Friday, August 22, 2025

Cracker Barrel Controversy

 I've eaten at Cracker Barrel several times, usually b/c it's someone else's idea. My dad and grandma LOVED going there, so I would get dragged along.  The food was cholesterol-dense, southern fried goodness. The servers were polite to us. Some even seemed to love my dad when he popped up at their place with family members and friends. They would give us freebies. No complaints. But the first thing that caught my attention was the rocking chairs on the porch. It's nitpicky, but there's just something about rocking chairs on the porch of a store called Cracker Barrel that made me pause. And then you have to walk through the gift shop. There's nothing overtly wrong with the gift shop. It just gave me weird vibes and this is before its former employees revealed that they had a code word for Black customers; the code word was "Canadians." (Now why would you need a code word to talk about Black customers? What were those conversations about? I'll let you marinate on that.)  Or the legal depositions that revealed they kept black employees in the back in non-public roles, or that sometimes they refused to serve "Canadians" in the deep-fried southern branches of the store. My family did not know this, and most customers didn't care. There was little to no outrage when this info was revealed.  Discrimination, firing LGBT employees for their lifestyle, denying service to black ppl just fit the vibe of the place. It felt like THAT Americana. But there is an outrage of CB turning its brand into the bland, block-like structure that Chipotle and many other restaurants are running toward. CB is just doing what every other unimaginative chain restaurant is doing: turning toward joyless minimalism and cube-like conformity. 

A decade ago, I was on the road in Tennessee after a long day of driving a U-Haul truck through a blizzard with David. We were starving and searching for dinner. David looked online and said, "There's a Cracker Barrel at the top of this mountain. I've never been." I grimaced. Are there any other places to eat? Nope, just Cracker Barrel. To David, a lifelong New Yorker, eating at a joint called Cracker Barrel seemed appropriate to the heartlands, like learning how to shoot clay pigeons or denying women their bodily autonomy. Not wanting to 'yuck' someone else's 'Americana kitsch yum,' I went along with him. Btw, David had a huge, curly Jewfro and dark-rimmed socialist glasses. 

So we walked into this rural Tennessee Cracker Barrel, looking like Al Sharpton and Woodie Allen got lost on the way to a pansexual, flag-burning, Upper West Side fundraiser for a chain of drive-thru abortion clinics.  In other words, peak Canadians!! Uber-Canadians!! And to us they looked like... everyday folks. A few were a bit ornery and shocked to see us appearing in their Barrel of Crackers on a late, snowy night. If this were a saloon in an old Western movie, the piano player might have stopped playing for a moment as the locals looked at us...and then the music would have started again. Otherwise, things were cool.

David looked at the menu in southern fried awe and wonder. "What's chicken-fried steak?" I mumbled, "It's a thing....you should try it," which became my answer for any food question he had. "Try it...it'll be an experience." A swishing male waiter came up to us and, in a THEE highest-pitched girlish voice, asked if we wanted any sweet tea, and he might have used the word 'hon' in the sentence. I declined but encouraged David to wreck his blood sugar level...for the experience. When the waiter left, David asked me 'What's wrong?' Hmmm...Cracker Barrel has changed. That guy would not have been hired years ago. Maybe it's progress. The waiter floated around like a butterfly, tending to tight-lipped hubbies and their wives who were enchanted by the waiter, aka their new gay best friend. I've written about this before, but it was a whole experience. I enjoyed watching this dynamic play out. 

When he wasn't serving or 'serving,' the waiter would sit at a wooden table and snap peas with a few of the other chatty teenage girls. Yes, they were literally gossiping and snapping peas in the dining area, which felt so comforting. It reminded me of snapping peas with family members at the dining room table. It reminded me of being in Cleveland, Ohio, and finding one of the best Korean restaurants EVER...and seeing the immigrant family chopping veggies at the table next to us as we ate rice cakes. Warm, fuzzy feelings of family. The Cracker Barrel servers talked about the parties they were going to attend, so they were in high school. Their voices would drop down to a whisper when a name was mentioned...because maybe some patrons might figure out that their sons and daughters were the focus of the gossip. 

The silent discomfort of the men, who uniformly refused to look their waiter in the eye, intrigued me. It was the exact opposite of their jovial wives, who felt like 'finally a man is serving me!! And my husband is quiet. Good!" 

The scene crackled with subtext and undertones. That Cracker Barrel experience was worth as much as all of the other ones. I wonder what those people at that Tennessee Cracker Barrel are doing today.

Tuesday, August 19, 2025

AI Film Festival

 Misha invited me to Runway's 3rd Annual AI Film Festival at the 34th St. AMC. A lot of interesting work, but something felt off. There was a lack of aesthetic texture and tension in the short films. And yes, I know an AI film festival is mainly to show off the new technology, not to advance narrative filmmaking. But even in its simple form, it felt like I was watching souped-up video games. I couldn't even muster the bare minimum of emotional investment. Maybe it's magical thinking on my part, but when you can press a button and do EVERYTHING, then the question is... why do I care? If there are no obstacles, there is nothing to overcome aesthetically. And if there is nothing to overcome, then there are no stakes for me to watch CGI battling AI via button pushing. You can do anything with this, but can anything of quality be produced with infinite freedom for infinite time for infinite ppl?

Misha said that sounded elitist. Probably, but art is usually built around restrictions, constraints, friction vs. fusion. If there is no friction and the frame is 100% flexible, then everything is mediocre and smooth. Great movies have subtext not only in dialogue but in visuals, casting, and directing. It is a surface/underground tension that makes a scene pop, that makes "The Godfather" shimmer in an unusual way in so many different areas that it becomes a classic. I said all this technology means we'll never have another classic movie like that. Misha pushed back and told With AI, you could produce 'Godfather' every year. I groaned.
Technically, yes, you could set everything to the perfect parameters to make "Citizen Kane" in your basement. But just because a tool can do everything doesn't mean the human can use it effectively. On the contrary, the more infinite capacity a tool has, the more it flattens out the creativity of the artist and craftsman. These are all dynamic concepts which give art 'texture', the all-encompassing word for the vibe, tension, the thing bubbling underneath that makes things come alive.
If maximum capacity and maximum flexibility were the keys to the best tools, then we would be building skyscrapers with Swiss Army knives. But we know that the Swiss Army Knife has an acceptable, compact ability to accomplish a lot of tasks at a mediocre level. We carry it around in case we're in an emergency, but no one wants to use it to cut their steak or open a bottle of wine. If an artisan starts off on a Swiss Army knife of AI and never moves beyond that, then, yes, the multifaceted mediocrity of the tool subtly drags the artist's craft down to its level.
I remember at a certain point in my childhood when there was this switch to serving frozen concentrated orange juice at many cafeterias and restaurants. Rejoice, peasants!! You get the same OJ flavor, perfectly calibrated all the time. And you can store it for years. The frozen concentrate boom lasted a few years before there was a backlash. A lot of ppl didn't want perfectly calibrated OJ that tasted the same all the time. They wanted pulp, watery parts, and different acidity. They wanted the peaks and valleys of their taste palette back. Then ppl were advertising 'real OJ...not from concentrate." Frozen concentrate became synonymous with trash. Will AI be able to provide those peaks and valleys that make art exciting, or will everything be smoothed out into a slick and shimmering paste of calibrated consistency?
Yes, the technology is getting better in incredible leaps. If it cuts costs, we can make more art. And some ppl will be able to make mass media art who were previously shut out due to financing and logistics. But art needs specificity plus universality to give it texture. Specificity usually comes from the artist's background, and then they somehow link that to something universal. But who can think about the specificity of time/space when we can (and do) check out of our family dinner to be everywhere at the push of a button or a swipe? When we can zone out into the infinity of AI and the internet, are we robbing ourselves of being in the finite here and now, which are the essential building blocks of creativity?
We went back and forth like this at the Tik Toc Diner across the street until settling on the topic of quantum entanglement. Mutually.

Friday, August 15, 2025

The Sure Bet of Discernment

 There are no sure things, so you might as well do what you like.

When I graduated from Northwestern, family members pleaded with me to apply my skills for a reporter opening at the Sun Sentinel. The opportunity was dangled in front of me as a good, solid, respectable way to be a writer. Healthcare and a decent career. I continued writing plays. That Sentinel job no longer exists, and the paper is a shell of its former self.
When I graduated from New School, I listened to my friend's advice and applied to a few NY reporter/editor positions so I would have healthcare and a stable job. I actually got 2 offers: one was to be the editor of a tech magazine, with a salary of 75-80k. The other was a financial reporter at the Financial News in Midtown. Financial News editors were very nice Brits and we laughed a lot in the interview. They point-blank said 'the job is your's.' I asked 'can I get back to you?' I went home to visit my dad over the holidays and his health was declining. Something felt off...like I was going to take a full-time job right when something was about to happen. After delaying for a month, I called up Fin News and said I couldn't see myself at the job. A week later, my dad had his first stroke. I went home to caretake and started studying Buddhism, which changed my life. Oh, and that Fin New job no longer exists.
In the last few months at Juilliard, the thing to do was to get a stable job as a TV writer, so I interviewed for a prestigious cable show. My agent told me to lie about my availability (technically I was still at school) so I could get the job. Studying Buddhism I knew that a lie could not produce a good result. Any good 'seeming' to come from a lie is actually from a previous good seed planted. But a lie told in the moment to get something would 100% plant a bad seed that would ripen later. As the interview wrapped up, we were all vibing with each other and cracking jokes, so they moved to the 'what's your availability' question. Something inside me got brutally honest. I not only told them I was still at Juilliard, but I also said I planned to go to a Royal Court fellowship in the summer, and then the Kennedy Center college festival in DC. Their smiles faded. I did not get the job. My annoyed agent stopped answering my calls, everyone ghosted me, and so I went to Royal Court in London, and DC for the Kennedy Center thing, and wrote happily all summer. And then got hired on BrainDead as a TV staff writer, my dream job of combining satire with politics and predicting the election of Trump. No compromise or lying needed. I had a complete summer and ended up in my dream situation.
After my second TV job, I was told to stay in LA and stop writing plays. My TV career was set, and there would be more opportunities in LA than in NYC. A major agency laid out a platter of offers with one caveat: stay in LA and no theatre agent would be provided. That part of my life was done. I had made it, and I could drop the charade of being a playwright. So I thought about it...and I moved back to NYC and continued writing plays. As a result, I ended up getting hired on 2 TV shows in NYC (The Good Fight and Evil) that spoke to my political and spiritual passions. While this was happening, I wrote "Mitchelville" for Lean Ensemble that allowed me to explore my Gullah Geechie heritage, "Confessions of a Cocaine Cowboy" (co-written with Billy Corben) about the history of Miami and cocaine. I started the Dramatists Guild Writers' Group for other playwrights entering the TV industry and helped get young writers on TV shows, and it's been running for the past 8 years.
-When WGA members fired our agents, I was in South Carolina happily working on "Mitchelville." When the WGA strike happened, I had money flowing in from the theatre for the rest of that year. While LA writers were/are struggling, theatre became my biggest artistic and financial source with multiple commissions, including "A Wonderful World" which opened in Miami, went on the road, and then opened on Broadway, and got JMI a Tony nom for best actor.
All the advice I received was sensible and given with true care. Agents, family, and friends were trying to guide me, according to the good opinion of a lot of smart ppl. But it has to make sense to the 'me inside.' It has to make sense to my internal discernment, b/c my intuition acts with a lot more intelligence than my left brain. My left-brain is the nice logical friend who will only look at the information on the surface that exists in that present space and time. So yes, all of the advice made sense...in the moment. But my discernment is what causes me put the brakes on something that is logical but not passionately felt. You could say the 'right brain' is the dream mind and operates on a much deeper level beyond the current time and space. It can see around corners, peer into the future and past at the same time, process it all together and give you that 'ehhh...maybe not' feeling when someone is presenting you with a good idea.
So many talented friends gave up their passions after Northwestern to accept jobs at Arthur Andersen Consulting. Good money and forget about your joy and your major. As a NU student, I got a call from Arthur Andersen recruiter b/c our university was their biggest talent pool. A recruiter saw that I was on the Dean's list and wanted to grant me an interview...could be earning 100k in a year or so. I answered "why would I interview with Arthur Andersen? That's not my field or interests." The recruiter sputtered...'why? B/c we're Arthur Andersen," he said with this immense sense of pride. It was a Twilight Zone moment when time stopped...b/c what the recruiter was saying made sense and yet my intuition was SCREAMING 'no, no hell no...don't you dare do it. Don't even think about it!' So I politely declined and the recruiter got snippy with me, saying I was blowing it and I would be forever removed from the call list. I nodded along like 'yeah that sounds good to me.' Long story short, Arthur Andersen went belly up.
Many friends switched from the arts to computer programming b/c it was the future. "If you learn to code you'll always have a job." This was the mantra for the last 30 years. Thousands of computer programmers are being laid off by AI. Now if computer coding IS your true passion or working for a consulting firm speaks to your heart, then you should do it. But if someone was an amazing artist and they stopped doing their passion to learn to code, then sacrificed their true love for nothing tangible. It's even worse if they miserably went to their job for 10 yrs and are now both unemployed and disconnected from their heart.

You can fail following your passion as an artist, or taking a job at Arthur Andersen or learning how to computer program. You can succeed just as well following your passion as you could at a backup job. The choice on the table is not REALLY what determines success or failure. So why not think about doing what you want first, and then the 'larger, deeper' thing, which is what determines success regardless of the field...mental seeds planted in past actions.

If you do get sensible advice AND it resonates with you on deeper levels, then do it! There's nothing wrong with the sane and safe choice if it makes you happy in a significant way. Some artists are happier with healthcare and stability than living with unpredictability. I'm only talking about incidents where the surface-level logic is conflicting with something underneath and causing distress and dis-ease.
A material-first view of the world breeds disease and depression. Capitalism tells you to ignore your intuition. Trust the money on top of the table. Don't look around. Spirituality and art tell you to trust your discernment. There is no table, there is no money. Those are illusions. Dance with the illusion, move with your own truth, and transform the entire world.

Friday, August 1, 2025

Get What You Want: August 2025

 1. Yaddo Artist Residency

Deadline: August 1, 2025
Website: https://yaddo.slideroom.com
A prestigious artist residency in Saratoga Springs, NY offering room, board, and a private studio for uninterrupted creative work. Residencies last two weeks to two months and are open to playwrights and other artists. Access grants available for travel assistance.


2. Richard P. Stahl Festival of New American Theatre
Deadline: August 1, 2025
Website: https://phoenixtheatre.com/engage-learn/the-festival-of-new-american-theatre
Hosted by The Phoenix Theatre Company, this festival offers developmental workshops and staged readings for new full-length plays and musicals. Arizona artists are prioritized. Submission cap: 300 scripts.


3. Aurora Players Script Submissions
Deadline: August 1, 2025
Website: https://auroraplayers.org/opportunities/scripts
Directors may submit plays or musicals they wish to stage during the 2026–2027 season. Best suited for playwrights in collaboration with prospective directors. Volunteer-run, relationship-driven programming.


4. Granum Foundation Prizes
Deadline: August 1, 2025
Website: https://www.granumfoundation.org/granum-prize
A grant of $5,000 awarded to writers working on a literary project at a critical moment of development. Open to multiple genres, including dramatic writing.


5. I Came, I Saw, I Laughed Playwriting Competition
Deadline: August 1, 2025
Website: https://icameisawilaughed.com/playwright-competition
Comedic plays under 30 minutes are eligible. Offers professional productions and mentorship. Two categories: open and collegiate. Submissions may close early due to volume.


6. New Dramatists 7-Year Residency
Deadline: August 4, 2025
Website: https://www.newdramatists.org
One of the most prestigious U.S. residencies for playwrights. Includes workspace, readings, and a vibrant artistic community in NYC over a seven-year period. Requires two full-length blind submissions.


7. IAMA Emerging Playwrights Lab
Deadline: August 5, 2025
Website: https://iamatheatre.com/new-play-development/emerging-playwrights-lab
A yearlong lab in Los Angeles for emerging playwrights to develop a full-length play within a peer-supported structure. Culminates in a public reading.


8. 46 Minutes Collective Writer’s Group
Deadline: August 6, 2025
Website: https://www.46mincollective.com/
Weekly, in-person Brooklyn-based cohort for playwrights seeking accountability and collaborative development. The fall session emphasizes peer feedback and regular writing practice.


9. Yale Drama Series Prize
Deadline: August 15, 2025
Website: https://yalepress.yale.edu/yale-drama-series
An international competition for emerging playwrights. The winning play receives $10,000, publication by Yale University Press, and a staged reading at Yale. No entry fee.


10. Wildfire National Playwriting Competition
Deadline: August 15, 2025
Website: https://mmmtheatrecollective.com/wildfirecomp
Open to Canadian playwrights 30 or younger. Awards include cash prizes, development workshops, and a public reading. Seeks bold, edgy new voices.


11. Echo Theater Company New Play Competition
Deadline: August 31, 2025
Website: https://echotheatercompany.com
Unproduced, original plays (60–150 pages) eligible. Top prize: $1,000 and a trip to Los Angeles for a staged reading. Submission fee: $40.


12. Willapa Bay AiR Residency

Deadline: August 31, 2025

Website: https://willapabayair.org/apply


Willapa Bay AiR, situated on 20 acres in coastal southwest Washington state, launched its residency program in March 2014. The Residency has been specifically designed, from the site selection to the architecturally specific building concepts, layouts, and materials, to combine the opportunity for solitude with the opportunity for daily community that fosters creative endeavor.


We offer month-long, self-directed residencies to emerging and established artists, filmmakers, writers, playwrights, scholars, singer/songwriters, and musical composers. The Residency provides lodging, meals, and work space, at no cost, to six residents each month from April 1 through October 28 of the year. Applications are evaluated by selection committees comprised of working artists and professionals in the applicants' respective fields of discipline.


13. Blue Ink Playwriting Award (American Blues Theater)
Deadline: August 31, 2025
Website: https://americanbluestheater.com
Winner receives $3,000 and possible production. Open to full-length plays worldwide. Finalists and semi-finalists also recognized.


14. Theatre Three One-Act Festival
Deadline: September 1, 2025
Website: https://theatrethree.com/one-act-play-submissions/
Submit one-act plays (up to 30 minutes). Selected works receive full productions on Long Island and $150 royalty. No fee to submit.


15. Radcliffe Institute Fellowship (Harvard University)
Deadline: September 11, 2025
Website: https://radcliffe.harvard.edu
Highly competitive nine-month residency in Cambridge, MA offering a $78,000 stipend, project support, and office space for major literary or dramatic projects.


16. Sundog Theatre – “Scenes from the Staten Island Ferry”
Deadline: September 15, 2025 (postmark)
Website: https://sundogtheatre.org
10–25 minute plays set on the Staten Island Ferry. Winning plays receive $200 and are staged in NYC. Mail-in submissions only; no fee.


17. Cullman Center Fellowship (New York Public Library)
Deadline: September 26, 2025
Website: https://www.nypl.org/about/fellowships-institutes/cullman-center-scholars-writers

Nine-month NYC residency at the NYPL offering $90,000 to writers using its research collections. Ideal for playwrights developing historical or archival-based works.


18. Snowdance® 10-Minute Comedy Festival
Deadline: October 10, 2025
Website: https://overourheadplayers.org
Submit a 10-minute comedy for a chance to win $300 (Best in Show) and full production in Wisconsin. No submission fee. Finalists receive $50.


Cracker Barrel Controversy

 I've eaten at Cracker Barrel several times, usually b/c it's someone else's idea. My dad and grandma LOVED going there, so I wo...