In the middle of one of the most rewarding periods of King’s career and an unprecedented crisis in the world around her, the actor and director is stepping into the spotlight—and her power. 

Regina King has survivor’s guilt.

Somehow, amid the relentless existential punishment of 2020, King is having one of the best years of a multidecade career in a business that can be notoriously unfriendly to Black women.

At the beginning of September, King became the first Black woman director in the 87-year history of the Venice Film Festival to have her work screened as part of the programming. Though it was not competing for a prize, One Night in Miami made its world premiere in Venice. King’s feature directorial debut is an adaptation of the Kemp Powers play of the same name, which follows Cassius Clay (Muhammad Ali), Malcolm X, Sam Cooke, and Jim Brown through a night of celebration, conflict, fellowship, and moral and political epiphany after Clay defeats Sonny Liston to claim the world heavyweight boxing championship title.

Weeks later, King accepted her fourth prime-time Emmy for playing Sister Night, a.k.a. Angela Abar, in HBO’s Watchmen, the brilliant, devastating miniseries “remix” of the much lauded comic series by Alan Moore and Dave Gibbons. She accepted the Emmy for leading actress in a limited series in a striking fuchsia Schiaparelli pantsuit, soft curls piled atop her head. Under her blazer, she wore a T-shirt that bore Breonna Taylor’s face, accompanied by the words “SAY HER NAME.”

“Gotta vote,” she said, having accepted the Emmy statue from a trophy bearer dispatched by the Television Academy. “I would be remiss not to mention that, being part of a show as prescient as Watchmen. Have a voting plan.”

She ended her thank-yous, eyes bright, with a shout-out to the late Supreme Court Justice Ruth Bader Ginsburg. “Rest in power, RBG,” King said, fully acknowledging the swirl of anxiety-producing developments happening in the world.

Read the full article/interview in our press library.

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