Rikki Hughes

So Rikki, what do you do?
I’m a showrunner and a producer… I carry a project from concept to air date. Whether I’ve pitched the show or whether the network calls me to run the show, I get in early on the ideation stage. I create the template, the feel, the look, and the cast and crew. It’s important that I know who’s being hired from top to bottom, because that helps me ensure the integrity of the process and the project. And to me and my work, integrity is everything.

Your production company is called Magic Lemonade. Why?
Because if you give me lemons, I’ll put some magic on them and make them lemonade! You know, I realized when I decided to start my own company, there was an ethos I wanted to have out there: We’re having fun. We’re making fun and creative projects that make people emote. Laugh, cry, whatever, we want to make you emote.

What’s a leadership tactic that you love?
I always try to listen more than I speak. You want to hear where someone’s coming from first and then ask questions, not give commands. One of my favorite phrases is, “Have you thought of trying it this way?” It opens people up to collaboration. Being a leader means empowering people to make decisions.

How did you get your first job in Hollywood?
I was working in the music industry for a while, but with streaming and other things, I said, “This industry isn’t for me anymore. I’m gonna produce instead.” I did a lot of research. I thought, “Who is the best person in this field? How can I stand next to that person and be of service to them?” The first job I got was a project called Dance 360, and it was a baptism by fire—chaotic, overwhelming, and I loved it. I realized I was great at managing people and problem-solving. To be honest, it’s what I do as a mom! So I knew I could do it at work.

You’re Dave Chappelle’s go-to collaborator. How did that relationship start?
I’d worked with Stan Lathan. I worked with him on Def Comedy Jam, so I’d had exposure to Dave at that point. When he decided to make his comeback, his first call was to Stan, who’d been a pillar in his community. Stan said, “Rikki, we have something special. Let’s talk to Dave.” From the moment we sat down, we galvanized a strategy and plan. We really listened to each other until it felt 100% right.

What’s unique to working with comedians?
I have such deep respect for people who perform because it’s such a hard job, and Dave works at the highest levels of comedy! In general, comics think they have to be “on” all the time and entertain you. I can’t do that. What I can do is say, “Let’s be still for a second and listen. You don’t have to ‘be’ anyone right now. You can just be.”

As children of the ‘90s, Fresh Prince is everything. What was it like producing the reunion?
Fun! But I was the one who made the calls to every cast member. I told [HBO], “We are human first. We need to see how people are doing before we roll cameras.” And HBO didn’t know me. They were like, “Will [Smith] brought this person forward to produce our show, and she’s doing what?” I said, “Trust me. Go with this. We need to be humans first.”

You famously brought the first Aunt Viv, Janet Hubert, back. How did you facilitate that?
In the beginning, I wasn’t even supposed to say “Janet.” I was specifically told, “Do not mention Janet Hubert.” I’m a habitual line crosser, though! So in our very first meeting with Will [Smith], I said, “Okay, how do you feel about Janet?” And everyone was like, “GASP AHHHH.” But not Will! Will, being amazing, thought and thought. He paused. He said, “How do you feel about Janet?” And I said, “Well, we have family members that leave and come back to us. We fall out with people we love, and find them again. I believe we’ve got to find a way to bring family back into the fold when we can.” And he was like, “Okay.”

What was your next step?
I spoke with Janet for 2-3 weeks. What’s bringing her joy? What’s troubling her? I really got to know her as a person. She finally said to me, “Rikki, is Will good with this?” And I was like, “Will is the one who told me to reach out!”… I felt the need to protect her as much as I needed to protect Will. It was 27 years since they’d seen each other. I was like, “Will, you might not want to hear what she has to say.” And he said, “No. I’ve grown. We’ve all grown. As a man, I have to listen.” So I cleared the room. I blacked out the cameras. I didn’t want it to feel like a performance. And it was so beautiful and honest, and I was in tears!

Tell us about your streetwear competition, The Hype.
The Hype is such a special project! I came from hip hop. The one thing I always loved about streetwear is, it’s a unifier across every social boundary. The line at Fairfax to get those new Jordans? Old, young, Asian, Hispanic, Black, white, families, kids, couples—a streetwear drop brings everyone together! And the streetwear community is where so much of the high fashion world pulls inspiration, but it’s so rare they receive credit! The Hype is helping them get the shine they deserve. It’s there to show people the future of streetwear.

Like a lot of competition shows, The Hype eliminates one designer per challenge. As a producer, how do you handle kicking off a contestant?
I lean into it every time, not just on-camera but off-camera. We have to keep a healthy distance from the contestants because it’s a competition. But I always let the eliminated contestant know they’re here for a reason. Their art form is to be commended. Being on a show like The Hype lets them say who they are; scream their name. So I tell them being eliminated isn’t the end. It’s the start.

Help, I want to be you. How do I begin?
Find the TV shows you really like the best. Find out who created them. Go and volunteer for that production company. Look, very few people say “no” to free labor. Figure out how much time you can afford to give and show up ready to work and ready to listen. I always say, “Stand next to the W!” Stand next to the person you aspire to be and you can learn so much.