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'Insecure' Season 2 Finale Recap: Hella Perspective

Insecure's season finale, sees its main characters grow and have real conversations, all while continuing to messily navigate their way through adulthood.

We love us some “Insecure” here at OkayAfrica.

We've circled back every Monday during Season 2, where contributing writer Alisha Acquaye has dished all the feels on each episode. Below, we share the last recap of the season. 

ICYMI, here’s the recap for Episode 7

Walk. Walk into the place you once knew. Issa walks through an Inglewood that was once so familiar, but is changing right before her eyes. “I-Wood” is what a white millennial calls it, while advertising a new coffee shop coming to town. Issa’s shirt reads “NIGGAS”, a perfect declaration against the world changing around her—fuck your gentrification, I’m still here.

Run. Run through the corridor of palm trees that surround you. Lawrence runs a marathon with Aparna, his new boo, and the amiable coworkers he’s been kicking it with lately. Lawrence also runs from his past, from the pain of Issa’s betrayal. And as he runs, rather than confronts, their demise, the side effects of Issa’s betrayal bleeds into his new relationships. He questions Aparna’s loyalty and interest in him, suspiciously questioning her about Colin, the coworker she flimsily fucked earlier this season that she still happens to be friends with.

“Ew. Just because we had sex doesn’t make us close,” she defends herself. “That's literally as close as you could get,” Lawrence says. “Not to me.” It saddens me that some men still believe that women can't separate sex and love, as if every person that enters our bed leaves a stain in our sheets.

Strut. Strut into the space where you want to be seen. Molly struts into job interviews with the confidence and regality of an intellectual empress. Her new potential employers, two black superiors and one white, recognize her dopeness off the back, while her current employers present her with a paper award and gold stamp, like a yellow star on a child’s homework assignment. No raise, no promotion—just a disrespectful pat on the back to keep her around. She doesn’t fall for it.

Like her potential new employers, Quintin, played by Lil Rel Howrey recognizes Molly’s glow. Molly tries to imagine what her life could be like, instead of how it should be—the running motif for the past two seasons, finally articulated by her therapist—and sleeps with Quintin. Whether they connect is unclear, but by the conclusion of the episode, Molly finds herself back into the arms of Dro.

I would find Dro and Molly’s sexual affair empowering if only Molly wasn’t looking for something more, but she is. She wants love, she wants commitment. The passion she feels for Dro far surpasses the comedic connection she has with Quintin, and the practicality he shows—he could give her what she wants. We struggle with desiring people that give us a rush, make us feel alive, invigorated and emotional, even if they aren’t compatible with us. And we find it challenging to connect with the practical ones who want what we do, but the initial attraction is missing. Ideally, we should have both, but we struggle to find this—intense connection and practical compatibility—in one person, at one time.

Step. Step back into the dwelling you called home. First Lawrence, than Issa. As we watch them trace one another’s footsteps for the final time, we remember the gravitational pull of shared spaces, that somehow, sometimes, our feet lead us back to the place or person we are most attracted to: a silent map our bodies follow without our mind’s knowledge or navigation.

Issa opens her door to find Lawrence waiting around the corner. They finally are at a resting place of mutual ground, and are ready to calmly discuss their relationship. Their words are filled with the patience, perspective and introspection of two lovers who are finally acknowledging the ingredients they contributed to the disastrous recipe of the breakup. Lawrence admits that his perfectionism and expectations of himself, and thus, inability to live up to his and Issa’s hopes, made him shut down. Issa admits that she could’ve been more supportive, that at one point, she needed to be the best for the both of them in order to pull through his difficult time.

In relationships, we have to switch roles in certain phases: sometimes one partner needs to lead and take care while the other follows or recuperates from a difficult life blow. There should always be a circular exchange of love and compassion, but sometimes you have to be the backbone of the relationship when the other person is falling apart. However, this should be temporary (and mutual, if we find ourselves in this position): we can’t be a superhero forever. Lawrence and Issa’s relationship is a complicated one, because it seems like, at one point, she was holding him down, but this role became too overwhelming when it seemed as though there was no expiration to Lawrence’s slump.

While Issa watches Lawrence walk out her life, and their former home, she envisions all they could have been. We know this cliché all too well: that in near death experiences, some see their lives flash before their eyes—who they were and what they wish they could have done before meeting death. Issa’s daydream sequence is similar: while comprehending the death of her relationship with Lawrence, she imagines he proposes to her, they get married, make love, have a beautiful child, build a new home with one another. It is the most heartbreaking, bittersweet fantasy that we’ve witnessed, because we know that Issa and Lawrence still love each other, and that in a simpler life, this dream could be real.

I was team “Issa and Lawrence shouldn’t get back together," but after this episode, I am now team “Issa and Lawrence shouldn’t get back together...yet." It wouldn’t be satisfying if this episode ended with an actual proposal. I want to see them grow apart, grow with other people, fall in love with someone new and experience healthy, fulfilling relationships. And if they do find their way back together—genuinely and naturally as fully realized beings—I would root for it. But for now, it is hard to love and be right for someone when you are still figuring out how to love and do right by yourself.

I teared up during their closure conversation. It was one of the deepest, sincerest closure talks I have ever seen on television and in real life. Not everyone is granted such a productive conversation, especially so soon after breaking up. It is rare to exchange such mature words and candid tears with a person you’ve hurt and who's hurt you. Issa and Lawrence have grown.

Season 2 ended with the perfect song: Frank Ocean’s “Biking," a mellow tune with hip hop influences and a direct metaphor to navigating the twists and turns of life with the technique and liberation necessary to ride a bike. Some of us are treading water, barely staying afloat or feel like we’re drowning in life. Some of us are running from the truth, sprinting past grand opportunities or walking back into problematic situations. Or pumping pedals, steering and braking against the hilly paths and steep inclines on the road of "adulting." Our beloved characters are doing all this and more, but no matter what method they use, I am confident their destinations will be vast and picturesque, in addition to the scenic routes they take along the way.

Knock. Knock or open the door. Behind it is the person you want, the familiar, but unfortunate, spirit your bones can’t shake. For Molly it is Dro, for Issa it is the on-and-off again Daniel. Walk in. Whatever consequences you find this time is your conscious choice. And that, is empowering—even if it leads you off a beaten path.

Artwork: Barthélémy Toguo Lockdown Selfportrait 10, 2020. Courtesy Galerie Lelong & Co

1-54 Contemporary African Art Fair Goes to Paris in 2021

The longstanding celebration of African art will be hosted by Parisian hot spot Christie's for the first time ever.

In admittedly unideal circumstances, 1-54 Contemporary African Art Fair will be touching French soil in 2021. The internationally celebrated art fair devoted to contemporary art from Africa and the African diaspora will be hosted in Paris, France from January 20 - 23. With COVID-19 still having its way around the globe, finding new ways to connect is what it's all about and 1-54 is certainly taking the innovative steps to keep African art alive and well.
In partnership with Christie's, the in-person exhibits will take place at the auction house's city HQ at Avenue Matignon, while 20 international exhibitors will be featured online at And the fun doesn't stop there as the collaboration has brought in new ways to admire the talent from participating galleries from across Africa and Europe. The fair's multi-disciplinary program of talks, screenings, performances, workshops, and readings are set to excite and entice revelers.

Artwork: Delphine Desane Deep Sorrow, 2020. Courtesy Luce Gallery

The tech dependant program, curated by Le 18, a multi-disciplinary art space in Marrakech medina, will see events take place during the Parisian run fair, followed by more throughout February.
This year's 1-54 online will be accessible to global visitors virtually, following the success of the 2019's fair in New York City and London in 2020. In the wake of COVID-19 related regulations and public guidelines, 1-54 in collaboration with Christie's Paris is in compliance with all national regulations, strict sanitary measures, and security.

Artwork: Cristiano Mongovo Murmurantes Acrilico Sobre Tela 190x200cm 2019

1-54 founding director Touria El Glaoui commented, "Whilst we're sad not to be able to go ahead with the fourth edition of 1-54 Marrakech in February as hoped, we are incredibly excited to have the opportunity to be in Paris this January with our first-ever fair on French soil thanks to our dedicated partners Christie's. 1-54's vision has always been to promote vibrant and dynamic contemporary art from a diverse set of African perspectives and bring it to new audiences, and what better way of doing so than to launch an edition somewhere completely new. Thanks to the special Season of African Culture in France, 2021 is already set to be a great year for African art in the country so we are excited to be playing our part and look forward, all being well, to welcoming our French friends to Christie's and many more from around the world to our online fair in January."

Julien Pradels, General Director of Christie's France, said, "Christie's is delighted to announce our second collaboration with 1-54, the Contemporary African Art Fair, following a successful edition in London this October. Paris, with its strong links to the continent, is a perfect place for such a project and the additional context of the delayed Saison Africa 2020 makes this partnership all the more special. We hope this collaboration will prove a meaningful platform for the vibrant African art scene and we are confident that collectors will be as enthusiastic to see the works presented, as we are."

Artwork: Kwesi Botchway Metamorphose in July, 2020. Courtesy of the artist and Gallery 1957

Here's a list of participating galleries to be on the lookout for:


31 PROJECT (Paris, France)
50 Golborne (London, United Kingdom)
Dominique Fiat (Paris, France)
Galerie 127 (Marrakech, Morocco)
Galerie Anne de Villepoix (Paris, France)
Galerie Cécile Fakhoury (Abidjan, Côte d'Ivoire/ Dakar, Senegal)
Galerie Eric Dupont (Paris, France)
Galerie Lelong & Co. (Paris, France / New York, USA)
Galerie Nathalie Obadia (Paris, France / Brussels, Belgium)
Galleria Continua (Beijing, China / Havana, Cuba / Les Moulins, France / San Gimignano, Italy / Rome, Italy)
Gallery 1957 (Accra, Ghana / London, United Kingdom)
Loft Art Gallery (Casablanca, Morocco)

Luce Gallery (Turin, Italy)
MAGNIN-A (Paris, France)
Nil Gallery (Paris, France)
POLARTICS (Lagos, Nigeria)
SEPTIEME Gallery (Paris, France)
This is Not a White Cube (Luanda, Angola) THK Gallery (Cape Town, South Africa) Wilde (Geneva, Switzerland)

For more info visit 1-54

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Listen to Sibusile Xaba‘s New Jazz Single 'Umdali'

Sibusile Xaba's single 'Umdali' featuring Naftali and Fakazile Nkosi comes ahead of Brownswood Recording's highly-anticipated contemporary jazz compilation album 'Indaba Is'.