In many ways, the Facing Race conference in Atlanta, Georgia, was exactly this kind of space. For two and a half days in November, some 2,300 racial justice activists gathered to participate in panel discussions and workshops on how to make moves toward achieving long-sought racial equality. One of the conference panelists, Jamilah Lemieux—currently Vice President of News and Men’s Programming for Interactive One and former Senior Editor of Ebony magazine—sat down with us to talk about her work as a writer, and what kind of media we’ll need in the years ahead.

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Brandon Tensley: Could you start by telling us more about the importance of being under black thinkers? Roxanne Gay hit on this yesterday—the idea that when you’re working under a white hierarchy, that can affect the voice that actually comes out of the work. Has that figured in your writing, or have you seen that play out over your career?

Jamilah Lemieux: I routinely hear from my friends who are freelance writers about their struggles with non-black editors, who may be very earnest in assigning a story or accepting a pitch about something directly impacting or shaped by black people. It’s not every editor—I’ve had great experiences with white editors, and non-black people of color editors—but if this isn’t your lived experience, if this is not your community, your vernacular, your lens, then you can’t always be trusted to know how those stories should be told.

Unfortunately, so many black journalists have basically been told that they can’t be unbiased. When they’re doing reporting, even when it comes to op-ed writing, we’re told that we can’t be trusted to be the final say. We’re too close to the information, we’re too close to the story, right? And so we end up with the idea of whiteness as default.

In particular, I think of some of the mainstream men’s publications and their interviews with black male athletes and rappers. There have been instances where the subject was offended or bothered by the writer or just not really getting any insight. It’s almost like National Geographic stepping into Compton or Chicago to talk to someone who’s American, as if he’s from some mystical, magical land where there are gangs and basketball. To that example, the conversations between rappers and black male journalists are so much richer. Even if they’re from different class backgrounds or different parts of the country, there is something that kind of unifies them in their black maleness.

So, I think that the best reporting about black people is led by black editors. I think that the best op-ed writing about black people has been touched and shaped by black editors, and I’m looking forward to empowering more black editors to do the work I’ve been able to do in the last five years.

Michael Richardson: We do a lot of work on poverty issues. What do you think the media’s role is in reporting about poverty and illustrating the narrative of people’s stories?

JL: There’s what the role is now, and there’s what it should be. The media, of course, has not been kind to folks living in poverty. It has not been honest. Oftentimes, we just have these very trite, narrow, limited stories about what it means to be impoverished in America, when that entails such a diverse set of experiences.

There are people who are glamorous and popular, who in certain ways enjoy a decent quality of life, perhaps outside of the household, who are living in poverty. There are so many people who have experienced periods of poverty, but who are no longer living in poverty and maybe themselves are trying to escape or erase that experience, so it’s not something they include in their own narratives about themselves. They don’t talk about it often, or it just becomes this anecdote once you’ve made a whole lot of money and you’re wildly successful. Then it’s cool to say, “I grew up poor.”

But the media, much like the government, criminalizes poverty. It shames people for struggling and acquiring benefits we pay a lot of taxes to fund. And we just simply have to do better in telling the truth about what it means to be poor.

Think about a show like Atlanta, where there’s actually a plot twist at the end of the season when you see where the main character lives. He spent the season house-hopping from his woman’s house to his parents’ and other women’s houses, and you just never really thought to ask, “Does he have an apartment? Does he have a home? Does he have somewhere where he can collect mail?” And then you see in the last episode that his home is a storage unit.

I think that’s an experience that’s more common than a lot of us know. This character is someone who is cool and popular. He’s got this cousin who’s got a rap career, and he’s managing it, so he’s going to parties. He attended Princeton, so he’s got some very highfalutin friends, and this very pretty on-again, off-again girlfriend, and a child. You wouldn’t think that this person is, in theory, homeless.

BT: Could you put that in the context of this political moment, where, especially over the past few days, there’s been racist, homophobic backlash? Do you see your role—and other people’s, as well, especially people of color—as a writer, as a thinker, needing to shift going forward, even just looking to 2017?

JL: We’ve been doing this work for quite a long time. We’ve always had this work to do. It’s urgent now, more than ever, and it’s daunting.

We have so much work to do. It’s going to get harder. It’s going to get more intense. I think that the closest thing to a silver lining is that I don’t think people will have the luxury of ignoring this work in the way they once did. Your class status won’t protect you. Deciding to be detached from media won’t protect you. People you know will be impacted by what’s going to come.

I think that the level of vitriol, and the outward expressions of hatred by people who are supporting our next president, are going to force a lot of people to wake up and pay attention. That’s an opportunity for media-makers on every side of the business. For those of us who do advocacy journalism and want to change hearts and minds with our work—as opposed to simply driving traffic to a website or people to a newsstand or television network—we have a difficult ride ahead of us. But there are people who are equipped to do this work, and we just have to fight to keep each other sustained, to not just completely fall apart, to make sure that we have funding, to make sure that we have space. I do think that great work will come from what’s going to be a very dark time.

MR: What do you think the role is for progressive media advocates in lifting up these voices? What would you recommend to them as they continue on this journey?

JL: For those of us who work on the editorial side, making sure that we are looking for a diverse pool of content creators and writers. We can’t keep hearing from the same people over and over again.

Understand that people need joy, people need safe spaces, and people need a break. So you know, if a Solange album comes up, or Beyoncé drops a project, people are going to want to celebrate that. Make space for that.

Also, be more lovingly critical when we’re talking about ourselves, whether it’s an album, a politician, a thinker, or somebody who said something problematic. Learning how to critique our stuff with love, as opposed to “Did you really like Solange’s album? Is it really a big moment in music, or just something you all like right now?” or “So-and-so said something kind of offensive, so he’s dismissed, he’s problematic, he’s thrown away.” We need each other, we can’t afford to lose each other. We shouldn’t make energy to hurt people’s feelings.

You’d be very hard pressed to get me to sit down and write a long excoriation of Tyler Perry in 2016 or 2017. I just don’t think that’s the best use of my time and talent. I’m also not going to dismiss the people he reaches. I’m not going to say I don’t have stern critiques of his work and some of the messaging he puts forward. But at the same time, knowing who our enemies are, and who’s a real threat to our lives, is more urgent than it’s ever been.

The film was inspired by In Moonlight Black Boys Look Blue, a stage piece written—and shelved—a decade ago by playwright and MacArthur “genius” Tarell Alvin McCraney. Moonlight’s storyline divides the life of its main character, Chiron, into three parts: his childhood in the poor Liberty City projects of Miami, Florida; his teenage years balancing his mother’s crack addiction and his peers’ intensifying homophobia; and his early adulthood selling drugs in Atlanta, Georgia.

Audiences can draw a line from McCraney to Chiron in several clear-cut ways: mothers struggling with addiction; dope dealers doubling as father figures; and—given that McCraney, like Chiron, is gay—black queerness. But this narrative also speaks to other gay black men, like me, who can probably see at least a sliver of themselves in Chiron.

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In light of the persistent whiteness of major Hollywood films, Moonlight’s incredible blackness and queerness feel almost overwhelmingly refreshing. More often than not, the only options available to black characters involve saving or suffering. Jenkins, however, pulls something about our lives into focus that many audiences don’t really care to understand: the dignity of black bodies, including gay black bodies.

At a time when black lives are silenced more than they’re seen, Chiron’s story carries a potent political urgency. Without moralizing about social misery or giving audiences a reductive takeaway, the film lifts up the fullness of black lives—even if the people living them are poor or dealing drugs or gay.

It is Moonlight’s sensitivity to black life that contributes to its expert handling of pain and healing. Its earliest scenes are set in the 1980s, when the war on drugs was at its most vicious. But the film blasts away myths about poverty, race, sexuality, and how they all intersect. Naomie Harris, for instance, who plays Chiron’s mother Paula, recently told NPR that she was initially skeptical of portraying a crack-addled black woman, due largely to the tropes that beleaguer people of color all too frequently. She found, however, that the movie treats addiction as “a way of coping with pain. We all have pain, but we might be dealing with it in ways that are more socially acceptable.” She continued: “To really play this part, I had to learn to love her and have compassion for her, by really realizing that actually she’s doing the very best that she can with the resources she has at that time.”

One of the film’s many strengths is its nuanced rendering of worlds that Hollywood typically reduces to stereotypes. Take a dinner conversation between a young Chiron, neighborhood drug lord Juan, and Juan’s girlfriend Teresa. After being teased at school, Chiron asks the pair—whom he often runs to in his moments of crisis—a blistering question, delivered simply and sadly: “What’s a faggot?” What unfolds is an ineffably moving meditation on identity. Juan explains that the term, a favorite of Chiron’s tormentors, is used to make gay people feel bad. He also assures the boy that there’s no hurry for him to figure out his feelings; he’ll know when he knows. It’s key that Juan—a drug dealer, a black man, the sort of person films usually flatten onscreen—is the one to nurture this self-knowledge. In marking human potential and staring down homophobia, Juan picks apart expectations of black masculinity.

Jenkins repeatedly loops back to this theme. In the film’s third chapter, we’re introduced to an adult Chiron. Heavily muscled and wearing massive gold fronts, he’s essentially become a cliché of machismo. But it doesn’t last for long, because Kevin—Chiron’s first love and first-love-lost—returns, shaking up pernicious and paper-thin notions of what black sexuality can look like. Or as writer Ta-Nehisi Coates said, the film gives “a softness that black boys are often not given credit for actually possessing.”

Because its characters are whole, complex, and deeply human, there have been delusions that Moonlight is somehow about everyone. But that erases the experiences of its marginalized characters and strips the film of its power. A film can be both great and not about everyone. Moonlight isn’t so much about conjuring up a mythic story about a common humanity as it is about empathizing with the concrete stories around us—or around some other people in some other city, living lives that aren’t like yours, but are as real as yours.

About halfway through the film, teen Chiron has a moment of physical intimacy with Kevin. Immediately afterward, Chiron shrinks back, apologizing. “What have you got to be sorry for?” Kevin asks him.

Moonlight points to a vision—for all the Chirons out there, in particular—where there’s nothing to be sorry for in living one’s own story. And Jenkins, with art and empathy, proves there’s nothing to be sorry for in showing those deeply personal stories.

That was a common thread of the 2016 Facing Race conference in Atlanta, Georgia, where more than 2,000 activists, community organizers, and journalists from across the country gathered for two-and-a-half days to talk about racial justice. While many people are still scrambling to make sense of Donald Trump’s win over Hillary Clinton in last Tuesday’s presidential election, for the maligned and marginalized, it’s less tricky to pluck out the heart of the mystery.

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“I was stunned that I was stunned,” civil rights scholar Michelle Alexander told the audience. Alexander pointed out how widely entrenched—and ignored—black suffering continues to be in the United States. She catapulted the issue to national attention in 2010 with her book The New Jim Crow, which focused on mass incarceration’s heavy toll on black families. But we see this systemic racism tightly woven into other issues too, including the school-to-prison pipeline, the legacy of redlining, and crumbling infrastructure in cities like Flint, Michigan.

Barack Obama’s presidency offered a glimmer of hope that the country was ready for a long-overdue reckoning with this pain. But last week’s election and its aftermath say the exact opposite: After having had a black man in the White House for seven-plus years, white Americans pulled rank. Or as CNN’s Van Jones put it, the election results were “a white-lash against a changing country.”

Exit polls are hardly perfect, but they can reveal important trends. For instance, more than half—58%—of white voters preferred Trump, while 88% of black voters cast their ballot for Clinton. And perhaps more interestingly, while 94% of black female voters supported Clinton, 53% of white female voters showed a preference for Trump. This isn’t to say that all white voters who decided to get behind Trump did so as a direct statement of racism. But, at the very least, Trump’s murky brew of misogyny and racism wasn’t a deal breaker for a broad range of white voters. That shines a light on a galling indifference to the misery and oppression of others.

So where do we go from here?

Alicia Garza, co-founder of the Black Lives Matter movement, made it clear that group-specific siloes aren’t the answer. It’s tempting for groups already on the social and political fringes to retreat into enclaves to protect our own, but—especially at a time like this—we have to keep a close watch on the overlapping ways in which oppression operates. “We’re all being attacked, and our movement needs a broader front” in order to keep the needle of progress moving, Garza said. Because at the end of the day, whether you’re black or brown, “we’re all going down together.”

There was also a call for progressive white Americans to do more for, and to do better by, their non-white allies.

“I’m done with ally-ship. I’m done with people who allow themselves the distance of ally-ship,” said Roxane Gay, one of the keynote speakers and the bestselling author of Bad Feminist.

“The people who are calling for healing and reconciliation are well meaning but dangerous, because they’re delusional. They know better. They don’t want to do better,” she added. Gay spoke specifically to what she sees as the performative ally-ship of white progressives. Beyond merely donning solidarity safety pins and parroting Martin Luther King, Jr.—a favorite of many a white progressive—white allies ought to walk the walk. Have those prickly conversations with other white people. Donate money to groups looking to extinguish racism. Stop focusing exclusively on whiteness when talking about post-election anxieties, when people of color are the ones who have been feeling the stab of these anxieties most.

And while white people need to “get their shit together,” Gay said, people of color should have an eye to “infiltrating” what are overwhelmingly white spaces. “We need to think about running for office. Run for city council. Become a member of Congress. Get inside, and suck it up.”

Indeed, Trump’s upset in the presidential race has cracked wide open just how persistent and pervasive American racism has always been. This is a point that many black Americans have been making in the wake of the election. Whenever the United States has seemed to bend toward a more racially inclusive brand of democracy—from Reconstruction to the Civil Rights Movement to the Obama era—what has often followed has been an equal and opposite push to reclaim a whiter status quo. We saw it in Jim Crow, and in Richard Nixon’s anti-civil rights administration in the 1970s, and we’re seeing it now. This is America, being America.

There’s a long fight ahead of us. And as Linda Sarsour, the Advocacy and Civic Engagement Coordinator for the National Network for Arab American Communities, drove home on the final day of the conference, it has to be all hands on deck. Our future may depend on it.

“All we have is each other. Ain’t nobody got time for part-time progressives,” she said. “Everyone has a role to play in the movement.”