I think travel is over for the next couple months (I hope) so I’m settling back in to a work flow. Print orders have been heavy (not a bad thing!), but I’ve been knocking out outstanding projects and getting closer on the Omnibus (sorry, sheesh). Anyhoo, below are the goings-ons here on the Substack and at 133art.

The Hits:

BBBQ is out there in the world!

Ashcans are available at Cuts & Comics in GA!

We got a shoutout from BJ Kicks!

Junior Olympics

The kiddo racked up Gold and Silver in Creative and traditional forms (respectively) at the Junior Olympics! Very proud of him!

BBBQ Webcomics!

Beautiful’s BBQ has officially launched, with the first eight episodes now available to read. The supernatural webcomic follows the Beautiful family’s adventures in New Orleans as they operate their magical food truck and solve mysteries:

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Episode 6

Episode 7

Episode 8

Checkout Our Latest Sub Essay

New 133art Webcomics Coming Soon

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Beautiful's BBQ stars Esh, Kale, & Lupa Beautiful, a family of food truck chefs who unwillingly stumble into a supernatural conflict that threatens their beloved city.

Beautiful's BBQ stars Esh, Kale, & Lupa Beautiful, a family of food truck chefs who unwillingly stumble into a supernatural conflict that threatens their beloved city.

To Be Continued…

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Beautiful's BBQ stars Esh, Kale, & Lupa Beautiful, a family of food truck chefs who unwillingly stumble into a supernatural conflict that threatens their beloved city.

Read more

While I continue on my hobby journey as a cook, and we continue to expand the lore of BBBQ, you guys get the benefit of getting to see what Esh’s food might look and (if you try out …

Read more

Beautiful's BBQ stars Esh, Kale, & Lupa Beautiful, a family of food truck chefs who unwillingly stumble into a supernatural conflict that threatens their beloved city.

Read more

So, some of those numbers are mis-reported. I admit, my passion for gassing up the Black comics/media community is my toxic trait and I get overzealous sometimes. I posted it (and left it on my socials) because its sensationality does drive a steak into the heart of the issue: Black Comic Creators, You're Doing Fine.

Here are revised or better researched numbers:

Only 14.7% of frontlist books from major publishers sold fewer than 12 copies. (Rather than the rumored 50%.)

Fewer than 1.1% of books manage to sell more than 50,000 copies.

Roughly 66.1% of books published by major houses sell fewer than 1,000 copies in their first year.

That last one is a doozy. If trad book publishers can't move 66% of their books upon release, what hope does anyone have? If they, with decades of connection, saturation, experience, and whole ass sales departments can't figure it out, nobody can, right...?

Lemme back up: pre trump Crime Syndicate Era, waaay back in 2022 Penguin Random House, the largest publisher in the country, went to federal court to defend its deal to acquire Simon & Schuster (the fourth largest) against the DOJ. Their used to be these ancient rules, I think in the bible they're called antitrust laws, that stopped corporations from owning every asset and/or manipulating all facets of a particular industry. That's called having or becoming a Monopoly. And since the largest corp in the book market was trying to buy the fourth largest, our Department of Justice figured they were dangerously close to doing that shit.

(Side Note: Paramount, the potential seller of Simon & Shuster, is in their own Monopoly calamity trying to acquire the WB. A lawsuit led by attorneys general from 12 states (including New York, California, and Colorado) argues that combining two major Hollywood studios will illegally reduce market competition and harm industry workers. So, a trial is incoming. Apparently, Paramount is in their Nino Brown era, treating Trad Books, TV & Film like the Carter.)

The inciting numbers came out of testimony via the trial. Because while corporations will propagandize or mislead you, they tell the judge the truth. Not because they want to, because lying under oath costs money...but I digress.

The incendiary numbers aren’t even the most damning info to come out of the trial.

Stephen King even testified against Simon & Shuster, his own publisher lol. His opinion is that the corps are squeezing indies out, especially when it comes to shelf space in the market. I felt that. But even that isn't the news.

The revelation is that the 'underperforming' is strategy for the publishers. Publishing functions heavily on a venture-capital model. Executives testified that just 4% of published titles account for 60% of the company's total profit. The majority of a publisher's catalog loses money or barely breaks even, and publishers bank on a fraction of runaway blockbusters (like Stephen King or Harry Potter n' them) to subsidize everything else. Their investment in the other content is lopsided by design.

To the point where it only looks like the content that moves resonates with most audiences, but the truth is that what ends up in front of those audiences is the content that gets the biggest financial push. 'Hollywood has no new ideas' because the old ideas get all the promo budget, Spider-Man gets all the TV spots, Batman gets all the video games, and Harry Potter gets all the theme park rides. You could argue that the fandom(s) are only choosing from the narrow pool of what they're allowed to see. And folks like us indies are left to the elements fend for ourselves, even under the big company umbrella.

But in those numbers, the revelations & chaos, there's hope.

As a small indie publisher, your performance doesn't have to reach King level sales, so it's actually a big deal if you sell close to the 66%'s 1000 copies, because your bottom-line is hitting your pocket. Not to mention, you're reaching the corporation's standard level of reach.

If you sold more than 12 copies this year, ya'll are doing better than 14.7% of content from the Big 5. I know for a fact that Black indie comics from publishers like Kingwood Comics, Webway Comics, Rae Comics, and Stranger Comics sell well over that 1k milestone.

Perception is king. We've been programmed to think our content is less than, or illegitimate without gatekeeper approval. But the evidence is showing that we are actually comparable and we're scaling at a respectable pace on our own terms. Internalize that.

Take some joy out of the fact that you don't have to kowtow to some weirdo exec, middle management editors, and fuck agents that only exist to justify their employment rather than look out for your best interest. While you're indie, you're your own boss. You can create the work that you're fully interested in pursuing.

The knowledge of what's actually happening in the markets, for me, is demystifying. What those numbers reveal is that this game is winnable for creators like us. A lot of the barriers aren't all structural; some are just psychological, sleight of hand even. So, Keep moving and producing. Invest in learning what kind of marketing works for you and your brand. Keep trying out ideas and throwing them at the wall and double down on what sticks.

You're doing better than you think. Don't ever let them son you.

My apologies ya’ll!

The SDCC con crud, lingering administrative stuff, and more travel got me having technical difficulties. BBBQ and everything else will be back up and running next week!

#sheesh

Think Chef meets Scooby-Doo meets Gravity Falls, all simmering in the heart of Mardi Gras City. This supernatural mystery follows the Beautiful family; Esh, Kale, and Lupa as their food truck becomes the unlikely battleground for a conflict threatening New Orleans. We’re serving up a series packed with superpowers, magic, spooky mysteries, and incredible food for anyone hungry for adventure. One taste of our story will make you a fan, but in Esh’s eyes, you’re already family! So pull up a chair and let’s eat (you might have to stand in line a bit tho).

Read more

We’ve been running fast these last couple months! I hate that lol. The older I get the slower I want to move, at least in terms of work. I quite enjoy the process of sitting down to write or paint untethered to a deadline and really take time to consider the work, apply the strokes, and sit within the big picture of it. Its not the way it works for the job currently tho…not yet anyway.

The bright side is that there was a shit ton going on. So here’s some stuff ya’ll might’ve missed:

The Hits:

Junior Olympics

We went to Taekwondo Nationals and the kid qualified for the Junior Olympics! We’re crazy proud of him! This boy is gonna be Hokage one day lol

BBBQ Launch!

Beautiful’s BBQ has officially launched, with the first three episodes now available to read. The supernatural webcomic follows the Beautiful family’s adventures in New Orleans as they operate their magical food truck and solve mysteries:

BBBQ Ep.1

BBBQ EP.2

BBBQ Ep.3

Paid subscribers receive access to behind-the-scenes content, and exclusive downloads with compliments of the chef. If all that’s your bag, come check us out:

Taste of the Supernatural

The Collector Essay
‘There’s a sentiment about buying Black that I find fundamentally negative. Critics of Black art, definitely in comics, often insist our work must compete with mainstream efforts on their terms to be considered valid, but to me, that’s a failing proposition…’

Acts of Random Killing Cover

Just wrapped my second cover for Second Sight Publishing! Coming this fall, Second Sight Publishing LLC. brings you their next great horror anthology: Acts of Random Killing

Coming Soon:

We’re going to San Diego Comicon!

Its that time of year again…

#NewWorldBuilding Panel at the Afrofuturism Lounge

Black Heroes Matter!

This is the first time we ever did this but, this year we’re excited to be a co-sponsor for Black Heroes Matter (BHM) at the event and they have a lot of activities going on!

BHM Newsflash

New 133art Webcomics

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Think Chef meets Scooby-Doo meets Gravity Falls, all simmering in the heart of Mardi Gras City. This supernatural mystery follows the Beautiful family; Esh, Kale, and Lupa as their food truck becomes the unlikely battleground for a conflict threatening New Orleans. We’re serving up a series packed with superpowers, magic, spooky mysteries, and incredible food for anyone hungry for adventure. One taste of our story will make you a fan, but in Esh’s eyes, you’re already family! So pull up a chair and let’s eat (you might have to stand in line a bit tho).

Meanwhile @Dreamcon…

Read more

Think Chef meets Scooby-Doo meets Gravity Falls, all simmering in the heart of Mardi Gras City. This supernatural mystery follows the Beautiful family; Esh, Kale, and Lupa as their food truck becomes the unlikely battleground for a conflict threatening New Orleans. We’re serving up a series packed with superpowers, magic, spooky mysteries, and incredible food for anyone hungry for adventure. One taste of our story will make you a fan, but in Esh’s eyes, you’re already family! So pull up a chair and let’s eat (you might have to stand in line a bit tho).

Also:

Anybody going to DreamCon2026?

Ion know if I told ya’ll, but my co-creator Greg Burnham is gonna be there and I just printed out copies of the Beautiful’s BBQ ashcan that will only be available at Dream Con! If ya’ll are there hit up his table to get one.

Read more

Like I mentioned in a previous essay, I really wanted to create in-universe recipes while working on Pax Samson. While the opportunity hasn’t materialized there, with Beautiful’s it can and has. So while I continue on my hobby journey as a cook, you guys get the benefit of getting to see what Esh’s food might look like (and if you try out the recipes, taste like) IRL. First up is a dish that they talk about further along in the comic the Curry Blessed Ribs. I made it for the fam last week and they were feeling it.

Think Chef meets Scooby-Doo meets Gravity Falls, all simmering in the heart of Mardi Gras City. This supernatural mystery follows the Beautiful family—Esh, Kale, and Lupa—as their food truck becomes the unlikely battleground for a conflict threatening New Orleans. We’re serving up a series packed with superpowers, magic, spooky mysteries, and incredible food for anyone hungry for adventure. One taste of our story will make you a fan, but in Esh’s eyes, you’re already family—so pull up a chair and let’s eat (you might have to stand in line a bit tho).

Read more

Think Chef meets Scooby-Doo meets Gravity Falls, all simmering in the heart of Mardi Gras City. This supernatural mystery follows the Beautiful family; Esh, Kale, and Lupa as their food truck becomes the unlikely battleground for a conflict threatening New Orleans. We’re serving up a series packed with superpowers, magic, spooky mysteries, and incredible food for anyone hungry for adventure. One taste of our story will make you a fan, but in Esh’s eyes, you’re already family! So pull up a chair and let’s eat (you might have to stand in line a bit tho).

Become a Beautiful’s BBQ Paid Subscriber!

Paid supporters are the lifeblood of this comic, helping us bring the supernatural culinary adventures of the Beautiful family to life. As a Paid Subscriber, you’re not just a reader, you’re part of our creative kitchen with exclusive access to everything happening behind the scenes.

Join our Paid Subscriber tier today and help keep Beautiful’s BBQ sizzling while getting an all-access pass to our creative process!

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Beautiful’s BBQ: Compliments of the Chef!

Paid supporters are the lifeblood of this comic, helping us bring the supernatural culinary adventures of the Beautiful family to life. As a Paid Subscriber, you’re not just a reader, you’re part of our creative kitchen with exclusive access to everything happening behind the scenes.

Here are the special dishes we’re serving up with Compliments of the Chef:

• Early Episode Access - Get the first taste of new Beautiful’s BBQ adventures before anyone else
• Complete Creative Process Access - From script pages to thumbnails to coloring stages, watch each page come to life

• Worldbuilding Deep Dives - Exclusive notes on the supernatural elements of New Orleans and the Beautiful family’s magical heritage
• Creator Reality Check - Honest insights into our printing process, budgeting realities, and what it really takes to produce an indie comic
• Premium Digital Downloads - Page downloads, exclusive cover variants, detailed character sheets, coloring book pages

• Special Perks - Discount codes for print editions and downloadable coloring book pages
• Taste of the Supernatural - In-universe recipes with beautiful pics, illustrations and cooking videos to bring the magic of Beautiful’s BBQ to your own kitchen

Join our Paid Subscriber tier today and help keep Beautiful’s BBQ sizzling while getting an all-access pass to our creative process!

Also:

Anybody going to DreamCon2026?

Ion know if I told ya’ll, but my co-creator Greg Burnham is gonna be there and I just printes out copies of the Beautiful’s BBQ ashcan that will only be available at Dream Con! If ya’ll are there hit up his table to get one.

Sometimes it feels like the place I escaped from. I have bittersweet feelings, man. The bitter makes me resilient and the sweet bubbles up in my writing. Whenever I begin to create a story, New Orleans, in all its cultural, culinary, and celebratory glory busts through my mental walls like Kool-Aid Man. I want to write about it and all its nuances, relating them to my experiences there and letting all that flesh out the characters surfacing out of my consciousness.

So, Beautiful’s BBQ takes place in New Orleans. Our mains: Esh, Kale, Lupa. all hail from there. Each of their distinct personalities and choices stem from Crescent City living. Esh was influenced by the food, so much so that he became a celebrity chef for a time.

Kale's journey is similar but different in that she's Vietnamese, and grew up learning the culinary ropes from working at her family's restaurant: the Bhan Sweet.

Lupa, to her parents' chagrin, really does run them streets. The city tends to open itself wide for the young and rambunctious; those who, behind their parents’ backs are determined to learn through trial and error. And to her credit, she is a little street smart. She can relax anywhere from the projects to the promenade. None of it keeps here out of trouble though.

None of our 504 born and raised family is ready for what New Orleans has yet to reveal to them though.

Culinary Creole wonders are just the entry point into a mystical underbelly of arcane ingredients, Black Market artifacts, scheming occultists, and Henchmonsters. I know, what the heck are HENCHMONSTERS?

Get ready to find out. One taste of our comic will make you a fan, but in the Beautiful’s eyes, you’re already family! Subscribe now and pull up a chair—episode one launches July 1st, 2026.

I shit you not, serendipity is one of my favorite phenomena. The feeling of unexpectedly finding something valuable to you while on the hunt for something else entirely is one of those unmatched occurrences. A happy accident is peak humanity.

I was searching for art reference for the OneNation pages I’ve been working on. Googling cover art, panels, etc., and came upon a fact I hadn’t realized. A blast from the past that ended up being weirdly providential.

The first comic I ever read was Classic X-Men, reprints of the runs from the Claremont/Nocenti era. I've mentioned it before in my retelling of my origin story so many times, no biggie. Its the issue where Wolverine is savagely fighting his way through the Hellfire Club.

It's seminal X-Men and a quintessential Wolverine moment, we all know that shit. But what I hadn't realized until I dug a little deeper was the actual issue number. When I finally got curious enough to look it up, I discovered something that felt almost cosmic: the Uncanny X-Men issue in question is numbered 133!

B R U H, The first comic I've ever read was issue #133 of Uncanny X-Men, the same number I would go on to use in the name of my comic imprint. Totally by chance (especially if you've heard the story of how I got to that number lol). My mind was blown but also it felt like a confirmation. Now I don’t know how the issue number escaped me all these years. its been awhile since I went back into the crates and the only version of it I have is probably in a reprint trade paperback, so maybe I just never paid attention beyond the Classic X-Men issue number? IDK, it is definitely out of character for me though, because even though I loathe to admit it, I'm a Collector. Maybe ‘loathe’ is a strong word.

Don’t get it twisted, I LOVE comics and pop culture related media. I just don’t like the idea that I’m hoarding a whole bunch of…stuff, I guess? The oversight feels particularly jarring because a collector is someone who is typically thought of as one who obsesses over details of their collections.

Could be a mainstream vs. indie comics sort of thing too. Don't get me wrong, like above, I have love for my mainstream comics but those get tossed around, read in the bathroom (TMI lol), and generally man handled without special consideration. The comics created by Black creatives though are different in my eyes. They're more exclusive, more precious, closer to my heart and I'm more delicate with them. They get their own book shelves in the Middle Room (word to Michael Harriot).

The obvious reason, of course, is that I'm a Black creative myself. But also, and maybe ironically, for the reasons that a lot of consumers might balk at their collectability: their relative scarcity, their perceived amateurism, and what some argue as lower production quality. These are the negative connotations Black creatives and entrepreneurs have to battle daily while still producing meaningful work. In my opinion, these perceived ‘flaws’ are precisely what make these items arguably MORE valuable.

There’s a sentiment about buying Black that I find fundamentally negative. Critics of Black art, definitely in comics, often insist our work must compete with mainstream efforts on their terms to be considered valid, but to me, that’s a failing proposition. I
always get into it with the critics about it. Why add negativity to a medium that’s already fledgling, especially monetarily? How does constantly telling potential supporters that the work is ‘amateur’ and that it deserves comparable scrutiny to companies that has 100 years of output, cultural dominance, billion dollar franchises in film/video games/TV, and the budgets to out promote any Black creator 1000x over help any of us? Like what side are these folks on? Do they want the medium to thrive or not?

The question often posed is, ‘Why should I buy a comic because a Black person made it?’. The answer is in the question: you should buy it precisely because Black people made it. I don’t even engage in quality debates anymore, since art is inherently subjective; what one person values, another might dismiss. The mainstream understands this perfectly, they publish myriad comics for different audiences, from Manga to French BDs, yet we rarely see these industries undermining themselves with endless quality debates that stunt growth.

That’s why I collect comics (and related media) with Black people in them. Period. That’s my first criteria. Some works resonate more than others, and that’s fine, but if I encounter a comic by Black creators, I want it in my collection. My sixth-scale figures illustrate this perfectly: while I love the medium overall, my Black figures hold a special place because they’re rare. I’m still waiting for the day when indie comic sixth-scale figures become plentiful. I want to see OneNation figures on some shelves other than my own.

Whenever a Black comic appears, I’m adding it to the collection, digital or print. People often attribute this to the fact that I print comics for several Black creators lol, and while that’s part of it, it’s also a point of pride. My personal collection and exhibition of Black comics represent more than accumulation; they’re a testament to the value I see in preserving and celebrating Black creative expression, regardless of, or maybe in spite of, critical and mainstream validation.

If existing while Black is inherently revolutionary, then isn't the art that blooms from that revolutionary existence, especially considering its ephemeral and cyclical nature, exceptionally valuable? In the 90’s (AKA the Black Age of Comics), we experienced a burst of brilliant Black comic art: Brother Man, Milestone Comics, Tribe, Ania w/Purge, and Alex Simmon’s Black Jack. Fast forward to today, and we're witnessing another explosion of products and media. If this cycle operates on a 20-30 year rotation, then today's Black comics possess immense value, not just as collectibles, but as cultural artifacts documenting our ongoing creative revolution.

Historically in Black culture, creativity in art, language, and culinary techniques, when examined without the distorting gaze white supremacy or the self serving avarice of capitalism, is often revealed to be anthropological hidden gems. For example: AAVE is thought of just slang but I propose that its linguistic shorthand shorthand is brilliant because of its conciseness and ability to convey context and emotion faster with less effort.

In terms of cuisine: During the Jim Crow era, vanilla ice cream was considered a symbol of white purity and denied to Black customers, who were reportedly only allowed to purchase it on the Fourth of July. Limited primarily to chocolate, Black cooks and communities began taking vanilla or plain bases and reinventing them by adding butter for richness and roasted pecans, a widely accessible, native Southern crop (because of pecan cultivation by enslaved in Louisiana). By adding these rich ingredients, the ice cream was no longer ‘pure white’, turning a secondary-status flavor into a beloved staple in Black communities, gracing Sunday tables and summer cookouts as a testament to resourcefulness and resilience against food racism. - via Food Historian Diane Spivey.

This era of Black comics can be just as transformative and I don’t want to wait generations for that to be unearthed. But it will require someone, and preferably many someones, to collect and catalog these works, promote them, and put them on display right now.

The same way Arturo Schomburg did with his collections in the Schomburg Center for Research in Black Culture. The same way Dr. Walter O. and Linda J. Evans do in the Walter and Linda Evans Center for African American Studies over at SCAD, the same way Imani Lateef does with Black Comic Keys over at Black Comix Universe, and what Phillip Thompson is doing now with Collections in Black.

Last year, while traveling to New York for something else entirely, we stumbled upon our work featured in the Met's Afrofuturism exhibition. And issue of Lion Man (from Rosarium Publishing) that we printed, smack dab in the middle of the Afrofuturism exhibit! More serendipity, where an unexpected encounter in one of the world’s most prestigious cultural institutions represents a validation that transcended typical industry recognition. Its precisely the kind of visibility I wish would happen more frequently, and at a larger scale, for more Black creatives in comics.

When our work is displayed alongside other celebrated art forms, it sends a powerful message about the cultural significance of Black storytelling through comics. Not just about individual recognition; but about establishing our place in the broader artistic canon.

This revelation underscores why I handle these Black-created collectibles with such care, they're not just commodities to me, but cultural artifacts that deserve preservation and understanding. In a world where Black creative contributions have historically been undervalued or erased, every detail becomes sacred, every issue number a testament to survival and artistic expression against the odds.

Imagine a world where such discoveries aren’t serendipitous anomalies but regular occurrences, routinely finding our work preserved, celebrated, and analyzed in cultural institutions worldwide. Permanent fixtures in a cultural legacy, ensuring that future generations will have access to these vital creative expressions that document our experiences, imagination, and resilience.

I lost like 3hrs. of work last night while coloring the Director’s Cut of OneNation #1...

My son tells me that we can only hold about 6 ideas in our brains at a time, something he learned in class. Haven't had a chance to look into it yet, but I musta been on 10 ideas last night lol! I was preoccupied and ready for bed and just...damn. Anyway, back on the horse again today coloring pg. 34.

A Bit About the Redux pgs.

There are scenes that I always wanted to flesh out after seeing them in print. And I think becoming a better writer/editor ever so slowly over the years through a crazy amount of trial, error, and hardheadedness is (hopefully) allowing me to get closer to getting the OneNation I see in my head onto the page.

This scene’s been bothering me because its supposed to be the first Hero Shot for Paragon, his big debut. But because sometimes I go to putting the cart before the horse when I’m planning pages, it did not materialize the way it should’ve. Ending up being the final panel on Pg. 17. A relatively small image too, when it should’ve been a splash. It still gets the point across but the action lover in me needed to get closer and amp up the spectacle.

I got my Co-D Mario involved and he helped me flesh out what that splash would/should look like. Then I went to work, adding my style and personal tweaks.

Then I went to color. To save time I got with a new homie San Zan on flats. My man is fast and kept us on schedule!

The challenge here was trying to keep as close to what Luis laid down years ago, so I went a bit more painterly, stroke heavy (childish giggle). Anyhoo, we got it done. Below is the finished, revamped, splash. Paragon's debut as the world's first superhero!

Other Updates...

The statues came in from Glenforge and they look great, I’ll take pics soon but I want to have the packaging in before I do that.

Also letters are going amazing, OneNation #1 is done and Jess is into OneNation #6 while I put the final script edits onto issue #2.

Also Mario is working on the cover for Paragon’s 1st webcomic: OneNation: Grits!

So we're on the steady grind and are almost there.

Check out Episode 1 here:

And hit up Avy on Youtube and her other channels below:

Patreon: https://www.patreon.com/nuthingoodat4..
IG: https://www.instagram.com/nuthingooda..
Facebook: https://www.facebook.com/nuthingoodat..

We’re psyched to have you join the Beautiful’s BBQ family.

Your support means the world as we prepare to serve up this supernatural, food-filled adventure. Get ready for our July 1st launch. We can’t wait to share this journey with you! Now, about Beautiful’s BBQ…

What’s the Genre: Its a gumbo (see what I did there lol?), blending horror, action-mystery, and coming-of-age comedy.

Who its for? Fans of cartoons like:

Fans of movies/shows like:

Fans of stories like:

Why I'm making it: Growing up in New Orleans, a city brimming with culture and incredible food, deeply inspired this story. Beautiful’s BBQ spun out from a convergence of passions and inspirations too: while working on Pax Samson, where our hero uses psionic abilities to cook emotion-stirring meals…

I began my own cooking journey, which has become a favorite hobby.

Simultaneously, I got heavy into Stephen King, especially Salem’s Lot. That gave me a craving for horror, specifically the kind of horror where a group (family and/or friends) stumble into the machinations of sinister forces too big for just one final girl to handle, adventures where you need a Final Family. That’s some of where the idea of Beautiful’s stem from. Esh, Kale, and Lupa (with her homie DB in tow) need each other most now as Esh tries to rebuild his life with the Beautiful’s BBQ truck and serving his fusion of Creole, Jamaican, and Asian-inspired cuisine.

You guys are first in line to get a taste of the magic and we can't wait to serve you the first course on July 1st!