IT'S ABOUT THE STORY | MARIA STEN

This month's cover editorial is with actress and writer, Maria Sten. Throughout her career she has used her passion for creativity to navigate her interests whether it was being Miss Denmark 2008 and then representing her country at Miss Universe, working as a model and a dancer until connecting with her passion for storytelling!

For fans of Big Sky, she wrote for this crime genre series that took place in Montana; those who enjoy immersive podcasts, she included her voice work in QCODE's Narcissa; and she's currently in Prime Video's Reacher whose second season is streaming now and we're excited to see that not only is the third season greenlit, but it is already in production, and of course her character, Frances Neagley will be back!

We wanted to find out more about how she got into the industry as a writer and actress, the stories she likes to tell, how she gets inspired, being on Reacher, its success, working on projects she's passionate about, and more.

We also enjoyed our cover shoot with her at il Pellicano and Bijoux Lounge in NoLita which has been on our list to transport us as we navigate the winter weeks ahead.

ATHLEISURE MAG: We have been a fan of yours across the Narcissa podcast, your work as a writer with Big Sky and obviously with Reacher! But before we delve into that, in our research we saw that you were Miss Denmark 2008 and competed at Miss Universe as well, you were a dancer, and a model. What made you want to do that and to ultimately, dig deeper into entertainment as a writer and a producer.

MARIA STEN: You know, that’s a good question. I think that one thing that is true to my life and has always been true is that I have just zero chill. So I just want to do stuff all the time. I want to work, I want to challenge myself all the time and I want to grow. I came to NY when I was 18 to be a dancer and obviously when you come to NY as an immigrant, I did not have papers and I was working very hard to try and build my career and to build sort of a profile for myself so that I was able to get papers, and I was going back to Denmark and then randomly, Miss Denmark opportunity came up and I thought, sure why not? I won and then they said, do you want to go to Vietnam for 1 month and do Miss Universe? I thought, how could I say no to that? I think it was sort of a strange roundabout way as I don’t think that I consider myself to be a pageant girl per se, but it was such an incredible experience and I got to meet these amazing women from all over the world and I do still know a lot of people in that community. So you never know when these once in a lifetime experiences – how they can come about! For me, that was just something that I couldn’t say no to.

Then I think that from then on evolving into a dancer and then music, acting which I had done when I was a teenager and as a child a little bit. I sort of realized that these were the things that I wanted to do for my life. The desire to write came as a necessity to do so as I didn’t really feel that I could really stretch with the opportunities that were offered to me. Black women in the industry, at least at the time, it was more limited what we were offered. It still is in terms of opportunities, but of course, it is better now. I just wanted to write to play in the same roles that my other colleagues were able to play in as well. Then people apparently thought that I should be a writer! So now, I do both!

AM: I love that and to your point about the pageant system. In addition to my role here, as a fashion stylist, I have styled Miss America 2019 as well as Miss Ecuador 2018 ahead of her competing in Miss Universe that year. It is such an interesting world and that network is really amazing because the interest that a lot of the people do are so different. It’s literally that they could be rocket scientists, fashion designers, or other interests. It’s cool to see people that are part of that world!

MS: It’s really interesting and I think of course in America, it overlaps a lot. I’m still in communication with Miss Puerto Rico that was from my year, Ingrid who is also an actress, Meagan Tandy who was Miss California USA who was the year before me, and Miss Iowa from 2007 Dani Reeves is a good friend of mine. Not necessarily because we competed in pageants, but that network and you just find people like you do in any other industry that you connect with and you stay friends with! It’s really incredible. Meeting photographers like Fadil Berisha who is an amazing photographer did my very first headshot in New York when I was 19.

AM: I styled a shoot for an artist that he did the album art for – so talented!

MS: Yes he is and that was because of Miss Universe. I’m definitely grateful for that opportunity and it was only just a springboard for me to stay in the United States, to build my career, and etc. etc.

AM: I was such a huge fan of Big Sky and love that you wrote for this series. What drew you to this show?

MS: I am a huge Western nerd. I have been riding horses since I was 3 years old and I went to the US for the first time when I was 8 and spent a month with my family on a ranch in Arizona and I totally got bit by this Western bug because I grew up riding English and I had no idea that there was this thing that was called the Wild West and that there are these big wide open spaces with nature and cowboys with cool hats and six shooters! So I totally got obsessed with this world and watched all the westerns growing up and I had been wanting to write one for forever. I did write a pilot early on which was a spec of mine which was a period western. So when Big Sky came along, it was kind of an obvious choice for me. It was a Black female lead set in Montana and it’s a crime show and I thought – yes and of course, David E. Kelley (The Undoing, Love and Death, The Lincoln Lawyer) was attached! Generally, I don't do a lot of network television, but when it is David E. Kelley is doing it – that’s the parameters for it – that’s sort of a no-brainer for me.

AM: What do you look for in a project when it comes to you coming on as a writer?

MS: I definitely look for character and world and relationships. That’s definitely what I’m looking for and a lot of my projects are always born out of wanting to play in a world, but also what do I want to do as an actor? What could be interesting for me as an actor and also, what is the lack in the space? If I don’t see it in the space – female villains or Black people in the Western space – all of these things are things that I want to be playing in, but I don’t see – that is always a good incentive for me to start writing in some way, somehow. Definitely looking for things that are unique and have something to say. That is always important to me.

AM: What is your creative process like when you’re writing. It must be so interesting where obviously you’re thinking about the storyline and future seasons or how that character arc grows over a period of time. Where do you start with that?

MS: I definitely start with the pilot and I think about what is the pilot, who are the people that we care about, what is the central relationship, and what is the central theme of the show? Then, once I have a good grip on the pilot, what are we setting up with the world and the relationships with the characters – then I will branch out. I do that sort of organically. Once I’m flushing out the pilot, I’m thinking about when certain information will have to be revealed if you’re thinking about the season as a whole.

AM: Right.

MS: It’s an organic way and I don’t really have a way of going about it. I think that most things come to me in different ways. Sometimes I just know a scene, I know the beginning or the end, sometimes I just know the character and I just want to focus on that character and what interesting situation that I can put them in. Most of my own stories are like misfit families. Family dramas of some kind. So oftentimes, the central relationship will always be some kind of family relationship and how we can dive into these complicated relationships. Flawed characters are what I like to dive into. So that’s usually where it goes.

AM: I’m a huge fan of podcasts, generally true crime. But I really appreciate other genres in the scripted space. QCODE is one that I love with their immersive approach to storytelling and Narcissa was amazing and I loved hearing you in it. What drew you to that?

MS: Thank you!

AM: Oh it was so good!

MS: Yeah, I think that – what was happening at that time? Fun fact, I think at the time, I was home writing on something and I had just broken my wrist snowboarding so I was sort of just stuck at home and they said, “do you want to do this thing from your closet?” and I said yes absolutely because I really wanted to be able to do a project. That was one fun fact and also I think I really just wanted to dive into the character. That character is so interesting and not to give anything away, but playing something like that and the different dynamics that you have to sort of consider in playing a character like that, I thought it was interesting and to also look at AI and what’s to come in our society – I thought that that was interesting. For me, I thought that it was a fascinating dive into audio. I haven’t done a lot of voice work and I would love to. So I thought that it was a good way for me to get started.

AM: Over the holiday I watched the first season of Reacher and then watched the screeners of the 2nd season of Reacher. It's interesting that with as many shows that I watch and love there are always those that I haven’t gotten around to and I know I would love them! In prep for the interview, I wanted to see both seasons and it was so good and so fun to jump into. What was it about this show that you wanted to be involved in this series?

MS: Off the bat, it’s the action! I love the action, I love strong characters, kinetic characters, kinetic stories – Neagley, this word is so overused, but she’s a badass in a lot of ways and she also has this other kind of quirky quality about her. So to me, that was something really interesting to get to play with and to figure out how to make it interesting and grounded at the same time. For sure, to begin with. I knew it was going to be this splashy/action show and then when I got the job and I realized that there was this whole billion dollar book franchise that is behind it – I read all the books that Neagley was in and I got excited because there was so much to dive into and to explore that was about this mysterious woman that I got to play!

AM: Well beyond reading the books and the information that you were given, how else did you prepare to play her?

MS: Definitely kinetically. I was training just sort of on my own physique that we do as actors. Then I did kickboxing which I did when I was younger, shadow boxing, doing drills with a stunt team and then there was a lot of speaking to military veterans that had served – specifically women who had been in the army and the marines. I have a couple of friends that are veterans and so they put me in touch just so that I could understand what that life was like and the real things that you sort of have to endure day in and day out as being deployed and being part of this mahinery that is the US military.

I just love doing research and deep diving with characters so it was a combination of a few things.

AM: Obviously, not to have spoilers or anything, but where do we leave Neagley in Season 1 and where do we pick up with her again as we go into Season 2?

MS: You know, the good thing about the show is that each season is a contained story, right? We do 1 book per season so it feels quite satisfying where when we were in the first season, it was a limited series and if you’re watching the 2nd season, you don’t have to have seen the previous one to enjoy the next one. Of course, I think that you should so that you have an understanding of the character Reacher (Alan Ritchson), who he is and how he moves through the world.

But I think that we leave her and she’s come in to do her duty and to help save her friend. And now, we pick back up with her in Season 2 where there are bigger stakes for her and them because members of their unit have turned up dead. I think that is much more of a personal round and a personal story for all of our main characters this season. I think that the action and the scope of the season is indicative of that in terms of the action and the interplay between the characters and how stark it also is given that we shoot in the winter in Toronto.

AM: The final episode of the second season I was like, this is so exciting where everything ends. We know that it has already been greenlit for the 3rd season and we know that we will continue to see you. Do you know anything about the 3rd season that you’re able to share with us or what would you like to see if you were able to be in the Writer’s Room?

MS: I may or may not know things that I may or may not be able to talk about! So we can leave it at that ha ha! Of course, we will see Reacher do cool things in Season 3 and if Nealey shows up to lend him a hand again – hopefully that will be exciting for the fans as well as it has been in the other seasons. I think that the liberty of doing a book per season, we can dive into new stories as we adapt them for screen. The showrunners and the powers that be can fit it into what they feel is right for the TV version. So a lot more action of course, but the story changes in terms of scope, in terms of world, and I think that it will be interesting to see what comes next.

AM: Are there any upcoming projects that you have that we should keep an eye out for?

MS: I’m currently working on a few things on the writing side. I just finished a pilot which is a modern Western set in Wyoming where I also live. Right now, I also have 2 features in development, but they are in very early stages, but that’s what I plan to be working on for the writing side this year.

AM: When you’re not working on a project or in the throws of a project, how do you take time for yourself?

MS: I travel a lot. I love to go to different countries exploring different cultures. I specifically go to Mexico a lot, I go to Southern Africa a lot, I spend a lot of time on horseback in the bush in Southern Africa. There’s just nothing better than seeing wildlife from horseback. For me, it’s a great way to of course get inspired, reset, and step away from the hustle and bustle of our industry and just to have some stillness and to be off of our phones and to reconnect with nature.

IG @mariasten

PHOTOGRAPHY COURTESY | PG 38 - 45 + 45 Prime Video/Reacher | PG 42 9LIST STORI3S + PG 118 NEW YEAR N3W YOU Image Courtesy Maria Sten |

Our shoot with Maria Sten took place on Mulberry street in NoLita at il Pellicano and Bijoux Lounge. Following the credits from this photoshoot, we delve into into this restaurant as well as the lounge so that you can plan your next night out in an epic way!

IT'S ABOUT THE STORY COVER EDITORIAL | TEAM CREDITS

PHOTOGRAPHER Paul Farkas | FASHION STYLIST Kimmie Smith | MUA Rebecca Restrepo | HAIR STYLIST Corey Tuttle |

IG @pvfarkas

@shes.kimmie

@rebeccarestrepo

@coreytuttlehair

IT'S ABOUT THE STORY COVER EDITORIAL | CREDITS

LOUNGE LOOK PG 16-19 | BUCK MASON Molasses Lounge Wool Shirt + Pants |

FITNESS LOOK BACK COVER + PG 20 - 25 | COSMOLLE Air Wear Long Sleeve + High Waisted Legging Set | ATHLEISUREVERSE Varsity Jacket | NEW BALANCE 550 Sneakers |

OUT + ABOUT LOOK PG 26 - 29 | GREY BANDIT Adriana Coat | LNA CLOTHING Essential Cotton Kaden V Neck | MAVI Wide Leg Pant | ABBOTT LYON Curb Chain Necklace | SEQUIN JEWELRY Marleigh Evil Eye Charm Necklace | NAGICIA Braided Ring | SMARTGLASS JEWELRY Cube Gold Ring in Aqua and Antique Clear |

NIGHT OUT LOOK FRONT COVER PG 30 - 35 | FORE Dress | ALEX SOLDIER Silver Drop Earrings with White Topaz | LAGOS Caviar Beaded Ring, Black Caviar Silver Station Ceramic Caviar Beaded Bracelet, Black Caviar Single Station Ceramic Diamond Bracelet, Signature Caviar Silver Caviar Bracelet | STEVE MADDEN Evelyn |

PHOTOGRAPHY CREDITS

PAUL SHOT WITH | CANON Mark IV and Canon Lenses - 24-70, 70-200 + 50 1.2 | SIRUI Dragon Series Bendable RGB Panel Lights set of 2 of B25R*2 + DJ280 |

ATHLEISURE MAG: It was such a pleasure to have our cover shoot with Prime Video's Reacher star, Maria Sten. Tell me about the backgrounds of the co-owners of this restaurant from previous restaurants etc.

IL PELLICANO: Owner, Massimo Tabacco's journey from Rome to New York City in the mid-eighties led him to work in several esteemed Manhattan restaurants like Tre Merli, Azzurro Ciaobella, Coffee Shop, and Paper Moon Milano. In the early '90s, he opened Gilda near Saks 5th Avenue, where he forged a lasting friendship with Kyky Conille, who became a significant part of his citywide ventures. Kyky Conille is known for nightclubs in NYC like Provocateur, PM, the original Bijoux, and Lily Pond in the Hamptons. The restaurant is located above Kyky Conille and Dimitri Hyacinthe’s new club, Bijoux Lounge, which has become one of NYC’s hottest going out spots. Il Pellicano and Bijoux will be working together to deliver elevated dining upstairs and a late-night menu down for Bijoux’s patrons’ downstairs.

AM: When did il Pellicano launch and can you give us some background on the restaurant as I know you have a sister restaurant in CT.

IP: Popular, Fairfield, Connecticut Italian restaurant, il Pellicano, is opened its first NYC outpost. Known for their infusion of old classics with a modern twist, Il Pellicano will stand apart from the other traditional Italian restaurants on its block. Il Pellicano is located at 149 Mulberry, and encompasses a 50-seat dining room, a 40-seat front patio and 30-seat back garden. Owners Massimo Tabacco and Kyky Conilleofficially opened its doors to the public on Friday, January 12th.

AM: What is the importance of the Pelican?

IP: The Pelican (Il Pellicano) is a small hotel in Poro Ercole, Italy where Massimo (owner) used to ride to with his friends with motorcycles from Rome. Amazing ride on the coast of Tuscany, so it always had a sentimental meaning to him.

AM: Tell us about the design aesthetic of the restaurant and the meaning behind the name.

IP: The design is sleek and modern with green booths and gold light fixtures. The walls are filled with framed photos of Pelicans – drawing from the name.

AM: Who is the Executive Chef at il Pelicano on Mulberry St and can you provide information on their background and kitchens that they have worked in?

IP: Chef Saul Media is the executive chef at Il Pellicano on Mulberry Street. Chef Media’s heritage of Puebla Mexico is where the kitchen was his earliest classroom thanks to his grandmother and aunts. In his early twenties he embarked his journey to NYC, Connecticut, West Coast and then back to the East Coast making a mark in the world of culinary arts. With Chef Media’s first few years in the trenches starting as a dishwasher, then a line cool and then eventually cooking in renowned establishments including Gibsons Italia in Chicago, The Mark by Jean-Georges in New York, G’ios Italian and Cena’s restaurant in Tampa Bay, and the iconic steakhouse, The Forge, in Miami, among others.

AM: For those who are coming for lunch, tell us about 3 appetizers that we should try when dining with family or friends?

IP: Olive Oil Flight – three select styles of monini single harvest olive oil served with fresh baked herb focaccia

Caesar Salad – romaine arugula, croutons, parmigiano Reggiano, Caesar dressing

Heirloom Tomato Caprese – bocconcini mozzarella, basil oil, balsamic pearls, parmesan gel

AM: What are 3 main dishes that you suggest that we should have when we're coming in for lunch with family and friends?

IP: Chicken Milanese - arugula, tomato, cucumber, onion meyer lemon vinaigrette

Cacio E Pepe – Bucatini, Pecorino, Cracked Black Pepper

Tuscan Steak Sandwich – Shaved steak, cubanelle pepper, raclette cheese, carmalized onion

AM: What are 3 cocktails or wines that would be great to pair with our meal?

IP: Super Tuscan, Promis by Gaja, ITALY

Sancerre, Moulin Camus, ITALY

Barreled Negroni – Gin, Campari, Antica & Barrel aged in House

AM: For dinner, what are 3 dishes that you suggest to begin our meal?

IP: Forgmaggi e Salumi – rotating selection of curated meats and cheeses and house made accompaniments.

Carpaccio Di Polpo – thinly sliced octopus, roasted eggplant and tomato musarda, sherry glaze

Suppli di Riso Funghi – roman rice rice ball stuffed with mozzarella, parm, truffle dust, pistachio cream

AM: What are 3 dishes that we should have our eye on?

IP: Carbonara fettuccine - parmiggiano reggiano, guanciale and cracked pepper

Tartufo Al Funghi - pappardelle, wild mushroom blend, white truffle, pecorino romano

Pork Chop Scarpariello - cherry peppers, onions, white balsamic, crispy potatoes

AM: What are 3 sides that we should have with them?

IP: Rainbow Carrots, Mushroom Blend, and Asparagus.

AM: What are 3 cocktails that we should have in mind?

IP: Olive Oil Martini - tito’s fat washed with monini olive oil, cocchi bianco, brine, castelvetrano

Durazno Verde - tequila, ancho reyes, peach, lime, poblano ice, tajin

Amari & Aperitivo - a custom cocktail experience: select the bitter and the bartenders do the rest!

AM: What are there 3 dessert options that you suggest?

IP: The Almond Cake, The Smoked Burrata with Dried Figs, Infused in Truffle Honey, and the Chocolate Budino.

AM: As we navigate the winter and look towards the spring, are there any events that we should know about?

IP: Weekend truffle party brunches and a new truffle menu launching.

In Athleisure Mag's DEC ISSUE #96, Bijoux Lounge was featured in Athleisure List. We wanted to share a bit more about this hot spot!

As temperatures drop below freezing, venturing out for a night in NYC has become dreadful. The struggle of searching for a spot to stow away your bulky winter coat, spending ungodly amounts to Uber two blocks or enduring long club lines is very real. What if we told you there was a way to enjoy an entire night out without ever leaving a single location? In the past year, it has become increasingly common to bars/clubs or vice versa allowing you to complete the night out within the confines of one building. Il Pellicano & Bijoux Lounge is NYC’s newest restaurant and bar combination. Nightlife maven Lionel “Kyky” Conille, a pioneer and renowned for his NYC nightclubs like Provocateur, PM, the original Bijoux, and Lily Pond in the Hamptons, quietly marked his return to the scene with the opening of Bijoux Lounge at the end of 2023. This speakeasy-style, moody red-lit club has already hosted notable events, including the 21st birthday celebration of "Summer I Turned Pretty" star Lola Tung and Society Management's model-filled holiday party. Above the bar, Bijoux owner Conille and longtime friend Massimo Tabacco unveiled Il Pellicano a few weeks ago. The menu promises a seamless fusion of timeless and contemporary Italian flavors, echoing some of the beloved dishes from Il Pellicano's Connecticut location. Collaborating seamlessly, Bijoux and Il Pellicano are set to provide a can't miss elevated dining experience upstairs and a late-night menu downstairs.

IG @ilpellicanonewyork

@bijouxnyc

Read the JAN ISSUE #97 of Athleisure Mag and see IT’S ABOUT THE STORY | Maria Sten in mag.

IT'S ALL JUST STORY | RODNEY BARNES

This year when the NBA unveiled their 75th Anniversary Team of retired and active players, it included 17 members who played for the Lakers which includes the Showtime era of the 70/80s with players Kareem Abdul-Jabbar and Magic Johnson. To understand the importance of this era and what it did to how we enjoy the game, and how it moved the game forward in terms of commerce and making players brand, Winning Time: The Rise of the Lakers Dynasty illustrates the dynamics at play.

We talked with Rodney Barnes, who has written for STARZ Heels, STARZ American Gods, Everybody Hates Chris and more. He shares how he got into the industry, the positions he has held, his approach to his work, being the Executive Producer and writer for Winning Time, Zombie Love Studios and his passion for comic books and graphic novels.

ATHLEISURE MAG: You’ve worked in various positions in the entertainment industry as a Production Assistant, showrunner, Executive Producer and an award-winning screenwriter. With all of these roles, what was the moment that you realized that you wanted to work in this industry?

RODNEY BARNES: I was going to Howard University and I was in the School of C (Howard University Cathy Hughs School of Communication) and I was working at Georgetown Law Center as a campus cop at night and I found out that the movie The Pelican Brief was coming to my job to film some scenes. So I was really excited because it’s one thing to go to school for this and it’s another thing to actually be able to see it up close. So I signed up for all of the overtime details and I got them all. I started watching the movie being put together and it was so exciting! So I met a guy and he was the PA, he was a Key Set PA. So I asked him how I could get a job doing what he did. He said that that weekend, they had some big scenes that were taking place at the Washington Monument and that if I wanted to come and do it for a day, they'd be happy to have me.

So I did it and it was the most exciting, fun and best $100 that I ever made in my entire life! It was something about it that felt right. I felt more purpose in doing that and being close to this thing that I wanted to be close to then I did doing anything else that paid a lot better. I quit my job at Georgetown and started working as a PA full time.

AM: What a story, we always tell people that we embrace the multi-hyphenate. As someone who has worked in a number of roles and continues to do so from writing and producing, when did you know that you wanted to take on these areas and what the specific area was that you wanted to start in first? Or was there just a confluence that took place to make all of this come together?

RB: I knew I wanted to be a writer, but I knew what I didn’t know. I knew that I didn’t understand how any of this worked and I had a very fundamental understanding of what writing was and telling stories. Quite frankly, emotionally and psychologically, I wasn’t mature enough or evolved enough to be able to take on the big job. So, working as a PA, I look at it as being an apprentice. I had an opportunity to meet people, to sort of find my tribe, to figure out the psychology of how it would work and to just get my legs under me which was a bit like bootcamp. It was always writing, but I had to build up to the idea of being able to take my shot at it because it just felt too big.

AM: What do you think was the biggest thing that you learned from being a PA that has helped you with your career or was it just being able to see all the parts that were moving and to be able to understand how they connect?

RB: There was that. I think that the thing for me was that I always had this idea that everybody in Hollywood must be a genius and I haven’t met a genius yet. But, what I have met are some folks that have worked really really hard at their craft. It sort of demystified the entire process for me in being able to see it up close and to be able to observe. I wouldn’t say that I was a vital part although I know that some people would disagree. It was sort of the type of thing where getting to know people as friends and mentors even though that’s a problematic word as no one put their arm around me and said, “son this is what you do.” But they allowed me to be in their circle and to be able to see how the sausage is made. I got an opportunity to be able to just see things up close and to decide whether or not I could do it, if I wanted to do it and the closer I got to the thing that I wanted, the better that things got for me, but I wouldn’t have been able to do any of it if I hadn’t been a PA.

AM: From a screenwriting aspect, you have written a number of things. I loved your work in American Gods which I loved that show and obviously Winning Time and then you look at shows like Everybody Hates Chris. How do you get inspiration to write and then where do you start from when you’re trying to put words to paper to create these worlds for us?

RB: I never looked at it from a place of inspiration because if I need the emotional investment to do it, then I’m not going to be inspired some of those days and I’m still going to have to do it. For me, the difference was, approaching every day like I’m at work which was no different then when I was at Walmart or Target or any of those places that I worked at along the way. I had to get up, I had to work, I didn’t feel like it and then somewhere midday or so, it got a little bit better and then a little bit better. I sort of approach writing in the same way. I have a lot of resistance on the days that I don’t feel like doing it, but it needs to be done because I have a deadline. 78% of the time, I’m able to be disciplined and I’m able to get it done and the other times, I might go to the movies, sit and watch a game or do something else when I’m supposed to be writing. But I think it’s more of a discipline of doing the thing than an emotional component to it. There are days where I feel it and if I'm writing something like a horror driven thing like in my graphic novels, I'm enjoying it a great deal so it’s easier to do, but whether I feel it or I don’t feel it or am some place in between, I still do it.

AM: Just to circle back to American Gods, one of my minors in college was Classical Civilization so it covered mythologies of the world in addition to Greece and Rome and included African and Asian nations. So when I watched it, I loved seeing all of these stories that came to life. What was it like writing for that?

RB: It was great! The best thing that came out of it was my relationship with Orlando Jones (Sleepy Hollow, American Gods, The Good Lord Bird) who played Anansi/Mr. Nancy on our show. I had a similar thing as you, I didn’t do it in college but I studied a lot of different types of mythology and some of these characters like Anansi and Bilquis and others, you don’t really get to hear a lot about them. Because of comic books, you get Thor and Zeus, Odin and Hercules and those guys but oftentimes, Gods of color don’t get a lot of love. Even when they do, it’s in secondary roles. Working for American Gods and I’m a huge Neil Gaiman fan. So to be able to play in that sort of world and get some genre credits under my name was great as I have a comic book company and I also tell a lot of genre driven stories so being able to legitimize that beyond wanting to do it was always something that I wanted to do.

AM: It was such a phenomenal series. I remember seeing the episodes and being able to see some of these characters that I had read about being brought to life so fully, it kept me glued and it was truly incredible.

So as a screenwriter, what is that process like in terms of getting attached to a project and how does one pitch themselves to get into this work?

RB: Well my agents do a lot of my pitching. They typically open doors, but I’d say that about 75% of the work that I get, outside of the things that I create, really comes from via word of mouth. Right now it’s a good time because of Winning Time and people seemingly are enjoying it and you get a lot of offers to do things because they like it which I am grateful for and it is a blessing. More often than not, it’s about putting yourself in the right position you know? People know that I write graphic books and comic books so whenever a project like that comes around and it seems like they can use a writer like me, oftentimes, they’ll call or not so much now because I have been doing it for awhile but maybe 7 or 8 years ago, if it was something that I had heard about that was coming down the pike, I would tell my agents to keep an eye out on it and then see if maybe they could get me up there to be considered.

AM: Is it a different flow for you when you’re writing for the BET Awards or the Oscars – is there a different approach because it’s a live audience or a different format then just a show or even the comic books?

RB: Not really, I look at all of it like it’s story whether it’s writing a joke, Chris Rock or one of his specials or whoever I’m working for for the Oscars or an awards show. Even a joke is a story. It has a beginning, a middle and an end. Whether I’m telling a funny story or a horrifying story or a dramatic story, at the end of the day, it’s all a story. So, I approach it all the same way. The biggest thing for me is really understanding who’s going to be interpreting the words. Like, I work a lot with Chris Rock, and I know him really, really well so if I’m going to pitch something to him, I incorporate that knowledge into the pitch. Like, I can sort of filter myself and know that he wouldn’t like this or he would really like that part. In writing the shows, I have built a great relationship with a lot of our cast and so, I try to write to their strengths as well as to the story that I am trying to tell. When I am saying that I’m writing to their strengths, I'm talking dialogue. There is a cadence to how people talk and if you can make it easier for them to interpret the words, I think that they become more comfortable with it so it's really more so about having familiarity with it for the task at hand.

AM: Also in your body of work, you have been a co-producer and a producer in shows like Heels, Winning Time and Wu-Tang: An American Saga. We’ve had a number of WWE wrestlers as our cover and shared their stories so seeing Heels was another show that we enjoyed. When did you realize that you wanted to add these roles into your body of work and how does that change your perspective especially when you're also writing the show as well?

RB: Well it’s funny, those titles of producing can mean a lot of different things. Earlier in my career, say on My Wife and Kids, when I was a producer, it wasn’t really a lot more to do than sitting in a room and writing. It’s sort of like the government, government jobs they have G-1, G-2 as you work up and it’s sort of like that in television in writing as well. If you do it long enough, you start out as a staff writer and then you move up to a story editor and then an executive story editor and then you go up through the WGA (Writers Guild of America) classifications that go with moving up. But then, in certain gigs like in Everybody Hates Chris, I was in the writer’s room and wrote a number of episodes, but I also produced the voiceover that you would hear in every show. So I would write the lines and go with Chris Rock and go record the lines together and then I would place them in the show in editing. So, to me that was actually the beginning of actually producing and so on different shows, that idea of what a producer means is something different.

On Winning Time, I actually work with the actors whether it’s working on set with their lines, working with the director to see whether or not a shot is sort of lining up with how we saw it when we were writing the show – it can mean a lot of different things. There are some shows where I have been an EP and it didn't mean anything more than just writing a show and putting it together or on some shows I'm actually tangibly doing something different. On American Gods, I wrote and also worked on the set with the actors and the director as well and putting it all together. On Heels, not so much. Marvel's Runaways – not so much. But it’s different with each one, so it’s a classification that comes with being a TV writer and as the responsibilities go, it has more to do with what that show requires.

AM: When I first heard about Winning Time last fall, I knew I was going to love it, I remember as a kid in 1986 loving this team even though I grew up in Indiana and it continues even though I live in NY now. So seeing this story, hearing about this story and getting this inside scoop of what was going on has made it really enjoyable to watch. How did you get attached to this project and what made you want to be involved?

RB: Max Borenstein (Kong: Skull Island, Worth, Godzilla vs Kong) who is our showrunner and the other Executive Producer as well, he and I have been writing together for about 10 years and when Jim Hecht (Fairly OddParents, Ice Age 2: The Meltdown, The Ice Age Adventures of Buck Wild) first optioned the book, he got the book to Adam McKay (Talladega Nights: The Ballad of Ricky Bobby, Vice, Don’t Look Up), and he got it to HBO and they said they would do a pilot I believe, I don’t know if the project was picked up then. They hired Max, Max called me and I said yes that I would want to be a part of it. That’s how it started.

AM: It’s an incredible cast and I love McKay films and the people that are in it. In terms of writing this where you had Jeff Pearlman’s book Showtime: Magic, Kareem, Riley and the Los Angeles Lakers Dynasty of the 1980s, how much source material did you have as I know players of that time as well as the franchise didn’t reach out to you on this. How did you coalesce these things all together to create this story and to provide that insider feel?

RB: Well we were really fortunate that book. So we studied a lot of books and Rick Fox, former Laker was our technical advisor, we talked to a lot of folks who were around the team at that time who worked for the organization, YouTube – we did a lot of research everywhere – articles anything that we could find. We sort of incorporated into the narrative and some stuff we had to tie in together for dramatization purposes.

AM: Obviously with the people that were involved, John C Reilly (Gangs of New York, The Aviator, Anchorman II: The Legend Continues), Jason Clarke (Brotherhood, Chappaquiddick, Silk Road), Rob Morgan (Stranger Things, The United States vs. Billie Holiday, Don’t Look Up), Jason Segel (How I Met Your Mother, Dispatches from Elsewhere, Hotel Artemis) and Adrien Brody (The Grand Budapest Hotel, Peaky Blinders, Succession) etc, there are actors in there where there is a lot of secret sauce. You have actors who were athletic but didn’t play basketball and having to do so for this role, having Quincy Isaiah play such a key and iconic person who was new to this platform, how did all of this come together to get that energy, to make an audience believe that these people who be playing this game even though they didn’t necessarily have this background?

RB: Francine Maisler (Uncut Gems, Being the Ricardos, Dune) is our casting director and she did a great job finding folks. Sometimes you get lucky like in the case of Quincy who is from Michigan and was an athlete – a football player. He had to lose 80lbs or so to come down to being able to have a Magic Johnson-like look. Solomon Hughes who plays, Kareem Adbul-Jabbar is an educator, is 7-feet tall, plays jazz and he played basketball on a professional level before. You just get lucky sometimes. I think that that’s across the board in finding people that not only have the talent but also the emotional stuff.

If you think about our players, they have to learn how to play the game because some had never played the game before, they had to be convincing to learn how to play a particular way that their character played, they had to go through physical training everyday and then they had to learn their lines and then they had to act. So there would be times when they would have to come from training, be on set, leave their work, leave set and go and play basketball everyday for however long – for a year or so. Then there is the training that went into it before hand and always having a good attitude about it as they were going. We got really really fortunate to find the folks that we found.

AM: When did you realize that you were going to be Maurice?

RB: I’ll tell you when I was working, Max was working on a movie called Worth in NY that’s on Netflix now. I was working on the first season of Wu-Tang: An American Saga. I was in Staten Island, he was in Manhattan. We would meet on the weekends and we would go over it with Jim Hecht and Rebecca Bertuch (Worth) and we would work on putting the show together. Every now and then, this name would pop up, Maurice, Maurice, Maurice – like who the hell is Maurice? Oh, you’re going to see and it was like an inside joke. They knew that I didn’t know. When we were officially on board and we started in the writer’s room in LA, we had all the pictures up of the actors on the wall and then there was a picture of me. I was like, “why is my picture on the wall?” They said, you’re going to play Maurice and I was like, “oh, ok – haha Maurice.” So Max actually wrote Maurice’s lines and the only scene that I had at one time was the scene with Pat Reily where I don’t let him in The Forum. I thought, “ok, I can do that, I’ve been a security guard my whole damn life!” I know how to say you can’t come in. You don’t even need to even write out the lines just let me stand there and I know how to not let you in some place. Then, all of a sudden, I started seeing Maurice pop up in other scripts! He's like a leprechaun where he sort of shows up in different places and I'm like, "why am I popping up?” and then I had a walk and talk which is very difficult as an actor because you have to walk, you have to think and you have to move which was in episode 5 where I had that scene. I was nervous about that scene. Actually, I messed up the scene that is on. I messed up a line but Gabby Hoffman (High Maintenance, Girls, Transparent) who plays Claire Rothman is so great, you would never know because she kept going and I kept going and so that was it and they cut and we went on with the day – but I messed up.

It's cool, the network likes it, everyone likes him and I think that Maurice is going to come back and probably say more words.

AM: We always like when he pops up!

RB: Well, thank you! As long as I stay big and relatively menacing and intimidating, Maurice will probably be around.

AM: What has been your biggest takeaway of being part of this particular project, seeing it come together and the reception of people loving this?

RB: Anytime you work hard at a thing for a long time that is intended to entertain people, you always want that to land the way it is intended so that people are entertained. I think that we’ve got a great reception and that people really seem to like it and it’s sort of gratifying because I and a lot of people give a lot when you do these sort of things and it’s not easily assembled. For me certainly being able to talk about African American culture as it pertains to sports in a way that is sort of elevated is always an honor. It’s a good thing.

AM: Well, you guys have been greenlit for a second season. What does that look like, what do you want to tackle – will it continue with these same players or will it be another part of Laker history or even another time in NBA history for a Winning Time situation?

RB: As of the moment, the plan is to continue on in the same narrative and to just keep telling the story as we have been. Even now, when we first started the process before, we were going in the third or fourth iteration of what you see on screen now – we were going to go a lot faster. Then, the decision was made during COVID to slow down the process of storytelling and we had to go back to the drawing board a couple of times to slow it down. I say all of that to say that you never know. We could speed up a couple of seasons, we can keep going the way that it is, but I think that the plan for now is to continue going in the direction that it is.

AM: One of the things that I enjoy especially with a lot of the HBO shows is that there is a companion podcast and literally, I can’t wait until Mon to listen to the show which drops right after the episode airs on Sun. I listen to JB Smoove and then I listen to your podcast. It’s great to get your insights, what’s going on – the Rob Morgan episode was really great to hear. Every episode is great as there are so many tidbits that can be enjoyed. How did you get attached to hosting this podcast and how much input do you have over who ends up being on the episode with you?

RB: Very similar to how I became Maurice. Somebody thought that it would be a good idea to have me do it and my first reaction was, I have never done a podcast before and they were like, “oh you can do it.” I think that I tried to back out a couple of times and they were like no just give it a shot. I think that I got better as time went on which is sort of the course of life, the more you do it, the better you get at the thing that you do. But, it also helps that I know everybody. Everybody that I have had on so far whether it was Snoop Dogg, Rob Morgan or Quincy, or Max or whoever, I know them. It’s like having a conversation with someone who is a friend and not so much like talking to someone who is a stranger.

They always ask me who I would like to have on and I try to spread it around between the cast members, but also the people behind the scenes. I had Todd Banhazl (Janelle Monae: Dirty Computer, They Call Me Magic, Hustlers), I had Max, I had Jim Hecht, Rebecca, I had Sarah Scott (Pam & Tommy, The Offer, The Flight Attendant) our intimacy coordinator. I had Idan Ravin whose the basketball coordinator. I had our director Salli Richardson (The Chi, Altered Carbon, The Wheel of Time) and Tanya Hamilton (Big Sky, The Deuce, Snowfall). I try to mix it up where you have one of the cast members and then someone who is a technical part of the team so that for people who are interested in being part of the business as one time I was, you can actually hear some of what they do and realize that there are a number of jobs besides the big 4 or 5 at producer, director, writer. There are a lot of other things to be done and some things may spark to someone and hopefully that podcast can help a little bit.

AM: We love seeing the birth of the NBA as we know it today as this entertainment platform with next level dancers, club lounges and had this came together with Dr. Buss. This has become the standard for what it means to go to a NBA game. Being able to hear more about Jack McKinney and his time with the Lakers. I knew he was a coach for the Pacers, but I didn’t know about his backstory. What is it that you want audiences to walk away with after watching this season or subsequent seasons?

RB: Always with our show, we have what you know and the thing that you can Google and find out. Who won the game, who lost the game and those types of things. But there’s also those things that you didn’t know. Like in the case of Jack McKinney, a lot of people had forgotten not just him, but the accident that he was in – the basketball accident and how that changed the course of the Lakers coaching dynamic. So, being able to tell some of those stories and show the Shakespearean dynamic of the coaching system with Paul West head and Pat Riley, most people know Pat Riley being the Lakers coach and they sort of identify with just him, but there were other guys too.

I think that the other side of that coin is Spencer Haywood who was a big part of NBA free agency and a lot of how we look at basketball today in the fact that we can look at James Harden and see him go from team to team to team or LeBron just being able to go to the Heat and all of that – a lot of that has to do with Spencer Haywood and going to court to battle for free agency rights for players. When I was growing up watching the NBA, I’m from Maryland so we had the Bullets, now the Wizards. Usually if a player got drafted, he played with one team for his entire career. It was big news when a player would move from one team to another.

Now, when you look at the change and the evolution both in the style of play when you look at the Showtime offense of Jack McKinney that evolved and to Spencer Haywood’s contribution, that you see in these 2 gentleman, it has a lot to do with the way that the game is played and it’s rarely recognized over the course of history. Anytime we can incorporate things that folks don’t know, it’s always a treat!

AM: Usually, when an episode concludes, we’re usually Googling about 4 things! It becomes a great way to understand how far the game has come in really such a short period of time and how things are so different and the shoulders that people stood on to get to where we are now.

RB: Exactly.

AM: Where did your love for comic books come from. You have Killadelphia that you’re writing, Marvel, Star Wars universes and Lucas Film Studios – where did this come from?

RB: The only inciting influence that I can find in my mind and my heart was that my mother was a school teacher. Before computers and all of that stuff, she would go to the public library to do her lesson plans and she would bring me. There was always this area where you would have kids like in a pen, your Cat in the Hat, Curious George books etc. I had no interest in any of those books because under those books was a box and in that box was comic books. I knew exactly where it was and I don’t think that they ever changed them in all the years that I went. I would just sit in the corner and read them for hours. It sort of became a thing where it was infectious you know? The moral throughline and some of the stories were more evolved than what my 5 or 6 year old mind could handle but I was intrigued by that idea. Then later, people would give them to me and my grandfather would call them funny books back then. They would give me a stack of them and it was a way to keep me quiet. Later on, when I would have odd jobs, I would buy them. This was during a period of time where you could get comic books anywhere – the convenience store, liquor store, virtually any place that had a spinner rack full of comics. Now, you have to go to a comic shop on Wed to get them. But back then, they were readily available and they were only 20 cents or a quarter. Now they’re $4 if not more.

It was just a love that just evolved along with my life. In the beginning, it was mostly about the art and the story. Then in my teen and later years, there were guys like Alan Moore (Watchmen, V for Vendetta, Swamp Thing) and Grant Morrison (Doom Patrol, New X-Men, Fantastic Four 1234) and Frank Miller (Daredevil, The Dark Knight Returns, Sin City), they sort of made it like literature and evolved into something that was more serious and that kept me involved and then later television and film like most people. So there has always been this relationship.

When I was younger, I tried to write comics professionally, but couldn’t find a way in. Like a lot of things that I’m sure people feel with television and film, it’s a tough nut to crack. But even more so back then, there weren’t a whole lot of African American characters and there wasn’t a big indie space when I was coming up. It was just Marvel and DC and every once in a while there’d be a new company that would pop in. They didn’t have the same distribution chain as DC so you were relegated to those 10 characters maybe if there were 10. I think that a lot of times, companies back then felt like unless you were writing for a character of color, what’s the point of hiring this person? So for me, I wanted to take a shot at writing a comic so when I was on the show Runaways which was a Marvel show, they liked my work and I sort of leveraged the appreciation of my work to say, “hey if you guys have any relationship with Marvel Publishing, I’d love to write a comic book.” They gave me Falcon. I quickly realized that I had no idea what the hell I was doing or how to write a comic book. I just took my shot. It was received ok-ish. Then again like the podcast, I kept doing it again and again and again and I got better and better and better at it and then I had the idea for Killadelphia and started a whole new thing. Now I write 10 books a month and I have my own company and it’s taken on a life all of it’s own.

AM: Which is amazing and I know in looking at your IG, you were talking about The Mandalorian which I’m a fan of. You have a project coming out in June – can you tell us more?

RB: Yes, it’s June the 22nd, The Mandalorian adaptation of the TV show and it’s the first adaptation that Marvel and Lucas Film have done with a project. It’s basically straight adaptation of that story. They don’t let you deviate too far from the story because it’s Star Wars cannon and you can’t really interfere or add new things because it’s connected to the television show. So I basically do my version of the television show would be.

AM: It’s still very cool though!

RB: Yes, it’s an honor to play in that space.

I just finished IG-88 Star Wars: War of the Bounty Hunters and I did Lando Double or Nothing earlier. I love to play in the space. I have a Luke Cage short that’s coming up and maybe a Luke Cage miniseries coming up for Marvel. So anytime you get to play in that space, it’s always fun because it’s such a big fan base that you get to connect with that many people is always an honor.

AM: You created Zombie Love Studio which deals with creating original graphic novels and things of that nature, what are some things coming out of there that you want to highlight?

RB: The first book is Blacula, a reboot of the Blacula character from Blaxploitation era in Oct/Nov which should be dropping then. I also have another book, Florence and Normandie and alien attack story that takes place on the corner of Florence and Normandie famous because of the Rodney King riots that started from there. I’m writing that with Xzibit. I have Tales from the Crip with Snoop Dogg which is the Crip Keeper. I have a book called Crownsville which is set in one of the first black mental asylums in America that’s a ghost story.

There's a bunch of other things that we’re developing that are moving along. There aren’t enough hours in the day, but I’m really excited about it all and it’s coming together slowly but surely.

AM: The depth of what you’ve done is truly phenomenal. What are things on your bucket list that you have yet to do or areas that you want to put into that body of work that you haven’t but that you’re still interested in tackling.

RB: Well certainly, developing the Zombie Love books and Killadelphia and things like that into my Substack page where I do 4 of the books. 3 that are connected to the Killadelphia world which is the book that I do at Image. There are 3 books that I do at Image, Killadelphia, Nita Hawes’ Nightmare Blog and Monarch an alien attack miniseries that I am doing. My Substack page has 3 other series, Johnny Gatlin who is a gun slinger in hell and hell is like the Wild West. 20 Degrees Past Rigor which is a zombie story set in Flint, Michigan where zombies are connected to the polluted waters of Flint. The Butcher of Black Bottom which is a serial killer story set in 1920’s Black Bottom section of Detroit. Then there’s Elysium Gardens which is in the back of Killadelphia which has an ongoing story on a Substack page. So, there are those books as well. There’s a lot of stuff and next, I hope to adopt a lot of those things into other forms of media whether it’s animated, live action or television or those kinds of things.

AM: Because you have so many projects that are just in constant rotation, how do you deal with the overlap? Do you have to be at a certain point before you take other things on – do you slice it up like a pizza and mix it the best that you can?

RB: Ha! That’s basically it. I try to tackle each thing as the day comes at me. I usually get up at 4 in the morning and then I start writing and I get the comic book stuff done in the morning. Then I tackle my day jobs like Winning Time or anything else that I have in front of me and I take it as the day comes. Whoever is yelling the most that is owed the thing to them – so yeah! Whoever’s voice is the loudest at the moment!

AM: I think that the time that we’re living in right now, although there is still a need for a lot more representation, to think of myself now versus the younger me who wouldn’t have thought to know that there would be an Ava Du Vernay (A Wrinkle in Time, Queen Sugar, Girls Trip), yourself, Shonda Rhimes (Bridgerton, Inventing Anna, Grey’s Anatomy) all these people that are moving storytelling forward. How important is it for you to reflect that in your work and to have POC be able to see themselves as well as for others to understand why they need to be an ally and to make these spaces more open?

RB: Well I think it’s important because the world doesn’t connect in the same way anymore like physically. We don’t talk to each other the way that we used to and it wasn’t perfect back then either. It’s more important than ever to be able to tell stories that have a ring of truth or some semblance of honesty. That way you get to see people as they are good, bad and indifferent more so than as a caricature or something that feels contrived in some way. I think that a lot of the biases that we hold with each other comes from those depictions. I know since 1619, a concerted effort was made speaking directly to African American culture to make us less than human. There’s one idea of being less than human, but you have to reinforce that on a regular basis. So you either make them caricatures or villains – one extreme or the other. If that idea has the ability to sort of ferment for 400 years or more then you’re at a place where it almost becomes truth because you’re so used to seeing that be the case.

So when you have this culture that is fighting for a slice of the pie or some semblance for respect and dignity, living in a culture and you’re sort of burdened by living with that depiction. It's really a hard thing to overcome because then even the culture itself starts to believe it – is this who I am and some people do. That can be problematic in its own way because you start to devalue yourself and people who look like you.

So I think that the more folks that can get in for various gender, sexual orientation, race or whatever it may be – to be able to speak to your truth in an honest way cannot only help you and the group that you’re in but also people outside of that group so that they have a better understanding of who you are and the struggle that you navigate just to be a human being and to have a human experience.

AM: Who are 3 people that you feel were profound, instrumental or helpful to be in your career?

RB: Damon Wayans (My Wife and Kids, Lethal Weapon, Major Payne) is always first! He was the first person that gave me an opportunity to work on a television show. Were it not for him, I wouldn’t be here. Don Reo (Everybody Hates Chris, Two and a Half Men, The Ranch) who was the showrunner and creator with Damon on My Wife and Kids. He helped take whatever raw ability I had and allowed me into a space in a way that pushed me to a space where I was able to see for myself what I had to do. I’m eternally grateful to him as well. I have to say that there is a tie for number 3 Allen Hughes (Dead Presidents, Menace II Society, The Book of Eli) of the Hughes Brothers, a director. He helped me to bridge art and commerce. He gave me an opportunity to write in a different type of way and helped me find my way of doing art. He was very supportive in that. Then, Max Borenstein who is our showrunner on Winning Time who sort of did the same thing but in a different way. There’s a push sometimes that you need to get out of where you have been to where you want to be and Max was very helpful in being able to push me. Beyond him pushing me, was me pushing me as well. There are a lot of other people and if you had given me 10 or 20, I could have continued on with other people who have helped me even if it was just survival – that’s important as well. So when it comes to writing and being a professional writer, those people come to mind.

IG @therodneybarnes

PHOTOGRAPHY CREDITS | PG 78 Warrick Page/HBO MAX | PG 81 - 85 STARZ/American Gods | PG 87 + 88 STARZ/Heels | PG 91 -102 HBO MAX/Winning Time |

Read the APR ISSUE #77 of Athleisure Mag and see IT’S ALL JUST STORY | Rodney Barnes in mag.

THE ULTIMATE BITE WITH MING TSAI

We've been a fan of Chef Ming Tsai for a number of years from attending a decadent editor's event where he paired savory dishes with a premium alcohol brand, watching him on his shows sharing his love for East meets West cooking, to seeing him on a number of shows judging - we love seeing his passion when he is creating his dishes. As someone who is known for his restaurants, TV shows, cookbooks, cooking line and more, we wanted to see how he has been navigating the past few months, find out how he came to the food industry and to find out more about one of his newest projects MingsBings!

ATHLEISURE MAG: Before we delve into your culinary career, you were a professional squash player and played at Yale– what is it that you love about the game and do you still play it?

CHEF MING TSAI: I am one of the most competitive people I know and squash to me is one of the most intense sports because you are enclosed in a small room with one other person and there is no-where to hide. If you are on a team sport like football or basketball you could in theory get lost in the shuffle. On a squash court, it’s two people and you’re responsible for your own actions and you control your own fate. The one curious rule is if you hit the other person with the ball you actually win the point. To someone outside the sport, you could in theory keep hitting the other person, but the other person could also keep hitting you back and they might hit you harder. Squash is a game of true sportsmanship, it’s a prerequisite.

I continue to play today mostly because I’m coaching my son David who proudly is following in my footsteps at Yale. As a side note, as a Chef, I love playing to burn a ton of calories, but it’s also a great way to get rid of stress (it’s very therapeutic), particularly right now during COVID which has hit the restaurant industry really hard.

AM: What was the moment when you fell in love with food?

CHEF MT: Apparently my first word was Nui Nai, which means milk. As soon as I could walk without falling over, which was maybe around 2 years old, I was always hanging out in the kitchen. I would watch my parents or grandparents in the kitchen cooking admiring the wok over the fire, their knives with the cutting board, but most importantly I learned early on that by hanging out in the kitchen, you'll be fed faster there. I kept coming back for more, I knew there was something about being in the kitchen that made me happy, and I was, still am and always will be hungry.

AM: When did your interest in food turn into wanting to work in the industry?

CHEF MT: I became interested in the food industry early on because my parents used to do private catering events and festivals. As early as age 10, I was frying egg rolls for thousands of people next to my grandfather. My first epiphany with food was also at age 10. My parents had friends over, unannounced because the couple happened to be driving through Dayton which is where we lived at the time. In the Chinese culture, you don’t ask “How Are You?” when greeting someone at the door, you actually ask, “Have you eaten?,” so I took it upon myself to make them my first fried rice. It by no means was my best, but in an instant when I watched all four of them, my parents and their friends, enjoying the meal, I realized I could make people happy through food. It was a true epiphany that to this day, is why I love being a chef.

AM: How would you define your cooking style?

CHEF MT: East-West, blending of techniques and ingredients that produces food that is bold in flavor and contrasting temperatures and textures that at the end of the day is inherently healthy. I’m more plant-based now more than ever.

AM: What was your culinary journey that you led to opening Blue Ginger?

CHEF MT: I cooked at the Mandarin Kitchen, with my mom. During college, I went to Paris for apprenticeships and then went to Le Cordon Bleu. After college, I moved to Paris and worked as a Pastry cook at Fauchon with Pierre Hermé. After that, I worked as a Sous Chef at the restaurantNatasha. That was the first time I was able to first blend East-West flavors in a professional sense. After two years in Paris, with the goal of opening my own restaurant one day being a good Chinese son, I went to Cornell to get a masters in Hospitality and Marketing. After I received my masters, I went to open a bunch of restaurants in hotels and ended up at the Intercontinental where I helped open 5 restaurants and 2 hotels. I realized I missed cooking in the kitchen and wanted to get back into the kitchen. That’s when I went to the Mandarin Oriental and worked at Silks. In 1990 Ken Hom was the head chef and he greatly encouraged me to keep, cooking the East-West style, it was really significant for me. Funnily enough, Silks was also where I met my best chef friend Ken Oringer. After Silks, I went to Santa Café in Santa Fe, where I did East-meets-South-west food. It was a significant period be-cause not only was it my first executive chef job, when I got my highest Zagat rating, but was also when Food Network “discovered me”. I took a liking to teaching what I knew in the kitchen and spreading my love of food to the masses. After two years though, I was ready to open my own place. I decided to move back to East to Boston and from there I opened BlueGinger in 1998.

AM: What were the biggest lessons that you learned when you opened your first restaurant?

CHEF MT: There are three big important lessons. The first is design build. The architect and general contractor have to speak the same language. You can’t build a 13-foot wall because planks of wood come in 12 feet foot pieces. You have to think about the way materials come in when you design something. A round booth costs twice as much as a square, but they can seat the same amount of people.

The second piece to this is you have to be there daily to save time and money. Plus if you are there every day, everyone works a little faster and you’ll save time with decisions and money. This helps to not only finish on time and but, will help save with your budget. The other piece to this is In-spect your space before you take over the lease really well. Make sure you drill into walls for water damage, asbestos etc. The second is cash-flow. When you raise money, if you did zero covers the first month, you should still be able to cover payroll, taxes, insurance etc. Restaurants fail because they open later than scheduled and they don’t have enough cash flow to sustain them. They don’t have enough money to pay rent, insurance, taxes even though they aren’t operating. If you open 2 months late, you have more financial pressure, so you have to do x amount of covers to pay for payroll, insurance etc. Then they start buying cheaper products or taking shortcuts and lower-ing quality and the downward spiral can’t be stopped. Make sure you raise enough money to open on time and on budget.

The third most important thing is who you surround yourself matters. Your team matters, they represent you. You have to find true hospitality professionals. They have to think like you and want to be in the restaurant industry. You want people that believe in hospitality and you have to make sure that every person in your organization believes that. As a chef the front of house for the customer experience is more important. For example, you could have the best food in the world, but if the service is condescending or arrogant, they won’t come back. You could have mediocre food, if the customer was entertained, treated well, the server remembered their name, it was the best service in the world, the customer will come back. You need loyalty, it makes a restaurant successful. Front of house is 70% of your dining experience, if you have the right pricing, the magic experience and the best food, it's the secret formula.

And just as important, as the leader, you have to lead by example. I’ve never walked by trash in the middle of the dining room, a cigarette or trash outside the restaurant and not picked it up. There’s no job too small for the owner. Ideally, you aren’t the only one doing it, you have to roll up your sleeves and get dirty. You have to do it, lead by example and show others how to get it done. And always use, “please and thank you”. You always have to ask, it always helps get the job done.

AM: You have won a number of awards including James Beard, Zagat and more – how important was it for you to receive the accolades?

CHEF MT: None of us are chefs to win the awards. We are chefs to make delicious food for people. The only reason having a large platform has helped is that it allows you to do more good, I’ve been able to do a lot of good because of my platform. Family Reach is an organization that provides a lifeline to families fighting cancer. In 10 years, I’ve helped raise over 8 million dollars through live charity dinners, but I’m fully aware that it’s because of my platform I’m able to do this. It’s a lot of waste of opportunity if you don’t take the opportunity to do good with it.

AM: Tell me about Blue Dragon and what people can expect when they come there?

CHEF MT: Blue Dragon has been closed since May 30th, we were proudly a partner with the Lee Initiative providing meals to restaurant workers in the Boston area. We were able to use Jamaica Mi Hungry food truck to provide thousands of meals to restaurant workers. Reality is real, where Blue Dragon is located, there is no business hence Blue Dragon is in hibernation for now.

AM: You are also the chef/partner at BABA in Yellowstone. What is this restaurant and what should we know about it?

CHEF MT: BABA is my one year old restaurant at the Yellowstone Club in Montana. I’ve always loved the mountains and Mon-tana is one of the most beautiful places on earth. I got to create a new signature dish, Tea-Smoked Peking Duck and bring back some old Blue Ginger favorites as well, plus some touches like Potstickersand shumai from Blue Dragon as well. It’s a culmination of all my favorite dishes and foods I’ve cooked throughout my career and absolutely my favorite way I love to eat. I know I’m very blessed to be able to go to Big Sky as often as I do.

AM: We have yet to try them, but we know they’re on their way – tell me about MingsBings, why did you want to offer these, what they are and will you have additional offerings as well?

CHEF MT: In 2017, my family and I received the world-shaking news that my wife Pol-ly had been diagnosed with Stage 4 Lung Cancer. While we explored medical treatment options at Dana-Farber Cancer Institute, Polly also made the life-changing decision to transition to a strict vegan diet with the hope of lowering inflammation by using food as medicine. As I dove into cooking all-plant based food, I found a lack of healthy savory meal replacements while strolling the grocery aisles. I was quickly disappointed by the variety and quality of the options on the market. It was in this moment that I recognized a new mission. While I created plant-based meal options to help Pollyheal as she improved, I also realized there were likely many more people out there like her who were possibly making the same changes. I continued to search and create vegan alternatives that were delicious and nutritious. After experimenting in the kitchen, MingsBings was born. The first flavor, the Original, is a veggie filled patty that launched the end of 2020 packed with watercress, red onions, shiitake mushrooms, edamame, garlic, ginger and pepitas all wrapped in a gluten-free brown rice wrapper. Found in the frozen aisle of Dave’s Fresh Market in Rhode Island (and soon other local grocery stores in MA) and online on MingsBings.com. Plus I’m so proud to say that a portion of our proceeds give back to both Dana-Farber Cancer Institute and Family Reach, two organizations that are incredibly near and dear to my heart. Stay tuned for new flavors coming out soon too!

AM: I have been a fan of yours for years and remember you on East Meets West with Ming Tsai and then seeing you're on anumber of shows on Food Network, being on the Today Show for the Beijing Olympics as well as your current show, Simply Ming. How important is it for chefs to share their personality and passion for food through these shows as well as socially?

CHEF MT: I’ve always loved to teach, cooking and sports. It’s also why I love being a father. You have to love teaching if you want to be a dad. I love all the outlets to be able to continue to teach. It’s why I loved East Meets West, Simply Ming and why it’s been a lot of fun to continue to do it on social media like Instagram and latest Pinterest and TikTok accounts. It’s so important to show your authenticity, to explain where the dish was created and where it came from. The meteoricrise of social media is like the invention of the TV, but the difference is when the TV was invented, you still had to buy one to join. Now, everyone has their phone and it’s free to join. It’s scary because it’s not going to slow down. I was only one of 8 chefs on TV in the early Food Network days, now I’m one of 70,000 on TikTok, the points of entry have been removed, anyone can be a chef on TikTok, if you have one follower, you’re a success. Just like a restaurant, you have to differentiate, fortunately, I truly enjoy teaching and showing people how to do cooking hacks, cleaning a cast iron pan, how to make a simple fried rice dish. Paramount for anyone in this medium, you have to stay authentic to your craft, but it doesn’t mean you can’t play to the edges and have fun with it.

AM: You’ve also had Simply Ming cookware on HSN as well. How important has this been to your brand?

CHEF MT: I’m so happy I’m still with HSN and we’re delving into food as well. It’s a key relationship for me because I’ve always wanted to level the playing field and have people cook with the same equipment I’ve had to make the task easier. The cookware is nonstick so that less fat can be used if desired. My favorite demo is cooking salmon with no oil so the salmon doesn’t stick. I’m so excited we are going to start selling some MingsBings on HSN the next few months.

AM: COVID has definitely had an impact regardless of your vertical and the food industry has been affected – how have you navigated this time with your restaurants?

CHEF MT: I closed Blue Dragon for in-restaurant dining 2 days before the governor closed all restaurants. We remained open for take-out and proudly participated in the Lee Initiative operating as a food pantry to serve restaurant employees. We also partnered with the Jamaica Mi Hungry food truck to be able to bring more meals to surrounding Boston neighborhoods where the majority of employees live. We quickly realized it was difficult for them to come to Blue Dragon because of public transportation with COVID, so we decided to bring the meals to them. Fortunately, BABA has amazing COVID protocols for both staff and members and has safely remained opened.

AM: You have written 5 cookbooks – what is that process like and do you have additional plans for future ones?

CHEF MT: A cookbook is a major project. The reason I have not started another one is lack of time to dedicate to it. I plan on writing more, however, my next one may be more my philosophy of cooking and living than recipes, though it will still include some recipes.

AM: We’ve loved seeing your plank challenges – what was the thought behind that and why did you want to share that with your followers?

CHEF MT: Honestly it was first done as a needed distraction for not only what I thought we needed as a country, but forme as well. January being a new year, I think the entire world thinks about a new health regime. I wanted to do something that I would have to continue to do for 31 days and by putting it out there in the social media world, I knew it would help hold me accountable for 31 days. What I love about this challenge, there are no winners or losers, there are only winners. No matter how much time you do, even if you add one second, you have still accomplished something great. I was looking for positive resolutions and this was oneway to get it moving. I have loved doing it so much that I will likely continue doing it with a push-up challenge for 28 days in February.

IG @MingTsai

@SimplyMingTV

@MingsBings

PHOTOS COURTESY | Chef Ming Tsai

Read the Jan Issue #61 of Athleisure Mag and see The Ultimate Bite with Ming Tsai in mag.