After four seasons on Peacock’s Bel-Air, Cassandra Freeman has solidified herself as the heart and soul of the series.
As Aunt Viv, she’s brought depth, grace, and strength to a woman redefining what it means to balance ambition, motherhood, and self-expression. Beyond the screen, Freeman continues to champion diversity and creativity through her platform, CREATRICITY, while exploring new artistic ventures on stage and film.
The Knockturnal spoke with Cassandra Freeman.
BEL-AIR -- "The Maybes" Episode 401 -- Pictured: (l-r) Adrian Holmes as Philip, Cassandra Freeman as Vivian -- (Photo by: Anne Marie Fox/PEACOCK)
BEL-AIR -- "Getting Personal" Episode 305 -- Pictured: (l-r) -- (Photo by: Greg Gayne/PEACOCK)
BEL-AIR -- "Getting Personal" Episode 305 -- Pictured: (l-r) Adrian Holmes as Philip, Cassandra Freeman as Vivian -- (Photo by: Greg Gayne/PEACOCK)
BEL-AIR -- "Family Matters" Episode 309 -- Pictured: (l-r) Cassandra Freeman as Vivian, Adrian Holmes as Philip -- (Photo by: Greg Gayne/PEACOCK)
BEL-AIR -- "Getting Personal" Episode 305 -- Pictured: (l-r) Adrian Holmes as Philip, Cassandra Freeman as Vivian -- (Photo by: Greg Gayne/PEACOCK)
The Knockturnal: You’ve brought “Aunt Viv” to life over four seasons of Bel-Air, evolving her from the supportive backbone of the family to a woman reclaiming her own dreams. Looking back, what do you think her journey says about self-discovery and reinvention?
Cassandra Freeman: That to be a woman and a mother, especially, it’s a process to remember you are safe to center yourself. At some point, you have to decenter your husband and your kids for your own happiness. In doing so, you leave a blueprint for your kids to recognize what happiness is for them one day.
The Knockturnal: Since Bel-Air reimagines such an iconic story, how did you balance honoring the legacy of the original “Aunt Viv” with building a modern, fully realized version of your own?
Cassandra Freeman: For me, it was really about walking that fine line between reverence and reinvention. The original “Aunt Viv” represents strength, grace, and brilliance — she’s etched in our collective memory. I wanted to honor that legacy, but also its evolution. I like to think of it as picking up the baton and running in my own direction, adding in my own idea of what being grounded looks like and her vulnerabilities. None of us were trying to re-create what the originals did because it’s legendary in our mind, but I’m definitely honoring the same track she built.
The Knockturnal: You’ve often spoken about the power of representation. What has it meant to you to play a character like “Aunt Viv”, who embodies Black excellence, vulnerability, and ambition all at once?
Cassandra Freeman: For me, it means I get to reflect back the women who are in my life and the women who I look up to. I think for other people who watch, it’s a relief to see that this kind of woman takes up more of a story versus just being relegated to the background storyline.
The Knockturnal: With Bel-Air wrapping its final season, what message or feeling do you hope audiences take away from “Aunt Viv’s” story and from the series as a whole?
Cassandra Freeman: That we would all feel richer if we were intentional about family. The ones we were born into and our chosen family. For “Aunt Viv,” her storyline to me is about embracing both selves — the part of you that is a creator and the part of you that is a mother — one doesn’t have to take the backseat to the other; at some point, they both have to come fully forward. Choosing yourself and your calling can feel like a radical act, but we were born to give away our talents, not to suppress them.
The Knockturnal: You’ve seamlessly moved between genres from Spike Lee’s Inside Man to The Last O.G. and now Bel-Air. What keeps you creatively challenged and excited with each new role?
Cassandra Freeman: Every character I played so far has had such a vastly different background from each other. Also, the people I get to work opposite and the directors are truly the biggest treat on top of storylines. A life of a Creative is so much about the people you meet along the way, and all the people in those projects have left an indelible mark in my creative life, seen and unseen. It’s an honor to meet writers, cinematographers, and the entire collaborative team to see how they use their art to tell a story. Doing so elevates a piece of work.
The Knockturnal: In recent interviews, you’ve mentioned the importance of mindfulness and holistic practices like meditation and the Alexander Technique. How do those routines influence your artistry and presence on set?
Cassandra Freeman: The creative process for me is doing as much work as possible, but between action and cut, you must surrender to the moment, second by second. To do that takes trust in oneself and trust in the other people around you, and to be grounded by an intention that is bigger than just me. So all of these practices help me to ground myself in the present moment versus trying to live in the future or past.
The Knockturnal: Your recent Sundance feature Love, Brooklyn, dives into themes of connection and authenticity. What drew you to that project, and how did it differ from your experiences on TV?
Cassandra Freeman: I’m very close friends with Andre Holland; I’ve known him for almost three decades. He just called me up as a friend and asked me to do this very fun role. He knows how much I love comedy, but I don’t get as many opportunities as I’d like to do that. And so to work with him and some of my other friends felt like fun community project. Independent films are such a love language to me. I’ve been very blessed to do so many of them, and they’re so fulfilling to do because it’s a magical process. You have no idea what’s gonna come of it, if anyone will ever see it. So when people do, it’s so satisfying!
The Knockturnal: As co-founder of CREATRICITY, you’re creating space for BIPOC creatives in entertainment. What changes do you still hope to see in how Hollywood nurtures and supports diverse talent?
Cassandra Freeman: It’s definitely not just for BIPOC; it’s actually a space to bring all of us together. This industry tends to be very segregated. This company, created by myself and Stephanie Lilly Smith, provides a place to bridge the gap and to allow people to meet each other in an authentic way. And to be surrounded by people who are elite professionals. The more Creatives, Brands, and Capital are all in one room together, the faster people can realize their creative dreams. I think it shouldn’t take seven years to do a film. It should take seven months or seven weeks, but what makes the process go faster is one’s network.
The Knockturnal: After leading Bel-Airthrough its full arc, what kind of stories or characters are you most eager to explore next, both as an actor and a storyteller?
Cassandra Freeman: I think we’re at a time where we actually need more love stories, more romantic comedies, and stories that speaks to people spirits. I’m excited to tell these type of stories and just stories in general that feel fun and adventurous. I love telling stories that are inspiring and that just feel good.
