The Fairy Princess is a member of BOTH Performing Unions, Screen Actor’s Guild/AFTRA and Actor’s Equity Association.

In fact, she just had an email from AEA about celebrating her DECADES in AEA, and no – she is not sharing the length of time, but wow….

That aside, the two Unions are fighting like siblings – and if you have ever fought with a sibling, you know that it can be intense, and here is what they are fighting about for those reading along at home.

Since the pandemic, and it’s mishandling by the Trump administration – Broadway has been closed. Production on Film, Commercial and Television sets were put on pause, AND both Union’s Trustees have jacked up their Health Insurance requirements to the point where, most of the members will not be able to make their ‘minimum’ to get coverage. We are all quickly moving to the the elimination of the working class actor, which is incredibly sad.

Now, AEA’s health insurance is measured in weeks – how many weeks of work you have (minimum 11 per calendar year) gets you 6 months of Health Insurance. If you work 19 weeks per year or more (Broadway Contract), you have a year’s worth of Health Insurance.

By the way – please note that even if you are a Broadway performer, once you have ‘worked’ your 19 weeks – you do not get ‘extra credits’ towards your health insurance for the next year – your extra weeks and the money they still take without qualm from Producers, goes to supporting those members who have worked less but still qualify for insurance.

SAG/AFTRA’s health insurance is based on money earned per quarter, per year.

The Health Care plans are primarily what this fight is about because…people need to be covered. Particularly given that we are in a pandemic and healthcare costs – which have always operated well above what should be allowed – are skyrocketing.

Therefore, to be covered by SAG/AFTRA, your wage earnings must meet $25,950 or 100 days of work.

In addition, SAG/AFTRA wants you to pay a premium per month of $125 if you are single. Your premium per month goes up if you have dependents.

So for working actors who are members of SAG, you likely need to book at least 1 if not 3 National Commercials and hope that they are not kidding you and it changes to Cable or Internet usage, a few Guest Star roles, or get bumped up to Recurring on a long running show where the writers like you, or…be Brad Pitt.

Good luck with that!

For ‘working actors’ of AEA, you need, very likely, a Broadway contract, or an Off Broadway Contract for short runs at prestigious theaters, or solid Regional theater work – like being in a production of “Christmas Carol” that starts in September somewhere out of town.

Otherwise, as a Stage Actor – you are not going to get insurance. As a Stage Manager, you chances of making your insurance minimum is better – and as Stage Managers really are the glue of theater, their employment record is ‘better’ than actors. It is entirely possible to make a good living as an SM.

SAG/AFTRA has more members, and because of that, they do have more money and more clout and…with the Pandemic, as producers are turning to ‘filmed’ stage shows – and THAT, oh AEA, is where we kind of ‘showed our ass’.

Because AEA has for years, talking decades now – made it so impossible to film live stage shows in New York, that Producers have flown entire companies to OTHER COUNTRIES – Canada, U.K. – to film a ‘live’ stage show for broadcast.

SPONGE BOB – you loved it on Nickelodeon, filmed in the U.K.

AMERICAN IN PARIS – you loved it on Great Performances – filmed in the U.K.

JESUS CHRIST SUPERSTAR was filmed in Brooklyn, by a Television Network – so that is different. It was filmed live for television. By theater people, yes – they did not do it under AEA.

They did it under SAG/AFTRA.

So did HAMILTON for Disney+, DIANA for Netflix, the TONY Awards, and the MACY’S THANKSGIVING PARADE.

AEA members are concerned – and should be – about not ‘making their weeks’ to get coverage. AEA wants to film live stage shows make it ‘easier’ for their members to keep contributing to their weeks- and so ‘Bigger, Sister Union, SAG/AFTRA” offered them a ‘waiver’ which AEA has rejected.

According to AEA – SAG/AFTRA has gone to the vendors (aka Producers, Production Companies) and negotiated rates and contracts to allow their members to continue working or resume working – and neatly substituted themselves into the realm of The Broadway.

Where they already were, because…filming.

Something AEA has long been against.

Even the library at Lincoln Center has had to jump through hoops to film, for their archives, Broadway shows – and then, they had to agree to almost an AREA 51 Clearance to put it in the library at Lincoln Center and maintain a stranglehold on who gets to see those filmed shows.

This is when being a purist comes back to bite you in the butt. Because now that AEA needs filming to prop up it’s Pension and Health & Welfare Funds, they need SAG/AFTRA to play nice.

This is like watching that scene in Stagedoor between Terry and Jean – one wants to go to Hollywood and live under a contract with the film studios and one wants to possibly be poor all her life and do ‘art’. The disdain with which each views the other’s choice is blatant and clear – and has parallels here.

SAG/AFTRA sent over a waiver, that they – apparently out of the goodness of their hearts and not after long months of negotiating – ahem- that they feel is a good offer to get AEA through this crisis.

AEA has NO MEANS AVAILABLE to do what they normally do – which is cover Stage Managers and Actors who engage in live performance. AEA needs this deal, and they are not in the primary position, because the jurisdiction is clear – filming is under SAG/AFTRA.

The Waiver (See the actual verbiage here) that AEA rejected says, in a nutshell that because of the Pandemic SAG/AFTRA will allow shows to be filmed to be streamed or broadcast if they were originally theater productions.

They will grant AEA jurisdiction on that, but there are a few rules –

  1. The waiver would cover anything that falls within the realm of live theater. Readings, staged readings, live streamed performances etc.
  2. It has to look like theater – so no quick editing jumps, no zoom ins, etc
  3. When it is up for sale, people have to be able to purchase it on a restricted platform – they cannot sell it to Netflix or Apple Plus or that kind of thing
  4. You can only film as many works as you own theater spaces simultaneously, because it has to approximate live theater. You cannot go into a theater and see WICKED and then go into a back room in the same theater and see HAMILTON. One show per ‘venue’.
  5. You cannot sell more tickets than you have theater seats in your theater, doubled. So if SIX is in a theater with 890 seats, then you sell those – and double it, but that is it. That is the limit of seats they can sell digitally. You can also not sell them more than the existing 8 shows per week.

As we have seen from HAMILTON – this is restrictive. Because to film a play or a musical effectively – as fully professional production to which you CAN sell tickets- you need to be able to edit it and use closeups. Who is to say what is ‘excessive’ editing. How many ‘cuts’ per scene? Is sound mixing considered editing under this agreement? Where do the musicians unions come in on this issue – is it a recording? Is it a pit orchestra?

So on first glance, it seems like SAG/AFTRA is being somewhat reasonable until you understand they want to it look bad, and they want, in turn, to be able to pull the plug on this the minute they feel like it. They also want to have an Executive Oversight committee to meet regularly and discuss all the ways in which to pull blood from theater’s stone.

So already they are starting in a bad spot, which, honestly – they don’t care.

It is like your older sister allowing you to play with her Barbie Doll and then, in the middle of your play, she swoops in and grabs it back saying it is HERS, it has always been HERS and how DARE you play with it!?!?!

It is the same kind of fighting- it does not help solve anything- and this is a situation that needs solving. Yes, AEA has always had an issue with filming and yes, it is kind of hypocritical to say ‘Well now WE need it, it is ok’- but this is the first pandemic since THE BLACK PLAGUE that has shut the theater- so forgive them if they require wiggle room to adjust.

It is what it is.

So, there is the issue of jurisdiction- clearly SAG/AFTRa is the big dog in the fight. The other issue is that AEA is alleging is that SAG/AFTRA is going around them to deal with Vendors aka Theater Owners and Producers, giving them all sorts of ‘deals’ to keep the productions under the ageis of SAG/AFTRA and not allow AEA a shot at a production deal.

Who does this affect? The Stage Managers.

Which is a HUGE. ASS. DEAL.

Because SM’s are the ‘regular and reliables’ of our Union.

In the theater, once the Creative Teams have ‘left the building’ – aka once the show is “Up”, everything is dependent on the Stage Manager. Stage Managers do a variety of very skilled tasks that include keeping the Actors in tip top order, negotiating with the various departments and making sure things get done, resolving disputes, dealing with injuries, replacement cast members, rehearsals, auditions, dealing with the management company – in short, they are the most important people in the theater.

Without them it all goes to hell in a hand basket.

However once a production goes under SAG/AFTRA, the SM’s are cut out – there are different Unions and Departments all those duties go under – and this is a huge issue.

AEA has also stated, in a letter by Mary McColl (which you can read in it’s entirety via the link, but here is an important snippet) that SAG/AFTRA is deliberately undercutting the SM’s.

So now we are getting to the crux of the matter, as AEA states it – SAG/AFTRA is undercutting the members of AEA and the Union’s ability to negotiate, and that there has been no contributions to AEA’s pension and health which decreases a member’s chance of making their weeks – which, if true, is a crap thing to do.

Because once theater does come back – and no, we do not know what it will look like or when it will actually be – the SM’s are the ONLY ones who are going to know everything needed to get the show up and running. They are the keepers of the “Book” in which every cross, every cue, every everything is written down so that the show can never get it wrong.

They are the difference between ‘winging it’ and saying “Wow, looks like they never left!” as we wait for it all to reopen. Stage Managers are the OG bosses of the theater, and if you do not believe TFP, she will fight you.

So if SAG/AFTRA cuts out the SM’s, but covers the Actors, who are under their jurisdiction and paid for filming at SAG rates, who loses here?

AEA and Stage Managers, that’s who.

The Actors who get to film under the SAG/AFTRA contract are actually ok – they are working and contributing to the SAG/AFTRA health and pension funds, and their rate of pay is higher than AEA’s, and they get residuals.

No work + no health care + no bailout for theatrical professionals of all kinds = people permanently leaving the industry.

However SAG/AFTRA says this is NOT true.

So who to believe?

It does not matter, it just needs to be fixed. That is the truth.

TFP knows both the Unions and the People running them, she considers many of them friends as well as colleagues. She knows that this is a stressful time and money has been extremely hard to come by – and she also knows that Entertainment people are essential workers.

Essential workers for the human spirit, and ‘we’ are necessary because ‘we’ create magic.

Magic helps people escape their circumstances if only for a little while- and when you are trapped in the house unable to escape physically- you rely on Entertainment to keep you sane. This includes all the craftspeople who create what we wear, how we look, the writers, the directors, the producers who fund ‘the dream’- we are ALL Essential Workers!

This has not been acknowledged during this crisis, but what would people have done if they could not stream a favorite show or watch a film? Or Video Games with Professional Actors voicing characters? Or Books on Audio?

They would have gone crazier than a rat in a coffee can, that’s what.

However Entertainment largely relies on the way it makes people ‘feel’ – which is ephemeral. It is hard to quantify.

The ability – whether on the stage or on the screen – to make the general public laugh or cry is one that is shared by both AEA and SAG/AFTRA members.

We specialize in the imagination and bringing things both unimaginable and within reality’s realm, to life. It is not, ‘I am more talented!’ Or ‘I am more beautiful!’ Or ‘Mine requires more actual skill!’ – it is the SAME ART FORM! The exact same one.

The infighting has to stop.

She does believe that AEA is having it’s members undercut – although she does not think it is SAG/AFTRA that is doing it. Are they entirely free of guilt by association? No. The need to undercut production usually is not a Union grown idea, because it does not benefit them.

Likely, it is the Producers themselves. Because it is always, always, always the one whose money is being spent on the production, who is in charge.

The producers are the ones in the best position right now – although it may not seem it. They are the ones with the money – and money right now, is tight. People are willing to negotiate, that cannot be denied. They do not want to lose any more money, so they are lowballing to try and make up for being closed the past few months.

Don’t hate the player, hate the game.

They are probably, basing it on past difficulties with shooting through AEA, approaching SAG/AFTRA and saying “Hey, I want to do it – but….BUT…I only have this much money and so now I need the Indie Film Contract to do it. I mean, we are FILMING right? Which falls under YOUR jurisdiction, doesn’t it?”

It is pretty much the same tactic that Producers used to say, keep the 99 Seat LA Theater Contract going for umpteen years, and the Off Broadway Wages at like, $300 per week for over a decade, Oh, we can’t afford an increase” “Theater will die if you make us pay the actor’s living wages”

So dramatic.

Remember?

Did theater die? No.

What does that tell you?

SAG/AFTRA has all kinds of budgets within it that allow for filming at almost every level. TFP knows this because she has been an Indie Assoc Producer on SAG/AFTRA projects, and because she knows how tenuous the grip SAG/AFTRA has on actual projects. They do not have have a lot of power here – the only thing they ‘own’ in this situation, is the jurisdiction.

Undercutting the production itself does not help SAG/AFTRA in the long run – because as they are a bigger union, they have bigger bills. They would be working against their own self interests to take away residuals and pension contributions.

They want to keep production in the United States, and they want to encourage creatives with dreams, so TFP can see how they would allow people to operate – during this most hideous of times – under contracts that, frankly, are not appropriate for the situation.

She also thinks that they likely did not try and hash this out with AEA because they too, had no idea how things were going to proceed, and when you have 4x the members and have just announced that – like a**holes, you are going to throw most of them off their health care during a pandemic – they might have had a few things going on.

She does not think that they would knowingly try and take away a living from Stage Managers, but if a Producer contracts under an Indie Film budget, then that producer is likely pawning off what would be considered Production Assistant wages to Stage Managers under the assumption that the SM’s do know, that SM’s are not ‘required’ under SAG/AFTRA contracts. That the SM’s would take the job because they need ‘something’ coming in, and they will suck it up.

Which is why everyone needs to come together and stop throwing mud.

We are in a sh*t situation.

Get that? A sh*t situation.

TFP wants to help.

She does not disbelieve anyone, she also does not believe everything.

TFP is going to write a waiver and the Unions can check it over with their legal departments and stop fighting and start getting past this situation. Then they are going to agree to it, because this has to end – put it in fancier language, but this way, people get to work.

SAG/AFTRA is going to be fine because filming in LA and elsewhere on television shows etc, has already begun. Wages and dues are coming in, along with their contributions to Health and Pension – and since they have all but thrown everyone – including by the way, Hillary Swank, who is now suing them for not covering her health issues – she is only a Academy Award Winner, wtf OFF the health care plan, they will eventually have a surplus – but AEA is NOT going to be fine.

As long as live performance is ended and there is no vaccine, it is for all intents and purposes, dead.

Dead Unions do not help this country. Dead Unions are how the billionaires relegate us all to serfs.

Here is TFP’s suggestion.

The following waiver is extended by SAG/AFTRA to it’s sister union, AEA, for the next six months, and will be examined and renewed at the end of the six months due to extenuating circumstances surrounding the COVID 19 pandemic. Should, prior to six months, this national crisis change, a re-examination will occur, as overseen by an agreed upon committee.

This offer is extended in good faith and seeks to alleviate the suffering of AEA members, many of whom are also SAG/AFTRA members.

  1. That any performance based on a stage production, including live streams, be allowed. We waive our jurisdiction. The contracts issued will be under AEA, in order that they maintain their Union, their Health Fund, and their need to protect their members.
  2. That the need to edit, and provide optimal appearance of professionalism at the highest level in order to facilitate ticket sales, is understood, and SAG/AFTRA does not limit the amounts of edits or sound design allowed a production.
  3. That tickets sales to these events, not be sold to a platform such as Netflix etc, however the limit of tickets sold to these live streamed events be allowed to be 4x the number of seats in the venue. With the understanding that the third time the tickets of the venue are sold, the Producers agrees to make a contribution to AEA’s Pension and Health fund of half the ticket sales, and the 4th time the ticket sales are split between the the Producer and the Actors in lieu of residuals – AEA does not have the right to mandate residuals, as that remains under the SAG/AFTRA jurisdiction.
  4. That the Producers agree to only show these filmed events in accordance to the number of venues that they currently rent or own.
  5. The Producers may not show events more than the current Broadway schedule allows, meaning 8 shows a week is the maximum.
  6. That SAG/AFTRA will not allow high caliber productions to be filmed under Low Budget film contracts, and in order to maintain the high standards of the Broadway production worked, that a Broadway Stage Manager is required to be on set, and be paid the rate that they would be paid per week as per AEA wage structure in order to insure continuity and safety for AEA members.

TFP has read the letters, she has seen the back and forth claims and counter claims – at the end of the day, the Unions have to work this out. Stage actors and SM’s need a Union. Film, Tv, Radio Performers need a Union.

“We” need one another or we are not going to make it. If AEA goes down, they have a blueprint about how to take out SAG/AFTRA – everyone will be hired as an independent contractor and there will be no benefits, no pensions – that is where we are.

Artists can afford one another some dignity. We can choose to show clemency. We can not sweat the small stuff – because at the end of the day – none of these streamed performances are going to take the place of live theater. Not one.

If SAG/AFTRA has AEA’s back – then it will all circle around again, back to normal.

If not, TFP does not know what is going to happen – but the Producers will win – they always do – this is a known thing.

Two Performance Unions are better than one.

TFP out.

The Fairy Princess has warned you that she is back, so really, you have no one to blame but Republicans – if they had not inadequately prepared for this pandemic, and then LIED to us – then Broadway would be open, Entertainment as a whole would not be shut down along with all the support businesses, and TFP would not have the time to write.

BUT SHE HAS THE TIME!!!!!

So here we go!!!!

First – many condolences to the Legend Family on the loss of their son, Jack.

Whatever you may think about how they handled the announcement of his passing, it is not TFP’s concern, nor should it be yours. These are two Parents who are grieving – as they are Public Figures, they are grieving in public, so that they can carry on, and so that others who have suffered the same losses, may find strength and comfort.

May the memory of Jack be a blessing to them.

Adventure Theatre is continuing their MIXING IT UP series, hosted by TFP – where we talk with Mixed Race Artists about their rises from Broadway to Beyond.

Previous guests have included – Merle Dandridge, Ali Ewoldt, Manna Nichols and Zach Piser.

We now bring you the ‘teaser’ starring our next guest….

TONY WINNER, RUTHIE ANN MILES!!!!

All of these interviews were done virtually, so they live FOREVER, but Ruthie Ann’s will not be until THIS COMING SUNDAY AT 2PM

Ruthie Ann is currently a series regular on the hit CBS show, ALL RISE, which is entering post-Covid Filming, which she does discuss. Congratulations on the Season 2 order, and make sure you tune in to watch!

AAPAC – the Asian American Performers Action Coalition – came out with their annual examination of Broadway and theater – it’s a numbers game and we do love our math.

No surprises there for TFP in their ‘THE VISIBILITY REPORT: RACIAL REPRESENTATION ON NEW YORK CITY STAGES” – as she once said while being handed a binder by a SAG Official “Take it home? How many times do I have to count Zero to get it!”

Here’s the scoop – White Actors dominate. 61% of the roles, which is double their actual population in New York City.

Black Actors are at 23.2%, AAPI Actors at 6.9%, Latinx Actors 6.1 % MENA Actors at 2% and Indigenous Actors are at a completely underwhelming .2%

On Broadway 80% of the shows were written by White People, and they were produced almost 4X as often as BIPOC people. Even with the huge increase, it seemed for AAPI Writers last season, they still number 6.2% Black writers at 9.6%, MENA writers at 2.8% and Latinx at 2.3%.

There were NO Indigenous writers represented last season at all in a production.

TFP read the 93 page report, and again, she is wondering how many times she is going to use all ten fingers and toes to tally up the gains of BIPOC people in NYC Theater.

Not this year.

Hey – Broadway has been shut for a while, and there is a chance to tell new stories when we come back – likewise there are great strides and productions that should have a Broadway transfer, like Lauren Yee’s CAMBODIAN ROCK BAND – which is instead, touring the country – and Helen Park’s KPOP which was set to open on Broadway when she did TFP’s panel at BroadwayCon last Jan…hopefully making her the second AAPI woman writer to have a show on Broadway, the first being of course, Young Jean Lee’s STRAIGHT WHITE MEN.

Ok yes, if you are a BIPOC person, particularly if you are one of the smaller groups represented, it is easy to get discouraged – but you cannot run around NYC and NOT KNOW – people are writing for you.

In every group.

EVERY GROUP ON THIS LIST HAS A POTENTIAL PLAYWRIGHT WITH BROADWAY LEVEL WRITING and it is on PRODUCERS to change this narrative.

If you are AAPI, there are people writing and working on all kinds of things starring people who look similar to you, or who share aspects of their culture with you. Google some names people – Mike Lew, Leah Nakano Winkler, Rehana Lew Mirza, Qui Ngyuen, Lloyd Suh, Julia Cho, Nandita Shenoy, Frank Chin, Aditi Brennan Kapil, Philip C. Chung, Yilong Liu, Ken Narasaki, Dipika Gua, A. Rey Pamatmat, Michael Golamaco, Jihae Park, Velina Hasu Houston, Christopher Chen, Jeanne Sakata, Susan Soon He Stanton, to name just a few…of COURSE DHH, of COURSE – he is the FIRST AAPI Playwright to get a production on Broadway, so of course DHH – but there are TONS more – and they are writing, and they see you.

It is easy to be all ‘doom and gloom’ but ‘when you are as old as I my dear, and I hope you never are....” to quote PIPPIN – you have to celebrate that the landscape was SO MUCH DIFFERENT when TFP graduated from University.

Sometimes you have to focus on the victories and for the defeats, well…

Onto Ron Howard, words TFP never thought she would type…now full disclosure, Mr. Howard has worked as a Director with several people she knows, and they loved the process of working with him. Could not speak higher of him, and that is a fact. Her Uncle (John E. Quill) knew him, and liked him very much – liked whatever they worked on together, and so on.

TFP has never heard a bad word spoken about Ron Howard in her life.

Till now….

Frankly, it is not ‘bad’ at all – it’s just being honest. In art, as in all things, we must be honest with ourselves and with one another.

The Chinese American Director of THE FAREWELL, Lulu Wang, has clearly come out against Mr. Howard directing the Biopic of Lang Lang, the Internationally Famed Pianist from China.

She is, by the way, completely correct, and TFP thinks not enough people – certainly not enough AAPIs working for Imagine Entertainment, Mr. Howard’s Production Company – if there are any – have spoken to Mr. Howard about it.

Mr. Howard is not the correct director for this film. He has too many obstacles to overcome.

Here are said obstacles as TFP understands them:

  1. Lang Lang is still alive and he has input as a Producer on this film – which makes it very tricky, because he is going to want to be HAPPY with this film, and as we have seen DISASTROUS biopics from those Artists who are both ALIVE & HAPPY with their Biopics but did not tell the actual story – this does not sound like something that is going to be easily accomplished.

Think of the THE DOORS, then think of ROCKET MAN….

2. Mr. Howard does not speak Mandarin or Cantonese, and will have to have a translator, due to the subject of the film being Chinese.

That is not to say that Lang Lang does not speak English, he does of course – but listen to him talk about the weight of his culture that he felt playing at the Olympics.

Does an Non- Asian American with no ties to China really understand the immense pressure and the fallout for his family if he did not perform well when the world was watching?

Not likely.

Though Lang Lang speaks English, there are going to be plenty of people involved with telling the story of his early childhood and development, that will not have his language facility. A translator will be necessary.

3. It is an American film, that takes place in China.

It is supposed to be a Chinese film with international appeal.

While trying to craft this story against the backdrop of the Chinese Cultural Revolution, which Mr. Howard will only know from books and museums, there will be a level of frustration that will not help the film crew – which will be overwhelmingly white.

Most American film crews are overwhelmingly white.

4. It is a Chinese story about music, classical music, an Art form the Government had almost destroyed.

TFP has studied classical music – Vocally, that was her major – and the idea of trying to express what classical music means and how it is taught to a director who is not familiar with that world – is mind boggling.

Telling the story of classical music in China – where, because of the Chinese Cultural Revolution, musicians and instructors of classical music were actively persecuted and instruments were destroyed…where such an immense talent grew up surrounded by Folk Musicians who could not live as the musicians they wanted to be…where they were only ‘allowed’ to have 1 child, and so all the hopes and dreams were pinned on the one child.

Where they were living in poverty and sharing a bathroom with six other families, while trying to stay motivated.

That is more difficult than Beethoven or Mozart played backwards on a accordion, in a swimming pool filled with crocodiles.

As TFP said – too many obstacles for one director. Why would anyone want all the stress?

Mr. Howard would be better off being a Producer on this film, lending his power to supporting talent that will be able to tell this story, you know – like Brad Pitt.

BTW, my AAPIs, do not look to Lang Lang for support on this. He is from a mono-racial culture, and he is not concerned with ‘representation’ issues. Just like Bong Ho, who all the AAPIs pinned hopes on when he won his Oscar for directing, only to announce he was back to working with Tilda Swinton after – did.

Asians from Asia are not concerned with American Asians and representation. They are the majority in their home countries, and they came to America to play on an International level – not to rep for us. So will Lang Lang push back?

Of course. Because it is his story, and he likely is thrilled by the thought of working with Ron Howard.

Lang Lang will issue a statement that it is his story and he gets to pick – which he does. He will say it is not an issue, and he trusts Mr. Howard. We all await the film with baited breath.

Lulu Wang will still be right.

The world will revolve, but Mr. Howard – produce this film, by all means – but do not buy into the fact that ‘all people can direct everything.’

That is not true – you direct specific things that you feel you can connect with through life experience, knowledge of the subject, and cultural understanding.

You are missing the language, the culture, and the music in a film that is about language, culture and music.

Mistakes will be made.

People will gleefully point them out.

Why stress yourself out trying to get it ‘right’, when so many do not have the very steep learning curve you are facing?

With respect, Mr. Howard – it’s too much.

TFP out.

(TFP apologizes ahead for the formatting issues, WordPress has changed and eventually she will figure it out, but that day is NOT today…)

xxxxx

The Fairy Princess is...back again…she needs to speak to White Theater People around the world and no one is going to be happy…

Broadway and Theater and Movie Theaters are still closed in the USA because the Trump Administration decided to let the “Blue” States die, so…if one writes about theater, and there is no theater going on, what is the point?

However theater is happening in places all around the globe, and TFP was reminded of that by a few very dear friends who need to draw attention to stuff going on, and so she sallies forth, into the breech once more, dragons blazing….

That was not a MULAN joke, btw.

TFP is not wading into that one for some personal reasons – she has friends in the film. According to DNA she now knows that in her Chinese side she has some Northern Chinese heritage which is, you guessed it, Uyghurs and Mongols and such…so…she is not discussing it.

The UK has had it’s ‘usual’ complicated relationship with the British East Asians – they love using them for

  1. Putting White People in ‘Exotic Locals” and implying frustration when the people in said locals ‘object’ to British occupation, and then rebel.
  2. Demonizing the appeal of East Asian Women and any of their progeny that happens to fall into the ‘mixed race’ category
  3. Yellowface makeup – they LOVE the yellowface makeup

They have two entries into the “Offensive Announced Production of the Month” – which really is something because like the USA, The West End is still shut down – despite the herculean efforts of a multi-millionaire composer Andrew Lloyd Webber getting a possible vaccine on camera, and multi-billionaire, Cameron MacIntosh firing everyone he can while still living a very grandiose lifestyle. The West End is closed till it is open.

The first of course, was broadcast on the BBC – titled THE SINGAPORE GRIP – and what it was SUPPOSED to be, according to the novel that was written by an Irishman J.G. Farrell, published in 1978- which was a send up of the Colonial Mindset of said pasty Brits.

Needless to say it has lost a bit in translation from Irish English to English English, where sarcasm has been flattened into something more amenable to Anglo British tastes.

Ask Daniel York Loh, prominent British East Asian Actor what his thoughts are, and he will tell you. BEATS, has also released a statement to Variety, as to the subject matter. Neither of these statements are wrong – and that is the issue. Once again, the iTV has gotten it wrong, and once again, it is the lack of British East Asians and Southeast Asians in positions of decision making – both in front and behind the camera that has made the ITV think what they did was perfectly fine.

When produced by iTV, all the satire of the book, all the delightfully shady examinations of the premise of white British supremacy has melted away, and one is supposed to really feel for these poor Brits who have inserted themselves in a country (YET AGAIN) where they have no right to be, and then they turn around and blame their son’s fascination with an East Asian Woman as to why the ‘world has gone mad”.

That is the subtext – the mysterious East Asian is to blame – no shade to the actress who is playing the role.

They show reinforces stereotypes and yes, 15 years ago, even with all the inherent flaws that are reinforced with this narrative, it would have been groundbreaking to see an East Asian Female ON the BBC and speaking English – but now, post at least 3 feature films that have gone on to worldwide recognition – what can TFP say but

The second is the Royal Opera House’s production of Madame Butterfly – which is broadcasting now in the UK – in which of course, they did a ‘traditional’ production – which again, means yellowface makeup.

TFP fails to understand WHY Caucasians think they look good in the makeup. It staggers the mind to see photos of non Asian people who yes, sing well, but also somehow believe they look good performing in this manner.

Perhaps they lack the mental capacity to understand the concept of ‘painting’ oneself and emotional damage caused to an innocent BIPOC person there in the audience, and society in general – or perhaps it is too much inbreeding

Not a hard concept to grasp – do not paint yourself another race, you look stupid.

Wigs, fine. Costumes, fine – the makeup needs to go.

TFP has said this a hundred million times already, you are not fooling anyone, you are just literally painting your racism on your face.

This opera was scheduled and then postponed due to COVID-19. So they are playing it on television to build an audience.

This is soprano Ermonela Jaho who is Albanian, singing the title role in 2018, and she was scheduled to reprise in 2020.

Anyone think she looks convincingly like a Japanese female?

Didn’t think so. Come ON English National Opera – DO BETTER!

Now, much as it pains TFP to admit it, she has another shattering moment to deal with, which involves Australia.

The reason she is gutted about hearing of this moronic mess is because, well, she is Australian and the reason this mess got so damn messy is why she cannot live in Australia, along with all of her many cousins, who have resided there since the 1800’s and no, who were – none of them – transported.

Though she would love to. Truly.

That reason, friends, is racism.

Now, it is weird for a Person of Color residing in the United States to ‘call’ anyone on their systemic racism, because we have a whole lot of it here in the US to handle of our own.

However, much as it will kill those with Tall Poppy Syndrome to admit, Australia has long taken after America in many respects and the show biz model over there is almost a direct ‘lift’ of our systemic racist system. They do not do very many ‘home grown’ shows over there – they do mostly imported musicals from America and the U.K.

American Musical Theater has been exposed to very few Broadway transfers from Down Under – BOY FROM OZ, KING KONG and PRISCILLA, QUEEN OF THE DESERT.

That is over the course of the last two decades.

It is quite the opposite over there – you can see TONY Winning Broadway musicals literally within a year or two of their Broadway productions. For example, MOULIN ROUGE is going to open there in a matter of months, as is FROZEN and so on. It is literally Broadway OZ over there – but they would hate, hate, HATE to read that – and so to annoy them, TFP must state, again, it is like Broadway Down Under there.

Part of the reason, or rather, all of the reason Australian Musical Theater looks like the Scott Rudin Revival of THE MUSIC MAN starring Hugh Jackman is because of the way Australia picks it’s musical theater stars and stars to be. There are, just as there are in the USA, choice schools and getting into one of ‘those’ schools in Australia means you are going to have a much easier time pursuing theater.

Whereas in the States the student bodies have been diversifying for decades, so much so that we can look to the stars, say, of HAMILTON and see BIPOC people who are graduates of CMU and Julliard and Wesleyan, that is not the situation in Australia. Which, long story short, makes it almost impossible to make a living as a BIPOC performing artist there – people have done it, and continue to do it – but it is hard.

Let’s take a deep dive into what ‘pursuing’ musical theater requires – namely, classes. In the beginning, just dance classes – and not only one kind of dance class. You need to have a passing knowledge, and usually a very high proficiency in tap, jazz, and ballet – and the hybrid they call…wait for it, MT Dance. Eventually, if you discover you have a talent for singing, you will need classes in that as well – they are not cheap – potentially $50-$125 per hour- and then you need repertoire.

Building up your rep requires that you purchase sheet music, which can be quite pricey, and that you accomplish an enormous amount of listening to cast recordings and viewing hours of video footage so that you can, in the beginning at least, mimic the style of the art you would want to pursue. You will also need to ‘coach’ with someone, someone who can possibly charge you, minimum, roughly $75-$125 an hour.

Every single time you need to coach with them. Every single time you need to learn a new audition piece, or ‘build your book’ or ‘investigate an ingenue’.

These things take money.

Which is why the Rob Guest Endowment is such a huge deal – it awards the winners $65,000 AUS to pursue their dream of making it to Australian stages and beyond, as one person stated to TFP, it is the first step to Aussie Musical Theater superstardom.

There is just one issue, one glaring and blinding issue, as TFP scrolled through the website and looked at past award winners – they had no BIPOC people amongst them.

(BIPOC = Black, Indigenous, People of Color)

Retinas burning? No, just TFP? Funny…moving on to the backstory…

Now, as these scholarships are given out every two years, they were warned two years ago, that they needed to increase their diversity to more accurately reflect Australia and it’s peoples. Two years ago.

They said they would do it.

So as everyone started to approach this year’s finalists with excitement, guess what they found? Go on, guess…

The same damn thing – all 30 semi- finalists were white.

NOW – this is not the part where white people reading this get to have their “All Musicals Matter” moment, no it is not.

The Endowment and it’s winners have been so glaringly and exclusively Caucasian, that YES, many BIPOC Australians, who make up a quarter of the country – did not bother, to audition. However, that does not mean that you cannot make outreach and set up the system to change these outcomes – and that was exactly what the Endowment was supposed to do – and they did…NOTHING.

That is true – and that, my friends, is EXACTLY what Systemic Racism is.

The system works for white people, and they are fine with it.

Still not convinced – here is how it works:

You have set up the system to not include people. People feel excluded.

You advertise for them to come in, but when they do their research, they realize that they are not honestly welcome in your organization as you award white Australians above all others – something that Robert Guest himself, would likely be against.

Then you turn around, say “Oopsie we had to award the white kids because the other’s did not show up“, knowing full well, that those that did show up were not awarded anyway. All their showing up did, was help your ‘diversity numbers’ when Equity asks for them.

Then the white kids take the prize money and get into one of ‘those‘ schools – WAAPA, NIDA, VCA (In the States it would be CMU, Julliard, Northwestern, Yale, NYU) . Fair dinkum they get a great beginning don’t they?

Then those schools foot the bill to send their teachers and professors to conferences where TFP is speaking about diversity – a talk they were required to attend btw – and they stand up and practically have a meltdown because ‘What do you do when all the kids in your program are between 5’5 and 6’2” and white? How do you do justify not teaching them DREAMGIRLS?”

Yes, that was an actual question.

Which then somehow this becomes TFP‘s ‘job’ to explain to a Professor from Australia, from one of ‘those’ schools – why Musical Theater BIPOC people in Oz cannot seem to get a job there, and she is still yelling and this panel which is on diversity and which they all ‘had’ to attend is becoming a giant sh*t show because honestly, she was perfectly fine with teaching “And I am Telling You” to blonde gals between 5’5 to 5″9 .

She was not asking because she wanted to do anything about it – she was asking because she wanted TFP to give her the all clear to continue doing it.

This may be an actual image of her asking the question, but then again, perhaps TFP is being petty.

None of those professors returned from that conference and made any discernible changes TFP heard about. All remains as it ever was.

That is the system, and it totally works. It’s worked in Australia since it’s founding.

They like it. That is why it still exists.

Now, that professor did not like hearing TFP’s response any more than the Endowment liked their flaws pointed out to them – flaws they could have corrected much earlier – like diversifying their judging panel, going to areas where they know BIPOC singers might find more easily – churches or local teachers and inviting those students to apply…

When it was brought to their attention that the 30 semi-finalists – some of whom TFP has written about before in regards to Chorus Line, but she digresses…

were not going to attend because they felt it was unfair and biased – the Endowment quickly decided they were NOT going to award the prize money at all this year, and they released a statement to the Sydney Herald that said their semi-finalists had been bullied by…wait for it….BIPOC people who had not gotten into the semi-finals.

Categorically not true.

However as the semi-finalists’ names were now being bandied about in the Aussie press, they had to release their OWN statement about the excuses that the Endowment used to throw a hissy fit and storm off. Here is a quote

We now cut to The Rob Guest Endowment for a response….

Here is what the semi-finalists know, that the grown ass people do not – to ‘win’ against only yourselves, is not winning.

It is stacking the deck.

It will take a long time to redo theater in Australia to make it even remotely fair to BIPOC people – but these 30 semi-finalists are a start. They are a really good start. The enduring legacy of the Arts is to tell a story that lasts for generations, in musical theater, in Australia – the time is now to change the narrative and put BIPOC back in it.

As the Broadway/West End/NZ Musical Theater Leading Man, Hayden Tee -who is of Maori descent himself, said in a brief statement on social media:

Hey Theater Folks – be more like Hayden moving forward – have the discussions, have the inner reckonings, it is time.

Here is the full statement from the Equity Diversity Committee on the announced cancellation, but this is the tea spilling all over the place:

The Rob Guest Endowment has a lot of work to do – they have announced their intention to do it – but it is likely up to the Equity Minority Committee to keep them honest, and frankly, TFP does not trust RGE now.

Nor should any BIPOC performers.

But you all should audition.

ALLLLLLLLL!

If you are ‘not ready’, start now – they have grabbed their script and stormed off – Stage FAR Right – WRONG DIRECTION RGE!

WRONG WAY!!!

You…oh nevermind….

Listen Kids, they are gone for the next TWO YEARS – so you have time.

If you are an an Aussie MT performer, or Agent, or Producer – the time is now to start mentoring, build on the promise you are trying to make to the world with your art form.

Because we are watching.

TFP does not like to repeat herself.

50,000 smacks of the wand to the Rob Guest Endowment. Your lies have hurt people, and worse, you have been strategically and deliberately unkind to those who trusted you.

Do NOT do it again.

TFP out.

The Fairy Princess was not planning to write for a while,

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it is hot, while New York is recovering well, the rest of the non-mask wearing Red States are insuring our ultimate demise, she has an iced coffee to drink.

Was not planning on writing.

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However there is some good news, which of course, is what one prefers, and let’s start with that –

TFP is going to appear on her pal, Musical Theater Juggernaught, HAYDEN TEE – of the INTERNATIONAL Musical Theater Fame – not just Broadway – ‘s show, and here is the trailer.

Hayden is the LUCKIEST because he is in NEW ZEALAND, where they have COMPETENT pandemic management and female leadership! OOOOH she wants to jump on a plane right now! You know he is going to be able to have a CONCERT with an AUDIENCE?!?!

Craziest thing.

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ALSO, here is another cool thing to know, that you may view RIGHT NOW – the trailer for the feature film, FORTUNE COOKIES is out – and has some of TFP’s FAVORITE BRITISH EAST ASIANS in it!!!

This is a debut by Writer/Director, Brenda Lee (we love to see more Women who Film) shot in Northampton in 2020. Supported by the BBC Children in Need.

The logline is – would you give up your stage debut to go on a game show and help your struggling family win a lot of money?

Starring Carmen Pat, Belinda Duong, Helena Tang-Grosso, Siu Hun Li, Lucy Sheen, Robert Firth, Paul Courtenay Hyu, Velton Lishke, Eric Mok, Isabella Speaight, Daphne Cheung, Gang Chi, Cindy Humphrey, Natalie Chisholm and many more. Director of Photography Matt Riley. Production Designer Tamsyn Payne. Teaser edited by Connor Mclean of Haymarg Productions. Voiceover Robert Firth.

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And now for the sh*tstorm brewing over at MARVEL…over the weekend, this livestream, which of course is now available forever on YouTube, brought together some of the cast from Daredevil, the series on Netflix.

Now, if you go to about the ten minute mark, Actor Peter Shinkoda spills the tea – and like, every last drop of it, on why there are very few Asian storylines on MARVEL shows – and TFP is going to grab the Twitter Clip from @WillamD1123 because

1. He is a white guy and people tend to respond more when a white guy says it

2. This is so offensive, a white guy could see it and say it without even having to ‘all white guys’ it, and more people should do that

Here we go & no, for some reason TFP can not center it, but you should be shocked enough that it was said out loud, that you will forgive that part of formatting:

But wait, even messier, today Mr. Shinkoda himself decided there needed to be a second cup…

and now everyone at MARVEL is freaking out except of course for those involved with Guardians of the Galaxy, where there are TWO (oy vey), and whoever cast Claudia Kim in The Age of Ultron – because in short – it is fairly anti- Asian as hell over there in the village of MARVEL.

You can see it on the screen, Folks, everything is laid out in glorious Technicolor.

We are there, but only in a ‘limited’ capacity – which is not to downplay ANY of the contributions of the Actors in question – they are all amazing and deserve MUCH MORE – who, you say? You have seen ‘them” on the screen you say?

Yes….you have….we celebrate it, but it is not in a Lead Capacity.

Spider-man has an “Asian friend”.

Dr. Strange  has an “Asian friend”.

The  NETFLIX division has “Asian Enemies”

Danny Rand has an “Asian friend/girlfriend”

and “Asian enemies” and Asian “frenemies”

Jackpot, Danny Rand.

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For a company that literally created Captain rah rah America, this is some bullshit.

Meanwhile in Agents of S.H.I.E.L.D.,  Showrunner Maurissa Tancharoen is like…

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Cuz that LADY BOSS tweeted this photo:

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Holding up the sky, all on her own, on the Broadcast TV Side…for YEARS…how long?

YEARZZZZZZZZZ!

So much so she has won Awards for it!

SPOKEN ON IT!

She is but ONE person, she cannot do ALL the work.

Essentially, MARVEL, which leans so heavily on Asian culture and fighting styles and legit (TFP watched Dr. Strange last night so forgive this rant)  erased Asians (except to ward off criticism that there were ‘none’ so they gave ONE OR TWO a supporting role), has ONE director on the feature side that allowed TWO Asians thus far – cuz SHANG CHI is not out yet – and that is James Gunn.

However you feel about James Gunn.

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SHANG CHI is coming out, and is directed and written and starring Asians, and that is great but ONE film doesn’t fix the systemic racism of what is a broken at MARVEL.

Just like ONE Broadcast television show with two AAPIs Series Regulars on it does not fix what they have done to the AAPI actors on their NETFLIX shows.

It is a UNIVERSE, yeah?

We do not have room in a whole F*CKING UNIVERSE for some different faces – but you will keep painting all your people of color different colors so no one can tell what color they really ARE?

Where diversity is repped by red heads?

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A MARVEL UNIVERSE – and AAPIs should be feeling SOME SORT OF WAY about what was said, to Mr. Shinkoda and then what was done to him, as well as Ms. Wai Ching Ho – who very RIGHTLY should be offended.

This kind of stuff has got to stop, Folks.

TFP does not care if it’s ‘cannon’ anymore. Cannon can kiss her ass.

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The goal is to look at America – oh Captain, My Captain America – and SEE what America looks like, and cast accordingly.

Who is missing FROM this “Universe”?

Native Americans, Latinx, Middle Eastern & AAPIs are not in the Universe, with rare exceptions.

It would have been SO easy to make HAWKEYE, Native American.

It would have been SO easy to make Maria Hill – literally MARIA – Latinx.

ANT MAN! Who cares what ethnic background ANT MAN has – he is in a suit! He is a science nerd in a suit! He could be from anywhere where science is a thing!

The WASP? We have KILLER HORNETS coming to America from Japan, and WASP is Caucasian?

NOT SCIENCE!

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TFP wants Ms. Tancharoen, and Mr. Cretton (Director of SHANG CHI) and all AAPIS of S.H.I.E.L.D. and Guardians, and SHANG CHI to walk into MARVEL offices next week like…GIVE US ALL THE THINGS!!!

Their Agents and Managers need to understand that

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‘taking what is offered’, it is unsustainable and needs to end.

Demand it.

Frankly, it is a bad business model given the AAPI disposable income in this country. What happens next, how much money you make on your pet projects featuring only White People, THAT time, is coming to a close.

The viewers of today have had a taste of seeing themselves, and the demand will not end.

You have a relentless buyer who will consume AAPI Content, consume it all over the world – and there is a void.

FILL. THE. VOID. MARVEL.

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One film is NOT enough. No matter how good it is – one film will never be enough – but you know that, don’t you – that is why there are like, 20 Captain America films on Disney Plus!

COME ON NOW!

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Would you look at this MF-er who is a DOCTOR who went to KATMANDU to studied with an ANCIENT ONE who is CELTIC who is also yellowfacing it, and who is NOT ASIAN –

HOW IS DR. STRANGE not ASIAN?

HOW MANY WHITE PEOPLE GO TO STUDY IN KATMANDU!

Damn, TFP could do this all day.

APOLOGIZE TO THe HAND!

Wakanda Forever, Comic Book Movies for All!

MAKE IT SO!

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TFP out.

 

 

 

 

Before this blog begins, TFP wants to extend her condolences to the Families of Nick Cordero and Naya Rivera.

Mr. Cordero fought the fight, he was #BroadwayStrong and he is now at peace.

TFP strongly supports the renaming of the Longacre Theater with his name, supporting both his Family, and the Broadway community who is reeling from mass job loss.

Ms. Rivera was a wonderful actress and singer, who led the way for teens struggling with their sexuality with her performance on GLEE, and in the end, she was a brilliant Mother, who gave her life to get her four year old back on that boat.

TFP wants to honor these two Parents, who are now, among the stars.

Godspeed.

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The Fairy Princess is back!

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She is so serious, she’s using a gif of HERSELF, which…hey, means it is serious.

Look, she didn’t mean to go away, she left you with five or so blogs of things to watch and take in, and then she stepped aside.

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Because bigger things needed the space.

Bigger issues. Systemic racism, and police brutality, and the fact that the country is being run by someone crazier than a rat in a coffee can, who is not content with jailing everyone, he literally wants BIPOC citizens to die, so he is not doing a thing about COVID-19.

Not a thing.

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Please vote in November. Your lives depend on it.

Please wear a maskeveryone in the country has a life that depends on it.

Please do not watch FOX news or listen to MAGA relatives – they have ‘volunteered as tribute’ in the great intellectual race of 2020.

Don’t let them suck you in – no one is safe, the pandemic is still going on. Here are the stats for BIPOC from the CDC.

COVID 19 just keeps going down the line – state to stupid state because of stupid people – you want to step out of that line, and protect yourself and your family.

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While New York has been through the worst, we hope, of COVID-19, everyone in the rest of the FOX NEWS listening world, has been blatantly NOT wearing masks and spreading this virus like it is glitter at a pageant.

People who do not wear masks are a danger to themselves and everyone else around them.

People who do not socially distance because of some sort of psychotic belief that they are impervious or ‘they would know’ if they were contagious, are ignorant and mistaken, and they have intentionally chosen to be.

Do not listen to The White House, you have a man in there whose Niece, Mary,  is telling you is a racist, a narcissist, and a ton of other stuff that has not been clinically diagnosed because the amount of tests it would take would topple a small regional hospital, and she would know, she has a PhD in Clinical Psychology.

He’s a bad dude.

A Lesbian is trying to save the United States here by letting us all know how awful a person he is, and we should all listen.

TFP mentions that Ms. Trump is a Lesbian because the world at large usually fails to acknowledge the contributions of the LGBTQIA community, and that is wrong.

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Thank you Ms. Trump for your service to your country.

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Moving on to a train wreck waiting to happen – the production company, BAD WOLF, famous for their show, A DISCOVERY OF WITCHES, has announced they are working on an adaptation of the very successful book by Chris Bohjalian, THE RED LOTUS.

Mr. Bohjalian is half Armenian, and his Grandparents were survivors of the Armenian Genocide. TFP mentions that, because many people have identified him as a white man, and the Armenian are actually a group of people from Southwestern Asia.

Although it is a Indo-European group.

It’s confusing.

While you would look and think, “Oh, that is a white writer”, he is and he isn’t. His heritage is from Southwestern Asia.

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As described by Deadline, The Red Lotus follows Alexis, a young ER doctor in New York whose boyfriend goes missing while on vacation in Vietnam.”

Thus far, all we know is that Kate Brooke is the showrunner. She is a very experienced television writer and show runner, as evidenced by her resume.

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Her resume has strong female characters, strong Caucasian female characters, and her experience with shows that are period dramas is mighty, but this is a modern mystery drama set in Vietnam. Specifically.

In fact, the women who founded BAD WOLF Productions did so with the intention to help the Welsh Production Industry, and that is part of their goal, so…are they branching out, or are they going to film this story in Wales, recreate Vietnam in Wales?

If that does turn out to be the case, Vietnam via Wales, are they going to avail themselves of the BESEA (British East and South East Asian) writing pool? Are they using their American offices to search for Vietnamese American writers?

Where is Vietnam for these white women?

Wouldn’t you need, one presumes, people who know the country and the culture? Since the writer of the book and the show runner are not from Vietnam, TFP really hopes she is wrong, but there is nothing to indicate that a diverse writers room is the goal.

Not from the writer’s rooms of shows that the Show Runner has previously worked on.

Not from the shows that the founders of Bad Wolf created for the BBC. Or any of their others.

Time will tell.

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Clock is ticking, Ladies….please don’t give us a train wreck.

KARENS OF BAD WOLF, TFP IS GOING TO SAY THIS ONE TIME

HIRE INCLUSIVE WRITERS TO WRITE A SHOW ABOUT ANOTHER CULTURE!

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Having a inclusive writers room diminishes no one.

Having a diverse writers room, helps your show reach more people.

TFP says this as a Welsh Multi Racial Person – her Great Gran was from Wales – BEING CAUCASIAN DOES NOT GIVE YOU AN INSIGHT INTO ALL PEOPLES.

Fix it.

For those at home, you can tweet directly to the show runner @KATEBROOK2 to let her knows your thoughts on the matter.

TFP is sure she is waiting for the input.

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Now is the part when TFP is going to TFP, and amplify – there is a group of BIPOC Theater Artists – and they have been working particularly hard on a website that contains some demands that have occurred to them – TFP cannot say ‘us’, though she agrees with what they have written, specifically because she was not asked to contribute.

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Ahem.

The website is called : WE SEE YOU WHITE AMERICAN THEATER!

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You should read it.

All of it.

Some of it you will agree with, and some of it will leave people feeling…well..

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It is ok.

You should feel attacked. That is the point.

If BIPOC can survive White, Liberal Theater and it’s tropes for…well, since Shakespeare’s day, you can survive a 31 imaged list of demands.

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If nothing else, it is a start.

Look, Broadway and theater in general is shut down and has no real intentions of opening till 2021, and that is if a vaccine is able to be discovered, distributed, and is effective.

Till then, Theater creators have a lot of time on their hands.

You can distract yourself with a million Zoom meetings.

You can work on your own stuff.

Or…you can think about someone other than yourself and do a deep dive into a document that was born of rage and pain, and systemic injustice.

The theater world is, by it’s very nature, a racist institution that caters to an elite clientele.

It is produced by an elite group of people that have money, went to the ‘right’ schools, have the ‘right’ training, know the right people, and it is an engine that feeds itself. White people create white stars, and if they feel generous that day, perhaps they create a BIPOC star, someone who is ‘acceptable’ to them – someone who perhaps went also to the ‘right’ schools, and who does not seem particularly ‘ethnic’ to them.

But just one. Per…decade?

Maybe that is too mean to say, one every…five years or so.

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Or they ‘need’ that person for their talent, so they allow one,  because their ‘business’ is in presenting like a liberal, well meaning person who is an ally.

But do they have ‘us’ over for dinner?

Are we going away for the weekends with them?

Are we having playdates with their kids or hanging because we have an odd hour to go grab coffee together?

Some are. Definitely there are those producers and creatives who fall into the Mensch category, and TFP is super proud to know them and feel included because she is seen as a person. As a contributor. As a friend.

They know who they are, names need not be spoken.

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Some aren’t. They may ‘think’ they are – but they aren’t. Those people – Producers, Performers, Designers, Theater Admins, PR Folks, Crew – they know who they are as well…

Some believe that they are ‘neutral’, which is peak performative, because they truly do not care as long as they are working and their shows are running.

All of those things have their own validity.

However their ‘validity’ begins in bias. It begins in judging appearance before talent. It begins in the ‘do they fit’ category – and that, is bias.

Bias is hard to face. It is hard to face when you see it, and it is hard to acknowledge when you do it. TFP is not going to tell you “LISTEN TO BIPOC PEOPLE” because that statement is pointless.

You already do it, or you don’t.

But you must face it, head on.

Bias is what makes us, as great as we are to work with, carry our own suitcase of untapped rage around with us, hoping that the bunjee chord around the middle does not pick TODAY to snap and unleash the pain that we all carry around, real fury at the ways we have been erased from existing at something we are really, really good at.

We are on the stage and in the screens on a white person’s say so.

Which needs to change.

It needs to be acknowledge by all parties, and it needs to change.

So read it.

When you read it, when you feel all the anguish that is there on the page for even the most casual of viewers to pick up – perhaps you will get a sense of what really is going on with the ‘delightful ethnic people‘ you work with or employ.

You say you ‘love” us all the time, if you really do – you will read it.

Perhaps you will change a bit. Perhaps you will acknowledge more. Perhaps you will get a glimmer of an understanding as to what it is that people are fighting for.

The humanity of BIPOC people.

BIPOC of all kinds within our Industry.

LGBTQIA.

Non-binary.

Trans.

Disabled.

All of us.

All of us together. The Humans with which you share this planet.

Read it.

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TFP out.

The Fairy Princess has been quite upset the last few days.

Not because of property damage.

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If you are upset over property damage – you need to come to grips that you value Target over people’s lives, and how that shakes down and the steps you take to learn or not learn from it will decide whether or not you are, in fact, a racist.

There are not ‘very fine people’ on both sides of this – you are either a racist, or you are not one.

There is no gray area. There is no “but, what about’ – it is what it is.

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It takes active work, and an active mind set to not be a racist. Racism makes people uncomfortable, and they would prefer – always prefer – to NOT talk about it.

Not helpful.

There are people out there who are minorities who are not Black, and they may engage in troubling behavior. It is by our ‘silence’ that we are complicit. It is by our not stopping people, mid-sentence, mid-punch, mid-action – that we fail our American Persons of Color Community.

Our POC Community is Black, is Asian, is Pacific Islander, is South Asian, is Southeast Asian, is Latinx, is Middle Eastern, is Native American and Indigenous Peoples and any mixes within and without that – those people make up, collectively, America’s People of Color. Within that very large collective are religious differences, People with Disabilities, and Women.

Look at how very vast that group seems when listed- imagine what we could do together?

That is what the ‘fear’ is, that we will all realize how powerful we are.

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We are all discriminated against – either by erasure, by design, or by error – and we have to know that in no instance is it right.

Furthermore in NO instance do we get to turn away.

It is too late – if you consider yourself ‘liberal’ or ‘inclusive’ to suffer fromThe Bystander Effect”. You have to train yourself out of that – and you have to do it – whoever you are, whatever your heritage – no one can do it for you.

If your first instinct is to pull out a phone and film when you see an individual being harassed on the subway or elsewhere, instead of intervening – you are doing it wrong.

Because TFP guarantees you that someone else is filming it – in fact, yell, really loud “SOMEONE FILM THIS“, and then you go in. Pull someone else in the crowd in with you so you have numbers on your side, or you pull two someone else’s in and you GO HELP THAT PERSON.

Go HELP THAT PERSON!

If you go in, someone else will join you – because that is part of the bystander effect too – no one wants to be first, but if they see a leader, they will help.

Be a leader.

Did we learn nothing from Larry Kramer? He would be livid at all of us right now in the Theater and TV/Film community for their silence.

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For our inability, as an industry that has Black Americans as our Trade Union Members, as our Creatives, as our Teamsters, as our Producers and Writers and Performers,  to reach out and try and speak on how we support one another –  he would be appalled at our collective silence on the murders of  Ahmaud Abery, Breonna Taylor, Tony McDade and George Floyd.

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You cannot expound at how moved you have been when seeing The Normal Heart on the stage, and not realize what Mr. Kramer was saying – that it is the indifference that average Americans have towards people that are NOT themselves that wind up doing the most harm.

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Because if no one is watching and no one cares – people die.

Right now, Black Americans are hurting because of the relationship between Police in this country and the way they have been systematically slaughtering Black People without consequences. In their cars. Asking for help after a traffic accident. Serving as a caregiver for an Autistic male. Having a party. Getting into an argument with a teacher. Walking in their driveway.

On and on.

There is nothing in this country that you cannot be shot at for trying to do it while being a Black person.

Nothing.

They are also hurting from all the “Help” the Police get to enact these crimes from the “Karen’s” and “Brad’s” out there who call the police on someone, for example, bird watching, or exercising, selling lemonade, or being a Professor – again, the list is endless.

Christian CooperTFP is glad you are ok.

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Yes, other minority groups have their own issues, yes there is minority on minority violence and bigotry – those individuals who perpetuate that – they are the ones responsible, no one else.

Not the whole group.

There is a difference.

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A Hmong officer stood there while a Black Man was choked to death – you think TFP is not sick about it? You think she does not think he should go to jail as an accessory to murder?

He should. Throw him in jail and prosecute to the fullest extent of the law.

 TFP is saying it. She is tweeting it. She is social media-ing it. She is reaching out to friends and acknowledging it. She has been challenging people and biases and her own biases and doing the work. She is being silent when she needs to listen, and she is amplifying the voices who are most needed, who she is learning from every day.

TFP is exhausted  – but it is not the same. It is not the same as what her Friends are going through – and it never will be.

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AMERICA needs leaders, and right now, we need vociferously to release statements supporting people’s right to protest, statements for our members, and for our theatrical community – they need to hear from their elected leaders and community leaders.

Condemn the racial violence with a statement – then email it to your members, publish it on your websites, Tweet it, Istagram it – show that we are better as a whole than we are in pieces – because that is where we are now – shattered and in pieces.

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It is an epidemic. It is an epidemic and we are not talking about it.

Let’s talk about it.

Actors Equity and SAG/AFTRA need to release a statement.

The Teamsters should release a statement.

The Actors Fund

The Producers Guild.

The Off Broadway Producers.

We want to hear from The Tony Awards, The Drama Desk Awards, The Obies.

From The Public Theater – and don’t act like Joe Papp would not have done it. Cuz he would have.

From Playbill and BroadwayWorld and Backstage.

From The Vineyard Theater, Lincoln Center, The New Group, Signature Theater…

We have news on COVID-19 every day. Every day we get an email and an address from The Governor, because COVID-19 is an epidemic.

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If ‘we’ are going to dismantle systemic racism, statements on violence and CLEAR LINE as to where your organization stands, is vital.

One organization that is not waiting to comment is the Parent Artist Advocacy League – aka PAAL.

This is a group that is run by Rachel Spencer Hewitt, and other Parents in Show Business and they have written the:  PAAL STATEMENT OF COMMITMENT TO RACIAL JUSTICE.

They have issued a statement – which was the right thing to do.

The above link is the PDF on their letterhead, but here is the screenshots:

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TFP wants you to see how they are leading – run by women, run by Mothers, run by Mothers who do not want to see this violent epidemic continue. TFP is a Mother, and all those who have been killed have Mothers.

It is up to Caregivers to lead the way. Lead the way with education, caring, and forethought.

Oscar Hammerstein wrote “You Have To Be Carefully Taught” – and this should be blasted in every school right after the National Anthem, in TFP’s opinion. Because it is on the Parents of this Nation to change this situation.

Do not teach hate, you pass the legacy down and more violence ensues.

Do not turn a blind eye – you have power when you acknowledge what is going on and name it.

Be a helper. Mold festers in the dark – shine a light on it.

To TFP’s leading Arts Organizations – which are in EVERY city, and yes, which are operating under an already strenuous time – it not enough to have buried in our by-laws a statement on hate speech or what will/will not be tolerated, you have to SHOW the members that it is not tolerated. You have to SHOW them that anti- bias training is an option for them and is readily available. You have to SHOW them that this is an issue that you are working on so that they can go to work safe, so that they can get home safe.

Because most of show business is not People of Color, and you all know it.

You know what it is – DISMANTLE IT.

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TFP out.

 

The Fairy Princess has been closely watching election coverage – and who has not?

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She is firmly Team Biden, and she does not believe   the charges launched by Tara Reade. There are many, many holes in the story and, it keeps changing daily. Having been the victim of sexual assault herself, which thank goodness, did not extend to rape, but was assault, and having known, very sadly, many women and men who have been raped and who have shared with TFP, she does not find Tara Reade credible.

TFP does not blanket #BelieveEveryone – that is just not feasible.

People lie.

The current resident of the White House lies. People lie – and those of us who need to make a judgment call, need to do just that – sift though the information and come to a decision they can live with.

You are free to believe what you like – although we have a guy in charge of the country that only believes what he likes, and guess what? We also have over 90K dead in the United States.

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Again, you are free to believe as you like, but TFP is a huge fan of learning and science and doctors and nurses – so she will be over here with the experts in the field, and you can be over THERE, possibly on a ventilator, choosing to not believe science.

It is a relatively free country – if only in thought.

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Next up, she looked across the pond, as it were, and she noticed her now “Brother from Another Mother“, Daniel F. York Loh is running for Actors Equity UK.

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While she has no ‘vested interest’ in Equity UK, let TFP remind the British East Asians and others, that the concept of British East Asians has broadened under Daniel’s watch. In point of fact – the reason the Royal Shakespeare Company was so notably trounced by yours truly is because of Daniel F. York Loh.

If Daniel had not contacted TFP asking for help from the States, TFP would likely not have heard in time to help. That she was able to write something that sparked some movement, and then some more – is due to Daniel F. York Loh, Playwright, Actor, Activist.

He has been a leader in so many ways, and also, a coalition builder. He is always first into the fight, and he brings pragmatism as well as knowledge.

If TFP were in Equity UK, she would vote for Daniel F. York Loh.

He has integrity, and follow through – and that is what is called for when change needs to happen.

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Speaking of change needing to happen, Actors Equity Association USA, has mailed out the ballots for their Council Elections and TFP is staring at it right now, next to her.

This is not a post to tell you how TO vote – this is a post to tell you WHY TFP is voting for the people she is voting for. She has gotten text messages and emails that have been private queries, and she sees no reason to not share the whys and wherefores of her voting.

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First up, she is going to vote for Kate Shindle to continue as President of AEA.

Ms. Shindle, for full disclosure, is someone TFP personally knows, however, that is not enough to get TFP‘s vote.

Ms. Shindle has been an active and vocal advocate for Actor’s Equity and it’s members pre-dating her Presidency. She served for three years as the Eastern VP of AEA, and has worked a variety of contracts – as well as having served as a negotiating member for the Production Contract three different times, in addition to being a Board Member for The Actors Fund and BC/EFA.

More to the point – Ms. Shindle has thrown the full weight of her office behind things that matter to Actors and Stage Managers – safety, job security, wage increase, more minority representation, caregiver support systems, and has worked for the implementation of those factors when dealing with contract re-negotiation with The Broadway League and the Off Broadway League.

TFP has watched her since she was the Eastern VP, constantly advocating for all of us within the Union – even as she was, for example, on the road in a National Tour.

As the Pandemic continues to decimate Broadway, Ms. Shindle has shown no fear and a cool head reassuring members, as well as taking Governor Cuomo to task for not including Broadway and the Arts when coming up with a plan to re-open the City.

She is fearless, and we need that – because the truth of the matter is – we do not know what we are coming back to.

Social distancing does not a theater experience make.

Drones to clean the theater are one way to do it, the other is – make sure that the woman who was in charge when the Union hired a health advocate to advise AEA Members and Theater Producers as to a post-Covid 19 existence because that is what Leaders do, gets to follow through on initiatives started on her watch.

Women who Lead have handled this pandemic the best across the world, we have one right here, running our Union, we need to support her and let her do her job – a job she has performed excellently at thus far.

Futhermore, the Parent Artist Advocacy League (PAAL), agrees with TFP as to the need to see Ms. Shindle re-elected, as does the #FairWageOnCouncil candidates – these are all people actively working towards equality and representation for all AEA members.

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Remember if you in any way feel ‘betrayed’ by this, or push back against it – talking to you, “Robe” folks who protested the name change – just remember – if you have always had privilege, then equality feels like oppression.

If Women being in charge and People of Color having representation ‘scare you’ or make you feel like, “Just there is something I don’t trust….” or “but her emails…”

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It is happening.

In Addition, TFP wants you to note, she is not blindly voting for someone else’s created platform, she is a firm believer in  the need for Rashaan James II to be re-elected to his seat on the Council repping the Eastern division.

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For Kim Huber in the Western Division and Wydetta Carter in the Central to be in their Councilor Seats.

TFP is hoping to see more POC and more Women run this Union.

TFP is being honest.

TFP is also going to support the #FairWageOnCouncil group because –

1. They helped get AEA Off Broadway Members a raise! A living wage!

2. They worked to get a broader sense of what America looks like and what the Acting/SM World looks like, and make sure to advocate for those voices to be represented and present.

3. They are always available when TFP has a question about their platform or their ongoing plan, and they hold weekly Friday zoom hang outs so they can hear from members and come up, Elizabeth Warren style, with ‘a plan for that’.

The Union is changing.

The World is Changing.

TFP wants people who do not fear change, but embrace it and make it their own.

If we want to see this Creative World where Actors and Stage Managers get to speak their truths without fear of Producer wrath, and where contract negotiations are of paramount importance, where annual wage increases are accepted, a place where more tours do not go Non-Union, which serves only the Producers, and not at all the Performers – then TFP really feels she has no other alternative, than to vote with the #FairWageOnCouncil.

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This is the way TFP is voting.

This is not the way you have to vote.

It IS the way Spider-Man’s Aunt is voting…

Just sayin’…

Ok, ok, TFP actually apologies to this Oscar Winner, Marisa Tomei is brilliant on the stage and on the big screen.

If you want to know why TFP is a Union Person as well as a Union Member, well – she is a third generation Union Family.

Her Cousin, Mike Quill, founded the Transit Workers Union.

Her father, Kevin P. Quill, was a Labor Lawyer,

and finally…she is an… Actor with a Blog…

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(her ancestors are particularly thrilled at this she imagines

However, in the Unions she is a member of, she has served.

 TFP has served as an AEA Deputy repeatedly, she was Vice Chair of the SAG AAPI SubCommittee and a member of the SAG EEOC Board for a number of years, and she helped renegotiate the Foreign Language Contract with SAG to be more inclusive of Southeast Asian, South Asian, and Pacific Islander languages.

But…again, what does she know?

You vote your way, just letting you know mine.

TFP out.

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The Fairy Princess is home.

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As should we all be –  unless we are essential workers.

She did have to go to the grocery store a few days ago, and while she hates to recount it – she was “Karen-ed’ by a lady walking down the other end of the aisle. Both of us in masks, she looked at TFP’s features and yelled “I JUST DON’T WANT TO DIE” when TFP misread the arrows on the floor and turned the wrong way.

TFP was the only AAPI in the store.

There were plenty of men in the store who were breaking all kinds of arrow spacing and the woman didn’t yell at them. It should be pointed out here that none of the other people in the store spoke up to Karen, or advocated for TFP (which yes, included POC) –  TFP realized it was up to her to decide whether or not to ‘clap back’.

Later that trip to the store, the ‘Karen’ herself, turned the wrong way, and TFP just stood in her way and eyeballed her until she ducked her head and whispered “Sorry” and ducked by.

Mistakes can be made.

We are all doing the best we can.

But Karen…

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MOVING ON….

The Lucille Lortel Awards were announced yesterday, considered the TONYS of Off Broadway, there were, very rewardingly, POC and Women in many categories, and honestly, Off Broadway is what the world looks like.

Go on, STRANGE LOOP  with your 7 nominations!

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SOFT POWER, written by David Henry Hwang and Jeanine Tesori, received 5 nominations – Outstanding Musical, Outstanding Choreographer (Sam Pinkleton), Outstanding Lead Actor in a Musical (Francis Jue), Outstanding Scenic Design (Clint Ramos), Outstanding Lead Actor in a Musical (Conrad Ricamora)!

This is DHH‘s FIRST Lucille Lortel Nomination – so TFP is sure he is feeling pretty great right now.

Francis Jue scored another nomination for Outstanding Featured Actor in a Play for his work in Lauren Yee‘s CAMBODIAN ROCK BAND, a category where he is not the only AAPI nominated – also a nod went to Ken Narasaki for his work in GREATER CLEMENTS.

In more good news, Aaron Yoo was nominated in the Outstanding Lead Actor in a Play for his role in THE HEADLANDS written by Christopher Chen.

Janelle McDermouth was nominated in the category of Outstanding Lead Actress in a Musical for her work in Young Jean Lee’s WE’RE GONNA DIE.

The ceremony will be presented online on May 3 – Congrats to all the Nominees, especially great to see AAPI stories up there.

May there be many more.

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Remember that SOFT POWER is having a cast listening party on 4/17 at 8pm raising funds for the @aaldef & @PublicTheaterNY –

WHICH IS THIS COMING FRIDAY!

Here is some fun, at home, entert-tain-ment that TFP is super excited about –

THE ORIGINAL CAST OF OUTSOURCED IS GETTING TOGETHER TO DO A READING OF THE PILOT ONLINE!!!!

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It has been…wait for it, A DECADE since these brilliant faces have been on the television weekly – and TFP for one, has missed it.

Coming together for charity, in this case, charities, during this COVID-19 crisis are:

Ben Rappaport, Anisha Nagarajan, Diedrich Bader, Parvesh Cheena, Pippa Black, Rebecca Hazlewood, Rizwan Manji, Sacha Dhawan, Guru Singh, Matt Walsh and Shawn Parikh.

With Directors, Ken Kwapis, Victor Nelli. Co-Executive Producer, Alex Beattie, and Writer, Robert Borden reuniting with the cast to partake in the virtual reading.

That is THIS COMING FRIDAY!!!!!

Mark the date!

A LOTTA LISTENING/WATCHING ON FRIDAY!!!

Outsourced drops on YouTube at 1PM EST, and SOFT POWER At 8pm EST!

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Finally, on May 3rd –  during AAPI Heritage Month – Lauren Yee’s CAMBODIAN ROCK BAND will be releasing their Cast Recording on iTunes, Spotify, Amazon and wherever music is sold.

You can pre-order it at www.yellowsoundlabel.com

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There you go – some fun things to do.

While you cannot leave.

Might as well support!

TFP out.

The Fairy Princess would like to extend her condolences to Actor, Lewis Tan, who lost his Grandfather to COVID-19, may he Rest In Peace.

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The Fairy Princess is not an essential worker, she is able to work from home, and she is going crazy – let’s face it – we all need a little good news right now.

Doesn’t have to be a LOT of good news, we are still sheltering at home during a pandemic of course, but as James T. Early said in DREAMGIRLS,There’s got to be some good times”.

First up – AAPIs are still being hammered, physically and mentally, over the ‘blame’ of COVID-19 – even though the New York Times today says that scientists have found OUR strain of the virus actually comes from Europe!

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Therefore, please join TONY Winning Playwright, TV Scribe, Opera Book Writer and all around good guy, David Henry Hwang in Washing the Hate away.

That bathroom looks very organized!

NICE JOB!

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NEXT WEEK – on the 17th, there will be a Broadway Virtual Listening/Release party for the album of DHH’s SOFT POWER, he wrote the play & some lyrics, while the music & some lyrics were by Jeanine Tesori, which has been seen in LA and in NY at THE PUBLIC THEATER, and here is a link to the released video of one of the most moving songs in the show, DEMOCRACY.

Hosted by The Public Theater, Funds raised from the virtual listening party, will go to the Asian American Legal Defense and Education Fund (www.aaldef.org)

Just so you can give them a hug when we are all allowed to hug again – here are the names of all the cast – thank you all for representing.

The complete cast of Soft Power includes Billy Bustamante (Xuē Xíng Standby), Jon Hoche (Chief Justice/Hālǐ Àohālā/Ensemble), Kendyl Ito (Jīng/Prof. Lǐ Bìyù/Ensemble), Francis Jue (DHH), Austin Ku (Bobby Bob/Jū Míng), Raymond J. Lee (Randy Ray/Yáo Tuō/Veep/Ensemble), Alyse Alan Louis (Zoe/Hillary), Jaygee Macapugay (Betsy/Lóng Lín Kūn/Ensemble), Daniel May (Ensemble), Paul HeeSang Miller (Ensemble), Kristen Faith Oei (Ensemble), Geena Quintos (Airport Greeter/Ensemble), Conrad Ricamora (Xuē Xíng), Trevor Salter (Ensemble), Kyra Smith (Ensemble), Emily Stillings (Swing), Emily Trumble (Zoe/Hillary Standby), and John Yi (Swing).

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ALICE WU, director of SAVING FACE, which TFP has mentioned in the past – has a NEW FILM OUT ON NETFLIX called THE HALF OF IT, premiering May 1st – just in time for AAPI Heritage Month

Great things happen when kids start finding their ‘tribe’, eh?

Speaking of which, Auli’i Cravalho, who voice the character of Disney’s MOANA, has come out as Bisexual – so cheers to that.

Answering a fan question as to whether she likes girls, she answered in Tik Tok – which is the new language for anyone under 30, by mouthing Eminem lyrics

Seriously though, jokes aside, how you doin’? You straight?
She said: “No, I’m bi”
She said: “Are you drunk?” I said: “No, I’m high”
I’m checkin’ out the chick, she said: “So am I.”

Well CONGRATULATIONS, LOVE IT!!!!!

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Alan Yang’s TIGERTAIL hits NETFLIX on April 10th – which is TOMORROW!!!!

Check out this great interview on Tzi Ma, who is – definitively – one of the greats, pushing that rock endlessly up the hill since the 1970’s for AAPI Actors – go Tzi!

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Consequently, KILLING EVE has stepped up it’s release for Season Three to April 19th on AMC and BBC America.

SHOWRUNNER and CMU Alum, Kortney Kang is working on a new show that is a reboot and update of an old show – DOOGIE HOWSER, MD is now, DOOGIE KEALOHA, MD!

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Doogie is now a 15-16 year old FEMALE medical prodigy, and is also…mixed race, based on Ms. Kang’s own upbringing in Hawaii.

Nice to see more shows heading to Hawaii, as Hawaii 5.0 bids aloha to the small screen.

and finally, for those who have not seen it, PARASITE, the OSCAR WINNING FILM from this past year, is now streaming on HULU!

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Take a watch:

And if NONE OF THAT CHEERS YOU UP…please enjoy Simu Liu from KIM’S CONVENIENCE on Netflix, who is Shang Chi in the new Marvel Reboot – working out.

Listen all – this is hard. Staying home should not be THIS hard, but it is. Be kind to yourself, to your pets, to your kids, and try and keep your perspective as we try and navigate this new normal.

TFP has good days and bad days.

Mostly tied to homeschooling.

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It is what it is.

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TFP out.

 

Yesterday TFP read some VERY unfortunate commentary delivered, via article in the Washington Post, by one of the Asian Americans who ran for the Democratic Nomination this past year – and not the good one.

That was Kamala Harris.

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Nope – she always makes sense and speaks eloquently on a variety of subjects.

Kamala Devi Harris is a proud graduate of Howard University, and University of California, Hastings College of Law. She is of Indian and Jamaican heritage.and whatever you believe based on policies she was responsible for holding up while Attorney General of California from 2011-2017, doesn’t matter.

She was chosen by the people to uphold the laws at the time, and she did.

She is an effective lawmaker who has been serving with distinction in the Senate – supporting single payer healthcare, paths to citizenship of undocumented immigrants, a ban on assault rifles and much more.

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This one, Andrew Yang, is the one in the hot seat today.

The one who makes math jokes and caters to white supremacists. He is a corporate lawyer who grew up in New York, he went to Brown, and then Columbia University for Law.

He worked for a test prep company as an executive, and then founded VFA – which recruits top college grads into a two year fellowship program at startups in developing cities.

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Since dropping out of the Presidential nominee process, he has been somehow dubbed as the ‘go to’ guy for Asian American commentary – which is ludicrous, because we have Jeff Yang, Phil Yu, ReAppropriate.com, CAAM, CAATA, EWP, PAN ASIAN REP, MA YI, SILK ROAD – a bunch of folks who have been doing this their whole lives, and who can speak on the day to day of AAPI issues.

People tracking the violence which grows day by day!

MOST recently, as in within the last day – he has been talking about how Asian Americansnot even halfway through the anti-Asian sentiment and attacks due to the POTUS’s racist remarks while telling the nation about COVID-19 – need to ‘prove’ that we are more

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American than anyone one else.

Because that will stem the tide of racism.

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Which makes TFP – who has, yes, been verbally attacked both prior to COVID-19 and since, wanna go…

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Let’s first get something out of the way- ‘we’ do not have to ‘prove’ anything.

To anyone.

If someone attacks you, if someone calls you a slur – you are NOT responsible for what that person decided to visit upon you, based solely on your appearance.

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Andrew Yang has some  issues, that is for sure. Take a look at this quote from the article:Screen Shot 2020-04-03 at 2.49.16 PM

Why would you allow yourself to feel ashamed of a virus?

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It’s a virus, you idiot.

Viruses can and do start anywhere there are conditions available for animal to human transfer.

Mike Masaoka, part deux is something that the AAPI community does not need right now, ANDREW….

Thankfully, TFP is watching AAPIs clap back at him – both on her private social media and her public one – but still…this is infuriating.

‘You have the right to defend yourself against hatred and self-hatred‘ is the tagline from THE SENSEI a film by D. Lee Inosanto.

Hold on to that, Folks, because apparently defending ourselves against FOX Viewers is not enough, we have to look to our ‘own’ to keep us down, keep us ‘kow towing’.

STOP TALKING YANG!

STOP TALKING!

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ANDREW YANG IS UNINVITED TO DIM SUM, Yum Cha, Sushi, Hibachi, Korean BBQ and anything else – because you know what – ‘we’ are not apologizing for racists acts enacted upon us.

WE ARE NOT RESPONSIBLE FOR VIOLENCE DONE TO US.

WE DO NOT HAVE TO TRY HARDER TO BE AMERICAN – HOW ABOUT THE RACISTS TRY HARDER TO BE HUMAN!

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YOU HOLD YOUR HEADS HIGH AND WALK WITH PURPOSE,

YOU DON’T APOLOGIZE TO ANYONE!

Not for your existence. Not for your Asian-ness. Not for your Sexuality. Not for how your Identify. Not for whom you Love – none of it.

And certainly not for your American values – of which you embody every single one.

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YOU ARE GORGEOUS, YOU ARE PROUD, and NO ONE ‘created” this VIRUS on purpose – it just happened, because pandemics and viruses just happen – and it is how you handle it that makes it better or worse.

Clearly, Andrew Yang errs on the side of making it worse.

TFP out.