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Viola Davis Responds to Criticism of ‘First Lady’ Michelle Obama Portrayal: ‘Critics Absolutely Serve No Purpose’
Viola Davis has responded to critics of her portrayal of Michelle Obama in Showtime’s “The First Lady,” admitting that “not everything is going to be an awards-worthy performance.”
In an interview with BBC News to promote her new memoir, “Finding Me,” the Oscar, Tony and Emmy-winning actor spoke candidly about her turn as the former First Lady, which drew barbs from audiences and critics for Davis’ take on Obama’s facial expressions and pursed lips.
Davis said it was “incredibly hurtful when people say negative things about your work.”
“How do you move on from the hurt, from failure?” she said. “But you have to. Not everything is going to be an awards-worthy performance.”
Davis also told the BBC: “Critics absolutely serve no purpose. And I’m not saying that to be nasty, either.
“They always feel like they’re telling you something that you don’t know,” she continued. “Somehow that you’re living a life that you’re surrounded by people who lie to you and ‘I’m going to be the person that leans in and tells you the truth,’ so it gives them an opportunity to be cruel to you. But ultimately I feel like it is my job as a leader to make bold choices. Win or fail it is my duty to do that.”
Davis, one can argue, had the toughest job of the three leads in the Susanne Bier-directed series, as Michelle Pfeiffer and Gillian Anderson were both portraying White House matriarchs from decades back. Pfeiffer played Betty Ford, who served as First Lady from 1974 to 1977 and who died in 2005, and Anderson as Eleanor Roosevelt, who was First Lady between 1933 and 1945, and who died in 1962.
Davis, who said she hasn’t had any personal contact with Obama, noted that playing a globally recognized contemporary figure of Obama’s ilk was “almost possible”: “Either you’re doing too much, or not enough,” she said.
The actor won the best supporting actress Oscar in 2017 for her performance in Denzel Washington’s “Fences,” and has been nominated for turns in “Doubt,” “The Help” and “Ma Rainey’s Black Bottom.” Davis is also a two-time Tony winner for “King Hedley II” and “Fences” (the play upon which Washington’s movie was based). In 2015, she won an Emmy for “How to Get Away With Murder.”
Source: variety.com
President John Dramani Mahama has commissioned four career diplomats as ambassador-designates to represent Ghana in four countries.
The commissioning ceremony took place on Friday, October 16, 2026.
The new envoys are Her Excellency Nana Antwiwaa Dodoo, Ambassador-Designate to Angola; His Excellency Louis Kwame Obeng, Ambassador-Designate to Qatar; Her Excellency Evelyn Korantemaa Ofosu-Amable, Ambassador-Designate to Israel; and His Excellency Jedidiah Reuben Adogla, Permanent Representative-Designate to Switzerland.
President Mahama charged them to advance Ghana’s national interests through strategic partnerships, economic diplomacy, investment mobilization, and expanded access to international markets.
He said Ghana’s diplomatic engagements must deliver tangible economic benefits, create jobs, and strengthen the country’s standing on the international stage.
The four envoys are career diplomats with over 27 years of experience.
On behalf of her colleagues, Her Excellency Nana Antwiwaa Dodoo thanked the President for the confidence reposed in them and pledged their commitment to emulate his leadership and deliver on the mandate given to them.
By Edem Mensah-Tsotorme
The professor who spends his days exploring the intricacies of African languages found himself at the centre of a different kind of lesson on Friday, October 2, 2026. 
This time, there were no lecture notes, academic arguments or university classrooms. Instead, there was the weight of tradition, the rhythm of a community celebration and the solemnity of an oath at a royal palace.
Professor Ọbádélé Kambon, a full Professor of African Linguistics at the University of Ghana, was enstooled as Apagyahene and Sunsum Ɔsahene of Akuapem Mampong in the Eastern Region in a ceremony that brought academia and traditional authority together.
For the professor, the occasion was more than a new title. It was a moment that connected his academic interests in African languages and indigenous knowledge with the living traditions of an Akan community.
The day’s events unfolded through a series of customary observances. Kambon was first taken to the compounds of the Ɔkyeamehene and Gyasehene, where the preparations for his installation continued.
Then came the application of hyire, the white kaolin powder associated with traditional rites.
With the customary proceedings underway, the new chief was lifted onto the shoulders of celebrants and carried along the main thoroughfare of Akuapem Mampong.
The procession transformed the streets into a public stage for a ceremony rooted in the community’s traditional institutions.
There was something striking about the image, a university professor, accustomed to the measured language of academic discourse, being carried through the town in a display of traditional recognition.
Yet the celebration was not complete with the procession.
A ram was sacrificed at the Mamponghene’s compound before Kambon was taken to the palace, to swear the oath associated with his new offices.
The ceremony brought him formally into his roles as Apagyahene and Sunsum Ɔsahene.
Beyond the colourful proceedings, the titles themselves carry layers of historical meaning.
Kambon in his research explores the historical connections between Apagya and Akan political and military organisation.
Accounts cited in his work linked Apagya to an asafo, or military company, while historical writing traces an Apagya stool in Asante to the reign of Opoku Ware I in the eighteenth century.
These historical associations offer a glimpse into the institutions that have shaped Akan society over generations, although they do not automatically define the precise responsibilities of the office in Akuapem Mampong.
Kambon’s own professional life reflects a similar interest in preserving and examining African knowledge.
His work encompasses Akan language structure, naming practices across the Black world, proverbs and indigenous intellectual traditions.
Through Abibitumi, the platform he founded, he also promotes language learning, scholarship and cultural engagement.
But tradition was only one part of the story that day.
When the formal ceremony gave way to a reception, the occasion expanded into a celebration of three milestones: Kambon’s enstoolment, his promotion to full professor and his daughter Ama’s admission to the University of Ghana.
The gathering therefore carried a personal significance that went beyond the honours bestowed on one man. 
It celebrated professional advancement, the continuation of family aspirations and a connection to cultural heritage.
For a father, seeing a daughter gain admission to the same university where he holds a distinguished academic position offered another reason to celebrate.
For the professor, the moment placed family achievement alongside his own professional and traditional milestones.
Kambon had already established a place in the traditional life of Akuapem Mampɔn through an earlier installation as Banmuhene Kyidɔmhene, recorded in 2017.
His latest enstoolment adds another chapter to that relationship.
In Akuapem Mampɔn, the day brought together the university, the palace and the family table in one celebration. And for Kambon, the journey from the lecture room to the traditional procession showed how scholarship, cultural responsibility and family achievement could converge in a single memorable occasion.
By Enoch Ntiamoah Siaw
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