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The novel’s depiction of Verity’s mental health journey is grounded in the clinical realities of Bipolar 1 disorder. Bipolar disorder exists on a spectrum: Bipolar 1 is defined by full manic episodes that are severe enough to require hospitalization or that include psychosis while Bipolar 2 involves a milder form of mania called hypomania paired with more prominent depressive episodes. Verity’s diagnosis is specifically Bipolar 1, which is consistent with her mental health crisis at Finley. The median age of onset for bipolar disorder is 25, though it often appears in the late teens, aligning with Verity’s diagnosis during her junior year of college. Her experience of feeling her skin is “on fire” and believing she must extinguish a sculpture to prevent a larger catastrophe reflects the delusions and hallucinations that can accompany a full manic episode with psychosis. This context is important for understanding that her behavior is a manifestation of a serious medical condition.
Verity’s experience as a Black woman with bipolar disorder also carries real-world significance. Research has consistently shown that Black people with bipolar disorder are much more likely than white people to receive a misdiagnosis of schizophrenia, a more severe diagnosis that carries different treatment expectations. A study of over 1,600 patients found that Black patients diagnosed with schizophrenia were significantly more likely to have overlooked mood disorder symptoms, suggesting widespread misdiagnosis of conditions like bipolar disorder (Gara, Michael A., et al. “A Naturalistic Study of Racial Disparities in Diagnoses at an Outpatient Behavioral Health Clinic.” Psychiatric Services, vol. 70, no. 2, 2019). These diagnostic errors are compounded by differences in symptom presentation: A 2023 meta-analysis of over 4,400 Bipolar 1 patients found that Black patients were less likely to report elevated mood, a hallmark bipolar symptom, but more likely to report insomnia and persecutory hallucinations, differences that can steer clinicians toward the wrong diagnosis. (Li, Kevin, et al. “Racial Differences in the Major Clinical Symptom Domains of Bipolar Disorder.” International Journal of Bipolar Disorders, vol. 11, no. 1, 2023). The consequences extend beyond the initial diagnosis. A review of treatment data found that no Black patients in one national sample received minimally adequate bipolar treatment in the prior year, compared to 17% of white patients, a gap driven by factors including a shortage of culturally competent providers and the underrepresentation of Black psychiatrists (Akinhanmi, Margaret O., et al. “Racial Disparities in Bipolar Disorder Treatment and Research: A Call to Action.” Bipolar Disorders, vol. 20, no. 6, 2018). These disparities make Verity’s accurate diagnosis and access to appropriate care a quietly significant detail in the novel.
Following her diagnosis, Verity’s path to stability involves medication and Dialectical Behavior Therapy (DBT). Unlike Cognitive Behavioral Therapy (CBT), which focuses primarily on identifying and restructuring negative thought patterns, DBT is built around four skill modules: core mindfulness, distress tolerance, emotion regulation, and interpersonal effectiveness. These combine acceptance-oriented strategies (learning to sit with difficult feelings) with change-oriented ones (actively modifying emotional responses and communication patterns). Verity’s use of “opposite action” to combat depressive inertia is a classic DBT emotion regulation technique. Her journey illuminates the constant, active work required to manage Bipolar 1 while navigating a creative career, where the vigilance needed for stability can feel at odds with the spontaneous energy of inspiration.
The biopic at the heart of Score draws on the real lives of pioneering Black female artists whose legacies were nearly erased by political and social persecution. The screenplay scenes feature Gladys Bentley, a Harlem Renaissance icon famous for performing in a top hat and tuxedo at clubs like the Ubangi. A powerful singer and pianist, Bentley was an openly lesbian, gender-nonconforming performer who often flirted with women in her audience. During the 1950s McCarthy era, the parallel campaign of anti-gay persecution known as the “Lavender Scare” created a hostile climate for queer Americans. Running alongside the Red Scare’s hunt for communists, the Lavender Scare led to an estimated 5,000 to 10,000 federal employees being fired or forced to resign because of their sexuality under the rationale that gay people were security risks susceptible to blackmail. The persecution extended well beyond government: The broader cultural climate pressured queer artists to publicly renounce their identities. Facing this pressure, Bentley published a 1952 article in Ebony magazine titled “I Am a Woman Again,” claiming she had been “cured” of homosexuality. Scholars now largely view the piece as a strategic act of self-preservation rather than a genuine account. Bentley married a cook named Charles Roberts that same year, though he later denied the marriage, and became a devotee of the Temple of Love in Christ, studying for ordination as a minister. She died of pneumonia in 1960 at age 52, largely forgotten.
The novel also highlights the resilience of Hazel Scott, a classically trained piano prodigy and the first Black person to host their own network television show. In 1950, her name appeared in Red Channels, an anti-communist pamphlet that blacklisted entertainers. Scott voluntarily testified before the House Un-American Activities Committee (HUAC) on September 22, 1950, insisting on reading her full prepared statement into the record. She denied ever being knowingly connected to the Communist Party, criticized the publication’s tactics of guilt by association, and called on the committee to use democratic methods to stop irresponsible charges rather than allowing entertainers to be smeared before they had a chance to prove their loyalty to the United States. Despite her defiance, DuMont canceled her show within a week, and Scott eventually moved to Paris in 1957. There she joined a thriving community of Black American expatriates, including Richard Wright, a former Communist Party member, and James Baldwin, a radical leftist, who had fled the United States seeking creative freedom from both racial oppression and Cold War political persecution. By weaving these true stories into the fictional narrative of Dessi Blue, the novel emphasizes the importance of reclaiming and celebrating the histories of Black and queer artists who defied erasure.
Verity’s pitch for a new television series titled Black Pearl is rooted in the history of Black leisure sanctuaries established during the Jim Crow era. With segregation barring African Americans from most public recreational facilities, Black entrepreneurs and communities created their own vivid resort towns. One of the most famous was Atlantic Beach, South Carolina, a 125-acre, Black-owned oceanfront community nicknamed “The Black Pearl.” Founded in the 1930s, it became a thriving destination for Black families, offering hotels, restaurants, and nightclubs where they could experience joy, rest, and entertainment without the threat of racial hostility. Legendary musicians like James Brown and Ray Charles performed there, making it a cultural hub.
Atlantic Beach was far from an isolated case. Idlewild, Michigan, known as “The Black Eden,” drew writers, physicians, and entertainers from cities like Chicago and Detroit, hosting performers from Louis Armstrong to Aretha Franklin at its peak. Highland Beach, Maryland, established in 1893 on the Chesapeake Bay, was founded by Charles Douglass, the son of Frederick Douglass, as a sanctuary for Black families. American Beach in Jacksonville, Florida, was founded in 1936 by the state’s first Black millionaire, Abraham Lincoln Lewis. Oak Bluffs on Martha’s Vineyard has been a center of Black vacation life since the early 20th century. These destinations became key stops on the “Chitlin’ Circuit,” a network of venues friendly to Black performers, making them cultural incubators as much as retreats.
These spaces were more than just vacation spots; they were powerful symbols of Black economic empowerment and self-determination. They represented a form of resistance, creating havens where Black culture could flourish. In the novel, Verity articulates this when framing her show as an exploration of “rest as resistance,” recognizing that, for a people whose labor had been brutally exploited for centuries, the very act of leisure was a radical declaration of freedom and humanity. By setting her series in a place like “The Black Pearl,” Verity seeks to celebrate these historical havens and tell a story centered on Black joy. This context enriches the reader’s understanding of her creative ambition, revealing it as an effort to honor a significant but often overlooked chapter of American history.



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