Aldis Hodge Redefines Hero Role In New Prime Video Series ‘Cross’

Aldis Hodge’s journey to success is a testament to both perseverance and a deep commitment to his craft.

Now, Hodge has taken on the lead role in “Cross,” Prime Video’s TV adaptation of the best-selling Alex Cross series, which premiered all eight episodes on Thursday. Hodge stars as a D.C.-based detective and forensic psychologist who is uniquely skilled at delving into the psyches of killers and their victims to identify — and ultimately capture — the perpetrators. This season, he faces a complex case involving the murder of a Black Lives Matter activist, leading him to uncover connections to a web of culprits.

The character Alex Cross — created by James Patterson and is the protagonist of the crime novel series of the same name — was previously portrayed by actors Morgan Freeman and Tyler Perry. In this series, Hodge not only brings a fresh intensity to the famed detective, but also reshapes what it means to be a Black leading man in thriller and detective genres.

Over the years, he’s embraced projects that challenge him artistically and allow him to showcase his range as an actor. From donning the wings as Hawkman in “Black Adam” to lending his voice to the iconic Green Lantern in “Green Lantern: Beware My Power,” the 38-year-old actor has proven his versatility in action-packed, larger-than-life roles. Yet, his portfolio isn’t confined to comic book adaptations. His work in the sci-fi thriller “Parallel,” which he wrote and starred in alongside his brother Edwin, demonstrates his passion for storytelling and his dedication to exploring complex narratives. Hodge’s dynamic performances continue to captivate audiences, solidifying his status as a multifaceted force in Hollywood.

In an interview with HuffPost, Hodge shared his excitement for stepping into the role, as well as his thoughts on reshaping on-screen representation for Black actors. He is also embracing his “sexiest man” era with confidence as he enters a new chapter in his career, one that reflects his dedication to breaking boundaries and redefining the image of the modern-day hero.

You’ve often spoken about the importance of playing strong, layered roles. How do you hope Alex Cross will reshape the “leading man” role for Black actors in thrillers and detective series?

Man, I actually didn’t even consider that. I just hope that the performance is received in its true intention. I think the brilliance of [show creator Ben Watkins] writing is the fact that this is reshaping the idea of what strength and masculinity looks like. That could be someone who is vulnerable and deeply loves the idea of love, as audiences will see he grieves his deceased wife and the love he has for his children. All of those pockets of vulnerability are the key factors to building up his strength. This is what drives Alex Cross; it’s what pushes him forward.

I hope that, in some way, this role helps impact the structure — or rather, the construct — of how doors are built or broken down. I want this work to contribute to the ongoing conversation about Black actors, Black men and women. I hope it helps bring us further into the light of normalcy, where we’re no longer categorized or segmented when people question our abilities or our right to be here.

In the Alex Cross film series, Morgan Freeman and Tyler Perry have played the detective before you. How do you think your version of Alex Cross differs from theirs? What qualities did you want to ensure came across on screen?

I don’t consider the differences too much as understanding that it’s innately different from the beginning — I knew that from the writing. They both play their roles to the base of their honesty which is what I do as well, which makes it distinctly different. This Cross is brought to the generation of today. You’re going to instantly have a different flavor, a different reality, a different tone that goes along with the nature of the show. Plus, as a series, we have a long runway to actually build out the world across, whereas with films, you get a very singular moment. In the Cross experience, with the series, we get a chance to explore the relationships, like the relationship with John Sampson, with Nana Mama, with the kids, with everybody in the District [of Columbia].

As Cross permeates the mind of a killer, we get to be on that journey with him. The experience in itself is different, especially for lovers of the book series. They get to actually jump into the world they’ve known and loved for so many years. As far as my performance goes, that’s going to be something driven by who I am as a man and as a person.

At the center of “Cross” is figuring out who murdered a young activist in Washington, D.C. Why do you think it’s important to see that kind of storyline on TV today?

I do feel like it was an opportunity to point out the dissension and divisiveness when it comes to such a subject matter, but also at the same time, the inner turmoil that goes on when trying to figure out how to handle it, and putting two representations of the conversation on either side so that people can understand what that conversation is as it’s being had. Through Alex Cross, we see what the right intention is when it comes to dealing with a case like this. What are the right steps that should be taken when it comes to dealing with this in real life? Who is out there? We need to find justice for these people. While we aren’t sure who did it, I’m going for justice because this person deserves justice, and that’s what we’re going to get. I think that it’s a layered education and how these things could be or should be addressed.

In “Clemency,” you portray a man on death row; in “Underground,” you portrayed an enslaved man who was running away; in “Brian Banks,” you portray the real-life Brian Banks, who was falsely accused of rape. How did you approach taking on a role like Alex Cross, who has a certain level of power that these other people and characters did not? As a producer, were there any considerations you made for how this person should be portrayed?

Thank you for saying enslaved as opposed to a slave, by the way. It’s a great distinction. The subliminal words and their meanings, the fabric of it is damaging, or welcoming and healing depends on how you do it and think. I didn’t necessarily look at Cross as someone from a power position. I looked at him as someone from a position of responsibility. There is a means of connective tissue with all of the characters that I play that you mentioned. Brian Banks, Noah in “Underground,” Alex Cross, they’re all men of great moral fiber who are looking for justice, real justice. My approach to Cross was just understanding his why; he’s a man who’s deeply grieving and dealing with embattled internal turmoil because he is on a journey of redemption from a skeleton in his closet that he’s not too proud of, and he’s trying to manage and maintain. I think for me, this character is trying his best to not only hold on to his sanity, but hold on to himself and who he is as a man.

As a producer on this, obviously, protecting the character and his intention, and understanding who and what he represents and how is paramount, but, to do that as a producer, you can’t focus just on character. You have to focus on everybody and the ecosystem and relationships that way. I really had no heavy lifting there because Ben and our writing team and the current team of producers are all really amazing. This is a standard that’s set by Ben, that’s carried throughout from us, the co-captains. That was really the North Star for getting through because I believe that in order to take care of your product, you have to take care of your people.

There’s a powerful scene in which Cross gets into a heated debate about being a Black man in the police department. Tell me about that scene and why it was important to portray.

There were some parts of that scene that we had to, for the sake of time, cut out. It’s powerful because a lot of people don’t understand the necessity of what it is that we go through on a regular basis. The conversation is multi-layered, where people get to see what we do internally, within our community, have these conversations, and we don’t all have the same opinion. We have to find it, but it’s about finding a commiserate sort of compromise. It’s not an easy experience for Cross, who’s a man who does stand for justice and is one of the community, but he also abides by the badge. That means that it doesn’t matter who is obstructing justice, whether it’s a serial killer or somebody who does carry a badge and is abusing their power ― Cross will stand against them. For his particular position, he knows how he’s viewed, and it’s a hard thing for him to deal with as he has to receive and sort of combat misnomers or sour perspectives that are not necessarily fully well-informed.

You’ve mentioned in the past the importance of taking on roles that challenge you. What’s one skill or lesson from a previous role that you still carry with you?

I think each role has taught me about just trusting myself more, my choices, believing in my own value, and making sure that I am choosing this for me and not for anyone else. I’ve been recently on a journey of self-love, really addressing those old traumas, childhood traumas, things like that that are a bit recessive in our brains. With the roles, there are a lot of similar themes as far as people finding their own value and owning it. Bit by bit, as I engage my art more and more in order to do what I do, I have to not only love it, but I have to love myself in it and maintain my own confidence, my own power throughout, and not be moved or phased.

Do you ever reflect on being the original Derwin for the “Game” series, and were you a fan after being recast? How did you feel seeing Pooch Hall excel in the role?

I’ll be honest with you — do I reflect on it? Absolutely not. I didn’t watch an episode after I was recast. The experience left a bad taste in my mouth. At that time, you have to focus and remove any negative effects or any reminders so that you keep doing what you need to do and not get lost in the idea of grief.

The recasting process was tough because I found out from [Hall]. Pooch is a friend of mine, and he called me, he said, ‘Yo, why am I auditioning for your role?’ I said, ‘Bro, I don’t know, but why are you?’ He’s the one that tipped me off so I thank Pooch because it came as a surprise, but this is the way the industry is. I still rock with Pooch, and I’m still proud of him for doing the job he did. I’m happy for him because that was his lane, and that job was meant for him.

When I saw that he got it, honestly, I was happy for him. If I had stayed on that show, I might not be in this position. In fact, I guarantee I probably wouldn’t be in this position right now, and this is the job that I’ve been working toward. This is the environment that I’ve wanted to be in for, for a long time.

You’ve been in some physically demanding roles, from “Leverage” to “Black Adam.” How do you prepare for these roles physically and mentally, and is there a specific routine that keeps you grounded during intense filming schedules?

The only thing that keeps me grounded, which is a mainstay throughout my life, is my family. As far as preparing for the role, it is dependent upon the job. For Brian Banks, I had to gain a lot of size in a very short amount of time. And Brian, the actual Brian Banks, is the one who trained me for that. As for “Leverage,” they kept telling me to stay small. They wanted me to reduce my size so I wouldn’t get too, too big. For “Black Adam,” we worked out like crazy; I’d wake up before the morning, and we’d go to the gym from 5 a.m. to 8 a.m. working out and bodybuilding, and then from 8 a.m. to 4 p.m., we would do stunt training, fight choreography and all that, and aerial training and harness and wire work. We did that for months. Typically in my daily life, I like to try to stay as fit as possible because once you get off the wagon, it’s a little hard to get back.

In your career, you’ve consistently taken on roles that redefine how Black men are portrayed on screen. How did your recent cover shoot for Essence fit into your ongoing journey to challenge stereotypes and expectations?

I don’t know if the “sexy” part is intentional, but I do think that self-assuredness, self-awareness and self-love is sexy. I think it’s attractive so I think people gravitate toward that. If in any capacity, somebody thinks that I’m sexy by any means, I think that’s what they’re looking at. I’m a nerd, and I don’t think I’m sexy — I’m just trying to get somewhere. Oddly enough, Essence was the first magazine that I ever shot for when I was a kid. I don’t know, I was like 3 or 4, and we did an editorial shoot which was pretty awesome. It’s weird to come full circle now to this moment, and one of my first moments turned into one of my biggest moments. I’m very happy and proud that it was with Essence. The response that I got from that, honestly, was quite shocking. I’ve never received acknowledgment in that way, and I was definitely not expecting it. I appreciate it, but I just was not aware that it would have that kind of impact. To your point about am I embracing anything? I’m just discovering what this new era is. It’s an abnormality that happens outside of your control, so I’m just rolling with the punches.

All eight episodes of “Cross” are available to stream on Prime Video Thursday.