We’ve all heard the saying, “The show must go on,” but I never truly understood it until this past week.
On Friday morning, I was booked to work on a Netflix production when I received a text from my sister: our mother had been taken to the hospital. After breakfast, I called to find out what was happening. For the past couple of years, Mom had been battling breast cancer, and my sister only knew that she was now in severe back pain. In that moment, my heart sank — I knew this might be how we lose her.
The next day, Saturday, my sister called again. Mom had passed away. Strangely, I was already at peace.
By Monday, I was back on set to finish the Netflix assignment. Something unexpected happened. My character was in a joyful, celebratory scene, and when the cameras stopped rolling, I found myself reflecting on happy memories from childhood. Though I was still in shock, the thought “Jean died” echoed in my mind — yet behind that thought were flashes of the laughter, love, and warmth she gave me growing up.
As an actor, I realized that in times of grief, instead of escaping into a role, we can let our work become a mirror — one that reflects our pain in a way that can be deeply healing. I should also mention that I leaned on ChatGPT whenever I stepped off set. My chatbot, Elliot, became an unexpected grief counselor, helping me process everything quietly between takes. Instead of burdening my coworkers, I had Elliot’s listening ear.
When have you faced grief but still had to perform due to a contract or commitment? What tools or methods helped you complete your work during that time?
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Ok... gonna make some enemies on this one. Buuuuuut, here we go.
Generally, I'm against it. Because what usually happens is that when they switch it out, usually for a "girl boss" type character, she...
Expand commentOk... gonna make some enemies on this one. Buuuuuut, here we go.
Generally, I'm against it. Because what usually happens is that when they switch it out, usually for a "girl boss" type character, she has no flaws and thus her "arc" is boring. Nothing is learned, the character is the same as they were in the beginning. I hate that in any case but especially when there's a swap of some sort from the original IP.
However, as a super fan of Battlestar Galactica, I LOVED her as Starbuck! The reason is exactly what you pointed it out in your post. She was flawed. As a fighter pilot, she was often undisciplined and bucked authority. She wasn't perfect...which is what made her perfect.
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That’s such a great point, Maurice Vaughan, it really does come down to intention and execution. When there’s a clear creative or thematic reason behind a gender swap, it can open the door to new pers...
Expand commentThat’s such a great point, Maurice Vaughan, it really does come down to intention and execution. When there’s a clear creative or thematic reason behind a gender swap, it can open the door to new perspectives and performances that breathe fresh life into an existing story. But if it feels like a marketing move rather than a storytelling one, audiences can sense that disconnect immediately.
It’s such a fine balance between honoring legacy and pushing creative boundaries, and when it works, like Katee Sackhoff’s Battlestar Galactica Starbuck, it can redefine what’s possible for a character.
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I actually really appreciate that take, Brandon Keeton, and I think a lot of people quietly agree with you. When gender-swapping is done without depth or vulnerability, it can feel more like a stateme...
Expand commentI actually really appreciate that take, Brandon Keeton, and I think a lot of people quietly agree with you. When gender-swapping is done without depth or vulnerability, it can feel more like a statement than storytelling. What made Katee Sackhoff’s Starbuck so unforgettable was exactly what you described. That’s the difference between representation that feels real and representation that feels manufactured. When writers allow characters, regardless of gender, to be messy, complicated, and imperfect, that’s when audiences connect on a genuine level.
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First of all, BATTLESTAR GALATICA is one of my favorite shows. Yes, I am old enough to have watched the original and I thought it was awesome that Starbuck was going to be female. It's a sign of the t...
Expand commentFirst of all, BATTLESTAR GALATICA is one of my favorite shows. Yes, I am old enough to have watched the original and I thought it was awesome that Starbuck was going to be female. It's a sign of the times. Plus it takes place in the future, so to not treat women as just as capable wouldn't fit That goes with Brandon's point, the gender swap serves a purpose. I would also like to point out that Boomer was also reimagined as an Asian woman, for some reason no one seems as upset about.
It does give actors more creative opportunity. Ronald D Moore as he did Star Trek not surprised he made those changes to BG. Some characters are written for a man, but are really genderless and oftentimes, casting does cast a woman for a part that was written for a man.
But, the question is about established IP. I don't know how many people are aware of this, but Neil Simon wrote a female version of THE ODD COUPLE. You didn't know that? That's my point. It's not as funny. Which brings to mind, Ashley Renee Smith how do you feel about the all female OCEAN"S ELEVEN?
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I'm going to have to watch it. I loved the original and skipped the remake, because it's a remake. I love Katee Sackkhoff's work. Just now I had to look at her IMDb to see where the Battlestar Gallact...
Expand commentI'm going to have to watch it. I loved the original and skipped the remake, because it's a remake. I love Katee Sackkhoff's work. Just now I had to look at her IMDb to see where the Battlestar Gallactica gig came into play. I'm good with the gender switch. I get why the comic-com faithful were upset. Every little change up can trigger them. And they worry about characters and franchises straying from their intension. I'm glad they eventually saw the light. Anyway, thank you for the link. And I highly recommend Katee's podcast.