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"content": "\u003cp>When Mignon Poon strode into the small clubhouse kitchen \u003ca href=\"https://www.kqed.org/news/tag/los-angeles-county\">in Hollywood\u003c/a> on a morning in late November, a lunch recipe waited on the table: for barbecued chicken, mac and cheese and collard greens.\u003c/p>\n\u003cp>She pulled on a pair of hygienic gloves and, with Motown vibes wafting from a Bluetooth speaker, got to work with two fellow members of the clubhouse, called \u003ca href=\"https://www.fountainhouse.org/services/hollywood\">Fountain House Hollywood\u003c/a>, chatting and singing along as they cooked.\u003c/p>\n\u003cp>For Poon, 66, this easy camaraderie was nearly unimaginable just three years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She’d spent decades living with severe, untreated mental illness, bouncing from the streets to homeless shelters. To quiet her mind, she self-medicated with alcohol and, sometimes, hard drugs. It all led to countless nights spent sleeping on the hard ground.\u003c/p>\n\u003cp>“This place right here saved me,” Poon, whose caramel eyes shine with playful mischief, said at the clubhouse, a bustling collective that operates out of a repurposed Sunset Boulevard office space. “Besides get up and start drinking, I get dressed and come here. It gives me something to look forward to.”\u003c/p>\n\u003cfigure id=\"attachment_12076577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mignon Annette Poon is pictured at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The private, nonprofit clubhouse is open to anyone diagnosed with a serious mental illness who lives, works or receives mental health treatment in Hollywood. The Los Angeles County Department of Mental Health doesn’t run it. In fact, there are no clinicians on staff.\u003c/p>\n\u003cp>County mental health leaders partnered with a \u003ca href=\"https://www.fountainhouse.org/about\">storied New York-based nonprofit\u003c/a> to bring the clubhouse to Los Angeles, so their clients could participate. It’s part of an ambitious multilayered pilot project — which seeks to collaborate with community organizations to build an ecosystem of care that goes well beyond conventional clinical treatment.\u003c/p>\n\u003cp>Fountain House Hollywood is just one piece of that project to remake mental health care in the neighborhood, which officials termed “\u003ca href=\"https://www.hollywood4wrd.org/hollywood-2-0\">Hollywood 2.0.\u003c/a>”\u003c/p>\n\u003cp>Hollywood 2.0 architects say intensive intervention by clinical teams, who deliver treatment on the streets and in shelters, is a must for people like Poon, who’ve survived unhoused and untreated for years, often with \u003ca href=\"http://www.samhsa.gov/substance-use/treatment/co-occurring-disorders\">co-occurring addictions\u003c/a>. So is safe and stable housing. But true recovery, they maintain, requires more: a sense of agency, purpose, belonging and joy, in community.\u003c/p>\n\u003cp>Poon, one of Hollywood 2.0’s earliest clients, is thriving. And when it comes to that sense of belonging, she and her care team agree: the clubhouse has been key.\u003c/p>\n\u003cp>Those who choose to join come on weekdays, set the agenda and commit to one of two work assignments to keep the place running. Poon picked the hospitality team, which does all the shopping, meal planning, cooking and serving.\u003c/p>\n\u003cp>“We respect each other,” she said of her peers. “It’s a family. It’s a community. It’s love.”\u003c/p>\n\u003ch2>\u003cstrong>A core trauma \u003c/strong>\u003c/h2>\n\u003cp>Poon is an elegant dresser who favors rose-tinted glasses that lend her an air of celebrity. She grew up in Albany, Georgia, three hours south of Atlanta. Her mom was born to a Black mother and white father; Her dad was Seminole Indian. “That made me international flavors,” she said, smiling.\u003c/p>\n\u003cp>Her mother earned four college degrees, but was often absent, Poon said, and alcoholism haunted the family for generations. At age 17, Poon ran away from home with a man she described as a pimp and a dope dealer.[aside postID=news_12075065 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/260116-NewsomLuriePresser-32-BL_qed.jpg'] “I didn’t know what sex trafficking meant,” she said. “No one talked about it back then.”\u003c/p>\n\u003cp>He put her on a plane to San Francisco, where she peddled her body and his drugs. In time, she was jailed for selling drugs to an undercover cop. She got out, had a brief relationship, got pregnant, then moved to Los Angeles and was jailed again.\u003c/p>\n\u003cp>“I wanted my daughter,” Poon said softly, “so I had her.”\u003c/p>\n\u003cp>At 20 years old, Poon gave birth on May 8, 1980, just before Mother’s Day, in the jail ward of the county hospital. Her little girl, who she named Sabrina, was premature and drug addicted, and went straight to an incubator. Soon after, Poon lost her child to the foster care system.\u003c/p>\n\u003cp>This is a trauma, Poon said she revisits every Mother’s Day, every Christmas — practically every day. A few years after her daughter was taken from her, she said she called the county to try to get her back.\u003c/p>\n\u003cp>“They said, ‘Oh, she’s been adopted,’” Poon said. “That screwed me up. I was depressed and didn’t even know I was depressed. Didn’t take no medication.”\u003c/p>\n\u003cp>She didn’t know it, but in addition to depression, she was experiencing cycles of mania and psychosis. Early each morning, as years turned to decades, she’d start drinking. She’d argue with shelter roommates and neighbors, she said, disputes she called “misunderstandings.”\u003c/p>\n\u003cfigure id=\"attachment_12076576\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mignon Annette Poon leads a morning meeting with the hospitality team at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would get places and lose them,” said Poon. “I was homeless.”\u003c/p>\n\u003cp>Her eldest sister, Rosemary Swan, 69, kept track of Poon’s journey whenever she could: a decade or more in Washington D.C., a long stint on the streets of Atlanta, and through Poon’s travels in the Midwest.\u003c/p>\n\u003cp>“For a long time she was like a \u003ca href=\"https://www.nami.org/blog/understanding-dual-diagnosis/\">dual-diagnosis\u003c/a> case,” said Swan, who noted that mental illness, like alcoholism, also runs in the family. “It just went unmanaged.”\u003c/p>\n\u003cp>Every time she spoke to her younger sister, that core trauma came up: the loss of her daughter. So, Swan tried to help Poon find Sabrina.\u003c/p>\n\u003cp>“For over 25 years, she worried me about it,” Swan said. “I kept telling her, I’m trying, I’m trying. It hurt me that I couldn’t find the child. It’s probably why she went back to California. She never gave up.”\u003c/p>\n\u003ch2>\u003cstrong>A reunion\u003c/strong>\u003c/h2>\n\u003cp>In 2016, Poon returned to the streets of Los Angeles. Then, in 2018, while staying at a shelter in South Los Angeles, she picked up her cell phone and went down a rabbit hole.\u003c/p>\n\u003cp>She knew her daughter’s first name and birthdate. A Google search yielded gold, because Sabrina Bradley — her adoptive father’s last name — had a booming \u003ca href=\"https://www.skinbysabrina.com/?srsltid=AfmBOorTkD-tr6DmSKh_JklKwcdqZpILJyuVhp4J6FhOfmwPo95nQJS5\">skin care business\u003c/a> and big \u003ca href=\"https://www.instagram.com/sabrinatoday/\">online presence\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12080804\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12080804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-scaled.jpeg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-2000x2667.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sabrina Bradley and her birth mother, Mignon Poon, embrace after reuniting in October 2018. Today, with Poon in recovery, they’re bonding. \u003ccite>(Courtesy of Sabrina Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a child, Bradley said, she’d tell her dad, “The angels are around me, my mom is near me. And everyone would be, like, ‘there she goes in her fantasy world.”\u003c/p>\n\u003cp>By age 29, while living in Portland, she made a vow.\u003c/p>\n\u003cp>“I told myself, I’m going to move [back] to Los Angeles, and I’m going to do two things,” said Bradley, now 45. “Find my mother and create a name for myself in the beauty business.”\u003c/p>\n\u003cp>She achieved her second goal, and on a Sunday in 2018, was praying on the first.\u003c/p>\n\u003cp>“I said God, if you’re real, just give me a sign, just show me that my mom is near me,” Bradley recalled. “I won’t ask for anything else. But if you’re real, please show me. Please show me.”\u003c/p>\n\u003cp>That evening, after a schedule packed with clients, her phone rang. The woman on the line asked for “Sabrina, the esthetician.” Bradley assumed she wanted to book a facial. “No,’ the caller responded. “My name’s Mignon Poon. I’m your mom.”\u003c/p>\n\u003cp>Bradley went straight to the shelter and brought Poon into her home. But her mother was still using drugs, Bradley said, and her mental illness remained untreated. Police showed up at the house more than once when Poon was having what appeared to be a manic episode, banging on the doors of random neighbors.\u003c/p>\n\u003cp>They’d been together for just three weeks. Then, Bradley put her mom in a cab, and communications between them went dark.\u003c/p>\n\u003cp>“Me and her had a misunderstanding,” said Poon. “I had to go back to the shelter.”\u003c/p>\n\u003cp>As Poon returned to her old life, something was happening in LA County mental health offices and nonprofit community meeting spaces. The project that would come to be known as Hollywood 2.0 was taking shape.\u003c/p>\n\u003ch2>\u003cstrong>The right to a whole life\u003c/strong>\u003c/h2>\n\u003cp>The seed was planted more than a dozen years ago. The Hollywood neighborhood was benefiting from a burst of investment — hotels, housing and retail. But homelessness was also on the rise. \u003ca href=\"https://www.heartforwardla.org/our-staff\">Kerry Morrison\u003c/a>, who then ran Hollywood’s business improvement district, said she came face to face daily with people “that stayed for months if not years in the same alley or the same bus bench.”\u003c/p>\n\u003cp>Morrison was not a mental health expert, but she was a community leader. She had helped pull together a \u003ca href=\"https://www.hollywood4wrd.org/about\">coalition \u003c/a>of Hollywood homeless service providers and nonprofits, and in 2013, they identified the people outside “most likely to die unless we intervened.” All were living with serious mental illness.\u003c/p>\n\u003cfigure id=\"attachment_12076575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The meditation room and library at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2015, she applied for a fellowship to study one question: “Why is it so hard to help people with serious mental illness move from the streets into a safe place, and who is doing it better?”\u003c/p>\n\u003cp>Her research took her all the way to \u003ca href=\"https://mindsitenews.org/2021/09/29/the-old-asylum-is-gone-today-a-mental-health-system-serves-all/\">Trieste\u003c/a>, Italy, a port city on the Adriatic coast. Trieste had emptied its psychiatric hospital system decades earlier, just like \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/7356002/\">California did\u003c/a> starting in the late 1960s. But Trieste shifted instead towards something more holistic.\u003c/p>\n\u003cp>Rather than the U.S. top-down approach of “experts” dictating treatment, Morrison said, she witnessed respectful collaboration in Trieste.\u003c/p>\n\u003cp>“They talk more about life plans and life aspirations than diagnoses or symptoms,” she said, “and when you operate with that kind of cultural predisposition, all the edges get softened, trust begins to emerge.”\u003c/p>\n\u003cp>Social collectives provide paid jobs and community connections to those living with serious mental illness. The hospital’s small psychiatric ward was unlocked, not even full, and Morrison saw no one living on the streets with untreated psychosis. The community clinics, where staff and clients share meals, she said, felt “incredibly warm and open and free. You can come anytime to talk to anyone, without an appointment.”\u003c/p>\n\u003cfigure id=\"attachment_12076574\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mignon Annette Poon shows off the small store area at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morrison said she wept as her first visit came to an end.\u003c/p>\n\u003cp>“I don’t know what to do with this,” she told her guide. “I run a business improvement district. No one is ever gonna believe me that you guys are so kind and compassionate.”\u003c/p>\n\u003cp>She was wrong. She cold-called Jonathan Sherin, the then-head of the Los Angeles County Department of Mental Health, and he went all in. In 2017, he and Morrison traveled back to Italy for \u003ca href=\"https://www.youtube.com/watch?v=gnYydKZzIGM\">a tour and a conference \u003c/a>focused on the importance of nurturing aspirations, relationships and personal fulfillment in those living with mental illness. Joining them was a small group of Los Angeles County leaders, mental health advocates, law enforcement representatives and a judge.\u003c/p>\n\u003cp>“Everybody was gobsmacked,” Morrison said. “And that’s how it started.”\u003c/p>\n\u003cp>The region served by Trieste’s mental health system is home to fewer than 300,000 people, compared to Los Angeles County’s population of nearly 10 million. Italy has socialized medicine. The U.S. does not. And here, with a crisis on the streets, so many public health officials stress that \u003ca href=\"https://link.springer.com/article/10.1007/s00127-020-01849-1\">getting people inside \u003c/a>is paramount.\u003c/p>\n\u003cp>The small group of travelers knew they had to adapt their approach to those realities, and for a true community solution, they had to concentrate the effort. They settled on Hollywood.\u003c/p>\n\u003cp>In 2022, the California Mental Health Oversight and Accountability Commission awarded the county a \u003ca href=\"https://file.lacounty.gov/SDSInter/bos/supdocs/6e2457e0-2310-4564-a15a-e1c249bbbee2.pdf\">grant of nearly $117 million \u003c/a>for a five-year pilot. The goal: to seed a new culture of recovery in the community.\u003c/p>\n\u003ch2>\u003cstrong>A crossroads\u003c/strong>\u003c/h2>\n\u003cp>That summer, another “misunderstanding.”\u003c/p>\n\u003cp>Poon was arrested for assaulting a drinking buddy, an elderly neighbor at an East Los Angeles apartment building where she’d finally found herself a place. She was facing felony charges and possible state prison time. From jail, she called Swan, who tapped her life savings to get her sister out on bond.\u003c/p>\n\u003cp>But once Mignon walked free, she refused contact with the family, Swan said, so she wrote the public defender.\u003c/p>\n\u003cp>“Drug testing, mental health treatment, anything but prison,” she pleaded in a letter, and she begged him to get her sister a diagnosis. “She [has] been needing one for about fifty years, if not sixty,” she said. “I told him!”\u003c/p>\n\u003cp>Meanwhile, Poon was back on \u003ca href=\"https://homeless.lacounty.gov/skid-row-2/\">Skid Row\u003c/a>. She was feeling the weight of her age, so she made a choice to head to Hollywood, where neighborhood homeless outreach teams regularly “wake you up and ask you, ‘Why you not housed?’” she said. “Then you explain your situation, and they try to help you get into a shelter.”\u003c/p>\n\u003cp>This was her big break. Poon landed at a Hollywood women’s shelter where staff reached out to the Los Angeles County Mental Health Department on her behalf — just as they were layering key pieces of the Hollywood 2.0 pilot into place.\u003c/p>\n\u003cp>“That’s when I got my social worker, therapist and my psychiatrist,” said Poon.\u003c/p>\n\u003cp>Today, as two of her Hollywood 2.0 clinicians put it, Poon’s inner spirit shines through. Dr. Jonathan Gomez, her first psychiatrist under the program, and Eleanor Bray, her current social worker, described her as charismatic, sweet, welcoming and warm, with a dose of sass and a sense of humor.\u003c/p>\n\u003cp>But when Gomez first visited Poon in August of 2023 at the shelter, she struck him as “one of the most symptomatically-distressed people I’ve seen.”\u003c/p>\n\u003cp>Poon believed the neighbor she’d assaulted was part of a conspiracy to electronically monitor her and had implanted a device in her foot, he said. She was so focused on this violation that she could hardly finish a sentence.\u003c/p>\n\u003cp>“I was like, yeah, let’s look at your foot,” he said. “Let’s also talk about how much of this comes and goes with your sleep pattern and with the substance use.”\u003c/p>\n\u003cp>Poon has a diagnosis now: schizoaffective disorder, bipolar type. Mania from bipolar disorder can cause psychosis. Poon’s diagnosis is schizoaffective because she sometimes experiences psychosis when she\u003cem> isn’t\u003c/em> manic. But what matters more than that diagnostic label is alleviating distress.\u003c/p>\n\u003cfigure id=\"attachment_12076579\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Program director McKenzie Dowdle, left, helps Mignon Annette Poon prepare lunch for members and staff in the kitchen at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hollywood 2.0 approach had him visiting her at the shelter once a week. It allowed them to work together to fine-tune her medication regimen.\u003c/p>\n\u003cp>“I think they help me stay focused, stay positive, stay uplifted,” Poon said of the meds, “helping my thoughts to be clear.”\u003c/p>\n\u003cp>Soon, Poon was ready to move to transitional housing. But she was feeling paranoid about her shelter roommate, Gomez said, and told him she might head back to the streets. With his input, her care team got her into \u003ca href=\"https://homeless.lacounty.gov/news/help-at-a-hollywood-hotel/\">The Mark Twain Hotel\u003c/a>, which had just been repurposed as Hollywood 2.0 transitional housing with intensive onsite support — and single rooms.\u003c/p>\n\u003cp>It was there, more than two and a half years ago, that Poon took her last sip of alcohol. Five months later, to her sister’s delight, a judge granted her mental health diversion. If she stayed on course, the felony charges against her would be dismissed. And in September 2024, Mignon’s team helped her move into her very own subsidized apartment.\u003c/p>\n\u003ch2>\u003cstrong>“Community will heal us all”\u003c/strong>\u003c/h2>\n\u003cp>Getting a client medicated, sober and permanently housed is often considered the pinnacle of success. But after years in survival mode, said Bray, Poon’s social worker, finding oneself alone without all the support of transitional housing programs “can be quite shocking.”\u003c/p>\n\u003cp>The Fountain House Hollywood clubhouse had opened its doors on Sunset Boulevard in July of 2024, joining more than 300 others \u003ca href=\"https://clubhouse-intl.org/\">worldwide\u003c/a> that hew to the same philosophy: empowering members to take ownership of their own recovery.[aside postID=news_12074674 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/012326_SINGINGHEALTH_GH_011-KQED.jpg'] When Poon moved into her own apartment two months later, Bray encouraged her to check it out, and said it’s been “monumental in her recovery.” There, she said, Poon is making friends, collaborating on a common purpose, learning to follow recipes.\u003c/p>\n\u003cp>Her thoughts still return to memories of that conspiracy to electronically monitor her. In the lexicon of psychiatry, that’s known as a \u003ca href=\"https://my.clevelandclinic.org/health/diseases/9599-delusional-disorder\">fixed delusion\u003c/a>.\u003c/p>\n\u003cp>To Poon, it’s truth. But she said her medication appears to be helping. Meanwhile, she is embracing the coping mechanisms that she and Bray have worked on together: distraction from the inner life with a focus on the here and now.\u003c/p>\n\u003cp>“Something like cooking is very grounding,” Bray said. “You’re very out of your head, you’re very in your body. Plus the aspect of community, I mean, I think community is really the thing that will heal us all.”\u003c/p>\n\u003ch2>\u003cstrong>Final pieces\u003c/strong>\u003c/h2>\n\u003cp>So far, Hollywood 2.0 has moved more than 700 people off the streets, helping to slash the neighborhood’s homelessness by \u003ca href=\"https://www.rand.org/news/press/2025/07/number-of-unhoused-residents-drops-across-three-la.html\">nearly half\u003c/a> in 2024 alone.\u003c/p>\n\u003cfigure id=\"attachment_12076580\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076580\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Program director McKenzie Dowdle, left, chats with Mignon Annette Poon as they prepare lunch for members and staff in the kitchen at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s job counseling, and a new welcoming clinic for clients well enough to get there on their own. Poon will soon join them. An urgent care drop-in and peer-respite center is scheduled to open later this year, so those in crisis can be stabilized without the trauma of hospitalization.\u003c/p>\n\u003cp>And this fall, at more than 170 members and counting, Fountain House Hollywood will move to a much larger space.\u003c/p>\n\u003cp>A final step is now taking shape: persuading Hollywood businesses and residents \u003ca href=\"https://www.hollywood4wrd.org/hollywood-2-0/volunteer\">to take part\u003c/a>, by donating, hiring participants or committing to spend quality time with them by volunteering, leading classes and more.\u003c/p>\n\u003cp>“It’s such a big, big change we’re looking to achieve,” said Morrison, “and that’s why I keep calling it a generational change. This is just the beginning of something.”\u003c/p>\n\u003ch2>\u003cstrong>A calm life\u003c/strong>\u003c/h2>\n\u003cfigure id=\"attachment_12081244\" class=\"wp-caption alignright\" style=\"max-width: 731px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/SabrinaMignonOriginalPhoto.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/SabrinaMignonOriginalPhoto.jpeg\" alt=\"\" width=\"731\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/SabrinaMignonOriginalPhoto.jpeg 731w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/SabrinaMignonOriginalPhoto-160x280.jpeg 160w\" sizes=\"auto, (max-width: 731px) 100vw, 731px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sabrina Bradley and her birth mother, Mignon Poon, attended the clubhouse’s 2024 Thanksgiving celebration. \u003ccite>(Courtesy of Sabrina Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last month, Poon returned to criminal court for the last time, for dismissal of her charges. Her life is calm, she said, anchored by the clubhouse — and a budding relationship with her daughter.\u003c/p>\n\u003cp>Poon reached out to her daughter again once she was treated and sober.\u003c/p>\n\u003cp>“She likes strawberry milkshakes, so I would take her to Mel’s Diner,” Bradley said of her mother.\u003c/p>\n\u003cp>Together, they’ve taken two road trips to Las Vegas and are discovering common passions: butterflies, the colors pink — “girly stuff,” Bradley said.\u003c/p>\n\u003cp>“Her bathroom and my bathroom are like the same, you know, beauty products all over the place, hair products all over the place.”\u003c/p>\n\u003cp>“We still bonding,” said Poon. “We still working on our relationship.”\u003c/p>\n\u003cp>The state grant for the Hollywood 2.0 pilot program runs out next year. And MediCal, which has helped fund the program, is \u003ca href=\"https://www.kqed.org/news/12051681/local-health-providers-prepare-for-medi-cal-cuts\">threatened by big federal cuts\u003c/a>. But Los Angeles County mental health leaders said they’ll find ways to keep the successful parts of the project going.\u003c/p>\n\u003cp>Already, they have plans to open clubhouses in six more neighborhoods. Each, they said, could become a hub for community-based healing.\u003c/p>\n\u003cp>\u003cem>This reporting was supported in part by California Humanities, the California Health Care Foundation and the California Endowment. It’s part of \u003c/em>\u003ca href=\"http://novemberinmysoul.com\">\u003cem>November In My Soul\u003c/em>\u003c/a>\u003cem>, a narrative podcast co-created by Lee Romney and former public defender Jenny Johnson that is slated for release in 2027\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Mignon Poon strode into the small clubhouse kitchen \u003ca href=\"https://www.kqed.org/news/tag/los-angeles-county\">in Hollywood\u003c/a> on a morning in late November, a lunch recipe waited on the table: for barbecued chicken, mac and cheese and collard greens.\u003c/p>\n\u003cp>She pulled on a pair of hygienic gloves and, with Motown vibes wafting from a Bluetooth speaker, got to work with two fellow members of the clubhouse, called \u003ca href=\"https://www.fountainhouse.org/services/hollywood\">Fountain House Hollywood\u003c/a>, chatting and singing along as they cooked.\u003c/p>\n\u003cp>For Poon, 66, this easy camaraderie was nearly unimaginable just three years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She’d spent decades living with severe, untreated mental illness, bouncing from the streets to homeless shelters. To quiet her mind, she self-medicated with alcohol and, sometimes, hard drugs. It all led to countless nights spent sleeping on the hard ground.\u003c/p>\n\u003cp>“This place right here saved me,” Poon, whose caramel eyes shine with playful mischief, said at the clubhouse, a bustling collective that operates out of a repurposed Sunset Boulevard office space. “Besides get up and start drinking, I get dressed and come here. It gives me something to look forward to.”\u003c/p>\n\u003cfigure id=\"attachment_12076577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_13-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mignon Annette Poon is pictured at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The private, nonprofit clubhouse is open to anyone diagnosed with a serious mental illness who lives, works or receives mental health treatment in Hollywood. The Los Angeles County Department of Mental Health doesn’t run it. In fact, there are no clinicians on staff.\u003c/p>\n\u003cp>County mental health leaders partnered with a \u003ca href=\"https://www.fountainhouse.org/about\">storied New York-based nonprofit\u003c/a> to bring the clubhouse to Los Angeles, so their clients could participate. It’s part of an ambitious multilayered pilot project — which seeks to collaborate with community organizations to build an ecosystem of care that goes well beyond conventional clinical treatment.\u003c/p>\n\u003cp>Fountain House Hollywood is just one piece of that project to remake mental health care in the neighborhood, which officials termed “\u003ca href=\"https://www.hollywood4wrd.org/hollywood-2-0\">Hollywood 2.0.\u003c/a>”\u003c/p>\n\u003cp>Hollywood 2.0 architects say intensive intervention by clinical teams, who deliver treatment on the streets and in shelters, is a must for people like Poon, who’ve survived unhoused and untreated for years, often with \u003ca href=\"http://www.samhsa.gov/substance-use/treatment/co-occurring-disorders\">co-occurring addictions\u003c/a>. So is safe and stable housing. But true recovery, they maintain, requires more: a sense of agency, purpose, belonging and joy, in community.\u003c/p>\n\u003cp>Poon, one of Hollywood 2.0’s earliest clients, is thriving. And when it comes to that sense of belonging, she and her care team agree: the clubhouse has been key.\u003c/p>\n\u003cp>Those who choose to join come on weekdays, set the agenda and commit to one of two work assignments to keep the place running. Poon picked the hospitality team, which does all the shopping, meal planning, cooking and serving.\u003c/p>\n\u003cp>“We respect each other,” she said of her peers. “It’s a family. It’s a community. It’s love.”\u003c/p>\n\u003ch2>\u003cstrong>A core trauma \u003c/strong>\u003c/h2>\n\u003cp>Poon is an elegant dresser who favors rose-tinted glasses that lend her an air of celebrity. She grew up in Albany, Georgia, three hours south of Atlanta. Her mom was born to a Black mother and white father; Her dad was Seminole Indian. “That made me international flavors,” she said, smiling.\u003c/p>\n\u003cp>Her mother earned four college degrees, but was often absent, Poon said, and alcoholism haunted the family for generations. At age 17, Poon ran away from home with a man she described as a pimp and a dope dealer.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “I didn’t know what sex trafficking meant,” she said. “No one talked about it back then.”\u003c/p>\n\u003cp>He put her on a plane to San Francisco, where she peddled her body and his drugs. In time, she was jailed for selling drugs to an undercover cop. She got out, had a brief relationship, got pregnant, then moved to Los Angeles and was jailed again.\u003c/p>\n\u003cp>“I wanted my daughter,” Poon said softly, “so I had her.”\u003c/p>\n\u003cp>At 20 years old, Poon gave birth on May 8, 1980, just before Mother’s Day, in the jail ward of the county hospital. Her little girl, who she named Sabrina, was premature and drug addicted, and went straight to an incubator. Soon after, Poon lost her child to the foster care system.\u003c/p>\n\u003cp>This is a trauma, Poon said she revisits every Mother’s Day, every Christmas — practically every day. A few years after her daughter was taken from her, she said she called the county to try to get her back.\u003c/p>\n\u003cp>“They said, ‘Oh, she’s been adopted,’” Poon said. “That screwed me up. I was depressed and didn’t even know I was depressed. Didn’t take no medication.”\u003c/p>\n\u003cp>She didn’t know it, but in addition to depression, she was experiencing cycles of mania and psychosis. Early each morning, as years turned to decades, she’d start drinking. She’d argue with shelter roommates and neighbors, she said, disputes she called “misunderstandings.”\u003c/p>\n\u003cfigure id=\"attachment_12076576\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_07-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mignon Annette Poon leads a morning meeting with the hospitality team at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would get places and lose them,” said Poon. “I was homeless.”\u003c/p>\n\u003cp>Her eldest sister, Rosemary Swan, 69, kept track of Poon’s journey whenever she could: a decade or more in Washington D.C., a long stint on the streets of Atlanta, and through Poon’s travels in the Midwest.\u003c/p>\n\u003cp>“For a long time she was like a \u003ca href=\"https://www.nami.org/blog/understanding-dual-diagnosis/\">dual-diagnosis\u003c/a> case,” said Swan, who noted that mental illness, like alcoholism, also runs in the family. “It just went unmanaged.”\u003c/p>\n\u003cp>Every time she spoke to her younger sister, that core trauma came up: the loss of her daughter. So, Swan tried to help Poon find Sabrina.\u003c/p>\n\u003cp>“For over 25 years, she worried me about it,” Swan said. “I kept telling her, I’m trying, I’m trying. It hurt me that I couldn’t find the child. It’s probably why she went back to California. She never gave up.”\u003c/p>\n\u003ch2>\u003cstrong>A reunion\u003c/strong>\u003c/h2>\n\u003cp>In 2016, Poon returned to the streets of Los Angeles. Then, in 2018, while staying at a shelter in South Los Angeles, she picked up her cell phone and went down a rabbit hole.\u003c/p>\n\u003cp>She knew her daughter’s first name and birthdate. A Google search yielded gold, because Sabrina Bradley — her adoptive father’s last name — had a booming \u003ca href=\"https://www.skinbysabrina.com/?srsltid=AfmBOorTkD-tr6DmSKh_JklKwcdqZpILJyuVhp4J6FhOfmwPo95nQJS5\">skin care business\u003c/a> and big \u003ca href=\"https://www.instagram.com/sabrinatoday/\">online presence\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12080804\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12080804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-scaled.jpeg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-2000x2667.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/MignonSabrinaReuniteOct2018-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sabrina Bradley and her birth mother, Mignon Poon, embrace after reuniting in October 2018. Today, with Poon in recovery, they’re bonding. \u003ccite>(Courtesy of Sabrina Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a child, Bradley said, she’d tell her dad, “The angels are around me, my mom is near me. And everyone would be, like, ‘there she goes in her fantasy world.”\u003c/p>\n\u003cp>By age 29, while living in Portland, she made a vow.\u003c/p>\n\u003cp>“I told myself, I’m going to move [back] to Los Angeles, and I’m going to do two things,” said Bradley, now 45. “Find my mother and create a name for myself in the beauty business.”\u003c/p>\n\u003cp>She achieved her second goal, and on a Sunday in 2018, was praying on the first.\u003c/p>\n\u003cp>“I said God, if you’re real, just give me a sign, just show me that my mom is near me,” Bradley recalled. “I won’t ask for anything else. But if you’re real, please show me. Please show me.”\u003c/p>\n\u003cp>That evening, after a schedule packed with clients, her phone rang. The woman on the line asked for “Sabrina, the esthetician.” Bradley assumed she wanted to book a facial. “No,’ the caller responded. “My name’s Mignon Poon. I’m your mom.”\u003c/p>\n\u003cp>Bradley went straight to the shelter and brought Poon into her home. But her mother was still using drugs, Bradley said, and her mental illness remained untreated. Police showed up at the house more than once when Poon was having what appeared to be a manic episode, banging on the doors of random neighbors.\u003c/p>\n\u003cp>They’d been together for just three weeks. Then, Bradley put her mom in a cab, and communications between them went dark.\u003c/p>\n\u003cp>“Me and her had a misunderstanding,” said Poon. “I had to go back to the shelter.”\u003c/p>\n\u003cp>As Poon returned to her old life, something was happening in LA County mental health offices and nonprofit community meeting spaces. The project that would come to be known as Hollywood 2.0 was taking shape.\u003c/p>\n\u003ch2>\u003cstrong>The right to a whole life\u003c/strong>\u003c/h2>\n\u003cp>The seed was planted more than a dozen years ago. The Hollywood neighborhood was benefiting from a burst of investment — hotels, housing and retail. But homelessness was also on the rise. \u003ca href=\"https://www.heartforwardla.org/our-staff\">Kerry Morrison\u003c/a>, who then ran Hollywood’s business improvement district, said she came face to face daily with people “that stayed for months if not years in the same alley or the same bus bench.”\u003c/p>\n\u003cp>Morrison was not a mental health expert, but she was a community leader. She had helped pull together a \u003ca href=\"https://www.hollywood4wrd.org/about\">coalition \u003c/a>of Hollywood homeless service providers and nonprofits, and in 2013, they identified the people outside “most likely to die unless we intervened.” All were living with serious mental illness.\u003c/p>\n\u003cfigure id=\"attachment_12076575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_05-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The meditation room and library at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2015, she applied for a fellowship to study one question: “Why is it so hard to help people with serious mental illness move from the streets into a safe place, and who is doing it better?”\u003c/p>\n\u003cp>Her research took her all the way to \u003ca href=\"https://mindsitenews.org/2021/09/29/the-old-asylum-is-gone-today-a-mental-health-system-serves-all/\">Trieste\u003c/a>, Italy, a port city on the Adriatic coast. Trieste had emptied its psychiatric hospital system decades earlier, just like \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/7356002/\">California did\u003c/a> starting in the late 1960s. But Trieste shifted instead towards something more holistic.\u003c/p>\n\u003cp>Rather than the U.S. top-down approach of “experts” dictating treatment, Morrison said, she witnessed respectful collaboration in Trieste.\u003c/p>\n\u003cp>“They talk more about life plans and life aspirations than diagnoses or symptoms,” she said, “and when you operate with that kind of cultural predisposition, all the edges get softened, trust begins to emerge.”\u003c/p>\n\u003cp>Social collectives provide paid jobs and community connections to those living with serious mental illness. The hospital’s small psychiatric ward was unlocked, not even full, and Morrison saw no one living on the streets with untreated psychosis. The community clinics, where staff and clients share meals, she said, felt “incredibly warm and open and free. You can come anytime to talk to anyone, without an appointment.”\u003c/p>\n\u003cfigure id=\"attachment_12076574\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_03-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mignon Annette Poon shows off the small store area at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morrison said she wept as her first visit came to an end.\u003c/p>\n\u003cp>“I don’t know what to do with this,” she told her guide. “I run a business improvement district. No one is ever gonna believe me that you guys are so kind and compassionate.”\u003c/p>\n\u003cp>She was wrong. She cold-called Jonathan Sherin, the then-head of the Los Angeles County Department of Mental Health, and he went all in. In 2017, he and Morrison traveled back to Italy for \u003ca href=\"https://www.youtube.com/watch?v=gnYydKZzIGM\">a tour and a conference \u003c/a>focused on the importance of nurturing aspirations, relationships and personal fulfillment in those living with mental illness. Joining them was a small group of Los Angeles County leaders, mental health advocates, law enforcement representatives and a judge.\u003c/p>\n\u003cp>“Everybody was gobsmacked,” Morrison said. “And that’s how it started.”\u003c/p>\n\u003cp>The region served by Trieste’s mental health system is home to fewer than 300,000 people, compared to Los Angeles County’s population of nearly 10 million. Italy has socialized medicine. The U.S. does not. And here, with a crisis on the streets, so many public health officials stress that \u003ca href=\"https://link.springer.com/article/10.1007/s00127-020-01849-1\">getting people inside \u003c/a>is paramount.\u003c/p>\n\u003cp>The small group of travelers knew they had to adapt their approach to those realities, and for a true community solution, they had to concentrate the effort. They settled on Hollywood.\u003c/p>\n\u003cp>In 2022, the California Mental Health Oversight and Accountability Commission awarded the county a \u003ca href=\"https://file.lacounty.gov/SDSInter/bos/supdocs/6e2457e0-2310-4564-a15a-e1c249bbbee2.pdf\">grant of nearly $117 million \u003c/a>for a five-year pilot. The goal: to seed a new culture of recovery in the community.\u003c/p>\n\u003ch2>\u003cstrong>A crossroads\u003c/strong>\u003c/h2>\n\u003cp>That summer, another “misunderstanding.”\u003c/p>\n\u003cp>Poon was arrested for assaulting a drinking buddy, an elderly neighbor at an East Los Angeles apartment building where she’d finally found herself a place. She was facing felony charges and possible state prison time. From jail, she called Swan, who tapped her life savings to get her sister out on bond.\u003c/p>\n\u003cp>But once Mignon walked free, she refused contact with the family, Swan said, so she wrote the public defender.\u003c/p>\n\u003cp>“Drug testing, mental health treatment, anything but prison,” she pleaded in a letter, and she begged him to get her sister a diagnosis. “She [has] been needing one for about fifty years, if not sixty,” she said. “I told him!”\u003c/p>\n\u003cp>Meanwhile, Poon was back on \u003ca href=\"https://homeless.lacounty.gov/skid-row-2/\">Skid Row\u003c/a>. She was feeling the weight of her age, so she made a choice to head to Hollywood, where neighborhood homeless outreach teams regularly “wake you up and ask you, ‘Why you not housed?’” she said. “Then you explain your situation, and they try to help you get into a shelter.”\u003c/p>\n\u003cp>This was her big break. Poon landed at a Hollywood women’s shelter where staff reached out to the Los Angeles County Mental Health Department on her behalf — just as they were layering key pieces of the Hollywood 2.0 pilot into place.\u003c/p>\n\u003cp>“That’s when I got my social worker, therapist and my psychiatrist,” said Poon.\u003c/p>\n\u003cp>Today, as two of her Hollywood 2.0 clinicians put it, Poon’s inner spirit shines through. Dr. Jonathan Gomez, her first psychiatrist under the program, and Eleanor Bray, her current social worker, described her as charismatic, sweet, welcoming and warm, with a dose of sass and a sense of humor.\u003c/p>\n\u003cp>But when Gomez first visited Poon in August of 2023 at the shelter, she struck him as “one of the most symptomatically-distressed people I’ve seen.”\u003c/p>\n\u003cp>Poon believed the neighbor she’d assaulted was part of a conspiracy to electronically monitor her and had implanted a device in her foot, he said. She was so focused on this violation that she could hardly finish a sentence.\u003c/p>\n\u003cp>“I was like, yeah, let’s look at your foot,” he said. “Let’s also talk about how much of this comes and goes with your sleep pattern and with the substance use.”\u003c/p>\n\u003cp>Poon has a diagnosis now: schizoaffective disorder, bipolar type. Mania from bipolar disorder can cause psychosis. Poon’s diagnosis is schizoaffective because she sometimes experiences psychosis when she\u003cem> isn’t\u003c/em> manic. But what matters more than that diagnostic label is alleviating distress.\u003c/p>\n\u003cfigure id=\"attachment_12076579\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Program director McKenzie Dowdle, left, helps Mignon Annette Poon prepare lunch for members and staff in the kitchen at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hollywood 2.0 approach had him visiting her at the shelter once a week. It allowed them to work together to fine-tune her medication regimen.\u003c/p>\n\u003cp>“I think they help me stay focused, stay positive, stay uplifted,” Poon said of the meds, “helping my thoughts to be clear.”\u003c/p>\n\u003cp>Soon, Poon was ready to move to transitional housing. But she was feeling paranoid about her shelter roommate, Gomez said, and told him she might head back to the streets. With his input, her care team got her into \u003ca href=\"https://homeless.lacounty.gov/news/help-at-a-hollywood-hotel/\">The Mark Twain Hotel\u003c/a>, which had just been repurposed as Hollywood 2.0 transitional housing with intensive onsite support — and single rooms.\u003c/p>\n\u003cp>It was there, more than two and a half years ago, that Poon took her last sip of alcohol. Five months later, to her sister’s delight, a judge granted her mental health diversion. If she stayed on course, the felony charges against her would be dismissed. And in September 2024, Mignon’s team helped her move into her very own subsidized apartment.\u003c/p>\n\u003ch2>\u003cstrong>“Community will heal us all”\u003c/strong>\u003c/h2>\n\u003cp>Getting a client medicated, sober and permanently housed is often considered the pinnacle of success. But after years in survival mode, said Bray, Poon’s social worker, finding oneself alone without all the support of transitional housing programs “can be quite shocking.”\u003c/p>\n\u003cp>The Fountain House Hollywood clubhouse had opened its doors on Sunset Boulevard in July of 2024, joining more than 300 others \u003ca href=\"https://clubhouse-intl.org/\">worldwide\u003c/a> that hew to the same philosophy: empowering members to take ownership of their own recovery.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> When Poon moved into her own apartment two months later, Bray encouraged her to check it out, and said it’s been “monumental in her recovery.” There, she said, Poon is making friends, collaborating on a common purpose, learning to follow recipes.\u003c/p>\n\u003cp>Her thoughts still return to memories of that conspiracy to electronically monitor her. In the lexicon of psychiatry, that’s known as a \u003ca href=\"https://my.clevelandclinic.org/health/diseases/9599-delusional-disorder\">fixed delusion\u003c/a>.\u003c/p>\n\u003cp>To Poon, it’s truth. But she said her medication appears to be helping. Meanwhile, she is embracing the coping mechanisms that she and Bray have worked on together: distraction from the inner life with a focus on the here and now.\u003c/p>\n\u003cp>“Something like cooking is very grounding,” Bray said. “You’re very out of your head, you’re very in your body. Plus the aspect of community, I mean, I think community is really the thing that will heal us all.”\u003c/p>\n\u003ch2>\u003cstrong>Final pieces\u003c/strong>\u003c/h2>\n\u003cp>So far, Hollywood 2.0 has moved more than 700 people off the streets, helping to slash the neighborhood’s homelessness by \u003ca href=\"https://www.rand.org/news/press/2025/07/number-of-unhoused-residents-drops-across-three-la.html\">nearly half\u003c/a> in 2024 alone.\u003c/p>\n\u003cfigure id=\"attachment_12076580\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12076580\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/20260309_MIGNON_23-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Program director McKenzie Dowdle, left, chats with Mignon Annette Poon as they prepare lunch for members and staff in the kitchen at Fountain House Hollywood, also known as “the clubhouse” in Los Angeles, on March 9, 2026. \u003ccite>(Alisha Jucevic/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s job counseling, and a new welcoming clinic for clients well enough to get there on their own. Poon will soon join them. An urgent care drop-in and peer-respite center is scheduled to open later this year, so those in crisis can be stabilized without the trauma of hospitalization.\u003c/p>\n\u003cp>And this fall, at more than 170 members and counting, Fountain House Hollywood will move to a much larger space.\u003c/p>\n\u003cp>A final step is now taking shape: persuading Hollywood businesses and residents \u003ca href=\"https://www.hollywood4wrd.org/hollywood-2-0/volunteer\">to take part\u003c/a>, by donating, hiring participants or committing to spend quality time with them by volunteering, leading classes and more.\u003c/p>\n\u003cp>“It’s such a big, big change we’re looking to achieve,” said Morrison, “and that’s why I keep calling it a generational change. This is just the beginning of something.”\u003c/p>\n\u003ch2>\u003cstrong>A calm life\u003c/strong>\u003c/h2>\n\u003cfigure id=\"attachment_12081244\" class=\"wp-caption alignright\" style=\"max-width: 731px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/SabrinaMignonOriginalPhoto.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12081244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/SabrinaMignonOriginalPhoto.jpeg\" alt=\"\" width=\"731\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/SabrinaMignonOriginalPhoto.jpeg 731w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/04/SabrinaMignonOriginalPhoto-160x280.jpeg 160w\" sizes=\"auto, (max-width: 731px) 100vw, 731px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sabrina Bradley and her birth mother, Mignon Poon, attended the clubhouse’s 2024 Thanksgiving celebration. \u003ccite>(Courtesy of Sabrina Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last month, Poon returned to criminal court for the last time, for dismissal of her charges. Her life is calm, she said, anchored by the clubhouse — and a budding relationship with her daughter.\u003c/p>\n\u003cp>Poon reached out to her daughter again once she was treated and sober.\u003c/p>\n\u003cp>“She likes strawberry milkshakes, so I would take her to Mel’s Diner,” Bradley said of her mother.\u003c/p>\n\u003cp>Together, they’ve taken two road trips to Las Vegas and are discovering common passions: butterflies, the colors pink — “girly stuff,” Bradley said.\u003c/p>\n\u003cp>“Her bathroom and my bathroom are like the same, you know, beauty products all over the place, hair products all over the place.”\u003c/p>\n\u003cp>“We still bonding,” said Poon. “We still working on our relationship.”\u003c/p>\n\u003cp>The state grant for the Hollywood 2.0 pilot program runs out next year. And MediCal, which has helped fund the program, is \u003ca href=\"https://www.kqed.org/news/12051681/local-health-providers-prepare-for-medi-cal-cuts\">threatened by big federal cuts\u003c/a>. But Los Angeles County mental health leaders said they’ll find ways to keep the successful parts of the project going.\u003c/p>\n\u003cp>Already, they have plans to open clubhouses in six more neighborhoods. Each, they said, could become a hub for community-based healing.\u003c/p>\n\u003cp>\u003cem>This reporting was supported in part by California Humanities, the California Health Care Foundation and the California Endowment. It’s part of \u003c/em>\u003ca href=\"http://novemberinmysoul.com\">\u003cem>November In My Soul\u003c/em>\u003c/a>\u003cem>, a narrative podcast co-created by Lee Romney and former public defender Jenny Johnson that is slated for release in 2027\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Here are the morning’s top stories on Wednesday, February 18, 2026\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Search and rescue crews are looking for nine backcountry skiers after \u003ca href=\"https://www.capradio.org/articles/2026/02/17/six-skiers-rescued-after-nevada-county-avalanche-search-continues-for-nine-others-missing/\">an avalanche near Castle Peak in the Sierra Nevada\u003c/a> Tuesday morning. Six people were safely rescued. Two of them were transported to the hospital for treatment.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">The city of Los Angeles is looking to ban the construction and operation of some private detention centers. This comes amid reports that warehouses across the country are being eyed as potential detention centers, by President Trump and federal immigration officials. \u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Work is slow in Hollywood right now. But at least one new type of production is hiring. They are bingeable shows made to be watched on your phone. And they’re called vertical micro dramas.\u003c/span>\u003c/li>\n\u003c/ul>\n\u003ch2 class=\"page-title\">\u003ca href=\"https://www.capradio.org/articles/2026/02/17/six-skiers-rescued-after-nevada-county-avalanche-search-continues-for-nine-others-missing/\">\u003cstrong>Search continues for nine skiers missing after Nevada County avalanche\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>The Nevada County Sheriff’s Office says six backcountry skiers who survived an avalanche Tuesday have been rescued.\u003c/p>\n\u003cp>Officials said it took search and rescue teams several hours to reach the survivors and transport them to safety due to extreme weather conditions. The six skiers suffered varying injuries, and two were transported to a hospital for treatment. The survivors had been told to shelter in place at the avalanche site as they were awaiting rescue.\u003c/p>\n\u003cp>The sheriff’s office said the search for the remaining nine skiers who were caught in the avalanche is ongoing, pending weather conditions.\u003c/p>\n\u003cp>Blackbird Mountain Guides, an outdoor activities company located in Truckee, \u003ca href=\"https://blackbirdguides.com/pages/live-incident-updates\">released a statement Tuesday afternoon\u003c/a> saying its guides and clients were involved in the incident, and that it is coordinating with the Nevada County Sheriff’s Office. The company said the 16 people had been staying at the Frog Lake huts in the Castle Peak area since Feb. 15. “The group was in the process of returning to the trailhead at the conclusion of a three-day trip when the incident occurred,” the statement read.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sierraavalanchecenter.org/\">Sierra Avalanche Center\u003c/a>, which provides forecasts and information for backcountry travel in the region, issued a warning for the greater Lake Tahoe area, including Castle Peak, hours before the avalanche occurred. Lead forecaster Brandon Schwartz said the area had received two to three feet of snow in the preceding 48 hours, falling at a rate of two to four inches per hour. He said weak layers in the existing snowpack from a dry spell in January and February are adding to the dangers.\u003c/p>\n\u003ch2 class=\"ArticlePage-headline\">\u003ca href=\"https://laist.com/news/politics/la-zoning-law-ban-some-private-detention-centers-contracting-with-ice\">\u003cstrong>LA revives zoning law that could ban some private detention centers from contracting with ICE\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>The L.A. City Council has taken a step toward reactivating a zoning code that could prohibit the construction and operation of private detention centers for unaccompanied children.\u003c/p>\n\u003cp>The ordinance is meant to prevent private facilities from contracting with federal law enforcement agencies like ICE, according to Councilmember Tim McOsker, who introduced the motion last Wednesday. The zoning ordinance was first introduced in 2019 in response to President Donald Trump’s immigration policies during his first term. The file was drafted in 2021, but was never officially adopted, and therefore it expired in 2024.\u003c/p>\n\u003cp>The City Council\u003cb> \u003c/b>last week\u003cb> \u003c/b>voted to revive the file and update the drafted zoning code in response to immigration raids. “The concern, of course, was the worry that profiteers, private entities working with the federal government, were creating detention centers across the country,” McOsker said during the council meeting. “Those were creating human rights violations and poor living conditions, disease, death and harms that were unconstitutional to residents of the United States.”\u003c/p>\n\u003cp>The Department of Homeland Security \u003ca class=\"Link\" href=\"https://www.dhs.gov/news/2025/12/11/more-10000-illegal-aliens-arrested-sanctuary-los-angeles-dhs-launched-operations\" target=\"_blank\" rel=\"noopener\" data-cms-ai=\"0\">\u003cu>reported\u003c/u>\u003c/a> it has detained more than 10,000 people in Los Angeles since raids started in June. The raids have mostly upended immigrant, working-class communities and negatively hit the local economy, according to a recent \u003ca class=\"Link\" href=\"https://laist.com/news/politics/la-county-identifies-zip-codes-hit-hardest-by-ice\" target=\"_blank\" rel=\"noopener\" data-cms-ai=\"0\">\u003cu>L.A. County report\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>In response to the raids, the city has limited power, but McOsker said it has authority over land use and he’s asking the city to consider wielding that power. “Do we want to prohibit private detention centers in every zone in the city of Los Angeles?” McOsker said. He added that L.A. has an opportunity now to update its zoning laws to regulate private detention centers. McOsker said he doesn’t know of any proposed private detention centers in L.A., but that the facilities have been reported in at least eight states.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kcrw.com/stories/hollywood-production-booms-vertically\">\u003cstrong>Hollywood production booms — vertically\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>Work is painfully slow in Hollywood right now, but not for vertical microdramas — bingeable, campy shows made to be watched on your phone in episodes that cycle past in 90 seconds or less.\u003c/p>\n\u003cp>Verticals generated \u003ca class=\"rich-text-hyperlink\" href=\"https://www.owlandco.com/insights/the-short-report-ep-1-the-long-view-on-short-form\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cu>$1.3 billion in the US in 2025\u003c/u>\u003c/a>, according to the streaming consultant Owl and Co., as millions of people watched shows like \u003ca class=\"rich-text-hyperlink\" href=\"https://www.imdb.com/title/tt35180688/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cu>Fake Married to my Billionaire CEO\u003c/u>\u003c/i>\u003c/a>\u003ci>,\u003c/i> \u003ca class=\"rich-text-hyperlink\" href=\"https://www.imdb.com/title/tt38573297/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cu>Watch Out I’m a Lady Boss\u003c/u>\u003c/i>\u003c/a>, and \u003ca class=\"rich-text-hyperlink\" href=\"https://www.imdb.com/title/tt39375734/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cu>Kissing The Wrong Brother\u003c/u>\u003c/i>\u003c/a>. Revenue comes from advertising and the fees people pay to watch the shows. Now, studios like \u003ca class=\"rich-text-hyperlink\" href=\"https://www.hollywoodreporter.com/business/business-news/fox-entertainment-invests-in-holywater-ai-microdramas-1236396802/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cu>Fox\u003c/u>\u003c/a> and \u003ca class=\"rich-text-hyperlink\" href=\"https://variety.com/2026/tv/news/disney-embraces-microcontent-short-form-streaming-1236625030/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cu>Disney\u003c/u>\u003c/a> are investing in the medium.\u003c/p>\n\u003cp>The success of verticals, and their appeal to a mostly female audience, has echoes in the history of cinema, says cinematographer Michael Pessah, who teaches at the American Film Institute. “One hundred and ten years ago, when cinema was still sort of working out what its language was, you had these serialized melodramas that, maybe not coincidentally, really spoke to the female audience of the time,” says Pessah. “These were some of the first really, really successful narrative films.”\u003c/p>\n\u003cp>Pessah says today’s verticals remind him of music videos in the 1980s and ‘90s, which launched the careers of filmmakers like Spike Jonze. “Music videos were a place for innovative voices, and people with ambitious and new ways of seeing the world,” he says. “It became this hotbed of experimentation and a second film school for so many filmmakers.”\u003c/p>\n\u003cp>Today verticals appeal to production companies because of the price tag: most cost between $150,000 and $200,000 dollars per show (one show can have 60 to 90 episodes). That’s because they are shot on simple sets, quickly (but not on phones – on real cameras), and most of the work is non-union.\u003c/p>\n\u003cp>Kylie Karson, co-founder and VP of development and production with \u003ca class=\"rich-text-hyperlink\" href=\"https://www.cheratv.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cu>Chera TV\u003c/u>\u003c/a>, a new Encino-based production company and streaming platform that makes verticals, moved to LA in 2022 to act. She started working in verticals full-time in 2024. She describes the company as a creator-led artistic space that pays workers fairly and prioritizes set safety. “There needs to be people in charge that actually care about the people making these projects,” says Karson.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She founded Chera TV with fellow actor Candace Mizga, who has acted in over 30 verticals in the last two years. It’s how she got her break in Hollywood right out of acting school at NYU. “My main goal was never to be famous or to be huge. It was always just to be a full-time working actor,” says Mizga. “So for that to happen, it changed my entire life.” The women wanted to start their own company after experiencing systemic problems in verticals. They complain about a lack of diversity in casting, and productions that don’t hire intimacy coordinators or stunt coordinators.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Here are the morning’s top stories on Wednesday, February 18, 2026\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Search and rescue crews are looking for nine backcountry skiers after \u003ca href=\"https://www.capradio.org/articles/2026/02/17/six-skiers-rescued-after-nevada-county-avalanche-search-continues-for-nine-others-missing/\">an avalanche near Castle Peak in the Sierra Nevada\u003c/a> Tuesday morning. Six people were safely rescued. Two of them were transported to the hospital for treatment.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">The city of Los Angeles is looking to ban the construction and operation of some private detention centers. This comes amid reports that warehouses across the country are being eyed as potential detention centers, by President Trump and federal immigration officials. \u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Work is slow in Hollywood right now. But at least one new type of production is hiring. They are bingeable shows made to be watched on your phone. And they’re called vertical micro dramas.\u003c/span>\u003c/li>\n\u003c/ul>\n\u003ch2 class=\"page-title\">\u003ca href=\"https://www.capradio.org/articles/2026/02/17/six-skiers-rescued-after-nevada-county-avalanche-search-continues-for-nine-others-missing/\">\u003cstrong>Search continues for nine skiers missing after Nevada County avalanche\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>The Nevada County Sheriff’s Office says six backcountry skiers who survived an avalanche Tuesday have been rescued.\u003c/p>\n\u003cp>Officials said it took search and rescue teams several hours to reach the survivors and transport them to safety due to extreme weather conditions. The six skiers suffered varying injuries, and two were transported to a hospital for treatment. The survivors had been told to shelter in place at the avalanche site as they were awaiting rescue.\u003c/p>\n\u003cp>The sheriff’s office said the search for the remaining nine skiers who were caught in the avalanche is ongoing, pending weather conditions.\u003c/p>\n\u003cp>Blackbird Mountain Guides, an outdoor activities company located in Truckee, \u003ca href=\"https://blackbirdguides.com/pages/live-incident-updates\">released a statement Tuesday afternoon\u003c/a> saying its guides and clients were involved in the incident, and that it is coordinating with the Nevada County Sheriff’s Office. The company said the 16 people had been staying at the Frog Lake huts in the Castle Peak area since Feb. 15. “The group was in the process of returning to the trailhead at the conclusion of a three-day trip when the incident occurred,” the statement read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sierraavalanchecenter.org/\">Sierra Avalanche Center\u003c/a>, which provides forecasts and information for backcountry travel in the region, issued a warning for the greater Lake Tahoe area, including Castle Peak, hours before the avalanche occurred. Lead forecaster Brandon Schwartz said the area had received two to three feet of snow in the preceding 48 hours, falling at a rate of two to four inches per hour. He said weak layers in the existing snowpack from a dry spell in January and February are adding to the dangers.\u003c/p>\n\u003ch2 class=\"ArticlePage-headline\">\u003ca href=\"https://laist.com/news/politics/la-zoning-law-ban-some-private-detention-centers-contracting-with-ice\">\u003cstrong>LA revives zoning law that could ban some private detention centers from contracting with ICE\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>The L.A. City Council has taken a step toward reactivating a zoning code that could prohibit the construction and operation of private detention centers for unaccompanied children.\u003c/p>\n\u003cp>The ordinance is meant to prevent private facilities from contracting with federal law enforcement agencies like ICE, according to Councilmember Tim McOsker, who introduced the motion last Wednesday. The zoning ordinance was first introduced in 2019 in response to President Donald Trump’s immigration policies during his first term. The file was drafted in 2021, but was never officially adopted, and therefore it expired in 2024.\u003c/p>\n\u003cp>The City Council\u003cb> \u003c/b>last week\u003cb> \u003c/b>voted to revive the file and update the drafted zoning code in response to immigration raids. “The concern, of course, was the worry that profiteers, private entities working with the federal government, were creating detention centers across the country,” McOsker said during the council meeting. “Those were creating human rights violations and poor living conditions, disease, death and harms that were unconstitutional to residents of the United States.”\u003c/p>\n\u003cp>The Department of Homeland Security \u003ca class=\"Link\" href=\"https://www.dhs.gov/news/2025/12/11/more-10000-illegal-aliens-arrested-sanctuary-los-angeles-dhs-launched-operations\" target=\"_blank\" rel=\"noopener\" data-cms-ai=\"0\">\u003cu>reported\u003c/u>\u003c/a> it has detained more than 10,000 people in Los Angeles since raids started in June. The raids have mostly upended immigrant, working-class communities and negatively hit the local economy, according to a recent \u003ca class=\"Link\" href=\"https://laist.com/news/politics/la-county-identifies-zip-codes-hit-hardest-by-ice\" target=\"_blank\" rel=\"noopener\" data-cms-ai=\"0\">\u003cu>L.A. County report\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>In response to the raids, the city has limited power, but McOsker said it has authority over land use and he’s asking the city to consider wielding that power. “Do we want to prohibit private detention centers in every zone in the city of Los Angeles?” McOsker said. He added that L.A. has an opportunity now to update its zoning laws to regulate private detention centers. McOsker said he doesn’t know of any proposed private detention centers in L.A., but that the facilities have been reported in at least eight states.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kcrw.com/stories/hollywood-production-booms-vertically\">\u003cstrong>Hollywood production booms — vertically\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>Work is painfully slow in Hollywood right now, but not for vertical microdramas — bingeable, campy shows made to be watched on your phone in episodes that cycle past in 90 seconds or less.\u003c/p>\n\u003cp>Verticals generated \u003ca class=\"rich-text-hyperlink\" href=\"https://www.owlandco.com/insights/the-short-report-ep-1-the-long-view-on-short-form\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cu>$1.3 billion in the US in 2025\u003c/u>\u003c/a>, according to the streaming consultant Owl and Co., as millions of people watched shows like \u003ca class=\"rich-text-hyperlink\" href=\"https://www.imdb.com/title/tt35180688/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cu>Fake Married to my Billionaire CEO\u003c/u>\u003c/i>\u003c/a>\u003ci>,\u003c/i> \u003ca class=\"rich-text-hyperlink\" href=\"https://www.imdb.com/title/tt38573297/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cu>Watch Out I’m a Lady Boss\u003c/u>\u003c/i>\u003c/a>, and \u003ca class=\"rich-text-hyperlink\" href=\"https://www.imdb.com/title/tt39375734/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cu>Kissing The Wrong Brother\u003c/u>\u003c/i>\u003c/a>. Revenue comes from advertising and the fees people pay to watch the shows. Now, studios like \u003ca class=\"rich-text-hyperlink\" href=\"https://www.hollywoodreporter.com/business/business-news/fox-entertainment-invests-in-holywater-ai-microdramas-1236396802/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cu>Fox\u003c/u>\u003c/a> and \u003ca class=\"rich-text-hyperlink\" href=\"https://variety.com/2026/tv/news/disney-embraces-microcontent-short-form-streaming-1236625030/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cu>Disney\u003c/u>\u003c/a> are investing in the medium.\u003c/p>\n\u003cp>The success of verticals, and their appeal to a mostly female audience, has echoes in the history of cinema, says cinematographer Michael Pessah, who teaches at the American Film Institute. “One hundred and ten years ago, when cinema was still sort of working out what its language was, you had these serialized melodramas that, maybe not coincidentally, really spoke to the female audience of the time,” says Pessah. “These were some of the first really, really successful narrative films.”\u003c/p>\n\u003cp>Pessah says today’s verticals remind him of music videos in the 1980s and ‘90s, which launched the careers of filmmakers like Spike Jonze. “Music videos were a place for innovative voices, and people with ambitious and new ways of seeing the world,” he says. “It became this hotbed of experimentation and a second film school for so many filmmakers.”\u003c/p>\n\u003cp>Today verticals appeal to production companies because of the price tag: most cost between $150,000 and $200,000 dollars per show (one show can have 60 to 90 episodes). That’s because they are shot on simple sets, quickly (but not on phones – on real cameras), and most of the work is non-union.\u003c/p>\n\u003cp>Kylie Karson, co-founder and VP of development and production with \u003ca class=\"rich-text-hyperlink\" href=\"https://www.cheratv.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cu>Chera TV\u003c/u>\u003c/a>, a new Encino-based production company and streaming platform that makes verticals, moved to LA in 2022 to act. She started working in verticals full-time in 2024. She describes the company as a creator-led artistic space that pays workers fairly and prioritizes set safety. “There needs to be people in charge that actually care about the people making these projects,” says Karson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She founded Chera TV with fellow actor Candace Mizga, who has acted in over 30 verticals in the last two years. It’s how she got her break in Hollywood right out of acting school at NYU. “My main goal was never to be famous or to be huge. It was always just to be a full-time working actor,” says Mizga. “So for that to happen, it changed my entire life.” The women wanted to start their own company after experiencing systemic problems in verticals. They complain about a lack of diversity in casting, and productions that don’t hire intimacy coordinators or stunt coordinators.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- Creative Commons Attribution-NonCommercial-NoDerivatives https://creativecommons.org/licenses/by-nc-nd/4.0/ -->\u003c/p>\n\u003cp>\u003cem>This story was originally published by \u003ca href=\"https://calmatters.org/\">CalMatters\u003c/a>. \u003ca href=\"https://calmatters.org/subscribe-to-calmatters/\">Sign up\u003c/a> for their newsletters.\u003c/em>\u003c/p>\n\u003cp>Staring down a $12 billion budget deficit, Gov. Gavin Newsom \u003ca href=\"https://calmatters.org/politics/2025/05/california-budget-revision-may-2025/\">proposed steep cuts\u003c/a> to California’s health care services and public universities — all while promising more dollars to Hollywood.\u003c/p>\n\u003cp>Newsom on Wednesday doubled down on \u003ca href=\"https://calmatters.digitaldemocracy.org/bills/ca_202520260ab1138\">his proposal to expand\u003c/a> the state’s investment in film and television tax credits, \u003ca href=\"https://lao.ca.gov/Publications/Report/3502#:~:text=California%20Adopted%20First%20Film%20Tax,credits%20under%20this%20new%20program.\">incentives created\u003c/a> by then-Gov. Arnold Schwarzenegger in 2009 to boost California’s marquee industry. If passed, the state would allocate up to $750 million each year to film production, up from the current $330 million.\u003c/p>\n\u003cp>Despite saying that any funding request from Los Angeles unrelated to disaster recovery would be a “non-starter,” Newsom deemed the tax credit expansion essential to reviving an ailing industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s on life support,” he told reporters. “We need to step things up, and this is all part and parcel of economic recovery, economic growth.”\u003c/p>\n\u003cp>Newsom’s plan would also increase the amount each qualified applicant can receive, extend the credit to live action and animated series and devote more money toward independent films.\u003c/p>\n\u003cp>But his proposal has drawn criticism from both Democrats and Republicans who argue the state should prioritize essential programs in a tight budget year. Assembly Republican Leader James Gallagher of Chico called Newsom’s proposal “tone-deaf.”\u003c/p>\n\u003cp>“I’m not sure the rest of California will be OK with their senior programs, their disability programs, their education programs being cut in order to prop up a regional industry,” said \u003ca href=\"https://calmatters.digitaldemocracy.org/legislators/corey-jackson-165443\">Assemblymember Corey Jackson\u003c/a>, a Moreno Valley Democrat.\u003c/p>\n\u003cp>[aside postID=news_12039465 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/03/250323-DEM-TOWN-HALLS-MD-13-KQED-1-1020x680.jpg']\u003c/p>\n\u003cp>Some lawmakers warned that other states could respond with even more aggressive incentives, creating a “race to the bottom.”\u003c/p>\n\u003cp>“It seems eminently predictable that we will be back next year with a proposal that says: ‘We’ve fallen behind again. I don’t know what happened. And now we need to do more,’” said Sen. \u003ca href=\"https://calmatters.digitaldemocracy.org/legislators/christopher-cabaldon-5699\">Christopher Cabaldon\u003c/a>, a Napa Democrat, in March.\u003c/p>\n\u003cp>Despite those concerns, the proposal has advanced in the state Legislature with little resistance. Assemblymember Jesse Gabriel, a Los Angeles Democrat who chairs the powerful budget committee, told CalMatters that anyone seeking large funding increases this year “should stop wasting people’s time” because there isn’t enough money.\u003c/p>\n\u003cp>Newsom’s proposal is different, Gabriel said, because it would expand a longstanding, tested program that would also help offset the impact of the L.A. wildfires.\u003c/p>\n\u003cp>For Newsom, a lame-duck governor with presidential ambitions, expanding the tax credits could please the wealthy Hollywood donors who could propel his campaign.\u003c/p>\n\u003cp>But the handout can easily be portrayed as a tax break for the rich.\u003c/p>\n\u003cp>“The ads kind of make themselves,” said Kim Nalder, a political science professor at California State University, Sacramento. “It’s been effective in previous years to … use (Hollywood) as an example of unserious, privileged waste.”\u003c/p>\n\u003ch2>Saving Hollywood\u003c/h2>\n\u003cp>Hollywood has suffered. A “quadruple-whammy” of the COVID-19 pandemic that shut down productions, a \u003ca href=\"https://apnews.com/article/actors-strike-contract-a7a529acaf6b5b38aac93722db54c193\">Hollywood writers strike\u003c/a>, \u003ca href=\"https://calmatters.org/politics/capitol/2025/01/la-fires-california-legislature-bills/\">deadly wildfires\u003c/a> and growing production incentives from other states that lured movies out of California have decreased its nationwide share in film industry employment from 54% in 2010 to 46% in 2023, according to the bill analysis. Film production levels in Los Angeles also saw a \u003ca href=\"https://filmla.com/la-on-location-filming-falls-in-first-quarter/\">sharp drop-off\u003c/a> in recent years.\u003c/p>\n\u003cp>The industry is also struggling to compete globally, so much so that even President Donald Trump has weighed in, ordering a \u003ca href=\"https://www.reuters.com/business/media-telecom/trump-announces-100-tariff-movies-produced-outside-us-2025-05-04/\">100% tariff on overseas productions\u003c/a>, though he has given no details. In response, Newsom has offered to work with Trump to \u003ca href=\"https://www.theguardian.com/us-news/2025/may/06/newsom-trump-movie-tariffs\">develop a $7.5 billion federal tax credit\u003c/a>.[aside postID=news_12040025 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/GavinNewsom2025AP2-1020x680.jpg']“I applaud President Trump for recognizing that we are losing a lot of films to foreign countries, and I hope he steps up,” Newsom said Wednesday.\u003c/p>\n\u003cp>The proposed state film tax credit expansion has united motion picture studios and entertainment industry workers, but it is the unions that have been leading the fight.\u003c/p>\n\u003cp>The groups backing the plan have poured at least $8.4 million into lawmakers’ coffers since 2015, including nearly $6.5 million from the \u003ca href=\"https://calmatters.digitaldemocracy.org/organizations/-2947#financials\">California State Council of Laborers\u003c/a> alone, according to an analysis of CalMatters’ Digital Democracy database. Walt Disney, a top supporter, has given nearly $750,000 to lawmakers since 2015.\u003c/p>\n\u003cp>Dozens of unionized workers have filled legislative hearing rooms and spilled into the hallways as they testify in support.\u003c/p>\n\u003cp>“We are the thousands of artisans whose names whip by in the credit roll at the end of the movie. Not those that appear in huge letters and fade slowly at the beginning of the movie. We don’t go to the award shows. We work the award shows,” \u003ca href=\"https://calmatters.digitaldemocracy.org/hearings/258945?t=896&f=9cdd49a18e32c5cbd74ef45e6426401c\">said Renata Ray\u003c/a>, representing a chapter of the International Alliance of Theatrical Stage Employees.\u003c/p>\n\u003cp>Nalder said that is a smart political move since labor unions hold so much political sway with Democratic lawmakers.\u003c/p>\n\u003cp>And the tax credit expansion “touches both the struggling workers as well as international mega-stars,” said Thad Kousser, a political science professor at University of California-San Diego.\u003c/p>\n\u003cp>Still, the funding could backfire on Newsom as he eyes a potential White House run in 2028.\u003c/p>\n\u003cp>“You’ve got to think about policies’ effect on your core supporters … but also the average voters in places like Iowa, New Hampshire, who may not see someone who’s helping bail out Hollywood as someone taking the nation in the direction they want to see,” Kousser said.\u003c/p>\n\u003ch2>Do film tax credits work?\u003c/h2>\n\u003cp>California’s film tax credit was created \u003ca href=\"https://lao.ca.gov/Publications/Report/3502#Economic_Effects:~:text=California%20Adopted%20First,this%20new%20program.\">in response to other states’ incentives\u003c/a>. As of last year, \u003ca href=\"https://www.ncsl.org/fiscal/state-film-and-television-incentive-programs\">37 states\u003c/a> had similar incentives. California’s program is often compared to the unlimited tax credit in Georgia, a frequent destination for film production, and New York’s incentives, which were raised last week, from $700 million to \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/new-york-aims-large-scale-producers-indie-projects-film-subsidy-boost-1236212240/\">$800 million a year\u003c/a>.\u003c/p>\n\u003cp>But California’s program is unique: It is the only state to \u003ca href=\"https://film.ca.gov/tax-credit/jobs-ratio-ranking/\">award credits based on the likelihood\u003c/a> of a project creating jobs and boosting the economy. It is also one of the few states to prohibit using the tax credits to pay “above-the-line” crews, such as directors, actors or writers.\u003c/p>\n\u003cp>The nonpartisan \u003ca href=\"https://lao.ca.gov/Publications/Report/5000\">Legislative Analyst’s Office said\u003c/a> there is “good evidence that tax credits increase production activity” and it could increase the size of the state’s film industry.\u003c/p>\n\u003cp>That is partly because some studios choose to film elsewhere when they are denied tax incentives. Between 2011 and 2013, roughly two thirds of the applicants who did not receive tax credits in California shot out of state, \u003ca href=\"https://lao.ca.gov/reports/2016/3502/First-Film-Tax-Credit-Prog-092916.pdf\" target=\"_blank\" rel=\"noopener\">according to a 2016 report\u003c/a> by the legislative analyst. And between 2020 and 2023, almost 60% of applicants who were denied the tax credits produced out of state, according to \u003ca href=\"https://cdn.film.ca.gov/wp-content/uploads/2024/04/Progress-Report-2023.pdf\" target=\"_blank\" rel=\"noopener\">a 2023 report by the California Film Commission\u003c/a>, which administers the credits.\u003c/p>\n\u003cp>But would the tax credit boost the state’s broader economy? Research is mixed.\u003c/p>\n\u003cp>\u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/08912424211000127\">A study of California’s first film tax credit program\u003c/a>, which used a lottery system to award credits, found major studios that received the incentives spent and hired more in California.\u003c/p>\n\u003cp>Supporters of the California proposal, such as Assembly Democratic Caucus Chair Rick Zbur, a Los Angeles lawmaker who introduced the legislation — argue that the program “pays for itself.” They \u003ca href=\"https://laedc.org/wp-content/uploads/2022/03/LAEDC-Report_CA-Film-TV-Tax-Credit-Program-2.0_FINAL_2022.03.14.pdf\" target=\"_blank\" rel=\"noopener\">frequently cite a 2023 analysis\u003c/a> by the nonprofit Los Angeles Economic Development Corporation which concluded that for every dollar the state spent on the tax credits, state and local governments collected $1.07 in tax revenue. It also said each dollar invested led to $24.40 in economic activity and $8.60 in increased wages.\u003c/p>\n\u003cp>“Every show that shoots in California supports hundreds of jobs. It pumps money into local economies from lumber yards to restaurants, from car rentals to dry cleaners,” said Ed Lammi, a former Sony Pictures Television executive, \u003ca href=\"https://calmatters.org/commentary/2025/05/hollywood-industry-job-tax-credit/\">in an opinion piece citing the research\u003c/a>.\u003c/p>\n\u003cp>The study was prepared for the Motion Picture Association, one of the legislation’s top supporters. The association has given lawmakers $168,000 since 2015, \u003ca href=\"https://calmatters.digitaldemocracy.org/financials?giver%5B%5D=oid--8112\">Digital Democracy data shows\u003c/a>.\u003c/p>\n\u003cp>But while some studies show some evidence that filmmakers are drawn to states with better incentives, the legislative analyst’s office and most researchers have concluded that \u003ca href=\"https://www.tax.ny.gov/pdf/research/economic-impact-of-tax-incentive-programs.pdf\" target=\"_blank\" rel=\"noopener\">states almost always lose money\u003c/a> on \u003ca href=\"https://www.audits.ga.gov/ReportSearch/download/30438?_gl=1*fcit89*_ga*MTYxMTU0MTYxNy4xNzQwNDE0MTE3*_ga_8Z4RV13R5J*MTc0MzUzMTAxOS40LjAuMTc0MzUzMTAxOS4wLjAuMA..*_ga_65FL79Y113*MTc0MzUzMTAxOS40LjAuMTc0MzUzMTAxOS42MC4wLjA\">such programs\u003c/a>, and that the credits have little to no effect on a state’s \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0275074016651958\">economic growth\u003c/a> or its \u003ca href=\"https://www.nber.org/papers/w25963\">job market\u003c/a>.\u003c/p>\n\u003cp>Michael Thom, a professor at the University of Southern California, wrote to \u003ca href=\"https://srev.senate.ca.gov/system/files/2025-03/testimony-prof-michael-thom.pdf\" target=\"_blank\" rel=\"noopener\">lawmakers in March\u003c/a> that his research showed the programs generally failed to create jobs or increase wages. “Simply put, California cannot afford the existing incentive, much less a substantial expansion to it,” he said.\u003c/p>\n\u003cp>Mike Gatto, a Los Angeles Democrat who authored the first expansion of the film tax credit program in 2014, said he is skeptical about subsidizing the film industry without addressing the root causes of its problems.\u003c/p>\n\u003cp>“It is doubtful that the amount of money that the state gives to this industry proves to be something that we get back,” he said.\u003c/p>\n\u003cp>\u003cem>This article was \u003ca href=\"https://calmatters.org/politics/2025/05/california-film-tax-credit-gavin-newsom-hollywood/\">originally published on CalMatters\u003c/a> and was republished under the \u003ca href=\"https://creativecommons.org/licenses/by-nc-nd/4.0/\">Creative Commons Attribution-NonCommercial-NoDerivatives\u003c/a> license.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- Creative Commons Attribution-NonCommercial-NoDerivatives https://creativecommons.org/licenses/by-nc-nd/4.0/ -->\u003c/p>\n\u003cp>\u003cem>This story was originally published by \u003ca href=\"https://calmatters.org/\">CalMatters\u003c/a>. \u003ca href=\"https://calmatters.org/subscribe-to-calmatters/\">Sign up\u003c/a> for their newsletters.\u003c/em>\u003c/p>\n\u003cp>Staring down a $12 billion budget deficit, Gov. Gavin Newsom \u003ca href=\"https://calmatters.org/politics/2025/05/california-budget-revision-may-2025/\">proposed steep cuts\u003c/a> to California’s health care services and public universities — all while promising more dollars to Hollywood.\u003c/p>\n\u003cp>Newsom on Wednesday doubled down on \u003ca href=\"https://calmatters.digitaldemocracy.org/bills/ca_202520260ab1138\">his proposal to expand\u003c/a> the state’s investment in film and television tax credits, \u003ca href=\"https://lao.ca.gov/Publications/Report/3502#:~:text=California%20Adopted%20First%20Film%20Tax,credits%20under%20this%20new%20program.\">incentives created\u003c/a> by then-Gov. Arnold Schwarzenegger in 2009 to boost California’s marquee industry. If passed, the state would allocate up to $750 million each year to film production, up from the current $330 million.\u003c/p>\n\u003cp>Despite saying that any funding request from Los Angeles unrelated to disaster recovery would be a “non-starter,” Newsom deemed the tax credit expansion essential to reviving an ailing industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s on life support,” he told reporters. “We need to step things up, and this is all part and parcel of economic recovery, economic growth.”\u003c/p>\n\u003cp>Newsom’s plan would also increase the amount each qualified applicant can receive, extend the credit to live action and animated series and devote more money toward independent films.\u003c/p>\n\u003cp>But his proposal has drawn criticism from both Democrats and Republicans who argue the state should prioritize essential programs in a tight budget year. Assembly Republican Leader James Gallagher of Chico called Newsom’s proposal “tone-deaf.”\u003c/p>\n\u003cp>“I’m not sure the rest of California will be OK with their senior programs, their disability programs, their education programs being cut in order to prop up a regional industry,” said \u003ca href=\"https://calmatters.digitaldemocracy.org/legislators/corey-jackson-165443\">Assemblymember Corey Jackson\u003c/a>, a Moreno Valley Democrat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some lawmakers warned that other states could respond with even more aggressive incentives, creating a “race to the bottom.”\u003c/p>\n\u003cp>“It seems eminently predictable that we will be back next year with a proposal that says: ‘We’ve fallen behind again. I don’t know what happened. And now we need to do more,’” said Sen. \u003ca href=\"https://calmatters.digitaldemocracy.org/legislators/christopher-cabaldon-5699\">Christopher Cabaldon\u003c/a>, a Napa Democrat, in March.\u003c/p>\n\u003cp>Despite those concerns, the proposal has advanced in the state Legislature with little resistance. Assemblymember Jesse Gabriel, a Los Angeles Democrat who chairs the powerful budget committee, told CalMatters that anyone seeking large funding increases this year “should stop wasting people’s time” because there isn’t enough money.\u003c/p>\n\u003cp>Newsom’s proposal is different, Gabriel said, because it would expand a longstanding, tested program that would also help offset the impact of the L.A. wildfires.\u003c/p>\n\u003cp>For Newsom, a lame-duck governor with presidential ambitions, expanding the tax credits could please the wealthy Hollywood donors who could propel his campaign.\u003c/p>\n\u003cp>But the handout can easily be portrayed as a tax break for the rich.\u003c/p>\n\u003cp>“The ads kind of make themselves,” said Kim Nalder, a political science professor at California State University, Sacramento. “It’s been effective in previous years to … use (Hollywood) as an example of unserious, privileged waste.”\u003c/p>\n\u003ch2>Saving Hollywood\u003c/h2>\n\u003cp>Hollywood has suffered. A “quadruple-whammy” of the COVID-19 pandemic that shut down productions, a \u003ca href=\"https://apnews.com/article/actors-strike-contract-a7a529acaf6b5b38aac93722db54c193\">Hollywood writers strike\u003c/a>, \u003ca href=\"https://calmatters.org/politics/capitol/2025/01/la-fires-california-legislature-bills/\">deadly wildfires\u003c/a> and growing production incentives from other states that lured movies out of California have decreased its nationwide share in film industry employment from 54% in 2010 to 46% in 2023, according to the bill analysis. Film production levels in Los Angeles also saw a \u003ca href=\"https://filmla.com/la-on-location-filming-falls-in-first-quarter/\">sharp drop-off\u003c/a> in recent years.\u003c/p>\n\u003cp>The industry is also struggling to compete globally, so much so that even President Donald Trump has weighed in, ordering a \u003ca href=\"https://www.reuters.com/business/media-telecom/trump-announces-100-tariff-movies-produced-outside-us-2025-05-04/\">100% tariff on overseas productions\u003c/a>, though he has given no details. In response, Newsom has offered to work with Trump to \u003ca href=\"https://www.theguardian.com/us-news/2025/may/06/newsom-trump-movie-tariffs\">develop a $7.5 billion federal tax credit\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I applaud President Trump for recognizing that we are losing a lot of films to foreign countries, and I hope he steps up,” Newsom said Wednesday.\u003c/p>\n\u003cp>The proposed state film tax credit expansion has united motion picture studios and entertainment industry workers, but it is the unions that have been leading the fight.\u003c/p>\n\u003cp>The groups backing the plan have poured at least $8.4 million into lawmakers’ coffers since 2015, including nearly $6.5 million from the \u003ca href=\"https://calmatters.digitaldemocracy.org/organizations/-2947#financials\">California State Council of Laborers\u003c/a> alone, according to an analysis of CalMatters’ Digital Democracy database. Walt Disney, a top supporter, has given nearly $750,000 to lawmakers since 2015.\u003c/p>\n\u003cp>Dozens of unionized workers have filled legislative hearing rooms and spilled into the hallways as they testify in support.\u003c/p>\n\u003cp>“We are the thousands of artisans whose names whip by in the credit roll at the end of the movie. Not those that appear in huge letters and fade slowly at the beginning of the movie. We don’t go to the award shows. We work the award shows,” \u003ca href=\"https://calmatters.digitaldemocracy.org/hearings/258945?t=896&f=9cdd49a18e32c5cbd74ef45e6426401c\">said Renata Ray\u003c/a>, representing a chapter of the International Alliance of Theatrical Stage Employees.\u003c/p>\n\u003cp>Nalder said that is a smart political move since labor unions hold so much political sway with Democratic lawmakers.\u003c/p>\n\u003cp>And the tax credit expansion “touches both the struggling workers as well as international mega-stars,” said Thad Kousser, a political science professor at University of California-San Diego.\u003c/p>\n\u003cp>Still, the funding could backfire on Newsom as he eyes a potential White House run in 2028.\u003c/p>\n\u003cp>“You’ve got to think about policies’ effect on your core supporters … but also the average voters in places like Iowa, New Hampshire, who may not see someone who’s helping bail out Hollywood as someone taking the nation in the direction they want to see,” Kousser said.\u003c/p>\n\u003ch2>Do film tax credits work?\u003c/h2>\n\u003cp>California’s film tax credit was created \u003ca href=\"https://lao.ca.gov/Publications/Report/3502#Economic_Effects:~:text=California%20Adopted%20First,this%20new%20program.\">in response to other states’ incentives\u003c/a>. As of last year, \u003ca href=\"https://www.ncsl.org/fiscal/state-film-and-television-incentive-programs\">37 states\u003c/a> had similar incentives. California’s program is often compared to the unlimited tax credit in Georgia, a frequent destination for film production, and New York’s incentives, which were raised last week, from $700 million to \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/new-york-aims-large-scale-producers-indie-projects-film-subsidy-boost-1236212240/\">$800 million a year\u003c/a>.\u003c/p>\n\u003cp>But California’s program is unique: It is the only state to \u003ca href=\"https://film.ca.gov/tax-credit/jobs-ratio-ranking/\">award credits based on the likelihood\u003c/a> of a project creating jobs and boosting the economy. It is also one of the few states to prohibit using the tax credits to pay “above-the-line” crews, such as directors, actors or writers.\u003c/p>\n\u003cp>The nonpartisan \u003ca href=\"https://lao.ca.gov/Publications/Report/5000\">Legislative Analyst’s Office said\u003c/a> there is “good evidence that tax credits increase production activity” and it could increase the size of the state’s film industry.\u003c/p>\n\u003cp>That is partly because some studios choose to film elsewhere when they are denied tax incentives. Between 2011 and 2013, roughly two thirds of the applicants who did not receive tax credits in California shot out of state, \u003ca href=\"https://lao.ca.gov/reports/2016/3502/First-Film-Tax-Credit-Prog-092916.pdf\" target=\"_blank\" rel=\"noopener\">according to a 2016 report\u003c/a> by the legislative analyst. And between 2020 and 2023, almost 60% of applicants who were denied the tax credits produced out of state, according to \u003ca href=\"https://cdn.film.ca.gov/wp-content/uploads/2024/04/Progress-Report-2023.pdf\" target=\"_blank\" rel=\"noopener\">a 2023 report by the California Film Commission\u003c/a>, which administers the credits.\u003c/p>\n\u003cp>But would the tax credit boost the state’s broader economy? Research is mixed.\u003c/p>\n\u003cp>\u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/08912424211000127\">A study of California’s first film tax credit program\u003c/a>, which used a lottery system to award credits, found major studios that received the incentives spent and hired more in California.\u003c/p>\n\u003cp>Supporters of the California proposal, such as Assembly Democratic Caucus Chair Rick Zbur, a Los Angeles lawmaker who introduced the legislation — argue that the program “pays for itself.” They \u003ca href=\"https://laedc.org/wp-content/uploads/2022/03/LAEDC-Report_CA-Film-TV-Tax-Credit-Program-2.0_FINAL_2022.03.14.pdf\" target=\"_blank\" rel=\"noopener\">frequently cite a 2023 analysis\u003c/a> by the nonprofit Los Angeles Economic Development Corporation which concluded that for every dollar the state spent on the tax credits, state and local governments collected $1.07 in tax revenue. It also said each dollar invested led to $24.40 in economic activity and $8.60 in increased wages.\u003c/p>\n\u003cp>“Every show that shoots in California supports hundreds of jobs. It pumps money into local economies from lumber yards to restaurants, from car rentals to dry cleaners,” said Ed Lammi, a former Sony Pictures Television executive, \u003ca href=\"https://calmatters.org/commentary/2025/05/hollywood-industry-job-tax-credit/\">in an opinion piece citing the research\u003c/a>.\u003c/p>\n\u003cp>The study was prepared for the Motion Picture Association, one of the legislation’s top supporters. The association has given lawmakers $168,000 since 2015, \u003ca href=\"https://calmatters.digitaldemocracy.org/financials?giver%5B%5D=oid--8112\">Digital Democracy data shows\u003c/a>.\u003c/p>\n\u003cp>But while some studies show some evidence that filmmakers are drawn to states with better incentives, the legislative analyst’s office and most researchers have concluded that \u003ca href=\"https://www.tax.ny.gov/pdf/research/economic-impact-of-tax-incentive-programs.pdf\" target=\"_blank\" rel=\"noopener\">states almost always lose money\u003c/a> on \u003ca href=\"https://www.audits.ga.gov/ReportSearch/download/30438?_gl=1*fcit89*_ga*MTYxMTU0MTYxNy4xNzQwNDE0MTE3*_ga_8Z4RV13R5J*MTc0MzUzMTAxOS40LjAuMTc0MzUzMTAxOS4wLjAuMA..*_ga_65FL79Y113*MTc0MzUzMTAxOS40LjAuMTc0MzUzMTAxOS42MC4wLjA\">such programs\u003c/a>, and that the credits have little to no effect on a state’s \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0275074016651958\">economic growth\u003c/a> or its \u003ca href=\"https://www.nber.org/papers/w25963\">job market\u003c/a>.\u003c/p>\n\u003cp>Michael Thom, a professor at the University of Southern California, wrote to \u003ca href=\"https://srev.senate.ca.gov/system/files/2025-03/testimony-prof-michael-thom.pdf\" target=\"_blank\" rel=\"noopener\">lawmakers in March\u003c/a> that his research showed the programs generally failed to create jobs or increase wages. “Simply put, California cannot afford the existing incentive, much less a substantial expansion to it,” he said.\u003c/p>\n\u003cp>Mike Gatto, a Los Angeles Democrat who authored the first expansion of the film tax credit program in 2014, said he is skeptical about subsidizing the film industry without addressing the root causes of its problems.\u003c/p>\n\u003cp>“It is doubtful that the amount of money that the state gives to this industry proves to be something that we get back,” he said.\u003c/p>\n\u003cp>\u003cem>This article was \u003ca href=\"https://calmatters.org/politics/2025/05/california-film-tax-credit-gavin-newsom-hollywood/\">originally published on CalMatters\u003c/a> and was republished under the \u003ca href=\"https://creativecommons.org/licenses/by-nc-nd/4.0/\">Creative Commons Attribution-NonCommercial-NoDerivatives\u003c/a> license.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Here are the morning’s top stories on Monday, March 3, 2025…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">On Sunday night, Hollywood had its biggest night of the year with \u003c/span>\u003ca href=\"https://www.npr.org/2025/03/03/nx-s1-5307159/oscars-winners-2025-anora-sean-baker-mikey-madison-zoe-saldana\">\u003cspan style=\"font-weight: 400\">the Academy Awards ceremony.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> But here’s a plot twist. None of the ten films that were up for the best picture Oscar were shot in Hollywood or the greater L.A. area. It’s just the latest example of how much film and television production now occurs outside of Los Angeles, costing local jobs and raising questions about the very future of Hollywood.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">On Saturday, people gathered at national parks across the country \u003c/span>\u003ca href=\"https://www.kvcrnews.org/local-news/2025-03-01/hundreds-gather-at-joshua-tree-national-park-to-protest-federal-cuts\">\u003cspan style=\"font-weight: 400\">to protest \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">the firing of 1,000 National Park employees. Some 90 miles east of Los Angeles at Joshua Tree National Park, hundreds joined the movement. \u003c/span>\u003c/li>\n\u003cli>Declaring \u003ca href=\"https://www.gov.ca.gov/2025/03/01/with-growing-fire-risk-governor-newsom-proclaims-state-of-emergency-to-fast-track-critical-wildfire-prevention-projects-statewide/\">a state of emergency\u003c/a>, Gavin Governor Newsom has suspended two landmark state laws – the California Environmental Quality Act and the California Coastal Act.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003cstrong>Can Tax Credits Help Keep TV/Film Production In California?\u003c/strong>\u003c/h2>\n\u003cp>Film and television production has long been a staple of Hollywood. But the state’s production \u003ca href=\"https://www.capradio.org/articles/2025/02/24/newsom-wants-to-more-than-double-californias-film-industry-tax-credit-would-it-pay-for-itself/\">has been in decline\u003c/a> since the 2000s. That’s why last year, Governor Gavin Newsom \u003ca href=\"https://www.gov.ca.gov/2024/10/27/governor-newsom-proposes-historic-expansion-of-film-tv-tax-credit-program/\">proposed a major expansion\u003c/a> of the state’s tv and film tax credit program. It would expand California’s Film & Television Tax Credit Program to $750 million annually, up from the current $330 million annual allocation. This proposed expansion would position California as the top state for capped film incentive programs, surpassing other states like New York.\u003c/p>\n\u003cp>“California is the entertainment capital of the world, rooted in decades of creativity, innovation, and unparalleled talent. Expanding this program will help keep production here at home, generate thousands of good-paying jobs, and strengthen the vital link between our communities and the state’s iconic film and TV industry,” Newsom said.\u003c/p>\n\u003cp>The tax credit program, first introduced in 2009, is designed to cut production costs and keep film and TV jobs in California. But is it working? Take the new NBC Peacock drama “Suits L.A.” The show was originally set to film out of state. Then, after receiving $12 million in California tax credits, it moved production to Los Angeles. In return, the show is expected to generate $25 million in wages and create more than 2,600 jobs.\u003c/p>\n\u003cp>But other states and countries are also trying to lure big productions. And it’s still unclear if these tax credits make a dent in wider economic growth. A \u003ca href=\"https://lao.ca.gov/reports/2025/5000/Film-Tax-Credit-022825.pdf\">recent report released\u003c/a> by the non-partisan Legislative Analyst’s Office expressed doubts, finding that tax credits are “rarely effective at creating broader economic development.”\u003c/p>\n\u003ch2 class=\"ArtP-headline\">\u003ca href=\"https://www.kvcrnews.org/local-news/2025-03-01/hundreds-gather-at-joshua-tree-national-park-to-protest-federal-cuts\">\u003cstrong>Hundreds Gather At Joshua Tree National Park To Protest Federal Cuts\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>On Saturday, people gathered at national parks all over the country to protest \u003ca href=\"https://www.npr.org/2025/02/26/nx-s1-5307908/national-parks-layoffs-visitors-disruptions\">the firing of 1000 national park employees.\u003c/a> At Joshua Tree National Park, hundreds joined the movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Six rangers were fired last month at Joshua Tree as part of the Trump administration’s push to downsize the federal workforce. Some 300 people showed up at Joshua Tree. Nick Graver, a community organizer, says he’s worried Trump’s cuts will make it harder to protect the rare Joshua trees.\u003c/p>\n\u003cp>“We don’t have that many Joshua trees to lose and our parks are understaffed and our public lands are understaffed, we’re gonna we’re gonna lose huge areas of desert,” said Graver. He’s also concerned there won’t be enough rangers to respond to emergencies— especially when temperatures soar in the summertime.\u003c/p>\n\u003ch2>\u003cstrong>Newsom Looks To Fast-Track Wildfire Prevention Projects \u003c/strong>\u003c/h2>\n\u003cp>Governor Gavin Newsom \u003ca href=\"https://www.gov.ca.gov/2025/03/01/with-growing-fire-risk-governor-newsom-proclaims-state-of-emergency-to-fast-track-critical-wildfire-prevention-projects-statewide/\">proclaimed a state of emergency\u003c/a> on Saturday in an effort to fast-track wildfire prevention projects in California. Environmental regulations like the California Environmental Quality Act and the California Coastal Act will both be suspended under the proclamation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This year has already seen some of the most destructive wildfires in California history, and we’re only in March. Building on unprecedented work cutting red tape and making historic investments – we’re taking action with a state of emergency to fast-track critical wildfire projects even more. These are the forest management projects we need to protect our communities most vulnerable to wildfire, and we’re going to get them done,” Newsom said in a statement.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Here are the morning’s top stories on Monday, March 3, 2025…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">On Sunday night, Hollywood had its biggest night of the year with \u003c/span>\u003ca href=\"https://www.npr.org/2025/03/03/nx-s1-5307159/oscars-winners-2025-anora-sean-baker-mikey-madison-zoe-saldana\">\u003cspan style=\"font-weight: 400\">the Academy Awards ceremony.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> But here’s a plot twist. None of the ten films that were up for the best picture Oscar were shot in Hollywood or the greater L.A. area. It’s just the latest example of how much film and television production now occurs outside of Los Angeles, costing local jobs and raising questions about the very future of Hollywood.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">On Saturday, people gathered at national parks across the country \u003c/span>\u003ca href=\"https://www.kvcrnews.org/local-news/2025-03-01/hundreds-gather-at-joshua-tree-national-park-to-protest-federal-cuts\">\u003cspan style=\"font-weight: 400\">to protest \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">the firing of 1,000 National Park employees. Some 90 miles east of Los Angeles at Joshua Tree National Park, hundreds joined the movement. \u003c/span>\u003c/li>\n\u003cli>Declaring \u003ca href=\"https://www.gov.ca.gov/2025/03/01/with-growing-fire-risk-governor-newsom-proclaims-state-of-emergency-to-fast-track-critical-wildfire-prevention-projects-statewide/\">a state of emergency\u003c/a>, Gavin Governor Newsom has suspended two landmark state laws – the California Environmental Quality Act and the California Coastal Act.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003cstrong>Can Tax Credits Help Keep TV/Film Production In California?\u003c/strong>\u003c/h2>\n\u003cp>Film and television production has long been a staple of Hollywood. But the state’s production \u003ca href=\"https://www.capradio.org/articles/2025/02/24/newsom-wants-to-more-than-double-californias-film-industry-tax-credit-would-it-pay-for-itself/\">has been in decline\u003c/a> since the 2000s. That’s why last year, Governor Gavin Newsom \u003ca href=\"https://www.gov.ca.gov/2024/10/27/governor-newsom-proposes-historic-expansion-of-film-tv-tax-credit-program/\">proposed a major expansion\u003c/a> of the state’s tv and film tax credit program. It would expand California’s Film & Television Tax Credit Program to $750 million annually, up from the current $330 million annual allocation. This proposed expansion would position California as the top state for capped film incentive programs, surpassing other states like New York.\u003c/p>\n\u003cp>“California is the entertainment capital of the world, rooted in decades of creativity, innovation, and unparalleled talent. Expanding this program will help keep production here at home, generate thousands of good-paying jobs, and strengthen the vital link between our communities and the state’s iconic film and TV industry,” Newsom said.\u003c/p>\n\u003cp>The tax credit program, first introduced in 2009, is designed to cut production costs and keep film and TV jobs in California. But is it working? Take the new NBC Peacock drama “Suits L.A.” The show was originally set to film out of state. Then, after receiving $12 million in California tax credits, it moved production to Los Angeles. In return, the show is expected to generate $25 million in wages and create more than 2,600 jobs.\u003c/p>\n\u003cp>But other states and countries are also trying to lure big productions. And it’s still unclear if these tax credits make a dent in wider economic growth. A \u003ca href=\"https://lao.ca.gov/reports/2025/5000/Film-Tax-Credit-022825.pdf\">recent report released\u003c/a> by the non-partisan Legislative Analyst’s Office expressed doubts, finding that tax credits are “rarely effective at creating broader economic development.”\u003c/p>\n\u003ch2 class=\"ArtP-headline\">\u003ca href=\"https://www.kvcrnews.org/local-news/2025-03-01/hundreds-gather-at-joshua-tree-national-park-to-protest-federal-cuts\">\u003cstrong>Hundreds Gather At Joshua Tree National Park To Protest Federal Cuts\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>On Saturday, people gathered at national parks all over the country to protest \u003ca href=\"https://www.npr.org/2025/02/26/nx-s1-5307908/national-parks-layoffs-visitors-disruptions\">the firing of 1000 national park employees.\u003c/a> At Joshua Tree National Park, hundreds joined the movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Six rangers were fired last month at Joshua Tree as part of the Trump administration’s push to downsize the federal workforce. Some 300 people showed up at Joshua Tree. Nick Graver, a community organizer, says he’s worried Trump’s cuts will make it harder to protect the rare Joshua trees.\u003c/p>\n\u003cp>“We don’t have that many Joshua trees to lose and our parks are understaffed and our public lands are understaffed, we’re gonna we’re gonna lose huge areas of desert,” said Graver. He’s also concerned there won’t be enough rangers to respond to emergencies— especially when temperatures soar in the summertime.\u003c/p>\n\u003ch2>\u003cstrong>Newsom Looks To Fast-Track Wildfire Prevention Projects \u003c/strong>\u003c/h2>\n\u003cp>Governor Gavin Newsom \u003ca href=\"https://www.gov.ca.gov/2025/03/01/with-growing-fire-risk-governor-newsom-proclaims-state-of-emergency-to-fast-track-critical-wildfire-prevention-projects-statewide/\">proclaimed a state of emergency\u003c/a> on Saturday in an effort to fast-track wildfire prevention projects in California. Environmental regulations like the California Environmental Quality Act and the California Coastal Act will both be suspended under the proclamation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This year has already seen some of the most destructive wildfires in California history, and we’re only in March. Building on unprecedented work cutting red tape and making historic investments – we’re taking action with a state of emergency to fast-track critical wildfire projects even more. These are the forest management projects we need to protect our communities most vulnerable to wildfire, and we’re going to get them done,” Newsom said in a statement.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Making engaging movies or TV shows is all about creating a convincing fantasy. Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.[aside postID=news_11954383 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/20230626-SAUCY-CHICK-05-KQED-1020x816.jpg']Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I decided I was just going to do it part-time for a little while before I decided what I really wanted to do. It turned out that I loved it. And here I am, almost 20 years later.’[/pullquote]They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘Then, you might see her start to sauce it. Then, you might see it finished, but uncooked. At the very, very end of the scene, she’ll pull out that perfect pizza.’[/pullquote]McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.[aside postID=news_11958720 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/RS66538_230623-wahpepahs-kitchen-05-ks-KQED-1020x679.jpg']“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with. Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers.’[/pullquote]“The food couldn’t look like anything that we’ve seen here,” McSorley said. “Was it a planet that actually had an environment: air, water to it? Was it a dry planet that maybe everything would have been from root vegetables? And then, you just figure out what exists in the edible world that you can make look like that.”\u003c/p>\n\u003cp>For one scene in \u003cem>Boba Fett\u003c/em>, McSorley helped fill a 30-foot-long table for a feast. One element was a roasted \u003cem>nuna\u003c/em>, a swamp turkey from the planet Naboo.\u003c/p>\n\u003cp>“And it was really awesome because I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with,” she said. “Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers. And you really get the idea that these came from another planet.”\u003c/p>\n\u003cp>In the hands of a stylist like McSorley, food becomes a character on screen. It can help set the mood with party food, home cooking or upscale bites.\u003c/p>\n\u003cp>It can mirror the personality of a character — like a meticulous assassin who also bakes with precision. One glance at a plate and the viewer should get a sense of the person in the scene with it.\u003c/p>\n\u003cp>It takes a lot of labor to make the shimmering fantasy that Hollywood sells to the world. There are a lot of behind-the-scenes industry people like Melissa whose work is largely invisible — and they’re all feeling the impact of recent labor disputes.\u003c/p>\n\u003cp>“I guess I wish people knew that the job existed, that the food didn’t just miraculously appear on the plate,” she said.\u003c/p>\n\u003cp>\u003cem>Lisa Morehouse’s series \u003c/em>\u003ca href=\"https://californiafoodways.com/\">\u003cem>California Foodways\u003c/em>\u003c/a>\u003cem> is supported by California Humanities, a nonprofit partner of the National Endowment for the Humanities.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making engaging movies or TV shows is all about creating a convincing fantasy. Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.\u003c/p>\u003c/div>",
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"content": "‘I decided I was just going to do it part-time for a little while before I decided what I really wanted to do. It turned out that I loved it. And here I am, almost 20 years later.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.\u003c/p>\u003c/div>",
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"content": "‘Then, you might see her start to sauce it. Then, you might see it finished, but uncooked. At the very, very end of the scene, she’ll pull out that perfect pizza.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.\u003c/p>\u003c/div>",
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"content": "‘I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with. Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The food couldn’t look like anything that we’ve seen here,” McSorley said. “Was it a planet that actually had an environment: air, water to it? Was it a dry planet that maybe everything would have been from root vegetables? And then, you just figure out what exists in the edible world that you can make look like that.”\u003c/p>\n\u003cp>For one scene in \u003cem>Boba Fett\u003c/em>, McSorley helped fill a 30-foot-long table for a feast. One element was a roasted \u003cem>nuna\u003c/em>, a swamp turkey from the planet Naboo.\u003c/p>\n\u003cp>“And it was really awesome because I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with,” she said. “Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers. And you really get the idea that these came from another planet.”\u003c/p>\n\u003cp>In the hands of a stylist like McSorley, food becomes a character on screen. It can help set the mood with party food, home cooking or upscale bites.\u003c/p>\n\u003cp>It can mirror the personality of a character — like a meticulous assassin who also bakes with precision. One glance at a plate and the viewer should get a sense of the person in the scene with it.\u003c/p>\n\u003cp>It takes a lot of labor to make the shimmering fantasy that Hollywood sells to the world. There are a lot of behind-the-scenes industry people like Melissa whose work is largely invisible — and they’re all feeling the impact of recent labor disputes.\u003c/p>\n\u003cp>“I guess I wish people knew that the job existed, that the food didn’t just miraculously appear on the plate,” she said.\u003c/p>\n\u003cp>\u003cem>Lisa Morehouse’s series \u003c/em>\u003ca href=\"https://californiafoodways.com/\">\u003cem>California Foodways\u003c/em>\u003c/a>\u003cem> is supported by California Humanities, a nonprofit partner of the National Endowment for the Humanities.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hollywood is no stranger to changes brought on by technology. But KQED’s Rachael Myrow says that for writers and actors currently on strike, this moment is existential — thanks in no small part to Silicon Valley.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Many KQED staffers are also members of SAG-AFTRA, but journalists have a different contract from Hollywood actors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9846389333\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra, and welcome to The Bay. Local news to keep you r ooted. Writers in Hollywood have been on strike since May, demanding better wages and working conditions. And last month, thousands of actors joined them. This standoff between the Writers Guild of America, the Screen Actors Guild and the Alliance of Motion Picture and Television Producers is likely to drag on for a while. And behind these calls for improved working conditions is an entire business model changed in large part by none other than Silicon Valley.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>The entire business model has been changed by streaming digital air. This is a moment of history. That is a moment of truth. If we don’t stand tall right now, we are all going to be in trouble.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Hollywood is no stranger to big changes brought on by technology. But for writers and actors on strike right now, this moment is existential. Today, how Silicon Valley changed Hollywood and why this strike has everything to do with big tech.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, my first question, Rachel, I understand you actually come from a Hollywood family. So am I in the presence of Hollywood royalty right now?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>I wouldn’t call it royalty, but I come from a long line of composers.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Rachael Myrow is senior editor of KQED’s Silicon Valley Desk.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[“You Make Me Feel So Young” by Frank Sinatra]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Both my father and grandfather worked in Hollywood. My grandfather worked for 20th Century Fox in the studio system during the 1940s and fifties. He’s probably best known today for two songs. “You Make Me Feel So Young” and “Autumn Nocturne.”\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[continues]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>You know, you make me feel so young was was part of a sort of a boiler plate musical of the kind that Hollywood used to churn out back then and would probably have been buried in that movie, except for the fact that a number of years later, Frank Sinatra decided to do a cover. Oh, my gosh. I don’t know. That’s that sounds like royalty to me.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[continues]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra:: \u003c/strong>Well, I guess what did you come to learn about how Hollywood works from like this point of view or this perspective?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>There’s always been this war dance, if you will, between labor and the production companies. New technologies always been new technologies, disrupting things. And there’s always been this sort of gap between the experimental phase of a new technology being rolled out and that moment when the unions catch on and demand a piece of the action for their members in the next contract talks. So whether you’re talking about the shift to television or videotape rentals, remember those or foreign residuals? You know, there’s a little lag and then the unions catch up.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You know, we’re talking about the strike. All these actors, producers, writers demanding higher wages and better protections. But what is that? What does any of that have to do with big tech and Silicon Valley?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>This wouldn’t be the first time Big Tech has essentially gone up against Big Labor in California, Right? These are very well-established unions. The Writers Guild of America, SAG-AFTRA. The gig economy has disrupted all sorts of labor markets. Right. And in really stark terms, because the shift to part time work with minimal employer provided benefits has taken money out of the pockets of rank and file workers and shifted it to the pockets of executives and investors. And again, in Hollywood, you know, the executives have always looked out for themselves, for sure. But what’s happening now is that these companies don’t mind sharing the wealth with the top 1%, the superstars, the the showrunners. But everybody else appears to be treated as expendable in much the same way that you see very carefully delineated stratification of the labor market in Silicon Valley. So, you know, Hollywood was already gig ified by the time Silicon Valley arrived. But Silicon Valley has perfected the business model in a very kind of dark and foreboding way.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And that is in big part because of the fact that streaming has really sort of changed the game. Right. You talk about the role of streaming in all this and Netflix sort of changing the landscape for many of these these folks.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Netflix introduced the concept of streaming. Netflix has also changed the name of the game in terms of transparency or lack thereof. You know, it was always hard to know exactly what was happening under the hood, financially speaking, with a show that you’re involved in producing. But Netflix tells you nothing. Even if you were the one making this the show and people who have been very successful on these programs report that they’re not making the kind of money you would think you would make if you were involved with a hit. My God, I’m going to be so rich.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>News Anchor \u003c/strong>That was Kimiko Glenn, who played Brooks Soso on Netflix’s Orange is the New Black. She earned just $27 on that residual check. You saw it there. Her frustration being echoed by many of her costars.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Which makes you ask the question, who knows how much Orange is the New Black is actually making, and who stands in for the actors inside Netflix arguing for them to get a fair amount of money?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>News Anchor \u003c/strong>Leah DeLaria telling The New Yorker, I got $20. I would love to know how much money did Ted Sarandos make last year? Well, here’s the answer. Sarandos, who’s the CEO of Netflix. According to the company’s financial statements last year, he received $20 million in base salary, more than $50 million, if you include the stock and the options…\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Protesters \u003c/strong>[chanting]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>The people I talked to on the picket lines outside of Netflix headquarters in Los Gatos. These people, Ericka, they can connect the dots. They watched what happened to gig workers in other industries. They saw what happened to musicians. My grandfather made a comfortable living on contract with 20th Century Fox, now owned by Disney. My father, on the other hand, died young, in large part from the stress of the ups and downs of working as an independent, a creative gig worker before we knew what that meant. But then you get to someone like Rajiv Shah, right? He’s from Los Gatos. He’s a member of SAG-AFTRA, the Screen Actors Guild slash American Federation of Television and Radio Artists for more than 20 years.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rajiv Shah: \u003c/strong>This is full time for me. So, I mean, I do a lot of work in L.A. and here I’m also a writer, so I do a lot of work with that. And we actually have a production company that does a lot of work for, you know, small businesses and things like that. So it’s all creative. You know, what I’ve been doing.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>And like many creatives, he’s a hyphenate. He’s working a diversified portfolio of gigs. And I think I mentioned he’s from Los Gatos, right? He gets the tech has eaten Hollywood.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rajiv Shah: \u003c/strong>But I think what everybody understands is this is setting a precedent for what’s going to come in the future because, you know, tech is only going to grow. You know, streaming is only going to grow. So all we’re asking is that we grow with it.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>You know, But this is Labor’s moment, right? Maybe the last opportunity it has to fight for a share of the pie that allows people like Shah to survive economically.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I mean, Rachael, big tech has also been notoriously anti-union, right? I mean, just sort of thinking about how Uber and Lyft, for example, have been some of the biggest champions of gig work as opposed to full time work with benefits. How does that play into this? Like has. Have you seen this sort of anti-union, I guess, energy trickling down into Hollywood?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>The companies coming from tech. They don’t have this history of hashing things out every few years with the writers, the directors and the actors. Many of them are not union in the slightest, not even a portion of their employee base. It’s a different ballgame. We’ve seen Hollywood executives say some pretty dark things about willing to watch the writers and the actors bleed. You lose their homes. And, you know, it’s not that the companies aren’t at risk of losing a lot of money, but a lot of their entertainment services are are kind of loss leaders, to borrow a phrase from retail. If you’re Amazon, it doesn’t matter if prime, you know, at least the entertainment part of prime makes money. The whole point is to give people a reason to sign up for prime. Right. To to have the diapers delivered to your doorstep and to keep you engaged with Prime to continue re-upping every year. So that’s what Prime video is there for if you’re Apple. You don’t need to make money from Apple TV, right? This it’s just one unit. And in truth, you could say, well, yeah, those other media behemoths, they’re also made up of multiple units, many of which they talk about selling to each other. So so there’s some of that. But the big media companies, they have to succeed in entertainment versus for tech companies. I don’t think they have to.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>There’s so much talk now about A.I. in big tech. How do you think that might further reshape the landscape of Hollywood?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>This is the question on everybody’s lips, and there’s a lot that really nobody really knows yet. You’ve probably noticed the companies are busy hiring specialists just to figure out what’s possible. Right. And what kind of intellectual property rights are protectable because nobody owns as much creative content as these companies. Right. But already it doesn’t take a software engineer to see that visual special effects people are in big trouble and actors are in big trouble. I don’t know if you saw the latest Indiana Jones movie. There’s a big chunk at the beginning, which is starring a fairly believable younger version of Harrison Ford, but that’s Harrison Ford. So he gets to make bank off that project, right? $25 million. Now, imagine that you’re an extra or the kind of actor who makes a little money here and there for big roles. People might recognize your face or the kind of character you usually play. There are legions of people like this in Hollywood and really all over the world, because there are all sorts of film sets all over the world. Right, including the Bay Area today. Nothing protects these actors from having their likeness recorded on the one or two days. They’re brought on to a set and then used for perpetuity. They’re never going to get called back.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Harley Ford: \u003c/strong>There’s places for A.I., but let us do the work.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>So actors like. One woman I met outside of Netflix in Los Gatos, Harley Ford, she can see the writing on the wall. She knows where this is going.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Harley Ford: \u003c/strong>We’re the ones that, you know, have felt those emotions. And how can a robot put a tear behind something that doesn’t know what a real feeling is? It doesn’t know love. It doesn’t know respect or kindness. It doesn’t know fear.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Harley understands something that I think if you can appreciate that spark of creativity, the way that that only a human can speak to the emotions within us, like some some computer driven retread just can’t. Get to that. Looking ahead here, where does the, I guess, strike stand now? Are the actors and writers any closer to reaching a deal? At this moment, it’s just the writers back at the bargaining table. But I. I can’t read the tea leaves on this one because for one thing, we’re not getting a lot of public information about what they’re talking about. But also, I think that all three core issues for the writers especially are existential, right? Who gets paid and how? Who works and how much and who gets a say in how generative AI is used. And I should say it’s existential for the actors, too. I just think this is this is a moment, perhaps the last moment when when these two unions have the strategic capacity to drive the conversation. I go back to the idea, Erica, that Silicon Valley has eaten Hollywood, eaten the production model, eaten the economic model, and, you know, seems to be well on its way to eating the creative model. We might not see so many picket lines up here in the San Francisco Bay Area. But I’ll tell you, when you see those actors and writers yelling into the cameras on social media, they are yelling at us.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Rachel, thank you so much.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Thank you.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Rachael Myrow, senior editor of the Silicon Valley desk for KQED. Many KQED staffers are members of SAG-AFTRA. But broadcast journalists have a different contract than the Hollywood actors. This 40-minute conversation with Rachel was cut down and edited by senior editor Alan Montecillo. Producer Maria Esquinca scored this episode and added all the tape. If you liked this episode or learn something, tell someone about it. I’m Ericka Cruz Guevarra, thanks for listening to The Bay. Talk to you next time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp style=\"font-weight: 400\">\n\u003c/p>\n",
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"title": "How Silicon Valley Ate Hollywood | KQED",
"description": "View the full episode transcript. Hollywood is no stranger to changes brought on by technology. But KQED’s Rachael Myrow says that for writers and actors currently on strike, this moment is existential — thanks in no small part to Silicon Valley. Many KQED staffers are also members of SAG-AFTRA, but journalists have a different contract from Hollywood actors. Episode Transcript This is a computer-generated transcript. While our team has reviewed it, there may be errors. Ericka Cruz Guevarra: I'm Ericka Cruz Guevarra, and welcome to The Bay. Local news to keep you r ooted. Writers in Hollywood have been on",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hollywood is no stranger to changes brought on by technology. But KQED’s Rachael Myrow says that for writers and actors currently on strike, this moment is existential — thanks in no small part to Silicon Valley.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Many KQED staffers are also members of SAG-AFTRA, but journalists have a different contract from Hollywood actors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9846389333\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra, and welcome to The Bay. Local news to keep you r ooted. Writers in Hollywood have been on strike since May, demanding better wages and working conditions. And last month, thousands of actors joined them. This standoff between the Writers Guild of America, the Screen Actors Guild and the Alliance of Motion Picture and Television Producers is likely to drag on for a while. And behind these calls for improved working conditions is an entire business model changed in large part by none other than Silicon Valley.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>The entire business model has been changed by streaming digital air. This is a moment of history. That is a moment of truth. If we don’t stand tall right now, we are all going to be in trouble.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Hollywood is no stranger to big changes brought on by technology. But for writers and actors on strike right now, this moment is existential. Today, how Silicon Valley changed Hollywood and why this strike has everything to do with big tech.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, my first question, Rachel, I understand you actually come from a Hollywood family. So am I in the presence of Hollywood royalty right now?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>I wouldn’t call it royalty, but I come from a long line of composers.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Rachael Myrow is senior editor of KQED’s Silicon Valley Desk.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[“You Make Me Feel So Young” by Frank Sinatra]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Both my father and grandfather worked in Hollywood. My grandfather worked for 20th Century Fox in the studio system during the 1940s and fifties. He’s probably best known today for two songs. “You Make Me Feel So Young” and “Autumn Nocturne.”\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[continues]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>You know, you make me feel so young was was part of a sort of a boiler plate musical of the kind that Hollywood used to churn out back then and would probably have been buried in that movie, except for the fact that a number of years later, Frank Sinatra decided to do a cover. Oh, my gosh. I don’t know. That’s that sounds like royalty to me.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[continues]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra:: \u003c/strong>Well, I guess what did you come to learn about how Hollywood works from like this point of view or this perspective?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>There’s always been this war dance, if you will, between labor and the production companies. New technologies always been new technologies, disrupting things. And there’s always been this sort of gap between the experimental phase of a new technology being rolled out and that moment when the unions catch on and demand a piece of the action for their members in the next contract talks. So whether you’re talking about the shift to television or videotape rentals, remember those or foreign residuals? You know, there’s a little lag and then the unions catch up.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You know, we’re talking about the strike. All these actors, producers, writers demanding higher wages and better protections. But what is that? What does any of that have to do with big tech and Silicon Valley?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>This wouldn’t be the first time Big Tech has essentially gone up against Big Labor in California, Right? These are very well-established unions. The Writers Guild of America, SAG-AFTRA. The gig economy has disrupted all sorts of labor markets. Right. And in really stark terms, because the shift to part time work with minimal employer provided benefits has taken money out of the pockets of rank and file workers and shifted it to the pockets of executives and investors. And again, in Hollywood, you know, the executives have always looked out for themselves, for sure. But what’s happening now is that these companies don’t mind sharing the wealth with the top 1%, the superstars, the the showrunners. But everybody else appears to be treated as expendable in much the same way that you see very carefully delineated stratification of the labor market in Silicon Valley. So, you know, Hollywood was already gig ified by the time Silicon Valley arrived. But Silicon Valley has perfected the business model in a very kind of dark and foreboding way.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And that is in big part because of the fact that streaming has really sort of changed the game. Right. You talk about the role of streaming in all this and Netflix sort of changing the landscape for many of these these folks.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Netflix introduced the concept of streaming. Netflix has also changed the name of the game in terms of transparency or lack thereof. You know, it was always hard to know exactly what was happening under the hood, financially speaking, with a show that you’re involved in producing. But Netflix tells you nothing. Even if you were the one making this the show and people who have been very successful on these programs report that they’re not making the kind of money you would think you would make if you were involved with a hit. My God, I’m going to be so rich.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>News Anchor \u003c/strong>That was Kimiko Glenn, who played Brooks Soso on Netflix’s Orange is the New Black. She earned just $27 on that residual check. You saw it there. Her frustration being echoed by many of her costars.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Which makes you ask the question, who knows how much Orange is the New Black is actually making, and who stands in for the actors inside Netflix arguing for them to get a fair amount of money?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>News Anchor \u003c/strong>Leah DeLaria telling The New Yorker, I got $20. I would love to know how much money did Ted Sarandos make last year? Well, here’s the answer. Sarandos, who’s the CEO of Netflix. According to the company’s financial statements last year, he received $20 million in base salary, more than $50 million, if you include the stock and the options…\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Protesters \u003c/strong>[chanting]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>The people I talked to on the picket lines outside of Netflix headquarters in Los Gatos. These people, Ericka, they can connect the dots. They watched what happened to gig workers in other industries. They saw what happened to musicians. My grandfather made a comfortable living on contract with 20th Century Fox, now owned by Disney. My father, on the other hand, died young, in large part from the stress of the ups and downs of working as an independent, a creative gig worker before we knew what that meant. But then you get to someone like Rajiv Shah, right? He’s from Los Gatos. He’s a member of SAG-AFTRA, the Screen Actors Guild slash American Federation of Television and Radio Artists for more than 20 years.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rajiv Shah: \u003c/strong>This is full time for me. So, I mean, I do a lot of work in L.A. and here I’m also a writer, so I do a lot of work with that. And we actually have a production company that does a lot of work for, you know, small businesses and things like that. So it’s all creative. You know, what I’ve been doing.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>And like many creatives, he’s a hyphenate. He’s working a diversified portfolio of gigs. And I think I mentioned he’s from Los Gatos, right? He gets the tech has eaten Hollywood.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rajiv Shah: \u003c/strong>But I think what everybody understands is this is setting a precedent for what’s going to come in the future because, you know, tech is only going to grow. You know, streaming is only going to grow. So all we’re asking is that we grow with it.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>You know, But this is Labor’s moment, right? Maybe the last opportunity it has to fight for a share of the pie that allows people like Shah to survive economically.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I mean, Rachael, big tech has also been notoriously anti-union, right? I mean, just sort of thinking about how Uber and Lyft, for example, have been some of the biggest champions of gig work as opposed to full time work with benefits. How does that play into this? Like has. Have you seen this sort of anti-union, I guess, energy trickling down into Hollywood?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>The companies coming from tech. They don’t have this history of hashing things out every few years with the writers, the directors and the actors. Many of them are not union in the slightest, not even a portion of their employee base. It’s a different ballgame. We’ve seen Hollywood executives say some pretty dark things about willing to watch the writers and the actors bleed. You lose their homes. And, you know, it’s not that the companies aren’t at risk of losing a lot of money, but a lot of their entertainment services are are kind of loss leaders, to borrow a phrase from retail. If you’re Amazon, it doesn’t matter if prime, you know, at least the entertainment part of prime makes money. The whole point is to give people a reason to sign up for prime. Right. To to have the diapers delivered to your doorstep and to keep you engaged with Prime to continue re-upping every year. So that’s what Prime video is there for if you’re Apple. You don’t need to make money from Apple TV, right? This it’s just one unit. And in truth, you could say, well, yeah, those other media behemoths, they’re also made up of multiple units, many of which they talk about selling to each other. So so there’s some of that. But the big media companies, they have to succeed in entertainment versus for tech companies. I don’t think they have to.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>There’s so much talk now about A.I. in big tech. How do you think that might further reshape the landscape of Hollywood?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>This is the question on everybody’s lips, and there’s a lot that really nobody really knows yet. You’ve probably noticed the companies are busy hiring specialists just to figure out what’s possible. Right. And what kind of intellectual property rights are protectable because nobody owns as much creative content as these companies. Right. But already it doesn’t take a software engineer to see that visual special effects people are in big trouble and actors are in big trouble. I don’t know if you saw the latest Indiana Jones movie. There’s a big chunk at the beginning, which is starring a fairly believable younger version of Harrison Ford, but that’s Harrison Ford. So he gets to make bank off that project, right? $25 million. Now, imagine that you’re an extra or the kind of actor who makes a little money here and there for big roles. People might recognize your face or the kind of character you usually play. There are legions of people like this in Hollywood and really all over the world, because there are all sorts of film sets all over the world. Right, including the Bay Area today. Nothing protects these actors from having their likeness recorded on the one or two days. They’re brought on to a set and then used for perpetuity. They’re never going to get called back.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Harley Ford: \u003c/strong>There’s places for A.I., but let us do the work.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>So actors like. One woman I met outside of Netflix in Los Gatos, Harley Ford, she can see the writing on the wall. She knows where this is going.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Harley Ford: \u003c/strong>We’re the ones that, you know, have felt those emotions. And how can a robot put a tear behind something that doesn’t know what a real feeling is? It doesn’t know love. It doesn’t know respect or kindness. It doesn’t know fear.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Harley understands something that I think if you can appreciate that spark of creativity, the way that that only a human can speak to the emotions within us, like some some computer driven retread just can’t. Get to that. Looking ahead here, where does the, I guess, strike stand now? Are the actors and writers any closer to reaching a deal? At this moment, it’s just the writers back at the bargaining table. But I. I can’t read the tea leaves on this one because for one thing, we’re not getting a lot of public information about what they’re talking about. But also, I think that all three core issues for the writers especially are existential, right? Who gets paid and how? Who works and how much and who gets a say in how generative AI is used. And I should say it’s existential for the actors, too. I just think this is this is a moment, perhaps the last moment when when these two unions have the strategic capacity to drive the conversation. I go back to the idea, Erica, that Silicon Valley has eaten Hollywood, eaten the production model, eaten the economic model, and, you know, seems to be well on its way to eating the creative model. We might not see so many picket lines up here in the San Francisco Bay Area. But I’ll tell you, when you see those actors and writers yelling into the cameras on social media, they are yelling at us.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Rachel, thank you so much.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Thank you.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Rachael Myrow, senior editor of the Silicon Valley desk for KQED. Many KQED staffers are members of SAG-AFTRA. But broadcast journalists have a different contract than the Hollywood actors. This 40-minute conversation with Rachel was cut down and edited by senior editor Alan Montecillo. Producer Maria Esquinca scored this episode and added all the tape. If you liked this episode or learn something, tell someone about it. I’m Ericka Cruz Guevarra, thanks for listening to The Bay. Talk to you next time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">\n\u003c/p>\n\u003c/div>"
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2022/09/16/she-fought-racism-in-early-hollywood-now-shell-be-the-first-asian-american-on-us-currency/\">\u003cstrong>She Fought Racism in Early Hollywood. Now She’ll Be the First Asian American on US Currency\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The pioneering Asian American actress Anna May Wong is one of five American women the U.S. Mint is recognizing this year with an image on the American quarter, and the first Asian American to appear on U.S. currency. Wong was born in Los Angeles in 1905, and she grew up helping out at her father’s laundromat. When the film industry moved from New York to Hollywood, she started skipping school to visit movie sets. She would eventually go on to become Hollywood’s first Chinese American movie star. Wong fought the ever-present obstacle of institutional racism in the film industry to forge a remarkable career that spanned 40 years. Host Sasha Khokha talks about Wong’s legacy with Nancy Wang Yeun, a sociologist and expert on race in Hollywood.\u003c/p>\n\u003cp>\u003cstrong>Lost in Translation\u003c/strong>\u003c/p>\n\u003cp>What is it like to talk about your gender identity in different languages? What happens when the pronouns for “he” and “she” in a particular language are similar, or even identical? We meet Emmett Chen-Ran, who decided during his senior year of high school to tell his parents he is transgender. While he grappled with whether they would accept and understand him, there was another challenge: deciding what language he should use to tell them – English or Chinese? The California Report Magazine’s former intern Izzy Bloom and reporter Elena Neale-Sacks bring us this story, which first aired on \u003ca href=\"https://www.npr.org/transcripts/1115176145\">NPR’s Code Switch\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2022/09/16/she-fought-racism-in-early-hollywood-now-shell-be-the-first-asian-american-on-us-currency/\">\u003cstrong>She Fought Racism in Early Hollywood. Now She’ll Be the First Asian American on US Currency\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The pioneering Asian American actress Anna May Wong is one of five American women the U.S. Mint is recognizing this year with an image on the American quarter, and the first Asian American to appear on U.S. currency. Wong was born in Los Angeles in 1905, and she grew up helping out at her father’s laundromat. When the film industry moved from New York to Hollywood, she started skipping school to visit movie sets. She would eventually go on to become Hollywood’s first Chinese American movie star. Wong fought the ever-present obstacle of institutional racism in the film industry to forge a remarkable career that spanned 40 years. Host Sasha Khokha talks about Wong’s legacy with Nancy Wang Yeun, a sociologist and expert on race in Hollywood.\u003c/p>\n\u003cp>\u003cstrong>Lost in Translation\u003c/strong>\u003c/p>\n\u003cp>What is it like to talk about your gender identity in different languages? What happens when the pronouns for “he” and “she” in a particular language are similar, or even identical? We meet Emmett Chen-Ran, who decided during his senior year of high school to tell his parents he is transgender. While he grappled with whether they would accept and understand him, there was another challenge: deciding what language he should use to tell them – English or Chinese? The California Report Magazine’s former intern Izzy Bloom and reporter Elena Neale-Sacks bring us this story, which first aired on \u003ca href=\"https://www.npr.org/transcripts/1115176145\">NPR’s Code Switch\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-star-without-a-star-an-oakland-mans-mission-to-get-his-aunt-on-the-hollywood-walk-of-fame",
"title": "‘A Star Without a Star’: An Oakland Man's Mission to Get his Aunt on the Hollywood Walk of Fame",
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"content": "\u003cp>Long before the current reckoning with the Golden Globe Awards and the push for more diverse representation in media, Black actors in Hollywood’s golden age paved the way in an industry that gave them few options and, often, no credit. In her seven-decade stage and screen career, Juanita Moore made more than 80 film and television appearances.\u003c/p>\n\u003cp>Though she was nominated for an Academy Award for her performance in the 1959 film, \u003ca href=\"https://www.imdb.com/title/tt0052918/?ref_=tt_mv_close\">“Imitation of Life,” \u003c/a>she didn’t reach the level of fame and recognition that might normally follow such a nomination. Her nephew, Arnett Moore, says her spotlight is long overdue. [pullquote size=\"medium\" align=\"right\" citation=\"Arnett Moore\"]‘In the ’50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again. You might not know her name, but you knew that she was that person.’[/pullquote]\u003c/p>\n\u003cp>From his home in the Oakland Hills, 75-year-old Arnett has launched a one-man campaign to get his late aunt a star on the Hollywood Walk of Fame. The Hollywood Chamber of Commerce only picks one posthumous candidate each year to get a star. Applications are due by May 28, and this is the third year in a row Arnett has submitted Juanita for consideration.\u003c/p>\n\u003cp>“In the ’50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again,” he says, “You might not know her name, but you knew that she was that person.”\u003c/p>\n\u003cfigure id=\"attachment_11874869\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874869 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg\" alt=\"\" width=\"800\" height=\"947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1020x1207.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1298x1536.jpg 1298w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1731x2048.jpg 1731w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of Juanita Moore. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita was born in Itta Bena, Mississippi, one of seven sisters, and the youngest of nine children, though one of her brothers died in childhood. Her other brother was Arnett’s father. Juanita’s mother moved all the children to Los Angeles around 1921. Her brother, Juanita’s uncle, was a sleeping car porter and was able to get train tickets for the family to come to California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While attending Thomas Jefferson High School in Los Angeles, Juanita was part of the glee club, singing and dancing. A teacher saw her perform and suggested that she had the talent to pursue a career on stage. Arnett says she and a friend moved to New York City to do just that.\u003c/p>\n\u003cp>“She was a showgirl at 18 at Small’s Paradise, at the (Cafe Zanzibar), at several venues throughout New York, during the Harlem Renaissance. This is in the thirties.\u003ci>” \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11874820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-1536x1255.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18.jpg 1921w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore, around 18 years old, as a Chorus Girl in New York circa 1933. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon after, says Arnett, Juanita headed to Europe, “Because Black entertainers weren’t as well received in America as they were in Europe.” She sang at the London Palladium, at the Moulin Rouge, and Arnett says she even had a chance to sing and dance with Josephine Baker, the entertainer and civil rights activist.\u003c/p>\n\u003cfigure id=\"attachment_11874838\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874838 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg\" alt=\"\" width=\"800\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1020x1253.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1250x1536.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1667x2048.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore (right), with a friend, sometime in the early ’30s. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita returned to California after the death of her mother, and it was then that she began to pursue acting. “She started out in, they called it, Black cinema or\u003ca href=\"https://www.npr.org/sections/codeswitch/2016/03/04/469149240/restored-movies-by-african-american-filmmakers-find-new-audiences\"> race movies,\u003c/a>” Arnett says. These were films made by Black filmmakers featuring primary Black casts for Black audiences. “But these were all movies that you aren’t getting credit for, for being a Hollywood star yet.\u003cem>” \u003c/em>\u003c/p>\n\u003cp>Her first appearance in a mainstream movie came in the 1949 film, “Pinky,” in which she had a few lines as a nurse. Many of the roles available to her were based on negative stereotypes, Arnett says.\u003c/p>\n\u003cp>“She once said she was from the boudoir to the jungle,” he says, “In other words, she played a maid to a savage. And that was her early career.” Those were the roles available to Black women at the time, says Arnett, but Juanita had her limits. “One thing she wouldn’t do is play the mammy role or the buffoon roles. She would not do those, and those that did became very successful. But she refused to do those.”\u003c/p>\n\u003cp>It wasn’t until 1959 that Juanita got her big break when she was cast in the drama, “Imitation of Life,” alongside Lana Turner and Susan Kohner. Juanita plays Annie, a woman whose light-skinned daughter rejects her Black identity, to live her life passing as white.\u003c/p>\n\u003cp>https://youtu.be/-_ax1pt8zp0\u003c/p>\n\u003cp>“I remember that it was a very emotional picture,” Arnett says, “I once was asked by a friend of mine who was older, ‘Did you cry during Imitation of Life?’ I said, ‘No!’ I didn’t want him to think I cried. But yes,” Arnett admits, laughing, “I cry even today. And I cried then.”\u003c/p>\n\u003cp>During a 1995 interview with Turner Classic Movies, Juanita Moore remembered what the film’s producer, Ross Hunter, told her when she got the part: “’Juanita,’ he said, ‘I’ve put my neck out for you. If you’re no good, the picture is not gonna be any good.’”\u003c/p>\n\u003cfigure id=\"attachment_11874895\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg\" alt=\"\" width=\"800\" height=\"1234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1020x1573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-996x1536.jpg 996w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1328x2048.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1920x2960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg 1660w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita with Ross Hunter, the producer of ‘Imitation of Life,’ and Sammy Davis Jr. Sammy was a friend of Juanita’s, and stopped by the set for a visit. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was significant pressure,” Arnett says, “Because really that was her coming out too. She had been in movies prior to that, playing small parts and some uncredited parts. But this was her opportunity to bust out at 44-years-old.”\u003c/p>\n\u003cp>The film was a success and Juanita received an Academy Awards nomination for Best Supporting Actress. She became the fifth Black actor ever to be nominated for an Oscar. Although she didn’t win, Juanita hoped she would get cast in more leading roles. But the offers never came. She didn’t work for a year after that.\u003c/p>\n\u003cp>“I didn’t want to carry the trays anymore,” recalled Juanita during the 1995 interview. “I knew that was the only kind of job that I was going to get. I knew that, but I did not want to do that. So I don’t know if being nominated helped me or not.”\u003c/p>\n\u003cp>But true to her passion, Juanita never quit acting. She went on to perform in mostly small roles. Her last role was in 2000, as a grandmother in Disney’s “The Kid” with Bruce Willis.\u003c/p>\n\u003cp>She died just before New Year’s Day 2014, at the age of 99.\u003c/p>\n\u003cfigure id=\"attachment_11874843\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874843 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-800x995.jpg\" alt=\"\" width=\"800\" height=\"995\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore in the 1950s. Photo courtesy Arnett Moore\u003c/figcaption>\u003c/figure>\n\u003cp>Arnett says his aunt never talked much about her career when he was a kid growing up in LA.[aside tag=\"hollywood, golden globes\" label=\"More Hollywood Stories\"] He’s had to uncover much of her professional history himself after her death, including digging up hundreds of photos. A three-inch-thick binder holds much of the information he’s found about his aunt, and many family photos too. Framed portraits of her sit in his living room. His affection and admiration for her is clear.\u003c/p>\n\u003cp>“I’m very proud of her,” he says, “She had a lot of obstacles, the biggest one being racism … she’s a star without a star.”\u003c/p>\n\u003cp>Arnett recalls a conversation he had with Juanita just a few months before her death.\u003c/p>\n\u003cp>“I said, Nita, do you want a star on the Hollywood Walk of Fame? And she says, ‘If you think I deserve one, baby.’ From that point on, I did everything I could to look and research and see how she could earn a star on the Hollywood Walk of Fame.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Arnett says he’s mostly optimistic. If Juanita isn’t selected this time around, he says he’ll keep trying until she gets her star.\u003c/p>\n\n",
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"title": "‘A Star Without a Star’: An Oakland Man's Mission to Get his Aunt on the Hollywood Walk of Fame | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before the current reckoning with the Golden Globe Awards and the push for more diverse representation in media, Black actors in Hollywood’s golden age paved the way in an industry that gave them few options and, often, no credit. In her seven-decade stage and screen career, Juanita Moore made more than 80 film and television appearances.\u003c/p>\n\u003cp>Though she was nominated for an Academy Award for her performance in the 1959 film, \u003ca href=\"https://www.imdb.com/title/tt0052918/?ref_=tt_mv_close\">“Imitation of Life,” \u003c/a>she didn’t reach the level of fame and recognition that might normally follow such a nomination. Her nephew, Arnett Moore, says her spotlight is long overdue. \u003c/p>\u003c/div>",
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"content": "‘In the ’50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again. You might not know her name, but you knew that she was that person.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From his home in the Oakland Hills, 75-year-old Arnett has launched a one-man campaign to get his late aunt a star on the Hollywood Walk of Fame. The Hollywood Chamber of Commerce only picks one posthumous candidate each year to get a star. Applications are due by May 28, and this is the third year in a row Arnett has submitted Juanita for consideration.\u003c/p>\n\u003cp>“In the ’50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again,” he says, “You might not know her name, but you knew that she was that person.”\u003c/p>\n\u003cfigure id=\"attachment_11874869\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874869 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg\" alt=\"\" width=\"800\" height=\"947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1020x1207.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1298x1536.jpg 1298w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1731x2048.jpg 1731w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of Juanita Moore. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita was born in Itta Bena, Mississippi, one of seven sisters, and the youngest of nine children, though one of her brothers died in childhood. Her other brother was Arnett’s father. Juanita’s mother moved all the children to Los Angeles around 1921. Her brother, Juanita’s uncle, was a sleeping car porter and was able to get train tickets for the family to come to California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While attending Thomas Jefferson High School in Los Angeles, Juanita was part of the glee club, singing and dancing. A teacher saw her perform and suggested that she had the talent to pursue a career on stage. Arnett says she and a friend moved to New York City to do just that.\u003c/p>\n\u003cp>“She was a showgirl at 18 at Small’s Paradise, at the (Cafe Zanzibar), at several venues throughout New York, during the Harlem Renaissance. This is in the thirties.\u003ci>” \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11874820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-1536x1255.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18.jpg 1921w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore, around 18 years old, as a Chorus Girl in New York circa 1933. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon after, says Arnett, Juanita headed to Europe, “Because Black entertainers weren’t as well received in America as they were in Europe.” She sang at the London Palladium, at the Moulin Rouge, and Arnett says she even had a chance to sing and dance with Josephine Baker, the entertainer and civil rights activist.\u003c/p>\n\u003cfigure id=\"attachment_11874838\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874838 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg\" alt=\"\" width=\"800\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1020x1253.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1250x1536.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1667x2048.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore (right), with a friend, sometime in the early ’30s. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita returned to California after the death of her mother, and it was then that she began to pursue acting. “She started out in, they called it, Black cinema or\u003ca href=\"https://www.npr.org/sections/codeswitch/2016/03/04/469149240/restored-movies-by-african-american-filmmakers-find-new-audiences\"> race movies,\u003c/a>” Arnett says. These were films made by Black filmmakers featuring primary Black casts for Black audiences. “But these were all movies that you aren’t getting credit for, for being a Hollywood star yet.\u003cem>” \u003c/em>\u003c/p>\n\u003cp>Her first appearance in a mainstream movie came in the 1949 film, “Pinky,” in which she had a few lines as a nurse. Many of the roles available to her were based on negative stereotypes, Arnett says.\u003c/p>\n\u003cp>“She once said she was from the boudoir to the jungle,” he says, “In other words, she played a maid to a savage. And that was her early career.” Those were the roles available to Black women at the time, says Arnett, but Juanita had her limits. “One thing she wouldn’t do is play the mammy role or the buffoon roles. She would not do those, and those that did became very successful. But she refused to do those.”\u003c/p>\n\u003cp>It wasn’t until 1959 that Juanita got her big break when she was cast in the drama, “Imitation of Life,” alongside Lana Turner and Susan Kohner. Juanita plays Annie, a woman whose light-skinned daughter rejects her Black identity, to live her life passing as white.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-_ax1pt8zp0'\n title='//www.youtube.com/embed/-_ax1pt8zp0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I remember that it was a very emotional picture,” Arnett says, “I once was asked by a friend of mine who was older, ‘Did you cry during Imitation of Life?’ I said, ‘No!’ I didn’t want him to think I cried. But yes,” Arnett admits, laughing, “I cry even today. And I cried then.”\u003c/p>\n\u003cp>During a 1995 interview with Turner Classic Movies, Juanita Moore remembered what the film’s producer, Ross Hunter, told her when she got the part: “’Juanita,’ he said, ‘I’ve put my neck out for you. If you’re no good, the picture is not gonna be any good.’”\u003c/p>\n\u003cfigure id=\"attachment_11874895\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg\" alt=\"\" width=\"800\" height=\"1234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1020x1573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-996x1536.jpg 996w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1328x2048.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1920x2960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg 1660w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita with Ross Hunter, the producer of ‘Imitation of Life,’ and Sammy Davis Jr. Sammy was a friend of Juanita’s, and stopped by the set for a visit. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was significant pressure,” Arnett says, “Because really that was her coming out too. She had been in movies prior to that, playing small parts and some uncredited parts. But this was her opportunity to bust out at 44-years-old.”\u003c/p>\n\u003cp>The film was a success and Juanita received an Academy Awards nomination for Best Supporting Actress. She became the fifth Black actor ever to be nominated for an Oscar. Although she didn’t win, Juanita hoped she would get cast in more leading roles. But the offers never came. She didn’t work for a year after that.\u003c/p>\n\u003cp>“I didn’t want to carry the trays anymore,” recalled Juanita during the 1995 interview. “I knew that was the only kind of job that I was going to get. I knew that, but I did not want to do that. So I don’t know if being nominated helped me or not.”\u003c/p>\n\u003cp>But true to her passion, Juanita never quit acting. She went on to perform in mostly small roles. Her last role was in 2000, as a grandmother in Disney’s “The Kid” with Bruce Willis.\u003c/p>\n\u003cp>She died just before New Year’s Day 2014, at the age of 99.\u003c/p>\n\u003cfigure id=\"attachment_11874843\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874843 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-800x995.jpg\" alt=\"\" width=\"800\" height=\"995\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore in the 1950s. Photo courtesy Arnett Moore\u003c/figcaption>\u003c/figure>\n\u003cp>Arnett says his aunt never talked much about her career when he was a kid growing up in LA.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> He’s had to uncover much of her professional history himself after her death, including digging up hundreds of photos. A three-inch-thick binder holds much of the information he’s found about his aunt, and many family photos too. Framed portraits of her sit in his living room. His affection and admiration for her is clear.\u003c/p>\n\u003cp>“I’m very proud of her,” he says, “She had a lot of obstacles, the biggest one being racism … she’s a star without a star.”\u003c/p>\n\u003cp>Arnett recalls a conversation he had with Juanita just a few months before her death.\u003c/p>\n\u003cp>“I said, Nita, do you want a star on the Hollywood Walk of Fame? And she says, ‘If you think I deserve one, baby.’ From that point on, I did everything I could to look and research and see how she could earn a star on the Hollywood Walk of Fame.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arnett says he’s mostly optimistic. If Juanita isn’t selected this time around, he says he’ll keep trying until she gets her star.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood?",
"title": "Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood?",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">As jury deliberations continue in the trial of big budget movie producer Harvey Weinstein, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has signaled it wants to institutionalize more sensitive approaches to simulating intimacy on set.\u003c/span>\u003c/p>\n\u003cp>Last month, the guild released \u003ca href=\"https://www.sagaftra.org/contracts-industry-resources/workplace-harassment/intimacy-coordinator-standards-protocols\" target=\"_blank\" rel=\"noopener noreferrer\">new standards and protocols\u003c/a> for the work of intimacy coordinators, a growing industry of professionals who help choreograph scenes that depict sexual behavior\u003cspan style=\"font-weight: 400\"> in movies and TV\u003c/span>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\"The best practice around when to use us is whenever there are scenes involving any level of nudity — and then, of course, any type of simulated sex,\" said Amanda Blumenthal, an intimacy coordinator who helped the guild put together the new standards.\u003c/p>\n\u003cp>Blumenthal's website lists a number of specific scenarios during which intimacy coordinators can be useful, like \"coordinating with departments such as costumes and makeup to make sure that the actors are provided with appropriate nudity garments and prosthetics.\"\u003c/p>\n\u003cp>Intimacy coordinators, or ICs, can play a role in all kinds of intimate scenes, including “groping of breasts over clothing, heavy make out sessions, first kisses for minors and things like that,\" said Blumenthal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">As jury deliberations continue in the trial of big budget movie producer Harvey Weinstein, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has signaled it wants to institutionalize more sensitive approaches to simulating intimacy on set.\u003c/span>\u003c/p>\n\u003cp>Last month, the guild released \u003ca href=\"https://www.sagaftra.org/contracts-industry-resources/workplace-harassment/intimacy-coordinator-standards-protocols\" target=\"_blank\" rel=\"noopener noreferrer\">new standards and protocols\u003c/a> for the work of intimacy coordinators, a growing industry of professionals who help choreograph scenes that depict sexual behavior\u003cspan style=\"font-weight: 400\"> in movies and TV\u003c/span>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\"The best practice around when to use us is whenever there are scenes involving any level of nudity — and then, of course, any type of simulated sex,\" said Amanda Blumenthal, an intimacy coordinator who helped the guild put together the new standards.\u003c/p>\n\u003cp>Blumenthal's website lists a number of specific scenarios during which intimacy coordinators can be useful, like \"coordinating with departments such as costumes and makeup to make sure that the actors are provided with appropriate nudity garments and prosthetics.\"\u003c/p>\n\u003cp>Intimacy coordinators, or ICs, can play a role in all kinds of intimate scenes, including “groping of breasts over clothing, heavy make out sessions, first kisses for minors and things like that,\" said Blumenthal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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