Ik was negen jaar oud toen ik voor het eerst True Jackson, VP op televisie zag. En ik was met stomheid geslagen. Voor het eerst zag ik een hoofdpersonage dat eruitzag als mijn zus, mijn nicht, mijn familie. Iemand waarin ik mezelf herkende. Die iemand was Keke Palmer. Meestal speelden zwarte mensen in kinderseries de bijrollen: de beste vriend, de sassy sidekick. Maar nooit degene om wie alles draaide, degene met echte diepgang. Dat moment veranderde alles voor mij. Voor het eerst voelde ik me écht gezien. Sindsdien is Keke Palmer een bron van inspiratie, niet alleen voor mij, maar voor zovelen die zich jarenlang niet vertegenwoordigd voelden op het scherm.

Dat ene moment leerde me hoe belangrijk het is om mensen voor de buis een medialandschap te bieden die weerspiegelt hoe onze samenleving eruit ziet. Het is de reden dat ik me inzet voor diversiteit en besloot bij ZWART te werken om anderen datzelfde gevoel te geven. Om kinderen dat moment te laten ervaren waarop ze zichzelf eindelijk weerspiegeld zien in de media die ze consumeren. Mijn passie voor representatie begon met Keke Palmer, en dezelfde soort impact die zij op mij had, is wat wij met ZWART willen doorgeven aan de volgende generatie.

Daarom voelt dit interview als een eer en een full circle moment. Ik kreeg de kans om Keke Palmer te spreken over haar nieuwe film One of Them Days, waarin ze niet alleen de hoofdrol speelt, maar ook als executive producer betrokken is. We bespreken o.a. de maatschappelijke thema’s die de film aansnijdt, haar samenwerking met SZA en haar advies voor jonge creatieve makers die hun eigen pad willen bewandelen.

G: With One of Them Days, you’re returning to comedy. That’s just one of the many genres you’ve tackled alongside horror, sci-fi, drama, and animation. What is it about comedy that feels unique to you and sets it apart from the others?

K: Comedy, for me, is like a secret tool: it allows you to touch on important topics in a way that doesn’t feel overwhelming. It’s almost like caffeine without the crash; you get to the moment without it feeling too heavy. That’s why I love it so much. As an artist, you’re constantly responding to society and culture, figuring out how to express what you’re taking in. For me, that expression has often come through comedy

G: What would you say is the most challenging part about doing comedy?

K: I don’t know if I’d call it challenging, but there’s definitely a delicate balance in comedy. Honesty is always needed in comedy: it’s not just about trying to be funny, but about highlighting the absurdity of what’s happening in that moment in a unique way. It’s not always about a punchline. The most enjoyable part of comedy is the intricate dance of finding where the real humor lies in a heavy situation and discovering the simple, universal truths within it.

G: You and SZA have incredible on-screen chemistry. Since this was her first major acting role, how did you both support each other during the process to elevate your performances?

K: For me, it’s about being present. I’m all about words of affirmation, and acts of service. I’ve got your back. If you nailed it, great, but if you want to do it again, let’s do it again. It’s really about being a supportive collaborator, staying open, and embracing the ‘yes, and’ mindset.

G: Since you just said you’re a supportive collaborator, I was wondering, would you be open to collaborate more with SZA in the future?

K: I would! SZA is extraordinarily talented in all ways, so I would love to do more acting with her and I’m also open to music too.

G: Something that I find so beautiful about Dreux and Alyssa’s friendship is that they truly want the other to see their true potential. Alyssa usually encourages Dreux to see her worth, whether it’s about her job or love life. But at one point, Dreux flips the script, urging Alyssa to recognize her own value when it comes to her art. How do you navigate moments when you’re struggling to recognize your own value, either in your career or personal life?

K: That’s a great question! I think it’s important to have practices that help you reengage with yourself. Life throws so much at us, outside noise, validation, expectations, and it’s easy to lose sight of what truly matters to you. I talk a lot about this in my book Master of Me, where I share the practices I’ve learned over the years to stay connected to my true desires, build self-esteem, and create healthy boundaries. For me, that includes journaling, working out, yoga, meditating, and spending time alone. I really value solo time, whether it’s taking myself to dinner, going to the movies, or just doing things independently. It’s more necessary than we realize. Of course, there are many different practices out there, and it’s about finding what works best for you. But at the core of it all, it’s about making sure you’re showing up for yourself first.

G: One of things I took from this movie is that sometimes you really need a village to get something done. You can’t do everything on your own, like the moment where all of the residents in The Jungles help out with Alyssa’s art sale. That empowering sense of community, how important would you say that is and how does it pertain in your own life?

K: I think it's very important. I'm nothing without my village, and I believe that's something we should all get back to. Individual time and autonomy are valuable, and having personal goals is important, but you can’t truly get anywhere in life completely alone. Personal growth is great, but real growth comes from having a community and meaningful connections with people who matter to you and to whom you matter. Your village doesn’t have to be blood relatives. It could be your neighbors, your school, your friends, whoever you consider your community. What truly matters is having people you can call on, who will show up for you in times of need. That support system is everything.

G: I really want to know your opinion on the following topic. When a film’s cast is predominantly from one race, ethnicity, or gender, the idea of a ‘target audience’ often comes up, sometimes making people feel like the movie isn’t for them—like we’ve seen with terms like ‘chick flicks’ or ‘Black films.’ What is your opinion on this phenomenon and with One of Them Days now going wide, how do you think its themes and story can resonate on a global scale?

K: I don’t know if this is a hot take, but I personally think people want to see something different in movies. The idea that certain marginalized groups don’t sell in theaters isn’t true. People want to see different worlds reflected. That’s why we watch different TV shows, listen to different music, and even why we had MySpace. We want to see someone else’s space! I’ve had just as many, if not more, non-Black people compliment me on One of Them Days as I’ve had Black people. You don’t have to be Black to be interested in what’s happening in that community. The real issue isn’t audience interest, it’s that executives and decision-makers are often afraid to take chances on things they don’t understand. If they don’t know a certain community or culture, they become a slave to what they know instead of taking risks. That’s why time and generational growth matter. As millennials, Gen Z, and Gen Alpha step into positions of power, we’re already seeing that old way of thinking start to change. The truth is, audiences have always wanted new perspectives. The Blaxploitation era even helped save Hollywood because people were eager to see something different. It’s just about waking up to what’s always been true.

G: For my last question, I want to get a little personal. Like so many twenty-somethings, I grew up watching you as a kid, and you’ve been such an inspiration. Seeing you as one of the few Black leads on a kids’ show like True Jackson, VP made me feel empowered—like I could do anything I set my mind to. Now, I work for Omroep ZWART, a Black-owned Dutch TV broadcast dedicated to amplifying minority creatives. As a self-made businesswoman who thrives in every corner of entertainment and the arts, what advice would you give to young creatives who look up to you and hope to carve their own path?

K: First off all, thank you so much for everything you just said. Honestly, the Netherlands is one of my favorite places to visit. I was there for a few months during COVID, and I really fell in love. I just love your country. As for your question, I would say you can’t give up. You have to understand that you are building and forging a path that is uniquely yours, which means there won’t always be a clear blueprint to follow. That can be scary and difficult, but you will find your way. You’ll do that through some of the things I mentioned earlier: spending time with yourself, constantly refining your plan, figuring out how to pivot, and allowing your end goal to be lofty enough to leave room for change. Surround yourself with good friends, people who support your dreams and are pushing their own goals forward. That kind of energy will inspire you and keep you where you need to be. Be patient with yourself and trust that it takes time. There have been moments when people counted me out, when I didn’t have the money, but I still did my best with what I had. I believed in my vision, and that’s what kept me going. So never stop believing in yourself.

Met One of Them Days bewijst Keke Palmer dat verhalen vanuit verschillende perspectieven universeel kunnen zijn. Het is een film die niet alleen zwarte representatie viert, maar iedereen uitnodigt om mee te lachen en voelen.

One of Them Days is vanaf 13 maart te zien in de bioscoop.