But I always felt like I wanted to understand Tupac. I related to that, as well as for the part of my adolescence, the first eight, 10 years of my life, when we were on welfare. She was on the forefront of the feminist and women’s rights movements. I was raised by a single mother who was an activist. What made you want to tell the story of Tupac and Afeni Shakur now? It’s been almost 27 years since Tupac’s death. I asked myself, ‘What is the thing that everyone can understand if I do this the right way?’ It all goes back to them as social justice warriors.” “I didn’t know that when I started this project. “You see those Tupac murals in Africa, you see them in Asia, you see them all over Europe and South America, and now I know what people see - they see a global symbol of rebellion,” says Hughes, who co-directed Menace II Society and Dead Presidents with his brother, Albert. Through Hughes’ lens, however, to fully understand Tupac’s journey is to understand Afeni’s and how their lives inspired revolutionary spirits around the world. Reexamining Tupac’s life, with all its attendant tragic headlines, could have been a superfluous endeavor. ![]() “We were left to tell the story,” says Glo, rising up out of frame because she’s said all she can say. Her voice, direct and booming throughout the docuseries, finally cracks. She can no longer hold back the flood of tears recalling the harrowing yet remarkable lives of her sister and only nephew. By the time the fifth and final episode of FX/Hulu’s Dear Mama: The Saga of Afeni and Tupac Shakur ends, director Allen Hughes comes from behind the camera and embraces Afeni’s sister, Glo, with a generous hug.
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