Entertainment

Lizzo Could Face Complaints From 6 More Employees in Harassment Suit on August 9, 2023 at 4:44 pm Us Weekly

Published

3 years ago

August 9, 2023

Daniel DeSlover/Shutterstock

More of Lizzo‘s employees are expected to join the lawsuit against the singer for harassment and discrimination.

Ron Zambrano, the Employment Litigation Chair at West Coast Trial Lawyers, said in a statement to Us Weekly on Wednesday, August 9, that his firm is vetting claims from at least six more people with allegations of wrongful treatment.

“We have received at least six inquiries from other people with similar stories since we filed the complaint,” Zambrano said. “Noelle, Crystal and Arianna have bravely spoken out and shared their experiences, opening the door for others to feel empowered to do the same. Some of the claims we are reviewing involve allegations of a sexually charged environment and failure to pay employees and may be actionable, but it is too soon to say.”

The potential plaintiffs were not named, but Zambrano told NBC News they all either worked on Lizzo’s tour or her Prime Video reality show, Lizzo’s Watch Out for the Big Grrrls.

Attorney Neama Rahmani, Zambrano’s colleague, exclusively told Us on Wednesday, August 9, that the firm is conferring with both potential new plaintiffs and witnesses to corroborate their claims.

“In this particular case, you know, we’re seeing witnesses come forward every single day that are supporting our client’s allegations,” he told Us. “These are individuals [who] might wanna become part of the lawsuit or [are] people that don’t wanna be a part of the lawsuit, but witnesses or just folks that are just saying anonymously that yes, the same thing happened to me. It’s very similar to the Me Too movement.”

Us confirmed earlier this month that three of the 35-year-old Grammy winner’s former backup dancers — Arianna Davis, Crystal Williams and Noelle Rodriguez — filed a lawsuit against Lizzo after allegedly experiencing a hostile work environment, religious harassment, disability discrimination and sexual harassment. The suit also names Lizzo’s tour company, Big Grrrl Big Touring, Inc. (BGBT), and dance captain Shirlene Quigley.

The court documents, obtained by Us, include bombshell claims about how the dancers felt “obligated” to attend an outing in Amsterdam’s Red Light District. “While at Bananenbar, things quickly got out of hand. Lizzo began inviting cast members to take turns touching the nude performers, catching dildos launched from the performers’ vaginas, and eating bananas protruding from the performers’ vaginas,” the lawsuit alleges. “Lizzo then turned her attention to Ms. Davis and began pressuring Ms. Davis to touch the breasts of one of the nude women performing at the club.”

Also included are allegations that dancers were weight-shamed, forced to participate in a nude photoshoot and subjected to a hostile work environment.

Lizzo broke her silence on the lawsuit on Thursday, August 3, slamming the claims as “false,” “unbelievable” and “too outrageous not to be addressed.”

“These sensationalized stories are coming from former employees who have already publicly admitted that they were told their behavior on tour was inappropriate and unprofessional,” she wrote in a lengthy statement via Instagram. “As an artist, I have always been very passionate about what I do. I take my music and my performances seriously because at the end of the day, I only want to put out the best art that represents me and my fans.”

Lizzo claimed that she is “not here to be looked at as a victim” but is also “not the villain” that she has been “portrayed” as. “There is nothing I take more seriously than the respect we deserve as women in the world,” she wrote. “I know what it feels like to be body shamed on a daily basis and would absolutely never criticize or terminate an employee because of their weight. I’m hurt but I will not let the good work I’ve done in the world be overshadowed by this. I want to thank everyone who has reached out in support to lift me up during this difficult time.”

Davis, Williams and Rodriguez later told Entertainment Tonight that they weren’t impressed with their former boss’ response. “I think for me, it’s just very interesting to be so open and genuine about the trauma that we experienced and to be open about the hurt that she caused us, for her to [respond back by] essentially gaslighting us,” Williams claimed on Thursday. “She never acknowledged any of the claims [directly] that we have brought forward to the table.”

While the trio weren’t pleased to hear Lizzo’s response, Rahmani exclusively told Us last week that they will likely feel comforted that others are coming forward to talk about their experiences working with Lizzo.

“There’s really strength in numbers and, you know, similar to the #MeToo movement that really addressed rich and powerful men, those aren’t the only people that can harass or discriminate against young women, especially the young women of color who really were in a position where their boss was discriminating against their medical condition and forcing their religious beliefs on them,” Rahmani told Us on August 2. “There are racial issues and, of course, the sexual harassment. They are beyond devastated. They lost their job, something that was their dream job, and I’m really trying to pick the pieces up right now.”

The lawyer added that the dancers are willing to take this case to trial.

“Either Lizzo was gonna come out, apologize, try to make things right, and maybe we would come to some sort of resolution, or, more likely, that she was gonna deny the allegations. And that’s exactly what happened,” Rahmani told Us on Wednesday. “But just because people deny something doesn’t mean it’s not true, and civil and criminal defendants do it all the time.”

He continued, “Now, in response to Liza’s allegations, what I’ll say is this: the folks that were allegedly behaving inappropriately, those were just the Black dancers, and these aren’t all disgruntled, fired employees. Noelle, one of our clients, quit when she saw how the other two were being treated, and this is someone that had danced with Beyoncé, Janet Jackson, Lady Gaga. She has a lot of experience — and no one has treated her like Lizzo has.”

Rahmani said he and West Coast Trial Lawyers are “looking forward to presenting our case in a public courtroom to a jury of our peers.”

Reporting by Christina Garibaldi

Daniel DeSlover/Shutterstock More of Lizzo‘s employees are expected to join the lawsuit against the singer for harassment and discrimination. Ron Zambrano, the Employment Litigation Chair at West Coast Trial Lawyers, said in a statement to Us Weekly on Wednesday, August 9, that his firm is vetting claims from at least six more people with allegations

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Entertainment

DJ Shinski Brings AfriqueFest To Life

Published

5 days ago

June 16, 2026

Bolanle Media Staff

AfriqueFest: Pan-African Musical Experience — World Cup Edition is set to take over Noto Houston on Sunday, June 28, bringing together East, South, and West African sounds in one immersive celebration of music, culture, and connection. Presented by Experience Noir and Bolanle Media, the event is designed as a cinematic night for the culture, blending global energy with Houston nightlife in a way that feels elevated, intentional, and deeply rooted in African creativity.

Spotlight on DJ Shinski

At the heart of this year’s experience is DJ Shinski. Born and raised in Nairobi, Kenya and now based in Houston, DJ Shinski has built an international name off high-energy sets that move effortlessly across Afrobeats, Amapiano, hip‑hop, dancehall, reggae, and electronic sounds.

He has also become Africa’s most‑subscribed DJ on YouTube, crossing the 2‑million‑subscriber mark and turning his mixes into a global destination for music lovers.

DJ Shinski’s style is precise but unpredictable: one moment it’s classic Afrobeats, the next it’s East African anthems, then a run of throwback hip‑hop or R&B that still feels fresh. That ability to read a room and connect multiple worlds in a single set is exactly why AfriqueFest is building so much of the night’s energy around him.

At AfriqueFest, DJ Shinski helps drive the Safari Grooves segment, representing East and Central Africa from 4 PM to 6 PM. Expect a journey that moves from Nairobi to Dar es Salaam, Kampala, Addis, and beyond, all filtered through his signature “vibes on vibes” approach behind the decks.

DJ Tunez and the rest of the night

Supporting that energy, DJ Tunez leads the Gold Coast Beats chapter from 8 PM to 10 PM, bringing his own Nigerian‑American Afrobeats pedigree to the stage. Together with the Diamond Rhythms segment (South) and a curated roster of DJs, the night stretches across the continent in three distinct musical chapters, all connected by a single dance floor.

Hosted by @chris_gone_crazy, @kingdrewwskyy, @roselynomaka, and @samsnewleaf, AfriqueFest is positioned as more than a party—it’s a celebration of sound, style, and Pan‑African identity in Houston, with DJ Shinski anchoring the experience from the moment doors open.

Brought to you by Bolanle Media & Experience Noir

Brought to you by Bolanle Media and Experience Noir, this World Cup edition of AfriqueFest is crafted as a night where global DJs, storytellers, and music lovers collide and create a shared cultural memory. With DJ Shinski front and center—and DJ Tunez helping close the night—guests can expect a show that reflects both the future of African nightlife and the power of the diaspora to create unforgettable live moments.

If you want to experience DJ Shinski live at AfriqueFest, now is the time to lock in your spot. Purchase your tickets now at AfriqueFest.com and get ready for a night of music, movement, and culture at Noto Houston.

Entertainment

STREAMING PREMIERE · JUNE 13, 2026

Published

1 week ago

June 13, 2026

Bolanle Media Staff

Laughter Meets Inspiration: Our Ladies Show Lands on The Roku Channel

A bold new sketch comedy series for women premieres June 13 across the U.S., U.K., and Canada — arriving on the back of a festival-winning run that has critics and audiences already paying attention.

It isn’t every day a brand-new comedy arrives already wearing a row of trophies. Our Ladies Show does. The seven-episode inspirational sketch comedy series — created, written by, and starring Christin Jezak — begins streaming on The Roku Channel on Friday, June 13, 2026, available free to viewers in the United States, United Kingdom, and Canada.

Produced in partnership with global media services leader Encompass Digital Media, the series sets out to do something rare in today’s streaming landscape: make women laugh out loud and leave them lifted. In a media moment crowded with noise and cynicism, Our Ladies Show is a deliberate counterweight — comedy with a conscience, built for women of every age and background.

A Show Built Around Real Life — and Real Laughs

Each of the seven episodes opens with a monologue from one of the cast members introducing the theme, then rolls into three or more sketches that hit the subject from every comedic angle. The series tackles the things women actually carry: holding grudges, comparison, beauty, patience, gift giving, the importance of community, and dealing with anxiety.

The comedy comes from a place of warmth rather than mockery — a “laugh at ourselves” spirit that runs through a gallery of unforgettable characters: a nosey neighbor, an overwhelmed mom, relentlessly optimistic flight attendants, beauty pageant winners past their prime, and a crew of unruly campers with a counselor who simply cannot hold it together.

Then the show does something most sketch series don’t. In the final segment of every episode, the cast gathers in a living-room setting and invites the audience in — sharing real inspiration drawn from the theme, the sketches, and their own personal stories. It’s the moment the laughter turns into something that stays with you.

The Women Behind the Show

Our Ladies Show brings together three performers with serious range:

Christin Jezak — creator, writer, and star (Miracle at Manchester, Raising Hope, Jimmy Kimmel Live!)
Hillary Hawkins — (Primal, Nick Jr.’s Play Along, Gullah Gullah Island)
Sarah Hernandez — (Nefarious, Unplanned, House of Payne)

“In a world with so much division and depression, I hope women of all ages and backgrounds will watch this show, laugh, be reminded of how beautiful, unique, and loved they are, and remember how much we need each other.”— Christin Jezak, Creator & Star

Already a Festival Favorite

The series’ recurring long-form sketch, Neighborhood Watch, didn’t arrive quietly. Originally released as a web series and revamped for Our Ladies Show with new footage, sound, and music, it has been sweeping the festival circuit:

🏆 Best Webseries — 2026 New Media Film Festival (Los Angeles)
🏆 Best Web/TV Series — Paris Film Awards
🏆 Best Web Series — Dallas Movie Awards
🏅 Additional wins at the London Movie Awards, Florence Film Awards, and Hollywood Gold Awards
🎬 Official Selection — 2026 Harvard Divinity School Film Fest
⭐ Finalist — Houston Comedy Film Festival
📣 Three nominations — 2025 Content Christian Media Conference, including Best Actress in a TV and Web Series nods for both Christin Jezak and Sarah Hernandez

Where and When to Watch

Our Ladies Show premieres Friday, June 13, 2026, streaming on The Roku Channel — the home of premium and free entertainment — in the U.S., U.K., and Canada. All seven episodes deliver the series’ signature blend of sharp sketch comedy and genuine encouragement.

Watch the trailer now on your platform of choice:

For more information, visit www.ourladiesshow.com and follow @ourladiesshow on Facebook, Instagram, and TikTok.

About Christin Jezak

Christin Jezak has worked for over 15 years in the entertainment industry. She created and stars in Our Ladies Show and the award-winning web series Neighborhood Watch. She produced the EWTN TV program For the Sake of the Gospel and the all-women web series Ladies Keepin’ It Real, played Dr. Sam in Miracle at Manchester (starring Dean Cain, Daniel Roebuck, and Eddie McClintock), and voices Agnes in the podcast Confessions of a Catholic Single. She held a lead role in a short film for NTT Data directed by Academy Award–winning cinematographer Janusz Kamiński, has co-starred on Raising Hope, and appeared in Jimmy Kimmel sketches and a Grubhub Super Bowl commercial.

About The Roku Channel

Roku pioneered streaming on TV and is the #1 TV streaming platform in the U.S., Canada, and Mexico by hours streamed (Hypothesis Group, Dec. 2025). The Roku Channel is the home of premium and free entertainment, alongside Roku’s Howdy and Frndly TV services. Roku is headquartered in San Jose, California.

About Encompass Digital Media

Encompass Digital Media is a global managed services company — technology-driven, software-defined, and people-powered. Trusted by world-leading broadcasters, networks, sports rights-holders, and OTT platforms, it processes over 25,000 hours of content daily, serves 850 channels to 84 countries, distributes over 243,000 live events annually, and reaches 400 million radio listeners weekly worldwide. Learn more at www.encompass.tv.

Media & Interview Requests: To interview creator Christin Jezak or the cast, contact Christin at cjezak@p2ptheatre.com.

Entertainment

What Filmmakers Should Actually Steal From Euphoria

Published

2 weeks ago

June 4, 2026

Bolanle Media Staff

Most of the talk about Euphoria asks one question: was it realistic? That’s the wrong question if you make films. The better one is simpler. How did Sam Levinson get an audience to feel addiction from the inside? And what did it cost him to end the show the way he did?

Strip away the noise and Euphoria is a clinic in three choices: point of view, style, and the ending. Here’s what’s worth taking — and what isn’t.

1. Put the Camera Inside the Character

Most shows about drugs watch from across the room. Euphoria doesn’t. When Rue is high, the camera is high too. Walls breathe. Floors tilt. Time skips. You’re not watching her — you’re stuck inside her head.

That’s the lesson: point of view is a decision you make with the camera and the cut, not a mood you add later in color. Levinson builds it into the lens, the blocking, and the edit.

So before you shoot a scene through a character’s eyes, ask one thing on set: whose eyes is this lens standing in for? Then make every cut respect that.

2. Your Style Has to Mean Something

The glitter. The slow push-ins. The impossible club lighting. Euphoria‘s look got copied everywhere. That’s the trap.

The style worked because it carried weight. The beauty wasn’t decoration — it was the lie addiction tells you, the reason the next high looks worth it. The camera made self-destruction gorgeous on purpose.

The copies missed that. A thousand music videos took the look and left the meaning behind, and you can feel how hollow they are. So here’s the test: if your signature style could be swapped onto any other project and still “work,” it’s not a style. It’s a filter. Every choice should have a reason behind it.

3. The Ending Tells the Audience What It All Meant

When Euphoria ended for good in Season 3, Levinson killed Rue — an accidental, fentanyl-laced overdose. He called it “the honest ending,” saying he wanted to tell a true story about addiction and grief in a time when one mistake can be the last one. Reportedly, that wasn’t the original plan; the death of Angus Cloud, who played Fezco, changed the script.

Forget whether you agree with the choice. Study how it works. An ending is the last instruction you give your audience about how to read everything before it.

By ending on consequence instead of recovery, Levinson reframed seven years of beautiful chaos as a story about cost — not a celebration of it.

It’s also the show’s most debatable move, and that’s worth noticing too. A show that spent years making pain look beautiful had to fight to make that pain land as loss. Did it earn the ending, or enjoy the wreckage too long to stick it? Smart filmmakers will disagree — and that argument is exactly what a good ending is supposed to start.

What Not to Take

The neon grief is the most copied part. It’s also the least useful. Take the surface — the colors, the slow-mo, the trauma-as-texture — and you get the costume without the body.

The real craft is underneath. Commit your camera to a real point of view. Make every stylistic choice earn its place. Treat your ending as the point of the whole thing. Do that, and your work won’t look like Euphoria. It’ll do what Euphoria did.

This piece touches on addiction and substance use. If you or someone you know is struggling, support is available through the SAMHSA National Helpline at 1-800-662-4357.