The film Undercard arrives as a notable pivot for comedian Wanda Sykes, who inhabits a dramatic role quite unlike her familiar comic persona. Co-written by Anita M. Cal and director Tamika Miller, the movie centers on Cheryl “No Mercy” Stewart, a former champion turned coach navigating life as a recovering alcoholic. Boxing provides the backdrop, but the story is anchored in intimate struggles: fractured family ties, legal guardianship responsibilities, and the search for connection and redemption.
Audiences meet Cheryl as she attempts to reconnect with her son, Keith, a talented fighter played by Bentley Green, and to protect Meeka, her late sister’s child, from the threat of Child Protective Services. Alongside these pressures, Cheryl develops a tender relationship with Mariana (Roselyn Sánchez), offering an uncommon depiction of romance between older queer women. The production’s blend of sports action and quiet emotional beats makes for a film that explores resilience both inside and outside the ring.
From comedy stages to the boxing ring
For Sykes, this was her first major dramatic film role, a choice that required persuasion and trust. Miller, who had box training experience at Wild Card Boxing Gym in Hollywood, wrote with Sykes in mind and invited her to the gym before preproduction. Sykes initially hesitated, noting the absence of jokes in the script, but Miller’s conviction and preparation convinced her to commit. Sykes then immersed herself in a long training process: learning to handle the mitts, to act as a trainer, and to look natural in the ring. That preparation paid off on set, where her physicality and emotional vulnerability coexist convincingly.
Character, conflict and representation
At its heart, Undercard is a family drama framed by sport. Cheryl’s journey illustrates how personal demons can intersect with public responsibilities: she must manage Keith’s career while confronting her own relapse and the bureaucratic pressure around Meeka. The film presents these themes with nuance, avoiding simple redemption arcs in favor of moments that feel earned and human. Miller has said she wanted to tell a story where a woman trains a male boxer at the highest level — a dynamic she had not often seen portrayed on screen.
Queerness as natural fabric
Miller, who identifies as queer, intentionally weaves Cheryl’s sexuality into the narrative rather than treating it as an isolated plot point. The relationship between Cheryl and Mariana is portrayed with tenderness and authenticity; it adds a dimension of longing and companionship without becoming the film’s sole focus. Sykes, who has played gay characters on television before, found the role liberating and appreciated how the romance allowed Cheryl to display vulnerability amid chaos.
Performance highlights and production notes
Sykes’ most intense scenes include Cheryl’s relapse, a turning point that the actress describes as crucial to conveying the character’s pain and need for numbness. Filming took place in Puerto Rico, presenting logistical challenges such as heat, but cast and crew credit Miller’s leadership for maintaining a focused, collaborative atmosphere. Critics and viewers have noted Sykes’ commitment to the physical aspects of the role and the emotional depth she brings to a character who must balance authority in the gym with the messy realities of family life.
Behind the collaboration
The creative partnership between Miller and Sykes is central to the film’s tone. Miller storyboarded the project with Sykes in mind and emphasized discipline and preparation on set. Sykes recalls early rehearsals — held before principal photography in Puerto Rico — where the director emphasized exercises to build rapport rather than immediately dissecting the script. That rehearsal approach helped the actors craft authentic relationships and made the production feel safeguarded by a clear directorial vision.
Undercard also reflects Miller’s time at Wild Card and her admiration for figures like Lucia Rijker and Ann Wolfe, who helped shape the film’s conception. Rather than foregrounding boxing as mere spectacle, the film treats the sport as a crucible for character development: the gym becomes a place where trust, discipline and ego collide. Sykes has said she is not actively seeking a dramatic career pivot, but she is open to material that speaks to her — and she has not ruled out returning to collaborate with Miller on future projects.
Public moments and cultural notes
Outside the film, Sykes continues to be an outspoken public figure. She previously used a Golden Globes acceptance moment to name-check the trans community when presenting for another performer, reflecting her willingness to blend humor with social commentary. In Undercard, that same combination of candor and heart is present: the script allows for moments of levity without undercutting the emotional stakes.
Ultimately, Undercard positions Wanda Sykes in a role that asks audiences to see her anew — not merely as a comedian but as an actor capable of inhabiting complexity. With Tamika Miller’s steady direction and a cast committed to authenticity, the film uses the language of boxing to tell a story about repair, responsibility and the quiet courage it takes to rebuild a life.