If there’s one picture I’ve been obsessed with lately, it’s this press photo from 1997’s Rodgers and Hammerstein’s Cinderella, starring Brandy, Whitney Houston, Whoopi Goldberg, Bernadette Peters and Paolo Montalban as Prince Christopher (aka “Prince Charming,” the only way we’ve ever identified the character in Disney’s 1950s animated version).
I love how candid it looks (especially since some versions of it online clearly show a Fujifilm border). It could very well be a great candid shot—something about its energy seems highly off-the-cuff, and usually it’s the off-the-cuff pictures that turn out looking the best. The picture captures what could have been a random moment after Cinderella and Christopher’s wedding (even though she didn’t actually get married in the iconic blue dress in the film). The energy of it makes it one of my favorite pictures ever, not to mention one of my favorite pictures from the amount of PR photos I’ve seen.
It knocked this one down to number two, and this one is actually showcasing the actual wedding scene:
But like the picture above it, this one captures the feeling we’re told to expect from a wedding–pure happiness. I’m sure little girls of color all around the country imagined a wedding day that looked as magical as the one Cinderella and Christopher had, and certainly I’m sure many (like me) were hoping they’d be able to find a Prince Christopher of their own. I’m not even big into the showiness of weddings, but even I have found myself wondering what a huge Cinderella-esque wedding would be like. Not to mention, the film just celebrated its 20th anniversary. Thus, this post was born.
This post doesn’t have to be all about weddings—this post could be very useful for other big events in your life in which you need an elaborate ballgown (like prom, a Quinceañera, a huge cosplay event, etc.). But, if you’re a person who wants to go all out for your wedding or a fancy reception party, then maybe my suggestions could help you out. I’ve scoured the interwebs to find the perfect Cinderella dress and Prince Charming/Christopher suit, accessories and decorations, and even invitations.
Keep in mind: I’m no wedding planner, but I am an artist, and that counts for something. Please feel free to alter my suggestions for a Cinderella-themed wedding how you see fit. This is your big day, after all—I’m just offering my two cents.
(Note: This post isn’t intended just for heterosexual couples; whoever’s getting married can use this and have fun.)
Dressing as Cinderella
First of all, if you are a seamstress or know someone with wild tailoring/sewing skills, you could have someone custom-make this dress for you. With some of the options I’m about to show you, it might cost just as much (or maybe a little less) to have someone to make this dress for you. As you can probably already surmise, there’s no completely identical dress like this on the market.
HOWEVER, that doesn’t mean that there aren’t some pretty close dresses online. There are three ways you can go about doing this–get a Quinceañera dress or ballgown of some type, try Etsy, or find a white wedding dress of a similar style and pay extra to have the store dye it ice blue.
Option 1: Quinceañera dress
If you are as lithe in figure as Brandy, you might be able to get away with getting a Quinceañera dress to serve as your fanciful wedding dress. Yes, Quinceañera dresses are usually made for 15-year-old girls. But, because it’s for the day they finally reach womanhood, these dresses are made exactly the same as lavish ballgowns, but are much easier to find and purchase. But, like lavish ballgowns, they cost an extremely pretty penny.
The brand of Quinceañera dress that I’ve found several types of dresses can could work for a Cinderella themed wedding is Vizcaya by Morilee, an imprint of designer Madeline Gardner’s Morilee brand of wedding, evening, and party dresses. These dresses are the most opulent Quinceañera dresses I’ve seen during my search, and they are also the most mature looking. If you didn’t tell anyone this line was actually made for 15-year-olds, people would believe these were regular ballgowns, meaning that no one will be looking at you like you’re wearing a teenager’s dress on your wedding day.
This one is by far the closest I’ve seen to Brandy’s actual blue dress:
There are some extra straps, but it’s got everything you could ask for if you’re looking for a dress similar to Brandy’s blue dress. If you’re handy with tailoring, you might even be able to snip those straps away or hide them within the off-the-shoulder straps.
Some other good choices from Morilee:
I didn’t check the sizes for any of the Quinceañera dresses, so I’m only assuming you have to be skinny teenage-size to be able to wear these. There could be plus sizes for these, but you’ll have to check.
Option 2: Actual wedding dresses
In the event there aren’t, I found some real wedding dresses that are good for both smaller and plus size women. You can certainly dye these dresses ice blue (or pay someone to if you’re not into DIY with such an expensive dress), or you could just wear it as-is, which would be just like Cinderella on her wedding day in the film.
These designs are by Oleg Cassini, and they capture everything you want in both Cinderella’s ball gown and wedding dress.
With the ready-made items out of the way, let’s talk about Etsy. One shop, ieie bridal, makes gorgeous, made-to-order dresses. All you have to do is offer your measurements. These three in particular are great for Cinderellas-at-heart, especially the first one, which is a copy of the dress found in the recent Cinderella live action movie starring Lily James.
Option 3: Etsy
If you’re down with Etsy, I think it’d be worth inquiring if the middle dress could be made in an ice-blue fabric. I don’t know what the designer/seller’s rules are for specifications like that, but since it’s a custom dress anyway, it wouldn’t hurt to ask.
The glass slippers are paramount to a great Cinderella wedding, and while no one can actually wear glass and expect not to end up with cut-up feet, here are some (expensive) shoe choices.
(It should be apparent by now that everything in this post is expensive. If you want a Cinderella wedding, you’ve got to pay the price.)
The shoe search was by far the easiest part of this post. I only took about 15-20 minutes to find these shoes. You don’t even want to know how long it took to find the right wedding dress options. You especially don’t want to know how long it took to find something suitable and similar enough to work as Prince Christopher/Charming’s clothes.
I do like makeup, but I’m not someone you should turn to for makeup advice, since I tend to stick to the same five products/brands that either work or simply get the job done. (Shoutout to Fenty Beauty for getting into my makeup rotation–I finally have my perfect foundation shade!)
So instead, turn to makeup guru PatrickStarrr, who released a video celebrating Cinderella’s 20th anniversary.
Dressing as the Prince
This picture, while gorgeous, is misleading. In this shot, the prince’s jacket looks like a pearlized white. However in the shot below, it’s the same ice blue color as Cinderella’s dress.
I’m going with the latter, since it makes the most sense–I’d think the groom might want to be coordinated with the bride in this instance. However, the choice is yours.
If you decide to go with blue, then…you’re up a creek without a paddle if you’re looking for a traditional tuxedo or even an 18th century cosplay jacket, because I’ve scoured the internet looking for an ice blue ornate tuxedo only to come up with nothing. As with Cinderella’s dress, if you want something exact, then find a costume maker who can make this to form. However, if you don’t feel like hiring someone or if you just want some options that could be quicker in the long run, here’s what I’ve got.
Option 1: Sherwani
I had to do some out-of-the-box thinking to come up with some of these options. For instance, the below options are Indian wedding clothes. These sherwani weren’t easy to find–even with sherwani, which come in all the colors of the rainbow, it was still hard to find ice blue–but I think if you wear them unbuttoned with a vest and some black slacks, you’ll come out looking great.
Note that some of these are the Indowestern style of sherwani, meaning they’ve got elements of both traditional Indian and Westernized clothes. Some sherwani are made like ornate tunics, and since these are button down, that makes it easier to imagine them operating like Western-style jackets. These three are from G3 Fashion.
I should note that some of these, if not all of these, come with pants. If that’s the case, I’d suggest swapping out the original pants with tuxedo pants or slacks, as I mention above. Not because the pants aren’t cool (they are), but because the prince actually wears black pants with his blue vest-jacket combo. However, it’s your wedding–do what you want to do.
Option 2: Baroque couture
As you’ve seen in the picture near the top of this article, the prince wears gold on his wedding day. If you want to go that route, then there are actually Western-style tuxedos you can wear.
These three are made by Italian designer Ottavio Nuccio for his Baroque collection. And man, are they baroque.
The only prices that are listed on his site are in Euros; I don’t know if there is international shipping. But I think there is a button you can click to inquire about pricing, so maybe more information will be there.
Option 3: Sherwani (part two)
You could also go back to the sharwani for your gold outfit. Utsav Fashion has a lot of great gold options. Again, take care with the pants–swap them out for Western pants or slacks if you so choose.
There you have it–some creative ways to get your Cinderella wedding right and tight. I’d be excited to know if anyone uses these suggestions for their wedding, Quinceniera, prom, or any other event that requires a huge, frilly ballgown. At any rate, if you’re having a wedding, make sure to outfit your bridesmaids in appropriately ornate dresses. The dresses don’t have to outshine you, but just don’t make them look like your ugly stepsisters.
If you do that, expect the fairy godmother to turn you into a pumpkin.
‘This wouldn’t have happened if they had country and western night.’
Richard Wortham, White Sox pitcher
It was a muggy summer night in South Side, Chicago in 1979. In and around Comiskey Park, home to the long-struggling White Sox baseball team, the scene was one of total chaos. Thousands of working- and middle-class young men, predominately white, predominately angry, went riot. Seats were ripped out of the stadium, urinals were kicked from the walls, and the opposing baseball teams were shut in the locker rooms for their own protection. Through it all, the rioters shouted a mantra. It wasn’t about inequality, lingering recession woes or the high-paying industrial jobs slowly seeping out of the Midwest. The slogan they chanted over and over, until their voices were raw, was: ‘Disco sucks!’
That summer, disco music was everywhere, saturating pop culture at the expense of almost all other genres of music. With its pulsing ‘four-on-the-floor’ beat, big vocals and affirming lyrics, disco was a shiny, upbeat escape for Americans living through the smoggy, cynical late-1970s. By the end of the decade, it had become as common as good old American apple pie – there were discotheques in most decently sized towns. Midwestern teenagers skated to Stayin’ Alive in roller discos, and many mainstream radio stations changed their programing to all-disco, all the time.
Disco hadn’t always been so mainstream. It evolved in the clubs and bars of communities that were historically marginalised by the straight, white majority. ‘Disco music was black music, basically,’ John-Manuel Andriote, author of Hot Stuff: A Brief History of Disco/Dance Music (2001), told me. ‘It was mostly recorded by black artists until the mid- to late-1970s, when white artists realised how popular the music had become. Back then, people heard new dance music in the clubs – not on the radio (at first) – so club DJs played a big role in introducing these black and Latino sounds to a bigger public.’
The gay community, its nightlife flourishing after the liberating Stonewall riots in 1969, embraced disco music and its pioneering DJs. ‘The group most responsible for keeping discos alive was the homosexual community,’ the sound engineer Alex Rosner told Newsweek in 1976. ‘The pioneering done in the disco field has been done by gays, with blacks and Puerto Ricans following … The common denominator there is oppression.’
By the mid-1970s, disco was catching on, and creating its own mainstream stars, such as Gloria Gaynor and Donna Summer. But it was Saturday Night Fever (1977), the movie featuring a glamorous, dancing, ladies’ man played by John Travolta – and its accompanying disco soundtrack by the high-pitched Bee Gees – that made disco a nationwide phenomenon. ‘The Bee Gees put a white face on what was basically black and Latin music, and it exploded in popularity,’ Andriote says.
One of the victims of the disco explosion was Steve Dahl, then a 24-year-old Chicago radio DJ who pioneered the ‘shock-jock’ persona most identified with Howard Stern. In December 1978, he was fired from WDAI, ‘Chicago’s best rock’ station, when it switched to an all-disco format. Dahl soon found a home at the rock station the Loop 97.9, but he carried a grudge.
Built like the proverbial Pillsbury doughboy, Dahl brought with him a legion of young, alienated male listeners he named ‘The Insane Coho Lips’. Dahl and his posse greeted each other on-air with the salutation: ‘Disco sucks!’
‘If anything, the pushback from disco saturation was an act of self-preservation,’ Dahl would later write in Disco Demolition: The Night Disco Died (2016). ‘No kid, just figuring out who he was and where he was going, would be prepared to have his assimilated rock-and-roll identity stripped from him. If the resistance was furious, it was because they were not prepared to shuck the rock and roll, which had sheltered them in their transition from kid to adult.’
Dahl saw disco as slick and inauthentic, and he took to playing popular disco tunes, only to ‘blow ’em up real good’ with sound-effects live on-air. These targeted antics were not isolated to the radio booth. At promotions, Dahl took to performing in a helmet and military jacket, destroying albums on stage. For this complicated, insecure performer, the adulation he received made him feel that he was building a movement – and advancing his career. ‘[My fans] were passionate about their music and their lifestyles,’ Dahl wrote in Disco Demolition. ‘I tapped into it, both as a response to being canned to make room for the disco format, and to build a community so I could keep my job.’
Dahl’s wife Janet took a more nuanced view of her husband’s motivations. ‘He looked goofy and chubby, his hair was bad, and he was breaking records on his head,’ she remembered. ‘But to be embraced was validating for someone like him.’ His fans, often from struggling, working-class Chicago families, lost in a new culture of women’s liberation, black rights, sexual liberation and Studio 54-inspired androgyny and materialism, felt validated right back. ‘I was a chubby kid,’ Kevin Hickey, a fan, recalled. ‘I remember Steve saying the reason he hated disco so much was because he couldn’t buy a three-piece white suit off the rack. That stuck with me because I couldn’t either.’
On 12 July 1979, Dahl would come face-to-face with the community he had created, on a night that became known as ‘Disco Demolition Night’.
That night, the White Sox were scheduled to play a doubleheader against the equally middling Detroit Tigers. As part of a ‘teen night’ promotion with the Loop radio station, fans were told that if they donated one of their disco records, they would be admitted into Comiskey Park for only 98 cents. Between games, Dahl and his cohorts promised to put the records in a giant dumpster at centre field and blow it up, the physical realisation of the audio stunts that Dahl had been pulling for weeks.
Fans flooded the stadium, as ushers struggled to keep up with the number of disco albums being shoved in their faces. One young African-American usher, Vincent Lawrence (who later became a pioneer of house music, disco’s direct descendant), noticed a disturbing trend as he took the albums. ‘A lot of the records were not disco records but BLACK records – Marvin Gaye, Stevie Wonder.’
The first game passed relatively uneventfully, the Tigers winning 4-1. Comiskey Park, often half-empty on game days, was filled past capacity. More than 47,000 people packed into a stadium whose capacity was 44,492. So far, the promotion had been a startling success.
But as soon as Dahl, clad in military fatigues, emerged in a convertible Jeep, the night took a sinister turn. Fans began throwing beers at the Jeep. Even Dahl was momentarily stunned. ‘When the door opened and I saw all those people,’ he remembered, ‘it was: “What the fuck? They are throwing beers and cherry bombs at us. And they’re the people who like us!”’
To chants of ‘Disco sucks!’, Dahl stepped out of the Jeep into centre field and led the crowd in a countdown to the demolition of the albums. But too much dynamite caused album fragments to shoot into the sky, and a crater was formed from the explosion’s impact. The crowd roared, as players continued warming up on the field.
‘The place went bonkers … People started jumping out of the stands,’ D J Michaels, a witness, remembered. ‘It was like the rats leaving a ship. A few, then more, then total chaos.’
Dahl and his team were whisked to safety. Bonfires were started. The White Sox player Steve Trout remembered the scene:
I walked out to look at centre field, and I heard something go by me. It was an album from the upper deck and landed next to my right foot. It was stuck in the ground. I said: ‘Holy shit, I could have been killed by the Village People.’
The White Sox player Ed Farmer got in a fist fight in the parking lot. The Chicago Police Department, including mounted policemen, appeared at the scene. A little more than an hour after it was scheduled to begin, the second game was postponed due to unsafe conditions.
By the time the riot had dissipated, 39 people had been arrested, and the field was smouldering and gutted. For many of the participants, it was an exhilarating experience. ‘We didn’t take over the dean’s office but we took over our ballpark,’ Bob Chicoine, a vendor, remembered.
Almost immediately, the local media latched on to the story and ran with it. Joe Shanahan, a bar owner and native Chicagoan, recalled watching reports of the scene:
I could see the South Side kids I grew up with on the television running over their field. Those were the douchebags I ran away from in high school. And they were burning records. I thought: ‘Didn’t you all read Bradbury? Burning books? Burning records? This has the feeling of a really bad cloud. And why is it coming out of Chicago? And why is music of any kind, whether I like it or not, being destroyed for some radio promotion or some baseball promotion? It gave licence for people to not be in the modern world.
The story soon became nationwide news. Disco was again labelled ‘other’ – foreign and not tough enough for real, heartland American males. Dahl and his cohorts strongly denied (and continue to deny) that the ‘Disco Sucks!’ movement had anything to do with racism or homophobia. ‘I’m worn out from defending myself as a racist homophobe for fronting Disco Demolition at Comiskey Park,’ he wrote in his book. ‘This event was just a moment in time. Not racist, not anti-gay … It is important to me to have this viewed in the 1979 lens … That evening was a declaration of independence from the tyranny of sophistication.’
Disco did not worship at the altar of the rock god. It was the Village People versus Pink Floyd. Andriote agrees: ‘My take on what happened [at Comiskey Park] was that it was a boiling-over of testosterone from white straight men who saw disco – and the whole club scene – as threatening to their masculinity.’
By the early 1980s, disco was beyond passé, and so were all the fanciful accoutrements that went with it – glitter balls, dance lessons and belting divas. Some people point to the events at Comiskey Park as ‘the night disco died’, although over-saturation and mediocre products also helped lead to its rapid downfall. Yet, despite the best efforts of men such as Dahl, disco’s influence lives on. The marginalised groups who loved the music – blacks, women, Hispanics, Latinos and gays – have increasingly claimed their rightful place in society. Disco informs the work of many of today’s superstars, from Bruno Mars to Lady Gaga, and popular music from house to EDM. As the Village People sang: ‘You can’t stop the music, nobody can stop the music.’
This article was originally published at Aeon and has been republished under Creative Commons.
By Vilissa Thompson, LMSW
I am Black.
I am physically disabled.
I am a woman.
It has taken me almost 30 years to embrace all of my identities at the same time.
Growing up, I never felt fully included within any of the three groups. Being in a wheelchair made me stand out in the Black community like a sore thumb – people were friendly, but never knew how to approach the “little disabled Black girl in the chair.” In school, I was in mainstream classes, & was dubbed “the smart disabled girl.” This meant that I was separated from the other disabled children in my schools because I wasn’t “like” them; I was treated as a super cripple – cute, sweet, well-mannered kid who was incredibly smart despite being in the chair. And as a girl, the boys didn’t date me – they didn’t want a disabled girlfriend, but thought that my crushes on them were funny.
Within each identity, I had battling roles to overcome: felt outcasted as black and disabled; to those able-bodied I was the “right” kind of disabled that allowed me to not be seen as “useless;” and I wasn’t deemed attractive or dateable by the boys I liked. However, there were dynamic moments and connections that reshaped how I viewed these identities, & how I grew to love the woman I saw in the mirror.
The first was the fact that I was incredibly fortunate to have been raised by a Grandmother who acted as a buffer for me against the ignorance – my Grandmother loved me unconditionally, and I knew this with every fiber of my being at a young age. She was my carer, my advocate, and I was (and still is) the apple of her eye. The bond was further strengthened by the fact that I had part of her name, which is something she adamantly wanted that my mother obliged. That connection, plus her love for me, showed me that I was loveable, special, and valued, even in a society that tried to say otherwise. It was her example that taught me what being a Black woman was about, and as I grew into my own womanhood, I used her as a model for what I could become, but as a disabled version.
In addition to having my Grandmother’s unwavering love, I learned what I was good at: excelling in my classes, and writing. The praise I received as a honor roll student soothed the exclusion pain I felt in school – I was “good” at something someone my age was expected to be, and I liked the attention I received from the adults, and enjoyed watching my able-bodied peers get envious that the “girl in the chair” was better than them. In a twisted sense, these strengths laid sturdier bricks onto the foundation for my self-esteem and confidence as I navigated an ableist, ignorant world.
Though those bricks solidified the foundation, they also made me feel like a unicorn: there were not a lot of disabled people of color around me in my classes. The attention I received for doing well in my classes was positive, but it also created pressure for me to be “perfect.” I knew that I was representing two main groups of my identities, being disabled and black. Because there were not many of us in these settings, I knew that I couldn’t “mess up” or misbehave as other students (plus I knew what would happen to me at home if I did… Grandmother did not play when it comes to acting up in school). I have always felt a sense of weight from the identities I carried; I never thought of it as a burden, but having eyes on me and knowing the opinions of others about my existence was the burdensome I felt.
It was when I ventured off to college that I began to meet other disabled people who understood my plight, and who also carried the unicorn weight I held up. Those friendships allowed me to see that my life mattered greatly, and so did my voice. Though I enjoyed my friendships, I noticed one thing: I had not befriended many disabled people of color, or women of color with disabilities like myself. Not having individuals who understood the unique challenges of being of color and disabled left a gaping hole that needed to desperately be filled.
It was not until 2013 when I created my self-advocacy organization that I finally began connecting with disabled people of color, and finally, disabled women of color. Being of color is a huge part of who I am, that exceptionally grew in definition when I undertook African American Studies (AAMS) in college to learn more about my history as a Black American. It is only fitting that connecting with disabled Black women, and other minorities, would make me feel complete in this experience. What I found from meeting and befriending these women was that we were all desiring to meet each other, and struggled to find women who looked like us in the disabled community, in our schools, and in our communities. They shared similar issues with feeling accepted in the racial group they were members of, struggled with embracing their sexuality and femininity, and worried about finding a partner who would love them – basically all of the matters I had been concerned about all of my life. Connecting with each other had a powerful effect on validating our struggles and achievements. These are my disabled Sistas – no other friendships come close to what I experience when I reach out to them. They “get” me, and have closed the hole that previously existed. I finally felt accepted for who I was as an African American disabled woman because I saw other women who looked just like me – I no longer felt like a unicorn, or an outcast.
The triple jeopardy hand I have been dealt with in life has not been easy by any means, but quite frankly, I would not change it either. I am proud of the reflection that stares back at me in the mirror; I am fearless, I am strong, and most importantly, I am perfectly imperfect. The experiences I endured along the journey to embracing my three identities greatly shaped how I view and interact with the world around me – I would not hold the strong levels of compassion, understanding, and empathy I possess if I was not born the way I am. My differences are my strengths, not weaknesses, and at almost 30, I understand that to be fervently true. I am strong enough to live this life because it is who I am meant to be.
When I go out into the world, I hold my head up high because I have no reason to doubt my worth – I am fearlessly and unapologetically me.
About Vilissa Thompson
Vilissa Thompson is a Licensed Master Social Worker (LMSW) from Winnsboro, SC. Vilissa is the Founder & CEO of Ramp Your Voice!, an organization focused on promoting self-advocacy and strengthening empowerment among people with disabilities. Being a Disability Rights Consultant, Writer, & Advocate affords Vilissa the opportunity to become a prominent leader and expert in addressing and educating the public and political figures about the plight of people with disabilities, especially women of color with disabilities. Being a disabled woman of color herself, sharing her life experiences, and tales from the women she has encountered during her advocacy work, has empowered her immensely because it validated the struggles and successes she endured in her young life.
Ways to connect with Vilissa:
Do you want to participate in #RepresentYourStory? Share your story of self-acceptance at firstname.lastname@example.org, or fill out the #RepresentYourStory questionnaire! Read more about #RepresentYourStory here.
Father’s Day is coming up, and if you and your dad are looking for something meaningful to watch together, try Daddy, Don’t Go, coming to Vimeo On Demand June 19.
The film, executive produced by Malik Yoba and Omar Epps and directed by Emily Abt, follows fathers as they journey through the experience of fatherhood amid social and financial pressures. Here’s more about the film.
Fatherlessness is one of the most urgent social issues currently facing American families and is linked to alarming rates of child poverty and incarceration.
Fatherless children are more than twice as likely to drop out of high school and nine times more likely to break the law than their peers raised in two-parent homes.
DADDY DON’T GO follows the lives of four young fathers – Alex, Nelson, Roy and Omar – as they struggle to navigate parenthood. For disadvantaged men, parenting is a daily decision. Filmed over the course of two years by acclaimed filmmaker Emily Abt, DADDY DON’T GO illuminates the various socioeconomic pressures low-income fathers face and provides compelling portraits of men who persevere. Epic in scale but intimate in focus, the film shows viewers how men can still be present fathers despite having limited means and facing certain obstacles. By allowing the viewer extraordinary access into the daily lives of its subjects, DADDY DON’T GO removes the negative lens through which underprivileged fathers are currently viewed and offer audiences a new image of the American family.
Filmmaker Emily Abt was one of Variety Magazine’s “Top 10 Directors to Watch,” and has produced and directed documentaries for PBS, OWN, MTV, Showtime and the Sundance Channel. Abt earned her MFA from Columbia University, receiving a Fulbright fellowship for her thesis film. Her documentary features include TAKE IT FROM ME (2001 POV) and ALL OF US (Showtime’s 2008 World AIDS Day film). Abt’s first narrative feature, TOE TO TOE, premiered at Sundance 2009 and was released in 2010 by Strand Releasing. AUDREY’S RUN, Abt’s most recent narrative feature which she wrote and will direct, is currently in development with Paula Patton (Duncan Jones’ WARCRAFT), Mike Epps (Lee Daniels’ RICHARD PRIOR: IS IT SOMETHING I SAID?) and Pablo Schreiber (ORANGE IS THE NEW BLACK) starring. Abt’s latest documentary DADDY DON’T GO will have its world premiere at the 2015 DOC NYC.
Take a look at the trailer below. It looks like it’s going to be a tearjerker. You can pre-order your digital viewing of Daddy, Don’t Go for $6.99 on Vimeo.
Here’s some of the stuff I read this week:
Here are some of the op-eds and interviews I read this week!
In my review for Fresh Off the Boat, I wrote a lot about how Eddie’s love of rap (and his parents befuddlement about it), Eddie’s experience with a racist black kid and the lack of Asian-American representation only taps the top of the iceberg of black-Asian relations.