Image: Courtesy of Amazon/Prime Video

For 34-year-old Deon Stubbs, a native of Warren, Ohio, working in entertainment is not just about building his name. He aims to plant seeds so other creators can grow.  

Fresh off the heels of a Prime Video premiere of his new series, “Deon’s Almost Famous,” Stubbs is on a mission to place his hometown (and its creative inhabitants) on the map. “My worldview was shaped by living on both sides of this industry. I have worked on professional sets, booked roles, and have seen how Hollywood operates, in small and big capacities,” he says. “I want to reach the creatives in Cleveland, that have talent, but not yet the co-sign; the filmmaker in Warren, editing at 2am, perfecting their craft; the dancer who is also a parent and student; the entrepreneur building something out of a living room they don’t own; and the student forced to go to a college they can’t afford.”  

Celebrating a successful first run of the new series, which earned “5,000+ viewer watch minutes” in its first week, Stubbs sat down with BROTHER to share a glimpse behind his creative curtain.

Video: Courtesy of Deon Stubbs/YouTube

BROTHER: For those unfamiliar, how would you describe your latest project?

DEON STUBBS: “Deon’s Almost Famous” is a scripted comedy drama series about what happens while you’re trying to get the core purpose of ‘the dream’ to work. It embodies a nostalgic 90s sitcom vibe that reflects the interactions of my life with all the people I know—as a Midwest creative who leaves Ohio for big stages across the country.

The most relatable part about the show is that it reveals the true essence of returning to the city that raised you, and to the people who know your name and your story, as well as how fame begins to develop its own definition outside of what you expected. Tonally, it’s funny and evokes the “Martin,” “Jamie Foxx Show,” and “Fresh Prince of Bel Air” era—with Black nuances and relatability.  

Furthermore, this is not a show about becoming famous, but about identity, ego, and friendship—and rebuilding when the applause quiets down. It’s a story of the ‘almost,’ which I believe there is power within that space, and doesn’t disqualify you.  

When will the new series start airing, and will it feature frequent episodes?

The series officially premiered on February 18th (on Prime Video) with a 23-minute first episode that garnered 5,000+ viewer watch minutes in one week. The full first part of the season is available to stream—for free—on the Reveel app: available via Roku, Apple TV, Google TV, and most smartphones.  More episodes are slated for the future, and our plan is to continue filming the series in a nostalgic way and keep storytelling from a real perspective.

Photo: Kaylan Robinson

What inspired you to create this new project?

My real life inspired it. Growing up, everyone wanted me to go to the popular public high school and play ball, but I wanted to do things differently and go to the private catholic school to challenge myself.

Stemming from a performing arts background that my choir teacher, Diane Aussman, set me on (I believe it was in the 5th grade), I always wondered what it would be like to have my own everything. From dance studios, all the way up to my own TV network—I wondered, “what if?!” And when I got the chance to go to Los Angeles and New York, it wasn’t the bright lights that inspired me; it was the space and the atmosphere. But coming back home [to Ohio] to share my ideas with a city of 39,000 people, I had seemed delusional—but I did it anyway. And now we have a show that I’m trying to turn into a household name.

Additionally, no one is really telling this story in this fashion. We see narratives about overnight success, but not often about rebuilding, and if we do, we don’t see everything. I wanted to document that space because there are a number of creatives that live in that space, quietly. The show will first make you laugh, and then it will sit with you, because underneath, the comedy is truth. And beyond the screen, I care about structure. I care about infrastructure.

Furthermore, I did not create this show to chase attention; I created it to tell the truth. And when you tell the truth, with intention, it resonates.

Photo: Kaylan Robinson

With your worldview, who are you hoping to reach the most?

Honestly, I am hoping to reach the person who feels overlooked, but knows that they are not average. I want to reach the creatives in Cleveland, that have talent, but not yet the co-sign; the filmmaker in Warren, editing at 2am, perfecting their craft; the dancer who is also a parent and student; the entrepreneur building something out of a living room they don’t own; and the student forced to go to a college they can’t afford.

My worldview was shaped by living on both sides of this industry. I have worked on professional sets and booked roles, and have seen how Hollywood operates, in small and big capacities. From being a part of projects like “Judas and the Black Messiah,” to “Use of Force,” and “Pitch Perfect III,” I understand visibility, and I understand what it feels like to create without it. And because of that, I am not just trying to reach viewers, I am trying to reach builders.

I especially want to reach Black men who may be navigating pride and pressure, because we are often taught to have strength without processing setbacks. My work sits in that tension, and proves that you can be ambitious and vulnerable; you can laugh at yourself and still be serious about your goals.

Moreover, I want to reach those in the next generation who may be watching quietly. The kid who sees that someone from Ohio can create, produce, distribute, host, direct, and lead, without waiting for permission. If they see that and think, “I can build, too,” then my purpose is being fulfilled.  

Why should people pay attention to your creative works?

This series is proof that creatives outside of New York and Los Angeles can produce quality work, distribute it strategically, and retain ownership. I build from lived experience and ownership, in order to give back to my people. “Deon’s Almost Famous” was not handed to me; I created it, produced it, structured the distribution, and handled the business. That matters because too often, creatives are only taught how to perform, not how to own.

I am not waiting for permission to tell layered, Black Midwest stories from an independent filmmaker’s perspective. I am not adjusting the culture to fit an algorithm; I am documenting it as it is: real cities, real pressure, real humor, and real pride. And I am building the audience in real time while keeping control of the narrative.

I build stages, opportunities, and ecosystems. I’ve produced my own shows, launched on Prime Video (multiple times), and through my non-profit organization, I’ve built an awards platform—the HMA Awards—which celebrates excellence in our community. I want Black and Brown professionals to see that excellence exists right here, at home [in Ohio], and deserves its own stage. Through my overall work, I want people to understand that ownership matters just as much as opportunity.  

Photo: Kaylan Robinson

In terms of future goals, where do you have your sights set next?

Season two is already on my mind, as well as what and who we can add. I want to figure out how to have those signature moments, like when a celebrity pops up, and we make a moment of it. Or how we can get a real, live audience to interact in real time.

But, beyond platforms and placements, I am focused on something deeper. I want to help build a Midwest production ecosystem where talent does not feel forced to relocate in order to matter. Where directors, actors, cinematographers, and editors can work consistently and grow in their hometown. This is not just content for me, but systems we all need in place.

I am expanding intellectual property across television and film, with intention. Because after me, and after “Deon’s Almost Famous,” the tone needs to be maintained, strong, and just, in order to make history.