It’s hostile takeover time

Dec. 12  — Happy Friday! We cannot start this week without talking about the biggest news in Hollywood – the bid for Warner Bros. Discovery. Last week, Warner Bros. announced that it would sell its movie studio and streaming business to Netflix for a whopping $72 billion. On Monday, Paramount Skydance, the other major player in the bid for Warner Bros., launched a hostile takeover bid for the entire company, including its cable networks, like CNN. 

It really feels like there is no good ending in this situation. There’s the general peril of consolidation in general – less jobs, less competition, etc. – and then there’s the choice we’re left with: a tech company with open disdain for the theatrical experience taking over a historic movie studio, or a Trump-approved company (although, Netflix CEO Ted Sarandos is doing a bit of cozying up himself) taking over the movie studio and the news apparatus.

The second option is obviously much worse (Paramount Skydance CEO David Ellison has reportedly told President Trump that he would make “sweeping changes” at CNN if he came out on top), but nothing feels GOOD. I generally don’t like to doomsday too much in this newsletter, and obviously, nothing is a done deal here – but the more I think about our options, the more everything feels bad. I’ve been reading and listening about this deal a lot this week. If you want to go more in-depth, I highly recommend this piece in The New Yorker from Richard Brody and this episode of “The Big Picture” podcast. 

Without further ado … Action!

Disney has entered into a billion-dollar licensing agreement with OpenAI, allowing users of Sora, the AI company’s short-form video generator, to use Disney characters in their content. 

The Sundance Film Festival has announced its lineup for next year’s festival, which will be its last time in Park City before moving to Boulder, CO in 2027.

Paul Thomas Anderson’s “One Battle After Another” led the Golden Globe nominations with nine nods, while “The White Lotus” swept in the television categories. Check out the full list of nominations here. 

 Ticket packages for the Atlanta Jewish Film Festival are now on sale now through Jan. 4.   

The movie social media app Letterboxd just launched the Letterboxd Video Store, where users can rent films. The first group of films is called “Unreleased Gems,” and includes movies you can’t watch anywhere else. 

The Tara Theatre hosted a special screening of Andrew Durham’s award-winning film “Fairyland” on Saturday, featuring a post-show talkback with some of Atlanta’s longtime LGBTQ+ activists. Check out Collin Kelley’s rundown of the evening here.

 Japanese actor Cary-Hiroyuki Tagawa, known for his roles in the film “Mortal Kombat” and the television series “The Man in the High Castle,” has passed away at the age of 75.

This week’s newsletter includes a closer look into the new Atlanta-based podcast “Atlanta Is…,” which will release its last episode next week. We’ve also got a review of the new Chloé Zhao film “Hamnet,” and a new edition of Spotlight. Plus, what’s coming to the movies this week and some reading and listening recommendations for your lunch break. 

Thanks for reading!
Sammie

‘Atlanta Is…’ podcast dives into what makes the city unique

Peters Street. Morris Brown. Club 559. For any local who knows their stuff, all of these names are synonymous with Atlanta. And the new podcast “Atlanta Is…” is diving deeper into the institutions, art, and culture that make Atlanta unique.

The podcast, produced by Will Packer Productions and Complex, features eight episodes that spotlight the stories behind Atlanta’s music scene, politics, film, religion, and more. To help decide what those stories should be, the production team brought in a trio of experts.

Jewel Wicker, Maurice Garland, and Christina Lee serve as hosts of the podcast,  tasked with figuring out just how those eight episodes should be divided up. With seven of the eight episodes already out (the final one drops Dec. 17), the trio has covered everything from the influence of Atlanta’s Black churches on the rest of the world to the city’s status as a Mecca for Black businesses.

 Learn more about the podcast here.

Celebrate the Season with Wonder at Fernbank Museum

SPONSORED BY FERNBANK MEMBERSHIP

Looking for the perfect gift?

Something that sparks joy, incites hugs, induces smiles, and warms the heart? Share a year of exploration with a Fernbank Membership—unlimited daytime general admission to exhibits, films, and nature adventures.

Members enjoy 75 acres of outdoor fun in WildWoods and Fernbank Forest, plus three floors of hands-on science exhibits indoors. Seasonal activities, canopy walks, and nature play areas await.

And don’t forget: Fernbank is unveiling new museum experiences over the next two years, starting with “Our Place in the Cosmos” in late 2025.

 Look for our Holiday 2025 sale running Dec. 18-25, 2025.

‘Hamnet’ and the act of creation as communion

WEEKLY FILM REVIEW

From the moment Agnes (Jessie Buckley) and Will (Paul Mescal) – more commonly known as William Shakespeare – first meet, a particular dynamic arises. Her emotions come easy, raw, and unfiltered, while he finds it necessary to process his through art.

“Hamnet,” Chloé Zhao’s adaptation of Maggie O’Farrell’s 2020 novel of the same name, dramatizes that dynamic in connection with the death of the couple’s 11-year-old son Hamnet (Jacobi Jupe), which in turn inspires perhaps Shakespeare’s most famous play, “Hamlet.” (The film begins by telling us that those two names would have been interchangeable at the time.)

While a bit clunky in its narrative setup, “Hamnet” slowly nestles into your heart, evolving into a beautifully considered meditation on art and legacy, but not necessarily in the way you expect a movie that’s, at least in part, about William Shakespeare to be. Although “Hamnet” is unmistakably about grief, it feels trite to pin its considerations down to just the process of dealing with unimaginable loss. Instead, “Hamnet” is also about the pain and joy of creation, both in parenthood and art. It’s about two people in a constant dance with each other and the world, reckoning with their pasts in an attempt to build something stronger together. 

 Read my full review here.

At the Movies!

If you’re looking for a movie to see in theaters this week, here’s what you’ve got to look forward to!

Movies releasing this weekend:
 “Ella McCay” (pictured)
 “Dust Bunny”
 “Lone Samurai”
 “F*ck My Son!”
 “Cactus Pears”
 “Silent Night, Deadly Night”
 “You Got Gold: A Celebration of John Prine”
 “La Grazia”
 “Dick Van Dyke 100th Celebration”

Special Events:
 “Safe” in 4K @ The Plaza (Friday-Monday)
 “The Nightmare Before Christmas” @ The Plaza (Saturday-Wednesday)
 “Gremlins” Double Feature @ The Plaza (Saturday)
Soul Cinema Sunday: “The Wiz” @ The Plaza (Sunday)
 “Brazil” Director’s Cut in 4K @ The Plaza (Sunday-Wednesday)
 “How the Grinch Stole Christmas” @ The Tara (Friday-Thursday)
 Cineprov: “Die Hard” @ The Tara (Saturday)
 “The Lion in Winter” @ The Tara (Saturday-Tuesday)
 “The Shining” @ Multiple Theaters (Friday-Wednesday)
 “Sense and Sensibility” 30th Anniversary @ Multiple Theaters (Sunday-Wednesday)

Spotlight: Benicio del Toro in ‘One Battle After Another’

My favorite section of Paul Thomas Anderson’s “One Battle After Another” is the part that involves Sensei Sergio St. Carlos (Benicio del Toro), and his “Latino Harriet Tubman situation.”

When the authorities crack down on the sanctuary city where our main characters live, Sensei works to smuggle immigrants out of the city via a hidden passageway (hence the Harriet Tubman reference). The sequence is the film’s most electric, the camera following Sensei and the hapless Bob (Leonardo DiCaprio) through an ever-expanding network of hallways and rooms, each hiding another person under Sensei’s care.

The reason this sequence, to be frank, rocks so damn hard is that it’s quietly getting at one of the main themes of the film — the importance of community within the context of a revolution. DiCaprio’s Bob isolates himself from the rest of the world. He did this when he was with the far-left group, The French 75, and he does so now that that part of his life is over. In contrast, Sensei knows everybody in town. As the sequence unfolds, it’s clear he has made a point to make himself an integral part of this community, gaining trust from even its most vulnerable members – and even from Bob and his daughter Willa (Chase Infiniti), who don’t trust anyone.

That’s in the text, but so much of the reason the audience believes in Sensei is due to del Toro’s performance. He’s always had an edge of cool about him, and here he uses it to great effect. He glides through rooms, calm and collected, but with purpose, a foil to Bob’s stumbling, zig-zagging gait. Sensei is funny, but content for those in authority to mistake him for silly – his little dance upon being caught by the cops (pictured above) betrays just enough goofiness so that he’s not taken seriously, and so that he can continue to scoot by unnoticed. But somehow, del Toro is able to imbue a guy who necessarily has to fly under the radar with so much raw power. It’s that Clint Eastwood kind of power – the kind where he doesn’t have to raise his voice to command attention, or deliver an order. The people who know him – and he makes sure his community knows him – would never mistake his good nature for guilelessness. He always has a plan. 

Lights, Camera, Action!

Speaking of “One Battle After Another,” I really love this piece about the movie from critic Angelica Jade Bastién. Since the film’s release, there’s been a lot of chatter about its handling of Black female characters, and I think Bastién does a great job at exploring those issues with nuance – celebrating the complicated characters at the center of the story and giving kudos to the amazing actresses who play them, all while considering where Anderson’s script might have fallen short. 

When the Golden Globes nominations came out, who else could I turn to but my old trusty prognosticators at the “Little Gold Men” podcast? Take a listen to this recent episode where they talk about the biggest snubs and surprises. 

Kristen Stewart made headlines this week for breaking down her issues with how some actors (namely, men) approach The Method, and the art of acting in itself. That was only a small bit of an interview she recently did with David Marchese of the New York Times, talking about her directorial debut, “The Chronology of Water.” You can read the whole thing – light Marlon Brando shade included – here. 

Today’s Scene was edited by Julie E. Bloemeke.

The post 💗 ‘Hamnet’ has heart appeared first on Rough Draft Atlanta.

The podcast, produced by Will Packer Productions and Complex, features eight episodes that spotlight the stories behind Atlanta’s music scene, politics, film, religion, and more. To help decide what those stories should be, the production team brought in a trio of experts. 

Jewel Wicker, Maurice Garland, and Christina Lee serve as hosts of the podcast,  tasked with figuring out just how those eight episodes should be divided up. With seven of the eight episodes already out (the final one drops Dec. 17), the trio has covered everything from the influence of Atlanta’s Black churches on the rest of the world to the city’s status as a Mecca for Black businesses. 

“Those first few months were us sitting down and saying, you guys have this very general, broad concept,” Wicker said. “Within the reporting that the three of us have done over the span of our careers, what are some stories that we’re interested in telling?”

The three hosts bring very different backgrounds to the podcast. Wicker’s family has been in Atlanta since the 1920s. Lee moved to the city from the Washington D.C. metropolitan area in 2009. Garland wasn’t born in Atlanta, but he might as well have been — he and his family moved to the city when he was four years old. 

The hosts’ different perspectives help “Atlanta Is…” offer a robust take on the city, telling stories that are personal to them and that they’re passionate about. 

“A lot of these stories are about places that we have actually set foot and spent time in. A lot of these stories are about people that we run into all the time or actually know,” Garland said. “I interviewed the dude that owns the barber shop that I go to!”

That personal touch is what makes “Atlanta Is…” such a fun listen, but the hosts faced a singular challenge — making the podcast interesting to locals while still making it accessible to those outside of the city. The stories on the podcast are specific to Atlanta and emphasize its reputation as an epicenter of Black culture. But even with that specificity, the stories are still universal, Garland said. When the episode about the 559 — the popular 1990s nightclub that helped fuel the rise of crunk music  — was released, Garland said friends from all over the country were reaching out to tell him about similar clubs in their cities. 

“We’re still telling very American stories at the same time. I think that’s what makes it palatable to a lot of audiences,” Garland said. “But we are doing ourselves a favor by trying to be as specific as possible and not leaving a lot of room for vagueness or misunderstanding.”

The podcast features interviews with plenty of nationally known names, like Ludacris and Sen. Raphael Warnock. But Lee said that whenever they talked to a celebrity, they tried to present them within contexts that they’d rarely been seen in before. One episode features Ludacris talking about his roots in Atlanta rap radio. Another features Pastor Troy discussing Atlanta’s role as a nexus for Black businesses. 

“We had to be conscious of the names that would draw everybody else to the show, but we wanted to be able to talk to them in ways that still seemed novel and exciting for us,” Lee said. 

When figuring out how to shape each episode, it was necessary to kill some darlings — after all, some of these episode topics could have stretched on into series-long podcasts themselves. Lee said she was conscious of making sure that the stories they told not only explained Atlanta then, but helped explain the city today. 

“First it has to be a compelling story … but then also when you get to the end, is it the story that can really help substantially explain some aspect of how Atlanta’s cultural influence shows up today?” Lee said. 

For Wicker, working on the show added more context to events that she experienced first as just a person, not a reporter. One of the episodes tells the story of Morris Brown College losing its accreditation in conjunction with the 2002 movie “Drumline,” which was filmed on Morris Brown’s campus. Morris Brown lost its accreditation around the same time due to financial mismanagement issues. The school’s accreditation was restored in 2022. 

“I knew Morris Brown and had a reverence for it, and I obviously knew that they lost their accreditation, and I also knew ‘Drumline,’ obviously – it’s a cult classic,” Wicker said. “But I don’t think I had really put the timeline together … that those two things were happening literally at the same time.” 

Garland said that one of his favorite episodes was Episode Six, which considers Atlanta’s reputation as a Mecca for Black businesses. His aforementioned barber shop resides on Peters Street. According to Garland, the owner, Karl Booker, had been hounding him for years about doing a story about the businesses of Peters Street. 

“I finally had an opportunity to do that after him telling me that for 20 years,” Garland said. 

That’s been one of the real rewards of this podcast, said Wicker — telling stories about slices of Atlanta history that don’t get the shine they deserve. 

“We finally get to tell some of the stories that have been untold and give some of those folks a platform to tell their stories in a way that for decades they’ve been wanting to, and no one has given them the chance,” Wicker said. 

The post ‘Atlanta Is …’ podcast dives into what makes the city unique appeared first on Rough Draft Atlanta.

The second time the girl with the falcon and the Latin tutor meet, he’s embarrassed. 

The first time they met, he mistook the girl – Agnes (Jessie Buckley) – for one of the serving girls, and, in quite a forward move, kissed her before she ran off. He has since learned that she’s the eldest daughter of the family he’s been working for and has come, chagrined, to apologize. But he doesn’t necessarily regret his actions, just his mistake. He’s fascinated by Agnes. In fact, she renders him a bit dumb. “I find speaking to people sometimes difficult,” he tells her. 

Agnes finds his inability to speak a little ironic (and has no problem calling it out). And it is a bit ironic, given that the Latin tutor is William Shakespeare (Paul Mescal). Not yet known for the works that will make him the most famous playwright in history, but a known intellectual and wordsmith around their small town no less. As his stuttering dies down, Will decides to tell Agnes the story of Orpheus and Eurydice. He transforms, then, from an awkward boy to a man alive with the power of the poetry pouring out of him. 

This will become a theme in Agnes (more commonly known as Anne Hathaway) and Will’s relationship — her emotions coming easy, raw, and unfiltered, while he finds it necessary to process his through art. “Hamnet,” Chloé Zhao’s adaptation of Maggie O’Farrell’s 2020 novel of the same name, dramatizes that dynamic in connection with the death of the couple’s 11-year-old son Hamnet (Jacobi Jupe), which in turn inspires perhaps Shakespeare’s most famous play, “Hamlet.” (The film begins with by telling us that those two names would have been interchangeable at the time)

While a bit clunky in its narrative setup, “Hamnet” slowly nestles into your heart, evolving into a beautifully considered meditation on art and legacy, but not necessarily in the way you expect a movie that’s, at least in part, about William Shakespeare to be. Although “Hamnet” is unmistakably about grief, it feels trite to pin its considerations down to just the process of dealing with unimaginable loss. Instead, “Hamnet” is also about the pain and joy of creation, both in parenthood and art. It’s about two people in a constant dance with each other and the world, reckoning with their pasts in an attempt to build something stronger together. 

With “Hamnet,” Zhao seems deeply invested in what the novel has to say about legacy. Not from a grand perspective, but rather how we reckon with what it is our parents have left us. Agnes has a strong desire to stay connected to the physical world around her — a trait she picked up from her late mother, and a desire completely divorced from that of her husband, who falls into his imagination to escape his abusive, overbearing father (and even that isn’t far enough away). Her fingernails are dirty, her hair a tangled mess. She chooses to have her firstborn daughter, Susanna (Bodhi Rae Breathnach) in the woods, the wind wailing, moaning, and screaming with her. 

These are all superficial markers of a woman connected to the natural world, but for this character, it’s less about the forest itself and more about reaching for some spiritual connection to the mother who loved the woods well, and who left her too early. The second time Agnes gives birth to her twins, Hamnet and Judith (Olivia Lynes), she’s forced to stay inside. She wails for her mother, for the relative ease of this process when she could feel her presence in the trees. 

This second birthing scene also represents one of the core ideas of “Hamnet,” which is creation as communion. It might be a very singular thing, to give birth — or, to write a play — but the effect is communal. Agnes’ mother-in-law Mary (Emily Watson) is firmly in the anti-Agnes camp when they first meet, but it’s here where an understanding finally blooms between the two women. In Agnes’ pain and grief, Mary comforts her by telling her that her husband was born in this very room. Took his first breaths over by the window in the corner. She is communicating to Agnes that she and her children belong here as much as they belong in the woods, soothing a fear and creating a new safe haven in the process. 

Will and Agnes are often creating together, but even the things they ostensibly create separately — he misses the birth of the twins, his imagination forever taking him away to London, and later, she is unaware that he is writing a play that shares a name with their deceased son — are forged with both of them in mind. There’s a reason the backdrop for “Hamlet” looks exactly like Agnes’ woods. She is up there as much as he is. 

When grief strikes though, it’s difficult to find that sense of togetherness again. Zhao films many of the scenes in “Hamnet” like a play, a static camera that lets the actors move about the space. The effect can be strangely alienating at times, but when it works it captures the tragedy of change. There is a particular shot of the twins’ room that repeats throughout the film — the shot is the same, but the context is different, a simple way for Zhao to show us the sadness of a space, despite its physical characteristics barely changing, 

In that sadness, it becomes painful to create. It’s agonizing to put so much of yourself into something, dedicate your life to nurturing and protecting it, and have it be gone in an instant. There’s a tension between Buckley and Mescal’s performances throughout the film, but their reactions to Hamnet’s death draw out those stark differences. Buckley is so free with her movements, whether it be an upward quirk of her mouth or the guttural scream she releases upon the death of her son. Mescal feels more self-conscious in a very male, artistic sort of way. He lets out a small, “That’s my boy” when he looks upon Hamnet’s body, the tears only fully coming when he’s alone. 

Agnes has no issue telling him how little she thinks of how he handles his grief. She derides his decision to retreat back into that place in his head, to go back to his stories instead of confronting this head on the way she is forced to. There is an argument to be made that he’s running away. Even with the film’s eventual end, with Will confronting Hamnet’s death through his work, he still left a family behind to do so. He retreated into himself, leaving them to go it alone. The movie never really contends with that damage, rushing through Agnes’ hurt over finding out about the play, whereas the novel wraps you up in her boiling rage. 

And yet, in his retreat, Will finds another act of creation, not to recover what he has lost, but to share in that grief, and joy, and wonder with his wife and the world in the way he knows how. “Hamlet,” thankfully, does not represent a one-to-one of the tragedies of “Hamnet.” So, as the rest of the world feels the pain of a young man avenging his father, feels Agnes and Will’s pain siphoned through a different lens, Agnes is able to finally hear her husband’s grief as best he can express it, to see her son’s desire to be one of his father’s players borne out in the young actor at the show’s helm (Noah Jupe – the real life brother of Jacobi Jupe). It’s just as it was in the beginning, when she was able to hear Will’s love and affection for her through the lens of the story of Orpheus and Eurydice. 

Through “Hamlet,” one of the aims of art is achieved: Will, Agnes, and Hamnet’s story becomes something universally understood, but it is still theirs — something forged out of their own pain, and pasts, and joys. Shared, but completely their own. 

The post ‘Hamnet’ and the act of creation as communion appeared first on Rough Draft Atlanta.

Here’s what you’ll find in the way of produce at the farmers market this week: Bok choy/pak choi, carrots, radishes, turnips, apples, winter squashes, kale, sweet potatoes, mandarins/satsuma oranges, beets, sunchokes, arugula, eggplant, tomatoes, garlic,  khlorabi, lettuce/mixed greens, potatoes, microgreens, peppers, gourmet mushrooms (oyster, lion’s mane, shiitake), herbs (parsley, chives, green onions, rosemary), and tomatoes.

Look for these specialty items: Pecans, smoked salmon and trout, flowers (marigolds, sunflowers, cosmos, mixed flower bouquets), pastured pork, wild caught shrimp, eggs, goat + sheep cheese, milk, jam, chocolate, honey, oils, tea blends, cold pressed juices, hot sauce, vinegars, nut butters, spice blends, ghee, pickles, pasta, tortillas, apple cider, and bone broth.

Atlanta non-profit Community Farmers Markets (CFM) has been building community through farmers markets since 2011. Operating weekly outdoor farmers markets as well as rotating farm stands are strategies by which the organization addresses food access in Atlanta. CFM also offers educational programming in the community, financial incentives to make local food more affordable, and professional development for small businesses.

See y’all at the farmers market!

Broccolini Risotto Recipe:

Ingredients:

• 5 oz Oyster Mushrooms
• 1 bunch and 1 bag of broccolini
• 1 quart Lamb Bone Broth 
• ½ bulb garlic, 6-8 cloves
• ½ bunch of parsley
• 5-6 cups of water
• Salt and pepper
• 3ish cups of arborio rice
• 3 tbsp white wine vinegar
• A dash of nutmeg
• 2 tbsp olive oil and butter 
• 1 onion, chopped small
• 1.5 cups parmesan cheese, freshly grated

Directions:

1. Chop all of your fresh ingredients: onions, parsley, garlic, mushrooms, and broccolini. 
2. While chopping, heat 2 medium stock pots over medium heat. Add olive oil and butter to one and your stock, water, and some salt and pepper to the other. 
3. Add your onion, mushrooms, and broccolini stems to the stock pot with oil and butter and sauté until soft. Then add your parsley, garlic, and arborio rice. Mix until well combined and toasted slightly. 
4. Start to slowly add your stock about 2 ladles or ½ cup at a time, stirring continuously until the rice absorbs all of the liquid. Then add more stock until the liquid is gone and rice is al dente, but soft. 
5. Add the broccolini florets, chopped small, white wine vinegar, nutmeg, and parmesan cheese and stir to bring it all together. 
6. Garnish with herbs or more cheese and enjoy!

Harvest Pancake with Satsuma Compote Recipe:

Ingredients:

• 5 peeled and chopped satsuma 
• 5 pink lady apples, small dice
• 12 oz ginger granola
• 3 TB cane syrup
• 2 medium sized sweet potatoes, grated 
• 1 box of your favorite pancake mix
• 2 C non-dairy milk
• 3 TB oil of your choice, plus extra for cooking pancakes 
• 1 tsp Chinese 5 spice, 
• 2 tsp cinnamon
• 1 tsp cardamom 
• pinch of cayenne

Directions:

1. Combine pancake mix, milk, oil, apples, sweet potato and spices in a large bowl, whisking together until a smooth batter is formed. 
2. In a large pan on medium heat, spoon 3 TBS amounts of batter and cook for 2-3 minutes on each side. 
3. In a separate pan, heat the satsumas with the cane syrup until it begins to bubble, then turn on low heat and simmer for 10 minutes. 
4. Serve the satsuma compote over the pancakes, and then top with ginger granola. Enjoy!

You can also find the recipes for Broccolini Risotto and Harvest Pancake with Satsuma Compote on Community Farmers Markets’ Instagram.

The post This week at the Farmers Market appeared first on Rough Draft Atlanta.

A new holiday musical comedy is premiering next week at Atlanta’s Out Front Theatre Company.

“Mamma Dearest: Here We Joan Again,” comes from playwright and drag performer Blake Fountain, also known as Tugboat. The show is described as an ABBA-inspired holiday comedy that combines the musical “Mamma Mia!” and the 1981 film “Mommie Dearest,” based on Christina Crawford’s memoir of the same name about her tempestuous upbringing under her adoptive mother, the actress Joan Crawford.  

The musical follows Christina (Anna Dvorak) as she tries to uncover the identity of her birth mother. When she realizes her mother is one of three Hollywood legends – Bette Davis, Judy Garland, or Eartha Kitt – she invites them all over for a “holiday meltdown of epic proportions.” The cast includes Emily Nedvidek, Bekah Medford, Hope Clayborne, and Jack Caron.

In a written statement, Fountain said that while he originally just set out to write a campy holiday parody, “Mamma Dearest” eventually became about something deeper, especially in regards to chosen family. 

“‘Mamma Dearest’ became a way to laugh at the darkness, to take the melodrama I inherited and turn it into something glittering and alive,” Fountain said. “At its core, this show isn’t about Joan Crawford, or ABBA, or even Christmas. It’s about chosen family: the beautiful, chaotic people we gather around us when the ones who were supposed to love us didn’t know how.” 

The show runs at Out Front Theatre from Dec. 11-21. Tickets are available online. 

The post Original musical ‘Mamma Dearest: Here We Joan Again’ to premiere at Out Front Theatre appeared first on Rough Draft Atlanta.