Westeros.

The day before the season seven finale of Game of Thrones, I left Los Angeles. All that remained of the eighteen years I’d spent there was contained in three suitcases, a duffle bag, and four cardboard boxes. The luggage was coming with me, on a one-way flight to Seattle; the boxes would be shipped to my new address in New York City, once I knew where that was.

Daenerys, Tyrion and the dragons (from IMDB.com)

I had no job and no place to live, a fact that should have concerned me more than it did. But as I bid farewell to my roommate Jen, bound for the vacant house in western Washington that once belonged to my grandfather – the house where I planned to “figure things out” – my priorities were elsewhere. “I can’t believe I’m not watching the finale with you!” I wailed. Jen and I were friends who, for years, had dissected every GOT plot point and character arc like it was our job. “What am I going to do?”

More than a year and a half later, I’m looking forward to the epic series’ final season with both eager anticipation and a palpable sense of loss. For eight years, Game of Thrones has been my companion throughout the most difficult experiences of my life. When it premiered in 2011, I’d never lost anyone close to me; before season three was over, my parents, my grandmother, my dog, and a close friend from college were all dead. As I grappled with disorienting grief, the brutal, you-win-or-you-die rules of the world GOT unfolded before me provided welcome catharsis. A show where the writers didn’t hesitate to kill off beloved characters was – oddly – comforting. No one was safe. Anyone could die. Just like in real life.

Watching Game of Thrones in L.A.

At my father’s funeral in the winter of 2013, I sat at a table with his younger brother, Jimmy. The last time we’d seen each other, I was four years old and the flower girl in my half-sister’s wedding. With no relationship as adults, we had little to talk about. Jimmy was also gravely ill, requiring an oxygen tank to help him breathe. But he’d been a professor of film at a university in Nevada, and somehow, Game of Thrones came up. Our stilted, awkward conversation quickly gave way to a spirited discussion about Jimmy’s favorite character, Daenerys Targaryen. Jimmy died a few months later, and, in the years that followed, whenever Daenerys conquered a city or triumphed over one of her enemies, I felt a nagging sadness that he didn’t live to see it. “Jimmy would have loved that,” was my common, wistful refrain.

There are no knights in my story, no dragons or sorcerers or white walkers. But so often over the last eight years, the struggles of GOT’s characters have felt like heightened, fantastical versions of my own. I have loved them, learned from them, cried and cheered for them. But nowhere in the Game of Thrones universe did the stories of two characters resonate more personally with me than those of Arya and Sansa Stark. While their brothers were off getting killed (and occasionally, coming back to life!) or turning into a three-eyed raven, those two sisters were learning to survive in a world that constantly underestimated them. My life circumstances were – obviously – far less dramatic, but like Arya and Sansa, I too knew what it was like to suddenly lose my parents, to have my family ripped apart, and to be thrust into a new reality where everything felt cold and cruel and unfair. Every time one of them was hurt, I was outraged. Every time one of them triumphed, I saw it as a personal victory. Which is why the season seven finale, when they worked together to finally bring justice to the man who had been the architect of so much of their family’s suffering, was so, damned, satisfying.

Arya Stark (from IMDB.com)

There are plenty of people who will say GOT is just a TV show, and plenty more who will brag about the fact that they’ve never watched an episode. But for me, it’s more than just a compelling drama. The community that formed around watching Game of Thrones made me feel less alone during the loneliest period of my life. As Vulture.com pointed out in a recent article, in the age of binge watching, GOT might be the last show we watch together, each episode an event that must be experienced in real-time, with all of its awe and horror unfolding before our eyes. Which is why, even now, with so many of my friends and loved ones three thousand miles away on the opposite coast, I’ll still feel like, tonight, when I tune in for the season premiere, I will be watching right alongside them.

The final episodes of Game of Thrones are done. All that’s left to do now is wait, and watch. I am equal parts excited to see how my favorite characters’ stories will end, and terrified to learn their fates. And while I know no one is safe in the land of Westeros (or in the lands beyond), I do have one final request. Hey David, D.B. and George R.R.? Please don’t kill Arya and Sansa. I have survived many things in my life, and I’m sure I can survive that, too. I’m just not sure I want to.

Until next time, friends.

Jon Snow and Sansa Stark reunite (from IMDB.com)

La La Land.

“A bit of madness is key

To give us new colors to see

Who knows where it will lead us?

And that’s why they need us.

So bring on the rebels

The ripples from pebbles

The painters, and poets, and plays

Here’s to the fools who dream

Crazy as they may seem

Here’s to the hearts that break

Here’s to the mess we make.”

– La La Land

sunset-billboard

Four years ago, on Thanksgiving morning, I pulled my car into the public parking lot at the base of Fryman Canyon’s trailhead, paid three dollars to park, and began my ascent up the mountain. The hike at Fryman begins as a steep climb, but after about a mile it levels off, with views of Sherman Oaks to the west. It was a bright, blue-skied morning, no longer hot but still temperate, the autumn winds having blown out much of the smog, offering up a clear view of the sprawling city below.

Both my limbs and my heart were heavy. It was my first Thanksgiving since my mother died, two months earlier. The following week, I would mark another birthday – thirty-two – and then shortly thereafter, I’d travel back to Olympia, Washington to see my father for the holidays, whose rapidly-advancing pancreatic and liver cancer meant that Christmas would surely be his last. And on the drive to Fryman, I had phoned my maternal grandmother, struck by the fact that our conversation had, for the first time in two months, seemed almost normal. Of course, I couldn’t have known that conversation would be the last lucid moment I’d share with her, her Alzheimer’s Disease descending like a fog only days later, never again to lift.

But on this bright November morning, staring down at the city I’d called home for the last thirteen years, I felt remarkably O.K. The troubles plaguing my worried mind were still there, of course, but they weren’t here, at least, not right now. Here, it was just me, and my city. Looking out across that sweeping metropolis, I couldn’t help but feel a familiar surge of pride that a girl from Alaska had made it all the way south, to this iconic place, to this land of movies and myth and magic, and had made it her own.

beach

Seventeen years in, even through the turbulence of these last few years, that feeling of pride has never gone away. At a recent screening of the new film La La Land, a friend remarked that he was happy to see a film about L.A. being made by filmmakers who actually love this city. I couldn’t agree more. Hating Los Angeles is a popular sport, and it’s easy to find fault with the traffic, the smog, the sprawl, the absence of seasons and the preoccupation with all things Hollywood, but I could also argue that any critique about L.A. can be flipped on its head, and used to make the case that it’s that very thing that gives this city its unique – and uniquely wonderful – personality. I suppose my relationship with Los Angeles is akin to an intimate love affair: I see all the bad stuff, all the flaws, and still, I want him anyway.

Considering my own origin story, I guess it’s not surprising that I ended up here. Growing up as an only child (my older half siblings were all nearly grown by the time I came along), with a career-obsessed father and a mother who battled depression, I spent much of the long, dark Alaska winters alone in my room, weaving stories out of my imagination. What a relief it was to finally land in theatre classes in L.A., finding a community of people who were just as odd and eccentric as I was, and who liked to play make believe just as much as I did.

I won’t pretend that my L.A. years have been easy. They haven’t been. I walked a long road and paid a lot of dues to get to a place that now feels only relatively comfortable. I’ve lived in cockroach-infested apartments, worked low-paying jobs that I hated, and had plenty of unfortunate encounters with some of the most awful people you could imagine. I’ve done bad plays in tiny theaters, signed contracts with unscrupulous agents, and suffered humiliation more times than I’d like to admit. More than once, I’ve watched a dream die and had to rebuild it anew, from nothing.

l-a-on-high

But when times have been their toughest, that’s also when I’ve been at my best. Even when I’ve felt down, and hopeless, I’ve found a surprising ability to live off the collective energy of a place jam-packed with dreamers, hustlers, and doers, all fighting for their vision of how they want the world to be. The innovation and creativity that pulse through this city have, over and over again, given me the spark I needed to try again, one more time. And the urban sprawl? Simply an opportunity to reinvent myself, as each new neighborhood – Culver City, Miracle Mile, North Hollywood –  has offered new experiences, new friends, a new life.

For a long time, I was afraid to leave L.A. Afraid of what leaving would mean. That I was a quitter. That I wasn’t tough enough. That I didn’t have what it takes to make it here. But I no longer worry about that. It’s thanks to Los Angeles that my dreams have not only become bigger than I’ve ever dared, but that I actually have the moxie to make them come true. It’s thanks to L.A. that I can now justifiably use titles like “producer,” “creative director,” “playwright,” and “filmmaker” to describe myself. And as I write this blog, I’m sitting in a dressing room underneath a soundstage in Hollywood, waiting to step on to a set with actors that I grew up watching as a child. And that doesn’t seem out of the ordinary, doesn’t even excite me, really. It’s just a job. What does excite me is the fact that after I’m done on this soundstage, I’ll head to a small rehearsal studio in North Hollywood for a table read of a play that I wrote, and for the first time, I’ll hear the new draft out loud, read by a new cast of actors. Because the truth is, all of my time in Los Angeles –  all of the heartbreak and the hope –  has taught me who I am and who I want to be. And that person is someone who is no longer content to live inside someone else’s scenes, or play a part in someone else’s story. She wants to – and has already begun to – write her own.

Until next time, friends.

sarah-dressing-room

Play Noir.

She was a real classy dame, a siren in silk stockings.  The type of broad whose shade of lipstick alone could halt the traffic on Sunset Boulevard. . .

O.K. so I just made that up.  A bit ridiculous, perhaps, but random phrases like that have been popping into my head lately, as I’m currently immersed in all things noir.  For those not in the know, here’s the 411 from Wikipedia:

Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize cynical attitudes and sexual motivations. Hollywood’s classic film noir period is generally regarded as extending from the early 1940s to the late 1950s.

Crime, usually murder, is an element of almost all film noirs; in addition to standard-issue greed, jealousy is frequently the criminal motivation.  In other common plots the protagonists are implicated in heists or con games, or in murderous conspiracies often involving adulterous affairs. False suspicions and accusations of crime are frequent plot elements, as are betrayals and double-crosses.

 Film noirs tend to revolve around heroes who are more flawed and morally questionable than the norm, often fall guys of one sort or another. Certain archetypal characters appear in many film noirs—hardboiled detectives, femme fatales, corrupt policemen, jealous husbands, and down-and-out writers.

That’s right.  Murder!  Suspense!  Mayhem!  Oh my.

My husband James and I are currently at work on a slate of film noir-themed one-act plays aptly named Play Noir, scheduled for production in June at our artistic home, the Actor’s Workout Studio in the North Hollywood Arts District.  Scripts have been chosen and casts and directors are being nailed down as we speak.  We’ll produce (through our company, Punk Monkey Productions) five short plays, all revolving around classic noir themes like greed, lust and betrayal.  Expect trench coats and fedoras, slinky black dresses, ruby red lips, and lots and lots of mood lighting.

Over the next few months, I expect you’ll hear a lot about Play Noir as James and I are not only producing the show, but acting in it and directing a piece or two as well.  It is, as we say, a real passion project.

So brush up on your Maltese Falcon, your Third Man, your Big Sleep, and stay tuned for all things Noir.

Until next time, friends.

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