Current Record: 2-1, 7th in the East

Next Game: Tonight vs. Washington - 7:00 PM ET

Watch on WSOC (Channel 9) or DAZN

After opening the season with a 110-103 win in Brooklyn on Wednesday thanks to 21 points from Grayson Allen and a double-double from Naz Reid, the Hornets split their first two games at home.

Hawks Drop Historic Drubbing on Short-Handed Hornets

Hawks 128, Hornets 81

The absence of injured Hornets Kon Knueppel and Coby White, coupled with poor shooting from the Hornets, was too much for Charlotte to overcome in their home opener at the Spectrum Center against the hot-handed Atlanta on Friday, October 23.

Jalen Johnson flirted with a triple double, scoring 19 points to go along with 8 assists and 7 rebounds; Aaron Wiggins matched Johnson’s total with 19 points off the bench; and the Atlanta Hawks handed Charlotte their most lopsided defeat ever in a home opener, routing the Hornets by a record 47 points in a 128-81 demolition of their Southeast Division rivals.

After Charlotte gained an early 9-7 advantage, Atlanta went on a 20-3 run on their way to a 33-20 lead after one quarter, and the Hornets never seriously threatened to make a game of it thereafter. Atlanta opened up a 45-25 advantage just a couple of minutes into the 2nd frame, and though Charlotte managed to get back within 13 at 56-43 after a Grayson Allen three-pointer, the Hawks responded with a 25-2 run spanning the second and third quarters to take an 81-45 lead and put the game away for good. Atlanta held a 97-62 lead heading into the fourth quarter as dejected Hornets fans started heading for the exits.

Atlanta also set their own franchise record for margin of victory, surpassing their 46-point win over Sacramento in November of 2017.

Naz Reid led Charlotte in scoring with 17 points.

Keys to the Game

Atlanta’s stifling defense created 25 turnovers, a whopping 17 of which came off of steals. During a particularly bad sequence for the Buzz, Charlotte opened the third quarter with five turnovers in their first six possessions, repeatedly throwing the ball into the waiting arms of Atlanta defenders.

Hornets head coach Charles Lee had this to say when asked about all of those costly live-ball turnovers: “Some of it is us not doing what we do or not being in the spots we’re used to being in… positions that the ball-handler isn’t familiar with-or the screener- and it creates some indecision. Then there were a couple that were just a little too casual. I think a lot of those two areas are just us needing to look inward and figure out how we could be better.”

The Hawks wielded their balanced scoring attack to devastating effect against the helpless Hornets. Atlanta shot 40% from deep in making 18 three-pointers, and when they weren’t knocking down shots from long-distance, they repeatedly sliced through Charlotte’s defense for close-range push shots in the paint, layups, and dunks. Seven players scored in double figures for Atlanta.

Charlotte shot a dismal 34% from the field, including just 22% from 3-point territory.

Brandon Miller, fresh off signing the largest contract in Hornets history, had a catastrophic night shooting the ball, finishing 2/14 from the field overall and 1/11 on 3-pointers.

Buzz Bright Spots

Are we allowed to say Petey Pablo?

As far as Hornets fans were concerned, the brightest spot of the evening may have been the Greenville, North Carolina native’s halftime performance of his hit song ‘Raise Up’. He made another appearance on court during a second-half timeout.

After both logging DNP’s by coach’s decision against Brooklyn, former lottery pick Tidjane Salaun and rookie Hannes Steinbach saw their first action of the season Friday night. Salaun, the 3rd year player out of France, tallied 11 points, 5 rebounds, and 2 steals in 23 minutes, and Steinbach, the rookie lottery pick from Germany, added 6 points and 5 rebounds in just 12 minutes.

Sharp-shooter Grayson Allen had his second straight efficient game from 3-point territory, going 3/6 from deep after his 5/8 performance against the Nets two nights earlier.

Buzzworthy Facts

Sion James produced the exact same field-goal shooting stat line as he did in the season opener against Brooklyn, going 1/7 overall from the field and 1/6 on 3-pointers. James’ discouragement at his inability to knock down open shots was evident at various times during the game, particularly during the moments when he checked out of the game, his shoulders slumped as he trudged to the bench.

The league leaders in assists per game last year at 30.1, Atlanta finished the contest with 37 assists.

In perhaps the clearest statistical indication of Atlanta’s dominance, every single Hawks player posted a positive net differential (indicated by +/-) for the game, led by Alexander-Walker’s +43 in 27 minutes. And in perhaps the clearest statistical indication of Charlotte’s futility, every single Hornets player posted a negative +/-, with Brandon Miller being a team-worst -37 in his 23 minutes of playing time.

Only three players in NBA history have recorded at least 20 points, 10 rebounds, 5 assists, and 4 made three-pointers in their franchise debut. Two of those players were on the court Friday night: Atlanta’s Jock Landale, and Naz Reid, who achieved the feat Wednesday evening against Brooklyn. The third player on the list is all-time great sharp-shooter Ray Allen.

The 47-point margin of defeat eclipsed the 40-point loss Charlotte suffered in the very first home opener the franchise ever played all the way back in 1988, when the Cleveland Cavaliers defeated the Hornets 133-93.

Buzz Bounce Back to Beat the Heat

Heat 110, Hornets 115

The Charlotte Hornets defeated the winless Miami Heat 115-110 at the Hive Saturday night, giving the home crowd plenty to cheer about one night after hearing boos from their fans time and time again during a record setting blowout loss against the Atlanta Hawks. A fourth quarter blitz from the Heat turned a laugher into a neck-and-neck contest, but a timely four-point play and a clutch play on the defensive end from Grayson Allen sealed the victory for Charlotte as they improved to 2-1 on the young season.

Charlotte appeared to be cruising to victory when they led 96-75 going into the final frame, but the live-ball turnovers that doomed Charlotte against Atlanta reared their ugly head again as Miami went on a furious 25-4 run to tie the game at 100 with 5:42 left. With the game still knotted at 104 as the game approached the 3-minute mark, Allen drained a heavily contested long-range bomb while drawing a foul from Tim Hardaway Jr. His free throw gave the Hornets a four-point cushion, and with under a minute left and Charlotte hanging on to a five-point lead, Allen drew a foul on Heat star Bam Adebayo on a moving screen with 48.2 seconds left, effectively ending Miami’s valiant comeback attempt.

Charlotte had four players with at least 20 points, led by Brandon Miller (34 points), who had a nice bounce-back game after scoring only six points against Atlanta the night before. Dennis Schröder, the fourteen-year veteran who continues to fill in brilliantly at starting point guard during Coby White’s recovery from a calf injury, delivered his finest performance yet in a Hornets uniform, pouring in 25 points in a team-high 38 minutes. Naz Reid also continued his impressive start to his Hornets’ tenure, adding 23 points and 9 rebounds, and Grayson Allen scored 20 points of his own off the bench.

Davion Mitchell notched a double-double to lead Miami with 22 points and 10 assists, and Bam Adebayo, who last season scored 83 points in a single game, finished with 20 points and 8 rebounds.

Keys to the Game

Charlotte’s energy on defense was night and day compared to their performance against Atlanta. Buzz defenders flew around the court to close out on Miami’s perimeter shooters, limiting wide open shots available to their opponents. They routinely double-teamed newly acquired Heat star Giannis Antetokounmpo and stymied his offensive production, limiting the foul-plagued Greek superstar to only 14 points on 4/11 shooting. Antetokounmpo fouled out with 1:57 left in the fourth quarter after only 25 minutes of playing time.

The foursome of Miller, Schröder, Reid, and Allen combined for 102 points, providing the scoring punch the Hornets needed to get the victory.

The Hornets dominated the 2nd and 3rd quarters, outscoring Miami 65-44.

Buzz Bright Spots

Schroder’s three-point shooting was a pleasant surprise for the Buzz. After going a combined 0/5 in his first two games as a member of the Hornets, Schroder caught fire in the 2nd quarter, draining a pair of threes on consecutive possessions early in the quarter and adding a third later on as the game approached the halftime break. He finished with an impressive line of 25 points, 6 rebounds, and 4 assists in a Hornets game high 38 minutes.

Grayson Allen continued his red-hot shooting from three-point territory, finishing 4/10 from deep on the way to his second 20-point scoring effort in his first three games with the Buzz.

Charlotte dominated the boards in the first half, grabbing 27 rebounds to Miami’s 15 on their way to a 46-37 advantage for the game.

Buzzworthy Facts

Charlotte went nearly the entire third quarter without committing a foul, picking up their first and only foul of the quarter on a Sion James reach-in with 4.8 seconds left in the frame.

Despite shooting only 10/29 from the field, Miller knocked down a career high 11 free throws on his way to a 34-point night, which tied the third highest scoring game of his young professional career.

Naz Reid knocked down a team-high five three-pointers on eight attempts.

What’s Next

The Buzz complete their three-game homestand against the Washington Wizards Monday night before hitting the road Wednesday to take on the Eastern Conference powerhouse Detroit Pistons.

They finish the week with a rematch against the Wizards Friday night in the nation’s capital to kick off their NBA Cup run before a Saturday evening home game against the 76ers, the new club of superstars Jaylen Brown and Lebron James.

For years, Carolina Actors Studio Theatre (CAST) had a physical presence next to the original Amélie’s French Bakery on North Davidson. In 2014 they were forced to close due to financial reasons, but CAST returned last year with Audrey Cefaly’s “Alabaster” under longtime creative director Michael Simmons.

Since then, the theater has staged “The Sunset Limited” with actors Thom Tonetti and Zach Humphrey, and is back this month with another Cefaly play, “Maytag Virgin,” directed by Simmons and starring Aimee Thomas as Lizzie Nash and Dalton Riddle as Jack Key.

While CAST no longer has a permanent home, they’ve been fundraising for a 2026 campaign, and making use of the Arts Factory space managed by Three Bone Theatre.

With the premiere of “Maytag Virgin,” it’s safe to say CAST is back.

Buy Tickets

On Monday, Y’all Weekly spoke with Simmons, Tonetti, Riddle, and Thomas about CAST’s journey and the new production, which runs for two more weekends at the Arts Factory. The night before, Riddle had won the Outstanding Lead Actor award at the Metropolitan Theatre Association’s Awards for his role as Sidney Bruhl in “Deathtrap” at Rock Hill Theatre - so it was a lively, fun conversation we’re excited to share with you below.

Audio Only: Our Conversation with CAST

The Premise:

According to the CAST website, “Maytag Virgin is a charming Southern romantic comedy about two widowed neighbors who couldn’t be more different. Jack Key is calm and practical. Lizzy Nash is spirited, anxious, and determined to keep life exactly as it is. But in true CAST style, audiences become part of their neighborhood, seated in the backyards where awkward encounters, reluctant friendship, and unexpected romance quietly take root.

“Filled with humor, heart, and surprising twists, Maytag Virgin reminds us that healing often begins with a simple conversation between neighbors.”

The Pitch:

The Deets:

“Maytag Virgin”
by Audrey Cefaly
Directed by Michael Simmons
Presented by NC CAST
at the Arts Factory
(1545 W Trade Street, Charlotte, NC 28216 )
October 16-31, 2026
Learn More

Buy Tickets

Paid Subscribers Only: You’ve got early access to our live conversation with the cast and crew of “Maytag Virgin” on Zoom below.

Video: Our Conversation with CAST

Editor’s Note: On occasion, Aimee Thomas’ video goes out during the interview, but she quickly returns and her audio doesn’t skip a beat.

YouTube:

Welcome to the Post-Melo Era

Well folks, the 2026-27 NBA season is finally upon us!

After getting within one game of a playoff berth last season, Charlotte enters the new campaign full of hope for its first ever division title and a chance to play in their first playoff series since 2016.

There is certainly no shortage of questions swirling around the Hornets after this summer’s blockbuster trade that sent star point-guard LaMelo Ball to the Minnesota Timberwolves. Charlotte fans openly questioned the decision to trade Ball in the offseason, but in this season’s first edition of Buzz Bulletin, we’ll analyze the reasons why this trade makes sense in the short-term, and how it sets up the Hornets for success in the long-term.

Here are our questions, observations, and predictions ahead of Charlotte’s season-opening matchup against the Brooklyn Nets on October 21st.

How will the Hornets adjust to LaMelo Ball’s departure?

Many fans were, unsurprisingly, shocked and dismayed at the team’s decision to part ways with their undisputed go-to star player this summer.

Coming off a productive season that saw him play in 70 games for only the second time in his career, Ball appeared primed to continue leading Charlotte’s high-powered three-guard offensive attack alongside sharpshooter Kon Knueppel and athletic wing Brandon Miller, but the Hornets’ front office had other ideas. Ball was shipped off to the Minnesota Timberwolves as part of a blockbuster four-team trade that brought over veteran big man Naz Reid along with six draft picks over the next seven years, including three first round picks in 2028, 2029, and 2030.

During media day, head coach Charles Lee expressed confidence the offseason moves would not change what it means to play Charlotte Hornets basketball.

“No matter what players are coming in, I think that we have developed standards around here,” said Lee. “We’ve developed an identity in how we wanna play offensively and defensively, and we stay committed to that.”

The Ball trade is also a vote of confidence in Miller’s ability to be the team’s top scoring threat and Coby White’s play-making prowess as the lead guard.

Last year, Miller poured in over 20 points a game for the second straight season after coming back from an injury that sidelined him for nearly a month at the very beginning of the season, and White contributed 17 points and 4 assists in only 25 minutes of playing time. With Miller set to sign a five-year deal worth in excess of $200 million, Charlotte is making their faith in him crystal clear.

Just how effective will Coby White be as Melo’s replacement?

Fans who watched Charlotte’s thrilling last-second overtime victory in last season’s play-in game against Miami will surely remember White’s dramatic turn-around fade-away 3-pointer that tied the game in the final seconds of regulation. It’s that kind of shot-making ability, along with his aforementioned statistical productivity, that can give fans, players, and owners alike the belief that the Goldsboro native and former UNC Tarheel can more than adequately step in as Charlotte’s lead guard. His size and ability to score in bunches will nicely complement Knueppel and Miller, enhancing the trio’s ability to space the floor and create scoring opportunities for everyone.

On the defensive end, it wouldn’t be unreasonable to qualify the shift from Ball to White as a wash. Though Ball cut down on his high-risk gambles and improved his defensive motor last season, he is still considered by many league analysts to be an average defender at best. White may not be a clear upgrade on the defensive end, but he should be able to hold his own with his quickness and sturdy 6’ 4” frame.

It’s also worth noting White’s mature and even-keeled demeanor. LaMelo’s off-court behavior issues were well-documented, so it can’t hurt to have a (slightly) older, more mature player stepping into a leadership role for the team.

Can Kon Knueppel top his historic rookie season?

Coming into last season, it was no secret that Knueppel could shoot the rock.

A McDonald’s All-American in high school, and as the Robin to Cooper Flag’s Batman in their lone season of college basketball at Duke, Kon was already a known quantity as a long-distance threat. Few could have predicted, however, his emergence as the most productive 3-point shooter in the league as a rookie, or his ability to finish at the rim and in the midrange.

When asked what he had learned from his first year, Knueppel had this to say at media day: “A lot of it comes down to having your body ready to go. Making sure you’re taking care of your diet, taking care of your sleep, adjusting to the travel, I think I’ll just settle into that a little bit more. I wanna keep myself fresh for the parts of the season that really mean something. At the end of the season, I wanna play better than I did last year.”

The first rookie ever to lead the league in made 3-point baskets, Knueppel is currently nursing a hamstring injury and remains questionable for the beginning of the regular season. With his mature, hard-working approach and elite shooting ability, this publication bee-lieves that a healthy Knueppel has a great shot to replicate or even surpass his impressive rookie campaign.

Can Naz Reid be a legitimate starter in the NBA, and how well will he mesh with Diabate?

Naz Reid is a tough, energetic defender that can also step out and knock down three-point shots as a career 37.1% shooter from distance.

At media day, fan favorite Moussa Diabate described Reid as “one of the most versatile players in the league.”

Diabate, clearly impressed with what he has seen from Reid in practice, added: “Being able to rebound, shoot the ball, playmake, his understanding of the game, guard. For somebody this big to be able to move this well, with the ball, without the ball, he’s very impressive.”

Standing at 6’9” with a 7’3” wingspan, Reid gives Charlotte a legitimate paint presence to shore up last year’s sometimes shaky interior defense.

Offensively, with Diabate operating exclusively in the paint and getting the majority of his points on close-range shots and putbacks, Reid’s long-distance shooting ability should be a nice complement to the Frenchman’s hustle-and-tussle playing style, and with only 77 career starts in his seven-year career, including just three starts all of last year, Reid will be eager to prove himself in this new role.

What can we expect from Charlotte’s other notable offseason pickups?

Entering his 14th NBA season, veteran reserve Dennis Scroeder brings a scrappy, hard-nosed defensive approach and serviceable shooting, although Charlotte will be hoping he can eclipse his career 34% 3-point shooting average this season.

There is a lot of excitement around lottery pick Hannes Steinbach, the talented post player who hails from Würzburg, hometown of the greatest German player of all time, Dirk Nowitzki. Already having experience playing professionally in Germany, and with a highly productive year of college basketball under his belt, the projected backup to starting center Moussa Diabate looks primed to make an immediate impact for the Hornets as a defensive force in the paint and capable perimeter scorer. Steinbach shot over 34% from the 3-point line and 75% from the free-throw line last year in his only season of college basketball.

Grayson Allen and Royce O’Neale should provide a nice scoring boost off the bench for the Buzz. Allen led the league in 3-point shooting percentage at a 46.1% clip during the 2023-24 season while playing for the Phoenix Suns, and O’Neale shot 40.8% from deep for the season last year.

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Known Unknowns and Unknown Unknowns

Charlotte went 33-16 after the start of the new year last season, ranking 1st in the NBA in offensive rating and 5th in defensive rating over that span. While these stats are cause for optimism, key Hornets players have been dealing with a slew of offseason and preseason injuries, and both Grant Williams and Kon Knueppel are nursing hamstring injuries. Williams is set to be re-evaluated during the first week of the regular season, while the team remains uncertain about Kon’s participation in the regular season opener.

Coby White’s status for Charlotte’s matchup against Brooklyn is also questionable as he recovers from a left calf strain. As of Sunday, October 11th, Brandon Miller remains day-to-day with a shin contusion, but if Charlotte can get healthy quickly and avoid any serious injuries moving forward, they figure to have a potent offensive attack, a stout interior defense anchored by Diabate, Reid and Steinbach, and legitimate playoff chances.

A division title and deep playoff run seem less likely. The Southeast division boasts its fair share of star players, with the likes of the Hawks’ Jalen Johnson, Orlando’s Paolo Banchero, and Miami’s Giannis Antetokounmpo all hoping to lift their teams to great heights. With Boston, Detroit, Philadelphia, Cleveland, and the defending champion New York Knicks representing the cream of the Eastern Conference crop, any first-round playoff matchup is likely to come against a team with serious star power and championship aspirations.

Buzz Bulletin Predictions

With that said, here are the official Buzz Bulletin predictions for our Charlotte Hornets this season.

Adrian

Regular Season Record: 45-37
Finish: 2nd place in the Southeast Division; 6th place in the Eastern Conference
Playoffs: 1st Round Exit

Jorge

Regular Season Record: 42-40
Finish: 2nd place in the Southeast Division; 7th place in the Eastern Conference
Playoffs: 1st Round Exit

Sam*

Regular Season Record: 50-32
Finish: 1st place in Southeast division; 4th place in Eastern Conference
Playoffs: 2nd Round Exit

* This optimism comes with the assumption that any preseason injury issues are not long term.

Buzzworthy Facts

Just for good measure, here are a few beginning of the year Buzz-worthy facts for your enjoyment.

Steinbach led the nation in rebounding last year as a freshman at the University of Washington, snaring nearly 12 rebounds a game to go along with an 18.5-point scoring average.

The German trio of Schroder, Steinbach, and Anderson ties the Orlando Magic of the past two seasons for the most German players ever on a single NBA team.

The Carolina fans at Buzz Bulletin are less enthused about the team’s other notable triumvirate. The addition of Grayson Allen to the roster brings the total number of former Duke players to three. Coby White must feel outnumbered.

Coming off an impressive rookie season which saw him play in all 82 regular season games, second-year reserve guard Sion James is looking to take another step forward for the team this season. During media day, James identified three-point shooting and finishing around the rim as the areas he focused on during offseason training.

Having acquired a whopping six draft picks from Minnesota in the Melo trade, Charlotte looks to be set up for future success. The Hornets feature one of the youngest cores in the league. At an average age of just over 24 years old, the Hornets projected starting lineup should generate plenty of buzz for years to come.

This is the third time Allen and O’Neale have played for the same club. The veteran sharp-shooting duo previously played together in Utah during Allen’s rookie season and joined forces again in Phoenix when the Suns traded for O’Neale in February of 2024.

Sunday, October 2nd, 2011 was — for the most part — a normal day in Charlotte.

The Panthers lost to the Bears, 29-34, at Soldier Field with new head coach Ron Rivera and rookie quarterback Cam Newton (Luke Kuechly was still playing at Boston College). The 2011 NBA Lockout meant there were no preseason Charlotte Bobcats games, and it

The Tuesday Morning Breakfast Forum, still meeting at West Charlotte Recreation Center, announced their Tuesday guests would be from McCreesh Place, Charlotte's first permanent supportive housing complex, which still serves people on North Davidson Street.

Over the weekend, the New Yorker started hitting shelves and mailboxes with an article about conservative mega donor Art Pope funding the Republican takeover of the North Carolina General Assembly, which had happened less than a year before. On the other side of the aisle, Maryland Gov. Martin O’Malley and Massachusetts Gov. Deval Patrick arrived in Charlotte to tour what was then named Time Warner Cable Arena in advance of the 2012 Democratic National Convention.

The biggest news for Charlotte that night, however, was the premiere of the prestige cable television show “Homeland” on Showtime at 10:00 PM Eastern.

The headliner was Claire Danes as the genius, bipolar CIA officer Carrie Matheson, but for the first couple of seasons the show’s setting — Washington, D.C. — was played by the up-and-coming city of Charlotte, N.C., with occasional cameos from Mooresville (as Gettysburg), Raleigh (also as the capital), and other nearby locations.

“Homeland” filmed in the Queen City before the Democratic National Convention, before the Keith Lamont Scott protests, and before COVID. It’s a different Charlotte, a rare visual record of a city known for demolishing its history.

The above photo from Ed’s Tavern is another reminder of the era. Olde Mecklenburg Brewery’s Copper was everywhere. Breweries like NoDa and Birdsong were founded that year, and not yet omnipresent in the Queen City.

Obviously, neither had a large presence in Washington, D.C. — but that’s beside the point.

“Homeland” was huge local news, with the show’s stars making occasional appearances in local media. Morgan Saylor, who plays Brody’s daughter Dana, was part of the cast throughout the Charlotte years, and gave the Charlotte Observer’s Théoden Janes an important insight into the lasting impact “Homeland” had here - one that will ground our series.

“A lot of the places we filmed had never been filmed,” said Saylor. [Charlotte is] a wonderful place to work and film.”

Learning About our Future from a Television Past

While our local road Matheson Ave. is under construction, our “Matheson Ave.” series will look at the places in Charlotte that have changed, stayed the same, or disappeared since Showtime’s cameras left Charlotte.

In future installments, we’ll look at some of the Charlotte places that became the settings for international spycraft and political intrigue. Who would have thought Uptown’s Marshall Park could be the site of a terror attack?

There’s more to the story than the built environment, of course - after “Homeland” left the Queen City, then-Governor Pat McCrory, also Charlotte’s longest-serving mayor, joined the General Assembly in allowing North Carolina’s film incentive program to expire in 2014. That meant that when the “Homeland” crew needed a stand-in for Washington, D.C. after spending time in South Africa, Berlin, and New York City, they chose Richmond, Virginia instead of Charlotte.

“Homeland” also made its own history with Charlotte as the backdrop. A young Timothée Chalamet starred in the second season, and attended a private school - played by Queens University in Myers Park - with Saylor.

That history intersects with Charlotte’s. Chalamet, as the Vice President’s son, commits a crime in a scene filmed on the block of E 4th St. between College and Tryon. It’s the same block where, almost a decade later, the Charlotte Mecklenburg Police Department allegedly “kettled” peaceful protestors during the George Floyd protests in 2020.

All of this is going to be fair game as we try and use the Charlotte - and the United States - we see in “Homeland” to look forward.

We hope you’ll join us on “Matheson Ave.” — and if there’s anything you’d like to see, if you have questions, or if you have your own stories, we hope you’ll share them in the comments.

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We talk about her local theatre journey, her new production, and her process in the theater. Video above, audio-only below.

The Premise:

It’s 2004, and lonely 14-year-old Shelby Hinkley has kidnapped Tobey Maguire, at the height of his Spiderman career, to force him into marrying her. However, you can’t just kidnap the most famous person in the world without consequences. Samantha Hurley’s laugh-out-loud dark comedy, steeped in Y2K nostalgia, explodes our para-social relationships ,the obsessions that detonate them, and how we use online culture to escape very real world problems. Audiences teenage+ recommended.

The cast features Caroline Magee as Shelby Hinkley and Adam Peal as Tobey Maguire.

The Pitch:

The Deets:

“I’m Gonna Marry You Tobey Maguire”
by Samantha Hurley
Directed by Jessica Zingher
Presented by Zingher Productions
at Warehouse Studio Theatre (Cornelius, N.C.)
September 25th - October 11th
Directed by Jessica Zingher
Learn More

Buy Tickets

Audio:

Get Tickets

Hanley Smith is an award-winning actor with credits spanning theatrical productions, films, TV episodes and commercials across the United States, but “The Cottage” at Davidson Community Players is her directorial debut.

So why did it take so long for her to decide to direct?

“I have just been so enamored of acting for so long,” Smith told me in a phone interview. “I’m lucky to be working pretty consistently in that field.“

Consistent is an understatement.

Smith has over 40 credits to her name — including 20 leading roles — since graduating from Davidson College, including a pre-pandemic starring role as Cathy in a production of “The Last Five Years” directed by Jason Alexander (yes, that Jason Alexander).

However, that journey had never turned her eye to directing - nor back to the theater company that shares a town with her alma mater - until she got a call from Davidson Community Players executive director Steve Kaliski.

“It had never really occurred to me to branch out into directing until Steve approached me a couple of years ago about a different show, and I thought, ‘Oh gosh, wow, that would be really fun. Let me think about it,’” said Smith. “And initially I said yes, and then unfortunately had to pull out because I booked another theater show.”

Coming back to “The Cottage”

Smith and Kaliski both started at Davidson College in the fall of 2003 [Editors Note: as did the author] so coming to DCP to direct was a homecoming in more ways than one.

“Hanley and I have known each other as artists and friends since 2003, so it was incredibly gratifying to finally be able to get in the same room together on a show,” said Kaliski. “We’ve each collected so many different techniques and perspectives over the years; seeing what was consistent about each other and what had evolved as we’ve gotten older was really amazing.”

There’s a lot for a director to work with in “The Cottage.” According to DCP’s promotional materials, the play “offers a perfect showcase for six actors with endless laughs, hilarious twists, daring physical comedy, and a happy ending for lovers everywhere.”

Smith would know: she originated the role of Deirdre in the world premiere of the Sandy Rustin play at Astoria PAC, and then went on to play Sylvia - the lead role - at Florida Studio several years later.

An opportunity to return to “The Cottage” was something Smith couldn’t resist.

“This time, when ‘The Cottage’ rolled around, that felt like serendipity, because of my history with the show [and] my fondness for it,” said Smith. “I’m grateful to Steve for offering me the chance to dip my toes in a creative aspect of our field that I’ve been intrigued by, but never really had the time or opportunity to pursue.”

“I have a deep knowledge of the inside of how it works from having played in the sandbox for so long, and Sandy Rustin, the playwright, has become a friend of mine over the years. So I knew I could use her as a really valuable resource,” said Smith. “So there were a lot of different things that started to line up that said, ‘You have something to offer for this particular production, that maybe not many other people would. And though you’ve never directed before, you do know this play very well, and you can study up in advance of the actual job and then do a lot of learning by doing.’”

Smith’s experience with the play was hard-earned. Her first audition for the play was an agent appointment in a deconsecrated Korean church in Queens now known as the Astoria PAC. She didn’t know the playwright or director Adam Dannheisser, whose Broadway credits at the time included “Rock of Ages.”

“It was one of those auditions where I just had the best time in the room,” said Smith. “They were really laughing and generous and supportive, and whenever people laugh, it sometimes can unlock something in you as an actor where you start finding even more comedy … So I had a great time in that audition room and ended up booking it.”

Smith’s experience with the play has also given her a chance to see it evolve for over a decade. At first, she was getting new pages from Rustin while preparing for the premiere; now, she gets to play with a more developed text than she had as an actor, with refinements all the way until the final curtain.

“It’s been neat to watch the script. grow and evolve and become even more empowering for its female characters,” said Smith. “As the years went by, [Rustin] just got more and more specific and deep on those trajectories for the female characters. How people are changed by being in the cottage. How do they enter it differently? How do they exit it differently than they enter it? I think is a fun thing to examine as you work on the piece.”

While we won’t spoil anything, we can say that the play has changed “a medium amount” according to Smith, with a new ending perhaps more in line with the play’s values.

A Directorial Debut

With her professional acting experience, Smith already had a vision of what a director needs to accomplish before opening night. Her deep knowledge of the text made “The Cottage” the perfect play for her debut on the other side of the stage, but that didn’t stop her from learning.

“It was a question I [had] coming into this process of like, ‘What exactly does a director do?’ I understood from an intellectual level that the director’s task is to get everybody on the same page of telling … a compelling, engaging story,” said Smith. “What was surprising and fascinating and occasionally overwhelming for me was how many elements are involved.”

With all of the different parts involved, Smith compared directing for the first time to planning her wedding all over again.

“There were so many decisions to be made: do you have any visions for the set and where exactly the exits are and how many of them you need? What ways do you want the doors to open? What colors are the walls? What color towel do you want Beau to come in drawing his hair off with? What color are the cups? What do you think of this chair?” said Smith. “This sofa, this light, this sound cue, the music, the there’s, it’s so intricate, the work and the collaboration that goes into creating a theatrical piece. It’s astonishing.”

Despite learning and developing as a director as she went, Smith knew she wanted to make sure that actors and technical staff felt safe and empowered to be creative and bring their talents to the process. She measured her success not only by tickets sold or approving laughs from the audience, but also by how much she got back from her team.

“When you have a really good room of, of smart, generous, problem solving creative thinkers, a lot of your job is over,” said Smith. “Very often their ideas are better than your own. So I do think that another task of a director is to create a space where everybody feels free to contribute.”

The approach has paid off. Smith’s direction is receiving plaudits, with one local theater critic asking if this really is her first time directing.

“So whether or not she has directed anywhere else before her DCP debut, Smith quickly establishes that she has a sure feel for this script,” writes Perry Tannenbaum in the Cultural Voice of North Carolina. “This production is definitely worthy of its pedigree.”

“Fly Free, Birdies”

Smith and I discussed one difference she encountered between major equity productions and a local non-profit theater company: whether or not the director stays around after the final dress rehearsal.

The tradition in professional theater is that once the show is open the director has done their duty, they leave, and subsequent notes come from the stage manager.

That was the world Smith came from. She doesn’t live in Davidson, so she saw her job as done once she passed the play on, but many local actors were sad to see her go as they’re used to getting notes from directors who are often also local theater employees.

“My impression from the actors is that they are used to receiving feedback throughout the run, and in fact, they were disappointed that I wouldn’t be offering that,” said Smith. “So I have, sadly, not seen the show since. That part is really hard because the payoff of getting to experience the show with an audience and especially a comedy, with their laughter and how that impacts the actors and enriches their choices and their moments, and I hope gives them a sense of fun and fulfillment. I’m very sad that I’m not able to live in that joy.”

Like a mother bird, Smith was ready for the crew of “The Cottage” to spread their wings.

“Please continue to learn and grow, but do it with each other and within yourself. You don’t necessarily need me anymore,” said Smith. “Like, fly free, birdies, and take this play and make it what you now want it to be.”

“The Cottage” runs through Sunday, with tickets still available through Saturday at the DCP website.

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Zufelt’s “Private Browser” Part of “Heart of Gold” Narrative Shorts Showcase at Charlotte Film Festival

“From awkward first encounters to committed relationships, from friendships to situationships, this collection of narrative short films captures the raw, honest (and sometimes desireable) connections of its protagonists.”

That’s how the Charlotte Film Festival describes its “Heart of Gold” narrative shorts showcase, a 109 minute collection screening at 7:20 PM ET tonight at the Independent Picture House.

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One of the narrative shorts, “Private Browser,” is the latest from director Sebastian Zufelt, who is no stranger to the festival. Y’all Weekly caught up with Zufelt to talk about his short.

Y’all Weekly: For those who may not know, what's your background and prior work in the Charlotte scene?

Sebastian Zufelt: I'm a filmmaker from Seattle. My first friend from college is from Charlotte, and worked at the IPH and introduced me to the Charlotte Film Festival. My previous film 'Third' screened in 2024, and another film I produced & edited, 'Mix Matched Socks' screened at last year's festival.

Y’all Weekly: Tell us about your short, "Private Browser."

Sebastian Zufelt: 'Private Browser is about the uncomfortable conversations around intimacy that every young couple faces. Porn in particular serves as a launching point for concerns of attachment and sexual expression. Despite its prevalence, porn is rarely talked about, leaving people ill-equipped to discuss it with their partners. Every person has a unique perspective on porn, and the gray area in opinions often leads to conflict when not communicated. I wanted to focus on Jane’s perspective as the non-viewer to explore how porn usage impacts not only the viewer, but the person aware of their partner's private sexual experiences.

Y’all Weekly: There are so many ways to approach sexuality, from the dramatic to comedic to everything in between. What made you choose pornography?

Sebastian Zufelt: As someone who has grown up with screens as part of my life, I'm always interested in exploring how contemporary screen culture impacts our lives. I was curious to explore something that no one talks about, but is something that permeates society and is a can of worms conversationally, as it can open the door to all sorts of conversations pertaining to sexuality.

Y’all Weekly: Make your pitch: why should someone come and see this film?

Sebastian Zufelt: Someone should come and see the film because it tackles an uncomfortable submit with sincerity that can land humorously and dramatically, depending on how you interpret it.

Y’all Weekly: One last question we’ve gotten in the habit of asking: What song should someone put on to get in the mood to watch "Private Browser?"

Sebastian Zufelt: 'Apology Letter' by Yo La Tengo & 'Laundry' by Tommy Oeffling were two sonic inspirations going into the making of the film.

Y’all Weekly: Thanks so much for your time, and best of luck tonight!

Sebastian Zufelt: Thank you for asking such thoughtful questions!

The Charlotte-Mecklenburg Board of Education voted 5-4 Tuesday night to terminate the contract of Superintendent Crystal Hill, ending a long saga of confusion as to who is in charge of the school system, which serves more than 139,000 students in kindergarten through 12th grade.

School board members Charlitta Hatch, Liz Monterrey Duvall, and Shamaiye Haynes voted to remove Hill, joining now-former chair Stephanie Sneed and new chair Dee Rankin.

At-large members Monty Witherspoon and Lenora Shipp were joined by district members Cynthia Stone and Anna London in voting against.

The School Board came to the dais after a long delay, missing the 6:00 PM start time by about half an hour after a scheduled 4:00 PM closed session meeting. Hill was originally at the dais, but left prior to the board returning.

Deputy Superintendent Dr. Melissa Balknight took Hill’s place at the dais. Later that evening, she would be appointed acting superintendent despite her recent announcement that she would retire in four months.

Immediately after coming to the dais, Dee Rankin assumed the role of chair under an obscure, 58-year-old CMS policy that hasn’t been updated since 2002.

Rankin recognized District 1 member Charlitta Hatch to make motions to modify the agenda. The board then voted 5-4 to add multiple agenda items to the agenda, including to terminate Superintendent Crystal Hill for convenience.

On a similar 5-4 vote, at-large member Monterrey Duvall was elected the new vice chair for the board over Shipp.

While Rankin was presiding as chair, but Hatch took the reins for most of the meeting, making motions and guiding the process. She was in favor of terminating the contract.

“There have been a lot of distractions that have been in the media, in the news, and I think that this board needs to take a stand, to say enough is enough,” said Hatch. “We need to have bold changes in order to refocus on what matters.”

“What you’re seeing in Washington is not acceptable here in Charlotte,” Hatch added, comparing recent board turmoil to the Trump administration.

Shamaiye Haynes said the Superintendent has been convicted in the court of the public, and many of the members who voted in favor of the separation voiced their opinion that it was time to move on from months of controversy and recriminations in the press.

“There’s not this much frenzy about student outcomes,” said Sneed. “There’s not this much frenzy about student scholarships.”

Monterrey Duvall seemed to suggest that Hill was also amenable to the termination.

Because the motion was to terminate for convenience, the school system is obligated to pay out all contractual obligations and benefits, including her $340,770 salary over the next year. It may increase to a mid-six-figure payout for Hill when all is tallied.

Monterrey Duvall also tried to salvage the reputation of the system in her remarks, saying, “I don't want us to mistake organizational challenges for institutional failure.”

After a silence, the board members who voted against the motion to terminate had strong words for their colleagues.

“I don’t think this is the time to change horses,” said Stone, referencing a State Bureau of Investigation (SBI) investigation into the board as well as an inquiry from State Auditor Dave Boliek’s office.

With investigations and audits likely looming above the board, Witherspoon was more blunt.

“This board has spiraled into complete chaos,” said Witherspoon. “This board is dysfunctional. This board is broken.”

Given the reaction in the hours since the meeting, Witherspoon was speaking for many more Charlotteans than himself.

Correction: this story originally incorrectly had Rankin resigning as vice chair. An obscure board policy, presented below, states that the vice chair automatically becomes chair upon the vacancy of the chair.

Document: CMS Board Succession

Charlotte City Council Votes 7-4 in Favor of Toll Lane Project

It was a long and winding road to get to a vote, but for now, the Charlotte City Council has made up its mind: the council voted to rescind its previous opposition of the I-77 South Express Lanes project.

Councilmembers Malcolm Graham and Joi Mayo changed their votes from the council’s May meeting, turning a previous 6-5 vote against the project into a 7-4 vote in favor.

Councilmembers LaWana Mayfield, Renee Perkins Johnson, J.D. Mazuera Arias, and Victoria Watlington remained opposed to the project, while councilmembers Dimple Ajmera, Ed Driggs, Kimberly Owens, Dante Anderson, and Mayor Pro Tem James “Smuggie” Mitchell joined Graham and Mayo in voting in favor.

Significant changes were made to the project since that original vote, including a new Memorandum of Agreement (MOA) with the North Carolina Department of Transportation (NCDOT). That agreement “establish[s] each party’s role and responsibilities in Project design, delivery, community engagement, and the development of a binding Community Benefits Plan,” and includes an NCDOT community benefit agreement to “commit a minimum of three hundred million dollars ($300,000,000) generated through the P3 procurement process to delivery of community benefits.”

Read the MOA

Despite the change of tune on council, over 50 members of the public spoke at the public hearing before the vote, with over 30 of those speakers against the toll lanes project.

"Traffic is an inconvenience, community harm is permanent,” said District 2 resident Maria Sophia, echoing concerns from many of the speakers.

The Charlotte Regional Transportation Planning Organization (CRTPO) is scheduled to vote on Wednesday on whether to reinstate its support for the NCDOT’s Public-Private Partnership (P3) funding model for the project. With Charlotte now in support of the project, a vote to reinstate the project will pass.

Additionally, with the motion passed tonight, the City of Charlotte and NCDOT are expected to enter into the MOA tomorrow.

This is a developing story. We ask for grace with small typos and mistakes; email sam@yallweekly.com if something catches your eye.

Document: Read the Motion that Passed

Specifically, the motion passed Monday night instructs councilman Ed Driggs, Charlotte’s representative on the CRTPO planning organization, to support the tolls project. Additionally, it authorizes city manager Marcus Jones to inter into the MOA with NCDOT described above.

That motion, in full, is below:

Vote to Oppose Tolls Fails

The vote came after a civil public hearing that devolved into protests as it became clear that seven council members, a veto-proof majority, would support the toll project.

After the public hearing, Mayfield made a substitute motion to preserve the status quo. Councilmembers Mayfield, Johnson, Mazuera Arias, and Watlington spoke against the I-77 tolls project, with Mazuera Arias arguing that the legislation passed by the North Carolina General Assembly that proposed up to an $80 million fine for Charlotte was unconstitutional.

That motion failed 4-7, with only Mayfield, Johnson, Mazuera Arias, and Watlington in support.

Next, the 7 council members supporting the new position spoke, starting with Owens, who represents District 6 (south Charlotte).

“My vote is a step to rectify decades-old wrongs in [West Charlotte],” said Owens as she told attendees she would vote in favor of the motion to “go back to the table.”

Councilmembers in favor of the I-77 tolls project, as well as supporters during the public hearing, frequently cited that money that would be used to “reconnect” neighborhoods, reversing years of structural racism in transportation planning that segregated and divided neighborhoods.

“My vote isn’t an endorsement, it is an indictment,” said Owens, explaining her opposition to the entire process as well as the multi-million dollar threat from Raleigh. Owens and others on council made it clear that the state legislature put them in a position they’d rather not be in, stuck with a project that they know will harm the community.

Protesters Removed from Council Chamber

Many speakers and audience members personally called out councilmembers Graham of District 2 and Mayo of District 3, who not only changed their votes, but represent many of the neighborhoods that will be most affected by the project.

“I try to be truthful, I try to be honest, and I try to lean into years of experience representing this community,” said Graham. “And that’s what I’m doing here tonight: representing the community.”

“It doesn’t sound like it!” replied a member of the audience.

Chants and screams interrupted the council as Graham spoke in favor of the project.

“You are disrupting the meeting, please stop talking,” said Mayor Rob Harrington to chanting protestors, many of whom were chanting, “No More Tolls!” during the meeting.

Harrington told the protestors they could be charged with a misdemeanor, and many protestors were eventually removed.

“I understand the history of West Charlotte. I’m a graduate of Johnson C. Smith [University],” said Graham. “I also get that we have to move forward. All of us. If we start dividing ourselves as a community … then we lose our identity. We have an identity. Let’s fight to keep it.”

“I opposed the P3 when it came before us, because I believed it needed more,” said councilmember Joi Mayo, before explaining many of the benefits that would come to her district, which has the most miles of I-77 that are part of the project.

Emphasis on Silver Linings

Driggs framed the agreement as a new playbook for dealing with NCDOT.

“We need to look at it as a success,” said Driggs. “300 million dollars in cash at closing. There’s no uncertainty about that.”

“I hope that as we move forward, the benefits to West Charlotte will be apparent,” Driggs added.

Another silver lining: both members of council in opposition, and those in favor continuously thanked the City Attorney’s office as well as the many public employees and community members who negotiated with the North Carolina Department of Transportation (NCDOT) to come to progressively better deals, including the MOA.

After every member of council had their say, the 7-4 vote in favor of rejoining the toll project was a fait accompli, with council adjourning shortly after.

Vast Majority of Community Comments Against the Toll Lanes Project

A Y’all Weekly tally counted over 70% of the approximately 50 speakers in attendance opposed the City changing its vote on the I-77 toll roads.

“Everyone knows it's not going to work,” said Corbin Smith, a self-identified Republican, one of many speakers who brought up concepts like induced demand, which says — in civil engineer terms — that if you build it, cars will come, and congestion will eventually remain the same.

Rosemary Lawrence-Young, a McCrorey Heights resident, appealed to those who knew the history of her community and many that had been affected by past transportation decisions.

“I ask you to keep your promise,” she said, referring to the May vote. “We are speaking to you, we are pleading to you, keep your promise.”

Greg Jarrell was pointed with his criticism of the project, and like Lawrence-Young was one of many speakers who believed that history was repeating itself with the I-77 project.

"Urban highway system is our most enduring monument to white supremacy,” said Jarrell.

James Cole invoked history in a different way, comparing the opposition to the I-77 project to local opposition to Charlotte building an airport during the 1930s and 40s.

Rickey Hall, a longtime West Charlotte resident and community activist, was also in the minority speaking in favor of the project.

“[It’s an] opportunity to reconnect neighborhoods,” said Hall. “If we do it right, people can see real and lasting benefits.”

Both Hall and local NAACP president Corine Mack got shoutouts from Mitchell for their support of the project.

You can watch the meeting in its entirety here:

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ICYMI: Our Conversation with Writer/Director Elaine Alexander and Actress Elyse Williams

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Charlotte Film Festival

It’s the MOST wonderful time of the year! The annual Charlotte Film Festival is back at the Independent Picture House (IPH), running from September 22nd through the 27th. This is not just any ordinary festival; it features newly released indie films, documentaries, and various shorts. You will find exclusive daily talks by industry veterans, post-film discussions, and special presentation films that you can only see at IPH! To see the full schedule for the week and to purchase tickets ahead of time, click this link for more information.

My sojourn to our local cinema paradise will include four films this year. I need to make a brief midweek stop at the Spectrum Center to watch Gorillaz play their first concert ever in Charlotte (another write-up coming soon). So, what does Matt at the Movies have on his plate from the bevy of amazing options?

Opening Tuesday night features the Japanese drama Ha-Chan, Shake Your Booty!, which dives into the life of a former Tokyo ballroom dancer who experienced a tragedy and tries to return to the studio while navigating her grief. This is just the amuse-bouche I need to cleanse my palate with my feelings to start off the week, and it has had amazing buzz from prior showings on the festival circuit.

I’ll be back Thursday evening to catch Domhnall Gleeson’s British comedy The Incomer, where he portrays a council worker trying to uproot two siblings, tied by their ancestors to a small Scottish island, back to the mainland. The film features many surreal scenes that blend the past and present to break up the awkward comedic tone.

Fast-forward to Sunday, and I have a double header beginning with IPH director Brad Ritter’s favorite pick of the week, Hen. The Greek film follows the life of the self-titled hen as it makes its way in the world, escaping from an industrial farm until it finds its place at a small, family-owned restaurant. If it’s anything like the 2022 Polish film EO, I should be in for a treat.

We round out the festival with a special appearance by my lovely wife to catch writer/director/documentarian John Wilson’s newest venture, The History of Concrete. If you aren’t familiar with his work, I would highly recommend his HBO series How To with John Wilson, which is as fascinating as it is absurd. After attending a writing class on how to write and sell Hallmark-style movies, John tries to apply the same concept to his new documentary about the history of concrete. This ridiculous concept will surely result in a lot of laughs to close out the festival.

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2026 Fall Preview

We are entering the time of year when some of the heavy hitters vying for Academy Awards start to show their faces. Fall is also a prime slot for horror, and international films start hitting local cinemas after their long runs through the festivals here in the States as well as across the pond. Today, we’ll check out eight films set to hit in the coming months that fit these descriptions. We’ll start with a review of the first film, Zack Cregger’s Resident Evil, which attempts to reboot the campy video game series with some extra horror zest.

Resident Evil (In Theaters)

In a nutshell: We return for our eighth installment and second reboot of the popular horror game franchise as organ transport courier Bryan has the task of dropping off a high-level package to the nearby Raccoon City Hospital. As he traverses the heavy snowfall and blustery countryside winds, he encounters some strange occurrences where something bigger may be afoot to the surrounding populace.

Spill the tea: The first Resident Evil, dropped in 2002, captured both the eerie ambiance and zombie horror of the first-person shooter. It featured our T-virus queen Milla Jovovich as the lead, Alice, and was under the helm of her soon-to-be husband Paul W.S. Anderson (no, not PTA, the Academy Award winner). These movies were serviceable, schlocky, and something to throw on during a lazy, rainy day.

After a failed reboot in 2021, writer/director Zack Cregger stepped in fresh off two massive horror successes with Barbarian and last year’s Weapons, which won Amy Madigan an Oscar for Best Supporting Actress. He is an expert at subverting your expectations of what a horror film SHOULD be. He has the ability to pop in humor, great needle drops to confuse you, and breakneck, gory horror that completely catches you off guard for some genuine scares. Cregger was an avid enthusiast of the video game series but decided to take a different approach that focused on the experience of playing the franchise over the lore.

Time is money, why should I go?: I vividly remember being in Chicago on a hot summer day with my wife, and to beat the heat, we went in blind to watch Cregger’s debut, Barbarian. It was a viewing we both remember for the insanity that ensued, where the two of us agreed we hadn’t seen a horror film quite like it before. Resident Evil is best when the story is smaller. As the main character, Bryan, has his first interactions with the infected out in the snowy countryside, we are in his shoes trying to take in what could be happening to these people.

The pacing, dread, and ultimate humor that is sprinkled throughout allow us to both jump out of our chairs while still having a laugh. Bryan is a young adult and inept at the many facets of survival. As we watch him work through various stages of his journey, we constantly question both his choices as well as his psyche when the world around him falls apart. There are several callback “Easter eggs” to the video games, but Cregger chose an ultimately better path for the story, which far surpasses any of the previous seven film installments.

Star of the show: Austin Abrams has had quite a couple of years. In his younger years, he was always the sidekick friend in young adult films, but the past two years saw him playing alongside George Clooney and Brad Pitt (Wolfs), as a local druggie loser in Cregger’s Weapons, and in the upcoming film to be covered in our fall preview, Whalefall. He has an earnestness and naivety that comes through as either fearlessness or being a dope. The best thing about his acting is you always seem to root for him, even if you know he’s doing the wrong thing. His thought process and communication with the world lead to a lot of comedic moments that balance out the film and, frankly, were missing from the other films. For Resident Evil, this was a perfect casting choice by Cregger.

Best 5-minute stretch: In the first 20 minutes, Bryan is driving through the backcountry to deliver his package to the hospital and, with the low visibility of the snowy weather, hits what he thinks was a wandering person. His first interaction with the infected, followed by his journey for help at a small farm, turns him from a loser courier into a stone-cold killer. The events that he goes through to make that change were the best and most frightening parts of the film.

30-second timeout: In the third act, when he enters a fully infected Raccoon City and makes his way to the hospital, we see a small horror-comedy where the gore truly intensifies. While I enjoyed it for the most part, we started to see some human mutations that were reminiscent of David Cronenberg levels of visual discomfort. There needs to be a conclusion and a big bad at the end of each of these films, but this one seemed a little half-baked.

Don’t Sleep On: More Resident Evil films in the future! Cregger has said that filming this took a lot out of him, but if the series can bring in some real auteurs of the genre, this could be a very exciting continuation.

MatM Score: 7.5/10 (Easily the best entry of the franchise)

Primetime (September 25)

In a nutshell: This psychological crime thriller is loosely based on TV host Chris Hansen’s reality TV series To Catch a Predator. Directed by Lance Oppenheim (You Can See Everything), who is making his narrative film debut, retells a 2007 Esquire article showing the darker side of the production aimed to catch child predators who are set up by online stings, making arrests live on camera.

Spill the tea: A24 Films locked in the current king of Hollywood, Robert Pattinson, to play the lead role of Hansen. Hansen himself was offered a chance to preview the film but did not consent to signing an NDA, raising doubts about how Hollywood will portray him. There is a great cast, including multiple Emmy Award winner Merritt Wever and a surprise appearance by the indie singer-songwriter Phoebe Bridgers. The film premiered in Venice, and A24 hopes to add this to their quite impressive string of successful 2026 releases.

Time is money, why should I go?: When you watch the trailer, you see an almost vampire-esque Pattinson mimicking every mannerism of Hansen but with a much creepier tone that seems to naturally flow with the nature of the smash-hit TV show. Using the show’s iconic line, “Why don’t you take a seat?”, we are thrown into the world of primetime network TV to experience the rise of this completely niche program. The lengths that Hansen, his producers, and the network go to in order to exploit this lightning in a bottle have dramatic repercussions to anything in its wake.

Pattinson is off the charts, and it could garner him his first Oscar nomination from a phenomenal year’s work that has already seen him in The Drama, The Odyssey, and the upcoming finale, Dune: Part Three. The tone of the film certainly plays to Pattinson’s strengths, as he’s ascended the ladder into the acting elite by playing icy, offbeat characters with a chip on their shoulder.

MatM Excitement Meter: 9/10

Digger (October 2)

In a nutshell: Digger Rockwell (Tom Cruise) is an eccentric Texas oil tycoon. When an explosion hits one of his oil refineries, it sets in motion a potential incoming geological disaster that could wipe out half a continent. This dark comedy harkens back to the time of Kubrick’s Dr. Strangelove and its political absurdism, featuring Oscar-winning director Alejandro González Iñárritu making a peculiar comeback with the help of Hollywood’s greatest champion, Tom Cruise.

Spill the tea: This is not what we call a “four-quadrant” film that can appeal to the masses of theatergoers. At a reported price tag of $125 million, Warner Bros. is betting big that this beautiful yet somewhat monochrome-looking film will be carried by good word of mouth. Cruise completely transforms into this quirky, larger-than-life role that we have not seen since 2008’s Tropic Thunder. Not since the days of Magnolia has Cruise pushed himself into unfamiliar acting territory after years of “saving cinema” by pumping out blockbuster after blockbuster action flick.

Time is money, why should I go?: I think this is a perfect opportunity for a real film fan to explore their curiosity. I’m curious to see if a dark comedy, a genre that has not been friendly to any studios over the past decade, can be a hit with its audience. I’m curious to see if Iñárritu can pull something more out of Cruise that pushes past campy, Oscar-bait slop. I’m curious to see if the geopolitical humor connects or feels like a bunch of men in their sixties holding on to try and revive a dead genre. The final and most important thing I’m curious about is: if this movie doesn’t succeed on such a large budget, are two of the industry’s brightest names going to movie jail?

MatM Excitement Meter: 6/10

Fjord (October 9)

In a nutshell: Inspired by true events, the story follows the conservative Christian Gheorghiu family as they relocate from Romania to wife and mother Lisbet’s remote Norwegian hometown. The aggressively progressive society they enter seems unyielding to non-assimilation, which hits a breaking point when a neighbor suspects they are abusing their children. The resulting aftermath of the accusations within the small town poses a moral dilemma of conformity versus isolation.

Spill the tea: The film took home the most iconic festival prize at Cannes this year, winning the Palme d’Or. Romanian writer-director Cristian Mungiu hasn’t been shy about his feelings regarding the isolated and cold nature of Scandinavians, whose politics can verge on the edge of left-wing fundamentalism. The tension created by Romanian outsiders trying to find common ground with the native Norwegian people showcases a lack of empathy and understanding from an intriguing viewpoint. Mungiu’s ability to sign both Romanian-American Sebastian Stan and Norwegian Renate Reinsve to this project gives the film an added weight of star power from two of Hollywood’s brightest actors. The film was officially nominated as Romania’s international selection for this year’s Academy Awards.

Time is money, why should I go?: Stan and Reinsve are two of the best working actors today. Stan made his bones with the Marvel franchise but in 2025 garnered a Best Actor Oscar nomination for playing a young Donald Trump in The Apprentice. The same year, he was magnificent in A Different Man, drawing massive critical acclaim. Reinsve’s stock has continued to rise since her exceptional work in 2021’s The Worst Person in the World. Last year, she received a Best Actress nomination for Sentimental Value and co-starred in this summer’s psychological horror smash hit, Backrooms. These two have earned the price of admission.

MatM Excitement Meter: 9/10

The Social Reckoning (October 9)

In a nutshell: Following up on 2010’s cultural watermark The Social Network, we return to Mark Zuckerberg and the world of Facebook. The film follows the 2021 leaks and tracks the whistleblowers who disclosed that the social media platform was well aware of its societal harm but prioritized profits, leading to—but not limited to—events like the January 6th US Capitol attacks.

Spill the tea: Oscar-winning writer and director Aaron Sorkin takes the helm from David Fincher, with Jeremy Strong taking over the role of the divisive billionaire tech mogul Zuckerberg. Sorkin as a director has made some strongly themed films that never seem to get over the hump of his whimsical tone, which harkens back to Mr. Smith Goes to Washington. I’m not sure if he has the tool bag to keep up with Fincher’s editing pace and stylization that made the original film so iconic.

Time is money, why should I go?: The Bear’s Jeremy Allen White, who plays Wall Street Journal reporter Jeff Horwitz, works with the whistleblower to tackle subjects ranging from intentional misinformation during the 2020 election to the effects of Instagram on teenagers and the role big tech plays in an America glued to its smartphones. There couldn’t be a more perfect time to reflect on these societal ills as we move into the current tech/AI onslaught. If Sorkin lands the plane on this, then noted method actor Jeremy Strong could set himself up for an acting nomination in the process.

MatM Excitement Meter: 7/10

Whalefall (October 16)

In a nutshell: We’ll keep it simple. A young scuba diver gets SWALLOWED by an eighty-foot-long sperm whale, and he has one hour’s worth of oxygen to survive. I’ll shout it louder for the people in the back: HE GETS SWALLOWED BY A WHALE!

Spill the tea: While the synopsis seems both insane and completely gnarly after watching the trailer, director Brian Duffield is no stranger to filming in the water following 2020’s Underwater. He worked with Daniel Kraus, who authored the titular novel in 2023, to come up with a working screenplay. The film stars actors Austin Abrams and Josh Brolin, pairing up once again after their successful 2025 horror hit Weapons.

Time is money, why should I go?: While this film will test the limits of your ability to handle completely claustrophobic and vile scenery, it’s really a story about a son (Abrams) trying to process the hard lessons learned from his father (Brolin) to fight to survive. Watching this trailer caused me to be both incredibly frightened and in awe at how anyone could pull off such a feat on the big screen. I’ll be there… with a barf bag.

MatM Excitement Meter: 8/10

La Bola Negra (November 6)

In a nutshell: The tagline for the film is as follows: The plot is set in 1932, 1937, and 2017, exploring the interconnected lives of three gay men.

Spill the tea: Co-directors Javier Calvo and Javier Ambrossi took home the Best Director award at Cannes, and Spain chose the film as its selection for Best International Feature at this year’s Academy Awards. Netflix won the battle for distribution for a reported $4–5 million and will have a limited theatrical release (including in Charlotte) before its streaming debut on December 4th.

Time is money, why should I go?: I am impressed by the epic scale of this film. We have had several excellent films the past couple of years that dive into the exploration of queer identity, including 2023’s All of Us Strangers, 2024’s Queer, and last year’s The History of Sound. This film seems to go beyond the scope of all the aforementioned stories to explore a deeper exploration of Spain’s history regarding gay culture. I had a hard time processing the multiple storylines mixed with the gorgeous cinematography, but this has all the makings of an awards darling. Could Netflix finally get over its seemingly cursed Oscar hump to take home Best Picture?

MatM Excitement Meter: 9/10

Wild Horse Nine (Nov. 6)

In a nutshell: Before the 1973 Chilean coup d’état, the CIA sends two officers to Easter Island for a “last vacation” before one dies of cancer, burying years of murky government secrets with him.

Spill the tea: Writer/Director Martin McDonagh has no problem being an outside voice to the American experience. This film is a critique of US foreign policy and how the two agents wrestle with their past actions in what feels like veteran Chris’s (John Malkovich) last assignment. Oscar winner Sam Rockwell plays fellow officer Lee, who is Chris’s protégé. While they use the historical background and timeline of CIA intervention in South America, this is not based on a true story.

Time is money, why should I go?: A second satirical dark comedy shows up on our list, but this time in the hands of the one best to ever tackle the genre, Oscar winner Martin McDonagh (In Bruges, Three Billboards Outside Ebbing, Missouri, and The Banshees of Inisherin). I’ve seen this trailer more times than I can count over the past six months, and I can’t wait to see how Rockwell and particularly John Malkovich play off each other. There is an early groundswell that this year could be Malkovich’s time to take home his first Oscar. He just took home the Best Actor award at the Venice International Film Festival, so the precedent has been set for a big push over the next few months.

MatM Excitement Meter: 9/10

Once again, I hope you can make it out to the Charlotte Film Festival next week. The picture house will be buzzing with excitement and great energy with plenty to experience. We’ll see if these films hit critically or financially in the coming months, but the Oscar race is starting to take form. I’ll be back next week with a special Matt at the Movies review of the Gorillaz concert at the Spectrum Center before diving into Robert Pattinson’s new film, Primetime. Thanks for reading, and we’ll see you next time at Matt at the Movies here at Y’all Weekly.

Show runs through Sept. 27 at Davidson Community Players’ Armour Street Theater

Last night, Davidson Community Players had to cancel their production of “The Cottage,” but the show is back on tonight. Additionally, DCP has added an additional show on Saturday, September 26 at 2 PM with lots of tickets currently available.

The production has been an example of the resilience and tenacity of local artists; when the air conditioning at Armour Street Theatre went out during rehearsals, the company had to resort to an “undress” rehearsal out of costume to beat the heat as the tech crew sweltered along with the actors.

Then, last night’s show was canceled due to a bout of Covid.

Now, the air conditioning is on full blast, the actors are healthy, and Davidson Community Players is ready to welcome back theatergoers for a production that “offers a perfect showcase for six actors with endless laughs, hilarious twists, daring physical comedy, and a happy ending for lovers everywhere.”

Get Tickets

Yesterday, Y’all Weekly spoke with “The Cottage” director Hanley Smith, who originated the role of Dierdre in the original production of the Sandy Rustin play and went on to play Sylvia. Though she has a long list of acting credits, “The Cottage” at Davidson Community Players is Smith’s directorial debut.

“I think this play tickles all of the right funny bones, while at the same time asking really good questions,” said Smith. “‘What actually is love?’ ‘What does it look like?’ ‘What does fidelity look like?’ ‘Is fidelity required for a happy marriage?’ ‘What does a happy marriage look like?’ ‘What is duty?’ ‘What does it mean to know one’s self?’ and a lot of these characters have a burgeoning self-awareness during the play … It’s wonderful to have a farce that is absolutely delicious and filled with all of these unexpected [moments].”

We’ll have more from our interview with Smith this weekend. For now, there are limited tickets available for tonight’s performance; “The Cottage” runs through Sunday, September 27 at the Armour Street Theatre in Davidson, N.C. The show is recommended for audiences ages 13+.

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Help Us Stop Soldier Suicide

On September 19, a group of veterans, service members, military families, and community members will come together for a 10-mile ruck through Charlotte in support of Stop Soldier Suicide.

The group is meeting at 7:45am at Marion Diehl Rec Center (2219 Tyvola Road Charlotte, NC 28210) and starting the ruck at 8am.

Facebook Event

The route will take supporters on major Charlotte thoroughfares like Park Road and East Boulevard. The event has a fundraising goal of $2,000, and more information can be found here.

”The goal is bigger than the ruck itself. We want to bring people together around the idea that supporting our military community isn’t something veterans should carry alone,” said Marine Veteran Matthew Ridenhour, one of the organizers of the event. “Whether someone is rucking, waving a flag along the route, cheering from the sidelines, or simply showing up, there is a role for everyone to play.”

Stop Soldier Suicide is a national nonprofit that provides free, suicide-specific care to Veterans and service members nationwide. The event will bring together Veterans, service members, military families, and civilians around a shared commitment to military suicide prevention.

“As we reflect on 25 years since 9/11, it feels like an important opportunity to remind people that many veterans and service members are still carrying challenges that aren’t always visible,” said Ridenhour. “Raising awareness is one way we can help ensure people know support is available and that they don’t have to face those challenges alone.”

Learn More

Last Call for Lúmina Tickets!

On Saturday, September 19, 2026, the Bechtler Museum of Modern Art presents Lúmina, a party celebrating Latin American Modernism. The evening takes inspiration from the Bechtler’s fall exhibition, Making an Impression: Pioneering Latin American Printmakers. As the museum’s fall fundraiser, Lúmina supports the Bechtler’s world-class exhibitions, educational programs, and community partnerships.​

Guests will move through immersive installations, live performances, and DJ-driven sets, alongside Latin American-inspired street food, wines, and spirits, and a relaxed terrace lounge featuring curated tastings and conversation.

The evening sets the tone for a vibrant celebration of art, music, and contemporary Latin American creative expression.

Buy Tickets

Editor’s Note: Y’all Weekly publisher Sam Spencer serves on the board of directors for the Bechtler Museum of Modern Art.

Upcoming Auditions

Want to add your audition? Email sam@yallweekly.com!

Auditions for the Regional Premiere of LIBERATION
at Three Bone Theatre
By Bess Wohl
Directed by Donna Bradby

Audition Dates:
September 20, 2026 - 4PM-7PM
September 21, 2026 - 6PM-9PM

Audition Location:
Watershed Church
2101 Shenandoah Ave, Charlotte, NC 28205

Learn More

Quote of the Week

Charlotte Film Festival

The annual Charlotte Film Festival is back at the Independent Picture House (IPH), running from September 22nd through the 27th.

This is no ordinary festival; it features newly released indie films, documentaries, and various shorts. Cinema-goers will find exclusive daily talks by industry veterans, post-film discussions, and special presentation films that you can only see at IPH!

To see the full schedule for the week and to purchase tickets ahead of time, click this link for more information.

Learn More

Spooky Season Kickoff at VisArt

Hosted by SpookyCLT

Saturday, Oct 3 at 7pm

Join VizArt Video for an evening of monster lore, desire, and erotic dread. The event promises to explore why humans have always been drawn to the creatures that frighten us, tracing our scandalous fascination through Monster Theory, Gothic tradition, and Charlotte Folklore.

And once again SpookyCLT will investigate the torso-less ghost of VisArt (cue the spooky music!)

A portion of proceeds go towards the cemetery preservation project.

Get Tix

Charlotte Theater Calendar

Want to add your show? Email sam@yallweekly.com!

“The Cottage,” as well as many other opportunities to support local theater, are below …

This Weekend …

“The Cottage”
Presented by Davidson Community Players
at Armour Street Theatre (Davidson, N.C.)
September 10 - 27
Directed by Hanley Smith
Learn More

“The Insanity of Mary Girard”
at the Lee St. Theatre Lab (Salisbury, N.C.)
September 17 - 19
Directed by Rod Oden
Learn More

“Sex, Lies, and a Sycamore Tree”
at Fort Mill Community Playhouse
September 10 - 20
Directed by Elaine Alexander
Learn More

“Come From Away”
at Theatre Charlotte
September 11 – October 4, 2026
Directed by Billy Ensley
Learn More

“The Jungle Book: Youth Play”
Presented by Rock Hill Theatre
at Castle Heights Middle School (Rock Hill, S.C.)
September 11 - 26
Directed by Harper Elaine Rego
Learn More

“The Odd Couple”
at Matthews Playhouse
September 18 - 27
Directed by Lisa Ulanow
Learn More

New to the Calendar

“Maytag Virgin” by Audrey Cefaly
at Carolina Actors Studio Theatre
Three weekends, October 16 - 31

at The Black Box Theatre at the Arts Factory
managed by Three Bone Theatre

She can’t stand clothes dryers.
He keeps one parked on his front porch.

If that doesn’t sound like the beginning of a love story, think again. Carolina Actors Studio Theatre invites you to experience a charming Southern tale filled with humor, heart, and unexpected friendship.

Learn More

Later in September …

“I’m Gonna Marry You Tobey Maguire”
Presented by Zingher Productions
at Warehouse Studio Theatre (Cornelius, N.C.)
September 25th - October 11th
Directed by Jessica Zingher
Learn More

Coming Soon …

ARMOUR AFTER DARK: “Gaslighting the Musical”
Presented by Davidson Community Players
at Armour Street Theatre (Davidson, N.C.)
October 3 - 10
Created and Performed by Brooke McCarthy
Learn More

“The Great Gatsby”
at Belk Theater at Blumenthal Arts Center
Broadway Lights Series
October 13-18
Directed by Marc Bruni
Learn More

“The House on Haunted Hill”
at Lee St. Theatre (Salisbury, N.C.)
October 16 - 31
Directed by Jessie Dietzel
Learn More

“La Maison de Horreurs: An Evening at the Grand Guignol”
Presented by Post Mortem Players
at the Wilson Family Black Box at Old Courthouse Theatre
October 22 - November 1
Directed by Jackie Obando Carter
Learn More

“Frankenstein”
at Theatre Charlotte
October 30 - November 15
Directed by Dee Abdullah

“Liberation”
at Three Bone Theatre
November 6 - 22
Directed by Donna Bradby
Learn More

Recent Stories

More local arts and culture coverage from Y’all Weekly:

Matt at the Movies

The Charlotte Film Festival & Fall Preview

Charlotte Film Festival…

Read more

a month ago · Matt at the Movies and Y’all Weekly

Keep in Touch!

Please forward this newsletter to any friends who might be interested. If you’d like to submit dates for an event, or have suggestions to improve Y’all Weekly’s arts coverage, please email sam@yallweekly.com.

Editor’s Note: The below piece is the sole opinion of its author, and does not necessarily reflect the views or opinions of Y’all Weekly or its publisher.

In the face of financial and political pressure from state government, Charlotte City Council is reconsidering their approach to the Interstate 77 toll lanes project with a vote scheduled for next week.

The clock is ticking as Vickie Sawyer, Republican state senator representing part of Mecklenburg County, passed legislation to financially punish municipalities that remain opposed to the plan.

With a price tag over $4 billion, the city owes it to taxpayers to get it right. It is a generational decision that will affect the community for decades.

With that in mind, the city council should consider the project on its merits before making a decision under duress. Before the vote, council members should ask themselves: “does this project create an asset with lasting worth to our community?”

How We Got Here

The Charlotte Regional Transportation Planning Organization (CRTPO), a transportation planning organization that includes Charlotte and Mecklenburg County, originally voted against the project due to significant opposition from the community. Many thought that vote would have killed the project in its current form and ended the debate, but CRTPO will now reconsider the toll lanes vote at a meeting next week in order to meet a deadline imposed by Sawyer’s bill. Smaller towns like Monroe have already changed their position, and will vote in favor of the project at the next CRTPO meeting.

Some members of the Charlotte City Council made it clear at Monday’s meeting that they feel like the city is out of options and has to support the project, despite the legislative hostage taking by the General Assembly, run by Republicans, and a perceived lack of harm reduction from the NC Department of Transportation, run by Democrats.

However, the City shouldn’t make their choice based on threats and pressure. The I-77 toll lanes project doesn’t exist in a vacuum, and — for better or worse — it will transform a large corridor of the community, including Uptown and historic Black neighborhoods in west Charlotte.

Framing the Debate

Most of the arguments for and against the massive I-77 project are well-worn at this point, and will be recycled at the public hearing on Monday, but in case you’ve missed the debate:

If the city council decides to vote to support the project, they won’t have to pay back tens of millions of dollars to the state. Both city government and the people it serves will reap a proposed $300 million in economic and development reinvestment, paid for by toll revenue. With more lanes, traffic will supposedly flow better, and the project will create local jobs and through hundreds of millions of dollars in construction spending.

In short, NCDOT and the General Assembly are framing the debate as, “heads we win, tails you lose.” It’s a compelling argument, even without the pressure from lawmakers.

Opponents of the project note many of the downsides: eminent domain destruction of homes in historic neighborhoods, displacing families; the loss of park and green space in Uptown Charlotte, including at Frazier Park; and another rip in the fabric of the Historic West End. The community will be even more disconnected and less walkable. Toll lanes increase transportation costs and don’t provide equal benefit to community members as transit and other mobility options aren’t part of the plan.

There’s also fundamental disagreement on whether or not adding lanes improves traffic, or induces demand in growing communities (like ours) to the point that traffic congestion returns to previous levels.

Finally, there’s the argument that the legislation requiring the repayment is unlawful, and won’t hold up in court. A bedrock constitutional principle prohibits ex post facto legislation in criminal law, an idea that could be applied here.

“Cars first, people last,” sums up most of the arguments against. If the I-77 project is built in its current form it will cement Charlotte as an asphalt city for a generation.

Deficit Framing vs. Asset Framing

What’s clear in this debate is that opposing the tolls comes with a price: Charlotte will have to pay up to $80 million back to the state if the project comes through, and will miss out on hundreds of millions of dollars in both direct and indirect economic impact. If the toll lanes go through, federal and state government will pay the lion’s share of the $4.3 billion in project costs.

What is harder to measure is the cost to our community, which I argue is orders of magnitude greater than the price of stepping away.

Thinking about I-77 in terms of traffic, or a one time payment to the state only considers deficits or problems to be solved. It thinks of people only as commuters and drivers who contribute to traffic, not as walkers, bikers, dog moms, fathers, transit riders, or community members.

That framing doesn’t consider the worth of individuals, neighborhoods and other community assets that we already have. It doesn’t contemplate the value of assets we could have if the project moves in a different direction.

Former Secretary of Transportation Anthony Foxx, who grew up in West Charlotte, recently criticized the project at a community forum, talking about how the current I-77 proposal ignores the history of how roads segregated Charlotte and harmed West End communities.

Foxx also reframed the debate about penalties and project costs this way: “I would match cost with worth.”

Supporters of the project will note there are some proposed investments, including parks and community-owned grocery stores. Even then, does spending $4.3 billion on toll lanes create enough assets with lasting worth to the community? Or does it add an even larger maintenance burden to an unsustainable state highway system that is already the second biggest in the county?

What Is a Community Worth?

In its current form, however, the I-77 toll lanes project throws out our city’s commitments to equity, the environment, public spaces, transit, mobility, health, community, and so much more out the window. It ignores adopted city policies like the Charlotte Future 2040 Comprehensive Plan.

What we lose under the current plan is worth so much more than a paltry $80 million penalty. It puts the heart of Charlotte down a path that looks more like 1940 than 2040.

Is there a compromise or a reimagining of the project that could make it worth both the ten-figure price tag and the costs to the community? Absolutely, but the temperature needs to come down.

Recently, so much of the thinking about the project has been under duress and threats. Meanwhile, community members haven’t felt heard during the process, even though some important concessions have been made.

A better plan seems more likely if the ultimatums go away, and there is a way to do that in Sawyer’s bill: if the NCDOT concurs with CRTPO that the decision to kill the project was not “unilateral,” and also votes to reconsider the project.

NCDOT and Governor Josh Stein should work with Charlotte to improve the project and protect the neighborhoods that both Stein and his father fought for as civil rights lawyers. Take away the $80 million threat to Charlotte, and cooler heads can prevail, giving community members assets that are worth the cost.

I say all of this while recognizing that we absolutely must address the mobility infrastructure of this community. We are a city racing toward 1 million residents, in a region racing toward 3 million. Transformational change in how we get around Charlotte isn’t optional, but we have to be smart about how we get there.

We need to reimagine mobility across our 300-square-mile community and build a transportation system that actually meets those needs. We shouldn’t abandon that goal simply because a neighboring legislator thinks we should.

Clayton Sealey is founder of CLT Development and an expert on local and regional development.

Last week, the Charlotte Observer announced they had eliminated 8 additional positions, further shrinking a newsroom that had already shrunk from its heyday. The news comes less than a month after Queen City Nerve announced their immediate closure in August, and less than a year after Charlotte magazine closed its doors.

“Nearly 10 talented Charlotte Observer journalists committed to bringing positive impact to our community got laid off Sept 10 as part of a McClatchy sweep that claimed more than 90 jobs nationwide,” reads a GoFundMe launched to support the laid off journalists. “These local reporters have worked tirelessly to bring you the latest on education, public safety, transportation news, elections and so much more. They’ve investigated fraudulent companies, working conditions for city bus drivers and police.”

Two of the positions eliminated - the Charlotte Hornets reporter and Charlotte-Mecklenburg Schools reporter - are two of the most quintessential Queen City beats, and they’re being eliminated at a time when both education and sports reporting are shrinking in Charlotte.

Education Reporter Laid off at Critical Time for Schools

Rebecca Noel, the paper’s education reporter, has been let go in the middle of a chaotic period for Charlotte-Mecklenburg Schools. In case you missed it, The school board paid for a $379,000+ investigation into superintendent Crystal Hill after putting her on leave. Then, in August, the board announced Hill was returning.

The Observer published a piece by Noel today on how CMS board chair Stephanie Sneed is fighting for her political life in the wake of the superintendent saga as the board prepares to vote on a motion to remove her as chair.

Hornets Beat Eliminated just as the Buzz Start Flying High

Meanwhile, we found out today that the Hornets position is being eliminated during an upswing that saw the team back in the playoffs while breaking attendance records.

Hornets reporter Rod Boone tweeted out the news from his personal account:

Cheers to you, Rod, and to all of the Observer reporters wondering what’s next.

You can support the laid off reporters on GoFundMe.

Support Reporters

Additional Coverage of Observer Layoffs

In her Axios Charlotte story over the weekend, Alexandra Sands asked, “who steps up?” in a local news ecosystem decimated by private equity and dominated by crime coverage.

In another article, Tony Mecia of the Charlotte Ledger acknowledges how journalism has been disrupted, but still takes the hedge funds to task.

Our Take: It’s easy to make McClatchy and the hedge funds the villain of this story, and it’s safe to say at this point that the Charlotte Observer is no longer our local paper of record. WFAE, the Ledger, and our broadcast TV stations are all fighting for that title while local institutions like La Noticia already hold that title in Spanish-speaking communities.

The Charlotte Journalism Collaborative launched the Documenters program earlier this year so that, eventually, there are reporters at every important government meeting - literally creating the record themselves, and making it open source so any journalist can use their notes.

We also have to acknowledge that the economics of journalism have changed. If Charlotte still wants to have good journalism that covers topics other than crime and public safety, it’s going to take our donations, membership drives, private sector support, philanthropy, and even local government to replace advertising, sponsored content, and historic revenue streams like classified ads.

Finally, local journalists have to innovate. More people than ever get their news from vertical video and podcasts. Content creators are breaking stories on TikTok and Instagram. Facebook kicked news off its platform. The environment is constantly shifting, and if you’ve read as far as this sentence in this article, know that your attention span is longer than the average news consumer’s.

The outlets that don’t recognize that likely won’t have a future.

In addition to originating the role of Tracy in that production, Williams is also nominated for the “Theatre Person of the Year” award at the Metrolina Theater Awards.

Get Tickets

You can watch the interview as a video, listen to it on the Y’all Weekly Podcast, or read the transcript below.

Elaine Alexander and Elyse Williams on “Sex, Lies, and A Sycamore Tree”

Below is a transcript of our conversation with Elaine and Elyse, lightly edited for style and readability.

Y’all Weekly: Hey everybody, this is Sam Spencer with Y’all Weekly, and I am happy to be joined by Elyse Williams and Elaine Alexander to talk about the play Sex, Lies, and a Sycamore Tree. How are y’all doing today?

Elaine Alexander: Doing great.

Elyse Williams: Wonderfully.

Y’all: First off, Elyse, I wanted to ask you: the Metrolina Theatre Awards nominations came out this week, and you were nominated for Theatre Person of the Year. Congratulations, number one. And number two, what does that honor mean for you and the work you’ve been doing?

Elyse: Well, I’m glad I’m wearing waterproof makeup because I would start crying talking about this, because as soon as the nominations came out, I was overwhelmed. This was such an honor. I have been active in the theater community here in Charlotte since I moved here in 1986. I’ve been on stage with most of the original theatre companies and am so grateful to be cast in so many different plays over the years.

I was also instrumental in starting Actors Theatre of Charlotte. There were just four of us that decided to change Golden Circle Theatre into Actors Theatre of Charlotte, so I served on the board there for 16 years. I got to see how things were produced and was just so amazed at the quality of not only the board, but also the behind-the-scenes folks who made Actors Theatre so successful for so many years.

As a new playwright, I am overwhelmed with the wonderful response that my original plays have gotten over the past year. We started with Love, Compassion and Comedy at Charlotte’s Off-Broadway earlier this year in February, and then I opened The Worst Motel in the State at the Arts Factory in June, getting an overwhelming response. So I’m really encouraged about continuing to work, not only on stage, but behind the scenes, because it really takes both onstage performers and so much work done by artistic directors and backstage volunteers. We have such a rich talent pool in Charlotte.

I just so appreciate the Metrolina Theatre Association nominating me for Theatre Person of the Year. I just feel overwhelmed and so appreciative. As a producer, I produced the Metrolina Theatre Association Gala for three years in a row. This year I had to step back because I was so involved with producing my plays, but I will absolutely be attending. I don’t know if you saw the other names of people who have been nominated, but I am just so honored because of all the work that everyone does.

Y’all: Awesome. Elaine, you wrote this play, you’re directing it, and Elyse is starring in it. Tell us more about how Sex, Lies, and a Sycamore Tree came together.

Elaine: Well, it was my MFA creative thesis. I got an MFA in Creative Writing from Spalding University, and the creative thesis is the capstone. I wanted to write a play that had to do with the environment. I always believe in writing what I see, and what I see is a lot of residential overdevelopment and trees being taken down. Here in the Carolinas, it’s kind of hard to ignore—it’s everywhere. So yeah, I like to write about the world around me, and this is definitely around me as a Charlottean and in the Metrolina area in general. It’s certainly happening down in Fort Mill, for sure.

Y’all: Obviously the title is reminiscent of a [late ‘80s] film with James Spader and Andie MacDowell. Is there any connection there other than the title?

Elaine: Zero! There is no actual sex, okay? But there is marital shenanigans, marital misbehavior, fooling around going on. And there’s definitely a lot of deception, a lot of lies, and there’s a sycamore tree. So it worked! But there is absolutely no connection to that film. It just works with what the play is about, because there’s a lot of lying—and Elyse knows about that, because her character is not exactly the most straight-up person. There’s a lot of hanky-panky, but it’s not an explicit play. And we don’t know the fate of the sycamore tree until the end of the play.

Y’all: Going into that, Elyse, tell us about your character, who you’re playing, and how that works out.

Elyse: Okay, so Elaine cast me in the role of Tracy last year. She had seen my work before, so she felt like I brought the right level of everyday woman, the girl next door—in this case, the neighbor next door—but also some sensuality, and would be believable.

I like this role because it’s very complex, and I like complex characters. She has been married for a long time, has two grown daughters, and loves where she lives, especially because of the tree that’s still standing in her yard. So when we’re invited over to our next-door neighbor’s house for cocktails and hors d’oeuvres, I don’t want to go. There’s a reason that I’m not going to spoil for our audience’s sake, but the couple who comes over meets the couple that have been next-door neighbors for a year, but never met. The conversation turns very dark early on in the play because the woman who lives in the McMansion is obsessed with the tree in my yard. So there’s a lot of animosity and tension, and then as the play continues, reasons are revealed as to why there’s so much tension. I really love this character, I love the way Elaine has written it, and I enjoy playing it so much.

Elaine: And she’s absolutely incredible to watch. I could not have found a better person—she gets all those layers. She’s so perfect because Tracy is a very complex character. She’s an environmentalist and a tree hugger, but she’s not perfect. None of the characters are. I just love watching her on stage and feel very honored to have her in the cast.

Y’all: Last year, you put this on at Charlotte’s Off-Broadway. Clearly, there’s a demand to see it again because Sunday is already sold out this weekend. How did it make its way to Fort Mill, and why is it important that this is billed as a fundraiser for Fort Mill?

Elaine: They had a call for directors, and after winning an MTA Award for Best Director in 2024, I applied to be a director. They said, “No, Elaine, we don’t want you as a director, but we do want your play Sex, Lies, and a Sycamore Tree—would you direct that?” So I was honored and thrilled. I love that little theater company; it puts on great work in a small space, has great talent, and a very dedicated crew behind the scenes. I’m so happy that ticket sales will help Fort Mill Community Playhouse reach its goal of finding a larger space, because the small stage limits the kind of productions they can do.

Y’all: Elyse, I know you worked with Actors Theatre of Charlotte for a long time. Y’all Weekly started as a project after one of our co-founders lost his job when ATC closed down. This past month, Queen City Nerve, one of the big cultural institutions of Charlotte, named this play one of their “Best in the Nest” plays. To you, who have been doing this in Charlotte since the ‘80s, how important is it to get out and support productions like this?

Elyse: Well, Sam, here’s our challenge in Charlotte: we claim to be a world-class city and say we believe in the arts, but so few of our residents are aware of the rich offerings by the many theater companies in and around Charlotte. Many people attend the Blumenthal and see the Broadway shows, but aren’t aware of the fabulous local productions going on.

The Metrolina Theatre Association promotes and encourages over 50 different theater companies in the region. It’s also invaluable that publications like Y’all Weekly, Queen City Nerve, The Ledger, and even The Charlotte Observer cover and review these plays. Local theater companies cannot survive without the support of local residents buying tickets, donating, and becoming sponsors. Live theater is essential for our city to grow and thrive.

Y’all: Elaine, in writing and directing this play, is there anything you learned about your personal views or yourself?

Elaine: That is a great question. It’s an environmental play, but it’s really about relationships—hence the first word in the title, Sex. It’s about the complexity of relationships and how much you’re willing to risk or give up your pride for someone you love.

As a director, I get better every time I direct. My note to myself is to lean into letting the actors explore the role and make discoveries. If you cast really talented people, 95% of your work as a director is done. As a writer, it’s been very fulfilling to write a play close to my heart about the conflict that comes when people of different cultures, backgrounds, and income levels meld together amid rapid growth. You can find comedy in chaos!

Y’all: Elyse, for you, what is it like inhabiting Tracy?

Elyse: With every character I’ve played on stage, I always find a little bit of myself. There is a part of me that is very similar to Tracy: I am passionate, outspoken, and sensual. It’s a really lovely part to play, and I’m just so grateful to be cast in it.

Y’all: We know Sex, Lies, and a Sycamore Tree is running in Fort Mill from September 10th to 20th, Thursday through Sunday. Is there anything else you want people to know about the play?

Elaine: You can relate to this play. It is happening right here, right now—this is not the mythical South of the past, this is right here in 2026. And there are a lot of twists and turns, so hang on to your seatbelts!

Elyse: Come out and support local theater in Fort Mill to help them raise funds to get a bigger space all their own! I’ve had the honor of being on their stages over the years, and I love working with the Fort Mill Community Playhouse.

Y’all: Elaine, Elyse, thank you for everything you’re doing to put on this play, support local theater, and support the Fort Mill Community Playhouse. Break a leg tonight as the play opens, and thank you for making the time today!

Elaine: Thank you so much, Sam!

Lúmina is only one week away!

On Saturday, September 19, 2026, the Bechtler Museum of Modern Art presents Lúmina, a party celebrating Latin American Modernism. The evening takes inspiration from the Bechtler’s fall exhibition, Making an Impression: Pioneering Latin American Printmakers. As the museum’s fall fundraiser, Lúmina supports the Bechtler’s world-class exhibitions, educational programs, and community partnerships.​

Guests will move through immersive installations, live performances, and DJ-driven sets, alongside Latin American-inspired street food, wines, and spirits, and a relaxed terrace lounge featuring curated tastings and conversation.

The evening sets the tone for a vibrant celebration of art, music, and contemporary Latin American creative expression.

Buy Tickets

Editor’s Note: Y’all Weekly publisher Sam Spencer serves on the board of directors for the Bechtler Museum of Modern Art.

Y'all Weekly caught up with “Sex, Lies, and A Sycamore Tree” writer and director Elaine Alexander — as well as actress Elyse Williams — to talk about the play’s new life as a summer fundraiser for the Fort Mill Community Playhouse, running September 10th through 20th.

Get Tickets

“Sex, Lies, and a Sycamore Tree” won Queen City Nerve’s Audience Favorite “Best In The Nest” Award for the 2025 production at the VAPA Center. In addition to originating the role of Tracy in that production, Williams is also nominated for the “Theatre Person of the Year” award at the Metrolina Theater Awards.

You can watch the full interview above, or listen to it below:

The play is a satirical comedy marital scandal set in the the rapidly developing Carolina suburbs that asks the question, “Can two malfunctioning marriages and one contentious tree survive a tempestuous party on the patio?”

In the play, a wealthy Californian couple invite their working-class Carolina neighbors over for socializing that soon descends into a hotbed of deceit, marital duplicity, and a possible death sentence for the only Sycamore tree still standing in the once woodsy Sycamore Grove.

The play also touches on the conflict between tree conservation and residential overdevelopment in the Carolinas, inspired by Alexander’s observations on local growth — though there’s still some sex and a lot of lies.

“This show is an excellent way to support our cause,” said Fort Mill Community Playhouse president Martha Ferguson in a press release. “We at Fort Mill Community Playhouse are working toward a new, permanent home and we need your support. We are presently in the smallest venue of our 46 years and we need more space … Please join us and support the Playhouse!”

Williams (Tracy), Keith Hopkins (Rick), and Tom Schrachta (Hugh) reprise their roles from the 2025 production at the Charlotte’s Off-Broadway Black Box Theater at the VAPA Center, while Pam Coble Newcomer takes on the role of Ali.

You can purchase tickets for “Sex, Lies, and a Sycamore Tree” here.

Lúmina is Almost Here!

On Saturday, September 19, 2026, the Bechtler Museum of Modern Art presents Lúmina, a party celebrating Latin American Modernism. The evening takes inspiration from the Bechtler’s fall exhibition, Making an Impression: Pioneering Latin American Printmakers. As the museum’s fall fundraiser, Lúmina supports the Bechtler’s world-class exhibitions, educational programs, and community partnerships.​

Guests will move through immersive installations, live performances, and DJ-driven sets, alongside Latin American-inspired street food, wines, and spirits, and a relaxed terrace lounge featuring curated tastings and conversation.

The evening sets the tone for a vibrant celebration of art, music, and contemporary Latin American creative expression.

Buy Tickets

Editor’s Note: Y’all Weekly publisher Sam Spencer serves on the board of directors for the Bechtler Museum of Modern Art.

Auditions

Want to add your audition? Email sam@yallweekly.com!

New This Week:

Auditions for the Regional Premiere of LIBERATION
at Three Bone Theatre
By Bess Wohl
Directed by Donna Bradby

Audition Dates:
September 20, 2026 - 4PM-7PM
September 21, 2026 - 6PM-9PM

Audition Location:
Watershed Church
2101 Shenandoah Ave, Charlotte, NC 28205

Learn More

Upcoming Auditions:

Rory D. Sheriff’s “SPEAKEASY”
Presented by Brand New Sheriff Productions
September 15 - 16
Learn More

Quote of the Week

Charlotte Theater Calendar

Want to add your show? Email sam@yallweekly.com!

“Sex, Lies, and a Sycamore Tree,” as well as many other opportunities to support local theater, are below …

This Weekend …

“Sex, Lies, and a Sycamore Tree”
at Fort Mill Community Playhouse
September 10 - 20
Directed by Elaine Alexander
Learn More

“Clue”
at Theatre Statesville (Olin, N.C.)
September 5 - 13
Directed by Jennifer D. Grant
Learn More

“Hadestown: Teen Edition”
at Showtime Theatre Company (Rock Hill, S.C.)
September 5 - 13
Learn More

“The Cottage”
Presented by Davidson Community Players
at Armour Street Theatre (Davidson, N.C.)
September 10 - 27
Directed by Hanley Smith
Learn More

“Night at the Wax Museum”
at Old Courthouse Theatre (Concord, N.C.)
September 10-13
Directed by Lauren Newell
Learn More

“Come From Away”
at Theatre Charlotte
September 11 – October 4, 2026
Directed by Billy Ensley
Learn More

“Sovereignty”
Presented by Three Bone Theatre
at Cherokee Central School (Cherokee, N.C.)
September 11 - 12
Directed by Carolyn Dunn
Learn More

“The Jungle Book: Youth Play”
Presented by Rock Hill Theatre
at Castle Heights Middle School (Rock Hill, S.C.)
September 11 - 26
Directed by Harper Elaine Rego
Learn More

Later in September …

“The Insanity of Mary Girard”
at the Lee St. Theatre Lab (Salisbury, N.C.)
September 17 - 19
Directed by Rod Oden
Learn More

“The Odd Couple”
at Matthews Playhouse
September 18 - 27
Directed by Lisa Ulanow
Learn More

“I’m Gonna Marry You Tobey Maguire”
Presented by Zingher Productions
at Warehouse Studio Theatre (Cornelius, N.C.)
September 25th - October 11th
Directed by Jessica Zingher
Learn More

Coming Soon …

ARMOUR AFTER DARK: “Gaslighting the Musical”
Presented by Davidson Community Players
at Armour Street Theatre (Davidson, N.C.)
October 3 - 10
Created and Performed by Brooke McCarthy
Learn More

“The Great Gatsby”
at Belk Theater at Blumenthal Arts Center
Broadway Lights Series
October 13-18
Directed by Marc Bruni
Learn More

“The House on Haunted Hill”
at Lee St. Theatre (Salisbury, N.C.)
October 16 - 31
Directed by Jessie Dietzel
Learn More

“La Maison de Horreurs: An Evening at the Grand Guignol”
Presented by Post Mortem Players
at the Wilson Family Black Box at Old Courthouse Theatre
October 22 - November 1
Directed by Jackie Obando Carter
Learn More

“Frankenstein”
at Theatre Charlotte
October 30 - November 15
Directed by Dee Abdullah

“Liberation”
at Three Bone Theatre
November 6 - 22
Directed by Donna Bradby
Learn More

Recent Stories

More local arts and culture coverage from Y’all Weekly:

Keep in Touch!

Please forward this newsletter to any friends who might be interested. If you’d like to submit dates for an event, or have suggestions to improve Y’all Weekly’s arts coverage, please email sam@yallweekly.com.

I’ve been thinking a lot about percentages recently. I’ve had two spine surgeries this year, and all things being equal there was a 5-10% chance something could have gone seriously wrong each time I went under the knife.

That chance was enough that my wife and I had serious discussions about the future and our plans in our household. 10% doesn’t seem like a lot, but events with a 10% chance of happening happen all the time.

For example, if you flip a coin three times, all-heads or all-tails occurs 12.5% of the time - just above 10%.

If you meet someone from the United States, all things being equal, there’s roughly a 10% chance they’re from California. If you meet someone from North Carolina, there’s roughly a 10% chance they’re from Mecklenburg County.

So imagine my surprise yesterday evening when I read a tweet from Evan Hubinger, the alignment science lead at Anthropic AI (aka Claude). Hubinger, ostensibly an expert on artificial intelligence, shared on his personal Twitter account that he thinks there’s a greater than 10% chance that “AI could kill all humans.”

Hubinger later clarified his statement, saying that, “I think the risk from present models is low. What I am worried about is superintelligence arising from recursive self-improvement, as we have said is happening faster than we thought.”

For the uninitiated, “alignment science” is the study and practice of making artificial intelligence do what it’s supposed to do. I’m simplifying here, but if the AI behaves according to human ethics it’s aligned; if it starts hacking systems without permission to complete tasks, it’s misaligned.

So when a person in charge of alignment at one of the biggest AI companies says there’s a 10% or greater chance AI could end the human race as we know it, it’s probably worth paying attention.

The good news is that current AI systems are LLMs or “Large Language Models,” and Hubinger is more specifically talking about AGI or artificial general intelligence systems killing all humans.

The bad news is that when he says we haven’t “solved alignment for superintelligence,” what he’s saying is we can’t make the next generation of AI behave, and we’re way behind where we should be in solving that problem.

Y’all Weekly is an arts and culture rag, so while we could talk about how we’ve seen this film before — the Terminator did say he would be back! — it’s also worth looking at why this existential threat isn’t taking up 10% or greater of our social, political, and cultural bandwidth.

On the social and political side, the opposition to AI — or at the bare minimum, critical evaluation of the industry — isn’t aimed at existential threats (which are hard to envision), but instead is taking the form of opposition to data centers: something tangible that people can see. Data centers are a coup for NIMBYs and other folks who like to protest at city hall because it seems like nobody wants them, and they fit neatly into existing discussions about resource management and climate change. That resistance may be an entry point for more existential conversations about AI.

Politically, most federal and state elected officials and candidates are unaware of what any of this means, which means the loudest voices in their heads are AI companies who come armed with lobbyists and campaign contributions, constituent complaints about data centers, and pollsters telling them opposing data centers is a winning issue. Municipal elected officials are in a different situation, where campaign contributions and lobbying aren’t nearly as effective when data center opponents can organize and pack a city council meeting.

There’s also the idea in geopolitical circles that the U.S. and the West need to win the AI race against China, which is not dissimilar to the logic that led to two superpowers stocking up on nuclear weapons in a mutually assured destruction scheme last century. Just as our ICBMs were the “good” missiles, I’m sure our AGI will be the “good” AI.

In terms of culture, Pluribus is one of the more significant works of the post-pandemic era to touch on AI. It starts by turning all humans into a hive mind (like the Borg) but isn’t about killing all humans so much as it is about how widespread adoption of AI deprives us of the very aspects that make us human. It’s a more complex take on the AI-as-villain concept than HBO’s Westworld or the most recent Mission: Impossible films, and it also makes you wonder why prestige shows about AI are so few and far between:

If there’s a one-in-ten chance our AI robot overlords are going to be the death of us — or even if there’s just a chance that it’s a 10% chance — we should be having more serious discussions about AI.

It should be the subject of dramas and comedies. Our elected officials should be able to give more intelligent answers than “data centers are bad.” Parents should be able to understand the risks, both existential and personal, to their children.

AI and LLMs are already here and they’re smoothing cerebral cortices across the planet. We should take a critical approach to AI while we still can.

This weekend is your last chance to see “Sovereignty” at Three Bone Theatre in Charlotte, and all but one show (Saturday) are sold out. Don’t miss out: purchase tickets here.

Buy Tickets

The production moves west to Cherokee, N.C. next weekend, with shows on September 11th and 12th at Cherokee Central School. Tickets are only $10, with an enrolled member rate of $5.

In case you missed it, you can read Y’all Weekly’s review below:

Lúmina Comes to the Bechtler

On Saturday, September 19, 2026, the Bechtler Museum of Modern Art presents Lúmina, a party celebrating Latin American Modernism. The evening takes inspiration from the Bechtler’s fall exhibition, Making an Impression: Pioneering Latin American Printmakers. As the museum’s fall fundraiser, Lúmina supports the Bechtler’s world-class exhibitions, educational programs, and community partnerships.​

Guests will move through immersive installations, live performances, and DJ-driven sets, alongside Latin American-inspired street food, wines, and spirits, and a relaxed terrace lounge featuring curated tastings and conversation.

The evening sets the tone for a vibrant celebration of art, music, and contemporary Latin American creative expression.

Buy Tickets

Editor’s Note: Y’all Weekly publisher Sam Spencer serves on the board of directors for the Bechtler Museum of Modern Art.

Metrolina Theatre Association Gala & Awards Nominees Announced

The 16th Annual Metrolina Theatre Association Awards Gala will be held on Sunday, October 18 from 6:00 PM to 9:00 PM at the Booth Playhouse in Charlotte. Tickets will go on sale on September 7th.

Per the MTA’s announcement, “The evening will feature the MTA Awards, which recognize outstanding work from performers, technical crew, and others who have made this such a powerful time for performing arts in the Metrolina area. Attendees will also get to enjoy live performances of several musical numbers from shows produced by member companies this past season.”

You can read a complete list of the nominees here.

Charlotte Theater Calendar

Want to add your show? Email sam@yallweekly.com!

Theatre Charlotte is entering their 99th Season, and they’re kicking it off with “Come From Away” in remembrance of the 25th Anniversary of the 9/11 terror attacks.

That show, and many other opportunities to support local theater, are below …

This Week …

“Sovereignty”
at Three Bone Theatre
September 5 - 6
Directed by Carolyn Dunn
Learn More

“Clue”
at Theatre Statesville (Olin, N.C.)
September 5 - 13
Directed by Jennifer D. Grant
Learn More

“Hadestown: Teen Edition”
at Showtime Theatre Company (Rock Hill, S.C.)
September 5 - 13
Learn More

Next Week …

“The Cottage”
Presented by Davidson Community Players
at Armour Street Theatre (Davidson, N.C.)
September 10 - 27
Directed by Hanley Smith
Learn More

“Night at the Wax Museum”
at Old Courthouse Theatre (Concord, N.C.)
September 10-13
Directed by Lauren Newell
Learn More

“Come From Away”
at Theatre Charlotte
September 11 – October 4, 2026
Directed by Billy Ensley
Learn More

“Sovereignty”
Presented by Three Bone Theatre
at Cherokee Central School (Cherokee, N.C.)
September 11 - 12
Directed by Carolyn Dunn
Learn More

“The Jungle Book: Youth Play”
Presented by Rock Hill Theatre
at Castle Heights Middle School (Rock Hill, S.C.)
September 11 - 26
Directed by Harper Elaine Rego
Learn More

Later in September …

AUDITIONS: Rory D. Sheriff’s “SPEAKEASY”
Presented by Brand New Sheriff Productions
September 15 - 16
Learn More

“The Insanity of Mary Girard”
at the Lee St. Theatre Lab (Salisbury, N.C.)
September 17 - 19
Directed by Rod Oden
Learn More

“The Odd Couple”
at Matthews Playhouse
September 18 - 27
Directed by Lisa Ulanow
Learn More

“I’m Gonna Marry You Tobey Maguire”
Presented by Zingher Productions
at Warehouse Studio Theatre (Cornelius, N.C.)
September 25th - October 11th
Directed by Jessica Zingher
Learn More

Coming Soon …

ARMOUR AFTER DARK: “Gaslighting the Musical”
Presented by Davidson Community Players
at Armour Street Theatre (Davidson, N.C.)
October 3 - 10
Created and Performed by Brooke McCarthy
Learn More

“The Great Gatsby”
at Belk Theater at Blumenthal Arts Center
Broadway Lights Series
October 13-18
Directed by Marc Bruni
Learn More

“The House on Haunted Hill”
at Lee St. Theatre (Salisbury, N.C.)
October 16 - 31
Directed by Jessie Dietzel
Learn More

“La Maison de Horreurs: An Evening at the Grand Guignol”
Presented by Post Mortem Players
at the Wilson Family Black Box at Old Courthouse Theatre
October 22 - November 1
Directed by Jackie Obando Carter
Learn More

“Frankenstein”
at Theatre Charlotte
October 30 - November 15
Directed by Dee Abdullah

“Liberation”
at Three Bone Theatre
November 6 - 22
Directed by Donna Bradby
Learn More

Keep in Touch!

Please forward this newsletter to any friends who might be interested. If you’d like to submit dates for an event, or have suggestions to improve Y’all Weekly’s arts coverage, please email sam@yallweekly.com.

An Exploration of “Sovereignty,” from the Political to the Personal

Early on in Mary Kathryn Nagle’s “Sovereignty,” the playwright uses a fight scene to establish many of the themes the audience will confront over the course of the two hour play: indigenous rights, tribal sovereignty, reservation life, the impact of violence, and family ties.

She uses an arrest and release after the fight — a drunk, white man in a red baseball cap punches a Cherokee cop, and gets away with it — to clue in the audience to the type of play they’re watching: a didactic, legal drama grounded in history and injustice.

These themes should come as no surprise given Nagle’s background. As both an attorney and as an enrolled citizen of the Cherokee Nation of Oklahoma, there are few people who have the expertise and lived experience to tell the story of “Sovereignty,” running at Three Bone Theatre through September 6 with special performances in Cherokee, N.C. on September 11th and 12th.

In Three Bone Theatre’s production, directed by Carolyn Dunn, the center stage is surrounded by graves, which are one of many elements connecting the two time periods woven throughout the play: the Cherokee Nation in 1835, and Oklahoma in the present day. The signatures of the historical characters hang above the stage as the same names rest on the gravestones below. They’re subtle touches from designers Jackie Hohenstein and Robin Vest.

The play starts in 1835 with John Ridge, portrayed by Lance Claymore. His performance anchors the past, while his descendent — the young lawyer Sarah Ridge Polson, played by Billie D. Merritt — anchors the present day.

Soon after, we’re introduced to most of the other characters of the era, including Keely Kidwell’s Sarah Bird Northrup, Josh Orsi’s Elias Boudinot, Marco Fuller’s Major Ridge, and Mvnte July’s John Ross. Like most of the 1835 characters they’re dramatizations of real members of the Cherokee Nation, and in the hands of Claymore, Kidwell, Orsi, Fuller, and July, they’re treated with reverence.

When we get to the present day, a fight — choreographed by Allison Collins — quickly breaks out at a tribal casino. Nathan Ahlgrim (Mitch), Kyle Riggs (Ben) and Ryan Dunn (Chorus) take the stage for the first time, and Orsi returns as Watie. In contrast with the 1835 time period, all of the present day characters are fictional.

Aside from Merritt and Claymore, the actors play dual roles with clear connections. Both of Ahlgrim’s characters are educated outsiders; Kidwell plays caretakers in both eras; July plays two members of the Ross family; Orsi portrays supporting characters who play witness to history. Dunn, as the chorus, plays everyone else.

Though the time shifts can be momentarily confusing given the dual roles, Fuller and Riggs excel at differentiating their characters, and Lorna Bowen’s costume design allows actors to change characters quickly.

In the present day scenes, many of the actors — especially Merritt, July, and Ahlgrim — are tasked with explaining the intricacies of tribal sovereignty and federal law to the audience. Nagle’s script makes the topic matter accessible, but the explanations occasionally bring the drama to a halt.

It’s hard not to read Sarah Ridge Polson as an author avatar for Nagle, but Merritt’s performance makes the character her own. She delivers her lines confidently and gives a performance that keeps the dialogue from feeling pedantic. Merritt navigates Sarah’s journey in a grounded, believable way, and capably handles discussions and portrayals of violence against women.

At the preview performance Y’all Weekly attended, her climatic monologue in front of the Supreme Court had the audience erupting in cheers.

Fuller’s performance also merits praise. He exudes gravitas as the Cherokee leader Major Ridge, making all of the character’s actions feel deliberate. He has more lines in Cherokee than in English as the play goes on, but speaks with clarity in both languages.

In the present day, he filters that gravitas and authenticity through the dusty lens of Roger Ridge, allowing him to show off his comedic chops. Much of that comedy comes from adroit exchanges with Riggs’ naïve, problematic Ben.

In addition to Ben, Riggs plays Andrew Jackson, who was born approximately 25 miles from the Three Bone stage. He portrays the President responsible for the Trail of Tears as a cartoonish supervillain, not unlike modern portrayals of southern segregationists on screen.

I understand the choice: does a historical figure who perpetuated a genocide really deserve to be portrayed with layers of nuance?

Either way, it is a stark contrast with his portrayal of the play’s other primary antagonist. Ben is insidious, and Riggs plays him with just the right amount of likability such that you don’t know if he will stay mostly harmless or break bad, even if all the signs are there.

What unites both of Riggs’ characters is that they weaponize violence to violate the sovereignty of the protagonists. Jackson violates the sovereignty of John Ridge and the Cherokee Nation on a macro, political level; Ben’s problematic behavior escalates to the point where he violates Sarah’s sovereignty over her own body.

This production is notable in that all of the actors are making their first appearance on the Three Bone stage, with many cast members bringing film and television credits with them. This run of “Sovereignty” features many indigenous actors and crew members, including David Jumper as the Cherokee language coach, and Dr. Yona Wade, a citizen of the Eastern Band of Cherokee Indians, as cultural consultant. A Louisiana Acadian Creole, Dr. Dunn is a non-enrolled Freedman tribal descendant (Cherokee, Mvskoke, Seminole) and is a Tunica/Choctaw-Biloxi and Atakapas-Ishak descendant and community member.

It’s clear a lot of care and intentionality went into this production, but we’d expect nothing less from Three Bone Theatre. As Dr. Dunn writes in the program, “Three Bone’s commitment to theatre and performance as a method of social justice, knowledge and change is needed more now than ever as we move into a world that seems less connected to its past, its present and its future as ideology rather than dialogue seems more and more prevalent.”

See It or Skip It?

Our Verdict: See It

Part history lesson, part legal drama, Three Bone Theatre’s production of “Sovereignty” is worth your time, with memorable performances and Three Bone’s trademark cultural competency.

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It’s already been a big year for Three Bone Theatre.

In January, the theater announced Lisa Miller as their first full-time Managing Director, a big step forward towards professionalizing the organization. Miller replaced volunteer executive director Becky Schultz, who served for 13 years.

The theater also assumed management of their home, The Arts Factory in Historic West End, through a partnership with the Arts & Science Council and Mecklenburg County.

The theater’s growth is matching the groundwork. At a VIP event at the Arts Factory to announce the theater’s 15th Anniversary Season — more on that below — Miller shared that over the past year, 51% of visitors were new to the theater. Three Bone put together its first-ever strategic plan, and Miller also noted that the production calendar “was fully booked” at the Arts Factory as other local theaters, including the Lotus Project, have produced plays on their stage.

Growth is important for an organization that bills itself as catalyst for conversation and change in the community. At a time when the political pendulum seems to be swinging away from hard conversations and back towards demonizing minority groups for partisan gain, Three Bone isn’t afraid to platform challenging conversations, make land acknowledgments, and produce plays that center the lived experience of indigenous and minority communities — including “Sovereignty,” the final production of Three Bone’s 14th Season.

“Sovereignty,” billed as “an expansive exploration of the circular continuity of history, human memory, and the power of human relationships,” shifts back and forth between scenes in the 1800s and in the present day Mary Kathryn Nagle, the playwright is an enrolled citizen of the Cherokee Nation and a playwright whose work has been produced at theaters across the country. Sovereignty premiered at Arena Stage in 2018 and has since been produced at theaters nationwide.

In addition to its run in Charlotte, Three Bone will be taking “Sovereignty” on the road to the Qualla Boundary with the support of the Cherokee Preservation Foundation. The play will be performed in Cherokee, N.C. on September 11-12.

“Sovereignty” is sold out for its opening night performance, but tickets remain for the rest of the engagement at the Arts Factory through September 6.

Get Tickets

Our review of “Sovereignty,” which held its final dress rehearsal after the reception and announcement, is forthcoming. Make sure to subscribe so you don’t miss a thing.

Subscribe now

Three Bone Theatre: The 15th Anniversary Season

Three Bone wants you to know that its 15th Anniversary Season “brings four searing mainstage productions and one limited special engagement that take risks, ask difficult questions and refuse easy answers.”

“This is a big anniversary season for us,” said artistic director and Three Bone Theatre co-founder Robin Tynes-Miller. “It is bolder, it is bigger, and we reflect on 15 years of our work … we begin and end the season with major award winners.”

Shows include “Liberation,” “The Reservoir,” “Purpose,” a staged reading of “Here There are Blueberries,” and the first-ever musical for the theater, “Coal Country,” with music and lyrics by Steve Earle.

Tickets are on sale now; you can find descriptions of the shows from the theater below.

LIBERATION - NOVEMBER 2026

WINNER
2026 Pulitzer Prize for Drama
2026 Tony Award for Best Play

LIBERATION
Written by Bess Wohl
Directed by Donna Bradby

It’s 1970. Somewhere in Ohio, six women meet on a basketball court to form a consciousness-raising women’s liberation group, determined to shake up their lives and change the world. Fifty years later, one of their daughters tries to understand where things fell apart.

A provocative, wildly theatrical play that poses vital questions about friendship, legacy and the true meaning of liberation, investigating what we inherit, what we forget, and what we’re still fighting to understand.​​​​​​

COAL COUNTRY - MARCH 2027

A MODERN MUSICAL EVENT
Experience Three Bone Theatre’s first-ever musical production

COAL COUNTRY
Written by Jessica Blank & Erik Jensen
Original Music & Lyrics by Steve Earle
Directed by Johnny Hohenstein

Coal Country tells the true story of the 2010 Upper Big Branch mine disaster, drawn from real interviews with survivors and families, with original songs by Steve Earle woven throughout. Marking Three Bone Theatre’s first musical, it’s a raw tribute to the miners’ lives and a reminder of why worker safety and solidarity matter now more than ever.

THE RESERVOIR - MAY 2027

WINNER
2024 National Jewish Playwriting Contest

NOMINEE
2026 Outer Critics Circle Awards
Outstanding New Off-Broadway Play

THE RESERVOIR
Written by Jake Brasch
Directed by Glynnis O’Donoghue

The Reservoir is a sharply funny, deeply moving new play by Jake Brasch about family, memory, and the messy work of healing. Fresh out of rehab and back home in Denver, Josh finds himself leaning on the last people he expected—his four aging grandparents, each navigating their own relationship with memory and dementia. What follows is equal parts hilarious and heartbreaking, as Jazzercise classes, unsolicited advice, and long-buried family history collide. Semi-autobiographical and full of heart, The Reservoir asks what we inherit from the people who raised us, and how we find our way back to ourselves through them.

PURPOSE - AUGUST 2027

WINNER
2025 Pulitzer Prize for Drama
2025 Tony Award for Best Play​​​​​​​

PURPOSE
Written by Branden Jacobs-Jenkins
Directed by Sidney Horton

For decades, the Jasper family has stood as a pillar of Black American politics—civil rights leaders, pastors, congressmen. But when the youngest son returns home to Chicago with an uninvited guest in tow, old loyalties crack under the weight of long-buried secrets and unresolved resentments. As the family gathers under one roof, they’re forced into a reckoning with faith, legacy, and the price of believing in something larger than yourself. Purpose is a sharp, funny, and devastating portrait of a family determined to protect its public image even as the truth pushes to the surface. It’s an epic story about what we inherit from our parents, what we owe to history, and what happens when the mask finally slips.

HERE THERE ARE BLUEBERRIES - JANUARY 2027

WINNER
2025 Lucille Lortel Award for Outstanding Play

​​​​​​​FINALIST
2024 Pulitzer Prize for Drama

A Staged Reading of
HERE THERE ARE BLUEBERRIES
Written by Moisés Kaufman & Amanda Gronich
Directed by Robin Tynes-Miller

In partnership with the Stan Greenspon Holocaust Education Center

An album of never-before-seen World War II-era photographs arrives at the desk of United States Holocaust Memorial Museum archivist Rebecca Erbelding. As Rebecca and her team of historians begin to unravel the shocking mystery behind the images, the album soon makes headlines around the world. In Germany, a businessman sees the album online and recognizes his own grandfather in the photos. He begins a journey of discovery that will take him into the lives of other Nazi descendants – in a reckoning with his family’s past and his country’s history. Here There are Blueberries confronts us with difficult questions: how do everyday people become monsters, and how do we face that capacity within ourselves?