Archives for category: Diversity

Today, The Fairy Princess was trying to take a break from the hate crimes against AAPI’s. She started wondering why people had so many notions about AAPI men – and of course, she circled back to the Entertainment industry. She wanted to take a break from writing about hate crimes and write about AAPI males, who are doing their best to shatter any pre-existing notions of what they can be.

Then she read the following tweet from Actor and Martial Artist, Lewis Tan and she had some thoughts. First, go ahead and read:

and then he wrote:

Mr. Tan is absolutely correct, his film, MORTAL KOMBAT, which is coming out soon – deserves our support.

OURS – We of the AAPI diaspora.

YES, we have been busy advocating for our Elders to be able to walk the streets safely, but one thing does not make the other go away – we can do BOTH.

We need to do BOTH.

BOTH are needed.

Here is the trailer, if you dare watch it: (You have to do so on YouTube, it’s restricted by age)

It premieres on April 23rd in theaters AND on HBO Max and for the record – Actors should not have to go on Twitter and ask communities that they are a part of to support their film.

We should do it automatically.


We ARE so vastly under-represented that every single time someone appears in a major budget film, we must SHOW UP and SHOW OUT.

Especially in the AAPI Community, when every ‘advocate’ has been railing against the Entertainment industry for perpetuating meek and mild depictions of our males!

Which has literally put a target on our Elders.

Here is a guy who is an action star, on his way up – and he is asking on social media for support – when ‘we’ have freely given it, to the point of hiring out theaters, giving away tickets and writing endless articles for other projects, but yet, not for this one?

He is absolutely right, with the film premiering on April 23rd, and today being April 9th – where is the support?

TFP has some theories on why this is…but if we are going to change the conversation about AAPI men in this country and from others within Asia – we need to include Lewis Tan in the discussion. The guy has been kicking literal ass in projects for a few years now, he is a solid actor in the action genre – and he has TFP’s full support.

Also – he is not the ONLY Asian actor in this film – so please take any latent internal racism bs about mixed race people not ‘really’ being Asian and shove it where the sun doesn’t shine.

TFP does not have the time for that, Mr. Johnson?

She is going to watch on the premier night – theaters in her area still not being open – but she is very excited. TFP wants you and you and you and YOU and YOU – to start Tweeting and Instagramming about how excited YOU are to watch the ten Asian descended diaspora kick some ass!

Plus Mr. Tan – 11!

Joe Taslim, Matilda Kimber, Tadanobu Asano, Hirouyuki Sanada, Chin Han, Ludi Lin, Max Huang, Mel Jarnson, Yukiko Shinohara, and Ren Miyagawa are all in there – names grabbed off IMDB.

Early reviews from Dubai are great – so WHY are we not talking about this?

Talk about it. Talk about it on Social Media. Get it the audience. Representation matters.

Speaking of mixed race performers who could use a boost – Daniel York Loh in the UK, had a performance of his new play streamed today. He was asked to write this piece for the International students at the University he was a student of, which is a huge honor.

Posting the photo above of two of his cast members, he wrote:

“This is Xiaonan Wang and Jun Kim in my play, Asian Exclusion Act, which I created for the East 15 MFA International students. Two fantastic young actors in a cast of fantastic young actors, the rest – Anne Tyler Morgan, Alexander Osborne, Brittany Escobedo, Maayan Amiran and Sean Verdu.It’s streaming live from an almost empty theatre (tiny student audience is all we’re allowed)


If you missed it because the USA is a few hours behind the UK – apparently it will be up on YouTube, just keep checking back.

Now we must talk about WARRIOR and it’s potential Season 3.

If you have not seen WARRIOR – you are not alone. It was produced by Cinemax, and ran on that channel, then Cinemax chose to not produce original content any longer, and the show was moved to HBO. Which is great – far more people have HBO than Cinemax.

Here is the issue – they only have two complete seasons filmed. They have the scripts for a third, but HBO has not stated that they plan on producing it.

While TFP does not know if petitions work – let her explain why you should sign it.

WARRIOR is the brainchild of BRUCE LEE, and it was never produced in his lifetime. His daughter, Shannon Lee, who is the Executive Producer managed by sheer will, to get it into production. They have an all diaspora cast of sexy, fully capable of ass kicking, all aged AAPI males.

This is set in America, and it is the origin of origin stories. It is a Western told by people whose origins lay elsewhere, but whose descendants are now here. It is Peaky Blinders in America, and just as Peaky Blinders is in it’s sixth season filming, WARRIOR should have as long a run.

The acting is on par. The action is on par.

All things being equal (as if they were), then WARRIOR should, especially right now – REPRESENT!

Here is the petition:

Finally, not all AAPI males have to grab a machete to make a point.

A huge shout out must be given to Bowen Yang, who on SNL made it a point to use comedy as his weapon of choice.

He and TFP are as one on the same point – if you are into beating up Asian Grandmas, and TFP and Bowen have Asian Grandma’s, then there is no discussion to be had.


If you are feeling helpless, like you would not know what to do:


People fight in all kinds of ways. Comedy sometimes hits the hardest.

Because when you laugh with someone, you share a moment – and if you share it – they see you.

Which is what we all need right now, to see one another.

TFP out.

The Fairy Princess did not sleep well, because yesterday, a white 21 year old male, entered 3 establishments, including The Gold Spa, screaming he would “Kill All the Asians!”.

While he did not kill ‘all’, he killed 8 people.

Six of them were Asian women.

Why he did it, is not, frankly, something one has to consider when dealing with a hate crime. No one cares that he had, as local police who apprehended him without harm to him, ‘a bad day’.

His day was not as bad as the Asian Americans that he killed.

His day was not as bad as the non Asian American woman he killed, or the non Asian man that he killed.

They had a truly bad day. They just woke up and got dressed and went to work, and now they will never come home. Their families will not see them. They will not be able to laugh or cry or prepare food with them.

When TFP told you, years ago now, that ‘representation’ on our screens and stages was important, not because of the careers of the few AAPI actors who were struggling, but because of the very real danger of our humanity being erased – there was not a lot of listening.

When TFP told you, that overly sexual roles, usually set in brothels once a season on a cop show, was an ‘issue’ – because that was the only time the ‘public’ saw ‘us’ and therefore contributed to our lack of humanity – there was not a lot of listening.

When AAPI Hollywood told you that we needed Diversity initiatives, and those were enacted and we rejoiced, but they had the effect of a drip of water running down the Hoover Dam, it did not change things. Perhaps over the last 20 years, we can point to a few ‘breakout’ stars – they would have had an Agent or a Manager or a Showrunner that was in their corner, and we can glory in their success, yes of course.

However for the majority of AAPI actors, we remained the ‘also rans‘, the “quirky sidekicks’, the ‘Tiger Moms”, the “Dads with no feelings“, and all that has trained this country to believe that we have no emotions, we are automatons, we exist to serve a narrative that we are a group – and yes, none of you have tried to tell us apart, so don’t start now – we are a GROUP that can be used primarily as background for a narrative where we are the enemy. Or, for sex. Sex without feelings, commitment, sex that can be violent and deviant and even end our lives without reprisals for the enactor of the violence.

We have phrases that denigrate us and they come from films.

We have tropes that harm us, and they come from film and television and stages.

We have seen White faces try and ‘play’ us to great Hollywood acclaim, tape their eyes, change their skin tone, and the result is, while many laud us for having privilege due to ‘proximity to whiteness’ – it is that very proximity that lets us be gunned down or mocked or asked if we are available for purchase – and that all, all of it, can be lain at the doors of our American stages, televisions, and films.

We see ‘our’ narratives sung by people who wear us like a costume, but within that costume, rob us of our humanity and our dignity- leaving behind only outlandish behaviors. Shuffling. Tittering. Bowing. Submissive. Accepting. Asexual with the men and hypersexual with the women.

We have all seen this over and over.

It must be said that FOX News, President Trump, Breitbart – they are all complicit as well. They took what there was from Hollywood – and they ran with it. They stoked the flames of hatred, pointed it at uneducated minds, and let loose – and these shootings, 3 of them, by one man – is the result.

American Show Business has taught the world – not just America –the world – that we are either a monolithic superpower intent on submission, or sweating in a hole in the ground just for the opportunity to rise up and slaughter Americans, or we are there to serve whatever sexual pleasure is wanted. That we are faceless. That it does not matter what our names are, or how to pronounce them, because we’ll be dead in the project in the next few minutes – our deaths inspiring the white hero to drink herbs, become adept at our fighting styles, and keep love for us in our hearts while he goes off with the hot girl.

We have this year, two Asian males nominated for Best Actor by the Academy Awards. First time ever. One is American, one is British. That is diaspora.

We have animated films nominated which were created and contributed to by AAPIs from all over the globe – and that too, is diaspora.

We have Directors who were born elsewhere and are nominated here in America, and that is again, diaspora.

Change is upon us, change is happening – it is not all doom and gloom, but it has been exhausting to get here.

We have now Production deals, and writers, and Stars, and things are slowly changing – but they did not change fast enough for those six women in Atlanta.

They did not change enough for the two non Asians killed in Atlanta.

They did not change enough for a 21 year old man having a ‘bad day’ – and a reminder, not an excuse – at 21, the human brain is not fully formed yet. That does not happen till 25. So we have an immature thug whose made a bad decision based on his emotion, because he has been taught that his emotions are more important than Asian lives for his entire 21 years. He had access to a rifle, and he used it.

He had access to a firearm, and he had bad decisions in his brain, and he had hatred in his heart – and he used them to go to a place where he knew there were Asian women, and he killed them. The media wants us to believe he is a good church going boy who made a mistake.

It is a mistake to buy into that rhetoric. Churches do not preach mowing down people with a weapon – at least not the mainstream ones.

He killed them because they were Asian.

TFP has seen some people trying to distance themselves from this issue – some Pacific Islanders saying “Well, that is an Asian thing, not a Pacific Islander thing.”

No. It is an ‘all of us’ thing. All of us – because this guy killed indiscriminately – and he killed people who were not Chinese. He did not know enough – because American culture has not insured that Americans know the difference between us – so we all must mourn, collectively.

We all must rage against this injustice.

We must take all the horror and enact change and that involves gun laws, that involves restrictions on hate speech, and education, conversations that will be difficult. He chose to do this because those women he felt were beneath him, whose very existence tempted him, they were at the lower socioeconomic end of society- the people we, as a society- have been told are ‘disposable’ people, so he could kill them without punishment. That is what he has observed in his 21 years.

He chose to do this because he thought that his entitlement to them, and their lives, were more important than their actual lives.

Who taught him that?

American Entertainment.

TFP is so very angry. She cannot even tell you the tidal waves of sadness that are washing over her right now. That she did not sleep. That she is still in her pajamas at 12:45 pm. That she is disgusted and heartsick and feels that she would go through the three verbal attacks she had happen, by three different people, AGAIN during this pandemic if those 8 people could live.

If the seniors being randomly killed for no reason other than being Asian while walking, could live. She would take the abuse, the uneasiness of feelings, if it would make any cosmic difference to that man’s decision to share his ‘bad day’.

She would take it all.

She would take it, because no one should have to die because they look like where their families originated from. She would take it all if her son was not told that ‘the Chinese gave us Coronavirus’ so he did not get a high five from a fellow camp goer.

She would take it.

Even though, she is ‘only’ half.

That is the thing about being Asian – you do it for the Family. Right now, our collective ‘Family’ is under attack – and she needs us all to pull together – all of us, not just Asians – and right this wrong.

Call it a hate crime.

Then look around and see where he got the hate.

TFP out.

The Fairy Princess has watched the rise of violence against Asian American Pacific Islanders with abject horror and she knows she is not alone.

Each video shown makes her wonder if that could be her Mum, her Auntie or Uncle, her In Laws or her Neighbors, should they try to walk down the street or simply run to get something from the shop.

The thing about Violence is – the victims of the violence are not the ones who can stop it – though many are trying by offering rewards or walking our seniors as they get their groceries, or joining patrols in heavily AAPI lived areas – there is nothing ‘we’ can do about it. Nothing at all.

For the violence is not what ‘we’ have chosen. It isn’t. This is violence enacted upon us. It comes up unexpectedly and it uses opportune moments with gleeful abandon – choosing people because they did not like the way their eyes met as they walked down the street, or because they think that they represent something weak, or because they themselves have felt and been the victims of societal racism – the perpetrators feel it is ‘ok’ to enact violence.

These perpetrators have many supporters – TFP has seen them. On Tik Tok. On Twitter. On the comments sections for articles about violence against AAPIs – there is a lot of ‘what about isms’ going on. Blatant campaigning against AAPIs from people of other communities of color as well as white creators.

Again, like the random attacks – there is little one can do against them.

Any objection you raise will be covered in a ‘what about racist Asians”?

TFP wants to address some of those “what about isms’…

  1. There are, of course, AAPIs who have prejudice. They have prejudice because they were taught it as a child, and society has reinforced their prejudices, so they take them as fact. This is wrong Of COURSE it is. Prejudice that leads to any sort of violence is wrong. Does not give anyone leave to attack an elderly lady with kicks to the head as she waits for public transport. Or push a man so hard, his head cracks on the curb and he dies. Or stab someone who meets your eyes in the street.

2. AAPIs are weak. We’re not – but we realize that though there was an attack on an AAPI Service Member in KTown in LA, that was the rare instance where the victim of the attack was young.

It took 3 of them to beat him down, and his friend was also trying to fight them off. Not a fair fight by any means – mostly these attacks are on seniors who have no defense.

These are the acts of cowardly people who wish to feel powerful – and escalation only means that more patrols – vigilante patrols – will roam those areas.

Eventually , there will be an event from which we cannot return. That is TFP’s fear.

3. One or two or even a dozen prejudiced people does not give you permission to attack people. Not even if you had an incident in your childhood. Not even if your feelings were hurt. It doesn’t give you leave to name call or attack – because the world is filled with grown ups who can do what? Control themselves.

4. Communities of Color have to start talking to one another. Leaders must speak up. You have to confront the issues within a community that leads to violence against people who they live alongside, and in many cases, have done so for quite a while.

5. We do not really expect that anyone who is not AAPI will go out of their way to defend us or to fix this situation – because America has never, ever fixed any of the violence enacted upon AAPIs. Because no matter where anyone else has heritage from…”We” are the foreigners, and ‘we’ do not belong here.

Hurt people, hurt people.

However you can only maintain these ‘status quos’ of these attacks if regular people, good people, strong people, allow it.

It will continue as long as people allow it to.

It is time to band together and decide that this is not the kind of world you want for your families, for your friends, for strangers who walk the same streets you do. It is not in humanity’s best interest to allow this kind of violence to continue.

People afraid to leave their homes, afraid to go to school, afraid to go shopping, or purchase food – this is no way to live.

Perhaps, if you are reading this and you are vocally against AAPIs, you think this is a great solution – then you of course must stop eating our foods, enjoying things we created like martial arts and anime and calligraphy and art, stop watching basketball, and ice skating, and speed skating, and..frankly, Keanu Reeves – because well… that’s fair.

If you are a white supremacist, or an anti-Asian non white person – TFP cannot stop you from being so. There is nothing she can say to you to make you consider that she is human, that her friends and family are also, humans – nor can she beg or plead her way to understanding.

However she would like to leave you with a story, showing you the demonstration of a universal decision of “enough is enough’ that she was a part of.

Once upon a time, there was a late train. TFP and her husband had just seen ONCE on Broadway.

Everyone piled on, and TFP and her husband had the end seat which was directly facing an inebriated couple. The male of this couple saw them and instantly started mumbling about ‘stealing our jobs’ while looking at TFP’s husband, who is of Korean descent.

The train pulled out. The couple got louder. TFP wanted to move, but her husband, who is a black belt, thought it was ‘funny’ and actually, he is very tall – so he knew that if it got to a point – he could ‘handle it’. He has a weird sense of humor.

What wound up happening was a LGBTQ Hairdresser of mixed AAPI heritage told the guy to stop it. Because he said, that was how people had talked to his Mom when he was a kid, and he swore it would never happen in front of him. The drunken man then threatened to come and beat this gentleman, which is when TFP jumped up and told the drunk guy not to touch him.

Who stood behind her?

An over six foot tall African American man. He backed her up. He backed up a 8.5 month pregnant, yelling right back at these asswipes on public transport, woman – because it was the right thing to do. They did not know one another, and frankly, TFP did not understand why the drunk guy did not come for HER, till she looked over her shoulder and saw the man standing there. He said, which she remembers clearly, “I got you’.

Then he gave her the ‘nod’.

The drunk guy sat down.

Then every person in that train car started yelling at this drunk man – backing us up – the Hairdresser, the Tall Guy, and TFP. When the conductor came by – he asked what was going on – and then he threw those people off the train at the next stop. Not at Jamaica, where everyone can transfer to where they had to go, as it is a hub, he made them get out at Forrest Hills. Which made everyone applaud.

After which, there was a party atmosphere on the train. People made appointments with the Hairdresser, people talked to their neighbors, the sound of the car became one of congeniality and the guy who backed her up, gave TFP a fist bump.

We all need the country to come together and back one another up. TFP needs her fist bumps back. Her nods. Her check ins.

We have been through four years of hell – and this last one has been horrid. It has been filled with anger, and vitriol, and blame. However four years is enough of this.

We all have to decide that four years is all the ‘space’ we are going to give this mold, which is festering under the cracks of our society unseen. We have to tear up the concrete evidence of racism and prejudice of these attacks and let the sunlight in.

Let’s not give this kind of violence any more room to grow.

Let’s end it – together.

TFP out.

The Fairy Princess has a lot to discuss – a LOT, but first…the United States is about to have a new President and Vice President and the first thing they are going to do is cancel the Keystone XL Pipeline – and this. is. EPIC!

Huge win for the Native Americans and the rest of us that live on stolen land, but would also like to have clean water to drink.

Don’t talk to TFP about jobs or anything else – you cannot un-pollute land and water – it’s not possible – so protection of our natural resources is literally the only thing that matters.

All the snaps to Joe and Kamala as they start off with the most diverse cabinet held by a President in the history of the United States.

Oooh TFP just wants to hug everyone!

(Unless you stormed the Capital Building on January 6th, and then she would like to jail your ass.)

The SAG/AFTRA Awards are coming up – the nominations will be announced February 4, 2021.

Here is what needs to happen – and TFP is not just talking to the AAPI SAG/AFTRA Nominating Committee Voters because…we do not have the numbers, and the nominating committee is, of course, secret.

TFP knows this because a few years ago she was ON the nominating committee for the television category. While she was absolutely chuffed to spend hours and hours staring at each and every qualified project she was sent and/or emailed a link to watch – and she watched every single one, yes she did – when her ‘picks’ were made, she realized that the majority of SAG/AFTRA does not vote with inclusion in mind.

They don’t.

The majority of voters would like very famous actors that they feel if not for a unkind twist of fate, they would be, to attend the award ceremony. Or they like the performances – anyway, it doesn’t matter, the majority of the voters do not have the time to watch every single entry and so they vote for the one that they know will have the most buzz, get the celebs to attend etc. etc. etc.

Here is what TFP would like the SAG/AFTRA Award Nomination Committee to do – she wants you to SEE us.

That’s it.

She wants you to see us, the AAPI Community and all our varied forms, shapes, sizes, multi-culti, breathtaking breadth – and vote to nominate:


For YELLOW ROSE, TFP would like you to nominate:

Eva Maria Noblezada – LEAD ACTRESS




Here is the trailer:

YELLOW ROSE is a film about immigration, familial love, and country music – all principals which should echo with everyone – they are universal themes, and it deserves nominations.

The films TFP is asking you to support do not have to win -but they do have to be nominated. Nominations mean that people see them, and that shows support. Support from audiences across the spectrum of how we identify and what we have inherited from our families is vital to have funders back these projects. If the success of one can be ‘pointed to’ as an example, then more people will have a chance to succeed.

That is what TFP is asking for for these films – give them a chance to reach the wider audience.

The Golden Globe Awards, which is the Foreign Press Awards, chose to put MINARI in the Foreign Film category for the United States because a large part of the film is spoken in the Korean language, despite it being an American lead, an American Production Company, and filmed in the Heartland of America, telling an American story.



They did not have any issues with LIFE IS BEAUTIFUL or THE GODFATHER or INGLORIOUS BASTARDS – they are only showing their innate European bias to the film that captures the American experience in an language that has no European roots.

They do it because they can. They will still be invited to cover all the junkets they did previously. They will not be ‘shut out’ of interviewing stars. They did it last year with THE FAREWELL, as a lot of it was in Mandarin. They also did it because well, misogyny – Lulu Wang is a female director – while they did nothing to Bong Ho – in fact, they nominated him for Best Director for PARASITE.


Which is why SAG/AFTRA and their Nominating Committee has to take a stand.

You must vote to include MINARI in the following categories:






Show the Foreign Press Awards that SAG/AFTRA members will not stand for racism and exclusion. Being American has nothing to do with being able to speak another language.

Finally – do not sleep on nominating Riz Ahmed for his performance in SOUND OF METAL

Playing a musician that is losing his hearing, you can catch it on Amazon Prime right now – remember, when you see the variety of the performances, remember that they are people who are not being seen by the larger audience, and nominations are one way of changing that.


TFP wants to congratulate DANIEL DAE KIM, who, after 31 years and numerous television shows, after being paid LESS to be on Hawaii 5.0 than the white guys, and who left to form his own production company and create, among other things, THE GOOD DOCTOR, on getting his FIRST LEAD on a television series. First time he is the focus of the show. First time he will be in every episode.

After 31 years.

In the business.

Many are surprised by this. They think, “I have seen him on television for years and he always delivers.”

Yes, he always does.

He has an MFA from NYU and began working in 1991 in American Shaolin. He had the ‘most experience’ going in to H50, and where the lead of the show had only been known for doing the lead in television mini Australia.

DDK has hundreds of episodes of experience, is an outrageously solid actor, also happens to be one of the most gorgeous men on the planet, and until THIS year, he had to play second fiddle.

Why, oh reader, do you think that is?

DDK will play one of the two lead roles in THE HOT ZONE, ANTHRAX. His character is Matthew Ryker, an FBI agent with a specialty in microbiological weapons. This is a limited series for NatGeo in their scientific thriller anthology series, and TFP could not be happier for him – this is tremendous.

The new series, DOOGIE KAMEĀLOHA has just announced that they have cast in the title role, 16 year old actress and former star of the Disney Channel show, ANDI MACK – Ms. Peyton Elizabeth Lee.

The new Doogie is set to premiere on Disney +. Remember that, it’s important.

This show is created by Kortney Kang, who is right out of the ABC Family – and frankly the Carnegie Mellon Family – who is mixed race and from Hawaii.

The show is about a medical genius who is also mixed race. Kameāloha means is “the beloved one‘. The character’s first name is “Lahela’ which is the Hawaiian form of the Hebrew name, Rachel.

TFP has seen some backlash.

All that has been announced is the casting of one actor. The show description is about a ‘mixed race girl’ growing up in Hawaii who is also a medical genius. The actress cast is mixed race, as is the creator, who again…grew up in Hawaii.

What TFP has seen being said around the trash barrel that is the world wide web said is that the casting means erasure of Pacific Islanders.

No one wants Pacific Islanders erased – not Disney who approved the concept, not Ms. Kang who write it, and certainly not anyone who will appear in the show. It is just not something that is in any way rational to assume. Stop repeating that – it is not true, and it just stirs the turd.

Has anyone read the pilot? TFP hasn’t – but based on the breakdown in DEADLINE, these are her thoughts.

First thing everyone seems to get upset about, is that if the actress playing the role is not Native Hawaiian what about the name of the character?

The character’s name is Lahela “Doogie” Kameāloha.

Lahela is the Hawaiian form of the Hebrew name, Rachel. It’s origin is not, in fact, Native Hawaiian. It came from intermixing cultures. Just like Bette Midler is from Hawaii. Born and raised. Though, by heritage – Jewish.

They could change the character’s name to Rachel and solve that lickety split. They could change the surname to Howser and it is still about a mixed race kid- just a mixed race kid living in Hawaii named Rachel Howser. You could have Neil Patrick Harris play her 2nd cousin or something and guest star.

Is that what any of us want? Think about it.

Here is a screenshot from the Deadline article announcing the casting:

Pilots are funny things – they are the ‘ideal’ of what the writer wants.

TFP thinks that Ms. Kang wanted to include Hawaiian culture in the show – and that, by the way, is still there. Still being shot in Hawaii, there are Pacific Islanders that are intended to be in the main storyline, according to Deadline. Her father is being described as a ‘local boy’ with Native Hawaiian heritage, though of course, no percentages are given, because people are not percentages.

They likely auditioned several actresses for this role – while TFP will not say ‘hundreds’, because she does not think that would be correct, she would still bet that it was more than a few.

TFP is taking a wait and see approach to this casting – because many people have played relatives to other actors and have not been ‘the right’ heritage, as written.

Casting is entirely different from writing a pilot. To shoot this pilot – and indeed even to pay Ms. Kang to write the pilot, involves huge amounts of money. Sometimes the Network or studio is willing to go with an unknown entity and sometimes it is not. Look at the facts – they needed a young mixed race actress who has starred in a television show or film before – the list of people who are appropriate are few. A known quantity.

In fact, there are a few – they include Miranda Cosgrove, who is now 27. Auli’i Cravalho (Moana), who is 20. Everyone else does not fall into the ‘held up a show as the lead character’. Keisha Castle Hughes from Whale Rider is 30, so stop pulling names from the sky.

There is Isabella Russo – she starred in Kang’s last pilot – TFP has known her since she was…2? Ms. Russo has been seen on Broadway as the star of SCHOOL OF ROCK since the age of 11. She is now 17.

Sienna Agudong? Yes, TFP agrees, she would have been a great choice as well. She is 16, she is from Hawaii and has been lead in the Nickelodeon series, STAR FALLS, her first lead role in was in a NETFLIX film, NO GOOD NICK, and she was the lead in Disney Channel film, UPSIDE DOWN MAGIC.

She is Hawaiian, Filipina, and European. In 2020, she was attached to star in a sci-fi feature film, LET US IN.

Was she approached?

TFP would say definitely. Could she do it? Seems like she has a lot on her plate for this upcoming year. Pilots may not be seen, they may not get the green light to go to series – most actors would keep their focus on feature films if they have an option.

Again, the list is short.

Peyton Lee is 16. She has been on a Disney show previously. She has been a series lead. She is a really solid actress. She is not a cute ‘kid star’, she is more like a Jodie Foster style of child actor. She is of mixed heritage and could reasonably be believed to portray a person of many heritages.

Disney would never have approved an newbie actor for a role of this size.

They just would not have.

They want a ‘proven’ entity and they want someone ‘known’ because that person brings with them a fan base. The ANDI MACK fan base is growing up, they were loyal for three seasons previously though – and they will follow Ms. Lee to her new show, to see more of her struggles as a teenager. As a really bright, precocious medical superstar teenager. Disney has invested a lot of money in Ms. Lee. Also in Ms. Kang.

So there can be changes, and as TFP sees it, here are the options:

  • they can change the Dad from a ‘local boy’ – and make her extended family Pacific Islander
  • They can ignore it
  • They can run Ms. Lee’s DNA and see if she has any Pacific Islander because both the Chinese and Pacific Islanders were seafaring people because now, apparently that is what Actors have to do. (WTF)

TFP can personally attest to having Pacific Islander heritage (thanks to that she was previously unaware of – which is apparently, the way the Gatekeepers both keep her out and then miraculously include her when she fits the narrative.

However if you had asked her prior to the DNA test she would have replied that while she did not believe so, she has always felt ‘something’ when seeing people do the Haka that she could not explain. Now, she can explain it. She thought she was ‘just’ Chinese. She’s not. Mind blown.

TFP considers people of mixed race to be one family – no matter what the mix is, no matter who they love, or how they identify – if you are mixed race of Asian Pacific Islander descent – we are a family.

TFP may not even like you, but she loves you. (Hey, just the truth)

She reacts VERY strongly to being told what she is allowed to do. She reacts very strongly to people telling mixed race people what they are allowed to do, what space they may occupy, and what roles they are allowed to be seen in.

Especially by those who are not mixed.

You are not enough X to represent X.

Even if Ms. Lee herself is not of Pacific Islander descent, this hiring means the show goes forward and more Pacific Islanders will get hired – not just in the cast, in the crew, writing staff, in the office, in the catering, in the security – it benefits the film industry in Hawaii, which has been decimated by COVID-19.

The benefits of the show going forward outweighs any one role. Particularly because pilots are just ideas – they are like buying off the rack, and then having to take it to a tailor once you know who is going to be ‘wearing’ it.

The world is not perfect. Sometimes the people you would want are busy, sometimes the people you would want have conflicts, or no interest in doing what you would like them to do. Rarely is anything without compromise, and in entertainment, that should be stitched on every pillow in town, as a reminder.

Remember all the nonsense over Randall Park not being Taiwanese when they did FRESH OFF THE BOAT? Everyone went crazy “oh he’s not Chinese” – well, no – but he is funny as hell, and he’s going to change the future of television with his production company, so have several seats.

He was cast ‘within the realm of belief”.

All the wringing of hands because Henry Golding is mixed race and was in CRAZY RICH ASIANS repping Singapore? He did a great job – the world still revolves.

Show Business is not always going to get things absolutely right – there is still an element of ‘magic’ that has to be made – absolutes negate magic. Actors connect or they do not connect with a role – it is what it is.

Grace Park played Officer Kono Kalakaua on H50, and she is from Canada- no one seemed to talk about erasure then – or is that just something we yell about when the actor in question is a teenager?

Within the ‘realm of belief‘ is the way that casting has always worked.

Perhaps things will change in the future. Perhaps everything will be perfect. Perhaps we can all stop swiping at one another and let the show get up and shot before tearing it to pieces.

C.S. Lee is Korean American – TFP just watched him be a badass tavern owner from China on WARRIOR. Did it bother her? No.

That is Andrew Koji on the right side of the photo – Japanese/White English descent from the U.K. btw. Andrew plays one of the main characters in WARRIOR, who is supposed to be from China. Now showing on HBO Max. He is awesome. Is TFP bothered? Nope.

(TFP has been watching a lot of WARRIOR.)

Did Dustin Ngyuen playing an insane Tong leader also on WARRIOR bother her? NO.

Does she know that he is Vietnamese American…um..yeah. So what?

Realm of possibility. Excellent Actor. Amazing combat skills. Breathtaking performance.

(TFP told you, she has been watching A LOT of WARRIOR)

Does Cliff Curtis playing Samoan with Dwayne ‘The Rock’ Johnson – they were brothers – did that upset TFP? The Rock is mixed Samoan, Mr. Curtis is not.

Did TFP freak out that Mr. Curtis is not Samoan?


Does she know that Maori and Samoan are two different groups: YES she DOES.

She also knows it is pronounced SAH- mo- ahnnnn and there are two different groups – American Samoa and Samoa but that both are Pacific Islanders and they are both considered Samoan. She also knows that the Maori and the Samoans all fall under the Pacific Islander grouping.

(Are you kidding, she has cousins who are of Fijian descent!)

Likewise with Manu Bennett, Temuera Morrison, Taika Wattitti – Taika played HITLER (very on the nose nowadays, huh?) and did she jump up and down and say he could NOT play German because he was not German?

Hell no. Because movies are not documentaries. Television shows are not documentaries.

Show business is money and casting and complicated and we should all welcome one another UNDER the umbrella, ella, ella that is API. We know what it is like to not be seen. We also know, as people go ‘up”, they take us all with them. We do not succeed when we tear one another down, a point that seems to be understood except when it comes to mixed race projects.

TFP mentioning that this is a ‘mixed race issue’ was met with sharp chastising – WHY would TFP say that?

Well, because it is.

Then j’accuse TFP for pointing out the bias when, in fact, she is of mixed Asian Pacific Islander descent.

Isn’t that interesting?

The Mixed race population is currently at 13% of the total US Population, and growing. You can go on platforms like Tik Tok and see how the non-acceptance of multi-racial people is doing real and consistent emotional harm to individuals who straddle those spaces where the gatekeepers dwell.

The pilot is the pilot and can be amended and rewritten.

“We” are the only group that does this to one another.

TFP says if Ms. Lee won the part, then that is who won the part, and everything else can be figured out later. She is the only actor who has been announced. The overwhelming lesson here is that the people will always find something to bemoan when it comes to mixed race stories and portrayals.


Because, honestly, they do not like that we exist – and that is the hardest lesson to have to learn over and over and over and every time…EVERY is exhausting.

TFP out.

The Fairy Princess wishes you all a good riddance to 2020…

Look at Stacey Abrams and Kamala Harris starting to put that ish out…they can make any outfit look good.

TFP is sure they have Ted Liu and Mazie Hirono, Joe Biden, Mayor Pete, Bernie Sanders and Elizabeth Warren ready to add some non racist equality foam- laced with health care and a relief package for all on standby. (Cuz you douse chemical fires w foam, & can you think of anything more toxic than the GOP right now, cuz TFP can’t!)

This past year has been fairly hideous, the USA under the mismanagement of the Toupee’d Orange has had 341,199 deaths since this pandemic started – and if you have lost a loved one, or a few, if you have lost a beloved friend, or a co-worker, or you work in health care, or you are food insecure, or about to get kicked out of your dwelling – TFP sees you, she is heartsick for you, and she wants you to hang in there. We have a new President coming (and honestly, does she think Joe is going to be a one termer…no, she doesn’t – he seems fired UP) and there are two vaccines to help the country survive.

If you take it.

Listen, there are objections out there- given the speed of the approval, but when you realize HOW MANY PEOPLE ARE DYING, you understand why they were working around the clock – however – if you have ordered food or drink prepared by someone else, if you have danced in a college fraternity and fallen into the ooze that is on the floor and gotten up to laugh about it, if you have partied in a club, or attended a house party where they served large amounts of alcohol out of a trash can lined with a plastic bag filled with Hawaiian punch and Everclear…do not worry about this vaccine being lethal.

You did not care then what you were putting in your body, so please, spare us the narrative that you are highly aware of every single thing that goes into your toothpaste, deodorant, household cleaning supplies, daily meds, the fruits and veges you consume…

You survived all that. You can get through this with medical science.

Take the shot.

First, some good news – TFP‘s very good pal, J. Bernard Calloway has a show that has been picked up by BET+ The Ms. Pat Show, so make sure you tune into that! They are just going down to Atlanta to go film, and TFP wishes them the magic number of 5 seasons and beyond.

Now we get to ‘the stuff’ aka, ‘why the heck did TFP start writing again, TODAY” – and there are a few reasons, bear with her – this is a new year, and we have new stuff to talk about, which mirrors the old stuff, but there you go….

Some old business, remember the kerfuffle with the Rob Guest Endowment in Australia? Where a musical theater competition came to the semi-finalist round and then all the contestants competing realized that there were no BIPOC people in the 31 member group?

Well, that prompted, among others – TFP‘s buddy, international Musical Theater superstar, Hayden Tee, who is of Maori heritage, to raise up the challenge to the MT community in OZ, and start a mentor program to change the dynamic over there. Nothing happens overnight – but TFP has been on a few Zooms, and is mentoring a few people, so…let’s keep positive thoughts.

SAG/AFTRA and AEA came to an agreement, which, oddly enough, looks very similar to the agreement that TFP wrote out a few blogs ago and told them to take to their attorneys. Anyway, it is settled, there is no Hollywood without Broadway, and there are no TONY Awards for film stars without Broadway.

PAAL, the Parent Artist Advocacy League started by Rachel Spencer Hewitt, is giving out emergency grants for Artists with Families. During this time, parents in the Arts are facing the financial and emotional toll of no work, but with little people who depend on them for everything – it’s a scary place. If you can give, or you need to apply, please go to

Now, we need to talk about how people talk about diversity. Everyone is kvelling over BRIDGERTON, and rightly so – beautiful cast, well acted, nice to see variation there in casting – but it is not a home run. TFP should be using cricket terminology, shouldn’t she? Ah well, the production company is American, and she loathes cricket…so…

The show is beautiful, and TFP has watched it. She had high hopes for it, frankly, because in one of the first scenes when the virgins, sorry debutantes are being presented, there is an East Asian Lady in Waiting furiously fanning the Queen. She was hopeful that this character would speak. Alas she does not, she holds a small dog. That is the extent of it.

TFP continued watching, she saw a South Asian male actor chat with one of the Bridgertons, and an East Asian playing the violin, and finally, a South Asian female spoke under 5 lines as the ‘beard’ of one of the series only LGBTQ characters.

TFP looked harder than Simon at a garden path at Vauxhall Gardens…she did not find any.

The triumph is, in fact, a binary one. People seem to think that this show ‘solves’ everything. Or they tell ‘us’ to wait our turn, or ‘eventually it will change’ – well, TFP has been writing this blog since 2012, and Asians are still waiting for true acceptance and inclusion.

East, Southeast, South, Middle – we are waiting.

Which is odd, because as TFP has pointed out in past work – the first Chinese male arrived in England in 1684 and was a friend of King James II, and in fact, King James II had his portrait painted and hung in his bedroom to mark the friendship. Presenting to the court and beyond, “Michael” Shen Fu Tsung. Read more about him here.

BRIDGERTON takes place beginning 1813, which leaves 200 years of actual intermingling with people ‘outside’ the binary to provide basis for a narrative to fictionally interact with, and yet there is nothing.

All this is proof that Chinese have been intermingling on a Royal Court level, while not consistently of course, but still it was there – since the 1680’s – which would play into the re-imagining of British society that BRIDGERTON is supposed to represent.

Likewise the British first went to India and established the British East India company in the year 1600 – and in doing so, began an entire mixed race population of what they called at the time, Anglo Indian, which brought us people like…Ben Kingsley, Merle Oberon, and Joanna Lumley to name a few.

While yes, BRIDGERTON is embracing inclusion, it is also including only certain people – and it is in fact, very specifically excluding quite a lot of people that would have been in England at the time.

All TFP is saying – and of course she will watch the second season – is that…she noticed.

Now, let’s turn our attention to WARRIOR – a truly fascinating show that, honestly, has been handed both a tremendous opportunity, and yet, the keys to it’s demise.

Originally based on the journey of Chinese Americans to this country – via an idea by Bruce Lee – yes, THAT Bruce Lee – it was filmed on location in South Africa. Two seasons. Produced by Cinemax, so TFP did not get to see a lot of the episodes, however NOW it has moved to HBO Plus!

She is gonna watch the heck outta that show now!

Which is wonderful = however…the show has the scripts and the arc to extend for a third season and beyond, but because Cinemax was dumping all of it’s producing efforts, a third season was never filmed. They need to be filmed.

Not because TFP says so – but because America was inviting it in to it’s living rooms – and that needs to continue to happen. It is a part of laying down the foundation for conversations on race in America, and the Asian diaspora. The longer WARRIOR is on, actors on the show have a real shot at maintaining their careers – which to some, goes into the “Why do I need to care about Actors?”

Well because, when you start asking questions like “Why is Emma Stone playing a mixed Asian and Hawaiian gal?” and demanding that Matt Damon no longer be allowed on The Great Wall – you need tangible people to sub in there as alternatives. You need people that Hollywood recognizes as having done ‘the work”, and who are ‘ready’ for the next big step.

Not just the actors – the writers, the producers – do you know who is one of the executive producers? Justin Lin – who directed BETTER LUCK TOMORROW. Who diversified the FAST AND THE FURIOUS franchise. He is changing the conversation every day, and he cannot do it alone. He has to grab a sandwich or something.

Which is where YOU come in, oh reader – oh martial arts loving, history of America, possibly Asian reader – here is what needs to happen – you need to blow out those numbers on HBO Plus. You have to watch WARRIOR, seasons 1 and 2 (which, by the way, are not hard to do, the characters are complicated and the storyline is gripping) and then…you need to go to Twitter, to Instagram, to Snapchat and discuss HOW MUCH YOU LIKE THE SHOW AND HOW MUCH YOU WANT A THIRD, FOURTH, FIFTH SEASON.

Listen, it worked for a bunch of white shows, numbers have no color. Invite all your people. All kinds of people.

If you are a martial arts fan, if you are period drama fan, if you are an action/sex fan, if you are just bored with there only being one narrative in the history of America – you can expand your thinking, expand the circle of this show. Every time you watch something different, it is noted. Every time you tweet or own your social media space with hashtags and opinions, it is noted.

This show, should be noted. San Francisco at this time period was a whirl of politics, racism, sexism, bartering – honestly is America different now?


Give it a watch – and tell HBO you want a third season – because #RepresentationMatters and so do all of you.

Finally – there has been a bit of a late coming uproar over Actor, Rizwan Manji – not because he has not been representing 24/7 for the past 15 years at least on American Television – but because he has used an accent on occasion. He dared to talk about it, and it set off a firestorm.

Did you get this upset when Meryl Streep did it? No? Then sit down.

Mr. Manji is a first generation Canadian whose parents were immigrants. His accent work is one of the tools of his trade – and the accent is never one of the jokes. The jokes in regards to Mr. Manji’s work, arise from cultural misunderstandings – not because they were said with the accent.

The accent may clue you in that something may go awry – but to pooh pooh Asian actors because of accent work – especially in regards to shows that hail from Canada – you would also have to throw out KIM’S CONVENIENCE. If you are are playing someone who hails originally from another country, or is playing a scene in another country – they would have an accent.

Or have you never met an Australian? An Irishperson? Why are the only acceptable accents that people do not fuss over, why are they only European?

In COBRA KAITamlyn Tomita and Yugi Okumoto used Japanese accents, specifically Okinawan. Because the show in that episode takes place in Okinawa. It was shot in Atlanta, folks.

Likewise another actor in the scenes in Japan, Miki Yamashita uses an accent.

TFP knows all three of those actors – they have American accents on the daily. Being familiar with the setting of a scene and trying to be as authentic as they can, they chose to use an accent. They were – all three – just great.

Mr. Manji – who TFP also knows personally – does not have an accent other than your run of the mill Canadian when he blows around LA, but he is the child of immigrants, he is familiar with it, and he is allowed to use it – he cannot say about btw, which is the only reason TFP knew he was from Canada when they met.

TFP can do an Aussie “Fair Dinkum” or a “Sydney-side” accent, a “Irish from Kerry’ accent, a Chinese “From NY Chinatown” accent, and frankly a “Mother in Law from Busan” Korean accent – because those are things she hears within her family.

Accent work is not shameful. It is not a let down. Why do y’all only get crazy when it is a minority doing an accent but you don’t yell about Streep doing them?

Cuz it is YOU that have the issue. Not the actors, who are using the tools of their trade to make you believe that you are in another world entirely – and doing a great job.

So stop.

TFP out.

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.


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.


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….


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.


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…)


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.


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


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,


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.


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.


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.


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.


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…


Cuz that LADY BOSS tweeted this photo:

Screen Shot 2020-07-27 at 10.49.41 AM

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


So much so she has won Awards for 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.


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?


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.


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?



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


‘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.



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!



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 –



Damn, TFP could do this all day.


Wakanda Forever, Comic Book Movies for All!



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.



The Fairy Princess is back!


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.


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.


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.


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.


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


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.


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.


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.


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




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.


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.



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


You should read it.

All of it.

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


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.


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.


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.


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.





All of us.

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

Read it.


TFP out.