Bold claim time: Black women deserve their own stall of buddy comedies, and the conveyor belt of options should be just as long as the ones for white women or for male duos. If you Google “Black women buddy comedies” today, you’ll mostly find a short handful: 1997’s B.A.P.S., 2017’s Girls Trip, and 1995’s Waiting to Exhale (which many consider a romantic drama more than a true buddy comedy). Beyond those, there aren’t many prominent examples to compare with the abundance of male buddy comedies or even Black-led entries from later decades.
From Baby Mama and Bridesmaids to The Heat and Booksmart, the roster of films featuring funny women pairs or ensembles far outnumbers what we’ve seen from Black women in similar buddy setups in the 21st century. Yet there’s a pulse of momentum right now: a new buddy comedy led by Keke Palmer and SZA is aiming to change the landscape.
One Of Them Days, written by Syreeta Singleton (the showrunner of Rap Sh!t) and directed by Lawrence Lamont, and backed by Issa Rae’s production, marks the first Black-women-led buddy comedy in nearly eight years and the first duo-led project in almost three decades. Palmer and SZA reconnect after their acclaimed 2022 SNL appearance, and the cast is stacked with familiar comedians and performers, including Katt Williams, Lil Rel Howery, Maude Apatow, Janelle James, Vanessa Bell Calloway, and Keyla Monterroso Mejia.
Set in South Los Angeles, the film follows two broke best friends and roommates, Dreux (Palmer) and Alyssa (SZA, in her acting debut), as they race against eviction after Alyssa’s freeloading boyfriend blows their rent. With only a day to conjure $1,500 and to help Dreux land a life-changing corporate interview, their frantic plan spirals into a wild sequence of escapades that deliver big laughs and big heart.
As in classic buddy comedies, the plot is a roller coaster of hijinks—think a chaotic blood-bank mishap, a sneaker sale gone wrong, and a desperate round of borrowing from a local payday loan shop. Yet the film also carves space for something more meaningful: a genuine celebration of friendship between two women and the personal growth they each pursue. Dreux, practical and driven, wants more than a minimum-walance wage as a waitress, while Alyssa, a free-spirited painter, wrestles with turning her dream into a full-time vocation.
There’s a magnetic charm in One Of Them Days that some audiences have felt missing for nearly three decades—the return of Black women’s buddy comedy to the mainstream spotlight. Issa Rae and Lawrence Lamont have both emphasized in interviews that there hasn’t been a true reference point for this particular movie, though nods to Friday and other Black cinema of the 1990s feel present. Townsend’s B.A.P.S. is often cited as the closest predecessor to this kind of pairing, highlighting both the potential and the limitations of Black female buddy comedies in earlier decades.
B.A.P.S. introduced Halle Berry and Natalie Desselle-Reid as two exuberant, larger-than-life friends chasing a wild scheme in glamorous Beverly Hills. Though critics at the time were mixed and the movie polarized audiences, it later gained cult status for breaking ground in portraying Black women in comedic lead roles who aren’t just sidekicks. Berry and Desselle-Reid’s chemistry remains a touchstone for later filmmakers crafting Black woman-led buddy stories.
Two decades later came Girls Trip, a game-changing follow-up that brought a bigger ensemble—often referred to as the Flossy Posse—together for a heartfelt, raucous festival-bonding caper. Critics lauded its humor and its portrayal of Black sisterhood as both funny and deeply sincere, helping to demonstrate a healthy appetite for this subgenre when done well. The film’s blockbuster success underscored that audiences were ready for more stories centered on Black women’s friendship and shared ambitions, not just romance or single-character narratives.
That momentum briefly dimmed after Girls Trip, as the mainstream market for Black comedies cooled and audiences shifted to other genres. But the numbers spoke loudly: when the right project lands—with strong writing, chemistry, and a smart ensemble—Black women buddy comedies can not only land, they can resonate widely and be financially viable. The back-to-back interest from Rae, Lamont, Singleton, and other producers signals a clear intention to cultivate more of these stories.
There’s a broader cultural significance here, too. Comedy is a powerful vehicle for reflecting Black women’s experiences—from everyday humor in private circles to public moments on social media—and yet mainstream cinema hasn’t consistently mirrored that reality in this subgenre. One Of Them Days isn’t just entertainment; it represents a potential turning point for Hollywood to acknowledge and invest in Black female duos as a valid and valuable storytelling choice.
Early buzz suggests the film is hitting the mark. Reviews ahead of the release praised the performances, and the movie earned strong social-media momentum for its witty dialogue and memorable scenes. If public enthusiasm continues, the film could help pave the way for more sequels, spinoffs, or new buddy comedies that place Black women at the center of funny, relatable adventures.
Issa Rae has spoken about the industry’s expectations and the need for success to demonstrate to studios that audiences want to see Black people—and specifically Black women—in leading, comedic roles. Her aspiration is simple and powerful: to see One Of Them Days become a canonized, frequently referenced title in conversations about iconic Black films.
In short, One Of Them Days arrives at a crucial moment. If it performs well, it could spark a longer overdue renaissance of Black women buddy comedies and encourage Hollywood to invest in more projects that celebrate Black women’s humor, ingenuity, and resilience. The potential is there, and audiences deserve more of these stories. One Of Them Days is currently streaming on Netflix.
