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Vida

We Are Changemakers: Attending My First #WeAllGrow Summit

Have you ever been in a room where every single person is impressive? Maybe when you started college or that fancy new job. Now imagine that room and instead of being intimidated, you feel welcomed, valued, and seen. Last week, I attended the #WeAllGrow Summit and found myself in exactly that situation.

Everywhere I went, I met amazing women. The poet I admired. The podcaster I can’t wait to start listening to. The journalist who is speaking truth to power. The artist whose work I’ve already started supporting. I’ve never been part of a community like that before and I have every intention of replicating it not just via my social media feed but also IRL with the chingonas in the Bay.

We came, we grew, we presented.

So would any of these amazing women be interested in hearing me speak? Spoiler: yes! Suited up in our #MakeLatinasVisible T’s, LatinaMedia.Co Co-Founder Nicola Schulze and I led a workshop called “What A Hashtag Becomes A Movement: A How-To on Online Organizing.” We drew on our combined twenty years of experience of social justice organizing and marketing to host a conversation about how to build a successful groundswell online. In the end, we all came out just that much more energized to do this work and do it in community.

As a media critic, the highlight of the event for me was the panel featuring the Vida team and of course, the Q&A with Yalitiza (we’re on a first name basis now). Vida showrunner Tanya Saracho was hilarious, strong, and smart, challenging us to support each other and laugh at ourselves. Meanwhile the cast — represented by Mishel Prada, Ser Anzoategui, and Chelsea Rendon — spoke about the transformational nature of the show, how it humanizes Latinx people in a time when we so desperately need it (see the news coming from the border if you need some background on what I’m talking about).

Dear Television Academy — The queer brown show “Vida” deserves an Emmy. Period.

The conversation with Roma’s Yalitiza Aparicio had me (and the whole audience) in tears — multiple times. Remember before Roma, she’d never acted before and didn’t have Hollywood aspirations. But today as the first indigenous woman to be nominated for a Best Actress Academy Award and one of the rare Latinas to walk that red carpet, Yalitza’s an inspiration to so many of us. On stage, she spoke of her journey as an actress and dedicated her performance as domestic worker Cleo to her mother, who’d done that work in real life. I loved the story she told of her mother walking down the street at home and everyone congratulating her.

While Yalitza’s evident heart, sincerity, and insightfulness shone through, what really got me was when five women from the audience told Yalitza what seeing her on-screen meant to them. For Latinx people as a whole and more specifically, indigenous women, Yalitza’s success has meant so much. We’re talking about a woman who serves as the sole representation (and a positive one at that!) of a group that’s normally erased and when they do appear are usually stereotyped, othered, and/or demonized.

Yalitiza and the Changemakers, courtesy of Nicole Goldinez, @nicolegoldinezphoto

It’s an immense burden and one Yalitza shouldn’t have to carry alone. Yet she is alone for now and somehow manages this solemn responsibility with maturity and grace. As the women assembled spoke from the heart, we all cried — Yalitza, the speakers, the audience. To share this moment of being seen and appreciated, thanked and giving thanks, united and individually celebrated was so intense. I’m sure it reverberated out into the cosmos and I hope even the Hollywood moguls felt it.

The summit’s theme was “We Are Changemakers” and it rang so true. This is an amazing group of women who are changing the world and doing it together. It was a thing of beauty to be a part of and I left with the strengthened abilities, connections, and ganas to go make it happen!

Cover image courtesy of Maria Jose Govea, @thesupermaniak.

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“Vida:” The Millenial, Latina, Queer Show of Our Dreams

The second season of “Vida”is available to stream on the Starz app Thursday, May 23 with episodes airing weekly on the Starz network starting Sunday, May 26. The first season is available now on Starz and via the Hulu add-on. Warning: spoilers ahead.

The second season of Starz’ Vida is out this week and I’m so excited. If you missed the first season (because it’s on Starz, because you didn’t even hear about it because it’s on Starz), Vida is the millennial/Latina/queer show of our dreams.

It follows two Chicana sisters, Emma and Lyn Hernandez, who return home to Boyle Heights to bury their mother and decide what to do with the family business, a neighborhood apartment building and bar. Emma is the career-driven chingona, taking charge and ruffling feathers everywhere she goes. She also happens to be a lesbian. Lyn, meanwhile, is all drifting free spirit. She moves from man to man, business idea to business idea, with her good looks, overall cool, and loose morals (stealing a credit card in her deceased and debt-laden mother’s name — yikes) to live well beyond her means.

Soon, Emma and Lyn realize that not only is the bar/building vastly underwater with bills owed to greedy gentrifiers but their mother was married to her female “roommate” Eddy despite not even being out to her daughters. Newly widowed, Eddy has one-third share of the family business with the rest split between Lyn and Emma. Together, this unlikely trio has to figure out a way forward.

Created and led by Latinas, Vida’s baked latinidad into its every fiber and the results are amazing. There’s the all Latinx cast. The Boyle Heights setting. And there’s the way Vida truly centers family, identity, and a nuanced conversation about gentrification.

Created and led by Latinas, Vida’s baked latinidad into its every fiber and the results are amazing. There’s the all Latinx cast. The Boyle Heights setting. And there’s the way Vida truly centers family, identity, and a nuanced conversation about gentrification. The first season manages all this deftly, making Vidaread as an edgy, critical darling while being firmly rooted in the Latinx experience.

I particularly appreciated seeing Emma and Lyn navigate their identities in response to the question so many of us grapple with: are you Latina enough? Emma spends the first season confronting the idea that she hates where she’s from with several characters stating or implying as much. The truth is, Emma doesn’t hate Boyle Heights — she’s just estranged from it as her mother sent her away in a (failed) effort to stop Emma’s queerness. This rejection led Emma to build walls against her loved ones and her home. Yes, despite her prickliness, Emma learned formal Spanish, ensuring her ability to communicate in the neighborhood. And while her initial instinct is to sell the bar, she ends up picking another path. She figures out the predatory nature of the loans her mother took out and that selling would mean letting those folks win, so she decides to stay and use her college-educated business acumen to make the place profitable. Emma’s straddling two (three? multiple?) worlds and trying to figure out what pride in her identity means while also dealing with self-loathing as a rejected and isolated daughter.

What does it take to be “Latina enough?” Speaking Spanish? Being from the neighborhood? Never leaving?

You see, Vida doesn’t just have latinidad at its core, it’s also dealing with female sexuality in its many forms. There was A LOT of sex in the first season with Lyn and Emma each having multiple partners, plus a prolonged solo scene. And since this is Starz, yes, those scenes were erotic as hell. But take note — they didn’t rely on the usual male-gaze tropes of depicting women as objects. Instead, I saw sex scene after sex scene with different sets of participants (woman/man, woman/woman, woman alone), all centering female pleasure and the woman’s perspective. It was hot. And this rare, woman-focused depiction of women’s sexuality is made even more powerful by how it centers and values brown bodies not as sites of sexual gratification but as agents deserving of love and pleasure.

Building upon its depiction of sex and brown identity, Vida uses gentrification as its looming threat, powering the plot. Gentrification’s the reason Emma and Lyn stay in Boyle Heights instead of returning to their lives in Chicago and San Francisco after the funeral. It’s the reason Eddy isn’t able to be forthright about the books at the beginning and it lays the groundwork for her ending up in the hospital at the end. And, of course, it’s the menace Marisol and her group of activists are working against, a battle that puts her in conflict with the sisters.

This rare, woman-focused depiction of women’s sexuality is made even more powerful by how it centers and values brown bodies not as sites of sexual gratification but as agents deserving of love and pleasure.

Gentrification threatens all of Boyle Heights. For Emma, the conundrum is if you need to charge $8 a drink to pay your rent then you can’t stay a neighborhood place. But if you don’t charge that amount and lose your property, the next place that opens won’t cater to the original residence either. For the residence, it’s what’s pushing them out of their homes and wreaking havoc on their community. For the activist group, it’s how to hold back the tide of economic “development” that’s destroying the neighborhood and, to push the tide metaphor, like water always seems to find a way.

In other shows with big external threats, there’s often a clear answer. Is it war or monsters that threaten you? Then fight for your life. Kill your enemies and create your own bit of peace. Think Walking DeadLord of the Rings, even Mash. Is it a natural (or supernatural) disaster? Perhaps surviving is enough. Gather the people you love and try to make it like Viggo Mortenson in The Road or Helen Hunt in Twister.But what if you’re facing gentrification? Putting one developer out of business won’t end the threat, no matter how slimy and terrible they are. Surviving may mean moving, which here means defeat.

It’s not clear what to do or try to save when your enemy is gentrification.

The first season of Vida setup gentrification as the show’s primary danger, exploring the ways it works and why it’s so intractable. I’m excited for the second season to delve into solutions as Emma, Lyn, and Eddy work to save the bar. The answers aren’t clear but I hope we see them join Marisol and try to overthrow the system. I can’t imagine Emma tagging anything or either of the sisters marching in a protest (although I could see Eddy taking to the street). No, I envision Emma meeting with city council members to change laws while Lyn uses her charm to get the intel needed. Perhaps, working together, these women can push on all the levers needed to save Boyle Heights for its residents and for us. I’ll certainly be tuning into the second season to find out.

And even if we can’t find the solutions to gentrification in the show, Vida is doing its part in the real world. You see, the problem at the heart of gentrification is that the market and American culture at large don’t value actual Latinos. They want our food and our art and our labor but not our humanity. In fact, they don’t even see us. When compared to our numbers in the general population, Latinx are the least represented group on screen. And when we do show up, we’re usually criminals and drug runners. This is the country that elected Donald “Mexicans-are-rapists” Trump as President.

In its way, just by existing, Vida is helping to right these wrongs, displaying Latinas as the beautiful, complicated, fully human people we are. And it’s doing so in a way that appeals to the hipsters who wrote off One Day at A Timeand Jane the Virgin as too fluffy, inconsequential, or not for them. Take note and join me in watching, evangelizing and generally not shutting up about season two.

The problem at the heart of gentrification is that the market and American culture at large don’t value actional Latinos. They want our food and our art and our labor but not our humanity… Vida is helping to right these wrongs, displaying Latinas as the beautiful, complicated, fully human people we are.

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Jane, Eve, Issa

Some 75% percent of our media comes from the white, male perspective and it all feels the same to me: tired. Men have been speaking for so long, it’s like they’ve run out of things to say (not that the prospect of repeating themselves is getting them to shut up).

Luckily, there’s a lot of amazing, women-centered media out there from comedies to thrillers to prestige dramas. To help you avoid the same old, I’ve pulled together the ten shows I’m most looking forward to in 2019 — that all just happen to center women (last year’ spoilers ahead):

Big Little Lies

Big Little Lies

The award-winning first season of Big Little Lies featured Reese Witherspoon, Nicole Kidman, and Shailene Woodley as mothers in the elite community of Monterrey, CA, subverting the superficial suburban mom trope and portraying domestic violence in a more thoughtful way than I’ve seen before.

The second season, set to premiere in 2019, is a bit of coup — partly because the first season wasn’t supposed to be a “season” at all but rather a self-contained mini-series and partly because it was based on a book with no sequel. But the market talks and season two is bringing in none other than Meryl Streep, promising more of Zoë Kravitz’s character Bonnie Carlson, and (finally) featuring a woman director. Count me in.

Call the Midwife

Call the Midwife

Taking place in 1960’s London, each episode (for seven seasons and counting) of Call the Midwife features at least one birth, depicted with unusual candor, sympathy, and heroism. The show has not been great on race (the first two plots with Black characters featured interracial babies born of affairs between Black men and white women) but Call the Midwife added a Black nurse in season seven and has since been clearly trying to address its wrongs.

Centered on women and our bodies — both the act of giving birth and the physical nature of nursing — Call the Midwife dramatizes aspects of the human experience we rarely see. With season eight coming in 2019, tune into this show for beautiful costumes, a warm vision of humanity, and women as nurses, nuns, and mothers.

Crazy Ex-Girlfriend Round Up

Crazy Ex-Girlfriend

This musical comedy exploring mental health issues and the false romance narratives that bombard women, Crazy Ex-Girlfriend manages to leave you humming and thinking. This year will complete its final and forth season and lots of questions remain: what does a happy ending look like when it comes to mental health? Will Rachel Bloom’s Rebecca end up with one of her past flames? Or would she be better off alone?

As I’ve written before, Crazy Ex-Girlfriend is a feminist project, featuring a diverse cast and re-writing the rules of who can be loved. It’s also one of the least watched shows on television so it’s good to support and show content makers that audiences will tune into quality, feminist content. Plus, there’s lots of salty pretzels.

The Crown

The Crown

Netflix’s budget-busting juggernaut, The Crown, is back for a third season with a new cast as the Queen and her royal family age. I’ll miss Claire Foy’s ability to be emote without emoting, simultaneously expressing power and insecurity. That said, I trust the show creators to cast well again and this time hopefully without a gender pay-gap from the beginning.

I’ve learned a lot of history from this show as the Queen engages in nearly seven decades of world events. And while the colonial perspective can be rough (who cares how the monarch feels when its millions of brown people risking their lives for their self determination?), the show explores the difference between public and private personas beautifully while offering a unique insight into privileged British life.

Grey’s Anatomy

Set to become the longest running medical drama, Grey’s Anatomy will finish up its 15th season and probably run the first half of its 16th in 2019. Shonda Rhimes is no longer involved in the day-to-day but seasons 1-7 veteran Krista Vernoff is at the helm and bringing the show back to its old stalwarts: love-triangles, extreme medical situations, steamy hospital romances. I love Grey’s and having it made it this far, plan to see it to the end.

Grey’s Anatomy has always featured a diverse and inspiring depiction of leadership, excellence, and sexuality and that hasn’t changed. And as the titular Dr. Grey has gone from starry-eyed intern to widowed, award-winning physician, these fifteen years have allowed us the rare treat of watching a complicated woman’s evolution and continued adventures, sexual and otherwise, into middle age.

Insecure

Insecure

I’m excited for the fourth season of Issa Rae’s Insecure, coming out in 2019. Following a group of “basic,” 30-something Black women in LA, Insecure deserves all the awards for its hilarious exploration of identity, romance, and what it means to be a striving Black woman. It’s fixed everything you hated in Girls and Sex in the City, somehow making you nostalgic for your old, shitty apartments and ringing humor out of racial injustices large and small.

Season four promises to be just as good with the group’s lives only getting messier as Issa and her best friend Yvonne Orji’s Molly Carter date roommates and Issa seemingly going into business with her ex’s current partner. Bonus points of you watch live with Black Twitter.

Jane the Virgin

It’s Jane the Virgin’s final season and I’ll miss the Villanuevas. This Americanized telenovela started with an accidental, artificial insemination and has built upon this fantastical premise to explore motherhood, class, racial identity, Catholicism, and immigration to name just a few. The original love triangle seems to be back with Brett Dier of Michael Cordero fame returning in the season four finale to mess up the expected proposal between Justin Baldoni’s Rafael and Gina Rodriguez’s Jane.

You’ll be hard pressed to find a more thoughtful, fun, and heartwarming portrayal of Latina identidad on television. In fact, the show’s secret weapon seems to be its compassion for all its characters — mothers of all stripes and types, people rich and working class, women with hugely different attitudes toward sex — allowing the viewers to sympathize with each end of spectrums we normally find so polarizing. Also Jamie Camil is an international treasure.

Killing Eve

Killing Eve has everything spy aficionados could want: globe trotting, international intrigue, double crosses, and murder. Sandra Oh as Eve Polastri, the bored M16 operative, became the first Asian women nominated for a lead actress Emmy and is set to host the Golden Globes. Her talent is met by Jodie Comer’s diabolical assassin, Villanelle. The binge-able BBC hit is now on Hulu and season two is slated for release in 2019.

With all the trappings of a traditional thriller, the woman-ness of Killing Eve is unmistakable. Both the killer and detective are women and that opens up new avenues of psychological intrigue like when Villanelle, obsessed with Eve, fills her suitcase with beautiful, perfectly fitting clothes and sends it to her house, managing to fulfill a female fantasy and threaten her love object at the same time. The sexual tension between Eve and Villanelle further heightens the drama (particularly in contrast to Eve’s relatable but boring relationship with her husband) as does the female-gaze of the camera work. With Oh and Comer signed up for the second season, 2019 is sure to bring more of the steamy, pulse-racing fun.

Shrill

Based on the book by the same name by Lindy West, Shrill is set to premiere in 2019 starring and co-written by Saturday Night Live’s Aidy Bryant and produced by Elizabeth Banks. Those names are enough to get me excited — especially because I love Lindy West. She came up as a journalist under Dan Savage, helped pioneer Jezebel, and has since graduated to a feminist New York Times column and writing best-selling books.

Shrill is West’s memoir, telling the story of a fat young woman who’s striving to improve her life and career but not her body. All of which makes it the perfect vehicle for Bryant and I can’t wait to catch it on Hulu.

Vida

Vida

Latinas are the least represented demographic in media so a show that’s Mexican, queer, and ambitious has me tuning in. Starz’ Vida follows two Latinx sisters returning to Boyle Heights to take over the family business after their mother’s death. There, they confront gentrification, their mother’s lesbianism, and aspects of their own identity.

Picked up for a second season in 2019, Vida is clear in its intention to expand the portrayal of Latina and Latinx experience on TV. Latinx show creator Tanya Saracho has spoken out about how she uses her success to lift up la raza and the show even has a Latina behind the camera in Carmen Cabana — this despite the notoriety of cinematography for how few women fill its ranks even in the sexist entertainment industry.

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