From Skepticism to Admiration: Mara Brock Akil’s Bold Reimagining of a Judy Blume Classic
- Aaron Braxton
- 4 days ago
- 3 min read
Updated: 3 days ago
Just got back from a screening of FOREVER, Mara Brock Akil’s hour-long reimagining of Judy Blume’s iconic novel and let me keep it all the way real: I didn’t walk into this one overly excited. I walked in skeptical. I walked in with a bit of a side eye.
I’m familiar with Judy Blume. I read Blubber in third grade and loved it. But I’m also tired. I’m tired of seeing Black creatives continually adapt white IPs, as if our stories aren’t rich, urgent, or worthy enough to stand on their own. Especially now, when we’re in a moment of social and political regression, where America seems hell-bent on erasing us and rolling us back to a time that’s all too familiar and painful. So, yeah, I side-eyed this one hard. A book that originally had zero Black characters? Why adapt that?
But then I watched the pilot, and mannnnnn! Let me say this clearly: this show is a revelation.
Mara didn’t just adapt Forever, she flipped it, remixed it, and transformed it into something uniquely Black, deeply emotional, and visually stunning. It’s easily one of the most beautifully written and emotionally resonant pilots I’ve seen in years. It’s deeply rooted. It’s intimate. It’s expansive.
Let’s talk setting. The way Mara honors Los Angeles is exquisite. I literally gasped at locations I pass daily like the carwash down my block. But it’s more than just scenery, she captures the soul of LA. From St. Mary’s Academy to View Park to South LA and the Fairfax District, Forever isn’t just set here, it breathes here.
And then there’s the cast. Wood Harris brings quiet power and authenticity that feels like you’re peeking into someone’s private world. Lovie Simone and newcomer Michael Cooper Jr. are simply magnetic. Cooper Jr. plays a character we haven’t seen before a gentle, thoughtful, awkward-but-poised Black kid trying to figure it all out. It’s a performance that stops you in your tracks. Simone? A force. Her vulnerability crackles beneath the surface, painting a portrait of a girl navigating love, betrayal, and longing.
Karen Pittman as Justin’s mother delivers one of the most nuanced portrayals of a Black mother I’ve seen. Her character knows the world is not safe for her son…even in privilege. She pushes him, not out of control, but out of fear and deep, undiluted love. Pittman brings layers to this role; pain, strength, anxiety, hope. It’s stunning.
Xosha Roquemore, as Keisha’s single mom, could’ve gone the stereotypical route, but instead, she plays her with subtlety, honesty, and integrity. She’s not a caricature, she’s a reflection of the real, hardworking women raising families in South LA with strength and pride.
And let’s give the crown to the incomparable Regina King, who directed the pilot. She gives the story space to breathe, emotion to swell, and characters time to live. Her direction is graceful, confident, and deeply intentional.
Now, back to that IP concern. After watching Forever, I realized Mara Brock Akil didn’t just adapt Judy Blume’s work, she owned it. She redefined it. She made it so distinctly hers, that truth be told, it didn’t even need the Forever title. But getting Judy Blume onboard as an executive producer? That’s a chess move, not checkers. It’s how you move through Hollywood without compromising your vision.
So, yes, I had doubts. But this show shut me all the way up! It’s heartfelt. It’s authentic. It’s Black JOY, PAIN, and LOVE wrapped in a coming-of-age story that deserves our full, undivided, unequivocal, unadulterated, attention.
All episodes drop May 8 on Netflix. I’ll be binge-watching!
How about you?!
Originally from the mean streets of Roxbury, MA and now rooted in Los Angeles, CA, Aaron Braxton is a multi-award-winning writer and actor whose compelling voice has left an indelible mark on both stage and screen. A proud alumnus of San Diego State University with an M.A. from USC, he brings a powerful blend of intellect, artistry, and social insight to every project he touches.
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