COMFORT IN FOOD

When it comes to comfort food, you want to feel cozy and to have all the flavors possible - we want those. In addition to having your favorite neighborhood spot, we also love knowing that our freezer is always stocked with our favorites. We're talking about MìLà which is known for savory soup dumplings and amazing sauces. In addition, they also have a number of friendly freezer options that you can enjoy with your dumplings and of course, make it an epic mouth journey by pairing it with your favorite wine and spirits.

We became fans of this brand during the pandemic. There was something about eating these dumplings that reminded us of our favorite restaurants with each spoonful! So we took some time to chat with Jen Liao and Caleb Wang on how they started as a restaurant in Belleue, WA, to savory items in your freezer and their partnership with action star, Simu Liu!

ATHLEISURE MAG: We have been fans of your brand for a few years. During the pandemic, we started purchasing your soup dumplings. Tell me about your backgrounds and how you came together to launch this food brand?

MìLà: MìLà first began in 2018 as a restaurant by the brand’s previous name, Xiao Chi Jie. We opened the restaurant because, selfishly, we wanted to enjoy the Chinese street food we loved here in the States. During the pandemic in 2020, we sought to find a way to keep our employees working with us so introduced frozen dumpling delivery. People loved them and we quickly grew from just doing door-to-door deliveries with our small team in Washington to delivering along the West Coast and shortly after, delivering DTC products nationwide. The response has been incredible; people are very excited about the quality and taste of the products, which is extremely important to us.

AM: You started with a brick-and-mortar in Bellevue, Xiao Chi Jie, can you tell me about this restaurant as well as what people can enjoy there?

M: Our restaurant in Bellevue, Washington is a modern interpretation of Chinese street food bings, bowls, baos, & drinks - you can find our signature soup dumplings there as well! When we first opened the restaurant we sold out everyday for three months so, growing the offerings and bringing them into more homes across the country has been amazing.

AM: For those that are in the neighborhood, what are 3 items that you suggest that we should try from this menu?

M: Our Sheng Jian Bao is our beloved pork soup dumpling. These paired with any of the side dishes like our garlic cucumber or sichuan cabbage cannot be missed.

AM: How is it to have a brand that has a physical neighborhood presence as well as one that has a national footprint via shipping your products?

M: It all happened very naturally and quickly. What originally started as a pivot in response to the pandemic quickly grew into something larger than we would have ever imagined at the beginning. The local community in the Seattle region has been incredibly supportive since the beginning. Seeing new customers try the products and their responses to the taste is incredibly rewarding. It’s very important for us to be spreading our mission of demystifying and growing awareness of Chinese cuisine and what it means to us as “third culture kids” so, bringing this message anywhere, whether it be our home community in Bellevue or across the country in New York, is extremely fulfilling.

AM: What is your process in terms of deciding what you offer in terms of your frozen treats?

M: A lot of the flavors are inspired by how we ate them as kids. They’re our personal favorite dishes and ice cream flavors. It was really important to us to maintain the same restaurant quality for our frozen offerings, and the quality taste and ingredients in the ice cream. We’ve really geeked out on aspects like the dough-to-filling ratio, the number of dumplings with cracks, and the variance in grams of soup dumplings, which we think all make a huge difference.

AM: In addition to the classic soup dumplings that are always available, we also tried the spicy beef which was tasty. Will you add additional flavors?

M: We have offered limited edition drops in the past and will continue to release them! These one-off launches come from an intention of being super excited about a dish that’s not one of our evergreen offerings, but we still want to give people the chance to try it. We’re also working to develop other options of our hero products to provide more options for consumers.

AM: For our readers that have yet to order their soup dumplings from you, how can they correctly steam your dumplings?

M: Our dumplings are designed and packaged specifically to be cooked straight from the freezer. In a large wok or pan, and make sure to bring 2-3 inches of water to a rolling boil and place the dumplings in a lined steamer basket. Don’t forget to leave a 1 inch gap between dumplings. Our go-to tip for people is to not over-crowd your dumplings for the best results! Then, you will steam your dumplings for 11 minutes (until internal temp. reaches 165°F) and they’ll be ready to go!

AM: I love having the Umami sauce with my dumplings and I even add in some pickled veggies - how do you enjoy your dumplings?

M: We both love our classic vinegar sauce with the soup dumplings!

AM: Although we can certainly eat the dumplings alone, what is the perfect beverage and sides to have when you want to eat your dumplings while catching up on your favorite streamed shows?

M: The dumplings are delicious with any of the sauces (and followed by a pint of our ice cream, of course). We love a can of Sanzo poured over ice next to our plate. For those who are 21+, they also pair very well with a new age chardonnay. We love Jumbo Time Wines’ ‘Problem Child’ which is a 50/50 co-ferment of Pinot Noir & California Chardonnay.

AM: We loved the lamb skewers as well as the chicken skewers, do you think that you will continue to rotate seasonal or limited-time offerings as you continue to grow?

M: Yes, we will continue to do seasonal and limited-time offerings of products! Our community loves when these come around and it’s really fun for us, to dive into the process of creating the new recipes.

AM: Where do you get inspiration from when you are building product offerings for MiLa?

M: Being third culture Chinese-American, a lot of the inspiration for MìLà stems from our childhood meals and wanting to honor the cuisine while helping other people experience them as well. The same reason we initially opened the restaurant, really drives our product creation for MìLà…we want to create dishes we love and want to eat ourselves! Alongside that comes the telling of our story and mission. When we create a product we love, that mission becomes fulfilled when people try them and love them too.

AM: You recently rebranded to MiLa, why did you want to change the name and can you tell us about the meaning?

M: MìLà means honey (mi) and spice (la) in Chinese mi-, la-. Being both Chinese and American, the story behind MìLà comes to honor our traditions and add our personal touch. The name MìLà is representative of our evolution from a singular focus on street food to a national food brand that is on a mission to serve the highest quality authentic Chinese cuisine in freezers nationwide. MìLà is a way of connecting with our family’s history and using this opportunity as a reminder that the Chinese identity is constantly evolving. It is on us and our communities to create new, multidimensional representations of what it means to be our own brand of Asian American and create a cuisine that deserves a place in the American food ecosystem.

AM: We had the Jasmine Green Tea ice cream which is another favorite. Are there any new products that are coming out that we should keep an eye out for?

M: Yes, we’re planning to launch some more limited edition flavors this year. More to come soon!

AM: Simu Liu (Marvel's Shang-Chi and the Legend of the Rings franchise, Kim's Convenience, Barbie) is your Chief Content Officer! How did this partnership come about and what will he be doing with the brand?

M: We’re very excited to have Simu joining us as Chief Content Officer. A year ago, through a friend of a friend, we were connected to Simu and sent him some products. His parents intercepted the delivery while he was traveling and, by the time he got back, they’d eaten all the soup dumplings and given them their stamp of approval. We sent more over for him to try and, when he loved the products, we continued talking more with him about our mission. We all had similar experiences and a shared passion for bringing Chinese food to wider audiences so we began speaking with him about getting more involved. Now, here we are working together! Simu will be advising the company on marketing strategy and communications and will play a larger role in representing the brand across marketing channels. He'll be working with us on crafting our storytelling, shaping upcoming initiatives and driving creative activations.

AM: You have been doing a number of events to give exposure to the brand, as we continue to navigate the Spring and the Summer, are there events/festivals/tradeshows that we should keep an eye out for and will you be coming to NY?

M: Since we are currently in California and in the Pacific Northwest and working on hitting shelves in Town & Country, Metropolitan Market and QFC stores in the Washington and Oregon areas in April, we are heavily focused there. We’ll be bringing some new, fun ways for people to try the products to various markets as well as looking to expand into new markets throughout 2023.

IG @eat.mila

PHOGRAPHY CREDITS | PG 84 + 88 MìLà | PG 87 The Creator and Blake Silva |

Read the APR ISSUE #88 of Athleisure Mag and see COMFORT IN FOOD in mag.

LEAD WITH WONDER | ALYSIA REINER

This month, we're catching up with one of our faves Alysia Reiner (who graced our cover back in 2017 for our JUN ISSUE #18). She has been in a number of shows that we have enjoyed from Netflix's Orange is the New Black, HBO's The Deuce and ABC's How to Get Away with Murder. Her commitment to her roles and how she peels back the layers of her character like an onion is what makes us excited to see what she will do next. As a storyteller, Alysia is an actress and a producer who is compelled to find stories that explore themes that are at the forefront of what we're navigating as a society.

We caught up with Alysia in late May days before the launch of Disney+'s Ms. Marvel. We talked about how we navigated the pandemic, the power of storytelling, how she approaches her projects, her work in front of and behind the camera, what we can see her in next, the importance of representation and women's ownership of their bodies and how she advocates for these issues.

ALYSIA REINER: How are you, how was your pandemic? Congratulations for keeping the magazine afloat!

ATHLEISURE MAG: Wow obviously we went through it and we had to make a lot of decisions. The fact that we were able to keep it going was amazing!

I can only imagine as for you during the pandemic, you were working!

AR: It’s funny because when it all shut down, I started getting offers for work as early as that first summer. I turned down a lot of things because I just didn’t feel safe enough, just the way you were talking about. It was before vaccinations and it was just like, no this is not worth risking my life for and risking my family's lives for. In those early days, you just didn’t know!

Different people took it very differently and took it more seriously! I mean, we took it very very very seriously from the beginning and it wasn't until Ms. Marvel came that I felt that they had the money quite frankly to keep it really safe. They were testing every day! When the deal closed, within an hour, they had someone come to my house to test me – within an hour!

AM: Ok, they were like, “we’re going to start right!” That’s amazing! It’s so fun to be able to catch up with you as the last time we were with you it was for our cover for your June cover shoot 5 years ago - in person of course. At that time Orange is the New Black was about to release it’s 5th season, Better Things had it’s 1st season that was already out there and you were dropping your clothing line.

So being able to catch up as you have such a presence and I always love hearing from you – it’s good to see what you’ve been up to! I have always thought that you should be a super hero and/or in the Marvel universe so it was no surprise to me to hear that which is so exciting.

You’ve been in a number of shows that I have loved seeing you in How to Get Away with Murder, The Deuce – which I loved your character in that. I was like, “that girl can rock some sunglasses!”

AR: I mean on a fashion level, that was so freaking fun right? The 1970’s style, I can live in! It’s so fun!

AM: It’s fun to see you in STARZ's Shining Vale and you’re going to be in Ms. Marvel, what do you love about being a storyteller and a creator?

AR: I think my favorite part is telling stories that help evolve humanity you know? I have been really lucky to have been part of some seminal art in that way like Orange is the New Black which really changed the way people saw incarcerated people, particularly incarcerated women. The amount of women that have been incarcerated has increased by 731%. 731% in the past 30 years and it’s not because women are being more illegal. It’s about this system of slavery that we have embraced and if anyone has not seen Ava DuVernay’s 13th, it’s a really seminal piece about what I mean by that. But, how we see the incarcerated population, mass incarceration and the business of incarceration and additionally how we see the trans community.

There has been some incredible things that we have seen from trans humans and acceptance of that as well as push back from people that are deeply afraid. But, I always say that that’s how you know you’re succeeding is when people get afraid. I feel so grateful to be part of that kind of filming. With Better Things, we saw an authentic flawed mother in a way that we had never seen before. Now with Ms. Marvel, we’re getting our first ever Muslim superhero. It feels so outrageously wonderful and I feel so lucky to be part of that storytelling. That’s my favorite part. I was talking to someone last night, another producer friend. She was at a meeting for the Oscars for The Academy and someone said and I’m paraphrasing here – that really in America, the 2 ways people get their information is education and entertainment.

It’s so deeply important that our education system isn’t banning books and that people are able to learn everything from Critical Race Theory, the Holocaust where some people are trying to fight against that so it’s deeply important that we educate people on that. But the truth is entertainment has become a piece of our educational system and so for me, there’s a level of responsibility with that. I want to enlighten people and to entertain them obviously, but I want to connect with them and I don’t want people to feel so alone. I want them to feel part of, connected, loved and that they belong. I also want to be able to illuminate certain things that people don’t know because it’s only when we know about things, that we can change them.

AM: What do you look for when it comes to taking on projects whether it’s from the actors lens or a producing role?

AR: I think it’s exactly that. I look for if this is a story that needs to be told and I am the best person to tell this story. Is this a story we have seen a 100 times before? I will be honest. I was asked to look at a project a few days ago and I chose not to do it because first of all it was a story that had been told a lot of times and I felt it had some stereotypical tropes in it and some tropes that were very specifically about an image and the importance of one’s looks essentially. I was like, I don’t need to tell that story. I don’t need to be part of this essentially antiquated ugly duckling storyline. I feel like it’s one of the stories that we have told since the beginning of time. The ugly duckling that turned into the swan, but I don’t feel like we need to tell that story anymore. We can write a new story about how we perceive ourselves and how we love ourselves regardless of what we look like. I guess the question is, what is the new story there? I haven’t cracked that but I do know that I don’t think I need to keep telling that story.

AM: Do you have a process that you go through when you begin to prepare for your characters?

AR: I feel like every character tells me something else. I sort of have to ask the character what they need. Certain characters it’s about a pair of glasses or an accent or a psychological gesture. Some is about research. Is it a period of time that I wasn’t alive during. So each character, sometimes it’s internal and sometimes it’s external. So each character sort of talks to me and tells me what they need if that makes any sense.

AM: In looking at your other projects that you’ve done. You have Egg which you produced and acted in. How did this come about and how did you get attached to it?

AR: Oh, such a good question. Egg was based on a play that I did almost a decade before. I thought it was such a seminal piece about motherhood and the choice to be a mother. When I first did the play, I was not a mother yet and I hadn’t decided if I wanted to be yet. I loved the questions, conversations and thoughts that revolved around the issue. Around what it means to be a mother, what does it mean to be a father, what does it mean to be a parent, what does a family mean, what are those dynamics, what does it mean to be childless, what does it mean to be childless by choice and why does society have so much problems with that? I loved that piece and thought there was such insightful wisdom in it and it was hilarious. The writer did such an extraordinary job with balancing those two things.

Almost a decade later, I bumped into the writer on a ferry from Fire Island. She was coming from Kismet, Fire Island, so I like to say she was coming from Kismet. She said that she just wrote the screenplay for Egg and if I wanted to read it. I said, yes. A decade later, it was still all of these things that we don’t talk about. I remember before I became a mother, all of these people were asking me when I was going to be and it’s as if it was anybody’s business!

AM: I was going to say that! It’s like to ask that question, you don’t know if the person may not physically be able to or simply chooses not to because they like their lives as is.

AR: Exactly! It blows my mind how people think that it’s their business! Once I had my child, it became about when I would have a second child. I was disgusted and horrified at people’s responses. I would say, I don’t think that we’re having anymore and people would say, “oh, just the one?” They were like mourning for the second child that I wasn’t having. You just have no idea what’s going on in anyone else’s life and what’s best for them.

It’s the same conversation that we’re having now with abortions. I am so ok if you are deeply Christian, deeply Catholic and think it’s a sin and horrific to have an abortion. I am so down with that. I don't care who care who you are and you can believe whatever you want, just give me ownership of my own body. That is my only request. Every human deserves ownership over their own body. This whole thing is so deeply saddening to me. The idea of children being born and unwanted – can we just talk about that? People being forced to have children, so you’re bringing a child into the world that is unwanted and that is absolutely heartbreaking.

AM: We're days or weeks away from hearirng the decision on Roe v Wade which has been around for 50 years, if SCOTUS strikes it down, what other precedents that have been established like contraception, interracial marriage, gay marriage – how will these be handled?

AR: It’s in so much trouble.

AM: It’s mindboggling to me.

AR: I will advocate for and love on every human being to have access to their own body. That’s really important to me and that’s a big piece of what Egg Is about. It’s on iTunes and we sold it to Gravitas so you can now watch it online. I think it’s a really important time to watch it as it’s about this moment. There is a conversation in this movie that’s about abortion. So it’s really important that we have these conversations and that we don’t stop. That’s part of arts power is to help have those conversations.

AM: Circling back to what we were talking about before, how did you get attached to Ms. Marvel?

AR: I don’t know how everybody gets attached to a Marvel project. I would say that for me, it came up out of the blue. I never auditioned for anything, I didn’t know I was being considered and they are so secretive that essentially, all I knew was that I was being considered for a new show called Ms. Marvel and that I had to sign a NDA to even be considered for it. My lawyers had to do the contracts for it and they wouldn‘t even tell me my character's name until we signed. I couldn’t read anything, it was top, top, top secret. Even though it’s coming out in June, it’s been top secret to the very end. They won’t let me say anything except that I’m in it and I had a blast! I’m so excited to be part of the Marvel family, not only because of this particular story which has the first Muslim superhero, but that they keep on breaking boundaries in the world of cultural change. In the Eternals we saw a gay superhero and a blind superhero, a deaf superhero and they really use the art and the comics as a way of a Trojan Horse to talk about the things that we are sometimes afraid to talk about on this planet right know. I am so excited to be part of that family of storytellers that are down with talking about things that other people may be afraid to talk about.

And representation, authentic representation of all communities.

AM: Can you tell us about where this series sits within the MCU? We read somewhere that there is another movie coming out and will you possibly be in this movie as well.

AR: I am not, but there is some crossovers with some of the Marvels. There is definitely potential for my character to cross over additionally in the future.

AM: That’s very cool! What was it like being on that set?

AR: It was so much fun! It’s a great group of humans. Sana Amanat (Marvel Rising: Initiation, Marvel Rising: Secret Warriors, Marvel Rising: Chasing Ghosts) our showrunner, is so fantastic and what’s so exciting about her is that the character is loosely based on her and that’s so cool. To be with the person that it is based on is awesome. Another magical surprise was that Meera Menon (You, Outlander, Dirty John) who directed my first picture that I was a producer in for Equity was the director of a couple of the episodes. Marvel is so secretive that they didn't even tell her that they were casting me. I texted her and I was like, hey I’m coming to Atlanta for a project and I heard you were there and she said she was and she didn’t even know. I thought maybe she put in a good word for me she had no idea. It was so fun to be back on set with her and it was so exciting when Kevin came to visit. We became a really tight group of humans. We may have gotten a tattoo together. One of the actresses that I got really close to is named Yasmeen Fletcher (Andi Mack, Upside Down Magic, Let Us In) and she turned 18 right at the end of our shoot. She brought her uncle in and he's a tattoo artist for her birthday and we may have gotten matching tattoos.

AM: There is something about entertainment being a way to educate because you can hear something, but when you’re watching it you can think about it and you’re seeing things happen. Even if it’s not an experience that you’re aware of, it has to change you as a person one way or another or to at least get that element of being able to look out for it.

Going Places is another project that you’re involved in that’s coming out soon, what can you tell me about this movie and why did you want to be attached?

AR: It is so fun! So, the filmmaker is Max Chernov (Star Trek, Star Trek Into Darkness, Blood Brothers) and I read the script and I thought of my God it’s so fun this is such a ride that I want to be on. We had just wrapped Ms. Marvel, there were a lot of stunts involved in this project and I wasn’t afraid because I had just done Ms. Marvel. But I did know what questions to ask now that I would have never known because I did Ms. Marvel. When the offer came in I asked them would there be a stunt coordinator, would there be a stunt double? Because I did my own stunts on Ms. Marvel, but they did have all of those people just in case I couldn’t do my own stunts. It was so much fun. I did stunt training and stunt fighting. I loved it so much.

Similarly, it’s a high action adventure comedy that has some deep things to say. I love something that is deeply entertaining that also has some deep things to say. Ms. Marvel does it by talking about racism quite frankly. Going Places does it about our perception of success and what does it mean? Similar to Ms. Marvel, it’s about high school students and it looks at what success is and what does it mean. These high school students have just graduated and are on their way to college and the amount of pressure they put on themselves. In this moment, when I’m looking at every headline that you’re reading right now that talks about this generation. The teens of today are under such pressure and they’re really struggling with mental health. I love this script because it goes there about what the pressure we’re putting on young adults – teenagers. I now have a 13, and is technically a teenager. What does it mean to be successful. I like to call the COVID times the meditation retreat that none of us signed up for. I really see it that way. How can we use this experience to really grow ourselves, to learn and to really evolve? I don’t think that we can do that unless we are willing to really go deep and to look at what’s not working. We have so many kids that are not happy.

So something is not working friends. How do we change that? I feel so deeply that I only want my kid to be happy and I don’t care about her grades and whatever. I care that she does her best because I want her to feel the esteem about that. Really looking at what are the messages that we’re sending young people going into the world and why is not working really – let’s be honest. There is a disconnect there. So many young people are so deeply unhappy.

AM: This is true. Because you have played in so many roles. Are there roles or topics that are sitting on your vision board that you would like to do through this art?

AR: Ooo such a good question! I think I’m deeply curious in this moment it would be really fun to do a period piece. I’ve done it on stage and I did it for one movie, but I would like to do more in the past. Something that is deeply gripping and talks to the moment today which would be the Salem witch hunts. It would be interesting to do that as we’re pretty much primed for that right now. So that’s really interesting to me. If there were a way and I was just talking about this yesterday with some producers – I’m really curious how we tackle abortion and the war on women right now. What does that look like, how do we do it it in a way that it is the Trojan Horse where more people will watch and that it isn’t just a preaching to the choir situation. Doing it in a way that everyone is watching. I know that Handmaids Tale is that but to an extent is there a different version that really talks about it in a different way and maybe not in a dystopic way that Handmaids Tale so clearly is. Those are issues that I’m really curious about. I’m producing a movie right know called Flat or James Thomas Thinks The Earth is Flat which is an unlikely buddy comedy between an 8th grade Black science student and a very infamous NBA player who thinks the Earth is flat. The 8th grade student has to convince the NBA player that the Earth is in fact an oblong sphere in his science fair. It’s so fun and a real buddy comedy and a real movie for anyone from 9 to 99. We have Kelly Park (Call Me Kat, How I Met Your Father, The Game) who is the director who is a fantastic director. She has done a bunch of TV including The Upshaws, Grace and Frankie – she has incredible TV credits. I’m producing it with Diana DiMenna who produced What the Constitution Means to Me and Thoughts of a Colored Man and Spencer Paysinger, the TV show All American, is based on his life and he is the writer and producer. Another actor Brian Tyrell Clark – I’m super excited about that. That’s the kind of storytelling that I want to tell. We’ve never seen – at least I have never seen a movie about a brilliant 8th grade Black science student. And I will probably be one of the very few white people in the the movie. The movie is predominantly a black story and it’s about Black joy and obviously, it’s a Trojan Horse to how science and medicine has failed the Black community which it has in a 100 different ways and we will be going there. We also really want to celebrate a beautiful family. They are a beautiful intact family and we want to celebrate a Black scientist coming into the world and to celebrate his brilliance and intelligence. I’m on the board of the Geena Davis Institute and we talk about when you see it, you can be it. The importance of representation and how so many girls when they saw The Hunger Games, the amount of girls that took up archery or when Queen's Gambit came out, the amount of people that took up chess! That’s our dream for Flat that we get this huge ginormous blockbuster hit so that kids can be excited about science!

AM: That I so exciting and can’t wait until this comes out.

AR: I am so exited about that for multiple reasons but also being the environmentalist that I am, I believe that science is an innovation from youth and the ability to see things in a new way and to reimagine what can be possible. It can change everything.

AM: Like we’ve been talking about, if you’re not being represented, there isn’t an easy way to know this is something that you would want unless you have the path to place you there. I think this is awesome.

We were also talking about the madness of the pandemic and a lot of us had to adjust our lives and to figure things out. We also had random hobbies and interests that came out of this. But you became a firefighter or you trained for it at least!

AR: (Laughter) I am officially a Probational Firefighter. I passed all my tests!

AM: I mean! How did you decide that this was something that you wanted to do and what was it like training. We love watching 9-1-1 and 9-1-1: Lonestar and any type of show along those lines. I can imagine you doing anything, but I didn’t have that on the Bingo card – but I can see it happening.

AR: During the pandemic, we lived on Fire Island which is a small island off the coast of Long Island. It’s a series of villages where there are no guards. In our village, there is no police, no hospital, no doctors full-time. The only thing there is volunteer firefighters. I feel like that community created a safe haven for myself and my family. I like to say that when I was a little girl I would read Little House on the Prairie books – I loved them! I dreamed them! I dreamed that one day I would live that way but I knew that it wouldn’t be possible. Then the pandemic happened and I lived like Little House on the Prairie. I was alone on the island, there were very, very, very few people on the island. In our community, maybe there were 10 families and no one was going near each other. It was a really seminal moment in my life and I was so deeply grateful to that community as it felt that it saved my life by giving me health and safety and I wanted to give back to the community. Really all there is is volunteer fire. Similar to anything that I have ever done that is really really really hard, I had no idea how hard it was going to be going in. So, I said yes and I thought I want to do this and it’s going to be easy. I didn’t think it would be easy but I didn’t think it would be so hard. I started my training and some day I may actually write a book about it.

AM: You absolutely should!

AR: It challenged me on so many levels that I didn’t anticipate! The first level was my teachers were all older white men and a majority of them being Republican I believe. I had never spent so much time with so many older white men in my entire life. I was not educated that way – I grew up in NYC – it was a very different crowd. I didn’t feel that I was good at this. I’m still learning. I have a lot of acumen for a lot of things that I do in my life and I feel pretty good as an actor, I feel that I’m not a super strong producer but I have produced a couple of successful movies, I have movies that are in development and a number of TV shows that are in development – I know what producing is and I know how to do it successfully. I have been married for more than half of my life now and I feel pretty successful at that and I feel successful as a parent and my child is doing great. I do not feel successful as a firefighter. Every day I would come home from training and you can ask my husband, my chief, my best friend – hours of tears happened.

I felt like I could not do this. The physical work was really, really, really hard and I am incredibly strong, you know me, I work out everyday, but there is a level that I just couldn’t. The body weight it takes to hold a hose, you’re carrying 70lbs of weight on your body and you’re carrying tools and climbing up a ladder and a gas mask on with oxygen on your back and you’re blindfolded basically. It’s bonkers and then I was never good at standardized tests as a kid and every week, we would get these tests and then we had a 4 hour exam at the end. I have to tell you that the first few exams I did, I failed! I hadn’t felt like a failure in a really long time and I really, really, really felt like one – because I was failing. I’m not exaggerating and I had to become ok that I got a 70 and not a 100. I have an A type personality, I need a 100.

AM: Same!

AR: I wasn’t getting 100s and I would train at home physically every single day. I passed in the end. My training will never stop. I will continue to train because part of being a firefighter is always being ready for an emergency.

AM: That’s pretty amazing and I can definitely see how it would be a little humbling as well. But to also know that your commitment to your community and to give back in a way that was able to give back to you in terms of being a safe haven was so important that you were able to navigate that to get to where you ultimately wanted to be able to do which I think is cool.

AR: Aw well thank you!

AM: I can imagine that that was really tough. I thought, well dang, some people were just making sourdough bread during the pandemic!

AR: One of my best friends when I called her hysterically crying and snotty, she said you know what, do your best. If you fail, it will be the best parenting lesson that you could ever give your child. She said, show your child that you can do your best, still fail and still get back up! I have the chills even saying that again and I said ok, I’ll give it my all and if I fail, it will be the best parenting lesson of all. That got me through. I called her later and said, “I’m a horrible mother, I passed!”

AM: But she also got to see that sometimes you can give 100% of yourself and you may not get that back and that’s realistic too! Things happen.

AR: She saw me coming home hysterically crying, struggling with standardized tests which was really, really, really good for her.

AM: What do you want your legacy to be seen as for all the work you do in front of and behind the camera, the activism that you do and just the way you dig in as someone who is so present?

AR: Wow, the first thing that comes to mind is my dad was a management consultant and the motto for his company was, “make a difference and have fun.” I put that on his gravestone and it’s really my words to live by. The words that I think about for my life are love, service and wonder. Our production company is called 2 Wonder Full To Be Limited and my biggest goal particularly as I age is that the older people get, the more that feel to know things, that the uncertainty is untenable and I want to be more and more willing to not know and to be comfortable with the uncertainty and to be ok with that and to not need to know. I want to keep on wondering. I would say that wonder is my biggest legacy because it’s only when we wonder we can keep on growing and learning and that we can keep on loving other people as opposed to whether you know that someone is doing something that is wrong and you know and you’re mad – there isn’t a lot of space there. But if you wonder, you can think about why someone did something. I wonder – there’s a little breath there. I guess my hope really is that it’s my dad's thought to make a difference and to have fun. That fun is really key. As I learned in my course, joy is an act of resistance and now more than ever it’s so important that we value joy!

AM: I love the word wonder!

AR: Yeah, I love the word wonder.

AM: When you say it, it’s nice sometimes to think about that as opposed to the black/white or win/fail. But when you say wonder, it gives you that air to breathe and maybe to put yourself in a number of positions and maybe I should do that a lot more because sometimes I’m like no – it’s this.

AR: Well, it’s comforting to know. To love yourself through that. It’s comforting when you think you have the answer, but to wonder, that’s where the air is.

IG @alysiareiner

PHOTOGRAPHY CREDITS | PG 43 - 51 + PG 169 - 171 9LIST STORI3S Laurie Bailey | PG 52 - 57 STARZ/Shining Vale |

Read the JUN ISSUE #78 of Athleisure Mag and see LEAD WITH WONDER | Alysia Reiner 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.

BINGELY STREAMING

MARVEL THE DEFENDERS
Netflix Original Series

Netflix Originals has been the go to destination for a number of your favorite Marvel characters
and with a number of series in this category coming out, we're excited to see this world come to life with individual series as well as when they mix within their stories.

Marvel The Defenders is a limited series based on the Marvel Comics characters Daredevil, Jessica Jones, Luke Cage and Iron Fist, who form this superhero team in the Marvel Cinematic Universe (MCU).

HOMECOMING
Gimlet Media

Sometimes you have things to do and when you can't think of music you want to hear on your Spotify account, it's time to put a podcast into your rotation. We're always listening to a number of great shows and earlier this year we stumbled upon Homecoming.

We listen to a number of well produced podcasts, but the special aspect of this one is the fact that it takes place within snippets of conversation whether it's happening in realtime, a flashback, a recording, etc. Although the second season is currently being released, even the very first episode throws you into a world that you're not sure what's going on. It doesn't help that a number of the characters are also confused as many have memory loss!

The story surrounds the military, its soldiers
and those that were hired to extract information from these soldiers! You take
a journey with those that are hired to learn about the soldiers and realize that everyone is receiving partial information and what the morality is for those that are trying to help the soldiers versus those that will do anything at any cost to move up the ladder. This season, there is a book that can be read online that follows the journey of one of the main soldiers so that you can understand more backstory on what is taking place.

This psychological thriller is voiced by David Schwimmer, Catherine Keener, Michael Cera and Oscar Isaac.

DIFFICULT PEOPLE
Hulu Original

Welcome to the third season of Hulu Originals' Difficult People. If you haven't caught up, it's a good time to do so as the 3rd season continues to look at the world of Julie and Billy, aspiring comedians who are 30-somethings living in NYC. While they wait to be the versions of themselves that they believe they should be, they have their day jobs while thinking bitterly of their friends who are living their best lives.

This duo performs at local comedy clubs together and live a life where everything is viewed from their vantage point like an ongoing selfie. By day, Julie is a TV blogger and her friend is a waiter. This season, as always, has a number of celebrities that flow through this 30 minute series, and this season, you can expect a number of jokes about the current political climate from their vantage point of course.

Read more from the Aug Issue and see Bingely Streaming in mag.

BINGELY STREAMING

MISSING RICHARD SIMMONS
Podcast by Dan Taberski 

Whether you've done it or not, one of the most known fitness personalities is Sweatin' to the Oldies with Richard Simmons. His short shorts, tank tops and socks are equally as memorable as it was his uniform. With his curly hair, bigger than life and persona, people were drawn to his energy and commitment to others. 

As his empire was built on those that simply wanted to connect and to have fun, he made himself available through his LA studio, tapes, appearances and more. But in recent years he vanished! The man who was connected and even made himself available to bus tours by his home, was no longer there!

Dan Taberski goes on a journey via his podcast to find out what happened to Richard Simmons and where he is? Along the way, he interviews those who attended his classes, people who worked for him and those whose lives crossed path with him. In a means to connect with his family and Richard himself, he begins to generate a number of theories on why Richard chose this form of behavior to disconnect. This podcast is an easy listen that can be enjoyed in a few hours.
 

S-TOWN
Podcast from SERIAL + THIS AMERICAN LIFE

We've been stalking everywhere online for the release date of the next SERIAL and yet, all we know is that Sarah Koenig has been seen in various places suggesting that she could be working on the next season. It wasn't until we heard about S-Town (from the creators of SERIAL and THIS AMERICAN LIFE), that we realized that we could be temporarily satiated with this twisty murder mystery that takes place in a backward town when a person states that no one has investigated a murder that has taken place in a small southern town that even the residents mock. 

The host, Brian Reed, looks at the town and how they are connected with one another while investigating a murder that takes on a whole other story the more Brian investigates. 

This podcast is definitely worth listening to and generates so many emotions as you learn about the people involved as well as seeing how Brian becomes wrapped up in this tale.
 

IRON FIST
Netflix Original Series

Netflix and Marvel Comics come together yet again to bring Iron Fist to life. Danny Rand returns to New York City, after being presumed dead for 15 years, to reclaim his family company from Harold Meachum and his children Ward Meachum and Joy Meachum. When a threat emerges, Rand must choose between his family's legacy and his duties as the Iron Fist. 

Read more from the April Issue and see Bingely Books in mag.

STEP OUT FOR A DRINK

Spring means that being outside is a given. Any excuse/reason is welcome. To toast this, we put together three looks for after work drinks, impromptu poolside and post brunch beverages with our friend Rachel Sheen, who is in Marvel’s new movie, Deadpool.

We shot our brunch and after work looks at JIMMY Soho which sits atop the James Hotel and we’re sure these looks will find their way into your rotation.

| PHOTOGRAPHY Steve Zak | WARDROBE STYLIST Kimmie Smith/Accessory2 | MUA/HAIR STYLIST Christina Padilla |

ATHLEISURE MAG: What is the aesthetic/vibe of the JIMMY at the James Hotel?

JIMMY SOHO: JIMMY is a grown up, stylish, fun and unpretentious cocktail lounge that has indoor/outdoor capacity. We’re not a dance club although often people are bopping their heads to our DJs (THUR/FRI/SAT night and SAT/SUN afternoons in summer). We’re 18 floors above Soho/Tribeca with nearly 360 views of the city. JIMMY is a fairly intimate space, holding about 100 indoors with room for another 75 outside
in good weather. The vibe is for conversation and socializing, whether that’s after work or post-dinner.

AM: Since JIMMY lounge is a rooftop, what areas are guests able to enjoy now that spring is on its way?

JS: Our roof area is always open for people to step outside but right now people are more focused on staying cozy inside, sitting on couches by the floor-to-ceiling windows, grooving to some great music, and catching up with friends or making new ones.

AM: JIMMY Soho just had an Oscars party, what other events do you have coming up that we should place into our calendars?

JS: We always do Super Bowl and Oscar parties. The next afternoon we’ll have a special gathering will be for The Kentucky Derby. And we open
our afternoon pool-deck parties on May 21, which is when we start opening at 3pm on weekends with afternoon DJs. We’ll also be showing the Olympics this summer both out by the pool and indoors.

AM: What is the signature drink of JIMMY lounge and what are some of the favorite dishes that are enjoyed by guests?

JS: We don’t have one signature cocktail, but we have two cocktails since we have opened that we can’t take off the menu, the Legal
in Vermont-which is Bourbon, Maple, Cinnamon and Shisho over a cinnamon bark ice block, and the other one is The Grapes of Wrath-Vodka,
muddled Grapes and Cucumbers with Elderflower syrup and seltzer.

In terms of dishes the most popular are: Cheeseburger Sliders w/ Jalapeño & Parmesan Fries, Artichoke Flatbread w/ Garlic Ricotta & Fresh Basil
and Falafel Bites w/ Cucumber, Mint & Tzatziki. 

AM: Who are the creators of JIMMY lounge and what are their backgrounds in terms of the culinary and nightlife/mixology scene?

JS: JIMMY was developed by David Rabin and Johnny Swet. David was a founder of Lotus and other well-known nightspots, and is now a partner in Cafe Clover, The Lambs Club, The Skylark and JIMMY. Johnny Swet worked at many of the most iconic spots in NY like Bowery Bar and Pastis before opening his own places, Hotel Griffou and Rogue and Canon. He’s also the cocktail consultant for the Dream Hotel, Cafe Clover, The Skylark and JIMMY, and several other prominent NYC venues. 

AM: What makes JIMMY lounge distinctive in the nightlife scene?

JS: JIMMY is nightlife for people who are either “over” going to big clubs with EDM where they can’t hear themselves speak, or for groups to
gather for a cocktail or two before they head out for a real late-nighter. It’s also the ideal spot to spend a spring/summer weekend afternoon, sipping a cocktail out by the pool. In that way, it’s kind of “day-life”.

PHOTOGRAPHY COURTESY | JIMMY

JIMMY LOUNGE 15 Thompson St NY, NY 10013