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Speaker 1: Radio radio Radio Commies, a myth and bullshit radio phonic novella.

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Speaker 1: Look Radio hosted by man Ala Locamore is welcome to

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Speaker 1: season four of Local Radios Wanted for Crimes against the Patriarchy.

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Speaker 1: We interrupt our regularly scheduled programming to bring you Quarantine Confidential,

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Speaker 1: a special pandemic broadcast about our experiences with quarantine and

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Speaker 1: COVID nineteen. I'm Fiosa and I'm Mala. Our intention behind

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Speaker 1: this mini series is to archive our experiences during this

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Speaker 1: global coronavirus pandemic. Thank you for joining us on this journey.

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Speaker 1: Last time on Quarantine Confidential, we interviewed Gata from Got

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Speaker 1: That you can tune into that episode on Apple Podcasts, Spotify, SoundCloud,

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Speaker 1: and audio boom. Yes, and we are back today and

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Speaker 1: we are interviewing a friend of ours, a friend of

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Speaker 1: the pod, a actress the second half of this interview,

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Speaker 1: but before that, we just want to check in talk

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Speaker 1: about what's going on in Los Angeles specifically. There's a

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Speaker 1: lot going on and we just want to touch base

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Speaker 1: with all of y'all. With our listeners, we know a

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Speaker 1: lot of y'all are in Los Angeles, l A. We

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Speaker 1: continue to protest right nationally, internationally, protests in for black

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Speaker 1: lives matter and against police brutality. Um, they continue, and

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Speaker 1: that means that the police violence is also continuing, even

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Speaker 1: against folks just working, living there everyday lives, you know,

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Speaker 1: like not involved in anything. Just it's ridiculous. The most

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Speaker 1: recent police killing has been the l A. Sheriff's deputies

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Speaker 1: who shot and killed eighteen year old Andres Guarado, who

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Speaker 1: was saw the door in and he was a guard,

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Speaker 1: a security guard patrolling an auto body shop in guardina Um.

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Speaker 1: The details about this situation are still unraveling, but you know,

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Speaker 1: we follow a shout out to the l A. Taco

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Speaker 1: Reporters and the l A. Taco crew because during all

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Speaker 1: of everything going on with the coronavirus, the pandemic, the uprisings,

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Speaker 1: the protests, police violence, like they are really informing the

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Speaker 1: community and they're on the ground and they're out there

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Speaker 1: in the streets like talking to the people, getting to

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Speaker 1: the directly to the sources and getting that news out

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Speaker 1: there for us. So one of the l A. Taco

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Speaker 1: reporters was out there, Memo Torres, and he spoke with

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Speaker 1: the owner and the manager of the auto body shop

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Speaker 1: that Andres Guavado was where he was working as a

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Speaker 1: security guard and where he was ultimately killed. And he

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Speaker 1: was speaking to the manager and owner, and this man

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Speaker 1: was saying that you know no one in the area

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Speaker 1: that he knows of, and he certainly didn't call lawn

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Speaker 1: for smith. There was not an issue. There wasn't a

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Speaker 1: break in, nothing was going on that warranted their arrival.

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Speaker 1: Like it's it's a mystery as to why they pulled

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Speaker 1: up in the first place. And then it turns out

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Speaker 1: that after they pulled up on ANDREADO, the young man

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Speaker 1: was obviously scared and he ran away and they ended

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Speaker 1: up shooting him in the back seven times, and according

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Speaker 1: to the young man's father, they left his body there

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Speaker 1: until five am. And the manager of the auto body

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Speaker 1: shop said that the sheriffs ended up um breaking and

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Speaker 1: destroying the security cameras around the auto body shop and

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Speaker 1: going into the business and taking the tapes from the

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Speaker 1: security cameras, only to return the next day with search warrants.

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Speaker 1: So people have begun to protest um in the content

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Speaker 1: area in Guardina, and law enforcement ended up tear gassing

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Speaker 1: and acting protesters, not even protesters necessarily, but just folks

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Speaker 1: there in honor of Andrea those memory right and in

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Speaker 1: support of his family. There's so much going on right now,

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Speaker 1: and it's because this is a survivor focused podcast, you know.

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Speaker 1: I always look at these things through this, like trauma

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Speaker 1: lens and the survivor lens. And I remember I had

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Speaker 1: a client once who told me that after reporting abuse,

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Speaker 1: after going through law enforcement in the courts and the

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Speaker 1: criminal justice system, she ultimately came to this conclusion that

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Speaker 1: she knew that she was an abusive relationship with the

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Speaker 1: father of her child, but the most abusive relationships she

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Speaker 1: was ever in was with the United States of America

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Speaker 1: and with our criminal justice system. And that's how I

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Speaker 1: feel about our our our forced relationship with law enforcement.

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Speaker 1: Like we I was talking to my mom about this earlier,

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Speaker 1: like when we went to school and we were put

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Speaker 1: into these DARE programs and it put in con tech

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Speaker 1: with police and top that they were heroes all the

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Speaker 1: while they were killing people and they continue to kill us.

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Speaker 1: And it's this gas lighting where no, we're the good guys, No,

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Speaker 1: but you have blood on your hands, and it's just

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Speaker 1: mind blowing. Yeah, I've seen people share on social media

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Speaker 1: about this, about this using the specific term called copaganda.

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Speaker 1: And it's like the way the media portrays cops, and

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Speaker 1: in most of our media, we see cops as the heroes,

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Speaker 1: as the good guys, the detectives that are like just

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Speaker 1: like in Law and Order SVU, the detectives that are

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Speaker 1: going to fight for survivors and run the test and

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Speaker 1: get the perpetrator and all those things. But that actually

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Speaker 1: isn't reflective of real life. And uh, it's also really

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Speaker 1: interesting to see the mental gymnastics that people do to

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Speaker 1: justify cops killing anyone like guilty or not. Uh, Like

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Speaker 1: I've seen people on social media say like, well, if

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Speaker 1: he wasn't if he didn't have a gun, he like

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Speaker 1: wouldn't be killed. He wouldn't have been killed. Or if

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Speaker 1: he didn't run, he wouldn't have been killed, right, and

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Speaker 1: like completely ignoring that all humans have a stress response

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Speaker 1: and it's completely natural to to flee literally to run

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Speaker 1: because your body is in survival mode. And so it's

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Speaker 1: really astounding and incredible not surprising to see the mental

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Speaker 1: gymnastics that people do to justify a cop killing a

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Speaker 1: teenager and also the media reporting a man a man

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Speaker 1: was murdered, a man was murdered when this was clearly

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Speaker 1: a teenager has a baby face is eighteen. Older white

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Speaker 1: men have been called kids for doing worse things, and

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Speaker 1: so just the cognitive dissonances, it's just too much at

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Speaker 1: this point, it's too much. You know, hopeful that people

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Speaker 1: are waking up, but it's it's a lot, it's a lot.

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Speaker 1: And look, we're Jesse Romero was murdered by the l

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Speaker 1: A p D. It was not that long ago. He

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Speaker 1: was fourteen years old. He was also shot in the back,

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Speaker 1: you know. And black children, Um, black folks continue to

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Speaker 1: be killed. Brown children are are being killed. Like, abolish

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Speaker 1: the police, Defund the police, abolish the police. That's really

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Speaker 1: all there is to say at this point, you know.

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Speaker 1: So I think what we'll do is we'll probably link

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Speaker 1: um and those I think that there's a go fund

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Speaker 1: me out there will link that, you know. In the

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Speaker 1: show notes inside. Yeah, yeah, there's also different calls to

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Speaker 1: action to hold the local officials and Guardina accountable. I

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Speaker 1: believe maybe within the first twenty four hours, the mayor

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Speaker 1: of Guardina didn't release his statement, so folks were pressuring

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Speaker 1: him to release a statement. So, yeah, there's different actions

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Speaker 1: that you can take and we will link those in

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Speaker 1: the show notes. So we want to talk talk to

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Speaker 1: Radio fifty of it and ship. All right, welcome back.

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Speaker 1: We have been um super excited to get this interview

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Speaker 1: out to you all because it's attached to an amazing

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Speaker 1: mo head and artista who is working on some incredible projects.

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Speaker 1: So we are pleased to invite Melina Bobarbia onto look

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Speaker 1: at what our radio. We're going to hear from her

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Speaker 1: about her production work on a new film called four Rosa,

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Speaker 1: which is a USC thesis film about the Madrigal ten So.

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Speaker 1: Melina Bobabia is a Chicana actress. Born and raised in

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Speaker 1: l ah She's focused on shifting the paradigm of Latino

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Speaker 1: representation on screen. She's best known for her work in

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Speaker 1: the final season on Netflix hit series Orange is the

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Speaker 1: New Black, where she portrays the recurring character of San

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Speaker 1: fels Chage, a Guatemalan and Maya Kiche speaking migrant woman

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Speaker 1: who is detained at the polycon Ized Detention Center. She's

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Speaker 1: also seen on the critically acclaimed Apple TV original series

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Speaker 1: Little America. Her other notable credits include Grand Hotel, the

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Speaker 1: fiftieth anniversary revival of zoot Suit at the Mark Taper Forum,

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Speaker 1: and The Laundromat film, where she starred opposite Meryl Street.

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Speaker 1: So we're gonna bring on Melina's um coming up soon

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Speaker 1: to talk about her debut as a producer. She's co

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Speaker 1: producing and starring as the lead in the short film

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Speaker 1: for Rosa, based on the nine Madrigal Versus Quilligan class

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Speaker 1: action lawsuit centering the stories of Latinas who survived forcible

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Speaker 1: sterilization at l A County General Hospital. So without there

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Speaker 1: do thank you so much. This is like, this is

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Speaker 1: an honor. It is truly exciting, and I absolutely I'm

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Speaker 1: just so grateful for you both for your voices, and

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Speaker 1: I'm also grateful to be included in this really um glorious, wonderful,

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Speaker 1: magical space that you've created to document the brilliance of

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Speaker 1: women of color. So thank you for what you do.

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Speaker 1: And UM, I'm going to pretend that we actually are

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Speaker 1: like seeing each other. I get to see your your

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Speaker 1: beautiful faces and and admire you're always on point looks,

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Speaker 1: and we're just like, you know, we're we're having a

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Speaker 1: happy hour or something. So I'm going to treat it

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Speaker 1: as that. Yes, thank you so much for joining us.

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Speaker 1: We definitely need to have a dream in caval cocktail

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Speaker 1: when hopefully this is all over. And yes, we like

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Speaker 1: you know, we definitely miss being in the studio and

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Speaker 1: miss having our guests. Let's talk about because it's very exciting, um,

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Speaker 1: the work that you're doing on this film. It's based

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Speaker 1: on a really really important landmark case here in l

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Speaker 1: a Madrigal versus Quilligan class action lawsuit. And I really

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Speaker 1: am curious about your journey. From the first time I

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Speaker 1: ever saw you performance act was in zoot Suit at

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Speaker 1: the Mark taper a few years back, and you you

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Speaker 1: you played Bertha at right and I saw you singing, dancing, acting,

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Speaker 1: being fabulous. Um. As we said in your bio, You've

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Speaker 1: been on Orange in The New Black, You've you've started

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Speaker 1: opposite Meryl Streep in The Laundromat. You've done a lot

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Speaker 1: of amazing things. And now you are helping to produce

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Speaker 1: a film that you're also starring in. So can you

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Speaker 1: tell us a little bit, take us on the journey

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Speaker 1: from stage acting, screen acting to now producing. Yeah, definitely

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Speaker 1: lye Um. So I've I started as a stage actor,

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Speaker 1: and I started as a stage actor and a theespion

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Speaker 1: really reluctantly. Um. It's been since high school. And I

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Speaker 1: started as a as a visual artist and I still

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Speaker 1: dabble um. But there was a year where I signed

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Speaker 1: up too late for my my advanced drawing class, but

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Speaker 1: I still needed a an art credit, and the counselor

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Speaker 1: was like, well, you could take drama, and I was

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Speaker 1: like no. I joined the drama class reluctantly, and because

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Speaker 1: I didn't care about it, I didn't feel self conscious

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Speaker 1: and I didn't feel like I had much to lose.

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Speaker 1: But I just kind of threw myself in and and

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Speaker 1: that was actually a very liberated and free place to

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Speaker 1: be in and I think I don't think I saw

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Speaker 1: it as that in the moment, but it ended up

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Speaker 1: being something that I was really that I was good

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Speaker 1: at that that came naturally to me. It started with

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Speaker 1: being part of Comedy Sports, which is a untually improv

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Speaker 1: and um. And then I started doing the plays and

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Speaker 1: my teacher noticed like I kind of had a knack

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Speaker 1: for already being on stage because I had been doing

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Speaker 1: folklorical and multiple types of types of dance since since

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Speaker 1: the age of five. That was my first, uh like

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Speaker 1: time being on stage and being in front of an audience.

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Speaker 1: And and I you know, I drank the cool and

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Speaker 1: I felt the bug you know, of of of the audience, um,

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Speaker 1: baby gaga, you know with the but yeah, totally so

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Speaker 1: so so it was just it wasn't it was an

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Speaker 1: extension of that, I think. Um. So I was doing

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Speaker 1: the plays and I remember when I was so I

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Speaker 1: did like Little Shop of Horrors. That was my first play,

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Speaker 1: and that was my first musical theater theater experience. And

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Speaker 1: then when I was here, yes, yes, and I was

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Speaker 1: one of the thing. Um in the movie have you

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Speaker 1: ever seen the film with with Rick moranis you know,

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Speaker 1: there's there's this really cute, like Motown inspired trio of

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Speaker 1: uh like fierce like black women who were singing who

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Speaker 1: are kind of providing the background like vocals and and

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Speaker 1: narrators are kind of the Greek choir, the Greek chorus rather,

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Speaker 1: And so I was one of those um women in

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Speaker 1: this way. And then like it was senior year, it

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Speaker 1: was like the big play Syrano de Bergerac, and it

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Speaker 1: was me versus not versus like your cage battle. But

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Speaker 1: I was auditioning opposite the throng of other white girls

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Speaker 1: in my school for to play Rocks and Bertac, and

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Speaker 1: I was looked at sideways and it was like down

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Speaker 1: to me and this other girl who was always the lead,

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Speaker 1: and they ended up giving us um. They ended up

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Speaker 1: double casting us, which is what they do when they

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Speaker 1: like don't want to reject the girl. But they also

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Speaker 1: know that I was too good and I was like undeniable.

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Speaker 1: So anyway, I feel like that was one of my

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Speaker 1: first that was really my first experience, my first moment

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Speaker 1: of of really um truly, I mean, you know, honestly

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Speaker 1: like white supremacy, racism, bias in in performance and media.

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Speaker 1: But I don't think I definitely didn't have the analysis

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Speaker 1: or the language for it at that time anyway, So like, uh,

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Speaker 1: talking too much about high school. Fast forward uh to college.

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Speaker 1: Did not major in that as an undergrad because I

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Speaker 1: didn't think there was a place for me. After college.

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Speaker 1: I went to work with and that was that was

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Speaker 1: really really formidable formidable for me. It was really special

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Speaker 1: because I always wanted to find a way to to

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Speaker 1: merge my passions in the worlds of like being an educator,

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Speaker 1: doing community work, being an activist, but also performing. That

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Speaker 1: was the part of me, you know, as an artist

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Speaker 1: that I was negating, that I was ignoring, and so

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Speaker 1: working a few years after college within Campesino in arts

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Speaker 1: education but also as an ensemble member, uh really kind

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Speaker 1: of helped me to start solidifying that I wanted to

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Speaker 1: do both, and then I could do both. And then

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Speaker 1: you know, I lived in New York for a number

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Speaker 1: of years, I went to n y U and and

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Speaker 1: and finally ended up studying theater an education. And it

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Speaker 1: wasn't until I was like back here in California at

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Speaker 1: a nonprofit job and I booked this show that was

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Speaker 1: going to tour in Spain, and it was kind of like, Okay,

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Speaker 1: this is the moment where we're going to choose. And

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Speaker 1: I went on tour in Spain and I didn't look

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Speaker 1: back because when I was on that plane, I was like,

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Speaker 1: this is kind of the life that I want. This

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Speaker 1: is what fills me. This is when I feel most authentic.

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Speaker 1: I want to act, I I want to tell stories. Um. So,

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Speaker 1: you know, moving back to l A since what it

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Speaker 1: was like, that's honestly, it's only been that I've finally

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Speaker 1: started allowing myself to really jump into this world of

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Speaker 1: film and television and really take a more kind of

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Speaker 1: serious traditional path as an actor. Um. And you know,

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Speaker 1: with with zoot Suit came more visibility that was amazing.

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Speaker 1: I feel like, I bet if that was a character

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Speaker 1: that really has been one of the only characters that

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Speaker 1: that spoke to me and that I could truly relate to,

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Speaker 1: because if I was living in the nineties, I would

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Speaker 1: have been about that life. I would have been a

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Speaker 1: little bit at them, like that kind of pachuca, that

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Speaker 1: kind of little rattle rouser um and uh and yeah.

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Speaker 1: And then you know it started opening up in terms

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Speaker 1: of like TV and film, um. And you know, jumping

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Speaker 1: to Orange as the New Black, that was kind of

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Speaker 1: the first bigger role, the first recurring, kind of notable

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Speaker 1: role in a huge series that I did, Um and you,

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Speaker 1: And fast forward to this moment co producing for for Rosa,

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Speaker 1: because I was approached to be a part of the film,

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Speaker 1: to play the lead UM. I was shocked. I was

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Speaker 1: familiar about with the story, but I was shocked at

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Speaker 1: to learn that there wasn't really any sort of narrative

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Speaker 1: film or or scripted work around this story. And this

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Speaker 1: is the story is l A history, this is this

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Speaker 1: is reproductive justice history, this is American history, this is

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Speaker 1: women's history. This is like chicano Cheka next Latin XT history.

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Speaker 1: And so I I knew that I also wanted to

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Speaker 1: have more of a say, and that's when we decided

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Speaker 1: to make the ask. And if you know, if you

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Speaker 1: don't ask, if you don't bring it up, it's not

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Speaker 1: going to happen. But at this point, I've dealt with

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Speaker 1: enough moments of being shut out, of being negated, of

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Speaker 1: being silenced, of being turned away, knowing full well that

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Speaker 1: I have the goods, that I have the training and

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Speaker 1: the intelligence and the talent to bring it, and so

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Speaker 1: I I just I don't know, I'm kind of at

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Speaker 1: a point of no folks given or very little folks given.

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Speaker 1: So excellent. Yeah, I think that's a good place to

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Speaker 1: be at, to not have to not give any funks

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Speaker 1: about about it. This film in particular for Rossa um

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Speaker 1: and the subject matter, the content, what drew you to

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Speaker 1: this particular project, why accept um the lead role and

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Speaker 1: the producer role, and why this film mm hmm. I think, Um,

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Speaker 1: this story is really at the intersection of so many,

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Speaker 1: so many topics that that I am interested in and

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Speaker 1: I've you know, in terms of like, um, I guess

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Speaker 1: issues that I've that I've worked around and and and

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Speaker 1: I'm passionate about, and also just in terms of like

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Speaker 1: my own identity and my lived experience and the body

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Speaker 1: that I walk in. It was easy for me to

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Speaker 1: kind of transpose myself and to go back in time

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Speaker 1: and to see myself as someone who could have easily

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Speaker 1: uh suffered this particular oppression at that moment. And and

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Speaker 1: I think that, uh, you know, going back to this

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Speaker 1: idea of it being at the intersection of so many,

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Speaker 1: so many issues, this absolutely is a story that affected

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Speaker 1: l a latinas Um. This is a story that needs

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Speaker 1: to be positioned in the larger context, the larger conversations

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Speaker 1: around reproductive justice and feminism and womanism and what that

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Speaker 1: looks like, how that looks different for UH, communities of color,

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Speaker 1: for black women, for Indigenous women, for immigrant women, for latinas. UM.

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Speaker 1: It's also it also brings in this idea um, this

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Speaker 1: very sad history of of racism institutional is as a

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Speaker 1: manifesting in healthcare UM. And so I had seen the

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Speaker 1: documentary No Masibis. It was a PBS documentary that premiered

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Speaker 1: around I want to say, and that is when I

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Speaker 1: learned more in depth about this story. So I had

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Speaker 1: heard the history. I had heard mentions read mentions of

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Speaker 1: this history of for sterilization as an extension of eugenics

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Speaker 1: targeting black women, targeting Latina's targeting specifically like bodh Equas

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Speaker 1: on and off the Island, um women in the South.

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Speaker 1: And when I saw pieces of that documentary, you know,

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Speaker 1: it's just like it was this this immediate rage that

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Speaker 1: kind of like burned inside my body, but also this

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Speaker 1: um this extension of sort of like this like spiritual

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Speaker 1: collective trauma. Also because again going back to the idea

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Speaker 1: of like what what does it mean when you when

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Speaker 1: you walk in the body, when you walk in the world, um,

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Speaker 1: as someone very similar or really like as just like

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Speaker 1: another version of some of the women some of the

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Speaker 1: humans that were affected by this, you know. And I

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Speaker 1: think that extends into so many areas, um, politically and socially.

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Speaker 1: But I I it was just like I couldn't turn

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Speaker 1: it away. I'm kind of shocked that no one's already

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Speaker 1: made a film or a TV show about this and

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Speaker 1: dramatize this. But I think stories that center uh bipoc

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Speaker 1: and and and and Latinas and brown Latinas or immigrant Latinas,

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Speaker 1: I think those are few and far between because we're

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Speaker 1: so often uthered or relegated to the side. Um. So

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Speaker 1: I had to be a part of it, you know.

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Speaker 1: And just um if I may just kind of like

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Speaker 1: talk a little bit about, um, what this what this

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Speaker 1: case is, and what the film is about how we

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00:25:04,400 --> 00:25:07,560
Speaker 1: approach it. Uh, I think it's really important. I mean,

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Speaker 1: I know, yeah, the history is not like you think

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Speaker 1: about it, right, Yeah, absolutely, And the history is not

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Speaker 1: one that's that's known. And when we think about reproductive rights,

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Speaker 1: it's really not a case that is brought up in

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Speaker 1: the broader conversation when we talk about UM, patient rights,

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Speaker 1: when we talk about reproductive justice. The Magical versus Quilligan

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Speaker 1: case was really landmark in so many ways. And after

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Speaker 1: the ruling, although the judge technically in an unpublished opinion,

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Speaker 1: the judge on the case did side with the county

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Speaker 1: hospital and in his own twisted way felt that the

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Speaker 1: doctors in his in his opinion right in his opinion,

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Speaker 1: that the doctors have the best interests of the patients

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Speaker 1: in mind when they pursued to tube allegations. Now, what

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00:26:00,040 --> 00:26:03,840
Speaker 1: ended up happening was of a lot of changes had

401
00:26:03,880 --> 00:26:09,719
Speaker 1: to be implemented after this case UM was heard. Because

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Speaker 1: now what we have as a direct result of Magical

403
00:26:12,920 --> 00:26:17,440
Speaker 1: Versus Quilligan our hospital forms and multiple languages that patients

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Speaker 1: can actually understand, the requirement that there be interpreters medical

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Speaker 1: interpreters so that patients understand what they're consenting to are

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Speaker 1: not consenting to, that patients who are young, who are

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Speaker 1: under like twenty one, have time to think about whether

408
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Speaker 1: or not they want to be legation or sterilization, and UM.

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Speaker 1: A whole host of other medical, legal and civil rights

410
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Speaker 1: were put into place that we're not there before. And

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Speaker 1: it's important I think too, because we today think about

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Speaker 1: reproductive justice as the right to an abortion and the

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Speaker 1: right to terminate pregnancies. What we don't often anna lies

414
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Speaker 1: and with this case really forces us to consider is

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00:27:04,560 --> 00:27:08,520
Speaker 1: the other side of the conversation, where we should a woman,

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00:27:08,720 --> 00:27:10,840
Speaker 1: a family should be able to have as many children

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Speaker 1: as they want, right And it's not up to doctors

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Speaker 1: or the state, um or the federal government to dictate

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Speaker 1: when it is appropriate for a woman to have a child,

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Speaker 1: how many children it is appropriate for that woman to

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Speaker 1: have um or the circumstances right under which she uh,

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00:27:30,920 --> 00:27:36,000
Speaker 1: you know, undergoes a hysterectomy or does consent to tubal ligation.

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Speaker 1: And it's a case that, as you said, has been

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Speaker 1: kind of ignored in many ways. So I think one

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Speaker 1: of the reasons why we definitely wanted to have you

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00:27:46,359 --> 00:27:49,720
Speaker 1: on the podcast was to make sure that this film

427
00:27:49,880 --> 00:27:52,360
Speaker 1: is promoted and it gets out there and people hear

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00:27:52,400 --> 00:27:56,600
Speaker 1: about it, and folks go and look up Magical versus Quilligan,

429
00:27:57,000 --> 00:27:59,760
Speaker 1: look up the history of of the our hospitals here,

430
00:27:59,800 --> 00:28:02,040
Speaker 1: not only in l A County, but across the nation,

431
00:28:02,200 --> 00:28:06,080
Speaker 1: because what was going on in l A was but

432
00:28:06,400 --> 00:28:12,200
Speaker 1: one example of a very very like centuries long eugenics

433
00:28:12,280 --> 00:28:16,199
Speaker 1: project that the federal government was funding across the nation.

434
00:28:16,640 --> 00:28:21,399
Speaker 1: The federal government set aside like millions of dollars and

435
00:28:21,600 --> 00:28:26,640
Speaker 1: handed so much money over to hospitals, especially in areas

436
00:28:26,640 --> 00:28:29,480
Speaker 1: that were predominantly black and brown or had large black,

437
00:28:29,520 --> 00:28:33,520
Speaker 1: brown and immigrant populations, and really funneled tons of money

438
00:28:33,640 --> 00:28:39,640
Speaker 1: into these hospitals with the express intention of sterilizing brown, black,

439
00:28:39,760 --> 00:28:43,440
Speaker 1: Native and immigrant women, preventing these women from having babies

440
00:28:43,560 --> 00:28:47,920
Speaker 1: or having more babies. Um and continuing a project of

441
00:28:47,920 --> 00:28:51,880
Speaker 1: white supremacy and and of eugenics that has been implemented

442
00:28:51,920 --> 00:28:55,800
Speaker 1: in this country since you know the colonies, and um,

443
00:28:55,840 --> 00:28:59,360
Speaker 1: it's it's one example, it's but one example, but it's

444
00:28:59,360 --> 00:29:02,160
Speaker 1: a huge to one that still has like it still

445
00:29:02,200 --> 00:29:08,880
Speaker 1: reverberates to this day. Will feel it right absolutely, Yeah,

446
00:29:09,040 --> 00:29:11,560
Speaker 1: I think I wanted to touch upon what you said,

447
00:29:11,600 --> 00:29:14,520
Speaker 1: but we'll both what you, Mama and Molina said. Um.

448
00:29:14,560 --> 00:29:18,200
Speaker 1: So often we think about reproductive justice or even for

449
00:29:18,320 --> 00:29:22,360
Speaker 1: sterilizations and even of course femicides, we think about it

450
00:29:22,400 --> 00:29:25,400
Speaker 1: in context of our home countries in Latin America, and

451
00:29:25,440 --> 00:29:28,400
Speaker 1: we think about the way that our own our own

452
00:29:28,400 --> 00:29:33,080
Speaker 1: home countries governments have sterilized many Indigenous women, Like I

453
00:29:33,120 --> 00:29:37,200
Speaker 1: think about uh during the Fukimoni dictatorship, that all the

454
00:29:37,240 --> 00:29:42,120
Speaker 1: Indigenous and Antina women that were sterilized without their knowledge rights,

455
00:29:42,240 --> 00:29:46,320
Speaker 1: very similar to the Madrigal uh ten. And so we

456
00:29:46,360 --> 00:29:48,840
Speaker 1: think about those cases and we think about it as

457
00:29:48,880 --> 00:29:51,240
Speaker 1: something that happens in Latin America. And that's what I

458
00:29:51,240 --> 00:29:54,080
Speaker 1: think is so powerful about this story that it literally

459
00:29:54,120 --> 00:29:56,920
Speaker 1: happened in our neighborhood. It literally happened at a county

460
00:29:56,960 --> 00:30:01,680
Speaker 1: hospital in l a County, not in the South, right,

461
00:30:01,800 --> 00:30:05,480
Speaker 1: but literally in Los Angeles. So I agree with you.

462
00:30:05,560 --> 00:30:09,600
Speaker 1: I'm shocked that there hasn't been more uh, there hasn't

463
00:30:09,600 --> 00:30:12,240
Speaker 1: been a dramatization of this story. And I'm really happy

464
00:30:12,280 --> 00:30:14,280
Speaker 1: that you get to be a part. You get to

465
00:30:14,280 --> 00:30:17,479
Speaker 1: be a part of telling right it's um you know,

466
00:30:17,720 --> 00:30:20,920
Speaker 1: it's frustrating that to me, like when I started learning

467
00:30:20,920 --> 00:30:24,160
Speaker 1: more about it that I was mad at myself for

468
00:30:24,280 --> 00:30:26,520
Speaker 1: not knowing more of the details around it. And I

469
00:30:26,560 --> 00:30:31,040
Speaker 1: think that what this film has um allowed me to

470
00:30:31,080 --> 00:30:33,040
Speaker 1: do and allowed me to advocate for, and what I

471
00:30:33,080 --> 00:30:36,360
Speaker 1: hope it will how I hope it will land on people,

472
00:30:36,520 --> 00:30:41,920
Speaker 1: is that it will really bring this case into and

473
00:30:42,080 --> 00:30:45,600
Speaker 1: it will really force us to expand our conversations around

474
00:30:45,600 --> 00:30:49,560
Speaker 1: reproductive justice because ultimately, like this is being this is

475
00:30:49,560 --> 00:30:51,880
Speaker 1: about being in control of our own bodies right as

476
00:30:51,960 --> 00:30:55,880
Speaker 1: as as women, as people who identify as women, uh,

477
00:30:56,080 --> 00:30:59,040
Speaker 1: control of our own bodies without any sort of input

478
00:30:59,600 --> 00:31:04,680
Speaker 1: from the white supremacist, patriarchal state and establishment or systems. UM.

479
00:31:04,720 --> 00:31:07,640
Speaker 1: And you know, I have to admit that as someone

480
00:31:08,760 --> 00:31:12,200
Speaker 1: who is a cheek gunna who um you know, enjoys

481
00:31:12,600 --> 00:31:16,280
Speaker 1: certain privileges, whether it's like citizenship or access to education

482
00:31:16,560 --> 00:31:20,520
Speaker 1: or facility with the English language, Like I feel like

483
00:31:20,600 --> 00:31:27,240
Speaker 1: I have developed into a woman that um has focused

484
00:31:27,760 --> 00:31:32,640
Speaker 1: mostly on being able to protect our access to abortion

485
00:31:32,720 --> 00:31:36,960
Speaker 1: and being pro choice and being pro abortion. UM. No

486
00:31:37,120 --> 00:31:41,080
Speaker 1: questions asked, no justification, no shame around it. But it

487
00:31:41,240 --> 00:31:46,640
Speaker 1: challenged me to really step back and think about the

488
00:31:46,720 --> 00:31:52,040
Speaker 1: agency of of all women and what different needs and

489
00:31:52,040 --> 00:31:57,320
Speaker 1: and um different access to certain resources looks like for

490
00:31:57,560 --> 00:32:00,719
Speaker 1: you know, in this case, women who are part of

491
00:32:00,800 --> 00:32:03,600
Speaker 1: a similar demographic, but also like there's a lot of

492
00:32:03,600 --> 00:32:08,720
Speaker 1: differences between us, right, So like these women, UM, they

493
00:32:08,720 --> 00:32:11,360
Speaker 1: were showing up to the l A County General Hospital

494
00:32:11,800 --> 00:32:15,640
Speaker 1: to give birth all of them who signed on to

495
00:32:15,960 --> 00:32:21,280
Speaker 1: the class action lawsuit had it in their family planning. Uh,

496
00:32:21,320 --> 00:32:24,920
Speaker 1: you know, their ideas of family planning to have more children.

497
00:32:25,000 --> 00:32:28,720
Speaker 1: They planned on giving more births. I don't have any

498
00:32:29,200 --> 00:32:31,280
Speaker 1: just as Melina, as an individual, I do not have

499
00:32:31,280 --> 00:32:34,680
Speaker 1: any interest to have like multiple children for like many reasons.

500
00:32:34,680 --> 00:32:37,000
Speaker 1: And you know they're that's personal. That's my own choice.

501
00:32:37,240 --> 00:32:38,680
Speaker 1: But at the end of the day, that's my choice.

502
00:32:39,080 --> 00:32:42,880
Speaker 1: But I that doesn't mean that I don't think another

503
00:32:42,920 --> 00:32:47,480
Speaker 1: person who is able to give birth should not be

504
00:32:47,520 --> 00:32:50,200
Speaker 1: allowed to have ultimate say over their own body and

505
00:32:50,240 --> 00:32:53,720
Speaker 1: how many births they do give um And I think

506
00:32:53,800 --> 00:32:57,320
Speaker 1: that you know, it's it's it's a question of medical ethics.

507
00:32:57,480 --> 00:33:00,360
Speaker 1: It was a huge violation. There were is a very

508
00:33:00,400 --> 00:33:04,840
Speaker 1: specific group of women targeted, and absolutely, you know, Mala,

509
00:33:04,880 --> 00:33:07,800
Speaker 1: I'm glad you mentioned eugenics. This idea of like eugenics

510
00:33:07,840 --> 00:33:11,880
Speaker 1: and population control that ultimately is like rooted in racism

511
00:33:11,960 --> 00:33:14,840
Speaker 1: because it's like what kind of people are allowed to

512
00:33:14,880 --> 00:33:18,920
Speaker 1: live and procreate and allowed to populate our country and

513
00:33:18,920 --> 00:33:21,560
Speaker 1: and there's undesirables and and you know in this in

514
00:33:21,600 --> 00:33:24,800
Speaker 1: these cases, the undesirables are black and brown. Uh, And

515
00:33:24,880 --> 00:33:27,960
Speaker 1: so That's why I knew that I really, I really

516
00:33:28,000 --> 00:33:30,560
Speaker 1: wanted to tell this story. One of the interesting things

517
00:33:30,640 --> 00:33:33,360
Speaker 1: is so I played the lead. Her name is Eva,

518
00:33:33,520 --> 00:33:37,719
Speaker 1: and she's actually she's a composite of some of the

519
00:33:37,800 --> 00:33:40,760
Speaker 1: experiences of different women that were part of the class

520
00:33:40,760 --> 00:33:45,120
Speaker 1: action lawsuits. So she's not exactly in a historical figure.

521
00:33:45,200 --> 00:33:47,240
Speaker 1: She's fictional, but she's kind of, you know, like I said,

522
00:33:47,280 --> 00:33:52,160
Speaker 1: she's a composite. And um, the woman, the main plaintiff,

523
00:33:52,240 --> 00:33:57,920
Speaker 1: who her name was Dolores Madriga. She actually was coerced

524
00:33:57,960 --> 00:34:01,800
Speaker 1: into signing these sterilization forms because they told her that

525
00:34:01,880 --> 00:34:05,040
Speaker 1: her husband had already approved and signed them. So they

526
00:34:05,080 --> 00:34:07,800
Speaker 1: were lying, they were forcing women they would this was

527
00:34:08,239 --> 00:34:11,480
Speaker 1: you know, that's illegal to force official documents, legal documents

528
00:34:11,520 --> 00:34:15,000
Speaker 1: under duress. I mean they were extremes, they were experiencing

529
00:34:15,200 --> 00:34:18,319
Speaker 1: extreme physical pain, they were in labor, some of them

530
00:34:18,320 --> 00:34:22,680
Speaker 1: were medicated, so they were they were told they were

531
00:34:22,719 --> 00:34:25,239
Speaker 1: they were sold on this idea really through lies. Some

532
00:34:25,320 --> 00:34:28,080
Speaker 1: of them were told that if they didn't sign this

533
00:34:28,080 --> 00:34:31,160
Speaker 1: this paperwork, their babies would die, or they would die,

534
00:34:31,560 --> 00:34:33,600
Speaker 1: or or they were told that, you know, this procedure

535
00:34:33,760 --> 00:34:39,760
Speaker 1: was reversible. And some of the majority of them were uh,

536
00:34:39,960 --> 00:34:43,279
Speaker 1: Spanish speaking, Uh some of them were bilingual, but by

537
00:34:43,280 --> 00:34:49,560
Speaker 1: no means were they uh you know, like they learned

538
00:34:49,560 --> 00:34:53,680
Speaker 1: Spanish first, like English was their second language. And but

539
00:34:53,719 --> 00:34:57,640
Speaker 1: I don't think that matters even because like who among

540
00:34:57,800 --> 00:35:01,080
Speaker 1: us if we have not studied men us and knows

541
00:35:01,160 --> 00:35:03,360
Speaker 1: the ins and outs of medical jargon and knows the

542
00:35:03,440 --> 00:35:08,240
Speaker 1: official names for so I might know sterilization, but truly

543
00:35:08,280 --> 00:35:10,480
Speaker 1: it wasn't until I studied this case more that I

544
00:35:10,560 --> 00:35:14,160
Speaker 1: was familiarized with that term of tubal ligation, right, and

545
00:35:14,160 --> 00:35:18,719
Speaker 1: and so, um, there's there's these layers of of access

546
00:35:18,800 --> 00:35:23,319
Speaker 1: and of privilege that many communities of color do not

547
00:35:23,600 --> 00:35:26,640
Speaker 1: have when it comes to being in control of their

548
00:35:26,640 --> 00:35:31,239
Speaker 1: bodies and having access to quality, uh you know, dignified

549
00:35:31,600 --> 00:35:34,759
Speaker 1: medical care. Um and and and and so. One of

550
00:35:34,760 --> 00:35:37,440
Speaker 1: the things that I think also is really interesting about

551
00:35:37,480 --> 00:35:41,160
Speaker 1: this case is that, um, you know, Hollywood always likes

552
00:35:41,239 --> 00:35:47,280
Speaker 1: to be very reductive about Latina's brown women, black women

553
00:35:47,680 --> 00:35:51,719
Speaker 1: who are are really anyone like that has any sort

554
00:35:51,719 --> 00:35:56,160
Speaker 1: of like lineage from the America's from here on, you know,

555
00:35:56,239 --> 00:35:59,000
Speaker 1: down to the bottom of South America. They love to

556
00:35:59,040 --> 00:36:01,920
Speaker 1: other us and they love to um include us in

557
00:36:02,000 --> 00:36:04,439
Speaker 1: like this modelith. But one of the cool things about

558
00:36:04,440 --> 00:36:08,919
Speaker 1: this particular cases, like the women that were the plaintiffs

559
00:36:09,320 --> 00:36:13,520
Speaker 1: had a very different reality than the woman who was

560
00:36:13,640 --> 00:36:19,560
Speaker 1: also Chicana latina Um who ended up being their counsel.

561
00:36:19,600 --> 00:36:23,239
Speaker 1: Their legal counsel. So Anthonio Ernandez was a U c l.

562
00:36:23,320 --> 00:36:27,400
Speaker 1: A educated lawyer from the East Side who was working

563
00:36:27,400 --> 00:36:30,480
Speaker 1: for the Los Angeles Center of Law in Justice, and her,

564
00:36:30,640 --> 00:36:34,200
Speaker 1: along with Charles Navarrete, took on this case. There was

565
00:36:34,239 --> 00:36:37,640
Speaker 1: a whistleblower who was a medical resident from the Women

566
00:36:37,640 --> 00:36:41,000
Speaker 1: and Children's Hospital at l A County General that contacted

567
00:36:41,040 --> 00:36:44,239
Speaker 1: them and Antonio Nan this is the one that went

568
00:36:44,400 --> 00:36:47,960
Speaker 1: and contacted the women. And what's so horrific is that

569
00:36:48,000 --> 00:36:50,839
Speaker 1: many of these women did not even know this had

570
00:36:50,880 --> 00:36:56,600
Speaker 1: been done to their bodies until the legal representative approached them.

571
00:36:56,800 --> 00:37:00,480
Speaker 1: So imagine that that that notice, you know that that

572
00:37:00,560 --> 00:37:05,880
Speaker 1: news of this huge violation coming from a total stranger

573
00:37:06,160 --> 00:37:09,960
Speaker 1: and completely unexpected. And and we show that in the film.

574
00:37:10,000 --> 00:37:13,879
Speaker 1: You know, I ever goes in to give birth, it's

575
00:37:13,880 --> 00:37:17,960
Speaker 1: a very traumatic, difficult birth. I'm coerced into signing these forms,

576
00:37:18,719 --> 00:37:21,120
Speaker 1: and you know, we we show these moments of joy

577
00:37:21,160 --> 00:37:24,719
Speaker 1: and levity and family with my husband who's played right

578
00:37:24,760 --> 00:37:29,000
Speaker 1: Rick Mancia, and my son and and there's this moment

579
00:37:29,080 --> 00:37:31,520
Speaker 1: of us planning our future and me expressing that I

580
00:37:31,560 --> 00:37:35,080
Speaker 1: want another child, and and Ever wants a little girl.

581
00:37:35,320 --> 00:37:37,000
Speaker 1: She wants to name her Rosa. And that's where the

582
00:37:37,040 --> 00:37:41,040
Speaker 1: title of the movie comes from, for Rosa. So it's

583
00:37:41,120 --> 00:37:44,320
Speaker 1: kind of haunting. It's it's this, uh, it's the dream

584
00:37:44,400 --> 00:37:47,719
Speaker 1: that never was, that never will be um, that was

585
00:37:47,760 --> 00:37:53,040
Speaker 1: stolen from me for from ever until the lawyer and

586
00:37:53,040 --> 00:37:56,600
Speaker 1: we name her Jessica and non this into in our film,

587
00:37:56,640 --> 00:37:59,719
Speaker 1: you know, in terms of like for right, life rights

588
00:37:59,760 --> 00:38:02,120
Speaker 1: and it's cetera. But it wasn't until that moment that

589
00:38:02,200 --> 00:38:05,240
Speaker 1: she approaches. We just like pulls up into my driveway

590
00:38:05,239 --> 00:38:09,440
Speaker 1: and I'm like, who's this? And it's like, is your

591
00:38:09,520 --> 00:38:12,120
Speaker 1: name ever? Did you give birth here on this day?

592
00:38:12,239 --> 00:38:14,160
Speaker 1: Is this your son? Is this your signature? It's like

593
00:38:14,280 --> 00:38:18,439
Speaker 1: whoa whoa whoa whoa whoa um and and and it's

594
00:38:18,480 --> 00:38:26,759
Speaker 1: not this automatic, magical moment of becoming woken, politicized and activated.

595
00:38:26,920 --> 00:38:29,960
Speaker 1: It's I think something I liked about this is that

596
00:38:30,000 --> 00:38:32,320
Speaker 1: we really showed kind of like these like five stages

597
00:38:32,320 --> 00:38:37,080
Speaker 1: of grief in a way, there's denial, there's negotiation, there's anger,

598
00:38:38,160 --> 00:38:42,440
Speaker 1: and ultimately we do see her connect with the attorney

599
00:38:42,480 --> 00:38:47,960
Speaker 1: as well as the other women who experienced this trauma.

600
00:38:48,440 --> 00:38:51,360
Speaker 1: So I'm proud of the film. I think that, you know,

601
00:38:51,440 --> 00:38:54,600
Speaker 1: this is just a snapshot of what it could be.

602
00:38:54,880 --> 00:38:56,759
Speaker 1: It is a short film, and we do have high

603
00:38:56,800 --> 00:39:00,600
Speaker 1: hopes for it. Uh, you know, it would be great

604
00:39:00,640 --> 00:39:03,320
Speaker 1: to turn it into a feature film or a short

605
00:39:03,400 --> 00:39:07,200
Speaker 1: you know, limited series. And throughout the process we've been

606
00:39:07,200 --> 00:39:10,120
Speaker 1: really inspired by what ever do Renee was able to

607
00:39:10,160 --> 00:39:12,840
Speaker 1: do with the story of the Central Park five and

608
00:39:12,880 --> 00:39:17,160
Speaker 1: when they see us, you know, like excavating this this

609
00:39:17,480 --> 00:39:21,840
Speaker 1: horrific like moment in US history and all the moments

610
00:39:21,880 --> 00:39:26,000
Speaker 1: of racist US history, um and bringing it back to light,

611
00:39:26,200 --> 00:39:29,440
Speaker 1: bringing it to the forefront of our current conversations around

612
00:39:30,200 --> 00:39:34,759
Speaker 1: police misconduct and brutality and and you know, incarceration and

613
00:39:34,840 --> 00:39:37,759
Speaker 1: policing of black communities, etcetera. So what she's been able

614
00:39:37,800 --> 00:39:42,200
Speaker 1: to do is like now, so many years later, uh,

615
00:39:42,680 --> 00:39:47,000
Speaker 1: have some semblance of justice. And I think that so

616
00:39:47,040 --> 00:39:48,680
Speaker 1: many of the of the I mean, the women that

617
00:39:48,719 --> 00:39:51,239
Speaker 1: were involved in this case, um, and of course not

618
00:39:51,360 --> 00:39:54,799
Speaker 1: every woman that experienced this signed onto the case. There

619
00:39:54,880 --> 00:39:57,799
Speaker 1: was a lot of shame and pain around this, so

620
00:39:57,800 --> 00:39:59,279
Speaker 1: some didn't want to have anything to do with it,

621
00:40:00,520 --> 00:40:03,680
Speaker 1: but regardless, none of them saw justice. Um. The funny

622
00:40:03,719 --> 00:40:09,600
Speaker 1: thing is that there's this there's this chasm between what

623
00:40:09,600 --> 00:40:12,520
Speaker 1: what what what the hospital and what the doctors involved

624
00:40:12,840 --> 00:40:17,279
Speaker 1: acknowledged and what they knew at their very core um

625
00:40:17,480 --> 00:40:21,759
Speaker 1: to be true and to be unjust because sure they

626
00:40:21,840 --> 00:40:25,240
Speaker 1: you know, they said they were not guilty. Uh they

627
00:40:25,360 --> 00:40:27,680
Speaker 1: in in a sense they won the case. They were

628
00:40:27,719 --> 00:40:32,239
Speaker 1: not prosecuted. But then why did why did they turn

629
00:40:32,280 --> 00:40:35,560
Speaker 1: around and and and change certain policies and implement these

630
00:40:35,560 --> 00:40:39,239
Speaker 1: new forms. They knew something was wrong, they knew their

631
00:40:39,280 --> 00:40:42,560
Speaker 1: actions were unjustified, but in the eyes of the law,

632
00:40:43,680 --> 00:40:46,680
Speaker 1: they were they had done no wrong, you know. And

633
00:40:46,719 --> 00:40:50,000
Speaker 1: so my hope is that if we do bring this

634
00:40:50,120 --> 00:40:55,640
Speaker 1: back into into the conversation around reproductive justice UM and

635
00:40:55,640 --> 00:41:00,799
Speaker 1: and and racism in medicine and healthcare, that that, in

636
00:41:00,840 --> 00:41:04,960
Speaker 1: a sense, hopefully can bring some sort of I don't know,

637
00:41:05,239 --> 00:41:10,359
Speaker 1: healing justice. I don't know what it's going to look like,

638
00:41:10,480 --> 00:41:13,280
Speaker 1: but I know that it shouldn't be tucked away. Yeah,

639
00:41:13,480 --> 00:41:17,919
Speaker 1: and and forgotten. Absolutely, it's so layered and it's such

640
00:41:17,920 --> 00:41:23,239
Speaker 1: a complex history. The implications of it all are so multifaceted,

641
00:41:23,320 --> 00:41:25,560
Speaker 1: and we can just everything that you just talked about,

642
00:41:25,560 --> 00:41:27,839
Speaker 1: We could just go like piece by piece, brick by

643
00:41:27,840 --> 00:41:31,600
Speaker 1: brick and analyze all of it. And something that for me,

644
00:41:32,360 --> 00:41:37,840
Speaker 1: you know, the short films, the documentary, reading about the case,

645
00:41:37,960 --> 00:41:40,719
Speaker 1: knowing of the case, something that struck me as how

646
00:41:41,239 --> 00:41:44,920
Speaker 1: these more Heads were in such a predicament and they

647
00:41:45,160 --> 00:41:50,399
Speaker 1: had a really difficult sort of um dynamic in their

648
00:41:50,400 --> 00:41:53,680
Speaker 1: families and with the hospitals that they had to balance.

649
00:41:54,160 --> 00:41:56,440
Speaker 1: And as you mentioned, Molina, like, a lot of the

650
00:41:56,480 --> 00:41:59,040
Speaker 1: women did not want to participate in the case, and

651
00:41:59,440 --> 00:42:03,560
Speaker 1: I know from any of them the issue of dealing

652
00:42:03,560 --> 00:42:08,279
Speaker 1: with their husbands and the anger or the reactions from

653
00:42:08,320 --> 00:42:12,160
Speaker 1: their husbands should they learn that these more Heads had

654
00:42:12,200 --> 00:42:15,560
Speaker 1: been sterilized and can no longer have kids. There was

655
00:42:15,640 --> 00:42:20,279
Speaker 1: so much fear from the affected women, fear of their

656
00:42:20,400 --> 00:42:25,000
Speaker 1: husbands specifically, which prevented many of them from moving forward

657
00:42:25,200 --> 00:42:28,319
Speaker 1: or seeking justice or telling their stories. And to me,

658
00:42:28,640 --> 00:42:31,960
Speaker 1: that's one of the most tragic pieces of this that

659
00:42:32,600 --> 00:42:38,200
Speaker 1: within the family structure, her her assumed or or or

660
00:42:38,880 --> 00:42:41,879
Speaker 1: her assumed role as mother and and as someone who

661
00:42:41,920 --> 00:42:47,200
Speaker 1: gives life is somehow more important than her autonomy as

662
00:42:47,600 --> 00:42:50,800
Speaker 1: a human and as an individual, that the motherhood title

663
00:42:51,400 --> 00:42:55,080
Speaker 1: was something way more important than her body and what

664
00:42:55,280 --> 00:42:58,880
Speaker 1: she wanted, and she couldn't even own up own up

665
00:42:58,920 --> 00:43:00,560
Speaker 1: to it in certain ways, you know what I mean.

666
00:43:01,080 --> 00:43:04,200
Speaker 1: I'm wondering about that dynamic as far as your character

667
00:43:04,280 --> 00:43:10,240
Speaker 1: and her husband and playing that tension, right, And that's

668
00:43:10,600 --> 00:43:13,839
Speaker 1: that's that just goes into the you know, my own

669
00:43:14,320 --> 00:43:17,080
Speaker 1: my own challenge and homework as an actor. And one

670
00:43:17,080 --> 00:43:19,120
Speaker 1: of the ways I really try to approach all the

671
00:43:19,200 --> 00:43:21,920
Speaker 1: roles that I play is to not judge them based

672
00:43:21,960 --> 00:43:25,520
Speaker 1: on my own lived experiences, my own politics, my own

673
00:43:26,160 --> 00:43:29,600
Speaker 1: you know, education, access to information, my own reality, but

674
00:43:29,760 --> 00:43:34,480
Speaker 1: really try to kind of boil it down to the humanity,

675
00:43:35,040 --> 00:43:38,280
Speaker 1: their humanity, and and water and and trying to identify

676
00:43:38,440 --> 00:43:42,600
Speaker 1: like the salient kind of raw emotions that are coming

677
00:43:42,600 --> 00:43:45,040
Speaker 1: from there. Because if it was Melina that went through

678
00:43:45,080 --> 00:43:48,120
Speaker 1: that and my husband was not supportive, I would have

679
00:43:48,160 --> 00:43:52,000
Speaker 1: been like, you're not fucking stepping up for me, You're

680
00:43:52,000 --> 00:43:55,320
Speaker 1: not supporting me. That's you know, that's a whole other story.

681
00:43:55,960 --> 00:44:00,239
Speaker 1: And and and going into this as ever, um I

682
00:44:00,480 --> 00:44:03,560
Speaker 1: had to approach that differently. But I was also when

683
00:44:03,600 --> 00:44:06,840
Speaker 1: I read the script, I really made sure to have

684
00:44:06,880 --> 00:44:09,400
Speaker 1: a lot of conversations and check ins with our director

685
00:44:09,440 --> 00:44:13,600
Speaker 1: and writer cat Boyd Backstone and with Rick Mancia, because

686
00:44:13,640 --> 00:44:17,680
Speaker 1: I was like, I cannot, um, you know, in good faith,

687
00:44:18,440 --> 00:44:24,040
Speaker 1: step into a project that continues this very simplistic, very

688
00:44:24,040 --> 00:44:29,840
Speaker 1: reductive representation of Mucheessmore, it's kind of like this, I

689
00:44:29,840 --> 00:44:34,080
Speaker 1: don't know. It's this thing where like I absolutely, uh,

690
00:44:34,560 --> 00:44:36,719
Speaker 1: I'm critical of it, and I think we should be,

691
00:44:36,880 --> 00:44:39,719
Speaker 1: and I think that we need to be and and

692
00:44:39,760 --> 00:44:41,719
Speaker 1: that's not one of the elements of our cool Duda

693
00:44:41,800 --> 00:44:44,680
Speaker 1: that I want to protect her uplift um the sacred

694
00:44:44,719 --> 00:44:47,640
Speaker 1: cow for me, like fucking you know, burn it down.

695
00:44:48,040 --> 00:44:50,920
Speaker 1: But it's also something where I'm like, it's not a

696
00:44:50,960 --> 00:44:54,560
Speaker 1: space where I'm going, I'm not down to create this

697
00:44:54,640 --> 00:45:00,719
Speaker 1: moment to you know, submit a work and then allow like, uh,

698
00:45:00,760 --> 00:45:04,479
Speaker 1: the white privileged industry to then just be like oh yeah, sure,

699
00:45:04,560 --> 00:45:10,000
Speaker 1: like yeah and local latinos being machista. When patriarchy, uh,

700
00:45:10,040 --> 00:45:12,200
Speaker 1: that is that is one of the things that color

701
00:45:12,200 --> 00:45:14,640
Speaker 1: blind and I hate that word. Patriarchy is color blind.

702
00:45:14,719 --> 00:45:18,480
Speaker 1: It comes in everyone does it. Everyone knows how to

703
00:45:18,520 --> 00:45:20,719
Speaker 1: perpetuate it in their own brand. But it comes down,

704
00:45:20,760 --> 00:45:23,160
Speaker 1: you know, like you already know this, and I'm sure

705
00:45:23,200 --> 00:45:25,760
Speaker 1: most of your listeners talk about this, but it's about

706
00:45:26,280 --> 00:45:31,879
Speaker 1: access and what are the compounding oppressions. So I was like, yeah,

707
00:45:31,880 --> 00:45:34,560
Speaker 1: we need to make sure that not just some like

708
00:45:35,080 --> 00:45:40,400
Speaker 1: classic reductive like Machista. I want to show the nuance

709
00:45:40,480 --> 00:45:42,359
Speaker 1: and this is this is why I was really happy

710
00:45:42,360 --> 00:45:45,719
Speaker 1: that Rick signed onto the project. And I actually, you know,

711
00:45:45,760 --> 00:45:48,080
Speaker 1: I want to say maybe this was like part of

712
00:45:48,080 --> 00:45:52,560
Speaker 1: of one of my unspecified kind of vague responsibilities or

713
00:45:52,719 --> 00:45:55,560
Speaker 1: or contributions as co producer, was because I there was

714
00:45:55,600 --> 00:45:57,840
Speaker 1: a short list of folks that I knew could really

715
00:45:58,360 --> 00:46:02,799
Speaker 1: plays it, play this with nuance, where I knew that

716
00:46:02,840 --> 00:46:07,040
Speaker 1: they had to kind of show this first moment that

717
00:46:07,080 --> 00:46:11,120
Speaker 1: could be perceived as Machista, but also I needed him

718
00:46:11,120 --> 00:46:13,560
Speaker 1: to show what was behind that. I needed him to

719
00:46:13,640 --> 00:46:20,480
Speaker 1: show like his pain, his heartbreak and his his sadly

720
00:46:20,560 --> 00:46:24,279
Speaker 1: his inability to negotiate his own feelings, but not to

721
00:46:25,200 --> 00:46:28,480
Speaker 1: not to take it out violently against Eva, but for

722
00:46:28,520 --> 00:46:33,200
Speaker 1: it to really be shown as you know, it's it's complex.

723
00:46:33,640 --> 00:46:36,839
Speaker 1: This is this is something that this man does not

724
00:46:36,880 --> 00:46:39,600
Speaker 1: know how to deal with it, doesn't have the language

725
00:46:40,280 --> 00:46:43,759
Speaker 1: to deal with it. Um. Ultimately, it was misdirected. You know,

726
00:46:43,880 --> 00:46:46,480
Speaker 1: I think the rate because there's a line you know,

727
00:46:46,480 --> 00:46:48,799
Speaker 1: it's even in the trailer he says, um, he says,

728
00:46:48,840 --> 00:46:50,440
Speaker 1: what did you do? And then we have an extended

729
00:46:50,480 --> 00:46:54,279
Speaker 1: trailer where he's like, what did they do to us?

730
00:46:54,880 --> 00:46:57,480
Speaker 1: So it's like it's there, right, it's like lands on

731
00:46:57,560 --> 00:46:59,560
Speaker 1: him on this in this very guttural sense, like he

732
00:46:59,640 --> 00:47:03,839
Speaker 1: does at like this was done to us. But like

733
00:47:04,600 --> 00:47:08,640
Speaker 1: this man at that moment in his reality maybe didn't

734
00:47:08,719 --> 00:47:13,719
Speaker 1: know how to take action and rage against like the

735
00:47:13,840 --> 00:47:17,840
Speaker 1: systemic racism, uh, that that they suffered through. So I

736
00:47:17,880 --> 00:47:22,640
Speaker 1: wanted to make sure that that was that was layered. Um.

737
00:47:22,680 --> 00:47:24,240
Speaker 1: And you know, if you ever, you know, if anyone

738
00:47:24,280 --> 00:47:26,640
Speaker 1: ever has seen or gets a chance to see this documentary,

739
00:47:26,719 --> 00:47:30,879
Speaker 1: no maz vebez there you'll see. Uh, there's there's kind

740
00:47:30,880 --> 00:47:33,319
Speaker 1: of like a myriad of different experiences. So some of

741
00:47:33,320 --> 00:47:37,480
Speaker 1: the women's husbands were totally supportive, some of them left.

742
00:47:38,320 --> 00:47:40,120
Speaker 1: Some of the women are you know, are interviewed and

743
00:47:40,120 --> 00:47:43,680
Speaker 1: they say, you know, no, no, he got really sad

744
00:47:43,920 --> 00:47:48,160
Speaker 1: and the wholes like it's just like swallowed there there there,

745
00:47:48,200 --> 00:47:50,400
Speaker 1: they were swallowed that pain, They were consumed by that

746
00:47:50,440 --> 00:47:54,040
Speaker 1: trauma without knowing how to deal with that, without having

747
00:47:54,040 --> 00:47:57,799
Speaker 1: the resources or perhaps self awareness and introspection to to

748
00:47:57,880 --> 00:48:01,320
Speaker 1: negotiate it. So, um, yeah, that was something real that

749
00:48:01,360 --> 00:48:04,640
Speaker 1: I also had to kind of check myself on, you know,

750
00:48:05,080 --> 00:48:09,880
Speaker 1: um and and and coming from a very different place,

751
00:48:09,960 --> 00:48:14,440
Speaker 1: definitely of more privileged than the women who dealt with this. Um,

752
00:48:14,480 --> 00:48:17,640
Speaker 1: it was a learning experience and and a challenge for me. Um,

753
00:48:17,680 --> 00:48:21,120
Speaker 1: but I welcomed it. I'm glad I did it. So yeah,

754
00:48:21,400 --> 00:48:24,000
Speaker 1: thank you for sharing that. I think it's an important

755
00:48:24,080 --> 00:48:28,560
Speaker 1: nuance to explore because at the core of masculinity is

756
00:48:29,480 --> 00:48:34,000
Speaker 1: a protective energy, right, and these in the greater broader

757
00:48:34,120 --> 00:48:38,719
Speaker 1: spectrum of this system, right, the systemic racism that their

758
00:48:38,800 --> 00:48:42,200
Speaker 1: husbands could not protect their wives from. And so I

759
00:48:42,680 --> 00:48:45,640
Speaker 1: think that that's a really important nuance to think about,

760
00:48:46,239 --> 00:48:50,200
Speaker 1: is that at the core, you know, not toxic masculinity,

761
00:48:50,239 --> 00:48:53,960
Speaker 1: but just at the core, masculinity protects and these men

762
00:48:54,040 --> 00:48:57,680
Speaker 1: could not do that, and their their futures were stolen

763
00:48:57,719 --> 00:48:59,520
Speaker 1: from them. The what if and the what could have

764
00:48:59,560 --> 00:49:05,080
Speaker 1: been is the reality that hits them absolutely just just

765
00:49:05,880 --> 00:49:10,239
Speaker 1: you know, not being in control of your own destiny,

766
00:49:10,280 --> 00:49:14,440
Speaker 1: your own body, your own plans, like something was stolen

767
00:49:14,480 --> 00:49:17,560
Speaker 1: from them. Um And and that's a very it's a

768
00:49:17,680 --> 00:49:21,759
Speaker 1: very violent way in which this was done. Um And

769
00:49:21,800 --> 00:49:28,080
Speaker 1: I think it absolutely has a lasting legacy of generational trauma.

770
00:49:28,120 --> 00:49:31,160
Speaker 1: And if you see the documentary, there's there's one woman

771
00:49:31,280 --> 00:49:36,799
Speaker 1: who who has her son with her and she she

772
00:49:36,880 --> 00:49:39,000
Speaker 1: admits to him that this happened, and even when she

773
00:49:39,040 --> 00:49:42,520
Speaker 1: speaks to him, she breaks down in shame. And and

774
00:49:42,680 --> 00:49:45,239
Speaker 1: it's interesting that now in this next generation, it's her

775
00:49:45,280 --> 00:49:49,319
Speaker 1: own son who shows up for her, who shows up

776
00:49:49,360 --> 00:49:53,880
Speaker 1: as you know yet like as this um. You know,

777
00:49:53,880 --> 00:49:56,960
Speaker 1: he's this masculine presence, but but he shows up for

778
00:49:56,960 --> 00:49:59,279
Speaker 1: her in a very different way, in a way that

779
00:49:59,360 --> 00:50:01,560
Speaker 1: his own father was not able to do. You know

780
00:50:01,880 --> 00:50:06,600
Speaker 1: that scene, that scene in the documentary, I I agree

781
00:50:06,640 --> 00:50:11,319
Speaker 1: completely that particular scene is incredible too, because here his

782
00:50:11,480 --> 00:50:16,399
Speaker 1: mother has been involved in such a landmark case, such

783
00:50:16,440 --> 00:50:19,760
Speaker 1: an important piece of history, not not because she wanted

784
00:50:19,800 --> 00:50:22,120
Speaker 1: to be, but because she was forced into it. And

785
00:50:22,160 --> 00:50:25,160
Speaker 1: he's an adult man and he had no idea like

786
00:50:25,440 --> 00:50:30,120
Speaker 1: her trauma, her story was unknown to him, you know,

787
00:50:30,239 --> 00:50:33,960
Speaker 1: for whatever reason, like you said, right, for the for

788
00:50:34,000 --> 00:50:37,080
Speaker 1: all the different reasons, the very complex and nuanced reasons

789
00:50:37,080 --> 00:50:39,200
Speaker 1: she didn't share that that piece of her trauma with

790
00:50:39,200 --> 00:50:43,080
Speaker 1: her child. And then I think about how many women

791
00:50:43,520 --> 00:50:48,399
Speaker 1: right raise kids race families, and you know, how how

792
00:50:48,440 --> 00:50:50,600
Speaker 1: many of our mother's stories do we just never hear?

793
00:50:50,920 --> 00:50:53,319
Speaker 1: How many of our grandmother's stories do we just never hear?

794
00:50:53,719 --> 00:50:55,840
Speaker 1: And I think that there's so many of those hidden

795
00:50:55,920 --> 00:50:58,440
Speaker 1: histories because this is one that you know, there's been

796
00:50:58,440 --> 00:51:01,040
Speaker 1: a documentary made, there's been research, there has been writing,

797
00:51:01,160 --> 00:51:03,560
Speaker 1: there's a short film now, but there's so many other

798
00:51:03,640 --> 00:51:06,640
Speaker 1: sorts of atrocities that you know, our elders carry with

799
00:51:06,719 --> 00:51:09,799
Speaker 1: them that, as we know, they don't always share. You know,

800
00:51:10,000 --> 00:51:13,239
Speaker 1: they give us hints here and there. And that was

801
00:51:13,320 --> 00:51:15,400
Speaker 1: really striking to me. You know that this is the

802
00:51:15,400 --> 00:51:17,200
Speaker 1: woman who raised you, but how well do do we

803
00:51:17,239 --> 00:51:20,000
Speaker 1: really know her? And in our families, how how much

804
00:51:20,040 --> 00:51:22,719
Speaker 1: space do we make for our our mothers and our

805
00:51:22,760 --> 00:51:25,600
Speaker 1: grandmothers to really tell us who they are and where

806
00:51:25,600 --> 00:51:32,160
Speaker 1: they've been. Right? Absolutely, um, And I think it takes

807
00:51:32,160 --> 00:51:36,480
Speaker 1: a certain level of maturity and self awareness, you know,

808
00:51:36,560 --> 00:51:38,960
Speaker 1: as the as people in the younger generations to be

809
00:51:39,040 --> 00:51:45,560
Speaker 1: able to contend with that. Um, I if now, you know,

810
00:51:45,640 --> 00:51:48,760
Speaker 1: when my mom tells me of some of her experiences

811
00:51:49,160 --> 00:51:53,200
Speaker 1: and and and challenges. You know, when she first came

812
00:51:53,239 --> 00:51:55,880
Speaker 1: to this country and she grew up in both of

813
00:51:55,920 --> 00:51:57,799
Speaker 1: my parents grew up in the Lincoln Heights area. They

814
00:51:57,800 --> 00:52:01,319
Speaker 1: went to Lincoln High School and they they came really young,

815
00:52:01,400 --> 00:52:05,840
Speaker 1: and they came, uh you know when the kind of

816
00:52:05,880 --> 00:52:10,040
Speaker 1: civil rights movement was kind of you know, the romanticized version.

817
00:52:10,040 --> 00:52:11,600
Speaker 1: It was peaking, you know, it was popping off. It

818
00:52:11,640 --> 00:52:16,319
Speaker 1: was really at its at its peak. But they as immigrants, UM.

819
00:52:16,400 --> 00:52:21,560
Speaker 1: And my mom, as a very very very brown uh Mahicana,

820
00:52:22,120 --> 00:52:27,760
Speaker 1: experienced a lot of rejection and a lot of trauma

821
00:52:28,560 --> 00:52:31,080
Speaker 1: when she first came and was not necessarily included in

822
00:52:31,120 --> 00:52:35,920
Speaker 1: that moment of liberation. UM. And so like years, you know,

823
00:52:36,000 --> 00:52:38,480
Speaker 1: years have gone by, and I think it wasn't until

824
00:52:38,520 --> 00:52:41,680
Speaker 1: I opened this door talking with excitement as like a

825
00:52:41,760 --> 00:52:43,560
Speaker 1: young activist or like you know, in my first chi

826
00:52:43,600 --> 00:52:47,560
Speaker 1: kind of cities classes, and then those stories came pouring out.

827
00:52:47,719 --> 00:52:50,759
Speaker 1: But there's this very instinctual part of me. There's this

828
00:52:50,960 --> 00:52:56,160
Speaker 1: very real, just like automatic kind of like pain and

829
00:52:56,320 --> 00:52:59,120
Speaker 1: anger and and and uh, this impetus to want to

830
00:52:59,160 --> 00:53:02,800
Speaker 1: like fight back and protect her. That I start feeling

831
00:53:02,800 --> 00:53:05,120
Speaker 1: that stirs up inside me once I hear anything that's

832
00:53:05,160 --> 00:53:08,600
Speaker 1: ever hurt her or or affected her negatively, you know.

833
00:53:08,680 --> 00:53:13,640
Speaker 1: And so seeing that son speak about, UM, what his

834
00:53:13,719 --> 00:53:16,560
Speaker 1: mother went through, UM, that was one of the many

835
00:53:16,560 --> 00:53:21,959
Speaker 1: times that just really gutted me watching that documentary. UM.

836
00:53:22,000 --> 00:53:23,520
Speaker 1: You know, because as we get older, we get to

837
00:53:23,560 --> 00:53:29,440
Speaker 1: this point where we start instinctually wanting to protect and

838
00:53:29,480 --> 00:53:36,680
Speaker 1: care for um our parents, you know. And UM, it's

839
00:53:36,719 --> 00:53:39,480
Speaker 1: just so layered, you know, and at the very least

840
00:53:39,560 --> 00:53:45,160
Speaker 1: their story deserves to be told, UM, very least, you know, So, Molina.

841
00:53:45,360 --> 00:53:49,120
Speaker 1: So for our listeners at home who maybe are hearing

842
00:53:49,160 --> 00:53:52,480
Speaker 1: about this case for the first time, UM, who want

843
00:53:52,480 --> 00:53:55,520
Speaker 1: to learn more, who are interested in not only watching

844
00:53:55,520 --> 00:53:58,879
Speaker 1: the film, but supporting the film and and maybe even

845
00:53:58,960 --> 00:54:02,000
Speaker 1: helping it to grow the project into something like a

846
00:54:02,040 --> 00:54:05,440
Speaker 1: series or a feature length film. What what can our

847
00:54:05,440 --> 00:54:08,200
Speaker 1: listeners do? Where can they go? How can they support

848
00:54:08,239 --> 00:54:13,839
Speaker 1: the project and get the story out there? Yes, thank

849
00:54:13,880 --> 00:54:17,920
Speaker 1: you so automn immediately, I would love it if everyone

850
00:54:18,040 --> 00:54:24,040
Speaker 1: could get on Instagram and follow for Rosa film. And

851
00:54:24,120 --> 00:54:26,720
Speaker 1: we just started our Twitter last week so we're small

852
00:54:26,719 --> 00:54:28,680
Speaker 1: on there, but we're starting to have a growing presence

853
00:54:28,680 --> 00:54:33,839
Speaker 1: on Instagram. So now we are in talks with um

854
00:54:33,960 --> 00:54:38,440
Speaker 1: some streaming and distribution outlets. That's ultimately the goal here, right,

855
00:54:38,440 --> 00:54:40,120
Speaker 1: Like we want people to see our work. We want

856
00:54:40,120 --> 00:54:42,680
Speaker 1: the conversations to start. We want them to see the

857
00:54:42,680 --> 00:54:47,160
Speaker 1: talent attached to this film, like not just me, um,

858
00:54:47,280 --> 00:54:50,280
Speaker 1: but like my husband Rick Moncia is an amazing actor.

859
00:54:50,680 --> 00:54:54,160
Speaker 1: Um Ela ya Vayas, who people might recognize from Queen

860
00:54:54,200 --> 00:54:56,560
Speaker 1: of the South, plays my attorney and she's a wonderful,

861
00:54:57,320 --> 00:55:03,480
Speaker 1: amazing actor and a suite rate like progressively active person. Um.

862
00:55:04,040 --> 00:55:06,879
Speaker 1: We're really proud of our team. Um, it was very

863
00:55:06,960 --> 00:55:11,120
Speaker 1: like women powered. Um. So, Katherine Boyd Batstone is our

864
00:55:11,160 --> 00:55:15,440
Speaker 1: read director. Um Ashley Flotis and Sabrina Eller are our producers.

865
00:55:15,560 --> 00:55:19,960
Speaker 1: And Chwi Martinez who people might know from his radio shows.

866
00:55:20,800 --> 00:55:22,719
Speaker 1: Uh you know he was on KISSOPHM. He has his

867
00:55:22,719 --> 00:55:25,520
Speaker 1: own radio show XM and then he also does a

868
00:55:26,440 --> 00:55:29,120
Speaker 1: talk show on the l Ray Network. He's our exact producer.

869
00:55:29,960 --> 00:55:31,960
Speaker 1: So we're working right now. We are kind of like

870
00:55:32,040 --> 00:55:34,400
Speaker 1: in festival mode, but of a lot of film festivals

871
00:55:34,440 --> 00:55:37,239
Speaker 1: are trying to now move to online. We want this

872
00:55:37,280 --> 00:55:40,400
Speaker 1: film to get out there. This film. I mean, I

873
00:55:40,480 --> 00:55:42,280
Speaker 1: don't see any reason why this can't be a feature

874
00:55:42,360 --> 00:55:45,600
Speaker 1: length or a limited series. So if you know someone

875
00:55:45,680 --> 00:55:48,439
Speaker 1: or if you work in the industry, please reach out

876
00:55:48,440 --> 00:55:51,760
Speaker 1: to us. Please please show the film or the trailer

877
00:55:51,840 --> 00:55:56,160
Speaker 1: to to your connects. Um, this is this is what

878
00:55:56,239 --> 00:55:58,680
Speaker 1: I need, This is what we need. And and you

879
00:55:58,680 --> 00:56:00,800
Speaker 1: know we love to talk about or see an inclusion

880
00:56:00,840 --> 00:56:03,759
Speaker 1: in latinox representation and and cite the U C, l

881
00:56:03,800 --> 00:56:06,279
Speaker 1: A and USC studies and we're four percent of the

882
00:56:06,480 --> 00:56:09,080
Speaker 1: roles on screen. Yes, yes, yes, we know that. But

883
00:56:09,160 --> 00:56:11,880
Speaker 1: like we need to build the bridge, we need the

884
00:56:11,920 --> 00:56:16,120
Speaker 1: doors opened, we need the access, and that's where we're at, UM.

885
00:56:16,200 --> 00:56:19,240
Speaker 1: So that's what we really would like to ask for

886
00:56:19,239 --> 00:56:22,000
Speaker 1: for folks support. And and you know, we're in the

887
00:56:22,000 --> 00:56:25,319
Speaker 1: moment where things start up to have a buzz in

888
00:56:25,360 --> 00:56:29,760
Speaker 1: the digital sphere. So like hashtag us share us UM.

889
00:56:29,800 --> 00:56:32,400
Speaker 1: If you want to learn more about the the case

890
00:56:32,440 --> 00:56:35,279
Speaker 1: itself and the documentary there if you just go on

891
00:56:35,320 --> 00:56:38,880
Speaker 1: YouTube and just type in like Nomas Bibis or Magical

892
00:56:38,880 --> 00:56:42,640
Speaker 1: of Equilagen. Uh, there's some great interviews with the documentary

893
00:56:42,640 --> 00:56:48,000
Speaker 1: filmmakers with Anthon Nandez, the the attorney who initially was

894
00:56:48,040 --> 00:56:51,120
Speaker 1: involved with the case. UM. And then you can follow

895
00:56:51,200 --> 00:56:57,280
Speaker 1: me uh for my uh my Instagram and my Twitter content,

896
00:56:57,640 --> 00:57:05,920
Speaker 1: UM and my over sharing in my opinionated politically on Instagram,

897
00:57:07,160 --> 00:57:12,400
Speaker 1: Instagram and Twitter at Melina Babadua um and hit me up.

898
00:57:12,480 --> 00:57:17,880
Speaker 1: I'm very accessible. So yeah, thank you, thank you so

899
00:57:17,960 --> 00:57:22,440
Speaker 1: much for joining us today and sharing so much of

900
00:57:23,080 --> 00:57:27,080
Speaker 1: the film and yourself with us. Thank you. I really

901
00:57:27,080 --> 00:57:32,560
Speaker 1: appreciate both of you, and um, I just you're the

902
00:57:32,560 --> 00:57:36,320
Speaker 1: work that you do is so valuable. And uh, I

903
00:57:36,400 --> 00:57:42,280
Speaker 1: also appreciate you being vocal and advocating for the excellence

904
00:57:42,280 --> 00:57:45,840
Speaker 1: of your work and for how necessary your voice and

905
00:57:45,880 --> 00:57:51,440
Speaker 1: your lens is. Um so it should absolutely be amplified.

906
00:57:51,960 --> 00:57:55,160
Speaker 1: So you inspire me to make those hard asks. I

907
00:57:55,160 --> 00:57:59,320
Speaker 1: want you to know, thank you, thank you. I mean,

908
00:57:59,520 --> 00:58:02,560
Speaker 1: if we don't promote ourselves, who's going to do it?

909
00:58:02,920 --> 00:58:08,480
Speaker 1: No one? Right? So we have exactly all of us, right,

910
00:58:09,400 --> 00:58:11,760
Speaker 1: you know, all of us in our in the creative space,

911
00:58:11,840 --> 00:58:14,200
Speaker 1: in the Latin X creative space. UM. I don't know

912
00:58:14,240 --> 00:58:16,040
Speaker 1: about you, but we rent and rave all the time

913
00:58:16,080 --> 00:58:19,800
Speaker 1: about how um, only other women of color have really

914
00:58:19,800 --> 00:58:23,320
Speaker 1: put us on you know where where possible. So we

915
00:58:23,760 --> 00:58:25,880
Speaker 1: gotta do what we gotta do. And I thank you

916
00:58:26,000 --> 00:58:28,919
Speaker 1: for taking the time. You're making major moves, You're doing

917
00:58:29,000 --> 00:58:32,520
Speaker 1: humongous things. I'm super proud of you, so happy to

918
00:58:32,600 --> 00:58:34,800
Speaker 1: know you and to call you a friend. And I

919
00:58:34,880 --> 00:58:39,040
Speaker 1: cannot wait to see UM this film launch, for the

920
00:58:39,040 --> 00:58:41,800
Speaker 1: world to receive it. And I would love, love, love,

921
00:58:41,880 --> 00:58:45,400
Speaker 1: like you said, to see this UM taking even farther

922
00:58:45,720 --> 00:58:49,360
Speaker 1: feature length film series. So at Netflix, at HBO Max,

923
00:58:49,360 --> 00:58:52,880
Speaker 1: at HBO Latino, UM, all the platforms that claim to

924
00:58:52,920 --> 00:58:55,840
Speaker 1: want Latin X representation and to reach into the Latin

925
00:58:55,920 --> 00:58:59,160
Speaker 1: X community and audience like this, These are the types

926
00:58:59,200 --> 00:59:01,720
Speaker 1: of stories that really are very important to us, and

927
00:59:01,760 --> 00:59:03,919
Speaker 1: we want to see more of them, not just this one,

928
00:59:04,200 --> 00:59:07,800
Speaker 1: but like every community coming out of UM. You know,

929
00:59:08,000 --> 00:59:10,680
Speaker 1: the place we know is Latin America has their own

930
00:59:10,760 --> 00:59:13,120
Speaker 1: histories and their own stories and their own traumas, and

931
00:59:13,160 --> 00:59:15,040
Speaker 1: we want to bring all of them to life. So

932
00:59:15,080 --> 00:59:18,000
Speaker 1: this is one starting point, a major one, but there's

933
00:59:18,120 --> 00:59:21,160
Speaker 1: a lot more out there, all right, Local Mortris, thank

934
00:59:21,200 --> 00:59:27,080
Speaker 1: you so much for tuning into another radio Quarantine Confidential.

935
00:59:28,240 --> 00:59:32,240
Speaker 1: You can follow us on Instagram, Twitter, like us on Facebook,

936
00:59:32,560 --> 00:59:36,000
Speaker 1: tune into our weekly I G Lives. We've turned our

937
00:59:36,040 --> 00:59:38,360
Speaker 1: I G or We've turned our oy local segment into

938
00:59:38,400 --> 00:59:41,240
Speaker 1: an ig Live segment, so check that out on Thursdays

939
00:59:41,240 --> 00:59:44,680
Speaker 1: at seven pm Pacific Standard time. Thank you once again

940
00:59:44,720 --> 00:59:47,880
Speaker 1: for tuning in, and we'll catch you next time. Best

941
00:59:47,880 --> 00:59:48,520
Speaker 1: see those