Black Owned Media fight for their presence on the red carpet

Image Credit: Gia Peppers (Instagram)

While award shows celebrate Black talent onstage, Black-owned media platforms are still fighting for space behind the ropes. They are reshaping the red carpet not just as a photo opportunity but as a place for authentic cultural storytelling.

Awards season is often seen as a time of glamour and recognition. From the BET Awards and VMAs to the Grammys and Oscars, these nights serve as grand stages for the entertainment industry. However, amidst the flashing cameras and designer outfits, another narrative unfolds each year: the continuous struggle for space, voice and validation by Black owned media outlets on the red carpet.

For far too long, red carpets have been controlled by mainstream platforms with established access. These networks may cover black artists and entertainers, but they often lack a true understanding of their cultural context. While black talent drives the performances, headlines and viral moments that define these shows, the media that truly comprehends their journeys frequently remains sidelined.

In recent years, a surge of Black-owned media platforms, such as Secrets and Legacy Media, Essence, Girls United, Blavity, and The Media Girls Network, have made notable progress in claiming their space; their increased presence on red carpets is more than just a gesture; it represents a cultural shift. These Outlets are reshaping the red carpet from a mere promotional tool into a platform for meaningful storytelling. 

“There's something powerful about seeing yourself reflected, not just in the artist being celebrated, but in the person holding the mic,” said Gia Peppers.

A seasoned entertainment journalist and on air host who has crafted her career at the intersection of media and cultural authenticity.

Peppers has collaborated with BET and NBC and Essence and she knows what it means to hold space and environments not designed for black voices.  Her interviews on the carpet are filled with care, familiarity and joy qualities that have made her a trusted presence for both artists and audiences.

“In this current world, it's even harder to do, but I think it's even more important that we continue to tell our stories in a way that feels authentic to the journey," said Peppers.

The efforts of black-owned outlets go beyond inclusion–they focus on intention. When red carpet interviews are conducted by individuals who understand the culture the conversations become richer. The questions go deeper, laughter rings louder and the moments feel less like press and more like home.

“Our talent deserves that level of attention and celebration just like any other talent,” said Peppers. “As journalists and media that represent black culture, it is important that we are there to hold space for them in their stories.”

This presence is crucial during what Peppers calls “big moments” album releases, first nominations and standout performances.These milestones stick with artists and interviewers forever, and those key moments make a difference. Black journalists offer an emotional and cultural depth that goes beyond superficial sound bites. They have the responsibility to highlight what those moments mean not only for the artist but for the community watching. 

However, visibility is just one part of the issue. Access remains a significant barrier for black owned Outlets trying to enter Elite media circles. In fact some of the most established platforms are just now getting entry into the areas their audiences have long influenced.

“Black-owned media is on,” said Peppers. “If we look at the Met Gala, Essence has been around for 50 years. In 2021 I was the first reporter asked to cover Essence on the Met gala's red carpet. That was the first time Essence had ever been there.”

This may surprise readers who have seen Essence cover Black Culture for generations. But it underscores how entrenched the barriers to access are even for well-established publications. While 2021 marked a breakthrough it also highlighted how late many black media platforms are being invited to participate.

Peppers mentioned that when Pharrell co-chaired the 2024 Met Gala there were more black press members present than ever before. Still she recognizes that progress does not meet equality.

“This past year, with Pharrell leading the Met Gala, many more black publications were there,” said Peppers. “So, it’s important we continue to take up that space, but the representation is still lacking at the major events.”

The lack of representation is not just about numbers–it’s also about resources. Accessing a red carpet demands not only approval but also the means to fund travel, styling, equipment, production, and editing. For small or independent black media, this financial strain can be overwhelming.

“The biggest challenges are always access to the resources and knowing when these people open up their press applications for the red carpets,” said Peppers.

Often, these applications aren’t widely shared or are distributed through internal networks that many Black-owned outlets do not belong to. This results in a cycle where the same large platforms dominate coverage while those closest to the culture are excluded.

“The barrier to entry is real. It costs money to be on red carpets,” said Peppers. “Access, information, and resources are the main challenges people face in those spaces.”

Despite these obstacles, Black-owned media outlets continue to produce some of the most impactful and viral red carpet content available. This success is not by chance; it stems from their ability to capture connecting moments. Whether it's a rising R&B artist sharing their journey or a candid interaction between two black women in entertainment, these outlets provide more than coverage—they foster community.

Peppers believes artists should be more vocal in selecting who covers them. While many publicists tend to place talent with legacy television programs and mainstream blogs, artists themselves can influence their press strategy and create space for platforms that represent their identity.

“Artists have to push their teams, especially as they reach new heights,” said Peppers. “They're always going to do the TV interviews, Access, Extra, and all of those things, but they also want to connect with The Shade Room for that viral moment.”

That viral moment could benefit not just metrics but also the artist’s legacy. Black-owned media outlets often allow talent to express themselves more freely, joke more openly, and share more truthfully. It’s a type of storytelling that cannot be duplicated by standard media soundbites.

“There is still so much power in our storytelling, and there's a significant need for Black reporters, Black journalists, and Black media to report on these stories,” said Peppers.

As we progress further into the digital age, where content travels faster than ever and authenticity is key, the significance of Black-owned media continues to rise. These platforms are not waiting for permission anymore. They are carving out their own paths, building their own audiences, and redefining what red carpet coverage can be.

Yet the work is not complete. For sustainability, these outlets need funding, partnerships, and respect within the industry. Artists must continue to support them, and the industry must realize that genuine inclusion goes beyond who is in front of the camera—it involves who asks the questions, writes the headlines, and shapes the legacy.

Award season will come and go. But the storytellers behind the ropes—those holding cameras, microphones, and culture—deserve their own spotlight. Black media is not just present. It is powerful. And it is here to stay.