In a vibrant celebration of one of Hollywood’s most enduring and versatile talents, Netflix has officially greenlit It’s Not Unusual, a high-energy, six-part limited series directed by the legendary choreographer and producer Debbie Allen. With a production budget reported at $65 million, the project aims to look beyond the sweater vest to reveal the disciplined artist, the director, and the speed-demon behind Alfonso Ribeiro.
While the world knows him for “The Carlton”—the dance that defined a decade—It’s Not Unusual promises to be a story about the serious business of entertainment. It is a portrait of a child prodigy who navigated the perilous transition to adulthood not by fading away, but by constantly finding the next beat.
The Kid from the Bronx
The series begins on the energetic streets of the Bronx in the late 1970s. Early episodes will reportedly focus on Ribeiro’s lightning-fast rise to stardom as a child. Before he was a sitcom star, he was a Broadway sensation.
“We wanted to capture the sheer electricity of young Alfonso,” director Debbie Allen noted in the press release. “People forget that he was The Tap Dance Kid. He was a Broadway lead at an age when most kids are learning long division. The first act is about that raw talent—the kind you can’t teach, the kind that just explodes out of a person.”
Through restored archival footage, viewers will witness the moment that changed his life: starring alongside Michael Jackson in the iconic 1984 Pepsi commercial. The series dramatizes this encounter, framing it as the passing of a torch, where the King of Pop recognized a kindred spirit in the young dancer, cementing Ribeiro’s status as a “mini-Michael” in the public eye.
The Sweater Vest and the Shadow
Central to the series narrative is the cultural phenomenon of The Fresh Prince of Bel-Air. It’s Not Unusual dives deep into the chemistry between Ribeiro and Will Smith, portraying them not just as co-stars, but as brothers who pushed each other to comedic greatness.
However, the series does not shy away from the complexity of creating an icon. It explores the double-edged sword of Carlton Banks. Insiders suggest the documentary features candid interviews where Ribeiro discusses the struggle of being a cool kid from the Bronx playing a nerdy foil, and the fear that the character—and specifically “The Dance”—would overshadow his actual identity.
“The Dance was never in the script,” Ribeiro reveals in a voiceover clip released to the press. “It read ‘Carlton dances.’ I had to invent something that looked like a bad dancer trying to be cool. The irony is, it took a professional dancer to make it look that awkward.”
The Director’s Chair
A significant portion of the series covers a side of Ribeiro’s career that often goes unrecognized: his work behind the camera. It’s Not Unusual chronicles his pivot to directing, highlighting his work on shows like In the House, Meet the Browns, and even The Fresh Prince.
This section is described as a “masterclass in longevity.” It posits that while the world was waiting for him to appear on screen, Ribeiro was busy calling the shots from the control booth, mastering the technical aspects of television that would eventually lead him to become the host of America’s Funniest Home Videos.
Redemption on the Dance Floor
Perhaps the most triumphant segment of the series covers his return to the spotlight in Season 19 of Dancing with the Stars. The series frames this not as a reality TV gig, but as a vindication.
Viewers are taken inside the rehearsal studios with partner Witney Carson. We see the physical toll of the competition and the emotional weight of finally showing the world what he could really do. The climax of this arc—a jazz routine that earned a perfect score—is presented as the moment Ribeiro finally reclaimed his narrative, proving he wasn’t just “Carlton,” but a world-class performer in his own right.
Life in the Fast Lane
In a surprising twist for casual fans, the final episodes explore Ribeiro’s adrenaline-fueled private life. It’s Not Unusual takes us to the race track, showcasing his semi-professional racing career. We see him winning the Toyota Pro/Celebrity Race, highlighting his intense focus and competitive nature.
The series also touches on his passion for golf and his grounded family life. It paints a picture of a man who is as comfortable on a fairway as he is on a soundstage, and who has managed to keep his family shielded from the toxicity of Hollywood.
A Legacy of Joy
Visually, the series is kinetic. Filmed across the theaters of New York, the backlots of Los Angeles, and the race tracks of Long Beach, the cinematography moves as fast as its subject.
Debbie Allen sums up the project’s ambition: “Alfonso is the definition of a triple threat. He can sing, he can act, he can dance, and he can direct. But more than that, he is a vessel of joy. In a world that can be heavy, Alfonso has spent forty years making us smile. This series is our thank you.”
The trailer ends with a simple, resonant image: Ribeiro, now in his 50s, standing on an empty stage. He snaps his fingers, smiles that signature grin, and does a single, perfect tap spin before walking off into the light.
It’s Not Unusual is slated for a global release next summer, promising to be a toe-tapping journey through the life of a true entertainer.
