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"title": "Faced With Budget Woes, Gavin Newsom Wants More Tax Credits for Hollywood",
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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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"excerpt": "Gov. Gavin Newsom’s latest budget proposal lays out deep cuts to public universities and health care. It also seeks to more than double the tax credits for Hollywood studios — an expansion moving smoothly through the state Legislature.",
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"title": "Faced With Budget Woes, Gavin Newsom Wants More Tax Credits for Hollywood | KQED",
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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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"slug": "hulus-good-trouble-hired-this-hollywood-food-stylist-to-make-18-pizzas",
"title": "The Hollywood Food Stylist Behind the Scenes of Popular Films and TV",
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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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"excerpt": "Hollywood writers and actors are on strike. But these work stoppages also affect other creative people in the business, including food stylists for TV and film.",
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"title": "The Hollywood Food Stylist Behind the Scenes of Popular Films and TV | KQED",
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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": "\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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"content": "\u003cdiv class=\"post-body\">\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>\u003c/div>",
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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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"title": "Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark",
"headTitle": "Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFX-wWVOyjc&feature=emb_logo\u003c/p>\n\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\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/VFX-wWVOyjc'\n title='//www.youtube.com/embed/VFX-wWVOyjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How an Old-School L.A. Video Store Thrives in a Netflix World",
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"content": "\u003cp>The year was 1989. Movies like “Batman,” “When Harry Met Sally” and “Back to the Future Part II” were Hollywood hits.\u003c/p>\n\u003cp>On the other side of Hollywood, miles from the production studios and industry gatekeepers, two Mexican-American brothers from East Los Angeles embarked on a plan to deliver movie magic to their side of town.\u003c/p>\n\u003cp>[pullquote size=“medium” align=”right” citation=\"Martin Felix\"]‘We were one of the first to actually pioneer [movie delivery].’[/pullquote]\u003c/p>\n\u003cp>Martin and Eddie Felix purchased used VHS tapes from the rental stores on the Westside of Los Angeles. Once they had a sizable collection of ’80s crowd-favorites, they converted their parent’s garage in East Los Angeles into a video library.\u003c/p>\n\u003cp>They called their business Fastlane Video, and unlike the nearby video rental spots, they took their cue from pizzerias. They advertised free delivery and pickup, with a free bag of microwavable popcorn for every two-movie rental.\u003c/p>\n\u003cfigure id=\"attachment_11750247\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg\" alt=\"An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles.\" width=\"729\" height=\"900\" class=\"size-full wp-image-11750247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut-160x198.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Already running a successful print shop out of the same garage, 21-year-old-Martin and his older brother Eddie designed mini catalogs of their VHS inventory. \u003c/p>\n\u003cp>They mailed them out to households across East L.A so customers could call in their orders.\u003c/p>\n\u003cp>“We were one of the first to actually pioneer [movie delivery],” says Martin Felix.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than a decade before Netflix would come to dominate the rental market and mail DVDs in red envelopes, the Felix brothers were finding innovative ways to collect their share of the lucrative movie industry.\u003c/p>\n\u003cp>Martin and Eddie enlisted their neighborhood buddies with cars to deliver from Soto Street to Whittier Boulevard, all the way to the 10 freeway.\u003c/p>\n\u003cfigure id=\"attachment_11750245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750245\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg\" alt=\"\" width=\"1920\" height=\"1567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1200x979.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video began as a movie delivery service to households throughout East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Business got so good that eager customers started showing up to the Felix’s family home — the address was noted on the return address of the mailed catalogs and flyers — expecting a storefront, only to find a garage.\u003c/p>\n\u003cp>“We needed a new location because more people wanted to actually come into a shop than for us to deliver,” says Martin.\u003c/p>\n\u003cp>In 1990, the brothers expanded from their parents’ East L.A. garage to a storefront in the nearby suburb of Pico Rivera. Two years later, the brothers went their separate ways but remained close.\u003c/p>\n\u003cp>Martin moved Fastlane Video to the city of Whittier and Eddie opened his own printing shop, Fastlane Printing, next door.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EkNxT89CgFE\u003c/p>\n\u003cp>Since Martin was a party promoter before the days of Fastlane Video, he knew how to attract large crowds to the store.\u003c/p>\n\u003cp>In the ’90s he often organized autograph-signings with acts like \u003ca href=\"https://www.youtube.com/watch?v=XB91QfyBuz8\">Sweet Sensation\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Of-uhhQWNeA\">Miranda\u003c/a>, and eager teens would show up to get the latest mix-tapes and CDs for their backyard parties.\u003c/p>\n\u003cp>The part-video-store, part-record-shop quickly became a hub for local DJs and big name recording artists in the house music and \u003ca href=\"https://tropicsofmeta.com/2016/11/30/the-other-freestyle-recovering-80s-latin-dance-music/\">freestyle\u003c/a> scene.\u003c/p>\n\u003cfigure id=\"attachment_11750249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg\" alt=\"In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\" width=\"800\" height=\"405\" class=\"size-medium wp-image-11750249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1020x516.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1200x607.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the ’80’s and ’90’s, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\u003cbr> \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unable to compete with the free digital music market kick-started by Napster, Martin discontinued the music side of the business in 2002. When his customers began requesting the newest releases on DVDs, he shifted his business model once again, this time from analog to digital.\u003c/p>\n\u003cp>“Our location is so small, we got to the point that we had to give away all our VHS tapes,” says Martin.\u003c/p>\n\u003cp>Today the only VHS tapes in the store are collecting dust in the back closet, left over from DVD transfers Martin makes for customers.\u003c/p>\n\u003cp>Now that streaming platforms have replaced video stores it’s hard to believe that \u003ca href=\"http://www.fastlanevideo.com/\">Fastlane Video is still standing\u003c/a>.\u003c/p>\n\u003cp>“There used to be a video store on every corner,” says Martin. “I was surrounded by 15 video stores, but we’re still here.”\u003c/p>\n\u003cp>It’s not a hipster spot with retro decor and underground art house films. Instead, Martin has the big blockbuster titles on 4K and Blu Ray DVDs.\u003c/p>\n\u003cfigure id=\"attachment_11750248\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11750248 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg\" alt=\"\" width=\"1279\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg 1279w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for autograph signings at Fastlane Video & Records, a hub for fans of freestyle and house music. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin says keeping his shop modern is key to its survival.\u003c/p>\n\u003cp>“Either we move with the technology and learn from it or just close our doors and say, ‘I’m not going to deal with it,’ ” he says.\u003c/p>\n\u003cp>The modest place is crammed with more than 15,000 DVDs, leaving little room to move around. Stark fluorescent lighting beams from the ceiling — reminiscent of the early days when Fastlane Video began 30 years ago out of a garage.\u003c/p>\n\u003cp>“Making that customer smile. That’s the only thing that hasn’t changed in this industry,” says Martin.\u003c/p>\n\u003cp>He’s even kept his free popcorn special from the early days.\u003c/p>\n\u003cfigure id=\"attachment_11750236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11750236 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martin Felix started Fastlane Video with his older brother at age 21, and hasn’t closed his doors since. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like Martin’s original customers from 1989, who preferred the experience of visiting a store over the convenience of home delivery, so do today’s customers, like Angelo Sarni.\u003c/p>\n\u003cp>“I use Netflix, but I still like walking into a video place and renting videos the old school way,” says Sarni, who on this day is renting copies of “The Equalizer 2” and “Crazy Rich Asians.”\u003c/p>\n\u003cp>For others, paying subscription fees to various streaming platforms on top of their internet bill is out of reach. Fastlane Video is an affordable alternative that comes with the bonus of face-to-face interaction.\u003c/p>\n\u003cp>Whittier resident Louie Davis frequents the store to rent the latest Marvel movie, and chat about superhero trivia with a familiar face.\u003c/p>\n\u003cfigure id=\"attachment_11750244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg\" alt=\"Fastlane Video is still going strong in the Los Angeles suburb of Whittier.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video is still going strong in the Los Angeles suburb of Whittier. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Many customers come here to just talk to somebody. That’s what I am to most of them,” says Martin. “Some of them rent movies, some of them don’t, but I enjoy being here.”\u003c/p>\n\u003cp>The crowded store every Christmas Eve is a testament to Fastlane Video’s popularity in the community, explains customer Donald Calkims. In order to clear up shelf space for newer movies, Martin sets up tables in the parking lot stacked with overstocked DVDs that are free for his customers to take home.\u003c/p>\n\u003cp>“Now, I have a lot of customers that [bring] not just their kids but even their grandkids. So I have four generations that come in here to rent movies,” says Martin.\u003c/p>\n\u003cfigure id=\"attachment_11750254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg\" alt=\"Longtime customers turned out for Fastlane Video’s annual Christmas giveaway.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime customers turned out for Fastlane Video’s annual Christmas giveaway. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While streaming platforms have altered the way we consume media, Fastlane Video is a reminder of a time when movies brought people together instead of isolating us on our individual screens.\u003c/p>\n\u003cp>And as long as the neighborhood keeps coming, Martin Felix says he plans to keep his doors open for as long as he can.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1989. Movies like “Batman,” “When Harry Met Sally” and “Back to the Future Part II” were Hollywood hits.\u003c/p>\n\u003cp>On the other side of Hollywood, miles from the production studios and industry gatekeepers, two Mexican-American brothers from East Los Angeles embarked on a plan to deliver movie magic to their side of town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Martin and Eddie Felix purchased used VHS tapes from the rental stores on the Westside of Los Angeles. Once they had a sizable collection of ’80s crowd-favorites, they converted their parent’s garage in East Los Angeles into a video library.\u003c/p>\n\u003cp>They called their business Fastlane Video, and unlike the nearby video rental spots, they took their cue from pizzerias. They advertised free delivery and pickup, with a free bag of microwavable popcorn for every two-movie rental.\u003c/p>\n\u003cfigure id=\"attachment_11750247\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg\" alt=\"An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles.\" width=\"729\" height=\"900\" class=\"size-full wp-image-11750247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut-160x198.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Already running a successful print shop out of the same garage, 21-year-old-Martin and his older brother Eddie designed mini catalogs of their VHS inventory. \u003c/p>\n\u003cp>They mailed them out to households across East L.A so customers could call in their orders.\u003c/p>\n\u003cp>“We were one of the first to actually pioneer [movie delivery],” says Martin Felix.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than a decade before Netflix would come to dominate the rental market and mail DVDs in red envelopes, the Felix brothers were finding innovative ways to collect their share of the lucrative movie industry.\u003c/p>\n\u003cp>Martin and Eddie enlisted their neighborhood buddies with cars to deliver from Soto Street to Whittier Boulevard, all the way to the 10 freeway.\u003c/p>\n\u003cfigure id=\"attachment_11750245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750245\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg\" alt=\"\" width=\"1920\" height=\"1567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1200x979.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video began as a movie delivery service to households throughout East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Business got so good that eager customers started showing up to the Felix’s family home — the address was noted on the return address of the mailed catalogs and flyers — expecting a storefront, only to find a garage.\u003c/p>\n\u003cp>“We needed a new location because more people wanted to actually come into a shop than for us to deliver,” says Martin.\u003c/p>\n\u003cp>In 1990, the brothers expanded from their parents’ East L.A. garage to a storefront in the nearby suburb of Pico Rivera. Two years later, the brothers went their separate ways but remained close.\u003c/p>\n\u003cp>Martin moved Fastlane Video to the city of Whittier and Eddie opened his own printing shop, Fastlane Printing, next door.\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/EkNxT89CgFE'\n title='//www.youtube.com/embed/EkNxT89CgFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since Martin was a party promoter before the days of Fastlane Video, he knew how to attract large crowds to the store.\u003c/p>\n\u003cp>In the ’90s he often organized autograph-signings with acts like \u003ca href=\"https://www.youtube.com/watch?v=XB91QfyBuz8\">Sweet Sensation\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Of-uhhQWNeA\">Miranda\u003c/a>, and eager teens would show up to get the latest mix-tapes and CDs for their backyard parties.\u003c/p>\n\u003cp>The part-video-store, part-record-shop quickly became a hub for local DJs and big name recording artists in the house music and \u003ca href=\"https://tropicsofmeta.com/2016/11/30/the-other-freestyle-recovering-80s-latin-dance-music/\">freestyle\u003c/a> scene.\u003c/p>\n\u003cfigure id=\"attachment_11750249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg\" alt=\"In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\" width=\"800\" height=\"405\" class=\"size-medium wp-image-11750249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1020x516.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1200x607.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the ’80’s and ’90’s, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\u003cbr> \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unable to compete with the free digital music market kick-started by Napster, Martin discontinued the music side of the business in 2002. When his customers began requesting the newest releases on DVDs, he shifted his business model once again, this time from analog to digital.\u003c/p>\n\u003cp>“Our location is so small, we got to the point that we had to give away all our VHS tapes,” says Martin.\u003c/p>\n\u003cp>Today the only VHS tapes in the store are collecting dust in the back closet, left over from DVD transfers Martin makes for customers.\u003c/p>\n\u003cp>Now that streaming platforms have replaced video stores it’s hard to believe that \u003ca href=\"http://www.fastlanevideo.com/\">Fastlane Video is still standing\u003c/a>.\u003c/p>\n\u003cp>“There used to be a video store on every corner,” says Martin. “I was surrounded by 15 video stores, but we’re still here.”\u003c/p>\n\u003cp>It’s not a hipster spot with retro decor and underground art house films. Instead, Martin has the big blockbuster titles on 4K and Blu Ray DVDs.\u003c/p>\n\u003cfigure id=\"attachment_11750248\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11750248 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg\" alt=\"\" width=\"1279\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg 1279w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for autograph signings at Fastlane Video & Records, a hub for fans of freestyle and house music. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin says keeping his shop modern is key to its survival.\u003c/p>\n\u003cp>“Either we move with the technology and learn from it or just close our doors and say, ‘I’m not going to deal with it,’ ” he says.\u003c/p>\n\u003cp>The modest place is crammed with more than 15,000 DVDs, leaving little room to move around. Stark fluorescent lighting beams from the ceiling — reminiscent of the early days when Fastlane Video began 30 years ago out of a garage.\u003c/p>\n\u003cp>“Making that customer smile. That’s the only thing that hasn’t changed in this industry,” says Martin.\u003c/p>\n\u003cp>He’s even kept his free popcorn special from the early days.\u003c/p>\n\u003cfigure id=\"attachment_11750236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11750236 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martin Felix started Fastlane Video with his older brother at age 21, and hasn’t closed his doors since. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like Martin’s original customers from 1989, who preferred the experience of visiting a store over the convenience of home delivery, so do today’s customers, like Angelo Sarni.\u003c/p>\n\u003cp>“I use Netflix, but I still like walking into a video place and renting videos the old school way,” says Sarni, who on this day is renting copies of “The Equalizer 2” and “Crazy Rich Asians.”\u003c/p>\n\u003cp>For others, paying subscription fees to various streaming platforms on top of their internet bill is out of reach. Fastlane Video is an affordable alternative that comes with the bonus of face-to-face interaction.\u003c/p>\n\u003cp>Whittier resident Louie Davis frequents the store to rent the latest Marvel movie, and chat about superhero trivia with a familiar face.\u003c/p>\n\u003cfigure id=\"attachment_11750244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg\" alt=\"Fastlane Video is still going strong in the Los Angeles suburb of Whittier.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video is still going strong in the Los Angeles suburb of Whittier. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Many customers come here to just talk to somebody. That’s what I am to most of them,” says Martin. “Some of them rent movies, some of them don’t, but I enjoy being here.”\u003c/p>\n\u003cp>The crowded store every Christmas Eve is a testament to Fastlane Video’s popularity in the community, explains customer Donald Calkims. In order to clear up shelf space for newer movies, Martin sets up tables in the parking lot stacked with overstocked DVDs that are free for his customers to take home.\u003c/p>\n\u003cp>“Now, I have a lot of customers that [bring] not just their kids but even their grandkids. So I have four generations that come in here to rent movies,” says Martin.\u003c/p>\n\u003cfigure id=\"attachment_11750254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg\" alt=\"Longtime customers turned out for Fastlane Video’s annual Christmas giveaway.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime customers turned out for Fastlane Video’s annual Christmas giveaway. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While streaming platforms have altered the way we consume media, Fastlane Video is a reminder of a time when movies brought people together instead of isolating us on our individual screens.\u003c/p>\n\u003cp>And as long as the neighborhood keeps coming, Martin Felix says he plans to keep his doors open for as long as he can.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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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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"order": 1
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"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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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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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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"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. ",
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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. ",
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"order": 18
},
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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"
}
},
"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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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"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
},
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