Greetings!

Danièle Lorise Watts and Brian James Lucas here. We are honored by your interest in our project, Terrifying Lightness of Whiteness (#TLOW911) : the world’s first climate adaptive spontaneously recorded docufiction musical!

At its core, our project is an artistic examination of the connection that exists in some form across every culture, country and continent in the world—an energetic union as esoteric and symbolic as it is consequential: marriage.

Though physical expression is the catalyst of all of our lives, we learned from studying the various dynamic words written and spoken about us (sparked from a September 11, 2014 PDA incident and 911 call near CBS Radford Studios in Los Angeles into a globally publicized and discourse provoking news story) that there was trauma and longing for remembrance surrounding the subject of our bodies—that we had invoked—that required radical action on our part to return a sense of sustainable loving unity to our shared existence.

When the fires came for Los Angeles in January 2025, a culmination of mystical and seemingly supernatural events guided us away from our Southern California birthplace and home base, to the Hawaiian Islands, where we lived unhoused, without phone service, owning only the belongings we could carry, mostly on the Island of Maui, and did our best to bring more loving awareness to the concept that the universe itself is a home we all share, by using our iPhone 11 to translate our musical experience as a work of entertainment we have shared for free as a form of earth service.

Since many millions viewed the articles and tv newscasts of our previous story from the 911 call that happened on 9/11/2014, the easiest way for us to relate the scope and impact of our project is through translating what would otherwise be called an artist's statement into the following press release:

For Immediate Release:

Press Release by:

Danièle Lorise Watts

Norman Topping Scholar

Bachelors of Arts - 2007

University of Southern California

School of Dramatic Arts

Danièle Lorise Watts and Brian James Lucas release Terrifying Lightness of Whiteness (#TLOW911), a climate adaptive unhoused— spontaneously recorded docufiction musical shadow wedding saga—edited with Instagram AI.

WAILUKU, Hawaiʻi (December 1, 2025)—Previously infamous for a much reported news story — that left social media abuzz, and caused a vast array of media sources, from Time Magazine to the South China Morning Post, to share headlines that Danièle Lorise Watts, (then known for her role as Leonardo DiCaprio’s Minnie Mouse-like French Maid, in the Quentin Tarantino written and directed Academy-Award winning best screenplay, Django Unchained, as renowned comedian Martin Lawrence’s TV daughter Laura Jackson on FX’s Partners, and Angela Mullein on the 8th Season of Showtime’s Emmy-winning show, Weeds), had possibly been mistaken for a prostitute, after she had shared public affection with Brian James Lucas in front of CBS studios in Los Angeles, (when LAPD officers became involved), the now married performing arts duo Watts and Lucas return with an equally remarkable, globally relevant, and timely performance.

For Watts and Lucas' most recent project, they lived unhoused, for 321 days, in the State of Hawai’i, mostly outside in the County of Maui, and recorded video and audio of how they used spontaneous singing to adapt after the 2025 fires in Southern California contributed to them losing their key artistic support and Los Angeles residence.

In Maui, while living outside, they worked with Instagram (IG) AI to edit and distribute their process of examining together— the projection and idea of being homeless, shared awareness of Anuttara Tantra yoga, spontaneous singing as a form of vibrational therapy, and marriage as living performance art— as distinct reels that combine together to create a first of its kind: a spontaneously recorded docufiction musical, (released on their shared IG account @PolyamorousFamulus).

Watts spouse and creative partner of 13 years, Brian James Lucas—who played the key producer role in the globally reported news story from 2014, (when he sent the couple’s written accounts of their encounter with the LAPD to TMZ through his publicist friend, Bill McCoy)—hopes to clarify that that story—that previously went viral on social media, generated widespread news coverage, and sparked global discourse, (becoming a case study for public debate on race, police interactions, and the boundaries of public behavior), was actually also a deliberate, performance art experiment that Watts guided him into, as she was heavily influenced by performance theory classes at the University of Southern California, School of Dramatic Arts with director of critical studies, Taiwan born and raised, Dr. Meiling Cheng, an Internationally published author and lecturer on interdisciplinary performance and live art studies. Watts had also, two years prior to the couple’s previous global news story played the altar-ego of a seminal performance artist, in a revival of a significant and genre defining performance art piece, Before The Revolution, working directly with the original creator Eleanor Antin—a contemporary of Yoko Ono— American born to Polish Jewish immigrants, who from the 70s to the 90s, at times, wore makeup to convincingly darken her skin and live as a black ballerina, a fictional self she created, whose influence— during a month-long intensive in 2012, when Watts prepared for the Getty’s Pacific Standard Time Performance and Public Art Festival at UCLA’s Hammer Museum— directly informed and magnified her awareness of the possibilities of performance art.

Lucas — formerly a cannabis activist, restauranteur, music events producer, turned pioneering gourmet raw vegan culinary artist and longevity influencer (as Chef Be*Live); was previously, under the Grateful Dead and Rainbow Family of Living Light name, Moffett, mentored by entertainment producer Alec Reid (Tom Waits/Long Gone) — prepared for his role as co-creator of the docufiction musical releases, as part of the weekly live broadcast of the Dr. Susan Block Show, from a sex-therapy institute in Los Angeles, called Bonoboville, where pioneering figure of telephonic therapy, sexologist, lecturer, author, show host, and PHd Susan Marilyn Block’s Yale School of Drama influenced approach to improvised performance of mythology, ritual, and therapy, also described as “Comedia del erotica,” co-produced with her husband of 33 years, Maximillian Lobkowicz (free speech revolutionary publisher and self-exiled noble family member from Italy and Prague), also influenced the couple’s spontaneous therapeutic approach to performance. A representation of their performance art sex-therapy was documented on the VICE TV episode, directed by Zach Shucklin in 2023, Dr. Suzy's Controversial Phone Sex Therapy Sessions, and available for free on YouTube: https://m.youtube.com/watch?v=XCpETHZzHpE&t=934s&pp=2AGmB5ACAQ%3D%3D

Though the sapiosexual elements of the project may remind fans of their previous public therapy and education with DrSusanBlock.com and the community known as Bonoboville, the couple clarifies the title for the movie came to Watts in 2012 before she filmed her role in Django Unchained. “It was before the Black Lives Matter movement, and I’d had several phone conversations with my father, who was disappointed with public news of unarmed Black men shot by police, and tangentially had wished I would get a masters or PHd. I had spoken with him to develop the idea that there was a greater need for me to make a creative work that could provoke public discourse and explore the hypothesis, thesis, and theme that it could be of personal benefit, and good for society overall for individuals to perceive oppressive forces as reflections of self that are worthy of love,” says Watts, who originally envisioned the creation of a traditional fictional movie to be called “Terrifying Lightness of Whiteness”— a title that riffs on the philosophical density of the The Unbearable Lightness of Being, a novel by Milan Kundera, renowned Czech writer. “I was never able to finish the book, but it showed up a few times near the dumpster of my downtown LA artist loft when I was in the process of envisioning the movie, and I read enough to connect the themes with my study of anthropology, dramaturgy and theatrical design (specifically an interest in symbolism of colors—and particularly white as containing all colors in the spectrum, and used across cultures as a ritualized garment)—which had become significant due to a psychedelic experience in 2011 that catalyzed for me an ego death white light event that required artistic examination.”

The couple says the process of recording video with their iPhone 11 and releasing it with Instagram Reels Artificial Intelligence algorithms helped them become aware of the learned Christian fear they shared that had previously made them devalue the adaptive presence of machines, computer learning, and AI:

“We were both raised in a Christian culture that warned about the times of revelation. When the person who had been our key creative patron, Jacob Sokoloff of the internationally best selling wind chimes Jacob’s Musical Chimes, sold our residence after the fires that swept all over Los Angeles in January 2025, I was thrilled for the excuse to convince Brian James Lucas to delve deeper into the Jesus story (because he is the most famous icon for his response to oppressive forces). We had already been in a long process of detaching from yoga classes and unnecessary belongings, so traveling with what we could physically carry, and no phone service was initially a huge relief for me. We were blessed with one-way tickets to the State of Hawaii, and when our contact in Maui fell through, for several months we had been recording video on our iPhone 11 with a movie in mind, but without a computer or more advanced editing software, I was anxious when Brian James Lucas suggested the idea of uploading what we had onto Instagram. After living outside, and with the previous fires in both Lāhainā and Los Angeles, extreme daytime heat, but cold windy nights, I was having recurring thoughts about the Bible that I hadn’t had since I was a child, about Jesus’s 40 days and 40 nights in the desert, and I kept joking with Brian James Lucas that I was Satan and that instead of the desert I had brought him to Maui County, where instead of fasting, as he already had so many times as a wellness and longevity influencer, I had influenced him to follow his desires to eat meat, and smoke, and to do all of these things he had rejected memory of enjoying. It wasn’t until late in the summer when we had been outside in the sun, on the beach for hours every day, doing tantric yoga, and eating food from the relatively clean trash bins near the resort beaches, that I became paranoid we were both going to die of heat stroke and malnutrition, that I surrendered to Instagram. I had to go on a long walk while Brian James Lucas uploaded the videos at a resort shopping complex with WiFi, because I was too nervous to sit with him and watch the energy I’d ruminated on for 13 years squeezed into an app that I had felt functionally estranged from. As the videos were being uploaded, a sort of euphoric mania caused me to walk for hours and when I returned, he explained that Instagram's AI algorithms had done some “expansive processing” of our videos. After a few weeks, I was able to comprehend that the app’s reels feature had made an algorithmically relevant edit of the videos we uploaded that made more viewable the huge amount of video we had recorded and uploaded, and functionally distributed a partial release. Somehow the process had invoked for me a renaissance of the original magic of cinema projections where multiple separate reels were required to show a full movie. Instagram’s algorithmic translations made me excited to continue recording and sharing our work, and we’ve now shared aspects of the cinematic offering across other social media channels, with parts on Instagram, Facebook, YouTube, and an ongoing spontaneously recorded soundtrack on SoundCloud.

The American State of Hawai’i (our travels included Hawai’i County, Honolulu County, Kaua’i County and Maui County, where we became residents) is a place where the collective spirited belief in a beautifully anointed planet (Mālama Honua) and family (Ohana), in congress with all universal elements, greatly humbled us, and guided us (through their daily support and donations) to continue focusing on the immense beauty and love that is everywhere, with the goal that our marriage provides a loving service (Aloha) to everyone we meet.”

-Danièle Lorise Watts

Polyamorous Famulus is a name that comes from the words Famulus, a Latin word meaning "servant,” especially to a scholar or magician (the root of the word "family,” ) and the Latin word “amor,” or “love”— and as the name of our social media handles— translates the idea that our marriage, through ongoing creative offerings and especially odes, is devoted to the many possibilities of expressing love that serve each new moment.

-Brian James Lucas

Terrifying Lightness of Whiteness (#TLOW911): the world's first spontaneously recorded unhoused docufiction musical shadow wedding saga (edited with Instagram AI): REEL #1:

https://www.instagram.com/reel/DO4x81liZZf/?igsh=MzRlODBiNWFlZA==

Terrifying Lightness of Whiteness (#TLOW911) additional spontaneous soundtrack, SoundCloud: https://m.soundcloud.com/polyamorousfamulus

Extended Scenes and Trailers From Terrifying Lightness of Whiteness (#TLOW911) on YouTube:

@Polyamorous Famulus https://m.youtube.com/@polyamorousfamulus

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Thanks for reading our story. We have completed our time in the State of Hawai’i, and have returned to Los Angeles to continue integrating and creating our project.

We have more #TLOW911 reels, soundtrack, and scenes from The State of Hawai’i (and California) that we would love to share…to do so, we currently require:

$3,333 — Short-term Accommodations

Thanks for donating what you can and sharing our story. We are honored and greatly humbled in love.