Erika Alexander is proud of her decades-long tenure in show business. The 54-year-old actress-writer stepped onto the acting scene in 1986 with her first major film, “My Little Girl,” and later starred opposite Whoopi Goldberg in the 1990 civil rights drama “The Long Walk Home.” She caught a break in the early ‘90s starring in the final two seasons of “The Cosby Show,” but her notable run as super attorney Maxine Shaw in the classic sitcom “Living Single” is what opened doors for her successful career run, both on and off-screen.

Over the years, Alexander has added producer, director, activist, and entrepreneur titles to her stacked résumé, all of which helped her co-found her media company, Color Farm Media, to advocate for greater equity, inclusion, and diverse representation. Yet, the “Concrete Park” creator also managed to stay busy on the acting strip. From roles in “Black Lightning,” “Wu-Tang: An American Saga,” and “Run the World,” to “Get Out” and “Earth Mama,” Alexander has had the pleasure of working with both rising stars and accomplished actors through the years. But only after starring in “American Fiction,” the star-studded breakout feature from first-time filmmaker Cord Jefferson, does the seasoned veteran finally feel like she’s matched wits with her peers.

“It’s a relief,” Alexander tells BET.com, starring alongside big names like Jeffrey Wright, Sterling K. Brown, Tracee Ellis Ross, and Issa Rae. “I feel like I'm in my weight class. It's not bragging if you can do it, and I've done it for 40 years, so I know the different levels that people play. You can come in and be young, be hitting big swings like a heavyweight champ. There's no doubt about it. But it's rare that you have all of those things—the experience, the talent, and the mental game—and [we] did have all of those things. And certainly, I know I do.”

In “American Fiction,” Alexander stars as Coraline, the neighbor and sophisticated girlfriend of Wright’s Thelonious “Monk” Ellison, on whom the film centers. Like herself, the actress says her character is “very strong, accomplished, connected to who she is, and open to possibilities.” And though she plays secondary to the film’s protagonist, Alexander likens her role to a necessary “life jacket” that aids Monk as he nearly drowns in his missteps.

Inspired by Percival Everett's 2001 novel “Erasure,” Jefferson’s directorial debut confronts the conflicting views of Black stories in our culture, particularly within the book publishing space, by way of frustrated novelist Monk. Fed up with having his works misunderstood and rejected by the capitalist machine that often commodifies Black art; Monk pens an outlandish “Black” book—filled with clichés of deadbeat fathers, drugs, and gang shootings—under a mysterious moniker out of spite. To his surprise, the book becomes a runaway hit, mainly among white consumers, which forces him to contend with the monster he accidentally creates.

Alexander was fortunate enough to have Jefferson seek her out for his serious-minded satire. “We had a conversation. He told me about his vision. And obviously, at that time, he already had Jeffrey Wright attached. That's an automatic yes to me,” Alexander explains. “It just happens to be that he's a fantastic writer. He may be a new director, but he was very accomplished in different ways.”

Jefferson is best known for working as a screenwriter on hit series like “Watchmen,” “Succession, “The Good Place,” “Master of None,” and more. However, “American Fiction” marks his first step as a director. His newness behind the lens didn’t discourage Alexander, though. According to her, “American Fiction” checked all her boxes: great material, a confident filmmaker, a clear vision, and a personal invitation to join the cast. 

“Obviously, you want them to invite you because they feel that you bring something to the project that's unique,” she adds of Jefferson’s film. “That's really enough to say yes. I also think that you have to be not risk averse. You have to believe in the power of an adventure.”

Alexander had faith in Jefferson’s acclaimed film because of the director’s fierce belief in the subject matter — examining the adverse effects of stereotypes society imposes on Black people. He’s not the first to interrogate this notion. Iconic filmmakers like Robert Townsend and Spike Lee have also probed the treatment of Black stories in entertainment. However, Alexander notes, “[Jefferson] did it in his own, unique way, and I think he adapted the source material brilliantly.”

“American Fiction” doesn’t mince words about America’s obsession with cheap, one-note stories that sometimes over-define Blackness. According to Alexander, its profound commentary aims at the literary market and Hollywood in a “very accurate” way. “It wouldn't resonate if it weren't,” she notes of the film’s authenticity. “We're not doing a fairytale or a fable. We're doing something that, unfortunately, is the current narrative.”

The other powerful part of “American Fiction” depicts a dysfunctional yet loving and relatable family. The bulk of the film focuses on Monk’s professional career being in crisis, but the other side of it delves into his flawed family life as he deals with his sick mother in the wake of his sister’s sudden death. Alexander believes this part of the story “will resonate with anybody,” regardless of age, race, or class. 

“That's the best thing about it,” she says. “This movie will do well across demographics. I think that it has that type of potential to be not only a generational satire drama but also one that is relevant for many people because of the connectedness to the frailty and fertility of family relationships.”

Ahead of its theatrical release, “American Fiction” drummed up much excitement amid a buzzy awards season. So far, it’s earned nominations from the Golden Globes, Critics’ Choice Awards, and more. And for the first time ever, Alexander is nominated for an Independent Spirit Award for “Best Supporting Performance,” a “very rewarding” achievement, she says. Reflecting on all the awards show love her film has received thus far, the actress adds that it “feels awesome” and “beautiful.” “And yet I'm not surprised,” she continues. “I think people are really smart out there. They're looking for powerful material that has an impact, and [“American Fiction”] certainly has had an impact on me. I hoped that it would. And the fact that it has, and is being recognized for it, is very gratifying.”

When it’s all said and done, Alexander expects “American Fiction” to go down in history as “an American classic that not only deserves to be seen but is necessary, too.” She also has high hopes for its impact on the future of Black storytelling. “[I have] so much pride and joy for all my co-stars, from Sterling to Tracee to Issa, and how much excellence they put out in the world. The fact that we can all come together and make this means that there's a new dawn, [where] we don't have to play to the most obvious things on the market. All I know is that I saw a whole new family of creators who brought their entire lives and careers to bear for one independent film from one man who wrote a book long ago. And, to me, that is the idea of future living. [Everett] created a future, Cord caught the vibe, and then we were on our way.”

“American Fiction” now plays in select US theaters and expands nationwide on December 22.