Mid-20s Crisis: A Gen-Z Coming of Age

From a young age, we are asked what we want to be when we grow up, and our minds are filled with endless possibilities. As the years pass, those dreams slowly fade, until one day we are left with a pervasive sense of panic. Having no clue of who we are and what we want to do with the rest of our lives. Some people look back at their 20s, often through rose-tinted glasses, calling them "the best years of their lives", but in truth, they might just be the scariest, often filled with immense pressure and uncertainty.

Mid-20s Crisis offers a fresh take on the timeless challenges of being in your 20s. Following four roomates, Iris, Amy, Rex and Danielle, trying to navigate their careers, dating, and figuring out how to be a functioning adult. All while crammed into a 3-bedroom apartment in New York City. The series follows these girls through these treacherous years, and how you can get through all the chaos and joys of adulthood with friends struggling as well by your side. 

Amid her own mid-20s crisis, Rucci found inspiration to write from conversations she shared with friends. "I started writing because I was with my friends, and always would spiral because XYZ is moving, traveling around the world, and got engaged. Things were happening in my life that I don't know what to be doing right now, so let's write about it." Rucci went on to explain how she was watching Girls at the time, a timeless series about trying to make sense of life after college from the early 2010s. She wanted to create a show capturing this generation, post-pandemic young adults." 

Originally filmed as a proof of concept, it was screened at numerous film festivals earlier this year. Then this past May, Rucci hosted a live table reading at LA MAMA Theatre to showcase the the first 8 episodes of the series. She assembled a stellar cast that brought the script to life. The four lead actresses' chemistry made it feel as if I was watching a real friend group unpack their day with each other.  They weren't afraid to get messy, from breaking out into a complete dance party to letting out demonic screams, capturing the array of emotions that come with being a young adult. Displaying the vast freedom of lack of responsibility and living with friends, while on the other end, feeling the frustrations of adulthood.

Throughout the series, each of the girls faced a variety of struggles and hardships, from the challenges of dating to going celibate, trying not to lose their job due to their digital footprint, and the journey of being a free spirit (as well as free loading) with the IRS on their tail. No matter the scale of these problems, the show highlights that you can get through any challenge with the right friends by your side. For some it may be experiencing your first heartbreak like Rex, or like Amy getting her pap smear with Iris by her side. Rucci shares how her own friendships contributed to the series. "My initial inspiration was the conversations I was having with my friends at the time, but also the conversations we had that we wouldn't talk about with other people, like what birth control we're on, a weird ex-boyfriend. Things that I found interesting but could be fun." Among all the silliness, Rucci balances these comedic beats with darker moments. Not shying away from the unsaid dangers of dating, such as grooming and sexual assault. 

What is most unique about this generation’s experience compared to previous ones is taking place in the digital age. The series perfectly captures the current reality of being a young adult with the world wide web, taking a timeless problem, such as trying to establish a career or working odd jobs, and displays the creative ways to make money online. Of the four girls, three use the World Wide Web for various jobs, from selling feet pictures, hosting online holistic workout classes, to trying to become an influencer. 

With today's hyper consumption of content, it is a slippery slope to include internet trends or viral moments. They easily make a film or movie feel outdated as they attempt to be on trend. Rucci expressed her distaste for current Gen-Z shows that mark themselves as too timely and how cautious she was when writing this series. "My friend Anna, who helped me produce it, played Iris in the reading. She said I should watch [censored] because there are a lot of jokes in there that would've worked 3 months ago if it came out then. After all, it was relevant then. If you go through your script, make sure you don't include jokes that cover one viral TikTok everyone in the world watched and got over. Then your show comes out and it's not funny anymore…"

As I left the theater craving for more, in the lounge area, I found myself in the midst of an

immersive experience. Walls decorated with posters, Polaroids, or interactive boards to share your own mid-20s crisis. What left me speechless was the mural of memorabilia that perfectly captures the inner mind of a current 20-something woman. With pictures of heart-throbs such as Pedro Pascal and Josh O'Connor, to romance books such as Normal People and A Court of Thorns and Roses, to a hot pink vibrator and quotes from the script, such as "Fame is the American Dream".  

If you are craving to see this show on the big screen like I am, follow Mid-20s Crisis on

to stay up to date on the show’s development and see clips from the live table reading.

Written By Ashley Murphy

Photos By Cat Washington

The Beauty of An Unhinged Pursuit of Self in The Jag

Blissfully mundane yet quietly chaotic, The Jag invites audiences into a world where anxiety—both pre-existing and born from messy interpersonal dynamics—becomes its own driving force. Written by Robin Schavoir and directed by Paul Felten,  the production's two week run at the Brooklyn Center for Theater Research unfolds as a series of tension-driven events that feel randomly niche and profoundly universal.

At its core, The Jag follows Tyler (played by Gilles Geary), a trouble-bound and ambitious yet wandering protagonist navigating a web of personal crises, as he embarks on a self-appointed stay in a house outside of his native Brooklyn, where he intends to finish his perpetually developing film. There, he meets the homeowner, Brian (played by Mickey Solis), a Jaguar-driving, tightly-wound foil to Tyler that often mistakes dedication to menial detail for passion. Juxtaposed passion drives both Tyler and Brian, one for an endeavor for the creative connection and attention of a scorned ex-lover, Cori-Elizabeth (played by Giovanna Drummond), and the other for a demand of subjective order and the attention of a yearned-after Heather (voiced by Chloë Sevigny). Rather than relying on high drama or explosive reveals, the play luxuriates in the small awkwardnesses, tensions, and fleeting moments that shape human relationships. But rest assured - if the escalation for fever-pitched conflict and the appreciation of petty moments is what you're looking for, this play is also sure to satiate your searches. 

The Jag's performances are delightfully prideful of the awkward and unafraid of the divulgence into prescribed personalities. Geary gives an organically uneasy standout performance as Tyler, capturing the anxious push-pull of the pursuit of influence and self-sabotage. Solis' striking play on the wealthy home-maker Brian added an airy and reassured element to the cast, made complete with delicious comedic timing and the accuracy within a sad yearning that comes with a demand for greed and order. Drummond's unwavering and holistic presence as Cori-Elizabeth compliments the chaotic dynamic of Tyler and Brian, grounding them to possibilities of fulfillment while constantly reminding them of the selfish elaboration of obsession by both parties.  I'd be regretful not to appreciate the omnipresent Heather (played by Chloë Sevigny), whose very existence catalyzes the drama and offers a literal voice of muffled reason. 

Director Paul Felten ventures into stillness and subtle pacing, allowing scenes to breathe even when discomfort droops heavy in the air. The set design by Bree Merkwan reflects the play's emotional beats, evoking a sense of transient attention and misplaced care. The sound and lighting design by Emi Verhar and Henry Mont are generous in giving back to the center's immersive space and the vulnerability of co-living in the story. 

While The Jag thrives in its attention to life's quieter catastrophes and unlikely epiphanies as a result of likely tensions, there are moments where its restraint risks slipping into stagnancy. The production rewards attention to the subversion of roleplaying with flashes of brilliance and piercing reflection on self-preservation. 

This 2-hour dance, wonderfully produced by Sophia Englesberg, Nick Newman, and Emily Lincoff, is a lovely exploration of self-description and purpose found in a Woodstock craftsman in the Hudson Valley. For audiences craving theater that finds beauty in the unhinged and humor in the banal, this run is a "jagged" triumph.

Written by Ann Tankersley

Brewing Empathy Through Film: An Interview with Gabriel Noble, Writer/Director of A Cup of Tea

In an intimate, candid conversation full of empathy, insight, and mutual understanding, filmmaker Gabriel Noble opens up about the journey behind their debut short film, A Cup of Tea, a layered portrait of grief, community, and the humanity behind headlines. The project, born out of adversity, became not only a personal triumph but also a work that stirs collective reflection on justice and healing.

Recently graduated from Stony Brook University with a Master's in Fine Arts majoring in Film and TV Writing, Gabriel joined the conversation, still recovering from burnout and illness. Yet despite the fatigue, what emerged was a moving discussion about filmmaking as both a creative and emotional act of resilience.

Turning Isolation Into Art

Securing funding for A Cup of Tea was an early and defining challenge. Gabriel turned to the crowdfunding platform Seed & Spark with no prior experience. “I had to do it all on my own from filming the pitch to setting up the campaign page,” they explained. “It was exhausting. Once we launched, it became this constant anxiety. You’re just watching the numbers.”

Although the campaign began strongly, momentum stalled after two weeks. Gabriel was on the verge of giving up when a college friend stepped in with an unexpected act of generosity: a $10,000 donation. “His mom had passed away and left him money,” Gabriel said. “He wanted to use it to support other people’s dreams. Without him, this film wouldn’t have happened.”

The emotional toll didn’t stop at money. “Not a lot of people even knew I wanted to be a filmmaker,” they admitted. “My parents were supportive, but it felt like I was alone most of the time.”

But that very sense of solitude, the emotional and creative weight of feeling unsupported became the thematic bedrock of the film. “The characters are isolated, grieving. That was exactly how I felt at the time. I just leaned into that.”

Directing from the Heart

For Gabriel, A Cup of Tea was more than storytelling; it was soul-bearing. When asked which scene was the hardest to direct, Gabriel pointed to a central moment of confrontation: two parents arguing at a coffee table, consumed by grief over the loss of their child.

“I’ve never lost a child, and I don’t even want kids,” they said. “So how do I direct actors who are parents in real life?”

The answer came in emotional honesty. During two Zoom rehearsals leading up to the shoot, Gabriel asked the actors to reflect on their real lives: once on their happiest moments as parents, then on the hardest. “By the time we got to set, that emotional groundwork was already there. My job was to trust them.”

A Cinematic Eye - Even Before Film School

Though they hadn’t yet begun grad school, Gabriel already had a strong visual sensibility. “I didn’t know about the rule of thirds or traditional framing concepts,” they admitted. “But I’ve always understood how an image can carry emotional weight.”

Cinematographer Rikki Porter played a crucial role in executing that vision. “She got what I was going for, sometimes better than I did,” Gabriel said. “That’s my biggest advice to any filmmaker: find a DP you can talk to, who speaks your language. It’ll change everything.”

One sequence stands out as Gabriel’s favorite: a quietly devastating birthday scene. “It was in the first draft, I knew it had to be the centerpiece,” they said. “The camera slowly pushes in on Shannon’s face as everyone sings. No dialogue. Just her expression.”

They shot the film in a single day, a decision Gabriel now calls “insane.” By the time they reached the birthday scene, everyone was exhausted. “But I needed one more take. I asked the team to trust me. And when we got it, my producer said, ‘That was so cinematic.’ Watching it still gives me chills.”

Do you need film school to make a film? “Absolutely Not,” Gabriel said. “Every film is film school. Making this short taught me everything from managing a set to trusting collaborators.

There were so many pieces of equipment I didn’t understand. I just asked people questions. Watching them operate things with confidence was so educational.”

They laughed, “I think Tarantino said that first. But I live by it.”

A Story Born on the Block

The inspiration for A Cup of Tea came from Gabriel’s neighborhood. “There’s this woman who lives on my block, always sitting quietly on her stoop. She’s not on her phone, not reading just sitting, existing. That image stayed with me.”

In 2022, amidst the lingering trauma of the pandemic and the social unrest following the murders of George Floyd and Breonna Taylor, Gabriel enrolled in a screenwriting class. The final assignment was to write a 12-page short.

“I kept thinking about the aftermath of the protests,” they said. “What happens to the parents who were thrust into the spotlight? They’re grieving, and suddenly they’re also public figures. That contradiction stayed with me.”

Gabriel, influenced by dialogue-driven films like Before Sunrise and Before Sunset, wrote a piece that thrived on tension and subtext. At first, they weren’t going to direct it. “A mentor told me, ‘This is your story, you have to direct it.’ And I’m so glad I did.”

Evolution and What’s Next

Since completing A Cup of Tea, Gabriel’s perspective on filmmaking has grown. “Grad school expanded how I think about visual storytelling,” they said. “I still love dialogue, but now I’m drawn to darker material, thrillers, mysteries. The next short I’m working on is way different in tone.”

They’re adamant about not being boxed into one genre. “Sidney Lumet is a huge inspiration; he did Dog Day Afternoon, The Wiz, and courtroom dramas. That’s what I want: range.”

Gabriel is already beginning work on their next short film, which will explore gun violence in America. “I'm entering the funding process again,” they said. “So stay tuned.”

Building the World Through Space and Color

Set design played a pivotal role in shaping the emotional tone of A Cup of Tea. Though the team originally searched for locations in Brooklyn, they ultimately shot in Harlem near 125th Street. “I needed a house that felt lived in, something passed down through generations,” Gabriel explained.

The location they found already had depth. “Romina, the homeowner, had so many artifacts and textures in the space. We barely had to dress the set. The melanin, the plants, the warm tones it all just fit.”Color was crucial. “I didn’t want the film to be too dark. It’s about grief, but it’s also about hope. The lighting and palette of warm oranges, greens, and natural textures reflected that balance.”

What Conversations Should A Cup of Tea Spark?

As our conversation wound down, I asked Gabriel what they hope audiences take away from A Cup of Tea, especially in terms of race, justice, and healing.

“I want it to spark conversations about why this keeps happening,” they said. “Approaching the story through a natural, humanistic lens helps audiences see these people, these parents, as more than just headlines. They’re human. They're grieving. And they’re trying to move forward.”

Ultimately, Gabriel hopes the film stands in solidarity with those who've suffered unimaginable loss. “It’s about honoring the victims and the families left behind. I want people to remember that grief doesn’t disappear once the cameras do. And I hope the film helps people keep fighting for justice.”

A Cup of Tea - and a New Chapter

Gabriel may be just beginning their journey, but A Cup of Tea showcases that they are a natural storyteller or something like that.. It’s a mature, resonant film that leaves a lasting impact not only because of what it says, but because of how it says it.

As they prepare to enter a new phase of storytelling, one thing is clear: Gabriel’s voice is one that audiences and the industry should be paying attention to.

A Cup of Tea is now available to stream on Vimeo.

Written by Chloe Kaleah Stewart