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Speaker 1: A Lama lokamotives. I'm Deosa and I'm Mala. You're listening

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Speaker 1: to Loca Radio today.

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Speaker 2: We're talking about the current landscape of Latinos in media.

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Speaker 3: Who are Latinos in media?

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Speaker 4: Barely? Barely?

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Speaker 2: And we need to stop saying the landscape of Latinos

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Speaker 2: in media, how reckless, reckless, how reckless of us. But

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Speaker 2: there's been some there's been some happenings, there's been some research,

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Speaker 2: there's been some upheavals online, especially with regards to casting

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Speaker 2: of white actresses enrolls written for Latina.

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Speaker 3: Characters, which is nothing new, by the way, not at.

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Speaker 4: All, not at all. It's tail as old as time.

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Speaker 4: But it's happened again.

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Speaker 2: Yes, And you guys might have seen the uproar around

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Speaker 2: an actress named Odessa, who is a white actress who

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Speaker 2: I think people sort of accuse of like exodis, exoda, exodifying,

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Speaker 2: exotifying herself. She was cast in a role written for

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Speaker 2: like a character who is like half Mexican.

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Speaker 1: She was cast in A twenty four's Deep Cuts. She

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Speaker 1: was cast as a character named Zoe Gutierrez. Look at

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Speaker 1: that and immediately swiftly received a lot of backlash for

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Speaker 1: the casting from people online. Backlash was so strong that

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Speaker 1: she withdrew and released a statement, you know, apologizing that

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Speaker 1: she wasn't trying to take a role from a Latina actor.

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Speaker 1: I mean, it's like kind of that very messy area

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Speaker 1: where it's like the actor accepting the role, but then

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Speaker 1: also the casting directors, right, they're never in the public

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Speaker 1: eye in the same way that the actors are, right,

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Speaker 1: but they're.

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Speaker 3: Also at fault.

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Speaker 4: There's so many people.

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Speaker 2: There's so many factors that are involved in like casting

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Speaker 2: a film at that level, and there's managers, and there's agents,

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Speaker 2: and there's producers, and there's the director.

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Speaker 4: I mean, there's a.

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Speaker 2: Lot of people involved, and it took but I think

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Speaker 2: it just took the actress herself saying I didn't know

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Speaker 2: about the cultural background of this.

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Speaker 4: Character, and so she withdrew from the project.

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Speaker 1: They've now cast Ariela Barred. She is a Mexican, American

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Speaker 1: and Jewish actress. She was actually in this past season

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Speaker 1: of HBO's The Last of Us with Pedro Bascal. She

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Speaker 1: was one of the characters, a smaller character, but that

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Speaker 1: was when I first saw her, and she was a

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Speaker 1: memorable character that something very tragic happens to her, And

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Speaker 1: so when I saw that she was the replacement, that's

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Speaker 1: how I clocked her.

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Speaker 3: I remembered she was in the last of us.

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Speaker 4: I see, yeah, So I mean that's cool.

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Speaker 2: I think really what it's about is something we're going

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Speaker 2: to talk about in a study that came out recently

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Speaker 2: from the Norman Lear Center at USC which is about

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Speaker 2: how few roles there are for Latinos in media.

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Speaker 4: And I think that a lot of.

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Speaker 2: The uproar around this casting of Odessa has to do

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Speaker 2: with the limited number of roles. If there was an

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Speaker 2: abundance of roles, if there was a plethora of roles,

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Speaker 2: I don't think people would be as upset.

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Speaker 4: But because it's so limited, there's so few.

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Speaker 2: In number, it's like, how can you give this one

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Speaker 2: away when we barely have any right?

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Speaker 1: And I am obviously not in an actor, but I

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Speaker 1: can imagine how tough it is to be going out

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Speaker 1: constantly for the same roles as your peers. In some ways,

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Speaker 1: you know, Latinos are pitted against each other, to like

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Speaker 1: be in competition with each other because there isn't a

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Speaker 1: plethora of roles. I can imagine how challenging that must be.

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Speaker 1: Mentally to be constantly in competition with your peers who

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Speaker 1: you might be wanting to build community with, but instead

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Speaker 1: are like being pitted against each other.

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Speaker 2: Absolutely, I also think that there's prob Again, the study

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Speaker 2: that we're going to talk about in just a few

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Speaker 2: minutes also talks about how when there are Latino roles,

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Speaker 2: there's very little diversity within the Latino roles. Most of

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Speaker 2: the Latinos you see on screen are very light skinned,

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Speaker 2: practically white passing in general, and so it becomes even

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Speaker 2: easier to cast a white actor in these Latino roles because.

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Speaker 4: They're basically white Latinos anyways.

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Speaker 2: So it's a very messy if there's very few Latino roles,

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Speaker 2: there's even fewer Afro Latino roles or indigenous roles for

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Speaker 2: people from Latin America. And we actually spoke to an

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Speaker 2: og actor, Edward James, almost not that long ago at

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Speaker 2: the Amaghan Awards, and he talked about the fact that

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Speaker 2: he is still the only Chicano Mexican American actor to

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Speaker 2: be nominated for Best Actor in forty years.

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Speaker 4: I'm the only one, and I got that nomination for

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Speaker 4: the Academy Award back.

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Speaker 3: In nineteen eighty eight.

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Speaker 4: And since then there's been no one else has given

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Speaker 4: any performance of Emerits me Aword nomination. Something wrong, nothing

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Speaker 4: has changed.

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Speaker 1: I remember Edward James almost really reflecting on how could

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Speaker 1: that be, because it's not for lack of talent, it's

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Speaker 1: in industry. It's a question of in the industry and

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Speaker 1: the system right, and how few Latino and Chicano actors

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Speaker 1: are given the roles or even the decision makers in

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Speaker 1: the rooms.

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Speaker 3: And so that definitely stuck with me.

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Speaker 1: So with all of that in mind, you know, we

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Speaker 1: want to talk about the current state of media right

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Speaker 1: for Latinos, how that applies, also, how digital media is

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Speaker 1: now a new agent of change maybe or just a

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Speaker 1: new contender in the game. And also I think in

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Speaker 1: particular Mala your perspective as someone in film school.

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Speaker 2: Yeah, so in my cohort at USC Cinematic Arts, I'm

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Speaker 2: one of two Latinos in the whole cohort and their cohorts.

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Speaker 4: The numbers are only slightly better.

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Speaker 2: There might be three or four. And when I was

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Speaker 2: thinking about this episode, a question that I posed is like,

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Speaker 2: what is a piece of media like film or television

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Speaker 2: that we've watched recently with like a Latino actor who's

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Speaker 2: in the lead or like directed by a Latino director,

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Speaker 2: and I can and I mean, I mean Del Toro

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Speaker 2: Frankenstein right is like for me, the most recent one.

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Speaker 2: But other than that, I can only really think of

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Speaker 2: like the films that I'm helping to make at school.

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Speaker 2: Recently I worked I produced a film called Holloman, which

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Speaker 2: is written directed by Gabby Preciado from New Mexico, with

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Speaker 2: an all Latino like cast, like a very intentionally brown

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Speaker 2: skinned Latino cast, and a pretty predominantly Latino crew in

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Speaker 2: different departments of the crew, which was very cool to be.

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Speaker 4: A part of. And this project is a virtual.

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Speaker 2: Production thee We shot some of it in front of

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Speaker 2: the led wall at school, some of it in front

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Speaker 2: of a different led wall in the city of la

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Speaker 2: and then other parts of the film at like an

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Speaker 2: apartment location downtown and then on a ranch in Lancaster.

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Speaker 2: And it's about this mythical kind of like witch creature

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Speaker 2: called La Lachusa who is like terrorizing this disillusioned queer

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Speaker 2: drone operator in the future who like has trauma with

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Speaker 2: his homophobic father.

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Speaker 3: Okay, Latino futurism, yes, very.

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Speaker 4: Much so, absolutely, it's a very cool concept, very cool film.

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Speaker 2: So, you know, I haven't been watching a ton of

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Speaker 2: Latino led film or television, but I'm really excited to

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Speaker 2: be part of a production that is Latino led and

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Speaker 2: Latino created. And it's a Latino story that I think

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Speaker 2: is not relying on stereotype at all. Again, and it's

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Speaker 2: very techy, it's very dystopian, it's very futuristic, and it

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Speaker 2: brings in mythology, but not a mythology that I think

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Speaker 2: is well known at all.

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Speaker 1: Well, the two says definitely has not reached the level

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Speaker 1: of no.

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Speaker 2: So I was really happy to be a part of that.

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Speaker 2: And yeah, I think that there's just a lot of

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Speaker 2: work to do. But you and I know that there

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Speaker 2: are Latino filmmakers working and making films.

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Speaker 3: I think we know them.

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Speaker 1: That's why your perspective in some ways can be kind

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Speaker 1: of skewed, where I'm like, what do you mean? We

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Speaker 1: know lots of Latino actors and filmmakers and screenwriters.

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Speaker 2: You know, Marvin Lemoos just within the last couple of

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Speaker 2: years directed something for Disney starring Eva Longoria. And then

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Speaker 2: we have our friends like Molino, Bobabilla and Scarlet Red.

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Speaker 1: And Stephanie as soon as fundraising for season two of

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Speaker 1: and then they wereating.

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Speaker 4: Roommates and I was in a season of that as well.

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Speaker 2: So yeah, I mean that the Latino creative community that

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Speaker 2: we're a part of is very busy, but are we

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Speaker 2: necessarily it's not real visible.

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Speaker 3: No, it's not reflected.

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Speaker 1: The creative community that we know is not reflected in

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Speaker 1: broader Hollywood.

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Speaker 3: Not yet, at least not yet.

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Speaker 2: Someone like Marvin I think is definitely breaking through, especially

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Speaker 2: with like he he uh had penthefied right and Alexander

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Speaker 2: in the No Good, Terrible, Very Bad.

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Speaker 4: I forget the title, what is the girl Trip?

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Speaker 3: You were almost there?

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Speaker 2: I had the road Trip. It's yeah, yeah, you guys know,

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Speaker 2: you guys know what you're talking about. We went to

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Speaker 2: the screen and it was really fun. Marvin's doing great

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Speaker 2: and uh yeah, like people like Molina Bobadilla, who's just

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Speaker 2: she's been acting for years now and on major titles,

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Speaker 2: and people are doing a good job. A scarlet Red

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Speaker 2: was in a commercial with Megan thee Stallion. We're kind

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Speaker 2: of all over the place, but you have to like

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Speaker 2: really look for us.

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Speaker 4: Yeah.

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Speaker 1: I think someone who has really broken through is Annie Gonzalez.

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Speaker 3: She was in Hemphify. Yeah, she was in the Flame

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Speaker 3: in Ha Cheeto Mo.

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Speaker 4: Yeah.

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Speaker 1: It was recently in this film with Kelly Roland called

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Speaker 1: Relationship Goals. It's an Amazon Prime video. And she's someone

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Speaker 1: who local girl, right.

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Speaker 3: We went to the.

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Speaker 1: Hindivide premieres, we met her. We've tried getting her on

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Speaker 1: some podcast episodes. Timing has never worked out.

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Speaker 4: She's very busy.

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Speaker 1: She clearly she I think she's someone who has broken

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Speaker 1: through like mainstream ways.

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Speaker 4: Cholo man Iguana, who played Blue Beetle Yes.

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Speaker 2: I mean, the Latinos are working, and they're working hard,

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Speaker 2: and whether that's in front of the camera or behind

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Speaker 2: the camera, above the line or below the line, Like

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Speaker 2: we are out there and we are putting in the

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Speaker 2: work at a.

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Speaker 4: Lot of different levels.

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Speaker 2: And I see young filmmakers at school and online just

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Speaker 2: trying to make work and trying to tell stories and

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Speaker 2: just trying to create, create, create, And I think that's

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Speaker 2: really what it takes. Like everyone we just mentioned has

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Speaker 2: been working non stop years and years and years, us included,

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Speaker 2: and so whether it's like a YouTube series or it's

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Speaker 2: something on Netflix, I mean, everyone is.

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Speaker 4: Trying to get work out there.

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Speaker 2: And doing it successfully, but the numbers are still real bad.

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Speaker 2: And I don't know, it's just it's not for lack

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Speaker 2: of Latino's working and Latinos create, It's just I don't

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Speaker 2: know that the bubble hasn't exactly versed yet.

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Speaker 3: No, so let's get into the study.

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Speaker 1: So USC's Norman Lear Center published a study in January

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Speaker 1: called Balante between Stereotypes and Specificity, and the study focuses

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Speaker 1: on Latino representation in popular television.

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Speaker 2: So this study was conducted by a team of researchers,

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Speaker 2: mostly PhDs, led by Sosdia Glicardin Vargas Cassenya A.

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Speaker 4: Corovkova, Dana Weinstein, and Erica L.

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Speaker 2: Rosenthal. So, from the study itself, which you can find online,

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Speaker 2: the researchers conducted a content analysis of the top twenty

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Speaker 2: US broadcast programs with Latino characters in the twenty twenty

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Speaker 2: four to twenty twenty five television season. So this is

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Speaker 2: very much broadcast television. They were examining quote diversity, heritage,

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Speaker 2: cultural specificity, and race centrality, meaning the degree to which

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Speaker 2: race and ethnicity were central to a character's storyline. And

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Speaker 2: ultimately they wanted to analyze how these factors intersect with stereotypes.

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Speaker 4: And this is what they called their broad sample.

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Speaker 2: Then separately, they did a deep dive into eight quote

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Speaker 2: Latino led shows featuring Latino main characters, half of which

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Speaker 2: were quote Latino created. And I think it's important to

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Speaker 2: note that they put in quotation marks Latino.

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Speaker 4: Lead and Latino created.

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Speaker 2: It's a sort of category that means that at least

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Speaker 2: or at more than half of behind the camera talent, directors, producers, showrunners,

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Speaker 2: writers identified as Latino. So there's not some like a

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Speaker 2: super official stamp or designation, but the way that they

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Speaker 2: identify Latino letter, Latino created is Okay, at least half

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Speaker 2: behind the camera I.

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Speaker 4: Identified as Latino, like above the line talent.

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Speaker 1: That's one of the barometers in some way for it

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Speaker 1: to be considered Latino letter Latino created.

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Speaker 2: Yeah, Like at least what they're saying in this particular study, Yeah,

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Speaker 2: that's how we're defining Latino Latino created more than half

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Speaker 2: behind the camera talent.

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Speaker 1: Right, And so within the broad sample, Latino characters accounted

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Speaker 1: for only six percent of all roles, even though shows

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Speaker 1: based in Los Angeles featured twice as many Latino characters.

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Speaker 3: As though said.

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Speaker 1: Outside of LA, representation was still way below population level

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Speaker 1: for both the city of LA and the entire country.

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Speaker 3: That reminds me of that show that just came out

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Speaker 3: recently this past year, is I Love La?

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Speaker 4: Oh yeah, the Rachel sent out.

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Speaker 1: Yeah, and we don't have to get into that, but

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Speaker 1: I do know that that was a very big critique, right,

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Speaker 1: how can you make a show about La without having

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Speaker 1: Latinos in the cast.

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Speaker 3: It doesn't make sense.

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Speaker 4: It doesn't make sense.

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Speaker 3: But yeah, we're not going to dive into the specifics

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Speaker 3: of that show.

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Speaker 4: Also, I didn't like the show at all. I couldn't

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Speaker 4: watch it.

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Speaker 2: I tried, I did dry. Yeah, I couldn't do it.

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Speaker 2: It was it was a hard watch.

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Speaker 3: I didn't try. That's fair, Yeah, that's fair.

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Speaker 2: And look like rachel s note is also like a

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Speaker 2: young woman up and coming. It's hard for her too

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Speaker 2: to get work made, for anybody to get work made,

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Speaker 2: And like lead a show is like a feat is

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Speaker 2: like an awesome thing.

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Speaker 4: So I think that's also important to talk about.

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Speaker 2: But within the context of the study and the conversation, Yeah,

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Speaker 2: there were no Latinos.

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Speaker 4: In the show.

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Speaker 1: Yeah, I mean, and that's to this to this point,

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Speaker 1: right to the study. I mean, that's a clear example.

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Speaker 1: In this study, they also found the diversity among Latino

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Speaker 1: characters was lacking and cultural specificity was rare.

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Speaker 4: For example, within the broad sample of shows, there was

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Speaker 4: only one queer Latino character, and only three of these

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Speaker 4: Latino characters had darker skin tones.

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Speaker 1: Most Latinos portrayed were middle class characters, and out of

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Speaker 1: sixty nine total characters, only eighteen had heritage tied to

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Speaker 1: a specific Latin American nation, and most were Mexicans.

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Speaker 2: So, for the most part, in this broad sample of

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Speaker 2: broadcast TV six percent Latino characters, most of them had

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Speaker 2: no specific Latino cultural heritage. They were just like broad

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Speaker 2: stroke latinotm right, right right, just like.

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Speaker 4: I don't know, you'r beige Pan Latin. It's Pan Latin. Yeah.

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Speaker 1: I think this is something that continues to be true

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Speaker 1: and historically has been true, is that criminality was the

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Speaker 1: most most prominent theme in this broad sample. In the study,

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Speaker 1: one in four Latinos were depicted as career criminals.

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Speaker 2: Not new, nothing new, not new, it's uh, it's again

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Speaker 2: tales all this time.

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Speaker 1: Yeah, I mean, I've been our favorite, Like legendary Latino

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Speaker 1: actors Mexican American actors broken because they were portrayed as criminals.

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Speaker 3: Yeah, going back to Edward James and Danie Theircoe.

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Speaker 4: Yeah yeah, American me all that good stuff.

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Speaker 2: Yeah, American iconic film, but also a very hard watch, Yes,

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Speaker 2: very tough watch.

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Speaker 4: But yeah, criminality and Latinidad on screen, very.

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Speaker 2: Very synonymous for a very long time, and that has

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Speaker 2: not changed according to this study. So then, so that

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Speaker 2: was the broad the broad sample of just like everything

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Speaker 2: on broadcast television.

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Speaker 4: Then the researchers of.

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Speaker 2: The study did a deep dive into the Latino let

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Speaker 2: and Latino created shows and they found something a little

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Speaker 2: different than in the broad sample.

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Speaker 4: When they looked at Latino led and Latino.

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Speaker 2: Created shows, they found that Latino led shows featured nuanced

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Speaker 2: portrayals of pressing social issues, cultural specificity, and complex explorations.

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Speaker 4: Of Latino identities, and this.

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Speaker 2: Was particularly true for shows that were also Latino created.

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Speaker 2: Latino led content they found tackled stereotypes with humor, and

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Speaker 2: among these Latino created shows in particular more often centered

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Speaker 2: the perspectives of Latino characters.

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Speaker 4: So it seems that.

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Speaker 2: When Latino's lead and create shows, there's fewer stereotypes there's

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Speaker 2: more specificity, there's more nuanced conversations, and the storylines, there's

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Speaker 2: presentations of social issues, and stories are presented from the

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Speaker 2: perspectives of the Latino characters themselves. And like, so water

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Speaker 2: is wet, So water is wet, and the sky is blue.

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Speaker 1: Yes, I mean, and this is this is not I'm

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Speaker 1: not poking at the study. I just these are things

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Speaker 1: that we inherently know, right as people, as Latino Latina women, right,

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Speaker 1: we know that.

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Speaker 3: To be true.

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Speaker 1: And I love that there's this inclusion of in the

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Speaker 1: research that the Latino led content tackled stereotypes with humor,

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Speaker 1: because as a collective, as a people, we do tackle

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Speaker 1: a lot of very serious issues with humor, right, or

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Speaker 1: something very serious happens, but we have to make a

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Speaker 1: little joke after to light in the mood, to kind

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Speaker 1: of release that heaviness.

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Speaker 3: And so.

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Speaker 1: It's no surprise, but it's also really good to see

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Speaker 1: that this was also included as part of the research

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Speaker 1: in the analysis.

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Speaker 2: Oh absolutely, And so you know, the study comes to

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Speaker 2: the conclusion that there is great untapped potential for Latino

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Speaker 2: led and Latino created content that a lot of the

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Speaker 2: problems we see in stereotypes in the broad sample, in

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Speaker 2: the criminality in Latin, that in the flattened port trails,

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Speaker 2: and the Pan Latin identities, that those problems seem to

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Speaker 2: be solved and cleared up when the shows are led

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Speaker 2: and made by latinos, all of a sudden, those problems

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Speaker 2: don't really.

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Speaker 4: Seem to be there anymore.

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Speaker 1: Very interesting, fascinating, fascinating, fascinating actually, and I think like

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Speaker 1: studies like this are really important, right because we have

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Speaker 1: like the UCLA Hollywood Diversity Study, there's this study as well,

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Speaker 1: because it quantifies, it quantifies the things that we already

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Speaker 1: know and that we feel as viewers and then as

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Speaker 1: people working in media, that there's this inherent knowing, there's witnessing,

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Speaker 1: the lack of representation, the lack of jobs.

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Speaker 3: And then to have a study you.

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Speaker 1: Can sometimes gaslight yourself, right, You can sometimes feel like, wait, are.

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Speaker 3: There not enough jobs? Is there enough representation?

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Speaker 1: And then you have a study like this that reinforces like, no,

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Speaker 1: this is still an issue in This is not something

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Speaker 1: that I'm making up in my head. I'm not making

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Speaker 1: myself out to be a victim. This is still a

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Speaker 1: systemic problem. And that is why studies like this are important.

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Speaker 1: Don't go anywhere, look amotives, We'll be right back.

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Speaker 4: It's not enough to just have like a character in

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Speaker 4: a show.

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Speaker 2: It seems that what the study is also saying is

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Speaker 2: that we need Latino let and Latino created shows, like

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Speaker 2: we need behind the camera talent. We need directors, we

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Speaker 2: need producers, we need writers, we need showrunners who identify

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Speaker 2: as latinos, because the people behind the camera are actually

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Speaker 2: shaping what you see in front of the camera. Absolutely,

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Speaker 2: the actors bring it to life. The actors give face

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Speaker 2: and give voice to the story. But the story is

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Speaker 2: created and crafted by the behind the camera crew. And

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Speaker 2: so we see on camera representations that are stereotypical, that

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Speaker 2: are flat, that are offensive. It's not the fault of

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Speaker 2: the actor that story, that image is being crafted by

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Speaker 2: whoever is behind the camera, and it's never just one person,

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Speaker 2: it's a whole crew of people bringing it together. So

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Speaker 2: the study is really pointing to the power of behind

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Speaker 2: the camera storytellers and why we need Latinos in those roles.

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Speaker 3: And what are some of the recommendations that we get

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Speaker 3: from the study.

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Speaker 4: The study recommends six key points.

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Speaker 2: Number one, we should aim for inclusion of one Latino

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Speaker 2: character for every five roles to reflect reality, period like,

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Speaker 2: just to reflect reality, not even reality of la or

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Speaker 2: of America.

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Speaker 4: Just to reflect reality. Yes we are here. One in

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Speaker 4: five characters should be Latino.

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Speaker 2: Two we should diversify those Latino characters so they can't

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Speaker 2: just be Pan Latin just some vague Beijish, Brownish, spanglishy person.

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Speaker 4: Right where are they from?

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00:22:05,560 --> 00:22:11,639
Speaker 2: What is their culturally specific background. Three we should exercise

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Speaker 2: caution around depictions of Latinos as criminals, drug traffickers, or

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Speaker 2: members of organized crime, particularly within smaller roles, which is

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00:22:20,040 --> 00:22:21,680
Speaker 2: where I think a lot of this is happening.

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Speaker 1: And the fourth recommendation is to capitalize on the diversity

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Speaker 1: of Latino actors when appropriate by encouraging them to.

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00:22:29,440 --> 00:22:33,760
Speaker 3: Bring their lived experience into roles. Yes, I think that's

405
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Speaker 3: a great recommendation.

406
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Speaker 2: I think actors can embody so many different characters. I

407
00:22:41,440 --> 00:22:45,760
Speaker 2: mean some of the most famous actors, the Marlon Brandos and.

408
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Speaker 4: The Sean Penn's and what have you like.

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Speaker 2: These people are able to completely transform the GO method

410
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Speaker 2: in general. Like these actors that we love that have

411
00:22:55,680 --> 00:22:59,040
Speaker 2: put out such great work, they can completely transform from

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00:22:59,119 --> 00:23:03,280
Speaker 2: role to role and be almost unrecognizable. But often you know,

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00:23:03,320 --> 00:23:06,560
Speaker 2: they're still playing a character within their own cultural or

414
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Speaker 2: ethnic group, and so they're pulling from their own lived experience.

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Speaker 2: Even when they're transforming and playing a character whose life

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00:23:15,480 --> 00:23:20,320
Speaker 2: is so different from their own, there's still some familiarity

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Speaker 2: because they're still white people playing white.

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Speaker 1: People, Which is why we should be casting Latino people

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Speaker 1: Latinos in Latino roles.

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Speaker 4: Right.

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Speaker 1: If it's a historical figure that is from Chile, then

422
00:23:36,280 --> 00:23:40,399
Speaker 1: that person should also be. Ideally, the actor portraying this

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00:23:40,480 --> 00:23:43,160
Speaker 1: person should also be Chilean or at the very least

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Speaker 1: a Latino actor.

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00:23:44,160 --> 00:23:47,600
Speaker 2: Yes, South American of some kind, for so many reasons,

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Speaker 2: but also because like accent matters and Spanish accents can

427
00:23:52,680 --> 00:23:56,560
Speaker 2: change so much from country to country and region to region,

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Speaker 2: and that can really pull you out of a performance

429
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Speaker 2: if they don't sound like the character that they're.

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Speaker 4: Supposed to sound like. And of course there's like.

431
00:24:05,119 --> 00:24:08,760
Speaker 2: Voice coaches and accent coaches and things like that, but

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00:24:09,480 --> 00:24:10,360
Speaker 2: there's millions of.

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Speaker 4: Us from all over, so there's like plenty to choose from.

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Speaker 2: We also another recommendation is to prioritize Latino talent behind

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Speaker 2: the camera. And finally, I think this note is actually

436
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Speaker 2: for everyone, including Latino audiences, Latino creators and filmmakers.

437
00:24:30,920 --> 00:24:34,880
Speaker 4: That Latino led media is not just for Latinos.

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Speaker 2: So even if we make a film that's a Latino story,

439
00:24:38,480 --> 00:24:41,040
Speaker 2: Latino lead, behind the camera, in front of the camera,

440
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Speaker 2: Latino created.

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Speaker 4: We are making something that's for the world. Yes, and

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Speaker 4: the goal is then.

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Speaker 2: For everybody to see it and for it to show everywhere.

444
00:24:52,000 --> 00:24:57,120
Speaker 2: And I think for white like studio executives, if somebody

445
00:24:57,160 --> 00:25:00,280
Speaker 2: is pitching a Latino led or Latino created story, it's

446
00:25:00,320 --> 00:25:03,600
Speaker 2: also in theory for everybody, for all audiences.

447
00:25:04,000 --> 00:25:09,600
Speaker 1: Yes, this reminds me of this is not film and television, well,

448
00:25:09,640 --> 00:25:10,320
Speaker 1: it is television.

449
00:25:10,359 --> 00:25:12,320
Speaker 3: This reminds me of bad money super Bowl.

450
00:25:12,160 --> 00:25:14,920
Speaker 1: Performance right, yes, yes, yes, yes, yes, received a lot

451
00:25:14,960 --> 00:25:18,080
Speaker 1: of praise. I talked about it on a podcast episode

452
00:25:18,119 --> 00:25:21,879
Speaker 1: with Alana Casanova, Berga's host of La Brega, But you know,

453
00:25:21,920 --> 00:25:26,080
Speaker 1: there was also a lot of backtalk from conservatives.

454
00:25:26,320 --> 00:25:28,560
Speaker 3: Meggan Kelly was being interviewed by Pierce Morgan.

455
00:25:28,800 --> 00:25:32,679
Speaker 5: The whole show in Spanish is a middle finger to

456
00:25:32,720 --> 00:25:35,080
Speaker 5: the rest of America. Who gives a damn that we

457
00:25:35,160 --> 00:25:39,320
Speaker 5: have forty forty million Spanish speakers in the United States,

458
00:25:39,440 --> 00:25:42,280
Speaker 5: we have three hundred and ten millions who don't speak

459
00:25:42,320 --> 00:25:44,800
Speaker 5: a lick of Spanish. This is supposed to be a

460
00:25:44,960 --> 00:25:49,160
Speaker 5: unifying event for the country, not for the Latinos, not

461
00:25:49,280 --> 00:25:52,000
Speaker 5: for one small group, but for the country.

462
00:25:52,640 --> 00:25:54,760
Speaker 3: And this will stay in my head for the rest

463
00:25:54,800 --> 00:25:55,240
Speaker 3: of my life.

464
00:25:55,560 --> 00:25:59,680
Speaker 1: And to this point, right, that that was not film, right,

465
00:25:59,680 --> 00:26:01,679
Speaker 1: but to this point, that Latino led media is not

466
00:26:01,720 --> 00:26:05,920
Speaker 1: just for Latinos. Like that performance, Yes it was centered

467
00:26:05,960 --> 00:26:08,840
Speaker 1: for us, Yes it was centered for Puerto Ricans, but.

468
00:26:08,840 --> 00:26:11,359
Speaker 3: It was globally for the world to enjoy.

469
00:26:11,640 --> 00:26:16,680
Speaker 1: So that just little that anecdote reminds me of this recommendation.

470
00:26:16,840 --> 00:26:19,440
Speaker 1: The Latino led media is not just for Latinos, It's

471
00:26:19,480 --> 00:26:24,600
Speaker 1: for everyone. We often have had to watch films that

472
00:26:24,680 --> 00:26:29,840
Speaker 1: are white lead, predominantly white cast, and we find things

473
00:26:29,960 --> 00:26:34,239
Speaker 1: to connect with, to feel represented by, like we're not like, oh,

474
00:26:34,280 --> 00:26:38,440
Speaker 1: I can't watch it, Like that's predominantly what we've actually seen,

475
00:26:38,720 --> 00:26:42,480
Speaker 1: what's been normalized to be popular media. They can do

476
00:26:42,520 --> 00:26:45,880
Speaker 1: it too, they will be okay, they will enjoy it.

477
00:26:46,000 --> 00:26:47,080
Speaker 1: Just fucking watch it.

478
00:26:47,359 --> 00:26:49,800
Speaker 4: Just watch it. And we don't have to talk about

479
00:26:49,800 --> 00:26:53,679
Speaker 4: this because you already talked about this. America yes, she

480
00:26:53,760 --> 00:26:54,280
Speaker 4: does say that.

481
00:26:54,320 --> 00:26:56,400
Speaker 1: She's like she's like, I know, it's part of America,

482
00:26:57,520 --> 00:26:59,320
Speaker 1: so fucking annoying.

483
00:27:00,119 --> 00:27:05,280
Speaker 2: I'm screaming, very sensitive, very sensitive this lady. And I

484
00:27:05,280 --> 00:27:08,080
Speaker 2: can't believe she's still yapping, Like she's she's still yapping.

485
00:27:08,119 --> 00:27:09,320
Speaker 4: She's been around for so long.

486
00:27:10,640 --> 00:27:12,400
Speaker 3: She is actually one of those like Gayette.

487
00:27:12,600 --> 00:27:15,960
Speaker 2: Yes, actually, and even Piers Morgan I think, was like, whoa,

488
00:27:16,040 --> 00:27:20,679
Speaker 2: it's weird when these like conservative white men are like

489
00:27:20,720 --> 00:27:21,520
Speaker 2: speaking reason.

490
00:27:22,000 --> 00:27:22,359
Speaker 4: Yeah.

491
00:27:22,480 --> 00:27:25,840
Speaker 1: Yeah, it's very strange when like Tucker Carlson did that

492
00:27:25,880 --> 00:27:30,480
Speaker 1: recently in an interview with Mike Couldbee. I know, and

493
00:27:30,560 --> 00:27:33,200
Speaker 1: this is not to co sign him or Pierce Morgan,

494
00:27:33,280 --> 00:27:36,639
Speaker 1: but it's just very strange when these white conservative men

495
00:27:36,720 --> 00:27:38,200
Speaker 1: become like voices of reasons.

496
00:27:38,359 --> 00:27:41,479
Speaker 3: Yeah, for like a specific topic. Yeah, it's very scary.

497
00:27:41,760 --> 00:27:44,600
Speaker 2: That's how you know it's really far gone is they're

498
00:27:44,800 --> 00:27:48,719
Speaker 2: like they're freaking out over how freaked out everybody is.

499
00:27:50,280 --> 00:27:54,440
Speaker 2: Like they used to be the farthest right voices and

500
00:27:54,480 --> 00:27:57,120
Speaker 2: now they're feeling very middle of the road.

501
00:27:57,280 --> 00:27:59,399
Speaker 4: And I think even they don't really know what to

502
00:27:59,440 --> 00:28:02,760
Speaker 4: make of all of exactly exactly, and this is like.

503
00:28:02,720 --> 00:28:06,879
Speaker 2: Not to use a very gendered patriarchal term. But the

504
00:28:07,000 --> 00:28:12,040
Speaker 2: hysterics with which like white conserve conservative women, you know,

505
00:28:12,119 --> 00:28:15,360
Speaker 2: are like conducting themselves with It's this like white women's

506
00:28:15,480 --> 00:28:19,720
Speaker 2: hysteria that is on full display. They're on a rampage,

507
00:28:19,800 --> 00:28:20,960
Speaker 2: and it's just so bizarre.

508
00:28:21,160 --> 00:28:24,399
Speaker 3: From Megan Kelly to Christina who was just fired.

509
00:28:25,600 --> 00:28:26,159
Speaker 4: Was it worth it?

510
00:28:26,240 --> 00:28:30,880
Speaker 3: Girl, I've been wanting to say that all day.

511
00:28:31,240 --> 00:28:34,720
Speaker 2: Was it worth selling yourself? But any who, I'm excited

512
00:28:34,720 --> 00:28:36,560
Speaker 2: to no longer see her at the airport.

513
00:28:37,320 --> 00:28:40,840
Speaker 3: Yes on the screens, yeah, same, yes, because.

514
00:28:40,560 --> 00:28:42,920
Speaker 4: She was all plastered all over the airport.

515
00:28:42,720 --> 00:28:45,960
Speaker 3: Right before you go through TSA that there's her face.

516
00:28:46,360 --> 00:28:50,360
Speaker 4: And wearing hoop earrings. I know, I know, I can't.

517
00:28:51,200 --> 00:28:53,840
Speaker 1: All right, So let's talk about the future, the future

518
00:28:54,200 --> 00:28:56,160
Speaker 1: of Latino Latini Hollywood.

519
00:29:00,240 --> 00:29:02,800
Speaker 3: Don't go anywhere, look on motives. We'll be right back.

520
00:29:10,680 --> 00:29:14,760
Speaker 2: So I think that something else that is like tangential

521
00:29:14,800 --> 00:29:17,480
Speaker 2: to this study that we know to be true is

522
00:29:17,520 --> 00:29:20,000
Speaker 2: that Latinos might be a tiny, tiny.

523
00:29:19,720 --> 00:29:23,480
Speaker 4: Percentage of on camera rolls and.

524
00:29:24,040 --> 00:29:28,560
Speaker 2: Above the line filmmakers in film and television, but Latinos

525
00:29:28,600 --> 00:29:31,880
Speaker 2: are fucking killing it in the digital space. I mean,

526
00:29:31,960 --> 00:29:37,200
Speaker 2: from YouTube to TikTok to the podcasting space, like Latino influencers,

527
00:29:37,720 --> 00:29:42,400
Speaker 2: Latino podcasters, Latino channels, beauty gurus I mean are huge

528
00:29:42,680 --> 00:29:46,800
Speaker 2: and have built giant platforms and huge audiences. And I

529
00:29:46,840 --> 00:29:50,880
Speaker 2: think it speaks to when Latinos are creating it and

530
00:29:51,040 --> 00:29:54,920
Speaker 2: leading it, it can like really take off and it

531
00:29:54,920 --> 00:29:57,080
Speaker 2: can resonate and the audiences will come.

532
00:29:57,200 --> 00:29:59,440
Speaker 4: If the Latinos built it, the audiences will come.

533
00:30:00,080 --> 00:30:04,240
Speaker 2: So as we see all this chatter about how digital

534
00:30:04,840 --> 00:30:09,400
Speaker 2: is outperforming broadcast, is the future of Latino Hollywood digital?

535
00:30:10,760 --> 00:30:13,800
Speaker 3: Maybe do we just look to the digital space? It

536
00:30:13,880 --> 00:30:14,520
Speaker 3: feels Yeah.

537
00:30:14,560 --> 00:30:20,200
Speaker 1: I think for Latino's Latina LATINX folks to really thrive

538
00:30:20,280 --> 00:30:23,160
Speaker 1: in digital media, which they are, is to be okay

539
00:30:23,200 --> 00:30:25,360
Speaker 1: with not being a part of the inner circle because

540
00:30:25,400 --> 00:30:30,400
Speaker 1: I think Hollywood, for so many actors, filmmakers' creatives, of course,

541
00:30:30,480 --> 00:30:34,680
Speaker 1: is aspirational. It is it means something that you want

542
00:30:34,720 --> 00:30:37,240
Speaker 1: an oscar, that you won an Academy award, that you were.

543
00:30:37,200 --> 00:30:39,360
Speaker 3: Let in by the gatekeepers, right.

544
00:30:39,880 --> 00:30:43,800
Speaker 1: But I think if you're performing and you're actually monetizing

545
00:30:43,840 --> 00:30:46,040
Speaker 1: on digital media, you know, it does beg the question

546
00:30:46,160 --> 00:30:48,280
Speaker 1: like which do you try to do more of?

547
00:30:48,680 --> 00:30:48,880
Speaker 3: Yeah?

548
00:30:49,080 --> 00:30:51,840
Speaker 1: You know, do you continue to do the digital in

549
00:30:51,920 --> 00:30:56,480
Speaker 1: hopes that it'll lead you to legacy Hollywood or do

550
00:30:56,520 --> 00:30:59,760
Speaker 1: you just go all in where you own everything and

551
00:31:00,200 --> 00:31:01,880
Speaker 1: that's that's yours for the keeping.

552
00:31:02,680 --> 00:31:04,479
Speaker 4: Absolutely, it's a big question.

553
00:31:04,640 --> 00:31:09,280
Speaker 2: And I think AI is part of this question because AI,

554
00:31:09,480 --> 00:31:11,960
Speaker 2: first of all, every week there's a new tool, like

555
00:31:12,040 --> 00:31:17,560
Speaker 2: it's changing so rapidly, and it's changing creativity, it's changing

556
00:31:17,600 --> 00:31:22,800
Speaker 2: content creation, it's changing filmmaking. At the same time, the

557
00:31:22,920 --> 00:31:26,280
Speaker 2: biggest barrier to entry is money. It's financial.

558
00:31:26,480 --> 00:31:30,480
Speaker 4: It's very expensive to make a film, even a short film.

559
00:31:30,760 --> 00:31:32,760
Speaker 4: It's very expensive to make a TV show.

560
00:31:32,880 --> 00:31:36,200
Speaker 2: I mean, in my producing class right now, our professor

561
00:31:36,400 --> 00:31:39,280
Speaker 2: showed us the budgets for like a thirty minute television

562
00:31:39,320 --> 00:31:44,080
Speaker 2: pilot that he made years ago. Now this was like

563
00:31:44,120 --> 00:31:46,800
Speaker 2: fifteen years ago. And he showed us the budget for

564
00:31:46,880 --> 00:31:51,200
Speaker 2: the thirty minute pilot and nothing crazy, like a corporate

565
00:31:51,520 --> 00:31:56,600
Speaker 2: drama set in an office in Riverside. It was a

566
00:31:56,600 --> 00:32:02,360
Speaker 2: three million dollar budget, you know, and that's one episode

567
00:32:02,400 --> 00:32:06,400
Speaker 2: of TV. Right And even the films that we make

568
00:32:06,440 --> 00:32:09,560
Speaker 2: at school, the shorts that are like fifteen to twenty

569
00:32:09,560 --> 00:32:12,920
Speaker 2: minutes long, these are forty thousand dollars budgets for student

570
00:32:13,000 --> 00:32:16,080
Speaker 2: films where nobody is getting paid. So if we were

571
00:32:16,080 --> 00:32:19,240
Speaker 2: making these not at school, where everyone was getting baid, yeah,

572
00:32:19,240 --> 00:32:23,000
Speaker 2: we'd be talking about millions of dollars. So the barrier

573
00:32:23,040 --> 00:32:27,520
Speaker 2: to entry is very high for film, for television, really

574
00:32:27,520 --> 00:32:31,680
Speaker 2: for anything on video. So then the question with AI is,

575
00:32:31,920 --> 00:32:36,560
Speaker 2: even though it's creepy, even though it's invasive, could the

576
00:32:36,640 --> 00:32:40,920
Speaker 2: tools associated with AI, which bring down the cost of

577
00:32:41,000 --> 00:32:48,239
Speaker 2: production actually like increase our chances of making work that

578
00:32:48,280 --> 00:32:50,080
Speaker 2: can help us to break into the industry.

579
00:32:50,560 --> 00:32:52,520
Speaker 4: These are questions that I think.

580
00:32:52,360 --> 00:32:55,360
Speaker 2: We all have to ask ourselves, and that people like

581
00:32:55,400 --> 00:32:59,160
Speaker 2: the researchers at the Norman Lear Center will eventually have

582
00:32:59,240 --> 00:33:02,720
Speaker 2: to start taking in to account and studying when as

583
00:33:02,720 --> 00:33:03,600
Speaker 2: the years go by.

584
00:33:03,640 --> 00:33:06,600
Speaker 1: Right right, I mean, there's AI actors, there's AI hosts,

585
00:33:06,600 --> 00:33:13,400
Speaker 1: there's AI influencers. Does does an AI Latina influencer actor

586
00:33:13,520 --> 00:33:14,400
Speaker 1: already exist?

587
00:33:14,880 --> 00:33:18,640
Speaker 3: You know, like an AI character that is written coded.

588
00:33:18,320 --> 00:33:23,480
Speaker 1: To be Latina Latino? Does that character already exist? And

589
00:33:23,520 --> 00:33:26,920
Speaker 1: then how will that impede maybe future roles if at all?

590
00:33:27,640 --> 00:33:28,280
Speaker 4: Yeah.

591
00:33:28,360 --> 00:33:31,200
Speaker 2: So, like and at school, like even our editing professor

592
00:33:31,360 --> 00:33:35,520
Speaker 2: was showing us like shorts and like films that have

593
00:33:35,600 --> 00:33:40,959
Speaker 2: been made using entirely AI generated on camera actors. So

594
00:33:41,000 --> 00:33:46,160
Speaker 2: then the question becomes, if people start making films using

595
00:33:46,320 --> 00:33:50,200
Speaker 2: AI generated actors, will those people prompt the AI to

596
00:33:50,360 --> 00:33:55,360
Speaker 2: make Latino AI characters or will they all we prompted

597
00:33:55,360 --> 00:33:56,760
Speaker 2: to create white characters.

598
00:33:57,480 --> 00:34:00,960
Speaker 1: So there is studies of how the algorithm is racist.

599
00:34:01,040 --> 00:34:05,240
Speaker 1: It's coded by white men, created in some ways to

600
00:34:05,400 --> 00:34:08,280
Speaker 1: be racist. Right, this intangible thing, but it's still knowledgeable.

601
00:34:08,560 --> 00:34:12,480
Speaker 1: And so is the default for an AI actor unprompted

602
00:34:13,239 --> 00:34:13,960
Speaker 1: already white?

603
00:34:14,880 --> 00:34:15,560
Speaker 4: Probably yes?

604
00:34:15,840 --> 00:34:16,120
Speaker 3: Right?

605
00:34:16,160 --> 00:34:16,560
Speaker 4: Probably?

606
00:34:16,640 --> 00:34:16,799
Speaker 2: Yes?

607
00:34:17,000 --> 00:34:17,560
Speaker 3: Yeah?

608
00:34:17,600 --> 00:34:19,239
Speaker 4: And so this is something else is.

609
00:34:19,239 --> 00:34:23,440
Speaker 2: Like when we think of traditional filmmaking, going back.

610
00:34:23,280 --> 00:34:25,640
Speaker 4: To Odessa and all of that, you have.

611
00:34:27,160 --> 00:34:35,759
Speaker 2: Directors, producers, agents, managers, casting agents already selecting for white people, right,

612
00:34:36,320 --> 00:34:40,160
Speaker 2: and when it comes to like an AI generated actor,

613
00:34:41,000 --> 00:34:44,520
Speaker 2: those same people will likely still prompt for white people.

614
00:34:44,840 --> 00:34:46,200
Speaker 4: And it does go back.

615
00:34:46,000 --> 00:34:49,759
Speaker 2: To who's behind the camera, right, who even if there's

616
00:34:49,840 --> 00:34:54,120
Speaker 2: fewer people behind the camera, is still who is that person?

617
00:34:54,360 --> 00:34:55,360
Speaker 4: What is that team?

618
00:34:55,640 --> 00:34:59,680
Speaker 2: And if there's not latinos prompting the AI, then I

619
00:34:59,800 --> 00:35:03,680
Speaker 2: doubt about what's gonna be generated is anything other than white?

620
00:35:05,280 --> 00:35:07,760
Speaker 3: Yeah, there's a lot to consider.

621
00:35:07,520 --> 00:35:10,960
Speaker 2: Much to consider, but we still think the future is bright,

622
00:35:11,320 --> 00:35:13,720
Speaker 2: and we think it's gonna be okay.

623
00:35:13,840 --> 00:35:14,960
Speaker 3: It's gonna be okay.

624
00:35:15,320 --> 00:35:18,719
Speaker 1: As long as we keep creating and we keep making things.

625
00:35:18,440 --> 00:35:22,839
Speaker 3: For ourselves, for our community, for the world, it will

626
00:35:22,880 --> 00:35:25,000
Speaker 3: be okay. The arts will keep us going.

627
00:35:25,880 --> 00:35:28,400
Speaker 2: Yes, the arts will keep us going. Support the arts,

628
00:35:29,080 --> 00:35:35,719
Speaker 2: support us, support us, support us. We're trying, and yeah,

629
00:35:35,800 --> 00:35:36,680
Speaker 2: thank you for listening.

630
00:35:37,000 --> 00:35:41,040
Speaker 3: Thank you for listening to another. We'll catch you next time.

631
00:35:41,239 --> 00:35:58,080
Speaker 3: The See Thoughts Local