Blacktinidad is a signature LatiNation series that celebrates the diversity and richness of the Afro-Latino experience, offering a platform where stories of identity, resilience, and joy take center stage. Through bold storytelling and authentic representation, the series has cultivated a loyal and growing audience across television, streaming, and social platforms.

Hosted by Eliana, the episode follows her return to Puerto Rico for an immersive journey into the island’s Afro-descendant traditions, centering on Loíza, widely regarded as the heart of Afro-Puerto Rican culture. Her visit begins at Taller de N’Zambi, where she explores the rhythms and movement of Bomba de Loíza, one of Puerto Rico’s most powerful and historically rooted musical traditions.

The special also features an intimate visit with legendary culture bearer Raúl Ayala, whose family has preserved the artistry, history, and traditions of Bomba for more than seven decades. Eliana further dives into the cultural significance of Puerto Rico’s iconic Vejigante masks, before closing the episode at El Kiosko La Comay, a beloved Loíza institution known for its traditional cuisine and deep community roots.

The special underscores LatiNation Media’s commitment to culturally driven programming that reflects the lived experiences of U.S. bilingual and bicultural Latinos. The award-winning media company operates LATV, the independent cable network reaching 81% of U.S. Hispanic households in the top 47 DMAs, along with LatiNation FAST, the LatiNation+ app, and a robust in-house production studio. Its content spans linear TV, FAST/AVOD/CTV, digital, and social platforms.With its Black History Month Blacktinidad special, LatiNation continues to amplify Afro-Latino voices and stories, reinforcing its mission to serve as a cultural connector across the Black and Latino diaspora.

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The Circle, a tragicomic theater production by playwright Stacey Martino Rivera, delivers a deeply emotional, thought-provoking, and often disarmingly funny exploration of family grief, identity, and reconciliation. Directed with sensitivity and imaginative scope by D.W. Jacobs, and featuring original music by Germaine Franco, the production resonates long after the final bow.

Set over one chaotic weekend in Texas, The Circle brings together three generations of the Medinas and Mahoneys families. What unfolds is not merely a family drama but a mirror reflecting America’s fractured emotional and political landscape. Through moments of absurdity, tenderness, and piercing confrontation, the play suggests that truth itself is subjective — that every character holds their own version of reality, each equally valid. In this way, The Circle invites empathy rather than judgment, urging audiences to expand their capacity for understanding rather than retreat into certainty.

This is an introspective work that challenges easy answers. The emotional core of The Circle rests in its insistence that exclusion of any lived truth is itself invalid. Rivera’s writing insists that reconciliation, not punishment, must guide our approach to harm, conflict, and healing — a message that feels particularly urgent in today’s social climate.

The cast delivers uniformly powerful performances, but two stand out for their depth, control, and emotional honesty: Michael Brainard as Bud Ireton and René Rivera as José Medina. Their performances anchor the production, providing a masterclass in restraint and emotional precision. What makes their work especially compelling is the raw authenticity they bring — never overplayed, never forced — allowing moments of vulnerability to emerge naturally and profoundly.

René Rivera, a Lifetime Member of The Actors Studio, brings extraordinary gravitas to José Medina. His distinguished career spans Broadway, Off-Broadway, television, and film, including collaborations with Al Pacino, Kevin Kline, Anne Bogart, and Stephen Berkoff. Here, Rivera channels decades of craft into a performance that is both intimate and commanding. 

Michael Brainard’s Bud Ireton is equally compelling — layered, conflicted, and achingly human that demands his voice be heard.  Brainard, known for his work in All My Children, Santa Barbara, and numerous film and television projects, creates a character whose emotional evolution feels deeply lived-in and profoundly sincere.

The ensemble is solid across the board. Alma Martinez delivers a deeply moving performance as the dying matriarch Eva Medina, embodying both fragility and fierce emotional presence. Victoria Ratermanis as Molly Medina, Lisa Richards as Maeve Mahoney, and Jeanette Godoy as Mary Padrón each bring nuance and emotional complexity to their roles. Ava Rivera and Luna Rivera, portray Anna Medina at ages sixteen and twelve respectively, offering remarkable emotional maturity and authenticity. Lakin Valdez rounds out the cast with a strong and revealing performance as Ronnie Medina.

Martino Rivera explains that she wrote The Circle as an act of healing — for herself, her family, and ultimately, for a society fractured by polarization. The play’s exploration of racial justice, environmental justice, immigration, restorative justice, and belonging unfolds organically, never feeling didactic. 

Director D.W. Jacobs, drawing on decades of work with epic literary traditions — from Dickens to Dante — Jacobs infuses the play with a spiritual and emotional architecture rooted in memory, cyclical time, and transformation. 

The Circle is a rare theatrical experience — emotionally raw yet humorously alive. It does not offer easy conclusions. it opens a space for reflection, empathy, and perhaps, transformation.

Verdict:The Circle is powerful, courageous theater — urgent in its themes, exceptional in its performances, and essential viewing for audiences seeking art that challenges, heals, and inspires.

The production is dedicated to the late C. Raul Espinoza, posthumous producer of the play, whose legacy of community engagement and cultural advocacy is deeply felt throughout the evening.

The Circle will continue to play at the Greenway Court Theatre, 544 North Fairfax Avenue (at Melrose Avenue), Hollywood, CA  90036 on Fridays and Saturdays at 8:00 p.m., and Sundays at 2:00 p.m. The show will be playing for the remainder of the run on  Fridays, February 13 and 20 at 8:00 p.m., Saturdays, February 20 and 28 (a added Bonus performance) at 8:00 p.m., and Sundays at 2:00 p.m., February 15 and 21. Saturday, February 14th, Valentine’s Day, will be dark.

For further information and to buy tickets online, please visit https://greenwaycourttheatre.org  Tickets can also be purchased by E-mailing boxoffice@greenwayartsalliance.org or calling the Greenway Court Theatre at 323-655-7679, ext. 4.

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The Dreamer Cinderella opens on January 23, 2026 in theaters nationwide, marking a major milestone for this bold indie romance with a studio-scale theatrical rollout. The Dreamer Cinderella marks the highly anticipated theatrical debut of a powerful new indie feature, arriving in cinemas nationwide. The film stars Tara Reid,Anakaren Chablé, Anthony W. Preston, Paul Rodriguez, Victoria Del Rosal, and Paul Johansson, bringing together a cross-generational ensemble of recognizable talent and emerging voices.

The film’s official World Premiere screening is on Wednesday, January 21st. Although it is already sold out, the producers are having local red carpet screening available for the public to attend, adding to the excitement of the opening week celebration. All audiences are invited to a red-carpet, Hollywood style screening at several locations at the following theaters (some cast will be in attendance).

Local red carpet premieres that have tickets available include (CLICK HERE Purchase tickets):

Tuesday, January 20 – Fresno, Maya Cinemas

Thursday, January 22 – Norwalk, Milagro Cinemas

Saturday, January 24 – Chino, Maya Cinemas

Sunday, January 25 – Las Vegas, Maya Cinemas

The producers also invite the public to support The Dreamer Cinderella beginning January 23rd at the following locations: CLICK HERE TO Purchase your ticket

? SOUTHERN CALIFORNIA

• Cinépolis Cinemas Pico Rivera
• Milagro 8 – Norwalk, Los Angeles, CA
• Regency Theatres Van Nuys Plant – Los Angeles, CA
• Regency Commerce 14 – Los Angeles, CA
• Maya Cinemas Chino 8

? CENTRAL CALIFORNIA

• Maya Cinemas Fresno 16
• Maya Cinemas Bakersfield 16
• Maya Cinemas Delano 12

? NORTHERN CALIFORNIA

• Maya Cinemas Pittsburg 16
• Brenden Theatres Modesto 18
• Maya Cinemas Salinas 14

? TEXAS

• City Base Cinemas – San Antonio, TX
• Santikos Casa Blanca – San Antonio, TX
• Premiere LUX Cine 17 IMAX – El Paso, TX
• AMC Gulf Pointe 30 – Houston, TX
• AMC Willowbrook 24 – Houston, TX

? LAS VEGAS

• Maya Cinemas North Las Vegas, NV

? FLORIDA

• AMC Hialeah 12 – Miami–Fort Lauderdale, FL
• AMC Tamiami 14 – Miami–Fort Lauderdale, FL

Written and directed by Dr. Jose-Luis Ruiz, The Dreamer Cinderella centers on Xochitl, a Mexican-American fruit vendor whose life is unexpectedly transformed when she becomes the focal point of a high-stakes bet between two rival film directors. Blending romance, social commentary, and industry satire, the film explores themes of ambition, visibility, and who gets to be seen—and valued—within Hollywood and beyond.

The film’s nationwide theatrical rollout underscores a growing appetite for culturally resonant, audience-driven independent cinema. Members of the media are invited to attend the red-carpet premiere and participate in exclusive interviews with cast and filmmakers, spotlighting the film’s message, cultural impact, and journey from grassroots development to wide theatrical release.

Community is invited to help make this a boxoffice success. Latinos have the power as they are the #1 film going audience.

The post ‘The Dreamer Cinderella’ Rom-Com Opening Week is Here! first appeared on .

SUNDANCE SPOTLIGHT

The 2026 Sundance Film Festival will shine a long-overdue national spotlight on one of the most influential cultural architects in American history: Luis Valdez. With the world premiere of American Pachuco: The Legend of Luis Valdez, Latino Public Broadcasting (LPB) cements Valdez’s towering legacy as a revolutionary artist who transformed theater, film, and the visibility of the Mexican-American experience—while also affirming the vital role of public broadcasting in preserving Latino cultural memory.

Directed, written, and produced by David Alvarado, American Pachuco is far more than a biographical documentary. It is a cultural reckoning—charting how Valdez reshaped the American stage and screen by insisting that Chicano stories were not peripheral, but central to the national narrative.

From the Fields to the Forefront of American Theater

Valdez’s story is inseparable from the Chicano Movement itself. In 1965, alongside the United Farm Workers, he founded El Teatro Campesino, a theater company born not in traditional playhouses but in the fields—using satire, music, and performance as tools of protest, education, and empowerment for farmworkers demanding dignity and justice.

That radical foundation led to one of the most consequential theatrical moments in U.S. history. Zoot Suit originated at the Mark Taper Forum in Los Angeles, where it became an undeniable hit, electrifying audiences with its bold fusion of American Latino music, movement, history, and political urgency. The production was so successful that it made history—transferring to Broadway in 1979, marking the first time a Chicano playwright’s work appeared on the Great White Way.

In a rare and telling testament to its cultural impact, Zoot Suit didn’t simply move east. While one company made its groundbreaking Broadway run, a second cast remained in Los Angeles, where the show continued at the Aquarius Theatre, running for nearly a full year. The dual productions underscored something unprecedented: Chicano theater was no longer a niche movement—it was a mainstream cultural force commanding audiences on both coasts.

Edward James Olmos: A Full-Circle Cultural Moment

Central to Zoot Suit’s legacy—and to American Pachuco—is Edward James Olmos, whose star-making role as El Pachuco was written by Valdez and became one of the most iconic performances in American theater. The role launched Olmos’s career and redefined the possibilities for Latino actors at a time when such opportunities were nearly nonexistent.

Decades later, Olmos narrates American Pachuco not only as a collaborator and witness, but as co-founder and Chairman of the Board of Latino Public Broadcasting, the organization that partially funded the documentary. The symmetry is profound: a playwright who opened doors for an actor, and an actor who now ensures those doors remain open for future generations of Latino storytellers.

“Now more than ever, it’s crucial that we give a voice to our Latino filmmakers and make sure that our stories are heard,” Olmos said. “While these two films are very different, both of them celebrate how art can lift individuals and communities and bring about real transformative change.”

A Definitive Portrait of a Cultural Revolutionary

Winner of the Library of Congress Lavine/Ken Burns Prize for Film, American Pachuco: The Legend of Luis Valdez features extensive interviews with Valdez, offering rare insight into his artistic philosophy, political consciousness, and lifelong commitment to cultural truth-telling. The film positions Valdez not only as a playwright and filmmaker, but as a cultural architect whose influence reshaped the American artistic landscape.

The documentary is a co-production of Insignia Films, ITVS, Latino Public Broadcasting, and Firelight Media, in association with American Masters Pictures and PBS, with funding provided by the Corporation for Public Broadcasting. It will premiere nationally in Fall 2026 as a co-presentation of VOCES and AMERICAN MASTERS, placing Valdez among the most essential artists ever profiled in the series.

LPB at Sundance: Expanding the Latino Story

Latino stories are foundational to American culture, not footnotes. And at the center of that truth stands Luis Valdez—a visionary who proved that telling our own stories is an act of resistance, celebration, and transformation.With American Pachuco: The Legend of Luis Valdez, Sundance 2026 does more than honor a filmmaker. It honors a movement—and a legacy that continues to shape every Latino story told on stage and screen today.

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In an industry where independent films are too often sidelined by limited marketing muscle and one-size-fits-all distribution strategies, The Dreamer Cinderella is doing something bold—and long overdue. Ahead of its January 23 nationwide theatrical release, the romance drama has mounted a studio-scale rollout without a studio, proving that vision, strategy, and cultural clarity can rival traditional Hollywood machinery.

Rather than waiting for a distributor to define its audience or dilute its message, the filmmakers behind The Dreamer Cinderella took control of their own narrative. The result: a grassroots-meets-glamour campaign that blends red-carpet prestige, celebrity visibility, and authentic community engagement, successfully activating audiences across Los Angeles and Texas through a series of high-profile advance screenings.

This is not indie film marketing as we’ve come to expect it, this is indie filmmaking on its own terms. At the helm of the film’s production is writer/director & producer Jose Luis Ruiz (The First Cowboy, Holy Cash), who has wholeheartedly embraced this unique Indie Film Marketing Campaign, collaborating with Entertainment Media Specialists to see it through.

“Small Independent Latino films are very misunderstood in Hollywood, and traditional publicity and marketing avenues are expensive and oftentimes ineffective for the indie filmmaker,” said Ruiz. “I want to find a new path with people who understand our stories and community.”

A New Model for Latino-Led Storytelling

At the heart of the film’s rollout is a quiet but powerful rebellion against outdated marketing approaches that frequently miss—or misunderstand—Latino audiences. Instead of relying on distributor-led strategies that often overlook cultural nuance, the Dreamer Cinderella team embraced a self-directed, creator-first model, aligning promotion with purpose.

It’s a strategy increasingly embraced by Latino filmmakers who recognize that ownership equals power—power over how stories are positioned, who they reach, and how long they resonate. By designing a campaign that mirrors a major studio release—albeit on a leaner budget—the film demonstrates that scale is not solely about dollars, but about intention.

Studio Ambition, Indie Heart

Written/ produced/ and directed by Jose Luis Ruiz for Dr. Ruiz Productions, The Dreamer Cinderella offers a modern reimagining of a classic fairytale, grounded in themes of resilience, identity, and emotional connection. It’s a romance that reflects lived experience, cultural specificity, and universal longing—elements too often absent from mainstream love stories.

The film boasts a diverse and notable ensemble cast, including Tara Reid (American Pie), Anakaren Chablé (Troop Dragonfly), , Paul Johansson (One Tree Hill, Van Helsing), Paul Rodriguez (Holy Cash, Blood Work, Ali), Anthony W. Preston (Billionaire’s Borrowed Bride), Abigail Stanton (Ex-Convict Nanny & Billionaire Single Dad), Selena Ringel (You, Me & Her, Single Mother by Choice), and Victoria del Rosal (Lolita, Strange Love, #sorrynotsorry). The film brings together talent from across film and television in support of a story that refuses to be marginalized.

Press Access and National Visibility

Further underscoring its studio-level ambitions, the film’s campaign includes targeted national press outreach, cross-country screenings, and a virtual press junket on January 15, 2026, offering media direct access to the cast and creative team—an opportunity rarely afforded to independent releases at this scale.

The message is clear: independent films don’t have to wait for permission to be seen.

More Than a Release—A Statement

By taking ownership of its marketing and distribution, The Dreamer Cinderella isn’t just opening in theaters—it’s opening a conversation about equity, access, and the future of independent cinema, particularly for Latino creators.

As awards season conversations and box office narratives continue to exclude diverse voices, this film stands as a reminder that visibility is a strategy, not a stroke of luck.

The Dreamer Cinderella is being distributed by Atlas Distribution and opens theatrically nationwide on January 23—and with it, a new blueprint for how independent films can rise, connect, and endure.

Title: The Dreamer Cinderella Genre: Romance Drama. Runtime: 1 hour 34 minutes. Language: English

Production Company: Dr. Ruiz Productions. Distributor: Atlas Distribution Company

SOCIAL MEDIA:INSTAGRAM:  @dreamercinderellafilm

The post ‘The Dreamer Cinderella’ Rewriting the Indie Film Marketing Playbook— on its Own Terms first appeared on .

The new year launches at full speed as Tron: Ares, the epic sci-fi action-adventure from Disney, begins streaming January 7 exclusively on Disney+. Directed by Joachim Rønning, the latest chapter in the iconic TRON franchise invites audiences back into the Grid with a bold new vision—one packed with cutting-edge visuals, pulse-pounding action, and a powerful story centered on the collision between artificial intelligence and humanity. And a most pleasant welcome to actor Arturo Castro who plays Seth Flores and turning heads on the national and international stage.

Castro’s path to Tron: Ares came through an unexpected but very Hollywood chain of events. A standout moment in the trailer for the Jake Gyllenhaal–led Road House reboot showcased Castro as Moe, a candid biker gang member whose sharp comic timing left a strong impression. His performance caught the attention of Gyllenhaal’s WME agent, Brent Morley, who promptly recommended Castro to another of his clients—Jared Leto.

Leto, who both stars in and produces Tron: Ares, quickly took notice. Impressed by Castro’s presence, Leto championed him for the role of Seth, personally advocating on his behalf. With Leto’s support, Castro’s name gained traction within the production, ultimately leading director Joachim Rønning and the creative team behind the third Tron installment to officially cast him in the film.

Castro, best known for his roles as Jef in the Comedy Central series Broad City and as David Rodríguez in the Netflix crime drama Narcos. Castro hosted his own show, Conexion, on Guatemala’s national network, a year before moving to New York City. In New York, where attended the American Academy of Dramatic Arts, and where he met Abbi Jacobson and Ilana Glazer and landed the role of Jaimé in Broad City.

“Its been really recently that we have been allowed to be three dimensional characters in movies.” Castro commented on the Nerds of Color YouTube Channel.

Authentic Representation Amplifies Engagement

A McKinsey study revealed a powerful correlation between authentic Latino representation and audience engagement. McKinsey findings found that Latino viewership doubles when Latinos are represented on- or off-screen, underscoring the importance of authentic portrayals and inclusive storytelling (McKinsey).

And representation matters to Latino Audience. Known for their strong connection to action-driven, visually immersive storytelling, U.S. Latino audiences and worldwide have long embraced high-energy sci-fi and franchise films—genres that blend spectacle with themes of identity, survival, and technology’s impact on everyday life. Tron: Ares taps directly into that appeal, delivering relentless momentum and a futuristic world that feels both thrilling and culturally relevant.

Although not for everyone, Tron: Ares has been praised by critics as “a fast-paced, thrilling movie that launches at full throttle and never slows down” (Jonathan Sim, Coming Soon). The film’s bold aesthetic also stands out, with reviewers highlighting how “Rønning and cinematographer Jeff Cronenweth’s canvas pops with color, contrast and motion, while Nine Inch Nails’ techno-forward score literally rattles your seat” (Joseph Morona, Cleveland.com).

Adding to the excitement, Tron: Ares will stream in IMAX Enhanced on Disney+, featuring IMAX’s expanded aspect ratio that preserves the filmmakers’ creative intent for a more immersive at-home experience. Viewers with compatible TVs and AV receivers can also enjoy IMAX Enhanced sound powered by DTS, delivering the full dynamic range of the original theatrical mix.

Before diving into this bold new future, fans can revisit the origins of the franchise. Both Tron and Tron: Legacy are currently streaming on Disney+, offering the perfect lead-in to the newest evolution of the Grid.

The post ‘Tron: Ares’ Ignites the Grid With Adrian Castro Making His High-Octane Action Film Debut first appeared on .

Written by Bel Hernandez Castillo

A Hollywood celebration happens in Tucson, Arizona, on October 19, when actors, producers, and fans gather to celebrate the 25th anniversary of the groundbreaking Showtime family drama Resurrection Blvd. The hit series, which ran for three seasons, broke new ground as the first dramatic television show created, written, and performed by an all-Latino cast.

For creator Dennis Leoni, who was born and raised in Tucson, this milestone marks a true homecoming — where his real-life family and his beloved on-screen family reunite in a heartfelt celebration of legacy, culture, and storytelling.

The event, titled “A Day with Resurrection Blvd. – The 25th Anniversary Celebration,” will take place at the historic Fox Tucson Theatre, the crown jewel of downtown Tucson. This landmark Art Deco venue is the ideal setting for a series that continues to resonate with audiences and inspire new generations of Latino creatives.

“Resurrection Blvd. is the defining moment of my lifelong career in television,” says Dennis Leoni, creator and executive producer. “It’s incredibly meaningful to bring this 25th Anniversary Celebration to my hometown, and to host it at The Fox Theatre — the very place where I saw my first movie over sixty years ago. I can’t wait to share the pilot, behind-the-scenes clips, and stories from the making of this groundbreaking series.”

The celebration will feature a screening of the pilot episode, rare behind-the-scenes footage, and an engaging live panel discussion moderated by Tucson born talent Dan Guerrero with cast and crew members reflecting on the show’s lasting influence.

Confirmed guests include Dennis Leoni, Tony Plana, Michael DeLorenzo, Ruth Livier, Nicholas Gonzalez, Mauricio Mendoza, Daniel Zacapa, and possibly Esai Morales,  The panel will be moderated by acclaimed producer and performer Dan Guerrero.

To honor the show’s enduring impact on Latino representation, the event will also introduce The Leoni Filmmaking Scholarship, a new initiative to support emerging storytellers. A $2,500 scholarship will be awarded to a local high school film student, nominated by their teacher and selected for excellence in storytelling. The winner will be announced at their school and formally recognized on stage during the celebration.

For fans seeking an elevated experience, VIP tickets offer access to an exclusive after-party, where guests can mingle with the cast and creative team, enjoy hors d’oeuvres, and raise a glass to the show’s remarkable legacy.

“Resurrection Blvd. broke barriers and gave a voice to stories that continue to inspire,” says Chris Scott of Elephant Scout, co-organizer of the event. “This anniversary celebration at Fox Tucson Theatre is not just about looking back—it’s about celebrating how far Latino storytelling has come and where it’s headed next.”

Whether you grew up watching Resurrection Blvd. or are discovering it for the first time, this 25th Anniversary Celebration is a powerful reminder of the show’s enduring message — that family, identity, and resilience transcend generations. 

This exclusive celebration, presented by Elephant Scout Films, will take place at the historic Fox Tucson Theatre, located at 17 W Congress St, Tucson, AZ, on October 19, 2025.  Special thank to The Leo Kent, the Resurrection Blvd. 25th Anniversary official hotel partner.

To join in on the celebration in Tucson on October 19 Event Details:
What: A Day with Resurrection Blvd · The 25th Anniversary Celebration
Where: Fox Tucson Theatre, 17 W Congress St, Tucson, AZ 85701
When: October 19, 2025. Doors Open at 2:00 pm MST
Tickets: Available at www.foxtucson.com/resurrection. General admission and limited VIP tickets for the exclusive after-party are on sale now.

The post ‘Resurrection Blvd’ 25th Anniversary Celebration in Tucson’s Fox Theatre With Cast Reunion first appeared on .

In 2023 when This Fool starring Chris Estrada was unexpectedly cancelled after season two, fans were quick to rally—sparking online petitions and talk of lobbying Hulu to bring it back. Estrada’s unique comedic voice stood apart from the sitcom stars who came before him. Unlike the broader humor of Freddie Prinze, George Lopez, or Gabriel Iglesias, Estrada’s deadpan delivery, sharp wit, and occasional mean streak brought a refreshing edge to Latino comedy on television.

This Fool didn’t just make waves—it made Estrada a breakout star. It also proved there was an audience hungry for stories outside of the usual tropes. Estrada’s sharp writing and original voice earned him millions of new fans and solidified his place as one of comedy’s most exciting new comedic talents.

Now, Estrada is back with a brand-new project, and this time he’s stepping into network television.

Estrada is set to co-write and executive produce Forklift, a single-camera warehouse comedy currently in development at NBC. As with This Fool, Forklift is loosely inspired by Estrada’s own life. Before landing his first series at Hulu, Estrada spent years grinding in warehouse jobs, an experience he now flips into comedy gold.

Co-written with Rick Cisario, Forklift centers on Victor (played by Estrada), a forklift driver who is suddenly promoted to warehouse supervisor. His promotion changes the dynamics with his coworkers, who now view him in a completely different light and have a hard time adjusting to his new role. The premise promises the same grounded, working-class humor that made This Fool so resonant—this time through the lens of workplace politics and friendships.

Estrada’s rise is a big win not only for his fans but for the ongoing push to amplify Latino voices in Hollywood. While Latinos make up nearly 20% of the U.S. population, the stories told about them—and more importantly, the people telling those stories—remain disproportionately few. Estrada stands out because he’s not just starring in these shows; he’s writing and producing them.

By creating characters and situations pulled from his own lived experiences, Estrada brings authenticity and specificity to Latino storytelling that feels both universal and unapologetically personal.

Forklift has the potential to broaden his reach even further, introducing mainstream NBC audiences to his unique perspective. It’s also a hopeful sign that networks are starting to invest in stories that reflect the diversity of the communities they serve. Estrada and Cisario will also executive produce alongside Good Walk’s Kent Alterman and Sarah Babineau will serve as executive producer for Good Walk their production company. Universal Television, a division of Universal Studio Group, is the studio.

With Forklift in the works, Estrada is proving that he’s not a one-hit wonder but a creative force with staying power. As he continues to navigate Hollywood on his own terms, fans can look forward to more of the sharp, socially conscious comedy that first put him on the map.

Estrada isn’t just back—he’s leveling up.

The post Chris Estrada Is Coming Back to TV and Building His Own Lane in Hollywood first appeared on .

By Judi Jordon for LATIN HEAT

In Spain, the legacy of poet, playwright and political martyr Federico García Lorca (1898–1936) is ever-present—etched into the hearts of artists across generations. Liberal, openly gay, and vocal supporter of the Spanish Republic, Lorca was executed without trial by firing squad at the Andalusian natural spring, Ainadamar; Arabic for “Fountain of Tears”. Lorca’s physical body was never found but his magnificent work; poetry, drama, and prose includes over a dozen major plays, including the iconic Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936)—a trilogy that delves into themes of repression, honor, and female agency in Andalusian society. His poetry “Gypsy Ballads” (1928) and “Poet in New York” (published posthumously in 1940) deftly blend Gitano and modern concepts, with symbolism, passion and Andalusian visions. 

Lorca’s Spanish romanticism and avant-garde surrealism are an integral force in 20th-century literature. A perfect subject for OPERA as song and dance were such a huge part of Lorca’s life canvas. Today his tragic end has a chilling resonance, one felt profoundly in L.A. OPERA’S masterful production of Ainadamar. And there was only one man to translate this legacy into dance Antonio Najarro. 

Much-awarded, the delightful Najarro is a notorious perfectionist and Mr. 110%. “When auditioning dancers he looks for the ‘complete package’ and may see 500 dancers to find just one that can fluidly execute his unique vision; in Ainadamar that translates to ballet, flamenco and modern dance, all seamlessly woven into the narrative. 

For Spanish superstar, choreographer and former director of Ballet National of Spain, Antonio Najarro, Lorca’s work isn’t merely an influence; it’s a spiritual force, a cultural flame that continues to inspire across borders and mediums. After an impressively smooth tech rehearsal in the Dorothy Chandler Pavilion, perfectionist Najarro took a breath and a break to share his passion for Lorca, teamwork, crafting unforgettable dance, and what drives him to the edge. 

Collaborating with conductor Lina González-Granados on Ainadamar, Najarro found an ideal partner—open, intuitive, and rhythmically attuned to flamenco’s complex timing. “It’s not easy for an orchestra to follow flamenco,” he says. “But Lina embraced every challenge. She loves dance, and that makes everything easier.”

“Every artist in Spain, at some point, ‘touches’ Lorca,” Najarro says. “We are always speaking about him—his poetry, his thinking. He left his message open to interpretation. You can do many versions of his poems, and I love that.” Najarro recently returned from a sold-out run in Madrid with his namesake dance company’s critically acclaimed production, Romance Sonámbulo at Teatro MIRA de Pozuelo de Alarcón in Madrid, inspired by one of Lorca’s most haunting poems. 

For Ainadamar Najarro leans into Lorca’s dreamlike mysticism, crafting a spiritual, non-terrestrial piece that seduces audiences through night, moonlight, and mystery. “It’s not traditional,” he explains. “It’s something deeper—more emotional, more expressive.”

Najarro’s undeniable artistry incorporates and punctuates the subtle and surreal tone perfectly as Ainadamar portrays Lorca’s final days and his impassioned yet doomed relationship with actress Margarita Xirgu. 

Directed by Brazilian choreographer Deborah Colker, the opera has traveled from Glasgow and Detroit to the Metropolitan Opera and now to Los Angeles. “This opera is not only about Lorca’s life—it’s about emotion,” Najarro says.  “The singers dance, the dancers act, everything is expression.”

Expression is the engine of Najarro’s philosophy—tempered always by rigorous technique. Whether it’s flamenco, ballet, or contemporary dance, his performers are required to master diverse movement styles with both precision and passion. “For my company, dancers must be very versatile,” he explains. “My choreography is elegant, technical, but it must also be pure. I need their footwork, their castanet technique—it’s like playing an instrument.” Working in harmony with Grammy-winning composer Osvaldo Golijov, Najarro emphasized the importance of understanding the emotional reasoning behind each composition.

Instrumentality comes alive in Ainadamar, particularly in the striking opening solo piece that blends flamenco footwork with modern movement atop a table, backed by flamenco percussion and electronic soundscapes. “It’s the bullfight,” Najarro says. “The strength, the risk, the image of the bull. Lorca loved that tension between life and death. That’s what this choreography is.”

Tickets at https://laopera.org/performances/2025/ainadamar

The post Antonio Najarro: Brings The Dancing Spirit of Lorca To LA OPERA in ‘Ainadamar’ first appeared on .

By Cris Franco

Playwright/Screenwriter Josefina López holds a singular place in both American theater and Hollywood—an artist whose voice has reshaped the narrative around Latinas on stage and screen.

In 1990, her signature play Real Women Have Curves, about an ambitious, 18-year-old, plus-sized Latina battling her family’s oppressive gender and cultural norms, became a major hit. In 2002, after a bidding war, HBO adapted the play into an award-winning film with America Ferrera in her first starring role.

So enduring is López’s semi- autobiographical tale, that for the last 23- years, both the play and film have consistently drawn large audiences, taken by López’s funny and insightful depiction of the immigrant struggle. Not resting on her laurels, more plays followed. 

López used her college loans to establish a community theater, CASA 0101, which offers multiple performing arts programs and world class theater. Lopez initially opened a nearby restaurant, CasaFina Restaurant to complement the theater experience.  Both her theater and the restaurant are located in the neighborhood that fueled her creative spirit, Boyle Heights. It was this same spirit that drove her to not give up on a career-long dream — to see her play morph yet once again, into a full Broadway musical.

Now, in a full-circle moment, López’s dream of bringing Real Women Have Curves to Broadway has finally become a reality. On April 27, 2025, the musical adaptation of her iconic play will make its long-awaited debut.

I had the privilege of speaking to Ms. López who was in NYC attending a show rehearsal. We discussed why her musical is more than just entertainment, how a “sewing factory sings”, and the importance of keeping Real Women Have Curves real.

CRIS FRANCO (CF): Josefina, I’ve streamed the many rehearsals, promos and preview clips from Real Women Have Curves, the musical — and I’m very excited!    

JOSEFINA LOPEZ (JL): Me, too! It’s got all that I loved about the play and movie but heightened with singing, dancing and an expanded story. Lisa Loomer, who adapted it, has done such a great job. 

CF: How has the original plot changed? 

JL:  We’ve added to it.  Revisiting the world allowed us to delve deeper, go back in time and bring in characters with backstories true to the times. We now meet Guatemalan (Itzel) and Salvadorian (Rosalí) refugees, a cholita (Flaca) trying to remake her life and a woman who hasn’t yet come out. These real people were part of my factory experience and now we’ve included them. It’s beautiful.

CF:  It sounds wonderful — and daunting.  Was it challenging adapting Real Women into a musical?

JL: Yes. I had tried twice before — but decided to let Lisa Loomer take-on this third attempt because when you create a successful play and movie, as I did, you get attached.  But for the project to grow, you have to be able to see beyond what already exists.  And to create new moments where it lends itself to song and dance.  I knew I had to just let go and tell myself, yeah, that moment is possible, too.  And that was the challenge. 

CF: It appears there are new male characters in the musical. 

JL: Yes. The original play featured only women and there were a few men in the film. But we added more men into the musical.  And that’s part of the challenge, too. Knowing what characters to add — without adding too many. You don’t want to overpower the narrative because Broadway often relies on spectacle and I didn’t want us to lose sight of the story.  

CF: I get it. You wanted to keep Real Women, real.

JL: Yes.  

CF: The master of musical theater, Stephen Sondheim, stated that when he was approached about musicalizing a story, he’d ask himself: “Does it sing?” Did you think Real Women would sing?  

JL: I knew it would. All the way back, when I was in the (sewing) factory, I knew that Real Women  was a musical because the factory itself was musical. The sewing machines each had a distinct, humming sound depending on how old the machine was or if it needed oil. The steam iron made a rhythmic hiss. Cutting the fabric had a percussive tick-tick-tick. The radio was always playing. Outside the cars would zoom by and you could hear all the “loncheria” trucks horns honking — da-da-da-da-daaaa!

CF: “La cucaracha, la cucaracha” — 

JL: The factory was always alive with sound and motion – moving the dresses, shaking them, sewing them, ironing them.  There was always action throughout the workroom and choreography to the assembly of the garments.  Even when I was writing the original play, I thought to myself, this story could be a musical. I imagined the women dancing with the mannequins. I had all these ideas but I was only 18-years-old and, frankly, I didn’t know how to write a musical. But I could definitely hear and see it come alive as a musical.

CF: What are your favorite musicals?

JL:  I didn’t like musicals growing up because they were not relevant to my life in Boyle Heights. It wasn’t until years later when I experienced that moment in Miss Saigon where (Vietnamese) Kim and this white (American) soldier’s souls connect through a song, that I thought, ‘Oh my God — musicals can be about anything’. They don’t have to be about two white characters falling in love in a world where everything’s rosy. Those plots were so completely relatable to me living as an undocumented girl in East L.A. So, Miss Saigon got me interested in musical theater and then I saw Next To Normal —

CF: O.M.G. That show is so daring. It’s about how a wife and mother whose mental disorder destroys and — in a way — unites a suburban family. 

JL: Next To Normal showed me that musicals can go deep and be profound. That’s when I thought, I really want my play to be a musical. At first that was just a dream, but after our film won so many awards, I started actively working with my manager seeking theater producers. And I’ve been pursuing this goal until I finally met Sergio Trujillo who won the Best Choreographer Tony in 2019.  I thought Sergio could direct it. He’s an immigrant, so he gets it and understands the pain of being undocumented.  And it slowly all came together. 

CF: There are so many elements involved in creating a musical, that a director can make or break your show.  How did you select your collaborators: Lisa Loomer and Nell Benjamin (book), Joy Huerta and Benjamin Velez (score)?  

JL: Selecting the right creatives is a big decision. But when I met Barry Wessler, the producer of Chicago, I thought — well he must know what he’s doing. His show’s have been running for over 20 years! Lisa Loomer was the smartest choice because she knows my world of Boyle Heights and she knows me.  Sergio is the one who came up with Joy Huerta. I had heard some of her songs and had heard of her.   

CF: She’s a Grammy winner. 

JL: Yes. I just had never put Joy’s name and her wonderful songs together. I thought — Oh, my God, this woman’s a poet.  She is an incredible, soulful human being — amazing.  And I thought, yes, she could write the songs for the show.   

CF: I very much like the songs I’ve heard.  They’re on story, tuneful and energetic. 

JL: I agree.  Once the creatives were lined up, I guess my big contribution was insisting that our casting agent, or at least their consultant, be a Mexican-American.  So that Mexican-American actors would be the first to be considered for the roles.  

CF: That is very important because today’s discerning Latinx audience are very familiar with the cultural and linguistic nuances of a México-American vs. a Puertoriqueño vs. a Cubano, etc. Casting still lumps us together into playing a generic Hispanic that comes across as inauthentic because a generic Hispano doesn’t exist.  But what does exist in your show is a cast that can all act, sing and dance.

JL: Well, you have to be a triple threat to be on Broadway, right?

CF: Was it a challenge finding Latinx triple threats?

JL:  It was hard to find men and women of a certain age who could sing and act and dance because until shows like In The Heights — thank goodness for In The Heights — our actors had limited opportunities to develop their musical talents. But we have assembled an amazing cast. But, the biggest challenge was getting the word out in the search for our lead, Ana, because, once again, not enough Latinos get to train, especially Mexican-Americans.  But we finally found Tatianna Córdoba who can do it all.  Plus, she’s got incredible comedic timing and she’s a great singer. Tatianna graduated from Boston Conservatory of Music at Berklee in 2022.  She’s beautiful, charming and she looks 18-years-old!  

CF: But finding her took work? 

JL: We had over one-thousand submissions for the role.      

CF: Although the original Real Women was written in the 1980s, the themes are more pressing than ever: body image, femininity vs. feminism, women’s rights, the immigrant experience. What do you think that says about our present society?

JL: Those things have only gotten worse. It’s sad. When I first wrote the play, I thought that twenty-years later, the story would be irrelevant because society would have progressed beyond these racist and sexist assumptions.  But it’s only gotten worse for women and the undocumented. It’s gotten worse for everyone. Immigrants have been dehumanized. So, it’s divine timing that this play is now on Broadway so it can challenge the narrative that we are the bad guys. That we’re taking rather than contributing. I’m very proud to share my story because it’s not just mine. It’s the story of so many others. Me, our director and the whole cast feel that telling this story is now necessary.  It’s not just entertainment.  It’s us fighting for our humanity.

I was talking to a reporter earlier and I realized — hey, by opening a theater and a restaurant, I’ve created hundreds of jobs. I didn’t take anyone’s job away. Immigrants create jobs. I’ve always been very proud and public about the fact that I am a formerly undocumented person who at age18 worked in a sewing factory.  And today I get to walk to a Broadway show where I get to see myself portrayed as a worker in that sewing factory. In a way, I’m the embodiment of the American Dream.  

CF: You certainly are. And, I too, can’t understand anyone who can’t relate to the cause of the undocumented worker.  I mean, they are just like you. They are you in different circumstances. It’s disparaging to refer to them as “aliens.”

JL: Which is code for “non-human.” And for me, that term really hurts. So I wanted to explore and celebrate my humanity through the story and say, no, I’m not an alien, I’m a human being. That’s why the play’s undressing scene is so important.  It says — look at me!  I’m flesh and blood and curves and fat and everything.  How much more real can I be than this?  

And, yeah, it’s a story of defiance, of self-acceptance because that’s me, too. But it’s also a personal feminist story about how we women are made to feel that we’re not good enough by a system that makes us feel inferior. I used to blame myself thinking, I just need to work on myself.  Until I realized that every freaking woman has the same program running in her head. And I got sick of it.  That’s why I wanted to share this story, so the other women could see it and think — wait a minute. I’m going through the same bullshit. Oh my God, everyone’s going through this!

CF: Speaking as a male — yeah, it’s true. Society does allow us to be uncaring, sloppy, vulgar, aggressive, blunt and demanding.  While women are heavily judged if they display those very human traits. Society will forgive the most vile man of almost anything if he’s a good provider. Which brings me to money and the economics of Broadway. 

JL: Oh, yes.  Mounting a show here is crazy expensive. 

CF: Currently, some orchestra prime tickets to Othello starring Jake Gyllenhaal and Denzel Washington list at $900 each with the cheapest ticket at $221.  But I’ve noticed that Real Women sells some balcony seats for under $50.  

JL: I think they’re listed at $48. We’re doing our best so that our audiences can afford to see the show. I always just go to the half-price TKTS booth and get them at 50% off but that still adds up to $100 for a pair of tickets.  And that’s because it takes about twelve-million dollars to get a show on Broadway. So it requires many investors who are primarily white men — even at my backers’ auditions.  

CF: How do you think that affects what shows get produced? 

JL: Well, if this is the group that decides what musicals make it to Broadway, it eliminates many shows that don’t appeal to this very specific funding base. I know that without a hit play we wouldn’t have had the hit movie. And without the movie we wouldn’t have had a shot at becoming a musical.  

CF: It’s very significant that you are finally here. 

JL: Especially this season when, for the first time in history, we have two new Latino musicals on Broadway: Buena Vista Social Club and Real Women Have Curves. 

CF: Do you think that says something positive about Latino stories breaking into the mainstream market? 

JL: Yes, because by bringing people into our experience they can see how beautiful we are. Broadway’s not seen a world quite like Real Women Have Curves. We present my working-class neighborhood the way I saw it.  Colorful murals, life, creativity, resilience, hope. Which is contrary to what most have heard about Boyle Heights which was at one time labeled the “drive-by shooting capitol of the world.”  That’s what captures the national headlines — not that our city has a long history of activism for civil rights and social justice. 

That’s the truth, just like the musical truly depicts how much fun it was working in the factory.  The day was filled with so much laughter and juicy chisme (gossip) that I really looked forward to going to work. So, while my friends all went off to college, I went to work in a factory where I got a real education about what it meant to be a woman. 

CF: So, your journey to Broadway began way back then. And now you’re here. 

JL:  It’s incredible to walk to Times Square and to see a giant billboard for Real Women Have Curves. 

CF: (my phone’s alarm goes off) Josefina, there’s so much more I wanted to ask you but I know our time is over and you’ve gotta go back to rehearsal. I’m gonna jump to my final question: What advice do you offer to young playwrights? 

JL: To keep telling the truth. Write about what they know, and to write about the wisdom they’ve [writers] gained from their pain and suffering, because nobody needs any more tragedies. And if they haven’t yet learned from their life lessons, wait a couple of years to write your story.  We need to hear about what they’ve gained from the losses. 

To experience what Josefina López learned from her storied life, get ready to experience Real Women Have Curves:  the Musical currently in previews wiht opening night on April 27th at the James Earl Jones Theater, NY, NY.  

The full cast includes: Tatianna Córdoba, Justina Machado, Florencia Cuenca, Shelby Acosta, Carla Jimenez, Aline Mayagoitia, Jennifer Sánchez, and Sandra Valls, Mauricio Mendoza, with Ana’s boyfriend played by Mason Reeves. with the ensemble cast consisting of Zeus Mendoza, Claudia Mulet, Christopher M. Ramirez, Monica Tulia Ramirez, Quincy Hampton, Ariana Burks 

For all show info and tickets, log onto: https://www.realwomenhavecurvesbroadway.com

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