You probably know the walk. That high-energy, head-bobbing, "hey-suga-hey" energy that Terri J. Vaughn brought to our living rooms every week for five years. As Lovita Alizay Jenkins-Robinson on The Steve Harvey Show, she wasn't just a sidekick. She was the soul of the show. Honestly, it’s kinda wild to think that for decades, one of the sharpest comedic timing in the business was mostly relegated to "best friend" or "supporting" status.
But 2026 feels different.
If you've been scrolling through Netflix lately, you've likely seen her face front and center in She The People. It’s a political sitcom, but not the stuffy kind. She plays Antoinette Dunkerson, a woman from the hood who somehow claws her way up to become the first Black Lieutenant Governor of Mississippi. It’s funny. It’s biting. And most importantly, it’s hers.
The 20-Year Hustle to the Top
Hollywood is famous for lying. People promise you the moon in a pitch meeting and then never call you back. Terri has talked openly about "pounding the pavement" for twenty years to get a series of her own off the ground. Think about that. You win three NAACP Image Awards in a row—literally 2001, 2002, and 2003—and you still have to beg for a seat at the head of the table.
She basically had to build the table herself.
Back in 1997, when she first stepped into the shoes of a high school secretary with a penchant for loud outfits and bigger hair, nobody knew she’d become a cultural icon. But Lovita was special. She wasn't a caricature; she had heart. That role led to All of Us and Meet the Browns, but the industry sort of kept her in that "reliable supporting actress" box.
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Behind the Camera: The Nina Holiday Era
A lot of people don't realize that while we weren't seeing her on screen every day, she was becoming a powerhouse behind the scenes. She teamed up with Cas Sigers-Beedles to start Nina Holiday Entertainment. They weren't just making "content"; they were making movies for us. Films like Sugar Mommas, A Cross to Bear, and the Girlfriends’ Getaway franchise.
She wasn't just acting anymore. She was directing. She was producing. She was the one hiring people.
"I’ve been trying to get my own television series for like 20 years... being lied to, just a whole bunch of stuff. But just keep going, because this is what I do." — Terri J. Vaughn in a recent 2025 interview.
The Tyler Perry Connection and "She The People"
The big shift happened when she took She The People to Tyler Perry Studios. Now, look, people have a lot of opinions about Tyler Perry’s work, but for Terri, he was the only one who didn't just offer a "maybe." He offered a studio.
Working with former Atlanta Mayor Keisha Lance Bottoms as an executive producer, Terri crafted a show that feels like a spiritual successor to Veep, but with a Black woman’s perspective on power. It’s satirical but grounded. Antoinette Dunkerson has to deal with a sexist governor while her family is basically acting a fool in the public eye. It’s a mess, but it’s a brilliant mess.
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Growing Up in Hunters Point
To understand why she’s so driven, you gotta look at where she started. San Francisco. Specifically, the Hunters Point housing projects. It wasn't an easy place to grow up. She’s been very vocal about how she saw friends get lost to the streets—gangs, drugs, the whole bit.
That’s why she started the Take Wings Foundation way back in 1997. She didn't just write a check. She started a mentoring program for girls in foster care and at-risk communities. She’s been doing this for nearly 30 years now. It’s not a PR stunt; it’s a life mission.
Beyond the Screen: The Green Room
If you’re ever in Atlanta, you might’ve heard of The Green Room. It’s a specialty bookstore and lounge she opened years ago. Why? Because when she moved to Atlanta, she realized there wasn't a dedicated spot for actors to find scripts, trade tips, or just... exist. She wanted to create a space that felt like "your favorite Aunt's house."
That’s the vibe she carries everywhere. Whether she’s playing a mean-spirited Brenda in Daddy’s Little Girls (which she was terrifyingly good at, by the way) or the lovable Renee in Meet the Browns, there’s an authenticity there.
Why 2026 is the Year of Terri J. Vaughn
We’re finally seeing the industry catch up to her talent. She’s no longer just the "funny lady" from the 90s. She’s a director with credits on shows like Kingdom Business, Tales, and even Bunk'd. She’s a leading lady on a hit Netflix series.
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Honestly, it’s about time.
She's managed to stay relevant for over three decades without the help of reality TV scandals or "clout chasing." She just did the work. She stayed in the water—literally, she’s a huge fan of swimming for "radical self-care"—and waited for the tide to turn in her favor.
Actionable Takeaways from Terri’s Journey
If you’re looking at her career and wondering how to apply that "Vaughn Energy" to your own life, here’s the blueprint:
- Bet on Your Own Vision: She sat on the script for She The People for seven years. She didn't give up on it because she knew it was good.
- Diversify the Skillset: When the acting roles were thin, she learned to direct. When there were no scripts she liked, she produced them.
- Give While You Climb: She started her foundation at the height of her Steve Harvey Show fame, not after she retired.
- Location Matters: She’s credited moving to Atlanta as a major turning point for her production career. Sometimes you need a new room to find a new role.
Keep an eye on the second half of She The People dropping later this year. It's rare to see a veteran get their "big break" 30 years into the game, but Terri J. Vaughn is proving that some things—like genuine talent—just don't have an expiration date.
Next Steps for Fans:
- Stream "She The People" on Netflix: Support the show to ensure more seasons of Black-led political satire.
- Support Take Wings Foundation: Check out their annual events if you're in the Bay Area or Atlanta to see how you can mentor local youth.
- Watch her directorial work: Look for her name in the credits of BET's Tales or Hallmark’s Mahogany channel projects to see her vision behind the lens.