Scene Stealers: Joy Sunday Reflects On ‘DTF St. Louis,’ Representation, And Why She Never Took No For An Answer

Joy Sunday knows what it means to stay the course. Early in her journey, the Nigerian-American actress was figuring out where she fit within an industry that often placed limits on how young Black women could be seen. Growing up in Staten Island, she studied theater at New York’s famed LaGuardia High School before eventually turning her attention toward filmmaking and critical studies at the University of Southern California. Acting remained part of the plan, but getting there required persistence.

“I’m really grateful to LaGuardia firstly because it really gave me the skin to be where I am today,” Sunday says. “I wouldn’t be nearly as resourceful or determined or persistent without that experience.”

Her breakthrough arrived with Netflix’s Wednesday, with the character of Bianca Barclay, one of the series’ most memorable characters. The show quickly became a global phenomenon, introducing Sunday to millions of viewers. Success, however, did not suddenly erase the realities of building a career. More recently, she has drawn attention for her performance in HBO’s dark comedy DTF St. Louis, a series earning early awards-season conversation for its sharp writing and strong ensemble cast.

Speaking with Sunday, it’s clear to see that she approaches her craft with a willingness to keep learning. During our conversation, the actress spoke about hersrc="https://media.essence.com/vxcjywbwpa/uploads/2026/06/46f16ec4-baa1-41e5-8639-6a470176d03f.jpg.avif" alt="Scene Stealers: Joy Sunday Reflects On ‘DTF St. Louis,’ Representation, And Why She Never Took No For An Answer" width="400" height="266" />Photo Credit: Tina Rowden/HBO

DTF St.Louis is a unique show—How did that role come to you?

They told me the night before I had to submit an audition that I had to prepare the next day. And I was traveling the day after that and I had a bunch of errands that I needed to do that day. So I was like, “all right, let me just knock this out.” It was funny to think because a lot of the time, even with Wednesday, you get an audition and you don’t think that you’re going to get it. You’re very much auditioning for the room—which is the cast and director. So, I did my tape and I read some of the script and I did my best interpretation of it and I guess it worked. I was cast off tape and then I think they gave me 72 hours notice to pack up and get to Atlanta. 

I learned I was going to be working with Richard Jenkins and Jason Bateman and Linda. And the fear of God struck me, so I need to really sit down and do my homework. So I did a lot of studying. I watched previous shows and I read the scripts 80 million times and I created this mind map for Jodie because the show is non-linear and so there was information that Jodie couldn’t necessarily know that the audience would know. And so I needed to craft how she would feel about certain things. It was a really, really interesting exercise. I would say that one of the most fun parts of playing a detective is how you piece together your emotional response, the information that you learn. 

You brought up Jason Bateman, too. He’s another gentleman who I’m a big fan of. How has your experience been like working with him on DTF? 

I’ve always loved Jason and it’s funny because almost a year to the date of my audition, I had texted my manager, “I want to shadow Jason Bateman.” And then here I am a year later and then I end up on a show. And then to actually meet him, they say, “Don’t meet your idols,” but it was awesome getting to meet him. He’s a really generous actor and it was such a privilege to get to be that close to him and watch how he works. I’ll always say his spontaneity is really marvelous to witness and everybody talks about how his take on Clark is just such a different direction than his usual array of characters because there’s this kind of undertone, warming undertone that he strikes that soul elicits your em rel="tag">Joy Sunday

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