Transcript
Into America
The Re-Freshed Prince of Bel-Air
Trymaine Lee: It’s one of the most (MUSIC STARTS) recognizable TV theme songs of the 20th century, a staple of ’90s pop culture, and it aired on NBC once a week for six years throughout the ’90s.
Lee: Seriously, there’s probably an entire generation of folks who could wrap every lyric of The Fresh Prince of Bel-Air’s theme song from memory and trust, I’m one of them. The song lays out how a kid from Philly got into some trouble and ends up shipped off to California to live with rich relatives. But for one filmmaker in Kansas City, the song is more than a catchy opening to a beloved sitcom. It changed his life.
Morgan Cooper: I was on the 71 Highway and the vision hit me. And a lot of things, experiences I saw as a child, and just thinking about the inciting incident, right? Like, the theme song laid out the stakes for you.
Lee: Morgan Cooper always knew there was something about the story and the song that begged a pretty fundamental question. What really happened?
Cooper: You know, “I got in one little fight and my mom got scared,” right?
Cooper: And I’m thinking about, you know, I’ve seen a lot of fights on the ball court. But nobody got shipped away to Bel-Air. You stayed. And you dusted yourself off. And maybe you got laughed at at school, and that was it. (LAUGH) So I was like, well, there’s probably more to the story. He had a gun.
Lee: Boom. Just like that, Morgan had an answer to that burning question and knew he had to do something with it. He decided to produce a short film. It reimagined The Fresh Prince of Bel-Air, which was a mostly light-hearted half hour sitcom into a dramatic and gritty redemption story.
Archival Recording: You are carrying a gun on the streets to protect yourself? I’ve done my best, Will. It’s time for a change. You’re going to Bel-Air to live with your uncle and your auntie.
Archival Recording: Bel-Air. Outta all places
Archival Recording: This is a second chance, Will. Don’t waste it.
Lee: The final product was three and a half minutes long, about the length of a trailer. Morgan uploaded it to YouTube on March 10, 2019, exactly three years ago today. And he called it Bel-Air.
Archival Recording: Take your time. Go deep.
Lee: At the time, Morgan was a young commercial cinematographer living in his hometown of Kansas City, Missouri.
Cooper: You know, I represent the 816 all day. That’s where I grew up. It’s my hometown. And so I love my city, you know what I mean? Best barbecue in the planet. Some of the (LAUGHTER) best people. So much talent comes from my city.
Lee: So now did you grow up more like Will Smith’s, you know, West Philly or Bel-Air? How’d you actually grow up?
Cooper: Yeah. So lower middle class is what I say. My parents were divorced and so all over the Kansas City metros where I lived, lotta different experiences. It really helped inform my world view, and seeing just a lotta different things.
Lee: Morgan is self-taught. He developed his filmmaking chops on the local music scene.
Cooper: My filmmaking journey started in the lot of a Best Buy when I graduated high school. I didn’t go to college. I didn’t go to film school. That was not on the table for me. And instead, I stood in line of a Best Buy and bought a DSLR, a Canon T2i, which is my first camera, and really took that camera and built a career with it.
Took that camera, started shooting music videos in the hood for rappers, you know what I mean? Shooting low budget music videos to cut my teeth. And that was my clientele, you know, just, you know, being able to learn and learn how to adapt quickly. And, you know, work under high stress situations. You know, that’s really how I started my career.
Lee: Morgan was 28 years old when he came up with the idea for Bel-Air. As soon as he started writing the script, he knew he was onto something.
Cooper: When that idea hit me, man, I saw all of it. It’s easy to say it now that it’s real and the show’s out. But, like, I knew it was something special. And it was just, like, a really, really special, like, magical feeling that I had.
Lee: I think there’s no doubt that as soon as it dropped, so many of us were like, yo, this is something special.
Cooper: Man, thank you–
Lee: But when did you realize that, like, yo, that we got something here?
Cooper: I can tell you exactly when. The moment I really knew I think this thing some really outta here was the very first take of shooting it. We were at my cousin Charlie’s house, RIP my cousin Charlie. And it was the scene with Will and Vi on the couch that begins the trailer, when she tells him.
You know, she’s like, “Look at you. The only reason you’re not in jail is ’cause your Uncle Phil called in a favor.” Like, that scene right there was the very first scene we shot of it.
Archival Recording: Look at you. Look at you. The only reason why you’re not in jail is because Uncle Phil called in a favor.
Cooper: And I just remember being behind my camera and looking at it. And I said, “This is out of here.”
Lee: Yeah. (LAUGH)
Cooper: Period. It’s done.
Lee: The day after Morgan’s short film dropped, even before it went viral, and trust, it went viral, he got a call. But not just any call. A call on behalf of the Fresh Prince, Will Smith.
Cooper: It was less than 24 hours when Will and Westbrook reached out.
Lee: That’s crazy–
Cooper: They reached out less than 24 (LAUGHTER) hours–
Lee: That’s crazy–
Cooper: It wasn’t even, like, super, super viral yet, bro. It was, like, at, like, 150,000 views or something like that. So it was getting traction. But it was, like, day two when it was outta here. Day two was, like, two million. The next day, 3.5. Crazy numbers.
But they reached out pretty early on. And I remember going up there and meeting Miguel, his manager, and Lukas Kaiser over at Westbrook. And Will was on FaceTime. And he was down in Miami doing Bad Boys III at the time. He had prosthetics on his face looking crazy.
And (LAUGHTER) he was just like, “Yo! Bro, oh my God! Morgan, this is crazy!” Like, “Yo.” (LAUGHTER) Like, he was just, like, geeked out over it, right? And, you know, I was just so excited that he was passionate best the vision right off rip. And he asked me point blank, he was like, “All right. So what do you wanna do with it?” And I was ready. I was ready.
Lee: That’s a big question, though. That’s a big question, “What you wanna do with it?” That’s a big one.
Cooper: A big question. And you gotta be ready in those moments. Those are the moments of truth. And I pitched my vision right then and there. I said, “You know, I see this as a one hour drama.” And he said, “Okay. Come down to Miami in a few weeks.”
Cooper: And so I did. And we had kind of an unofficial development session where we talked about the show and the vision. And he had so many great ideas. And his enthusiasm for the vision, we were just bouncing energy off each other down in Miami. And we shook hands at the end of the trip and said, “Let’s do this. Let’s get into business together and make this thing real.” And the rest is history.
Lee: With Will Smith on board, the team shopped the idea around and eventually found a home at Peacock, NBC’s streaming service. The show was green lit for two seasons. What’s more, instead of just selling his idea to a big Hollywood studio, Morgan stayed on as a writer, executive producer, and director for the series.
And this year, Bel-Air premiered on Peacock right after the Super Bowl.
Archival Recording: Game ball goes to Will. Way to bring it home, young boy. (APPLAUSE)
Archival Recording: Hey, Will, don’t forget your day ones when you’re in Virginia living that D1 college life.
Archival Recording: Man, you know I’m’a rep West Philly wherever I go. (UNINTEL).
Archival Recording: Hey, first day on campus, you know what jar you gotta hit ’em with, right?
Archival Recording: What?
Archival Recording: Hold on, wait a minute. (SINGING) Hold on, wait a minute! (SINGING)
Lee: I’m Trymaine Lee and this is Into America. This is a story all about how a viral video turned someone’s life upside down. And we’d like to take a moment, so just sit right there, and we’ll tell you about the significance of a show called Bel-Air.
Cooper: And we’re gonna create something that is originally outs. That’s timeless and stands on its own while still honoring those iconic characters from the sitcom. And that’s what we did.
Lee: Will Smith wasn’t the only member of the original cast that loved Morgan Cooper’s short film.
Jeff: You know what I think? I think Morgan did a very genius thing.
Lee: This is DJ Jazzy Jeff. He played Jazz, Will’s best friend and partner in crime on the original Fresh Prince of Bel-Air.
Dj Jazzy Jeff: Him coming from a non-Hollywood point of view, I think that level of authenticity, there is something about this show that you’re kinda, like, I can see that. To the point that I may have that person as my friend. I may know that guy. I think someone is bringing a level of realism to this show that is very, very relatable.
Lee: For Jazzy Jeff, seeing the new show come together has been surreal.
Jeff: This is the Twilight Zone. You know, I’ve been telling people that I’m still wrapping my head around the fact that I was on the original show. And that the original show has lasted 30 years. Never in a million years did I envision me doing the show in the first place.
So actually never in a million years would I have envisioned us getting to a 30th year reunion. And then turning around and now I’m watching someone play a character that I couldn’t even believe I played the first time. (LAUGH) So this is a major Twilight Zone moment for me. A good Twilight Zone though. But yeah, I’m living in another dimension right now.
Lee: Jazzy Jeff is one of the most prolific DJs in the history of hip hop. He got his start in West Philadelphia, where he was one half of the duo DJ Jazzy Jeff and the Fresh Prince, with Will Smith. In 1989, the two won the first ever Grammy award for best rap performance for “Parents Just Don’t Understand.” The song is catchy and a little corny. Pretty different from a lot of rap at the time. And that helped push Jazzy Jeff, and Will Smith, and hip hop for that matter, into the mainstream.
Lee: Will Smith had always told Jazzy Jeff that he wanted to be a movie star. Jeff, he just wanted to make good music. But when Will got the opportunity to star in The Fresh Prince of Bel-Air, he wanted to bring his homeboy along for the ride.
Jeff: So, you know, him basically tricking me into doing The Fresh Prince of Bel-Air, because he came to me, you know, in the beginning and said, “Hey, they want you to be on three episodes.” And I was, like, nope. Nope, I’m good. I’m good. I do music.
And he basically looked at me and he said, “Listen. Do one episode. If you love it you got two to look forward to. (LAUGH) If you do one episode and you hate it, you only got two to do.” I looked up and six years had gone by. So I’ve really–
Lee: Wow–
Jeff: –gotta give thanks to Will for having the foresight of don’t just say no because it’s not what you wanna do. This is gonna get you to the point that you wanna get to. It just might not be through the door that you thought. To get to what you wanna do, you might have to come in the window.
Lee: Jazzy Jeff’s character was a crucial part of the show. As a musician from L.A., Jazz poked fun at the bougie Banks family. Sometimes saying what we were all thinking. And he gave Will’s character a friend from his world.
Geoffrey: There is a young gentleman downstairs with a rather large radio who’s here to see you. He claims his name is Jazz.
Will Smith: Yo, word up. Send him up.
Lee: From the very beginning, Jeff was a standout.
Jeff: I walked into that show with zero expectations, zero idea. They gave me a script, I read it, and everybody laughed. And I had no idea why everybody (LAUGH) thought it was funny. But I’m just gonna keep doing what I’m doing.
Lee: Someone came up with the idea that Jazz would push Uncle Philanthropy a little too far. And in his very first opinion on the show Uncle Philanthropy grabs Jazz and tosses him from the house.
Philip Banks: The oboes will be coming next. (AUDIENCE NOISES)
Jeff: And everybody laughed. And then someone wrote it again. And I got thrown out again and everyone laughed.
Dj Jazzy Jeff: Ah. (AUDIENCE NOISES)
Jeff: And then it became, you know what? He’s gonna come in, he’s gonna do something, he’s gonna say something that’s gonna get him tossed outta the house. And it kinda became a staple in the show. vos
Dj Jazzy Jeff: Ah. (AUDIENCE NOISES)
Lee: As The Fresh Prince of Bel-Air became a smash hit, Jazzy Jeff says that his real life started to imitate the art. He was spending time in L.A., getting successful, and his eyes were opened to a world outside of West Philly where he grew up.
Jeff: It took a second for me to understand. The Fresh Prince of Bel-Air was about someone in West Philly ended up going to Bel-Air, having to readjust his life and understand that it was a bigger world than Philadelphia. People don’t realize that Will and I going out to California to do The Fresh Prince of Bel-Air was that same exact story.
We were two guys from Philly that were doing music that, all of a sudden, we’re on a television show in L.A., having to completely change our lives. And realize that there is a much bigger life than Philadelphia. You know, no disrespect to how we came up.
But I’m pretty sure if we had an option for it to be different, we all woulda picked that option. Sometimes you get so mentally locked in that you don’t believe that you have an option, that it’s kinda, like, yeah, this is where it’s at. You don’t understand. This is the greatest place in the world, you know? The mind will kinda play tricks on you. And tell you that keeping it real is keeping it where you are.
Lee: What do you miss most about the show and those days?
Jeff: It was really a family-type atmosphere. Especially me being so far away from Hollywood coming in. And this was us being transplants from Philadelphia going to L.A. It really helped having a family-type atmosphere. ‘Cause it didn’t feel like you were missing something.
You worked with these people. You ate with these people. We had a good time with these people. And I think that was the one thing that I missed. I don’t think I ever came to grips that one day this was gonna be over. You know, I remember we were all sitting in the living room on the set.
And Will came down. I didn’t really understand why we were all sitting there. And everybody was just kinda talking. It was kind of really solemn. And Will came in and said, “I just wanna let everybody know that NBC is going to do the show for another season.”
And when he said that, was the first time in my mind I said, so this is gonna end one day. Like, it was so second nature and so family, that it was, like, whoa. You know, and then I started going down a list. Like, wow, like, television shows come to an end.
You know, Will was on the verge of being the biggest movie star in the world. You know, everybody had different plans. Except me. You know, it was kinda, like, whoa, whoa, you know? First of all, I didn’t expect to be on here. But now that I’m on here I’m kinda, like, wow, this is kinda cool. And then I have to (LAUGH) come to grips with one day this is gonna be over.
Lee: The show’s finale aired on May 20th, 1996.
Jeff: Happy birthday, Mr. Banks. Heard you had quite a soirez last night. That’s French for “shindig.” (LAUGHTER)
P. Banks: What’s French for “unwelcome guest”? (LAUGHTER)
Lee: And Jazz was thrown out of the Banks crib for the last time.
Jeff: I know that look. You’re not getting any younger. Ah. (LAUGHTER)
Lee: While the end of Fresh Prince was hard for Jazzy Jeff, it also meant he could go back to music full-time. And the sitcom had made him a household name.
Jeff: Television, you have 80-year-old white women come up to you and say, “That’s Jazz.” And I’m, like, that’s a whole different thing. And then they were, like, “Oh my god, didn’t even know he DJ’d. Oh my god, he’s pretty good.”
Lee: That’s cra– (LAUGH)
Jeff: “I didn’t know he made music.” So it was a lesson that, you got everything that you wanted out of it. It just came in different directions.
Lee: Jeff was able to take his DJ’ing to the next level.
Jeff: And get to the point, I’m sitting here, like, my brother was in the Vietnam war. And I’m playing Biggie in Vietnam. Like, there were so many head trips. I grew up in Southwest Philly. I’m looking at Table Mountain in South Africa. And music is what got me here.
Lee: The pandemic put a pause on his world travel. But Jeff doesn’t mind. He’s able to spend more time with his family. And do things like host a brand new podcast dedicated to all things Bel-Air.
Jeff: Uh-huh (AFFIRM), hey, I am DJ Jazzy Jeff, from West Philadelphia born and raised. From the original cast of The Fresh Prince of Bel-Air. And I am super excited to talk about this show.
Lee: Jazzy Jeff is a fan of the new Bel-Air. He feels like creator Morgan Cooper’s done a great job of capturing the Philadelphia that he knows and loves.
Jeff: I remember when I watched the first pilot, the first glimpse of music that came on gave me goosebumps. Because I have never seen anything on television to represent Philly as authentic as this. And they nailed it. Even the scene with the guy riding on the bicycle was five blocks away from where I grew up. And I’m looking at the stores. And I’m, like, yo, you did it. You did it. Like, if there was ever a way to capture the true essence of Philly, especially in 2022, he did it.
Lee: When we come back, show creator and director Morgan Cooper, on some of the creative choices behind the new Bel-Air. And we’ll speak to the actress who plays the new Aunt Viv, Cassandra Freeman.
Cassandra Freeman: We just kind of feel like, you know, the ancestors hands are on top of this show in general.
Lee: We’ll be right back.
Lee: As Bel-Air was coming to life, Morgan Cooper was intentional about every detail. From the Black artwork in the Banks’ house, to the music choices and the fashion, to the slang and haircuts. He wanted Bel-Air to feel authentically and unapologetically Black and true to the culture.
That included filming the Philadelphia scenes in Philly. Not on some random lot or set in L.A. That’s the one thing. I grew up in South Jersey, right across the bridge from Philly. So I was always at the Gallery. Was in Philly all the time. And I loved hearing Young Bull, right? And LeJon. Then hearing Freeway and then seeing Freeway. What was that experience like, immersing yourself in Philly-Philly?
Cooper: Bro, I love Philly so much. We had to be there. We had to be on 60th and Market Street. We had to tap in with BIKELIFEREX and get Young Bull there. We had to tap in with Freeway and make sure that he was involved. Because these are the things that, in our show, Will Smith wakes up to every morning. We have to see those things and be intentional about putting those things on screen.
Lee: Beyond the feel of the show, Morgan wanted to use the longer series format to accentuate dynamics that he loved from the original. But give them more weight and space. One that resonated with me was the theme of manhood and what it means to be a Black man in America. These ideas were present in The Fresh Prince, but in Bel-Air they feel fuller.
Cooper: I think it’s important to show Black men supporting each other. Black men connecting with each other. Black men hugging each other. You know what I mean? Just showing love to each other. You know, I think those images are really important on screen.
I think growing up, you just didn’t see a lot of that on screen. It was just, like, you know, the violence, the drugs. And it’s just, like, no. Like, it was love growing up with my bros, you know what I mean? Like, and telling ’em, “I love you, bro. Like, tap in with me when you get home to make sure you,” like, that was the type of energy that it was.
And I think we need to show that type of camaraderie and brotherhood on screen. And that’s how we make a meaningful change. Because that’s what’s really real. It’s just not shown through media. All they wanna show is the negative. We have to be the ones to change the narrative and show, like, no. Our existence has far more dimension than you guys wanna show. And so we’re gonna be there to show the power of brotherhood. And the power of friendship between Black men.
Lee: Morgan says from the very beginning he wasn’t trying to recreate The Fresh Prince of Bel-Air. He wanted to tell Will’s story in a way that was familiar. But was clearly and defiantly a product of its time.
Cooper: Listen, you can’t do The Fresh Prince again. That was a once in a generation, once in a lifetime thing that they did. And so to try to reboot, you can’t do it. This show would’ve failed. It would’ve been terrible. I wouldn’t have wanted to watch it, that’s for sure.
The whole goal was, like, how can we honor the spirit of these characters, right? While completely making them new. And dimensionalizing them in a way that you couldn’t do in a half hour sitcom 30 years ago. So right off rip it’s, like, all due respect to the sitcom and what they did.
But our job is to, you know, create iconic moments through this show. And we’re gonna create something that is originally ours. That’s timeless, that stands on its own. While still honoring those iconic characters from the sitcom. And that’s what we did.
Lee: So that meant finding the right actors to resurrect and reimagine all the characters we loved from back in the day. By taking them out of the fun-loving ’90s and into now.
Freeman: I just feel so considered. Like, someone thought, “It’s important that Aunt Viv’s a real person.” I feel like all of Bel-Air in general just feels like, “Listen, we thought about that and we are trying to be intentional.”
Lee: Cassandra Freeman plays the beloved matriarch, Vivian Banks, in the new Bel-Air. Cassandra is the third person to play Aunt Viv, following Janet Hubert, who was in the first three seasons of The Fresh Prince, and Daphne Maxwell Reid, who was in the last three.
Freeman: It would be hard to come in as the second or even the third and think people would forget the first. You know, it’s like a real family in a way. Whoever is your mother to start off, you’re, like, “That is who it is. Don’t be over here trying to say that you my mama, okay?
“I already got a mama. Sit down.” (LAUGHTER) So we’re fans of the shows too. So I feel like in a way we’re, like, auntie collectors. Where we’re, like, you know, let’s put on our white gloves and really take care of the legacy. Because it’s their legacy and we’re just here to try to elevate it to this world of drama.
Lee: On top of trying to honor the original show, Cassandra had the added pressure of joining the ranks of iconic Black mothers on television. The confident, elegant, educated, loving, but no BS Black mothers. TV moms like Florida Evans from Good Times, Louise Jefferson from The Jeffersons, Lisa Landry from Sister Sister, and of course we can’t forget Claire Huxtable from The Cosby Show, who is probably still the epitome of Black TV moms.
Vanessa Huxtable: Mother, all of my friends are wearing makeup–
Clair Huxtable: Vanessa.
Vanessa Huxtable: Rebecca’s mother lets her wear makeup–
Clair Huxtable: I’m not Rebecca’s mother. If you want to live with her rules, fine. Go live in her house. Young lady, I do not want to see you in makeup. Is that clear?
V. Huxtable: Yes, Mom.
Clair Huxtable: Good.
Lee: Cassandra has been acting since 2001 with appearances on shows like Atlanta, The Last OG, Luke Cage, and Blue Bloods. But the role of Aunt Viv, and everything that would come with it, was uncharted territory.
Freeman: But the time the role actually came my way to even audition for it for the first time, I was, like, you know what? I can’t do that. No, no. (LAUGH) Who gone? And so by the time I had an interview with Rasheed the showrunner and Morgan, the first thing they said was, like, “You’re not here to fill those shoes. You’re here to create new shoes. It’s like a new world in a way.” And that freed me up. And then I thought, oh, well, then let’s go create something.
Lee: What did you think about the portrayals of the first Aunt Vivs? And what did you take from them? And what did you kind of reinvent?
Freeman: You know, my background is in theater. So it’s, like, a part of my nature to always look at who are the predecessors who stepped into certain characters and to certain roles. And I always look at that as a way of seeing, like, what did they do that we should keep?
And what’s something that I feel like I could naturally bring to the role? Or help elevate the role, especially now it’s in a drama landscape? Janet Hubert and Daphne Maxwell, they really epitomize the idea of, like, the queen of aunties.
And so I thought what does that mean? And I thought that means that is someone who’s loving and caring. I think those women portrayed, like, the consciousness and heart of the show. So for me, the way I embodied that is when I can be loving, then I really want people to feel like I’m deeply listening.
I’m not distracted. I’m grounded in the other person. And if I can touch them or caress them, that is what I’m gonna do. So that way the audience at home can still feel that sort of, you know, I’m a Southern girl anyway. Like, that’s that Southern love. Like, I gotta put hands on my baby to know that, you know, I’m’a wink. I’m’a do the things like that.
Will Smith: There’s so much space.
Vivian Banks: Ah, yeah. Well, I know it can feel overwhelming. But don’t worry, you’ll know your way around here in no time.
Smith: Until then, can I get a map of this jawn?
V. Banks: Oh, there’s that Philly swag. Oh, I’ve missed it so much. I am so sorry I couldn’t pick you up from LAX myself today.
Smith: It’s all good. I see you got a party goin’ on.
V. Banks: I wish it was as fun as a party. But forget all of that. Are you all right? I mean, after everything that happened.
Smith: Yeah. It’s all good, Aunt Viv. You know, got in one little fight, my mom got scared.
V. Banks: I’m just so happy you’re okay.
Freeman: And then the things that I wanted to bring was to make sure that she felt like she was still grounded in that Philly sensibility. Like, she didn’t lose herself. And, like, she’s in this world. I did not want that for her. And that was the first thing I talked to Morgan and Rasheed.
I said I felt like if I owned her, she has to feel like she’s grounded in where she froms. In the way that Jada Pinkett, you can feel that girl was still from Baltimore (LAUGH) even though she’s surrounded by luxury. And I thought, that’s the same type of lifestyle I wanted to bring to her. Or the same type of essence.
Lee: In both shows, Aunt Viv is married to the wealthy Philip Banks. And mom to Hilary, Carlton, and Ashley. But she’s Will’s mom’s younger sister, also originally from Philly. So she’s the only one who truly understands Will’s two worlds. Aunt Viv has always been a source of love and strength in the Banks family. But all three Aunt Vivs have been very different. Janet Hubert was outspoken and fearless.
P. Banks: Now officers, I’m sure we can clear this whole matter up quite easily.
Archival Recording: Could you please sit down? We’re busy now.
V. Banks: Oh, honey. We’re about to get very busy. (LAUGHTER)
Lee: While Daphne Maxwell Reid was warm and steady.
V. Banks: I cannot believe that you and Carlton are moving into your own place. Seems like just yesterday when I was wiping the tears from his eyes.
Smith: Oh no, that was yesterday Aunt Viv. I told you that boy wasn’t ready for Jurassic Park yet. (LAUGHTER)
Lee: Cassandra wanted to create an Aunt Viv that we could all recognize. But also someone who fits in 2022.
Smith: I messed up. I owe you two everything.
V. Banks: You want to repay us? Be the Will who charmed West Philly with his swag and his talents. Because if that Will turns up at Bel-Air Academy, it won’t be long before you running that jawn.
Lee: In Bel-Air, the character is more fleshed out and complex. This Aunt Viv is no longer in the shadow of Uncle Phil. Or just a shoulder to cry on for Will. She braids Ashley’s hair, has deep conversations and Hilary, and hosts parties with her sorority sisters.
She’s also an art history professor, wrestling with her identity as a politician’s wife, a mother raising Black children in white and wealthy Bel-Air, and her former career as an artist. In one scene in the new show, Uncle Philanthropy and Aunt Viv meet some donors for Uncle Phil’s campaign for district attorney, when a woman recognizes Aunt Viv for her artwork. Uncle Phil quickly chimes in, minimizing his wife, saying she used to be a painter.
V. Banks: Why’d you say I used to be a painter?
P. Banks: Huh? Oh, I just meant you’re not currently painting at a professional level. You’re an ex-artist.
V. Banks: Artists don’t cease from being an artist. Even if it’s been years from their last work.
Freeman: I really appreciate that that’s where they started Aunt Viv. I mean, it’s in our culture to automatically make Black women become the archetype of strength. Let me tell you something, we are fragile people. We are people who want to be taken care of as well, you know?
We’re as light and as sensitive as you would think any little, you know, skinny blonde woman is too. So our skin always seems like it doesn’t take pain. We do take pain. And so what I love is that you see, like, a little bit of that discomfort in her.
And what happens? It’s like a splinter. And that splinter keeps growing until it gets infected, and she’s, like, ooh, I have to do something about it. I think it’s wonderful to see. A part of the statement for me for Aunt Viv is that it is never too late to begin again.
You know, it’s never too late to reinvestigate who you were as a younger person. And invest in that, right? And that’s a big part of her journey. And when that happens, people gonna get a little uncomfortable. And they’re gonna have to have conversations.
And I think the conversations that you see that will come out in later episodes with Phil are just such grown people, loving, warm, challenging conversations of what it means to be married. To have sacrifice, compromises, the challenges, and what you wish the other partner woulda coulda done.
So I just love that’s where they started. Because you’re right. The original, it was, like, she is together and she knows everything and everyone stand back. I love that the new version is, like, maybe I do have more things other learn. ‘Cause that’s real. I mean, that’s–
Lee: It is–
Freeman: –that’s much more real. This whole show is just a remix. It’s, like, all the things you love. It’s just remixed a bit. But the flavor is still there.
Carlton Banks: Peacocks. We’re marching down the (UNINTEL)–
Lee: But one of the most dramatic changes in character is Carlton Banks. In the sitcom, Carlton was the preppy, dancing, happy-go-lucky rich kid who bickers with Will.
Smith: See, now that’s exactly why people be pushing you down the steps, man. (LAUGHTER) Carlton.
C. Banks: Oh, I knew it, I knew it, (LAUGHTER) I knew it. Oh, I’m outta here.
Smith: Carlton.
Lee: The new Carlton is much more layered. He’s still a privileged rich kid but now he’s super popular at school, he gets the girls, is captain of the lacrosse team, and is junior class president. But he’s also angry and calculating and cunning. He struggles with anxiety and his identity.
And he’s much more confrontational with Will. There’s one scene where Carlton is in the boys’ locker room with his white teammates. And they’re all singing along to rap lyrics with the N-word. Will walks in and confronts Carlton and his boys. And later, Carlton still doesn’t get it.
C. Banks: Day one at Bel-Air Academy and you’re already playing the race card–
Smith: Hell yeah–
C. Banks: Good job, Will–
Smith: –I’m pulling the race card, Carlton. Yo, so let me get this straight, man. You really don’t have a problem with a white boy saying nigger right in front of your face?
C. Banks: It’s just a word, dude. Chill out–
Smith: No, I ain’t chillin’ out. Your boy Chad was wildin’, yo–
C. Banks: First of all, his name is Conner.
Smith: Conner, Chad, (UNINTEL), whatever the (BLEEP) his Wonder Bread-ass name is, he ain’t with the culture, Carlton. And clearly you ain’t either.
C. Banks: You’re really flipping out over a word that Black rappers sell to millions of white people like Conner every day? And you expect him to not say the words that they’re listening to?
Freeman: You could write a whole book on Carlton 1.0 versus Carlton 2.0. And why they look the way they look, for mainstream to understand that character. And a lot of us in the culture, I think we understand. I think some of us in the culture it’s still hard to understand.
Because you might have to face what it means to treat a little Black boy the way that he’s been treated all of his life, surrounded by these white people telling him, just like people have told me, “Oh, you pretty to be a dark skinned girl.
“Oh, you know, you’re so smart to be Black. Wait a minute, where did you grow,” like, all of these things where you have to constantly reaffirm your education, your upbringing, that you’re clean and good and kind, is actually part of what it means to be Black, not outside of what it means to be Black.
So if you start young enough with any individual, what type of self-hate are you creating for them to not even want to be a part of their own culture? And I’m not even saying that’s all true for Carlton. But you see a lot of those strokes in him.
Lee: Without giving anything anyway, I think folks should go, you know, watch this show. It’s really brilliantly done. And it’s, again, enough of the past that you feel familiar. But a nice departure from what we thought we knew. Was there ever any concern about, like, are we going too far? Or was there ever any conversation about, like, do we really want to go there with Bel-Air?
Freeman: In a way, no, and in a way, yes. We really wanted to honor the essence of what that show meant at that time. And what it can mean for this generation moving forward. It’s no/yes because we’re not doing a comedy. And the thing about tragedy and comedy is that tragedy and comedy, you know, they live next to each other.
Richard Prior could make a joke about being set on fire. That is tragic. But you twist is just enough so you can stay light. And this we’re, like, we’re not gonna twist it. Instead we’re just gonna live in the reality of it. And I think for some people it might be really uncomfortable to have to deal with what the real essence of truth is.
And so I feel like this show is, like, the best of soul. Where it’s, like, the A part is joy but the B part is sorrow. And together it’s just soulfulness. So, you know, it is dark. But something about it also feels life-affirming. ‘Cause through struggle, you always can get to the light.
Lee: Another choice that sticks out in the new Bel-Air is the complexion of the cast. You know, one of the things that’s gonna make a lot of people comfortable and some folks uncomfortable is how beautifully brown this cast is, right? Obviously we know in our community, and even in the industry, there’s wrestling over issues of colorism that people see and some don’t see. But this cast is so beautifully brown, right? What was it like to sit in that and portray that? We don’t often get a chance to see that.
Freeman: You know, it feels like a warm bath.
Lee: It’s real warm.
Freeman: First of all, I love baths, everybody, okay?
Lee: It feels good.
Freeman: It feels so good to luxuriate in that. And to hold up the banner that, you know, we all know Black is beautiful. And the spectrum is beautiful too. I mean, in general, if you have Army issues with not knowing how beautiful you are, I feel like even stepping on our set is like a baptism of being reminded.
Like, the men on my show, how much they affirm me and each other about how wonderful, talented, beautiful, right down to Morgan. Morgan Cooper is the most gracious, full of humility. And, like, a deeply thoughtful man. And I feel like they did this all so intentional.
And I remember being a little girl watching TV. I would watch these images and I would always think, oh. I always wanted to be an actress and I thought, “Maybe the world doesn’t know, like, a brown skinned girl like me exists.” Because the messages were, like, maybe I’m not as pretty.
Even though I had a dad who told me from day one, I’m the can tan. So I never really grew up with thinking I wasn’t beautiful. But I grew up thinking am I an anomaly? And I realized the anomaly is that it’s just not put on a platform. But TV and film in America’s a huge exporter around the world of what we value.
You know, our culture tells people what we value. And I think what people are saying is, like, it’s so nice to see that we can say brown skinned women are beautiful. The dark skinned men are beautiful. We can talk this way, act this way, half class, half aspiration. And do it within the spectrum of class as well.
Lee: But more than just the complexity of their complexions, Blackness more broadly is a feature of Bel-Air in front of and behind the camera, in positions of power. It’s something that Cassandra says has made working on the show so liberating.
Freeman: People don’t realize when you have all the creatives from a certain perspective telling a story, even though you don’t see them, the resonance is different. It’s like music. You’re, like, why does it go deeper? And because there’s subtlety to what it means to be from the African American community. And from the diaspora in general. Like, we get to have conversations without having to have the burden of translating things.
Lee: Well, first of all, that’s exhausting. And we deal with that on this show all the time. And we’ve long shed that, right? Like, if y’all listening, y’all listening. But that is exhausting. That’s a burden that Black folks have to bear where it’s, like, we’re not here to educate you and teach you and hold your hand.
Freeman: It feels like people are talking down to you as a Black person when you’re watching Black content. And you see that they’re giving you definitions and da da da. And you’re, like, please just stay on story. Please don’t translate. And we know what shows those are.
Instead we get to just be, like, shorthand with each other. And then go do the thing. I mean, I can’t tell you how many times I would say something offhand to Morgan or to one of the showrunners, and then it would be in the show. It would be in the line.
It would be in the feel. And I’m, like, y’all listening? And they’ll be, like, “No, Cass, of course.” So also just from the self esteem of an artist. So much of my life has been about, you know, using white out. And putting on blinders and being, like, hopefully people know I just did my job. Even though the powers that be are pulling strings. And I think in this people can feel a lotta those strings have been let go.
Lee: I know when some people create art, you know, they want to leave it to the person who is consuming or viewing or tasting the art to walk away with what they will. And I wonder for you as an artist, and part of this art project is Bel-Air, so beautifully done, is there anything that you want the consumers of this, the viewers of this to take away?
Freeman: I love that you call it art ’cause that’s how I see it. I think anything is art when it’s this layered and nuanced and intentional. There’s so many things I want people to take away. It’s almost overwhelming. You know, I hope people come here and they feel more beautiful.
And feel like whatever makes them distinctive was done purposefully and wonderfully. I hope people leave from this and get curious about Black art and see, you know, Devin Johnson up on our walls. Or, you know, Martel Chapman. Or any one of these, like, amazing Black artists and being, like, “Oh my god, Black art, is it really hitting like this?”
‘Cause it is a moment in Black art right now too. I want people watch this and they reconsider even how they might raise their kids. Like, the way Viv and Phil have tried to raise these kids, and now Will, I think is through the lens of how I raise my son.
Which is to remind people of who they are, not of who they are not. Like, remember who you are. You’re a king. I always knew that you were gonna be taken care of. Like, oh, those three, four, five things right there, I feel that was a good enough reason to become an actress.
Lee: Bel-Air has given the cast and crew of the show a chance to be seen. A chance to be heard. And a chance to be understood. And for the show’s correct, it’s changed his life professionally and also personally.
Cooper: I feel like I’ve become more patient. I feel like I’v grown as an artist, you know, within my craft. Which is the utmost importance. I feel like I’ve grown as a man. I feel like I’ve grown as a collaborator. I feel like I’ve grown as a friend.
Listen, it’s like yards after contact, right? Like, you catch the ball, that hit’s coming, you know what I mean? It’s part of it. You take that hit and you take the legs moving, right? So I’ve definitely, you know, made my fair share of mistakes in the process.
‘Cause we all have. Like, that’s filmmaking. That’s the process. But you learn. You know, I remember being at the Fresh Prince reunion that they were filming for HBO. And I was sitting with the original cast. And Daphne Reid looks at me and she says, like, “We’re passing you the baton. It is now yours.”
Lee: Carrying on the legacy of The Fresh Prince of Bel-Air is no easy feat. Morgan has taken on the task gracefully and beautifully. But like with any success come some critics. But Morgan isn’t too concerned about any of them. What matters is honoring his art.
And the original group of creators who have now passed him that baton. How important was it for you to make the original creators and the original cast proud of this work, right? That they could see a reimagined, rebooted version of what they did, but also be proud of the work? How important was that for you?
Cooper: They’re the only opinions that matter. You know what I mean, to be honest with you. And they’ve all expressed tremendous support and love for our show, which I’m so thankful for, you know what I mean? I had a chance to chop it up with DJ Jazzy Jeff on numerous occasions at this point.
And he’s just expressed his love. And of course, you know, Will championed the show since day one and loves the show. And Tatiana tweeted, you know what I mean? So that love means so much to me. I wanted them to know right off the bat, like, I really care, you know what I mean?
It’s, like, I didn’t make this to blow up. Like, I made it because I’m passionate about it and I love this show. And I hope they feel that love. I hope they feel the care and the craftsmanship that was put into it by, you know, this phenomenal cast and crew.
From every cameraman to every PA, COVID supervisor, production design, you know, to this amazing cast, all of the background, we all love this show, you know what I mean? But this show starts with the love of what they made 30 years ago that changed all of our lives.
That changed the culture. Who would we be to not take it seriously? To really make sure, like, you guys are in good hands. And we love what you guys did and just wanna honor it through this reimagining. And so it means the world. It really does.
And I get emotional thinking about it, man. ‘Cause, like, you know, anybody out there, you know, just know that if you have a dream, and it’s within you, you can do it. And I hope my story is living proof. You can be in Cincinnati, Ohio.
You can be in Milwaukee. You know, you can be in Delaware. It doesn’t matter. If it’s in you and you believe in it, pick up a camera. Pick up your cell phone. And hit that record button and tell that story. Pursue it with everything you have. And just know that it’s possible. I promise you it’s possible. And believe in yourself and believe in the stories you have to tell because they’re important.
Lee: Bro, I’m about to get a camera, man. That was inspiring, bro–
Lee: I’m about to get a camera. (LAUGH)
Cooper: I’m not mad at that.
Lee: To keep up with Into America follow us on Twitter, Instagram, and Facebook using the handled @IntoAmericaPod. And you can tweet me @TrymaineLee. Or write to us at intoamerica@nbcuni.com. And if you’re a fan of the show, you can now wear your love for Into America on your sleeve.
Check out the MSNBC store for Into America shirts, mugs, notebooks, and more. The website for that is msnbcstore.com. That’s msnbcstore.com. We’ll drop a link in our show notes. Into America is produced by Sojourner Ahebee, Isabel Angell, Allison Bailey, Aaron Dalton, Max Jacobs, and Joshua Sirotiak. Original music is my Hannis Brown. Our executive producer is Aisha Turner. I’m Trymaine Lee. Catch you next Thursday.