Wednesday, September 10, 2014

Why Charlotte Alter's #WhyIStayed Article in Times Was Completely Misguided

I woke up today to a Twitter filled with women sharing horrific stories of abuse under the currently trending #WhyIStayed hashtag. Click here and try not to be staggered by the sheer NUMBER of them. Hundreds and hundreds and thousands.



Peppered through the feed, however, was a link to a Time's op-ed piece by Charlotte Alter headlined "Instead of Asking Women Why They Stay, We Should Ask Men Why They Hit." Charlotte argues that #WhyIStayed "Puts the focus on victim's behavior instead of the abuser's." Some of her followers even started calling for #WhyIHit and dropped #victimblaming, condemning the new trend.



After using a crowbar to wedge off the palm that had reflexively smacked my face, I watched the Ray Rice video. Monstrous, we all agree on that. But what Alter seems to be suggesting (with good intentions) is that we shift the dialogue away from the experience of the woman whose head hit a metal bar and was dragged out of a public elevator like a body in a mob movie, and instead to hone in on Ray Rice. What made him do that? Why? How can we get him to stop?



Totally valid questions. What Alter is failing to see is that #WhyIStayed is the first step towards that understanding.

We live in a world where the word "feminist" has a connotation of a bra-burning psychopath bitching about problems that don't really matter. A HuffPo/YouGov survey shows that a pathetic 20% of Americans identify themselves as feminist. 63% said they were "neither a feminist or an anti-feminist" which I take to mean that most people don't think women have anything to complain about anymore, and that they should be happy in their new paradise of equality.

Cue #WhyIStayed



The experiences of these women expose a horror that most people are completely ignorant of. It shows the ugliness and chauvinism that thrives behind closed doors all around us. You can't read the #WhyIStayed tweets and pretend there's not a problem anymore. We need to hear these stories over and over, for as long as they continue to happen. We can't begin to talk about how to stop abuse until we as a nation acknowledge that there's a problem in the first place.



Nobody is suggesting that the behavior of these women on Twitter are wrong or that they are deserving of judgment. They were all thrown into impossible situations. It's important for men to read about these experiences and say to themselves "I don't want to be that guy."



We as an American culture have done a decent job of stigmatizing physical abuse towards women as evil, but we've left a gray area with emotional, financial, and mental abuse, which surely must be the seeds which produce the former. We need to see that people are hurting every day or we won't feel any impetus to stop it.

#WhyIStayed is the right question, because the next question it inevitably inspires is "How Can We Change?"






Thursday, January 16, 2014

On the New Year

Well, it's a new year.

I'm sure I'm by no means the first doofus whose reflective ramblings you've had to read about, but I'm gonna go ahead a vibe for awhile anyway, kay?

January tends to be the most optimistic part of every actor's year. It's the time where everybody starts trumpeting "Yeah! This is the year where I work hard and turn everything around!" And I include myself here.

But then again, not to sound too pessimistic, isn't that what I said last year? And the year before that?

One of the many things that make the life of the actor difficult is that there's always somebody that you know who seems to be better/more successful than you are. Therefore, it can make your own successes seem smaller or more insignificant by comparison. I'd like to posit that my New Year problem doesn't come from the fact that I'm not working hard enough, but that my own flawed perspective is telling me that the art I've made this year still isn't "good enough."

Sure, there is more work I could be doing, more avenues to explore that could potentially lead to more artistic success, but that's part of the joy. There's always room to explore and learn.

Let's work hard and dream big, but let's also celebrate what we have accomplished too, alright? Even if it's a small part in a short film or a play that Spielberg never sees, you're still out here doing what you love.

So don't forget to love it.

Saturday, June 22, 2013

It's a Hit!

Well, looks like we did something right.

The past two performances sold out with a vengeance. Tonight we packed that sucker to full capacity and then some, seemed like. This chivalrous playwright actually gave his seat up and watched from the booth.

People linger after the show to discuss the play and shake my hand until Note kicks us out. Everybody keeps telling me how smart/mature/talented I am.

It's all pretty overwhelming stuff for a scrawny kid who always got picked last in dodgeball. (Their loss. I can dodge those suckers like a spider monkey.)

I guess the only thing I'm really trying to convey in this little post is "Wow." And "Thank you." So grateful and humbled by everybody who's come out and made this thing a success so far, and I can't wait to see the last half of the run.

Also, I'd be remiss if I didn't include a huge thank you to Michael Nankin, without whom this play never would've been the same.

Thursday, June 6, 2013

Trying to get audiences to find Ryan is Lost

RYAN IS LOST!
JUNE 14/29 @ 9:50!
JUNE 21/28 @ 7:30!
THEATRE OF NOTE!
$10!



I've been screaming that mantra all over the internet for the past two months and I'm still not sure if anybody knows my play is happening. I have this chronic fear that I'm going to dump all this time and energy (not to mention money) into this work of art that I've spent three years perfecting, only to have opening night come around and be the only dude in the theater. I've been there. No fun.

I always feel like I'm just clicking my heels together and thinking happy thoughts every time I do any kind of marketing. How do I know anybody sees it? Especially in the Los Angeles corner of Facebook, where literally everyone's wall is filled with "COME SEE MY SHOW COME SEE MY SHOW PLEASE COME SEE MY SHOW."

Which, I guess, is what any kind of marketing really amounts to. But it must be working alright! We've already sold more than 1/4th of our seats for the whole run! (The theater being pretty tiny kinda helps.) 

Even with those pretty encouraging numbers though, it's easy to stare at the ceiling at night and think "WHAT HAVE I DONE." This thing's so much bigger than me now, with at least a dozen different artists pouring their skill and creativity into it. It's sink or swim now, baby. No backing out now.

So now we get to the point of the blog where you realize that me moaning about the trials and tribulations of marketing a show is, in fact, just another marketing ploy.


RYAN IS LOST!
JUNE 14/29 @ 9:50!
JUNE 21/28 @ 7:30!
THEATRE OF NOTE!
$10!
GET TICKETS HERE BEFORE THEY RUN OUT!
http://www.hollywoodfringe.org/projects/1280
(OH GOD, I HOPE THEY RUN OUT!)



Wednesday, May 22, 2013

52 Sketches in 52 Weeks: Scary Guy


I was kind of inspired by all those Slender videos on Youtube that are big with all the horror kids. Here's the progression of events for this sketch.

SATURDAY EVENING
5:30pm  - Write sketch and print it out.
6pm - Pick up my brother from LAX. I throw a script at him as soon as he gets in the car. He's not an actor.
7pm - Arrive at Sacred Fools. We have one hour before our three hour show starts. There will be no time to shoot anything afterwards.
7:10pm - Grab Erik Engman from a nearby bar. Promise him riches and fame we don't have access to.
7:20pm - Shoot a few takes. This is only the sixth or seventh time I've looked at the script.
7:40pm - "Edit" it. Compress it.
7:50pm - Upload to Youtube.
8pm - Enjoy our show. (Neverwhere! Amazing!)

Thursday, May 9, 2013

52 Sketches in 52 Weeks: Giggle Fits


Another one that was pretty tough to memorize. Felt good to pop one out that was just Zach and I again. There's an unassuming simplicity to this sketch that I find pretty appealing, sound issues notwithstanding.