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Back in season two on NBC for another attempt at redemption . But as the former soccer star continues his quest to reclaim his reputation, the women in his life have their own challenges to navigate.
returns as Monica, Reggie’s ex-wife and manager, who remains determined to get her life and career back together before starting to explore her own life.
reprising her role as Reggie’s new wife, Brina, whose personal ambitions and evolving place in the Dinkin family promises to create an interesting new dynamic. Despite their complicated relationship, Monica and Brina share an extraordinary understanding, as well as a mutual appreciation for a little shade.
We recently sat down with Alexander and Wham to discuss what’s in store for their characters in season two, their unique on-screen relationship, working with Tracy Morgan and the challenges of bringing the show’s mockumentary format to life.
Going into season two, what have you enjoyed most about exploring your characters that you didn’t necessarily get to explore in season one?
Monica has a lot on her plate and I wanted to explore more of her individuality outside of being Reg’s ex-wife and manager. And I get it because they made me a love interest for the great Boris Kojoe. Boris and I have worked on something called . We have been skin to skin, you hear me? So to be able to do that comedically is really great, and I really like the fact that he’s continuing to explore. The fact that he can’t get an assistant is crazy. But he is also responsible for the fall and rise of Reggie Dinkins. She’s on that road. That’s her North Star. And she’s like a dog with a bone.
So I believe I can see where that anxiety comes from, the fact that it’s not just the ex-wife. They grew up together, and we’ve got history. So you’ll see some of that story in the different guest stars and the dialogue and all of that. And in the account that Reg himself, played by the great Tracy Morgan, has of realizing that gambling has consequences, Monica was one of them. So he’s collateral damage and trying to redeem himself. But also, I think he has a sort of, “I put him there.” I love that. And that’s going to happen this season.
: Brina’s going all in this year and she’s more into her pursuits and trying different genres if you will, and she’s finding a foot family and also a reggae mom, which is very interesting. There’s a lot there. I’m really excited about it because I think people are going to be really surprised how it turns out.
How would you describe the dynamic between Monica and Brina in season two versus season one?
: I think it still portrays the same thing, but Brina and Precious as the new woman in the house are having a hard time; you don’t just take the chair. I mean, there are all kinds of mines everywhere. I think that they’re not doing a catfight. They’re not doing that. They have too much respect for each other. Again, I think Monica manages Brina calmly too, you know. So, let’s see what you say. What do you think?
: That’s true. We have a strange alliance because we can both throw it away.
: We do. Yes.
: Exactly. And then it’s a lot of fun, because in the same conversation we will continue. And it’s like, “Want to take my bag? Go ahead, girl.”
Tracey has a very distinct comedic style. I’m just wondering if you found that you had to change your approach to comedy as a result of working with Tracy or any of the other actors.
: Well, I don’t know. I haven’t had a lot of experience with comedy. So I think for me it’s my learning ground, which is very exciting, but I know it’s a very special style. So I’m grateful to be learning at this pace and at this high level from the greats, Robert Carlock, Sam Maines, Tina Fey. It’s amazing. And Tracey Morgan. I feel like Tracy has magic in that only she can do it, even with material means. There’s a line where he says, “Get your cabbage on!” Nobody could deliver that line. So it’s all interesting to me because it’s so new to me. I have had to adjust.
: Tracy is the center of gravity and she pulls, and you have to lock in because you don’t want her to pull you out. You want to be by his side and with him. And you want to keep your lead because there’s something I have to give to that role as well. So we’re constantly driving each other because we’re all coming from different places. We have Daniel Radcliffe. That’s the Death Star. If there’s anything that can come in and sort of take over, it’s Daniel’s weight in the world. And yet we all have chemistry, but it’s because we know there’s no rivalry.
We’ve accomplished so much in life. But one of the things I love about Tracy is that I always call her sunshine. He always comes up. He’s a perennial. He’s been doing this for a very long time. He knows what he’s doing. He’s incredibly honest and I think he makes everyone more fun. You gotta believe that that generosity is there. But you also have your own work to do. And he’s making a family. And so, let’s be part of the family. It can be a lot, in a good way. But they didn’t hire lightweights. They were surrounded by people who knew who they were. And I think that’s there for a reason.
Do you find that the mockumentary format of the show has affected how you approach your characters, whether you point at the camera, play the camera, or hide what you’re really feeling so the camera doesn’t necessarily know what your character is thinking?
: Yes, absolutely. The first thing we are taught coming out of acting school is not to look at the camera. Whatever you do, don’t look at the camera. And then there’s “No, no, no, shoot the camera” or “tap this into the camera,” so the first season was an adjustment. However, Bryna tries to be in front of the camera, so she has a knack for being able to just throw things at the camera, find the camera in the room and try to get everything in the lens. And that helped a lot because I didn’t have to find it. I just went for it.
: Absolutely. It’s tough to do a mockumentary. It’s a show within a show. You have the show and then you have the camera. You’re clocking it. It’s a dance and choreography. Our camera people must be more exhausted than anyone else because they’re moving and stepping and can only shoot from different angles because it can’t look staged. So they close. Our directors do all this. It’s amazing. I’m used to the scene in front of the couch where you have four cameras set up and you go in and do it like a play. This is how America was introduced to comedy after Lucille Ball in The Honeymooners. But that’s not it. And yet, it should be just as fun and accessible. But that’s the hard part. By the way, I’m still learning, but I have the best to learn from. We have Beth McCartney and all these great directors. They know what they are doing and they don’t talk down to you. By the way, these jokes are coming fast and furious. You got to move. You got to move.
You can watch our full interview with Erika Alexander and Precious Way below.
Premieres Monday, November 2nd at 8:30pm ET/PT on NBC and airs the following day on Peacock.
