Marvel’s The Defenders

Heavy spoilers y’all.

The Defenders miniseries premiered on the 18th, just two days ago, and already a lot of fans have strong opinions and questions about the future of the Marvel Netflix universe. It picks up directly from where we left each respective Defender; Danny Rand is hunting down members of The Hand with Colleen Wing, Luke Cage is just finishing his time in prison, Jessica Jones is still dealing with the aftermath of her victory against Kilgrave and Matt Murdock continues to lead his ordinary life as a pro-bono lawyer having retired his days as The Devil of Hell’s Kitchen. The cinematography alone deserves an award – with its experimental camera angles and continuous exploration of colours relating to each hero intermingling in the credits as they learn and grow from each other. Daredevil’s red silhouette stands beside Jessica’s bold blue – previously briefly flashing Kilgrave purple before snapping back. Danny’s green outline stands in Luke’s larger gold tones dissolving as more crosses are made between them and ending with their four profiles blazing before the title. There’s a slow but satisfying build to the eight-episode arc, pulling in characters organically and playing off the chemistry of the actors more so than the plot – which has been heavily criticised – so I’d like to discuss the interactions between certain paired characters.

Daredevil & Jessica Jones

Matt and Jessica have been described as having a cat and mouse dynamic. In true Jessica fashion, she calls him an asshole when he wraps her scarf around his face to protect his identity and rolls her eyes when he shows up in full Daredevil costume. They develop somewhat of an amicable (as amicable as Jessica can be anyway) camaraderie. Matt starts off the alliance with the others keeping most of what he knows to himself, much to the annoyance of Stick, but unfurls more and more of his trust to the others as the situation escalates in danger. She chastises him for keeping so much from them and gets defensive over her past but Jessica’s actually the one who tells him she thinks they’d work better together if they trusted each other, which is especially difficult for her to open up to three strangers after living for so long with such a closed off persona. As eager as she is to finish their mission and get back to her life, she’s burdened perhaps the heaviest by Matt’s supposed death. Their relationship is one of the strongest to seep through the series, but Jessica and Luke’s withstanding familiarity also makes for some very tender scenes and reinforces the true nature of each character – Jessica as a tormented P.I. initially looking for answers for her client and Luke as a symbol of power and protection to the people of Harlem. Matt’s relationship with Elektra drives him in this fight and is ultimately his goal in their mission against The Hand, closing the book on their tumultuous love story (or maybe not…?) as they embrace while the rubble of the blown up building encases them. We see how Matt feels dissatisfied not being Daredevil and watching Karen and Foggy quarrel over him returning to being a vigilante is so frustrating – even after Matt’s told Karen that the mask is a part of his life and not something he wants or even can give up. Even so, when they’re clutching each other waiting for him to walk through the door after the other three Defenders return to their loved ones, only to realise he’s not coming, was truly heartbreaking – making the end scene of the whole series not only dull and predictable but unnecessarily drawn out. We knew he wasn’t really going to be dead, the question was how was Matt Murdock going to survive – was he going to use the same substance that brought Elektra back, was he going to just become solely The Devil of Hell’s Kitchen and let Matt die in the building? Naw, he’s saved by nuns. The woman at his bedside calls for Maggie, the name of his mother, but it just makes me question whether the death really needed to be so extravagantly set-up for a whole new kind of twist for season three of Daredevil. If they had brought him back they needed a bigger punch to land the blow, the iconography of Daredevil bandaged in the nunnery wasn’t enough to land the series even for the most devout of fans who picked up the famous Daredevil imagery and the name of his mother. It was just too underwhelming to surprise, excite or even move viewers.

Power Man & Iron Fist

This duo was the most peculiar to watch. Luke’s wise beyond his years, he’s soulful and experienced and Danny’s almost the complete opposite. The show plays on Danny’s petulance and what annoyed me about him in Iron Fist, I looked at through much more rose-tinted glasses in The Defenders. Perhaps due to the characters around him all being that much more wise and ruthless not shying away from calling him a, as Stick puts it, “thunderous dumbass”. The show embraces Danny as a man trapped in a perpetual state of boyhood unaware of his privilege, his tone, his inability to read a room. Luke – as well as the other characters – put him in his place. Danny being the Immortal Iron Fist makes Jessica scoff, Luke do a double-take and the realism in their reactions ground the group and stitch them together from a senseless fan service band of heroes to an extremely differentiated but established set of characters. The budding friendship between Luke and Danny is off-kilter, almost buddy cop-esque, but it’s missing something that’s hard to place. The showrunner said that there are so many characters and such little time of course not everyone was going to interact or have any screen time together, which divided the Defenders into two main pairings and while this one has more potential the Jessica and Matt pair came across as the more fulfilled one. I can’t see Danny and Luke being Heroes For Hire just yet, they’d need more time to flourish together but the scenes that really spark with that primetime flair are already there: Luke telling Danny about his white privilege, Danny being oblivious to Luke not wanting to hear about how he plunged his fist into the dragon’s molten heart, they’re just not fully realized yet. I would like to see more interactions with Matt and Danny and have them explore Jessica and Luke further but with Danny donning the tracksuit and overlooking the city as Matt asked him to gives me hope. It also allows for more crossovers to happen in the future of all four respective series’, Danny’s storyline is essentially finished. In his second season he’ll need a whole new purpose while Luke’s was just further cemented as Hogarth stretches her legal prowess to protect him from being put away again leaving him clear to continue to defend Harlem.

Colleen Wing & Misty Knight

Despite the many recurring side characters, Colleen and Misty probably have the largest and most interesting roles. Claire, of course, is also an integral part of the story as the lynchpin to all four heroes but while her storyline is stale and tethered solely to her relationship with Luke (barring one conversation with Colleen about Claire being a hero in her own right) Colleen and Misty blossom on their own. Colleen is overshadowed by the superpowered Defenders and struggles to prove that she can more than take care of herself, facing off against her resurrected ex-teacher Bakuto in the final fight. Meanwhile, Misty remains in a rock and a hard place with her law enforcement job and knowing that breaking the law may be the only way to stop The Hand winding up with a cut-off arm at the end. The two have some scene-stealer worthy moments together, and I can’t help but feel giddy about all the Daughters of the Dragon talk there’s been – especially with how Misty’s injury landed her in one of Danny’s state of the art hospitals. She’s also joined Iron Fist’s second season, which is a pretty good indication that the writers will bring her closer to Colleen and introduce her bionic arm only furthering the exciting and fruitful Marvel Netflix future.

The Black Sky & Alexandra

Elektra is one of my favourite characters and she is brought back on-screen by the substance The Hand uses to ward off death and becomes the infamous Black Sky. Yet, with so much talk about her importance and power, it’s never really explained what the Black Sky is and her powers are never even fully defined. A young boy in Daredevil’s second season was also shown to be a Black Sky but, yet again, all we learned before Stick killed him was that Black Skys are rare and powerful and The Hand seems to worship them. Although there are no comic book counterparts, there are similarities between the Black Sky and the Beast which is a demon The Hand worships in the comics and it teaches them about resurrection. As excited for Elektra’s resurrection story as I was, it needed clarity that I, as a viewer, definitely didn’t receive.

Alexandra, one of the fingers of The Hand and the current reigning leader, uses the last of the substance to bring Elektra back. Since she does not remember anything, Alexandra only trains her until she’s the weapon they need. Their relationship has undertones of a mother-daughter kinship. Alexandra continuously calls her “my child” and defends her necessity to the other fingers of The Hand but once she starts noticing inklings of Elektra’s old personality she threatens her. Sigourney Weaver tries to portray more than just the cliche ice cold villain with interspersed reminiscent scenes of her old world passions – the old records she listens to, the ancient meals she has prepared for her, the regal golden and silver wardrobe she owns – but it mostly reads as a set-up for the shock horror moment of her sudden death at the hands of her psuedo-daughter fully regaining consciousness. Not to say I expected her to stab Alexandra and chop her head off, but I can’t help but feel if that wasn’t planned Alexandra would have had a larger presence to her. Perhaps the subtleties of her character were lost on me but I didn’t necessarily see the praise for how “intriguing” or “compelling” she was. To me, Alexandra was just another suit-clad vague business baddie with a penchant for old timey things and a chilly exterior. If she hadn’t been portrayed by Sigourney Weaver, would she have received the same applause?

Once Elektra takes control of The Hand her motives become cloudy. Her killing of Stick, and then of Alexandra, have been explained by the showrunners as her rejection of her parental figures and owning herself instead of allowing her masters to tell her who she is. When she does that, she’s free of the literal and metaphorical bonds they had over her but her character then becomes questionable as The Villain Because She’s A Villain trope takes over, similar to how Colleen is a Strong Independent Woman because she’s a Strong Independent Woman. There’s no real build or crescendo leading up to it and while it’s a great plot twist, it’s just a tad confusing why she’d want to go from sleeping wistfully in Matt’s bed remembering sweet memories with him to wanting to kill him at the bottom of a hole under Midland Circle. Even after, what Elektra says to Danny about being free doesn’t really match with what she’d doing. If she wants to be free why is she still fighting the fight Alexandra wanted her to? Why isn’t she on a plane to Paris with Matt knocked out in the seat beside her? That would have read much more Elektra to me than staying to open the door with Iron Fist, waiting to be crushed by the collapsing building.

Regardless of the flaws of her intentions as a villain, I’d love to see her return or even helm her own show. If The Punisher, a brooding tortured grisly straight white man, got to take a stab at a solo series why not Elektra? We’ve seen The Punisher’s story time and time again – man has family, family dies, man seeks revenge – and it seems like a wasted opportunity to let Elektra, such a multifaceted character with years of complicated comic book history to boot, rot at the bottom of Midland Circle. And I’d like to see more Elodie Yung. She can act circles around Jennifer Gardner as Elektra.

That’s my two cents.

A second part of The Defenders hasn’t been confirmed yet but The Punisher is set to be released soon with Daredevil’s third season, Jessica Jones’, Luke Cage’s and Iron Fist’s season respective seasons all coming sometime in 2018.

Interview With Shane Kuhn, Author of the John Lago Thriller Series

The Intern’s Handbook, AKA Kill Your Boss, was published in 2014. A sequel titled Hostile Takeover, AKA Shoot The Messenger, came out a year later. The series is known for its extraordinarily darkly comedic and cinematic tone so I decided to reach out to the hilarious and extremely intelligent Shane Kuhn, the author of the series, and talk a little bit about John Lago, his prior work in the industry and the movie adaptation of his books.

Why don’t we start with you telling us a little bit about yourself?

SK: I live in Colorado with my small, nuclear family. In addition to being a novelist, I am also the Chief Creative Officer of a corporate events and video production company in the Bay Area. I like Tacos, ’71 Cabernet, and my favorite color is Magenta. Kidding. I stole that line from a famous 80’s comedy movie. If you can name the movie, you win a prize. Outside of work, I am heavily into music. I sing in 2 local bands. One is an original funk/soul band and the other is a U2 Tribute band. I am also a surfer, a skier, and a cyclist.

So you’re a writer, director and producer but the John Lago series was your first debut novel. What were you doing before then?

SK: Before I wrote The Intern’s Handbook, I was a very unhappy, occasional screenwriter. I went to film school at AFI in ’92 and spent many years pounding the pavement trying to sell scripts and direct movies. I directed 2 awful films and decided to focus on writing. I was working with a partner and, although we’re friends, it wasn’t a very productive partnership. We sold a couple of pitches and wrote some straight to video sequels, but never really broke into features or TV properly. Within that time, I sort of gave up on it and moved to Colorado so I could have a real life outside of La La Land. I was sick of the entertainment biz, so I decided to write a novel. It’s not my first. I wrote a novel when I was in film school and plan to try to publish that deeply whacked piece of work sometime in the future. I started out way back in middle school and high school, writing short stories and poetry. So, novel writing wasn’t new to me. I pitched Intern’s to a lit     agent that my movie agent introduced me to and she loved it. I wrote it over a summer and sold it in the fall. It just came naturally and that’s when I realized books are really my thing.

John Lago is a very distinguishable character in a genre of archetypal action leads. Where did the inspiration for his story come from?

SK: I am a huge fan of action comedies and I love love love anti-heroes. Additionally, I have always been obsessed with assassins and some of my favorite books and movies are about assassins – The Professional, The Day of the Jackal, La Femme  Nikita, Grosse Pointe  Blank,  and the list goes on. For years, I wanted to do an assassin story – script or book – but the genre felt done to death (ha ha) with little or no room for originality. Then the 2008 financial crisis came along and it occurred to many of us that the biggest criminals in the world are corporate executives. A mobster might extort protection money from you, but a CEO will empty your pension fund and sail off to Grand Cayman with a hundred-million-dollar severance check. At that time, I was trying to develop a TV show around the real “organized crime” of corporate America. Of course, when I got into it, I approached it with my tongue firmly in my cheek, and I started to think of all the nefarious characters to draw. Interns immediately came to mind because they are automatically funny. Just say the word “intern” and you will laugh, even if it’s a little bit. I was thinking they could   be the minions in my crime world,  but then I did what I love to do when I’m concepting and I flipped that notion  upside  down. What if they were actually the powerful ones? I asked myself. And that question immediately reminded me of my desire to write an original assassin character. It was perfect! Interns are invisible. The perfect cover. From that, our friend John Lago was born.

His tumultuous relationship with Alice is akin to Mr. and Mrs. Smith or Deadpool and Vanessa on the silver screen. Sony Pictures have bought the rights to your books so who do you hope to see play John and his former FBI wife Alice?

SK: Man, that is a very difficult one to answer. There are so many amazing actors out there that would crush both of these roles and I am just about the worst casting director EVER. But, just for shits and giggles, let’s throw out a few names. In the John Lago category, it would be cool to see one of these guys: Michael B. Jordan, Miles Teller, Nicholas Hoult, or Charlie Hunman. In the Alice category, maybe: Emma Stone, Saoirse Ronan, Blake Lively, Chloe Moretz, or Nathalie Emmanuel. I’ve seen the work of all of these people and admire their chops. I also think they can pull off the attitude and swagger. Are there others out there who would also do an amazing job? Of course! But these are people that stick out in my mind.

Can you tell us anything else about the film? What kind of involvement did you have in the production?

SK: Almost none. When I had two offers on the table for the book rights, there was one wherein I would be involved as the writer and one wherein I would have no involvement beyond being an executive producer. I took the second because, at the time, I had just signed a two book deal with Simon & Schuster – for Hostile Takeover and The Asset. I did not want anything to get in the way of me either delaying their release or delivering the best books I could write. So, in my mind, I took the more disciplined, book-friendly approach because I am fully committed to having a long career as an author first.

Is there a third John Lago book on the way or are you moving on to different projects? I saw that you released a different book called The Asset last year, are you hoping to continue that story?

SK: Currently, I am working on a 4th book with another publisher and it’s very exciting. Top secret, of course. It’s a science fiction thriller so John Lago will not rise again just yet. But trust me, he will rise again. I have ideas for many subsequent books in the series and I will find a way to ensure that John lives forever.

How do you find writing a book differs from screenwriting?

SK: Book writing is like going to an orgy. Screenwriting is like sex with yourself. When I write a novel, the world is massive, the characters vivid, and there are almost no constraints. Screenwriting is constrained and technical. It’s very difficult to add deep layers to that kind of work. Movies are a directors’ medium, full stop. TV is different. Writers can live and breathe in that world, but not movies. You have a finite amount of time/pages and a very unforgiving story structure. Not to mention the fact that you might sell the damn thing only to have it sit on a shelf FOREVER. To me, screenwriting is like failing to follow Willy Wonka’s Chocolate Factory rules. It’s tempting, but a total waste of your golden ticket.

Do you have any advice or titbits for people aspiring to break into the industry as writers or producers?

SK: If you’re talking about the movie industry, my advice is to try to work in Television. There are too many good shows to even count. The stories are cutting edge and the producers and distributors are willing to take huge risks with the material. It’s like a creative free for all! I would avoid movies unless you want to be a director. And I would avoid being a director unless you can make independent films. This is advice for people who want to be creative. If you just want to make money, maybe be an agent!

Thrillers seem to be your genre of choice. What is it about them that makes you so keen on writing them or are you expanding out and delving into different genres in your upcoming projects?

SK: That’s a name that publishers gave my work to make it fit into a marketing box. I never thought Intern’s was a “thriller.” I would call it an “action-comedy” but that’s more a movie term. The way I see it, I want to write “literary entertainment.” When you see my name on a book, you will think to yourself, “self, I am going to the beach this weekend and want to lose myself (you) in a fun, occasionally funny, always exciting, often sexy, book. I want to be the guy you want to curl up with in front of the fire. Please please please call me your guilty pleasure!! As I said, I’m delving into Science Fiction, one of my favorite genres of all time and I have a few new concepts I want to explore that might fall into the “Crime” and “Humor” buckets. I also have a memoir I am going to write on my experiences with grief. Both of my sisters and my father died when I was younger, so I want to explore grief from an artist’s perspective, sort of like C.S. Lewis did with his book “A Grief Observed.”

There’s a very clear-cut lack of representation in the media. John’s a straight white dude and while Alice is definitely not just his love interest she is a secondary character. What are your thoughts on diversity as someone who’s been in the industry for almost two decades?

SK: I think television is diving into diversity head first. Studio movies are running from it. Some indies are embracing it. It’s hard to say with books, mainly because it’s difficult to really be aware of what is out there. But for my taste, I want to see more of it. At one point, Michael B. Jordan was attached to play John Lago. They asked me if I minded. I said, “I love that idea!” To me, nothing about John makes him being white a requirement. And when it comes to strong female characters, they are my favorite to write. I feel like the canvas with women is so much wider and full of possibility. Finally, that book I mentioned that I wrote in film school has an androgynous assassin character and I never reveal that character’s gender. Being creative means looking for the most interesting characters with the greatest number of interesting characteristics and greatest depth. Does that necessarily mean you must choose a specific race, gender, ethnicity, sexual orientation, or any other defining trait? Absolutely not. But by default you may find yourself exploring people who dazzle you with their complexity and the spectrum of diversity for them is infinite.

Fake News

Integrity is the moral standing stone of journalism. Without objectivity and validity behind the words of reporters, what are we? As the watchdogs of society, our job is clear: To convey information. When the truthfulness of that information is compromised we lose the trust of the public, the audience who depend on us, and we fail in using our entrusted power for accuracy and credibility.

The media can demonise. It can create folk devils. It’s happened before. Look at the Amanda Knox case. We can blow things out of proportion or we can help to sweep them under the rug. Sociological theories suggest 70% of crime goes unrecorded, for a multitude of reasons, and is known as ‘the dark figure’. If this is to be the case, in what society should we allow the people in whom we trust to give us the news, an already brief kaleidoscope of need-to-know societal events, to add falsehoods for personal or political gain?

A study showed 30% of fake news to be traced back to Facebook, which leads me onto one of the bigger questions that this phenomenon imposes: Is social media to blame? Contemporary society boasts knowledge at your fingertips, ready at the swipe, touch or click of a button, screen or device. With so many sources of potential news and data, how does one weed out the illegitimate from the legitimate? Don’t trust what you read online, everyone used to say, but that’s becoming less of a reality as the consumption of digitalised media becomes commonplace. Social media certainly makes it easier for fake news to spread, using moral panic, but fake news dates back to medieval times.

The blame game gives us a scapegoat, someone to point the finger toward and chastise. Sadly, this isn’t one of those instances that’s as black and white as you’re wrong and I’m right. If people didn’t have hidden agendas, fake news stories wouldn’t be the potent threat they are today. Journalists are people, with goals and desires that may contradict the ethics and theory of their work. The move away from print media has also added to the fact that it’s easier to put something out there in the big worldwide web. While all of these factors are not inherently bad, they also cannot be stopped as we continue to move in the direction of the digital.

Where does that leave us? Us; the journalists, the audiences, the victims of fraudulence. We each pose distinct differences that can mean the way I perceive something is not the way you perceive something. So what would telling everyone to decide by themselves what’s true or what’s not garner? Going back to the original question, if journalists don’t have objectivity and validity what does that make us? An ordinary civilian with a coin’s flip chance of figuring out the truth? To be honest, I don’t have an answer because I don’t have the whole truth. Neither do you. We each live with our fragments of truth.

Interview with Wade Briggs, Star of “Please Like Me” and “Still Star-Crossed”

I have never understood the reasoning behind one person’s private life being more important or ‘news worthy’ just because of their profession. I think society elevates actors to such delusional heights – that people lose perceptive on what it us we actually do. Get payed money to play dress up and put on funny voices. I think a lot of actors forget that too.

The third episode of “Still Star-Crossed” just premiered. It’s the tale that follows Fair Verona after Romeo and Juliet’s deaths, with Prince Escalus announcing Rosaline Capulet is to be betrothed to Benvolio Montague in hopes of ending their familial feud. Wade Briggs, who portrays Benvolio, talks about his most challenging role, playing Geoffrey on Josh Thomas’s “Please Like Me” and the difference between the American and Australian entertainment industries.

What was it like working with Josh Thomas and what was your favourite scene to shoot from “Please Like Me”? There were so many sex scenes!

WB: I had a really great time working with Josh. When we shot the first season – none of us really knew what it was going to be. There was a real sense of family and togetherness during that shoot… everyone just held hands and took a leap.

And Josh was obviously at the centre of it all. It was a lot of fun working with someone from a comedy background rather than an acting one- because there was so much more improvisation and looseness that there normally would be. Continuity wasn’t really a thing on that set. There was a lot of laughter during that shoot.

As for the sex scenes… I dare say Josh was probably more uncomfortable than I was! I think he felt bad that he cast a straight guy that had to kiss him a lot. We did have one very funny evening where we had to do a scene in a car – and Josh had to talk me through how to undo his belt while kissing him… not something I’d ever had to do before. Girls’ clothing is much easier to work with.

I think my favourite scene from Please Like Me would almost have to be the scene I shot with David Roberts, who plays Josh’ Dad, in Episode 3 of the first season. David was so hilarious and such a great presence on set – and I remember having such a good time playing that scene. It was very enjoyable getting to play such a sincere and earnest moment between the two of them – all the while sitting in a hot tub with bubbles splashing everywhere.

As a straight actor playing a gay character, what was your approach playing Geoffrey?

WB: To be honest – Geoffrey’s sexuality really wasn’t a major factor in the way I played him. What I mean – me being a straight man playing a gay one was the least of my concerns. I was more focused on developing a believable and detailed human being. The way I approached playing Geoffrey was to always lean on the thing most important to him – which was just ‘to be loved’. I always imagined him as a small puppy – always eager for attention and affection. That kind of dictated all of Geoffrey’s behaviour – I felt as if he was constantly craving a connection to Josh and those that surrounded him.

It was very helpful for me as an actor – not to be concerned with the fact that it was a man or woman I was playing opposite. Ultimately, being in love is the same regardless of sexuality or gender. That’s something a lot of people in this world fail to understand. I am very grateful for the experience of playing Geoffrey – it gave me an insight I wouldn’t otherwise have in my own personal life.

What were your thoughts on how the show ended?

WB: I think that the show ended well. It felt like it had come full circle. I think it would have become something very different if it had of continued… once (spoiler alert) the character of Mum had died – it changed so many things that it would have been hard to maintain a similar tone for much longer. I think it was the right decision.

I was so glad to be invited back for Season 4. I thought it was really important to show how far Geoffrey had come since Season 1 – and I was lucky that Josh and Todd (the producer) really embraced that.

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How has working with Shonda Rhimes been different from your previous experiences as an actor?

WB: I would say the most significant difference working for Shondaland/ABC in the states is that I felt much more valued there – compared to the Australian Industry. There is so little work in this country that a real sense of desperation exists from so many actors. We have to constantly fight to prove ourselves worthy of the work. It is very difficult to work consistently in Australia without some kind of profile.

What struck me about working for Shondaland/ABC was that they were able to cast me as a relatively unknown actor – and their belief in me was very powerful. The amount of support they provided made me feel invested in and valued as an artist. And it makes a difference to the work – when you feel like you have the weight of a team like that behind you. It does great things for your confidence. I think that a lot of actors in Australia rarely get to experience that feeling, so I am grateful to have had it myself.

A good friend of mine once described the difference between the Australia and American Industry like this:

If you use the metaphor of a table and chairs to describe the industry – then in Australia, there is only one table, and very few chairs. And to sit at the table, you need to be ‘important’ enough. Meaning your profile or popularity needs to be at a very high level. There is a feeling of elitism and exclusivity in this industry – at time it all feels a bit like a gentlemen’s club. It stops being about how good your work is, and becomes about ‘who you are’.

In the American Industry, there is also a table and chairs. But if you can’t get a seat at one table…then they will simply build another one. The opportunity is far greater to work. You don’t need to be ‘important’ to sit at the table – you just have to be good at what you do. There are an unlimited amount of tables and chairs. The industry has the resources to be able to invest in new actors and new work all the time.

Did you do any research into the character and the backstory of “Still Star-Crossed” before filming?

WB: I usually like to do a lot of research and preparation for the roles I play- and immerse myself in the character. It was a little harder to do with Still Star-Crossed, as it is a period piece – and so much of the world of the show has to be created on set. I was very familiar with Shakespeare’s Romeo & Juliet which helped – but aside from that, there wasn’t much I could do in my own time. Most of my preparation and development of the character happened in pre-production. I did a lot of sword fighting and stunt rehearsal – and that helped me find a physical vocabulary for Benvolio. Shooting the pilot was also a great kind of test for a lot of character work. I think most of us kind of found our characters through that first episode – once we were all working with one another, and in those costumes on location. The production of this show is such a huge part of it all.

I also spent a lot of time drinking wine… for… ah… research purposes 🙂

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What was the audition process like?

WB:  The audition process for Still Star-Crossed was relatively simple and I consider myself very lucky that it happened the way it did. I audition for the pilot in Australia, and did my recall via skype with the director Michael Offer. They then used this recall as my test as well. Usually you would have to fly to L.A. to test in front of the network, but because they cast this show internationally, they allowed each actor to test from their home country. This is a huge benefit – it certainly allowed me to focus purely on the work, and not get distracted by the stress of travelling or the nerves involved when testing in the room.

Tell us a little bit about the film you’re attached to, “Reaching Distance”.

WB: Reaching Distance is a psychological drama written and directed by David Fairhurst. I’ll just insert the synopsis here – because it articulates the film much more succinctly than I can.

“Logan, a cynic with a photographic memory, follow’s his sister’s killer onto a night-rider bus. As the line between past and present begins to blur on the journey, Logan uncovers he has a complex relationship with more than one passenger” 

So, I play Logan – and we’ve just wrapped filming. The shoot was 4 weeks in Sydney. One of the most interesting elements of the film is almost the whole story takes place on the bus. So we spent 3 weeks in one location – the bus – filming the majority of the piece. It was a great challenge to try and orchestrate my performance in only one environment. I think what it did do is concentrate and intensify my character’s emotions – and it forced me to be extremely clear in each and every moment. I hope it will make for compelling viewing. The film is visually ambitious and full of plot twists, and the director David had an extremely detailed vision which I think he achieved.

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When you’re not acting and when you’re not working out, what do you spend your time doing? Drawing?

WB: When I’m not working as an actor, I like to try and keep creating in different ways. I work for the Starlight Children’s Foundation when I can – as Captain Starlight. Basically my job is to help distract and entertain kids while they are in hospital – to try and help make their experience a little less overwhelming. I get to spend my days face painting and playing games and doing arts & crafts. I adore kids – I always have. I generally get along better with people under the age of 16. We have similar interests and attention spans.

Visual art is also big part of my life when I’m not working. In the last 12 months I have really concentrated on trying to develop my own aesthetic and build a body of work. I try and collaborate with other artists as often as possible – mostly through illustration. I play around with clay and wood sculpture at home too. I’m very lucky that I get the opportunity just to create art for the sake of it… it doesn’t have to mean anything or be a source of income. One of my favourite quotes is: “Sometimes it’s just good to do something for no reason at all”

That’s what art is to me. Just the joy of creation.

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Do you have any other exciting passion projects we can look forward to seeing?

WD: I have a few things I’m working on at the moment. I have written a series of children’s stories that I’m also illustrating, and I’m looking in to getting one or more of them published. They are kind of whimsical and a little twisted – I kind of describe them as ‘kid’s stories for sad adults’.

I’m also doing a series of woodcut sculptures – which is not something I’ve tried before… it will be an enjoyable process whatever the outcome.

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Do you have any plans to write or produce your own content anytime soon?

WB: I have always enjoyed writing… there is one short film script I have been working on for a long time that I’d love to make in the near future.  I developed the idea with my little sister many years ago, and have just recently had time to re-visit it and work through a few more drafts. I now just have to do all the boring things like talk to a producer and figure out how much money it’s going to cost me.

Other than that I have a solo piece for the theatre that, again, I have been developing for a few years. If it looks like I will be in Australia for a little while – I will aim to get this piece off the ground for the Melbourne Fringe Festival.

Is there a genre that you haven’t tackled yet that you hope to one day?

WB: I would love to do something in the world of psychological thriller or crime drama. I am an avid reader of crime fiction novels – so I’m drawn to material that’s confronting and that looks at the darker side of human behaviour. I would love to play a highly intelligent criminal or psychopath. The piece that I have written for the theatre is based on Charles Manson – a man I find fascinating. He constantly walks the tightrope between deranged psychopath and enlightened prophet. Any kind of character like that – I would love to play.

What role to date has been your most challenging and why?

WB:  I would say my most challenging role so far was in the theatre – it was a play I did in 2012 called ‘Blood Pressure’ written by Mark Rogers and directed by Sanja Simic.

The play was about two brothers – one whom had donated an organ to the other. It was set in a hotel room in real time over the course of 90 mins. The character I played was the organ recipient, and his body had started to reject the transplant. The play is all about mortality and brotherhood and the lengths that we go to for family. It is certainly the most emotionally rich and demanding role I’ve ever played.

Another reason the role was so challenging was that the character I played actually suffered from a disease that is in my family – polycystic kidneys. The playwright Mark based the play on his Father who suffered from the disease – as did my Father. My dad actually received a kidney from my mum two years ago. She was his live donor. I did the play before that happened – but even back then my Dad’s health was declining rapidly because of the disease. The role resonated with me very personally.

I also lost a lot of weight for the production – which was a great physical challenge. It was a great test to try and muster up the energy to perform the play every night – because physically I was so exhausted all the time. I’ve attached a picture from the production so you get some idea of what I looked like. Physical transformation is one of my favourite parts of the work – and something I take very seriously.

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Not many people know much about your personal life. Has that been a purposeful choice to keep that aspect of your life private and separate from your professional work life?

WB: Yes – that is a very conscious choice. I think there are some very unhealthy and damaging aspects of the entertainment industry – and the notion of celebrity is one of them. I have never understood the reasoning behind one person’s private life being more important or ‘news worthy’ just because of their profession. I think society elevates actors to such delusional heights – that people lose perceptive on what it us we actually do. Get payed money to play dress up and put on funny voices. I think a lot of actors forget that too.

I am of the opinion that my private life should remain just that – private. Sharing intimate details of my life doesn’t make me any better at my job. And I don’t consider popularity a necessary part of what I do. I would rather be respected as a performer than liked because I post pictures of my breakfast on Instagram.

 

Interview with Marc Jordan Cohen, Writer, Producer and Creator of “Daddy Issues”

My goal in writing this was to eliminate stereotypes of sexuality (race as well) and simply have people existing as who they are in the show.

The bio from the Instagram page of “Daddy Issues” reads: “It costs a lot to live in New York. Is it worth selling yourself? As Matt struggles to stay afloat, his best friends entice him to join their newest venture.” The wonderfully talented Marc Cohen shares where the premise for the show came from, how he hopes to tackle issues within the LGBTQ+ community and what you can expect from this tale of human relationships down below.

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Tell us a little bit about the show and how it came about.

MC: I graduated from the drama department at NYU Tisch last spring and was emotionally and physically drained. I have always wanted to create my own content because I love to write and was inspired to mould characters and situations born from my own life. “Daddy Issues” is about three friends, fresh out of college (shocking coincidence!) beginning an amateur escort business. They each have their own daddy issues.  How they deal with these conflicts and how it effects their lives is revealed as the season progresses. “Daddy Issues” is a result of being vulnerable and searching for my authentic voice. My goal was to source real elements from my life and frame it with a fictional plot. 

Brian Swinney and Melanie Porras are your co-stars. Are they close friends of your?

MC: Yes! Melanie is one of my best friends and I actually wrote Destiny with her voice in the back of my head. Danny’s character is based on a combination of some of my friends, but Brian felt like the right person to execute him.

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The escort business is an extremely tight-lipped subject. How do you plan on depicting it?

MC: I’ve already received concerns from friends that I may be depicting it too lightly. This show is by no means a comedy. Yes, there are light moments, but it’s because there is a lot of darkness that shrouds these characters throughout the rest of the season. “Daddy Issues” is more about the relationships and emotional arcs of these characters than it is about their circumstances. There’s a point in the 3rd episode where Matt is violated in some way –I don’t want to give anything away, but it explores the dangers of not taking sex work seriously and how you can be taken advantage of. By no means can I speak for people, even some friends of mine, who are escorts. I am open to educating myself and talking to people particularly in the trans community and hearing their stories. I welcome input and am aware that there is much to learn. I hope to not offend in any way.

LGBTQ+ representation is sparse in mainstream media, even if it is more progressive than it has been in the past. What are your thoughts on the topic?

MC: When I began to write this show, I was very conscious of most depictions of LGBTQ+ people being stereotypical. For example, the character, Kenny, in the TV show “The Real O’Neals” is skeptically and slowly accepted by his Irish Catholic family and sings about ‘Gay Brunch’ and even makes a bisexual joke in poor taste. The people writing these characters aren’t always LGBTQ+ themselves. I feel lucky that growing up I had “Will & Grace”. Those jokes were written by gay men and it resonated with the gay community because it was us making fun of ourselves. The shows I’m seeing today feature “the gay best friend” or the “gay uncle.” It all feels like we’re the butt of the joke, and trans people are just now only tapping the glass ceiling. My goal in writing this was to eliminate stereotypes of sexuality (race as well) and simply have people existing as who they are in the show. I’m still exploring and tweaking, but that’s my intention.

What can we hope to see in “Daddy Issues”?

MC: Drama. Twist and turns. I definitely love having little cliff hangers at the end of every episode. People will be betrayed, but will also realize that people aren’t as bad as grudges would have you believe them to be. It’s about choosing friends to be your family and trying to accept the one you were given at birth. There’s a bit of role reversal where the kids have power over their parents, but I guess that’s up to interpretation.

How do you think it differs from what’s on T.V. right now?

MC: Sexuality is a huge plot point in most shows. In “Daddy Issues” sexuality is a non-issue. None of the characters are rejected for being gay, or born into a religious household, nor does the show focus around a group of LGBTQ+ people (i.e. The L Word, Queer as Folk, or Looking). It just happens that I’m writing it and thus it is told through my lens as a gay man in New York, but it includes all types of people, and I hope to include more as the show develops. However, my main goal is not to focus on labels, but rather concentrate on each character’s emotional saga.

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What’s the writing process been like so far? What kind of role do you take, production-wise?

MC: I wrote every day starting in December of 2016 and had 5 episodes complete in about 3 weeks. Of course, I went back and did a lot of editing for another month or so until it was flushed out. I am currently writing the second season. It has slowed down some because I’m still figuring out how the plot will continue. Production wise, I am the main producer. I had the generous help of two very good friends: Sage Kirwan and Ysabel Jasa who helped me cast, send emails, organize shoot times, locations, logistics, etc. I am forever in their debt. The three of us created this pilot on our own, and on my own dime. Hence my need to launch a Kickstarter in order to finish the season.  

It’s still early but do you hope to be picked up by a network or are you happy being a web series?

MC: Yes and no. Doing this on my own has caused quite a few anxiety attacks. I’m very lucky to have supportive parents who will answer my calls and friends who will volunteer their time and talent to help bring the story in my brain to life. It would be incredible to have funding, and support, and access to equipment that a network could provide. I’d also love to have a team of people to support my vision, but I am cautious because I don’t want to lose my control over the show. It’s a pros and cons situation.

A lot of LGBTQ+ shows shy away from a lot of issues within the community, like the glorification of white twinks, bisexual erasure, over-labelling, racism, etc. Do you plan on tackling these issues?

MC: I hope to. Bisexual erasure is actually something I explore in the first season, I won’t say how, but I’m working on making sure it’s appropriate because I have a lot of bisexual friends who are offended by how the media constantly fails on including them, so I’m making sure to consult my friend, Eliel Cruz, a bisexual advocate, before I release anything on the matter. Racism is something I start to explore lightly in the second season, and I’d love to have more conversations with people who have lived these stories and incorporate them appropriately into the show. Just know I want to do it all, I want to include everybody because this isn’t my story anymore, it’s all of ours. And if it does seem like I shy away from these issues in the first season it’s because I focused on laying the ground work of who these characters are and eliminating stereotypes, as I mentioned earlier.

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What kind of audience do you hope will watch Daddy Issues?

MC: I hope everyone watches! Obviously some of the content is not appropriate for children. It’s about relationships. Fathers, sons, daughters, husbands and wives, friends, lovers. It’s about human connection. Loving and accepting each other regardless of where we came from, who we love, and the mistakes we may continue to make. (Fun fact: I watched Sex and the City when I was 7 years old with my mother).

Do you have any underlying message(s) for the community that you want to get across with this show?

MC:  I want people to think before judging someone, and recognize themselves in others. At the end of the day, we all have pain and a past. Viewers may have felt the same way as one of the characters or made similar mistakes. Maybe they don’t relate to something specific but can still acknowledge that we all have struggles even if they are different. I think that’s a huge necessity given our political climate: Can we hear each other without shutting each other down? Can we see beyond an opinion through to the reason why someone may have that opinion? I just want more kindness and acceptance in this world. 

How would you describe the show in fifteen words or less?

MC: Escort service made up of three friends navigating paying bills, choosing family, and facing consequences.

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Click this link to go to the Out article, which features the exclusive pilot and the Kickstarter campaign to help fund the rest of the season.

Interview with Cheyne Gallarde, Ex-Drag Queen Turned Illustrator

Mainstream media needs to celebrate them and all LGBTQ artists! We’ve got a lot to bring to the table and we know how to entertain beautifully!

Cheyne Gallarde, Hawaiian artist famous for his pop art illustrations, caught my eye on Instagram when his work was featured on the accounts of the top four drag queens of this season’s RuPaul’s Drag Race. He’s talented, funny and definitely on the way to big things so I decided to reach out.

What, to you, is the definition of art?

CG: That’s a huge question! In my opinion, art should challenge the viewer. They say that if all your friends love your art, it’s not good enough. Art should never be safe, it should always prompt some kind of reaction – be it love or hate.

Are there any artistic styles or artists that you draw inspiration from?

CG: The look of my art is inspired by a lot of old comic artists like Jack Kirby, John Romita and Will Eisner. I love their use of shadow and line work.

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How important do you think social media is to the world of art today?

CG: Social Media has become more of an art museum where you can browse and experience new art at your own pace. For an artist like myself, living all the way in the art void of Hawaii, social media has been essential in reaching an audience.

What do you most dislike about the world of art?

CG: I hate how art has become so serious and lacks humor. Humor is an essential element in my art and I hate how artists (and art-lovers) have put a greater value on more mindblowingly beautiful art than something that makes you laugh. 

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If you had the opportunity to collaborate with any artist, dead or alive, who would it be?

CG: It would be amazing to collaborate with some of my favorite authors/directors like David Sedaris or Joss Whedon. I think we could make some amazing and hilarious works of art together.

Your work varies from Disney to comic book characters to drag queens – which are your favourite to draw and why? 

CG: Don’t make me choose! Haha! That’s one of the joys of my life, I get to draw what I want. Some days I feel like drawing Ursula and some days I feel like drawing Bianca Del Rio. I’ve learned to not follow trends and just draw what you want. If you pursue things you’re passionate about instead of what you think will get likes, you’ll be more successful. All my clients have found me via my passion projects and not my projects I did for commercial clients. Do what you love. 

Have you had any personal experiences with drag queens?

CG: Yes, I used to be one! I had a short career as a drag queen and even ran my own drag show. It opened up a lot of opportunities for me like getting to perform for Latrice Royale, hosting Mardi Gras to name a few. I loved it, but for now my drag persona is retired while I focus on my art. 

Have you ever used your real life experiences to inspire you?

CG: Indeed! A lot of the bitchy pop art I make come from how I feel or sassy thoughts I have. There’s a reason I draw side-eye sassy bitches — it’s because I’m a sassy side-eye throwing bitch haha! I embrace it because I feel like people can relate to it more than if I was creating a gorgeous renaissance painting, especially in this day and age. 

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Can you tell us a bit more about your personal life?

CG: Like most artists I have a dayjob that pays the bills. Thankfully, it’s doing Graphic Design so at least I get to say I’m a full-time artist. After work, I work on my personal art. I have an art studio where I go to paint. 

What’s the most memorable response you’ve had to your work?

CG: I LOVE hearing what fans think about my work, but the most memorable responses have to be from the queens themselves. Sasha has called my work brilliant and Peppermint and Trinity have both used my art in their official merchandising. I am both honored and gagged at the same time!

Do you have any exciting upcoming projects you can tell your fans about?

CG: A children’s book I illustrated is being turned into a play and I was hired to design the sets and costumes. That’s opening in November. I’ve also been hired to create some original art for a makeup brand featuring some of the drag race queens and that’s all I can say about that so stay tuned! 

What’s been your proudest moment to date?

CG: When I passed 10K followers on instagram! It seems trivial, but as someone who started from 0 followers and organically grew my followers 3 years ago (!) that’s a huge accomplishment!  

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What art do you most identify with?

CG: I love anything with a good story, so it can range from Sin City to the Injustice game/comic to Stranger Things. 

How do you think art has evolved in contemporary society?

CG: Art has evolved to become more accessible. It’s anywhere and can be made my anyone and that’s both scary and exciting! 

What are your thoughts on LGBTQ+ art and artists? Do you feel they’re overlooked or exploited?

CG: I love my fellow LGBTQ artists like Hey Rooney, Travis Chantar and Glen Hanson! They know their audience and embrace it. I think they’ve definitely achieved success but much like myself, they’re still on the fringe. Mainstream media needs to celebrate them and all LGBTQ artists! We’ve got a lot to bring to the table and we know how to entertain beautifully!

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Do you think art has helped tackle issues that are typically seen as taboo like nudity, sexuality, etc.?

CG: Yes and I love it. If someone looks at one of my pop art paintings and it releases their inner diva and inspires them to do something brave that would be amazing! 

I assume you’re watching the latest season of RuPaul’s Drag Race. Are you #TeamTrinity like me?

CG: This really is the toughest top 4 to single out! I think they all are strong and have something that the other person lacks. Don’t make me choose! Whoever wins, I’ll be more than happy and whoever loses, I’ll be happy to see them in All Stars!

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You can find more of Cheyne’s art on his Instagram, his Facebook and you can order from his online shop on his website.

Interview with Gaby Dunn, Writer & Co-Creator of “Just Between Us”

Sometime at the end of June, New Form Digital is going to release my pilot I wrote, starred in and created called LOVE ME DO, which is the autobiographical project I’ve been hinting at. It’s a show about my relationship with my dad, who’s an alcoholic. But it’s a comedy. I’m very excited and nervous for people to see it because it’s very close to real life.

It was recently Gaby Dunn’s birthday and I reached out to the gay icon to chat with her about bisexuality, the future of the media and her exciting upcoming projects.

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You’re a strong advocate for bisexuality but bisexual representation remains lacklustre. Media today in contemporary society is more diverse than it has ever been but there’s an unmistakable focus on gay male characters. What are your thoughts on that?

GD: I mean it’s very true. Especially on cis white gay male characters, who are wealthy. I think it’s because media in general is selling a fantasy rather than being committed to portraying real life. For instance, those gay male characters we do see are also very fit, or sexually active, or “fierce.” When it comes to bisexuality in particular I think people are scared of using the word because they think viewers won’t get it but part of being a creator is trusting your audience to understand gray areas.

Queer shows on mainstream networks, like MTV’s Faking It, ABC Family’s The Real O’Neals and even Netflix’s Sense8 have all suffered a very similar fate despite being progressive and positively representative. What do you think the cancellation of these shows means for the future of television-oriented media?

GD: I would hope it means the same that the cancellation of thousands of shows about straight white dudes does but I know it doesn’t. The good news is there are many more platforms for inclusive shows to live on so hopefully creators find their audiences in more than just mainstream places that weren’t going to appreciate them anyway. 

The way you’ve described bisexuality in the past has been something along the lines of open to all genders. How would you say that differs to polysexuality?

GD: I admittedly don’t know a whole lot about polysexuality. I assume they’re similar? I think it really just depends on what word you’re personally most comfortable with, and less on the exact definitions of every label. 

YouTube has restricted LGBTQ+ content and been criticised in the past for promoting heteronormative and ethnocentric content. How have your experiences been on the platform?

GD: The LGBTQ+ restriction is the worst. Our most popular video, which is called Your Girlfriend’s Girlfriend, and features me dating a woman, is demonetized. It makes queer kids feel like their ability to make money being themselves is limited, it makes them feel ostracized from “normal” content, and it’s just a bad look all around. When you purport to be for creative freedom but start cow-towing to advertisers the way networks might have in the past, then how can you say you’re looking toward the future?

I’ve been a long-time fan of Just Between Us for some time now and you’ve recently announced the release of your book with co-author Allison Raskin. Walk us through the process of writing with your best friend. In one of your videos you mentioned how trying it was on your friendship but that you’re closer than ever because of it.

GD: Yeah, we fought a lot about the book because it’s two very different characters and we each had intense visions for what our characters would be and go through. But the conflict in real life is what became the central conflict of the characters in the book. So it was actually really beneficial! And we love each other, so we know when we fight it’s just us getting our ideas out and trying to communicate. It’s never a bad, real fight but collaborating on anything artistic is going to stress both people out. You have to be really clear about what you want and compromise on what they want.

What’s next for JBU? And what are some projects that you’ve been working on independently that we can look forward to? You’ve posted to your Twitter and Instagram about an autobiographical project – can you tell us about that?

GD: Well, we have a development deal for a half hour comedy with YouTube Red so we’re excited to see what happens with that. I’m working on a Bad With Money book for 2018 or 2019, not sure yet. Sometime at the end of June, New Form Digital is going to release my pilot I wrote, starred in and created called LOVE ME DO, which is the autobiographical project I’ve been hinting at. It’s a show about my relationship with my dad, who’s an alcoholic. But it’s a comedy. I’m very excited and nervous for people to see it because it’s very close to real life. I’m also going to start writing a column for Marie Claire, which comes out in August. And a million other things. I wrote a movie with my friend Lauren Garroni that we want to make.

How did your podcast Bad With Money start? It’s a seemingly niche topic but your argument is that people don’t talk about it enough – which is true, and especially interesting when you factor in the fact that your Internet fame (which is still a mystifying subject for many) is a large part of your revenue. 

GD: It started with me talking about how much I make as a YouTuber which apparently people weren’t doing before. And when that article went viral, I was approached by Panoply to turn that into a podcast. I’d thought about doing a sexuality podcast but I figured a lot of that topic was covered on JBU so I thought a money podcast would be a great way for me to learn about something I don’t already know about. Instead of doing a sexuality show, which would be something I do know a lot about. I wanted to learn with the audience, rather than teach.

How did you start your writing career and what’s some advice you’d give to aspiring writers? 

GD: I started writing as a little kid and I won an award in second grade for a short story I wrote about breaking my glasses. That was my big break. My advice would be to not undervalue yourself or work for free when writing is a job and should be treated as one.

Female sexuality has always been oppressed, while hegemonic masculine identities are encouraged and seen as the “norm”. More recently things are changing with the “New Man” and social awareness of gender inequality but where do you think these traditional ideals come from? And how/when do you envision it ending?

GD: Oh, it’s the Trump administration. I don’t have high hopes for it ending any time soon! I really wish I had a better answer for this but I’ve been super depressed about that very question for months, haha.

You’re very politically active and involved, which is something that’s much-needed in this political climate. What’s something that you desperately wish will change sometime soon and what’s the first thing you’d do if you were in office for a day?

GD: That’s a great question. I think I’d start with disability and health care and how terrible we are at taking care of the people in our society who need it that most. It should not be so difficult and emotionally exhausting to get help if you need help. We desperately need an overhaul of the healthcare system for the poorest and most vulnerable among us particularly the disabled community and the trans community.

Up until college you described yourself as mousy and you’ve talked about the sexism within the writing/comedy community that you experienced. Was that what made you change your style and appearance?

GD: Not really! I just realized that women are allowed to be both hot and smart at the same time. I spent a lot of time worried that if I was pretty, I wouldn’t be taken seriously as a comedy writer — and if I was smart, no one would want me to act in anything. But once I realized that wasn’t true and I could just be whatever I wanted as long as I was talented and confident and (shock of all shocks) boys didn’t make the rules? I was so much happier.

You’re well-known for your graphic tees and bleached hair now. Who are your fashion/style inspirations and is it as high maintenance as it looks to keep your blonde hair?

GD: I get it bleached once a month but somehow it stays strong! My hair’s very thick so it can withstand all the dying I do to it. In terms of fashion, I really like gender-bending so I like people like Tilda Swinton, Evan Rachel Wood, Rain Dove, Bowie. I like looking more masculine or tomboyish now. 

And lastly, when did you decide to become polyamorous and what would you say to people who think they might want to pursue polyamory? What would you say are the best/worst things about it, compared to monogamy?

GD: I think I’d always been more inclined toward non-monogamy just in terms of having an inkling about it when you’re dating the same way i did about my sexuality. I would say the best advice is not to try and talk anyone into it. To find people who are already poly and test it out with them rather than convincing a monogamous partner to do something they don’t want. The best is the intense communication and how I never feel like I’m being lied to. The worst is time management and not sleeping enough.

Make sure to keep up with all of the exciting stuff Gaby has coming out soon, the second season finale of her podcast is out, “I Hate Everyone But You” comes out 19th September 2017 and Just Between Us has videos out every Monday and Thursday.