How Regina King conquered Hollywood Emmys
The accolades have left King unfazed. The day before our meeting, she’d been at the 99-cent store buying toothbrushes. When we’re done talking, she’ll be doing a Costco run. One of the few celebrity perks King allows herself is occasionally hiring a driver , who she’ll send into a store if it’s mobbed.
She is just as forthright with her collaborators. Consider a conversation she had with Lindelof after she got the script for Episode Seven ofIt concerned a pivotal moment when King’s hero, Sister Night, a.k.a. Angela Abar, is coming down from an overdose of the drug Nostalgia. Barely conscious, she’s taken to the cavernous compound of the scientist-mogul Lady Trieu, the only person who knows how to extract the toxin from Abar’s body.
“As a teenager, you don’t know why you’re having bad feelings or anxiety,” she says. “Maybe it’s hormones or, shoot, the freakin’ news. But my mother would say, ‘Well, when that’s happening, just change your thought.’ And it sounds like” — she rolls her eyes and sighs like Brenda, the teenager she played on the Eighties sitcom— “but I started doing that, and it started changing how I felt.
Her close friend of 20 years, Gabrielle Union, tells me, “Some people, their attitude, their personality, the access they allow, depend on how they’re doing. She’s been the exact same. With all the awards, the same. When you’re in a drought, the same. She’s consistent, authentic, and clear in who she is. And she’s fun as fuck.”One Night in Miami
“In a lot of places — construction, special effects, makeup, gaffers . . . there just aren’t women that even do those jobs,” she says. “So, I’ve been talking to the men who were hired in those positions about outreach programs. Because there are a lot of women in regular construction who probably have no idea that construction workers are needed to build sets.” She also plans to suggest that the Academy of Motion Picture Arts and Sciences begin similar initiatives with performing-arts schools.
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