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BET’s ‘Boomerang’ yields first major role for on-the-rise actress

NNPA NEWSWIRE — “Boomerang’ is dynamic, solid good content. The stories we are illustrating are universal,” said Brittany Inge, who is also the creator of The (Non) Starving Artists, which is dedicated to empowering and educating artists of every kind to be the lead in their own journeys.

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By Brianna Alexis Smith, Special to The New Tri-State Defender

The classic 90s film “Boomerang” is the latest movie to get its own reboot, courtesy of BET Network and Paramount Pictures.

Halle Berry, who starred in the original film, along with “The Chi” creator Lena Waithe, executive produced the 10-episode, half-hour romantic comedy series for BET as part of the network’s latest foray into scripted programming.

The series will continue where the 1992 film left off, focusing on the offspring of Jacqueline Boyer (Robin Givens), Marcus Graham (Eddie Murphy) and Angela Lewis (Halle Berry), as they attempt to step out of their parents’ shadows and create a legacy of their own.

It is described as an updated version of the film “Boomerang” that explores today’s contemporary workplace dynamics – including the changing role of gender and office politics – relationships, love and the conflicts between Generation X and millennials.
On-the-rise actress Brittany Inge plays Crystal Garrett, a friend to the main characters.

Brittany and I attended The Atlanta University Center. She is alumna of Spelman College and I am alumna of Clark Atlanta University. We have mutual friends. When I learned she was going to be in “Boomerang” I went to work.

My friend gave me her contact and I reached out. After getting the green light from BET, she was excited to talk with me and shared some exclusive insight on her character, Crystal.

Brittany described Crystal as “the mother to her friends,” the friend who tries to be the voice of reason.

Crystal, 26 years old and newly divorced, works in advertising, under Marcus Graham’s advertising firm.

When the audience meets her, “she’s finding her way after her divorce. She’s creating a new path for herself and figuring out what it means to be by herself,” said Brittany.
Crystal is fun, smart and loving. She’s a pro-black natural girl, with curves.

“I’m super excited about being able to represent for curvier women,” said Brittany. “I’m thrilled to be able to use my voice and body (literally and figuratively) to show that we all have stories to tell and we don’t all look one way.

“This show will illustrate what it’s like to be a millennial in 2019. What it means to be black and progressive, and trying to live your best life in the world that we currently live in,” she said.

“People will really be able to connect with these characters and the realities that they deal with. …If you’re a fan of the movie, expect something completely fresh. If you want to see yourself or people you may know represented, this is the show.”

After graduating from Spelman College with a bachelor’s degree in music, Brittany began studying acting, and has been acting professionally for six years.

“This is my first major role. I’m so excited to be a part of this cast – full of fresh faces and new actors,” said Brittany. “My experience in the Spelman College Glee Club really helped prepare me for long hours, rehearsals, being disciplined and on time, and how to take direction – which all of those things apply now as an actor and full-time artist.

“Boomerang’ is dynamic, solid good content. The stories we are illustrating are universal,” said Brittany, who is also the creator of The (Non) Starving Artists, which is dedicated to empowering and educating artists of every kind to be the lead in their own journeys.

“Boomerang” will air on BET, Feb. 12 at 10 p.m. Keep up with Brittany by following her on Instagram at @BrittanyInge or visit www.thenonstarvingartists.com. Follow Brianna Alexis Smith @TheeJournalist.

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Activism

OP-ED: AB 1349 Puts Corporate Power Over Community

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

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Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland
Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.

These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.

That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.

California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.

Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.

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Oakland Post: Week of December 31, 2025 – January 6, 2026

The printed Weekly Edition of the Oakland Post: Week of – December 31, 2025 – January 6, 2026

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Oakland Post: Week of December 24 – 30, 2025

The printed Weekly Edition of the Oakland Post: Week of – December 24 – 30, 2025

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