The latest episode of P-Valley has undeniably left audiences reeling, plunging into the depths of despair and brotherhood with Big Teak (portrayed by the compelling John Clarence Stewart) and Lil Murda (J. Alphonse Nicholson) at its core. “Savage” unfolded as a poignant exploration of mental anguish, culminating in a heart-wrenching climax. Following the celebration of Lil Murda’s new track release with Tina Snow (Megan Thee Stallion), the narrative takes a somber turn as Lil Murda discerns Big Teak’s devastating intention to end his life. Their subsequent day together, punctuated by an intimate diner conversation where unspoken truths about their bond surface, is a testament to the series’ nuanced storytelling. Despite Lil Murda’s attempts to dissuade him, the episode concludes with the tragic act of Big Teak’s suicide, witnessed by Lil Murda, sending him in shock to Uncle Clifford’s door, bloodied and broken.
To gain deeper insight into this powerful storyline, we engaged in a conversation with John Clarence Stewart. He shared his reflections on his P-Valley journey, the intricate relationship between Big Teak and Lil Murda, and the significant themes his character brought to light.
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John Clarence Stewart’s Initial Draw to Big Teak
When asked about what initially attracted him to the role of Big Teak, Stewart highlighted his admiration for Katori Hall’s previous work. He was particularly moved by a monologue from episode 204, addressing Black lives. “I’ve never heard or read a character that was saying something that encapsulated my experience being a Black man living through that time she’s writing about,” Stewart expressed, emphasizing the profound connection he felt with the character’s narrative. This resonated deeply with him, moving him beyond mere intrigue to a state of enthrallment with the role.
Exploring the Nuances of Mental Health Through Big Teak
P-Valley, through Big Teak’s narrative, bravely navigates the complexities of mental health struggles faced by Black men. Stewart emphasized the significance of portraying “all these different shades of his turmoil.” He elaborated on Big Teak’s battles with love, societal pressures, and fundamentally, a deep-seated feeling of alienation. “He doesn’t feel like the world is made for him and doesn’t feel like the world he’s released into is made for him,” Stewart articulated, capturing the character’s profound sense of displacement.
Stewart drew from his own experiences and observations within the Black community to inform his portrayal. He acknowledged the prevalence of depression, anxiety, and darkness, noting, “I know a lot of Black men who have friends who have navigated the same waters. Some have taken their lives, some are still making their way through.” He aimed to dismantle the “myth of this impenetrable Black man,” revealing the “pain” concealed beneath a “hard exterior.” Without adequate “tools to process and transmute that pain,” Stewart explained, this internal struggle can become overwhelming, leading to tragic outcomes.
Addressing audience reactions wishing for a different outcome for Big Teak, such as seeking therapy, Stewart poignantly stated, “The truth is he didn’t have those tools.” This underscores the critical message about access to mental health resources and the often-unseen battles many individuals face.
The Inevitable End and Initial Reaction
Stewart revealed that he was aware of Big Teak’s finite arc from the outset. Katori Hall had envisioned a five-episode journey for the character with a predetermined conclusion. “She told me what her intentions were for the character and my mission was set before day one,” Stewart stated. While the specific details of the ending were unknown initially, its finality was clear.
The emotional impact of reading Big Teak’s final episode was profound for Stewart. Simultaneously working on Zoey’s Extraordinary Playlist, he recalled reading the script in his trailer in Vancouver and being overcome with emotion. “I texted Katori and was like, ‘Wow, wow, wow.’ It felt so true,” he shared, highlighting the raw authenticity of the narrative’s conclusion.
The Complex Brotherhood of Big Teak and Lil Murda
The relationship between Big Teak and Lil Murda was portrayed with remarkable complexity and depth. Stewart spoke of his “amazing professional relationship” with J. Alphonse Nicholson, built on mutual respect. “We joined forces on behalf of these men and everything was about telling their truth,” he emphasized, underscoring their collaborative commitment to portraying the authenticity of this bond.
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Highlighting the diner scene and similar moments of tenderness, Stewart reflected on their significance in depicting “what happens when Black men have a safe space to be vulnerable and intimate, open and soft.” He described both characters as having “hardened in the world” despite possessing “sensitive souls.” Lil Murda’s artistic spirit and Big Teak’s “porous and sensitive soul” are juxtaposed against a world “not made for sensitive souls in Black skin.” Stewart poignantly noted that Big Teak’s actions stem from “not being able to protect himself and not being able to do it on behalf of the people he cares about.” He concluded by emphasizing the importance of showcasing “Black love, Black joy, Black intimacy, and Black softness” as integral to the narrative, if not more so than the pain.
Speculating on a Big Teak and Uncle Clifford Encounter
While Big Teak and Uncle Clifford (Nicco Annan) never directly interacted on screen, Stewart considered the potential dynamics of such an encounter. He referenced the scene where Big Teak observes Lil Murda discussing Uncle Clifford, noting Teak’s initial confusion. However, Stewart believed Big Teak would recognize a shared commonality – “another person in the world who cares for Murda the way he does.” He pondered whether they might “chop it up or become friends?” or experience “misunderstandings?”
Stewart drew parallels between the characters, suggesting “the world was not made for either of them.” He highlighted Uncle Clifford’s creation of the Pynk as an “ecosystem that she’s created that is in alignment with who she is.” Similarly, he imagined Big Teak operating under “a set of internal laws that he lives by” and speculated that this shared sense of existing outside societal norms could form a connection between them.
Lasting Impact and Future Perspectives
Reflecting on the broader impact of P-Valley and the role of Big Teak, Stewart shared a deeply personal anecdote. His mother sent him an interview from his younger years where he expressed a desire to “tell stories for my community and being drawn to characters that have darkness in them to try to understand that place inside them and empathize with them.” He recognized that his career trajectory, culminating in the role of Big Teak, has allowed him to fulfill this aspiration.
Stewart concluded by affirming the profound experience of “working with Black people” on this project. While valuing diverse storytelling, he emphasized the unique significance of telling “this Black story and having it be so specific.” He believes that “when storytelling is very specific it makes it universal,” crediting Katori Hall for achieving this delicate balance.
This interview has been edited and condensed.
P-Valley airs Sundays on Starz.
If you or someone you know is considering suicide, please contact the National Suicide Prevention Lifeline at 1-800-273-TALK (8255), text “STRENGTH” to the Crisis Text Line at 741-741 or go to suicidepreventionlifeline.org.
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