 (est $4m-$6m) Courtesy Bonhams
Rounding out the May auctions is Bonhams, which is expecting a comparatively modest $30m in sales as it inaugurates its new flagship at 111 West 57th Street. The predicted top lot of its 20 May evening sale is a monumental Yoshitomo Nara painting, …Words Mean Nothing at All (2012), with an estimate of $4m to $6m.
The auction house is also bringing 21 mostly never-before-seen Pierre-Auguste Renoir works to the block. The great French Impressionist personally gifted the works to his longtime model and family nanny Gabrielle Renard, and they have remained in her family ever since. The most anticipated painting of the group, the 1887 floral still life titled Fleurs, is estimated at $500,000 to $700,000.
The most valuable lot of the week is a record-breaking Magritte with a third-party guarantee, but the most talked-about is a conceptual still life by Maurizio Cattelan
Estimates are up by more than 40% over last year’s November sales, driven in large part by Sotheby’s consignments
Overall sales were down by around 30% but beyond the disappointing headline figures, women and minority artists shone
Demand for ultra contemporary works may have eased but there is little sign of a sales slump, say the New York firms

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