Halle Bailey’s love?… or something like it (Deluxe): Vulnerability, Growth, and New Colors. Approaching Halle Bailey’s debut solo album for the first time, and taking in the full project (including the newly expanded deluxe edition), felt like stepping into a carefully constructed emotional landscape rather than a collection of isolated songs. The experience is cohesive, intimate, and quietly ambitious. The ethereal, almost cinematic intro immediately sets the tone. Its poetic quality and delicate atmosphere pull you in right away, establishing a sense of vulnerability and wonder that lingers across the record. It’s a strong opening statement that primes the listener for the journey ahead. “Know About Me” (featuring GloRilla) stands out as a charismatic pivot. The collaboration injects a fresh, bold flavor into Halle’s solo sound. Something more assertive and textured than the softer R&B-leaning moments elsewhere. It expands her musical identity without feeling forced. “Heaven” is a highlight. The afrobeat-inflected production is captivating and suits Halle’s voice beautifully. There’s a noticeable kinship with the recent sonic direction of her sister Chlöe; whether one influenced the other or both drew from similar wells, the result is positive. The track feels natural and magnetic. “Back and Forth” carries clear echoes of Destiny’s Child in its melodic phrasing and group-harmony sensibility, a nod that feels both respectful and personal given Halle’s background. One of the album’s emotional peaks is “So I Can Feel Again” with Chlöe. The sisterly chemistry is undeniable, delivering a dose of nostalgia from their duo days while carrying a more mature, reflective weight. It doesn’t just revisit the past, it evolves it. “In Your Hands” leans into gospel influences with its soulful delivery and spiritual undertones, adding another layer of depth to the project’s exploration of love and healing. The collaboration with H.E.R. (“No Warning”) has strong vocal chemistry and solid ideas, but it feels somewhat underutilized. A heavier, more infectious beat could have elevated it further and given the track greater impact within the album’s flow. “Bite Your Lip” is among the strongest cuts. It carries a mature, melancholic air that showcases Halle’s growth as a songwriter and vocalist, balancing emotional weight with control. Finally, “Don’t Leave” (from the deluxe) emerges as a true standout. It fits seamlessly into the album’s themes while feeling distinct and memorable. An addition that strengthens the overall project rather than merely extending it. Visually, the original album cover does a better job of reflecting the project’s musicality. Its warmer, richer tones feel more inviting and aligned with the emotional warmth and intimacy of the songs. The deluxe artwork, by comparison, comes across as more muted and less cozy to the eye. Almost a bit faded in presence, which slightly underplays the heart of the music it represents. Taken as a complete listening experience, love?… or something like it (Deluxe) reveals Halle Bailey carving out her own space with emotional honesty, refined production choices, and a willingness to blend influences. The first-listen impression is of an artist who is both rooted in her past and confidently stepping forward. Verdict: 8.0/10

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Wow! Chelley Bissainthe via IG stories.

Tisha Campbell’s raw account of one of the hardest moments of motherhood is a powerful reminder of the silent battles so many parents fight. In a recent conversation about her memoir The A Word, Campbell describes a moment that still breaks her. After watching her son struggle in school, trying hard, failing, losing confidence, and crying hysterically over a bad grade without the right support in place, she began recording their conversation so she wouldn’t miss anything he was feeling. Midway through, he told her he intended to commit suicide. “I still can’t recall that conversation without choking the shit out of me and hearing his voice, because I had it. I had it in my hands… and it broke me,” she says. “And I still had to take care of him, make sure he was okay, wearing the mask for him, talk him through it, go into the car in the garage, roll up all the windows and scream, so he couldn’t hear me cry and wail. And then I got out of the car, I walked back into the house, no tears. I smiled at my son and got ready to fight for him. That was the hardest chapter to write, to recall, to listen to again.” This is the reality many caregivers of neurodivergent children know too well: the constant advocacy, the exhaustion of navigating systems that often fail to provide adequate support, and the private grief that must be set aside so a child can feel safe. Campbell’s willingness to share this chapter, while emphasizing the importance of listening, aligning support, and refusing to let a child struggle alone, cuts through the usual polished narratives of parenting. Her story underscores a critical truth: children who are “trying so hard” can still be in crisis when the right supports aren’t in place. And parents, even the strongest and most public ones, are often holding immense pain behind the mask they wear for their kids. If you or someone you love is struggling, help is available 24/7. Call or text 988 (Suicide & Crisis Lifeline). Campbell’s vulnerability here is advocacy in its purest form. The more we talk openly about these realities, the more families can find the resources, understanding, and community they need.

One of the Year’s Most Beautiful Films: Tender, Hypnotic, and Unforgettable. Walter Thompson-Hernández’s lyrical feature debut: In the Watts neighborhood of Los Angeles, twelve-year-old Lil Ant (Bodhi Dell) looks at the world, and at his recently returned father the way a child should: full of myth, wonder, and unwavering belief. ‘If I Go Will They Miss Me’ is a breathtaking father-son story about imagination, family, and the grace we extend to the people we love. Expanded from Thompson-Hernández’s acclaimed 2022 Sundance short, the film unfolds under the flight path of LAX. Planes roar overhead while a boy doodles gods and winged horses, recasting his father Big Ant (J. Alphonse Nicholson) as Poseidon or Odysseus and himself as Pegasus. The result is a cine-poem that transforms the everyday realities of the projects into something gravity-defying. What audiences and critics keep returning to is the film’s visual language. Cinematographer Michael Fernandez and Thompson-Hernández compose frames that feel both documentary-real and dreamlike: neighbors leaning against walls, fireworks backlighting the housing project, a homemade Pegasus taking flight. The camera looks up at skies, at myth, at possibility, rather than down at its characters. It is motion-picture poetry. The performances match that lyricism. Bodhi Dell is remarkable as Lil Ant, neither cute nor overly polished, just a real 12-year-old trying to understand damaged adults. J. Alphonse Nicholson gives Big Ant coiled energy, regret, sudden boyish delight, and quiet vulnerability; his work is frequently described as spectacular and tear-inducing. Danielle Brooks, as Lozita, is the radiant heart of the family: grounded, kind, and devastating in her moments of maternal accountability. Together they do the “deep tissue work” the story requires. Equally praised is the film’s refusal to flatten Watts into pathology. Thompson-Hernández, who grew up in the community, fills the frame with actual residents and everyday tenderness. The movie acknowledges hardship, incarceration, distance, the pressure to act tough, without denying joy, communal care, or a child’s right to myth. It is tender without being sentimental, ambitious without losing the street-level details that make it feel lived-in. At 95 minutes the film is compact, emotionally precise, and lingering. It does not offer a neat happily-ever-after; it offers something rarer: the recognition that a child’s flights of imagination are not frivolous, and that the people we love deserve the grace of being seen in their full, imperfect humanity. ‘If I Go Will They Miss Me’ is one of the most beautiful, hypnotic, and emotionally powerful films of the year. A loving portrait of childhood wonder that will stay with you long after the credits. Highly recommended. Verdict: 10/10

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COMPLEX ranked the best R&B songs of the 2000s 1. Usher – “U Got It Bad” (2001) 2. Mariah Carey – “We Belong Together” (2005) 3. D’Angelo – “Untitled (How Does It Feel)” (2000) 4. Alicia Keys – “You Don’t Know My Name” (2003) 5. Ashanti – “Foolish” (2002) 6. The-Dream – “Rockin’ That Shit” (2008) 7. R. Kelly – “Ignition (Remix)” (2002) 8. Beyoncé – “Me, Myself and I” (2003) 9. T-Pain feat. Yung Joc – “Buy U a Drank (Shawty Snappin’)” (2007) 10. Ne-Yo – “So Sick” (2005) 11. Amy Winehouse – “Back to Black” (2007) 12. Usher – “U Don’t Have to Call” (2001) 13. Sade – “By Your Side” (2000) 14. Mýa feat. Jay-Z – “Best of Me, Part 2” (2000) 15. Aaliyah – “Rock the Boat” (2001) 16. Amerie – “1 Thing” (2005) 17. Rihanna feat. Jay-Z – “Umbrella” (2007) 18. Chris Brown – “Yo (Excuse Me Miss)” (2005) 19. Erykah Badu – “Didn’t Cha Know” (2000) 20. R. Kelly – “I Wish” (2000) 21. Usher – “Confessions Part II” (2004) 22. Janet Jackson – “Someone to Call My Lover” (2001) 23. Ginuwine – “Differences” (2001) 24. Monica – “So Gone” (2003) 25. Beyoncé – “Single Ladies (Put a Ring on It)” (2008) 26. Ashanti – “Rock wit U (Awww Baby)” (2003) 27. Destiny’s Child feat. T.I. & Lil Wayne – “Soldier” (2004) 28. Jagged Edge feat. Run – “Let’s Get Married (Remix)” (2000) 29. Ciara – “Promise” (2006) 30. Carl Thomas – “I Wish” (2000) 31. Ne-Yo – “Miss Independent” (2008) 32. Faith Evans – “I Love You” (2002) 33. Mary J. Blige – “Family Affair” (2001) 34. Jazmine Sullivan – “Need U Bad” (2008) 35. Jill Scott – “A Long Walk” (2000) 36. Lloyd feat. Lil Wayne – “You” (2006) 37. Kelis – “Milkshake” (2003) 38. Case – “Missing You” (2000) 39. Maxwell – “Pretty Wings” (2009) 40. Bobby V. – “Slow Down” (2005) 41. Fantasia – “When I See U” (2007) 42. Joe – “Stutter” / **Joe feat. Mystikal** – “Stutter (Double Take Remix)” (2000/2001) 43. Anthony Hamilton – “Charlene” (2004) 44. Robin Thicke – “Lost Without U” (2006) 45. Keyshia Cole – “Love” (2005) 46. Cassie – “Me & U” (2006) 47. Michael Jackson feat. Marsha Ambrosius – “Butterflies” (2002) 48. Justin Timberlake Feat. T.I. – “My Love” (2006) 49. Pretty Ricky – “On the Hotline” (2007) 50. Pharrell feat. Jay-Z – “Frontin’” (2003)

‘IF I GO WILL THEY MISS ME’ starring Danielle Brooks and J. Alphonse Nicholson is now available on digital platforms following its theatrical run. The feature debut from writer-director Walter Thompson-Hernández follows 12-year-old Lil Ant, whose father returns home to Watts, Los Angeles after incarceration. Fascinated by Greek mythology, Lil Ant makes sense of his family through myth, seeing his father as Poseidon, his mother as Medusa and himself as Pegasus. Expanded from Thompson-Hernández’s Sundance-winning 2022 short of the same name, the film was shot in just 22 days and is Certified Fresh at 96% on Rotten Tomatoes.