Despite spending a significant portion of the previous season under the influence and evading authorities, Jason Isaacs devised several strategies to persuade some of the nation’s most powerful decision-makers to follow his lead.
Isaacs, who portrayed Timothy Ratliff in the latest season of ‘The White Lotus’, emphasized the importance of staying task-oriented and avoiding personal discussions. He said, “We shouldn’t boast about our accomplishments like being on the fifth season of a Netflix show.” Instead, he highlighted the impact that money has.
Isaacs, the actor who played Timothy Ratliff in ‘The White Lotus’, told everyone to keep their eyes on the task and not brag about their successes such as being on the fifth season of a Netflix series. He thought it was more important to discuss what money does instead.
Last Thursday evening found Isaacs delivering a passionate speech at a hotel close to Washington’s Dupont Circle, discussing strategies to persuade reluctant Republicans regarding arts financing. The actor was among twenty-odd of his fellow performers, such as stars from Yellowjackets and The Walking Dead, The Goldbergs, The Shield, and The Sex Lives of College Girls. They had gathered for a full day on Friday at Congressional offices to meet with staff members who wielded the keys to their superiors’ minds, and ultimately, access to the federal purse. The National Endowment for the Humanities had recently suffered significant cuts due to Elon Musk’s DOGE, and this group, organized by the New York and Los Angeles-based nonprofit The Creative Coalition, aimed to prevent a similar fate for the National Endowment for the Arts and its $207 million yearly budget.
At a simple, ordinary conference room during a buffet dinner, the team brainstormed about effective arguments – individuals accustomed to persuading movie producers and studio executives considering how their skills could be applied on the C-SPAN stage.
A seasoned lobbyist, Andy Buczek from Dykema, had organized and led the meetings. He advised the participants to focus on small rural grant recipients; pointed out that in these economically challenging times, entertainment was generating a profit; reminded them of past unsuccessful attempts by Congress to cut funding for the NEA, which were defeated across party lines; and encouraged them not to be discouraged if the staffers appeared brusque.
Even though the conversation may not appear particularly dynamic, it doesn’t diminish its significance,” he pointed out. Buczek also advised the group not to underestimate the age of those sitting at the table. “Capitol Hill staffers might seem younger than expected, but they wield significant influence.
“Like assistants at agencies,” said Michael Chiklis, star of The Shield and The Comish.
“If the assistants also wrote the scripts,” Buczek replied.
The performers had some queries. Are there potential pitfalls to be aware of? Buczek stated, “I don’t want this to escalate into a debate about Diversity, Equality, and Inclusion.” Should they focus on the spiritual aspect of art? “That might not be the strongest argument for those undecided,” Buczek added. Were their personal anecdotes coherent? “Add a touch of magic; they’re eager to meet you. However, ensure it remains relatable,” Buczek suggested.
In Washington right now, it’s a delicate situation, and the involvement of famous Hollywood figures could potentially cause more problems than benefits. These celebrities would be treading carefully, leveraging their fame to attract staff attention but emphasizing their ordinary aspects to avoid appearing elitist. As Alex Borstein, a witty comedian who also won two Emmys for her role as Susie Myerson on The Marvelous Mrs. Maisel, humorously put it, “I can discuss my normalcy.
Year after year, for decades, I’ve embarked on this journey with The Creative Coalition, navigating different political landscapes under various administrations. Our primary focus has often been on moderate Republicans who might tip the balance. As I prepared for our latest gathering, our CEO, Robin Bronk, shared a sentiment echoing in my mind: “We’ve got most Democrats already secured, and Marjorie Taylor Greene isn’t an option. We’re looking for minds we can influence.
Although the NEA isn’t currently facing a legislative proposal to abolish it, this situation could shift rapidly, and this year’s budget may still be significantly reduced. Criticisms against the NEA have been growing louder in conservative communities since the NEH faced elimination. A blog post from the Cato Institute a few weeks ago urged Congress and the DOGE (Department of Education and the Arts? Departments of Energy and Agriculture?) to discontinue the program, presenting a variety of arguments based on class, libertarian, and cultural viewpoints. The post argued that there is no solid justification for the NEA’s existence, either constitutionally or economically speaking. Essentially, those who support its continuation are struggling to make a convincing case.
The National Endowment for the Arts (NEA) was established by President Lyndon Johnson 60 years ago this fall. Although some conservatives may portray it as a quaint organization that primarily benefits entities like Lincoln Center and the L.A. Philharmonic, in reality, the majority of NEA grants are given to states or local organizations. These grants typically amount to less than $50,000 and foster grassroots programs across the nation. Examples include a Shakespeare festival in Idaho, a music program for senior centers in Baltimore, and a history museum in Birmingham.
Later on, Buczek emphasized an important point. Not long after, Isaacs convened with a journalist, remarking, “It seems we’ll need to delve into some local investigations.
**
Approximately 4,300 tour buses traverse Washington D.C. annually, yet it’s reasonable to assume that only a tiny fraction of them sport Young Sheldon delivering an accurate Trump impersonation. As a bus rolled along I Street early one Friday morning, Iain Armitage, the star of that series, performed this impression in his seat. This caused some actors nearby to glance back, pondering if perhaps the president had made a secret visit. Delighted by the response, Armitage smiled before launching into a rendition of “Wheels on the Bus”.
Actress Sonequa Martin-Green, best known for her roles in Star Trek: Discovery and The Walking Dead, gave a wistful smile. “Yes, he really enjoys making that impression,” she said.
Surprisingly, Armitage is the grandson of Richard Armitage, who served as Deputy Secretary of State under Colin Powell during George W. Bush’s first term. He wore his tie clip as a tribute to his late grandfather. “My grandfather passed away two weeks ago,” Armitage explained, displaying the clip. “I believe he would have been touched knowing I was doing this.”
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It turns out that Armitage is the grandson of Richard Armitage, a former Deputy Secretary of State under Colin Powell during George W. Bush’s administration. He wore his tie clip as a gesture of respect for his recently departed grandfather. “My grandfather passed away two weeks ago,” Armitage shared, exhibiting the clip. “I think he would have been proud to see me doing this.
Tig Notaro and Rachel Bloom, known for her role in “Crazy Ex-Girlfriend,” were seated a few rows back from Michael Chiklis, discussing Los Angeles school options for their children. Chiklis was located near Dean Norris, an actor from “Breaking Bad.” The outspoken Chiklis joked about his resemblance to Norris, who does not share the same trait. Sean Giambrone, a longtime cast member of “The Goldbergs,” discussed his post-ABC career with reporters. Meanwhile, Pauline Chalamet, known for her role as Kimberly Finkle on “The Sex Lives of College Girls,” shared information about recent federal arts grants she had researched with her fellow passengers.
The bus stopped at the Capitol, and the performers exited to divide into teams marked by different-colored wristbands. Their destination was determined by these bands. Cyrus Artz, a senior advisor to House Speaker Mike Johnson, welcomed one such group in a conference room within the Capitol Building. Artz mentioned that the Speaker appreciates culture, sharing that before his role as an advisor, he too had acted in student theater, even performing in a production of “Hello, Dolly.” Artz didn’t hold back from the celebrities. He informed them that the financial rationale against the NEA was overshadowed by the cultural one; many members of the Republican faction found it difficult to endorse projects conflicting with their beliefs. Some actors commented that a significant portion of these grants were intended for works like Shakespeare’s plays. Artz acknowledged this wasn’t politically motivated.
Following this, during a gathering at Andrew Garbarino’s office – a Republican congressman from Long Island, NY who occasionally votes with Democrats – Deena Tauster, his chief of staff, shared that the Congressman held the National Endowment for the Arts (NEA) in high regard. Notaro recounted how the arts had rescued her as a troubled child growing up in Mississippi; Isaacs emotionally narrated about a homeless youth he encountered on the streets of Downtown Los Angeles who had been uplifted by books; Bloom discussed how her husband had found solace in an arts program at a public school on Long Island as a child. Throughout their stories, Tauster maintained a warm and supportive smile.
Isaac emphasized the traditional values supported by NEA grants. He noted a common misperception about the funding: “Many people are unaware of how the funds are allocated. It’s mostly small grants that aim to promote traditional American values, such as preserving the American songbook or children learning to play instruments.” He also hinted at a potential benefit for the Congressman to understand this, suggesting it could help him convince others that the funds align with their shared beliefs.
Tauster gave a knowing nod. “It would be beneficial in this setting if the Creative Coalition were open to drafting a document distinguishing myths from facts.
“That’s a brilliant idea,” Isaacs said.
Buczek posed a question: “Are there any of the myths we discussed today that we should be cautious of, or work on debunking?
Discuss the process where investment funds are combined and foster growth of small businesses, which can subsequently inspire other ventures,” Tauster explained. Unlike Artz, the head of staff emphasized that financial constraints were a more significant hurdle for most Republicans compared to cultural differences. After listening attentively, the performers gathered together for a group photograph.
At multiple gatherings, it was Chalamet who delivered the most heartfelt speeches. “These days are marked by deep political divisions,” she stated at one such meeting. “People often argue that NEA funds flow to big cities or the opera houses, and culturally, they don’t resonate with many communities across the nation’s beliefs and values. However, it’s essential to understand that these funds are actually supporting arts and educational programs in numerous rural areas.
As a supporter of Michigan Republican Lisa McClan, I found myself questioning the necessity of federal grants during a recent meeting with her team. Given that she had secured strong endorsements from Donald Trump in both her 2020 and 2022 Congressional campaigns, I couldn’t help but wonder if private investment could be enough to fund projects, leading me to ask: “Why would you need a federal grant if there’s a private investor available?” This question was posed by Erik Kinney, McClain’s policy director, directly challenging the group’s perspective on the matter.
Timothée Chalamet was prepared. “I believe it’s an excellent query,” she stated. “The National Endowment for the Arts (NEA) – it signifies endorsement. It’s saying to someone, ‘this project has been validated by an official body. Consider investing here, there’s potential here.'” She pointed out the Lexington Bach Festival, an annual classical music event in Port Huron, a city near the Canadian border that falls within McClain’s district, as an example. This festival, which received a $10,000 grant from the NEA last year, has proven to be beneficial for local businesses economically.
Previously, Congresswoman McClain has cast votes against supporting the National Endowment for the Arts (NEA). Here’s a question posed by Chalamet: “What, in your opinion, could potentially demonstrate to her the importance of preserving this program?
In terms of decision-making, as a businesswoman, she focuses on investments. If you could provide concrete figures showing how much revenue was generated, potentially even five, six, or seven times more than the initial investment, this could significantly shift her viewpoint.
“Thank you — that’s very clear,” Chalamet said. “We can absolutely provide that.”
However, a shift in atmosphere occurred when the group interacted with both a Republican and Democratic staff member on the Appropriations subcommittee dealing with Interior, which has jurisdiction over the NEA. Rita Culp, the Democratic Clerk for this subcommittee, opened their eyes to the current state of affairs by informing the actors about the actual decision-making authority. She explained that much of the power now resides beyond Congress. Intriguingly, she hinted that there might be discussions happening about DOGE within the NEA, causing a collective intake of breath in the room.
“Any way to get an audience with DOGE?” Borstein asked dryly.
There was a growing buzz among the performers. “We find ourselves in uncharted waters,” Culp stated, acknowledging that no one had a clear solution to prevent the Musk faction from causing harm as they did with the National Endowment of the Humanities, despite the principal’s announced withdrawal from Washington. “However, we believe you are on the right path by informing members and highlighting the statistics related to the NEA,” Maggie Earle, Culp’s Republican colleague on the committee, added. “At times, it’s all about education.
Notaro inquired, “Are you optimistic?” To which Culp replied, “Regarding the long term, yes; Culp believes that numerous members of Congress could survive the current Trump-driven surge.” As for the immediate future, she remained silent on the matter.
“A few of us are going to the White House,” Borstein noted helpfully.
“Yeah, any advice?” Isaacs asked.
“Hang in there?” Culp replied.
That afternoon, a select gathering took place, and some actors chose to journey along Pennsylvania Avenue. Unfortunately, a journalist was barred from entry, but those present reported that the atmosphere was cordial, if not particularly warm. Staff members jotted down certain statistics presented by the group. Notably, President Joe Biden had previously dropped in on these actors during his tenure, whereas Trump happened to be at the Vatican on that specific day.
While some celebrities visited the White House, others gathered for a meeting with Congressional aides in an underground room at the Capitol. Numerous young adults, dressed casually for a Friday, flooded into the room to jot down notes for their superiors. The crowd was predominantly Democratic and reflected a diverse group similar to AOC and her colleagues, while the actors were filled with enthusiasm.
Courtney Eaton, who portrays Lottie on Yellowjackets, shared that if it weren’t for government programs, she likely wouldn’t have been able to reach Hollywood from the tiny town in Australia where she originates.
As a child, Alan Ruck, known for his roles in ‘Succession’ and ‘Ferris Bueller’s Day Off’, didn’t stand out much until he discovered theater. Then, it felt like he had found where he belonged.
Bloom’s initial experience with theater came from observing his grandfather perform three unsolicited stand-up acts at nursing homes scattered across Southern California,” he explained. “For me, art isn’t something abstract way up there.
It seems like the actors were feeling a bit more relaxed after keeping their personal experiences hidden behind financial matters. “I was an immigrant child from the Caribbean with a thick accent,” shared Lorraine Toussaint of Orange Is The New Black. “Around the age of 11, I stumbled upon an acting class sponsored by the NEA … that’s where I discovered my outlet in theater.” Later, she attended a performing arts high school alongside Gina Belafonte, who was seated next to her on the panel.
Toussaint handed over the microphone to Martin-Green. The artist, who gained her initial fame at Sundance, shared that she was a prime example of an NEA success story. “You’re all stunning,” the Star Trek actress remarked while looking around the room. “It’s significant that you’re here and that you’re with us. We will never forget this moment we share.
Perhaps it was due to their youth or the emotional narratives delivered by some well-loved actors that sparked excitement among the crowd. Instead of maintaining a formal distance as their more traditional counterparts, they rushed forward to greet the stars afterwards. Staff members for AOC warmly embraced Eaton and chatted about “Yellowjackets,” while an assistant to the newly elected Alabama Democrat, Shomari Figures, approached Bloom. “Crazy Ex-Girlfriend” is one of my favorites,” she said, sharing a brief moment with him. The connections made with individuals who are likely to remain in Washington beyond Donald Trump’s presidency seemed like the most valuable interaction of the day.
**
Initially, when Paul McCartney and John Lennon penned “With A Little Help from My Friends” for The Beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club Band, they had a variety of concepts in their minds. It’s important to clarify that at no point did they envision streaming celebrities uniting in a Washington D.C. ballroom to blow off steam after an exhausting day devoted to revitalizing America’s spirit.
On a Friday evening, after every topic was discussed, data scrutinized, and stories from youth reminisced, the performers assembled alongside benefactors in a grand ballroom for The Creative Coalition’s annual charity event. Bronk and the organization’s president, Tim Daly of “Wings” and “The Sopranos,” stepped forward to appeal for donations. Soon after, a band started forming to entertain.
On an April evening in Washington, I found myself among the stars like Pauline Chalamet and Gina Belafonte, jamming out to “With a Little Help From My Friends”. The Comish kept the rhythm going on drums, while Cameron from Ferris Bueller captured our energetic performance on camera, with Jason Isaacs filming him. It was a lively show, a small celebration after countless hours trying to convey to politicians that their careers built on Hollywood bashing didn’t define the real essence of our industry.
In the spirit of a dedicated fan, I’d rephrase it like this:
“The title of the song held multiple interpretations – it symbolized actors lending a hand to each other, programs in need, and perhaps our representatives being supportive of the arts, becoming a modern-day anthem akin to ‘We Are The World’ for this era of federal budget cuts. It’s moments like these when we feel that unmistakable pull, when it’s time for the streaming stars to unite as one.
Similarly, “With a Little Help from My Friends” was also controversial at its debut over half a century ago. Governor Spiro Agnew of Maryland attempted, unsuccessfully, to ban it due to his belief that it encouraged drug use. This serves as a reminder that the ongoing struggle between authorities and artists is not a new phenomenon. In this region, it seems politicians have always sought confrontation with creative minds, a pattern that may persist indefinitely.
Could the present generation triumph in their endeavor? Will their tireless exploration of the underground levels of Capitol buildings carry any significance?
Can we manage to foster an environment in a political climate that seems determined to dismantle unpopular concepts, including initiatives like dance classes for underserved children and elderly people engaging in music, despite their perceived unacceptability?
Standing in the ballroom’s rear, I, a member of the appropriations committee, watched as an impromptu concert took shape. “Wonder if I was too tough today?” I mused to a nearby journalist. “Not at all,” they replied; the attendees in our meetings sought clarity on the challenges ahead. “Got it,” I responded, pausing thoughtfully before adding, “I truly believe we’ll thrive in the long run.” Up front, the performers were wrapping up their rendition, reaching the peak of “I’ll give it my best with a little assistance from my comrades.” Chiklis delivered one final drum hit as Chalamet and Belafonte completed their powerful finale, seeming satisfied that on this day, they couldn’t try any harder.
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