The Unscripted Producers Initiative is aimed at developing emerging showrunners and high-level producers. NBCU LAUNCH’s goal to produce authentic and compelling content with a focus on giving talented diverse content creators, at any place in their career, access to meaningful opportunities in television.

The effort could not be more welcome. However, these initiatives resonate differently in the midst of the writers strike in Hollywood that is now going on a month with no resolution in sight.

The Unscripted Assistant Editor Initiative is centered on creating a pathway for production assistants (PAs) to transition to assistant editor roles. The Below-the-Line Traineeship and the Production Assistant Initiative are focused on supporting below-the-line production crew members working across unscripted and scripted shows. Lastly, the NBCU LAUNCH Talent and Casting Assistant program aims to increase representation amongst episodic and unscripted casting directors. These inclusion initiatives were created in partnership with the unscripted teams within NBCU’s entertainment networks and Universal Television Alternative Studio, a division of Universal Studio Group.

“With the steady volume of unscripted programming in our industry as well as in our portfolio, it was imperative for us to make a major investment in inclusion efforts in unscripted television,” said Jeanne Mau, Senior Vice President, TV Programming Diversity Equity & Inclusion, NBCUniversal. “Our new initiatives focused on the next generation of showrunners, executive producers, head of departments and editors working in unscripted television are part of a comprehensive approach to improving representation behind-the-camera.”

The NBCU LAUNCH continues to address diversity, equity and inclusion that is aimed train new creative talent. Their press release emphasises that the talent is being sought for their entertainment networks in the NBCU Television and Streaming portfolio that includes – NBC, Bravo, E!, Oxygen, SYFY, Universal Kids, USA and Peacock – as well as Universal Studio Group, which comprises four powerhouse studios, Universal Television, Universal Content Productions (UCP), Universal International Studios and Universal Television Alternative Studio.

The complete list of initiatives include:

The NBCU LAUNCH Unscripted Producers Initiative provides valuable on-the-job experience and mentorship to qualified, mid-level producers, including those from underrepresented backgrounds. As part of this initiative, participants are hired on an NBCUniversal unscripted show in an applicable producer role, and they will receive mentorship from the show’s senior-level producing team as well as producer credit commensurate with their title. At the conclusion of their tenure, they are considered for future placement on an NBCUniversal unscripted series. The initiative has two tracks: one for Lifestyle and Documentary series and the other for Formats and Competition series.

The Lifestyle and Documentary Series track prepares segment, talent, field and supervising producers to become the next generation of executive producers and showrunners in their genre. Participants are hired onto one of NBCUniversal’s unscripted series for a full season, allowing them the chance to receive professional guidance from the senior producing team and make invaluable connections within the industry. Since the initiative began in 2022, five producers have been placed across multiple Bravo shows including “The Real Housewives” franchise (Miami, New York and Salt Lake City) as well as “Winter House.” Among the inaugural group are three field co-executive producers, one supervising producer and one segment producer.

Participants within the Formats and Competition Series track have varying levels of experience and focus, with roles ranging from supervising, post, challenge and field producer. Participants are assigned to an NBCUniversal unscripted series for a full season, while receiving support and mentorship from the show’s senior producing team. To date, four producers have been hired on NBCU series including American Ninja Warrior, America’s Got Talent, Password and The Voice in roles ranging from challenge producer to celebrity producer.

The NBCU LAUNCH Unscripted Assistant Editor Initiative creates a viable pathway for production assistants, including those from historically underrepresented backgrounds, to advance to the Assistant Editor (AE) level on NBCUniversal productions and within the industry. NBCU LAUNCH has partnered with The Handy Foundation to identify former production assistants who are eligible to be considered as part of the talent pool for hiring. Candidates must have completed the Foundation’s AE Training Program and are otherwise eligible to be employed on NBCU productions. 

The Talent and Casting Assistant program develops aspiring episodic and unscripted casting directors from diverse backgrounds. Through the program, participants spend six months supporting the internal Talent and Casting departments within NBCU’s television portfolio, followed by six months at an independent casting office in Los Angeles or New York. Alumni of the program currently work within NBCU’s casting departments and for independent casting directors.

The main objective of the Below-the-Line Traineeship and Production Assistant Initiative is to increase the pool of experienced talent, including those from underrepresented backgrounds, who can be hired directly onto productions. The shared long-term goal of these efforts is to create sustainable and meaningful change in the composition of production crews including head of departments. Both initiatives have had participants on various NBCUniversal unscripted series: a Below-the-Line trainee was placed on Baking It, and production assistants were placed across America’s Got Talent, Baking It, Botched, The Real Housewives of New York City, That’s My Jam, The Wall and Weakest Link.

To learn more about NBCU LAUNCH’s inclusion efforts, please visit the NBCU LAUNCH site.

The post NBCU Launch Announces Diversity Initiatives for Inclusion of Creatives in “Unscripted Television” first appeared on .

William Frey’s seminal work on the changing future demographics of the United States, The Browning of America has it all right, except for the title. The book should be titled, The Re-Browning of America. 

How soon we forget. The pre-Columbian Americas from Canada down to Patagonia were flush with brown people long before the first seasick pasty white Pilgrim set foot on Plymouth Rock.

Frey predicts by 2030 most of the West Coast, the Southwest, the Deep South, and some East Coast states will become minority-majority states with Latinos of all fifty shades of brown, accents, music and food making up a huge percentage of the population in those areas.

California is already a minority-majority state. So we can assume that Los Angeles with its massive Chicano community and the home of Latino Hollywood is the place where diversity and inclusivity are a slam dunk in film and TV, right? Well not so fast Speedy (insert your favorite Spanish surname).

Fear and Loathing in LA

“They’re singing songs of diversity, but not for me” is a tune many in Latino Hollywood find themselves singing these days. And in the face of so many reported gains in diversity and inclusion for women and other minorities for opportunities in front of and behind the camera, the question has to be asked why Latinos haven’t benefitted from these improvements?

An article about the recent WarnerMedia Discovery merger in a Latin Heat article, cited the public criticism by several Latino advocacy groups for inviting minority groups to their corporate board table. Rather the message to the Latino entertainment community was not to bother attending, but that they were more than welcome to come and bus the tables.

A similar UCLA study showed that even though Latinos make up almost 19 percent of the US population, they only have a 7 percent representation in film and TV.  Why such a wide gap in the disparity of representation in comparison to women and other minorities? Could it be fear?

The City of Los Angeles and the Latino community have had a troubled relationship ever since the city became part of the United States. The Anglo incursion into the city resulted in Latinos moving into barrios where they increasingly became objects of scorn and suspicion.  The Zoot Suit Riots of 1943 only underscored the image of the Latino as a criminal to be feared.

The Chicano Movement of the ‘60’s was a wake-up call to the “establishment” that we were unified by an identity of pride and were now a force to be reckoned with. And now there is enough star power in the Latino entertainment galaxy with countless brilliantly talented producers, directors, writers, actors, musicians, cinematographers and craft technicians to light up a whole city. A city like LA. Could it be there are leftover vestiges of that old Latino dread that still linger in the big studio boardrooms and they feel threatened of losing their power in the oncoming, unstoppable cultural tsunami of The Browning of Hollywood?

What Do We Need?

In 2020, over 270 Latino writers and showrunners wrote the “Dear Hollywood” open letter demanding action on inclusivity. The letter’s signatories included such luminaries as Gloria Calderón-Kellett (One Day at a Time), Lin-Manuel Miranda (Encanto) Steven Canals (Pose), Tanaya Saracho (Vida), and John Leguizamo.  In the letter, the group lays out a list of five points of action they deem necessary for change: 

• Hire Latino writers to tell Latino stories
• Greenlight more projects from Latino creators
• Represent all aspects of Latino life and culture
• Do away with writers repeating low-level positions
• Hire Latino writers for projects about other groups.

That was two years ago and from all indications as the song says: “The beat goes on.” So, what do we need to make things change? When will Othello be played by Edward James Olmos rather than James Earl Jones? When will the next reboot of Cheaper by the Dozen be about a blended Mexican-American family of 12. Mom is a retired Air force helicopter pilot who is now running for political office. Dad is a doctor who runs a free clinic in their small Texas border town. The kids divide their time volunteering for Mom and helping out Dad at the clinic.

Who’s going to greenlight these projects from Latino creators?

Bel Hernandez, publisher of the influential trade journal, Latin Heat Entertainment, has been tracking Latino Hollywood since 1992. They don’t call Bel the Godmother of Latino Hollywood for nothing.  “In my opinion having Latino showrunners is essential,” she said. “But what we also need is studios and networks executives to greenlight our projects.” Adding, “And just as important, we need Latinos with deep pockets to invest in our stories like the African American community has done in theirs.”

Impatiently Waiting at the Railway Station

Latino Hollywood has been sitting in the railway station holding a ticket for its inevitable inclusive destination long enough.  That diversity train should have already arrived a long time ago. Well, the damn trains never run-on time, do they? But it won’t be long before we hear the roaring down the tracks of a fast-approaching train.

The post Why is the Hollywood Diversity Train Leaving Latinos Behind at the Station?? first appeared on .

By Bel Hernandez 

The biggest winner at the 2022 Academy Awards was inclusion.

Setting aside “The Slap” that was seen around the world, it was a historic evening for Latinos and other disenfranchised groups, whose presence was felt from the red carpet arrivals to the last Oscar given to the Best Picture winner Coda, whose cast included two deaf actors and a Latino who played a doctor.

All around this year’s Oscars looked as diverse as none other in past history. It was a beautiful thing to see the whole spectrum of nationalities and races — on the red carpet, on the nominee list, in the performances, and ultimately on the Oscar winners list.

During the pre-show to the Oscars Global Indigene, Bird Runningwater set the tone for the evening by address the global audience on the red carpet:

Movie lovers come together for this celebration on the ancestral lands of the Tongva people. The Academy pays respect to the Tongva people as well as the Tataviam and the Chumash people, the original caretakers of the water and land where many of us in the film community live and work. As we honor this year’s best stories and films, let’s also celebrate the original storytellers, the indegeons peoples of this region.”

Amy Schumer, Wanda Sykes and Regina Hall the hosts for the evening, kicked off the 94th Academy Awards ceremony as the first time three women hosted the star-studded event. Except except for the bit about Covid, they were funny and on point.

Serna and Venus Williams made the introduction to “Queen Bey” Beyonce as she kicked off the awards with a showstopping performance that took place the roof of a structure in the City of Compton transformed into a luscious lime green fantasy oasis housing an orchestra, dancers and Beyonce singing “Be Alive”, the nominated song from the movie King Richard. 

Then the Oscars were in full swing. Up first was the Best Supporting Actress category, which as pundits, critics and filmgoers predicted, went to first-time Oscar nominee Ariana DeBose for her performance as Anita in West Side Story.  With this much-anticipated win Debose made history for winning the Oscar in the same category, and role of Anita, that Rita Moreno, who was in the audience to cheer her on, won 50 years ago.

On accepting her Oscar DeBose said:

“Now you see why Anita says ‘I want to be in America’ because even in this weary world that we live in, dreams do come true…[looking at Rita Moreno] I am so grateful your Anita paved the way for tons of Anitas like me…Lastly, imagine this little girl in the back seat of a white Ford Focus. Look into her eyes and you see a queer, openly-queer woman of color. An afro-Latina who found her strength in life through art and that’s what I believe we’re here to celebrate.”

The sentimental win the Latino community was rooting for, became a reality and now it was on with the show to see what was ahead.

AN OSCAR 1st:

Ariana DeBose became the first Queer-AfroLatina to win an Oscar in the acting category.

Director Alberto Mielgo and Producer Leo Sanchez took home the Best Animated Short Film Oscar for The Windshield Wiper.  Director Hugo Covarrubias was also a nominee for Bestias, The other nominees included directors Dan Ojari and Michael Please for Robin Robin; Joanna Quinn and for Affairs of the Art; and director Anton Dyakov for Box Ballet.

In the Live Action Short Film Category, writer/director Kristen Davila was the indie filmmaker the Latino/a community was rooting for. And the Oscar went to The Long Goodbye directed by Aneil Karia, from a script by Karia and Riz Ahmen.

The Best Animated Feature film Oscar went to Encanto and with that Producer Yvett Merino accepted her very first Oscar, along with the other producers Jared Bush, Clark Spencer, and Byron Howard responsible for this amazing film that has touched hearts around the world, introducing the Madrigal family and their magical powers.

First time nominee, and Encanto composer Germaine Franco was nominated for Best Original Score and althought she lost out to Hans Zimmer who took home his second Oscar for Dune, (his first  was for The Lion King in 1994), she is forever more an Oscar nominee, which in itself is quite extraordinary.  

Also “winning” were the musical performances by Colombian singer Sebastian Yatra who sang “Dos Oruguitas” (Two Caterpillars), the song written by Lin Manuel Miranda and nominated for best song. The Oscar went to No Time to Die from the film by the same name, which was performed by Billie Eillish and her brother Finneas.

The biggest number of the evening was the spectacular musical performance of Encanto’s runaway hit song “We Don’t Talk about Bruno”. It was introduced by John Leguizamo who was the voice of Bruno.

The performance immediately lit up the room as dozens of dancers and original film cast members Adassa, Stephanie Beatriz, Mauro Castillo, Carolina Gaitan and Diane Guerrero, all dressed in a flurry of brightness took the stage. Leading the vocals were internationally known and lauded singers Luis Fonsi and Becky G who were joined by Megan Thee Stallion who added the hip hop flavor to the performance. And just like that audiences across the world witnessed the first-ever live on-stage performance of “We Don’t Talk About Bruno”.  

The multi-talent and one of Hollywood’s favorite directors Guillermo del Toro’s film Nightmare Alley was up for what was his sixth Oscar nomination. He is a two-time winning Oscar winner, both Oscars for The Shape of Water (2018) for which he took home the Best Picture and Best Directing prize. This year he lost out to CODA, a favorite to win and that did win.

As the cast of CODA took to the stage to pick up the award, actor/producer Eugenio Derbez who played Dr. Bernardo Villalobos in the film, took his rightful place on stage as part of the amazing cast.  

AN OSCAR 1st: 

Apple’s ‘CODA’ is the first movie from a streaming service to win Best Picture Oscar, and Troy Kotsur who played the dad won Best Supporting Actor was the first deaf actor to win

Javier Bardem who was nominated for Best Supporting Actor lost out to Troy Kotsur who won his Oscar for playing the role of Frank Rossi, the deaf father of the lead played by Emilia Jones 

The Best Actress Oscar went to the lovely and very talented Jessica Chastain for her performance of Tammy Faye in the bio-pic The Eyes of Tammy Faye.  Penelope Cruz’s nominated for her standout performance in Parallel Mothers, which has already garnered her eight awards including the National Society of Film Critics awards, went home with her husband Javier instead of “Oscar.”  However, both Cruz and Bardem already have an Oscar each. Cruz, a three-time nominee won the Oscar in 2008 for Vicky Cristina Barcelona, her other nominations were in 2006 for Volver and 2009 for Nine. While Bardem won his Oscar for the Coen Brothers’ No Country For Old Men.

PRESENTING

The 2022 Latinos Oscar presenters included Academy Award nominee Rosie Perez (Fearless 1994) who presented along with her White Men Can’t Jump castmates Woody Harrelson and Wesley Snipes), the award for Best Cinematography which went to Greig Fraser.  Then John Leguizamo, who had earlier last week done a secretive social media post saing that he would be at the Oscars, but didn’t say in what capacity, introduced the live performance of “We Don’t Talk About Bruno” another song written by Miranda for Encanto, which has become the highest-charting song from a Disney movie since 1995

Rachel Zeigler, who prior to the Oscars had also posted on social media to say she had not been invited to the Oscars, in spite of having played the lead role in the Oscar-nominated film West Side Story. Fast forward to Oscar night and she presented the Best Visual Effects category alongside Jacob Elordi (Euphoria). During the mile banter Elordi said that while growing up in Australia he would have never imagined being invited to the ceremony, to which Zegler jokingly said “I never thought I’d be here… six days ago [sic].” One of the funniest off-the-cuff remarks of the evening.

Oscar-winning actress Lupita nyong’o (for 12 Years a Slave 2013) was looking regal in her golden Prada gown. Mexican claim her as their own as she was born and lived in Mexico as a child. In 2014 she finally set the record straight about her nationality when she told media outlet El Mañana a few years back, “I’ve seen the quarrels over my nationality, but I’m Kenyan and Mexican at the same time. I am Mexican-Kenyan and I am fascinated by carne asada tacos.” We are all fascinated with this lovely and powerful actress!

Then there was “The Slap” with Will Smith playing the “Slapper” and Chris Rock the “Slapee.” The drama happened just prior to Smith winning the Best Actor Award for King Richard. And that is all I want to say on this matter.

The evening ended with the fluttering of hands in the theater, which in the deaf world is the way to show applause. Both Kotsur and Marlee Matlin who starred as the parents in the drama CODA are deaf and when the film won, the “applause” came in visual waves as the audience, which truly was “NOT so White”, was captured on camera.

All in all, this was the best Oscar night in a very long time. Represented on stage was amazing talent from Asia, the Middle East, Europe, Latin America, Mexico, Africa, and so many other countries and regions. Inclusion played a big part and the hope is that it continues. Because when the Oscars are truly representative of creative talents the world over, it creates a better understanding of our cultures.

One of the most poignant moments in the evening came when actress Mila Kunis (Family Guy, That ’70s Show) whose family is from Ukraine, introduced singer Reba Mackentire who sang “Somehow You Do”, the song from the nominated film Four Good Days. 

Before the introduction Kunis, without having to mention the country’s name, but every audience member and viewer knew, said:

“Recent global events have left many of us feeling gutted.  Yet when you witness the strength and dignity of those facing such devastation, it’s impossible not to be moved by their resilience.  One cannot help but be in awe of those who find strength to keep fighting through unimaginable darkness..”

This was followed by an on-camera chyron that directed people to donate. A powerful moment seen by millions, appealing to their generosity to the human spirit in all of us and at the same time, this gesture did not take anything away from the purpose of the evening.

Let’s not let the actions of one person pull focus on what a historic evening in Hollywood it was at the 94th Academy Awards.

The world is made up of many ethnicities and nationalities that for one evening come together to share the world’s love of film.  We are a world of film magic, let’s use that to make it a better place.

The post And The Oscar Goes to…Inclusion first appeared on .

A new study of diversity in television programming by Nielsen Media Research points to a record level of on-screen representation, with Latinos showing remarkable gains in broadcast TV but still substantially lagging in streaming platforms and cable. Also, many surveyed viewers say they are not represented accurately.

Seventy-eight percent of the 2020-2021 TV season shows have some presence of racial, ethnic, gender, or sexual orientation diversity, according to Being Seen on Screen: The Importance of Quantity and Quality Representation on TV, Nielsen’s latest Diverse Intelligence Series report. The study surveyed the top 1,500 programs.

The U.S. Census reports that minorities account for 42.2 percent of the US population, with Latinos being the largest group among them with 62 million or 18.7 percent of the nation’s demographics.

The Nielsen study reports that “Hispanic/Latinx broadcast Share of Screen appears close to parity at 22% with in-language programming being a key driver.” However, they skew heavily broadcast at 22.1 percent, compared to subscription video on demand, or streaming platforms, at 8.5 percent and cable at 3.5 percent.

The report also says that Latino programming is recognizing the inclusion of intersectional groups, like Afro-Latinos, who are over-represented in genres such as action/adventure, comedy, music, horror and the so-called reality TV genre. Still, the document also points to the need to increase intersectional representation, a racially and ethnically diverse group united by culture. More than 20 million Latinos identify as belonging to two or more races, a 567% increase from 2010, according to the report. Furthermore, when using role descriptions, Latinas are associated with the keywords “TV reporters, athletes, teammates, victory and nieces.”

The report also points to other notable disparities in representation across all identity groups seen on cable, broadcast, and streaming platforms. Black talent is above on-screen parity, yet 58 percent of Black audiences say there is still not enough representation. The representation of South and Southeast Asians remains far below parity, compared to that of East Asians. Native American cultures are inaccurately represented or are missing altogether from America’s most-watched genres, such as drama, action/adventure and so-called reality TV.

“If you simply look at that high percentage point, you might think the majority of identity groups are well-covered,” says Stacie de Armas, Nielsen’s senior vice president of Diverse Insights and Initiatives. “But lack of representation and diversity in popular content is more nuanced.” She adds, “Looking back at the media moments this year, diverse casts and stories have been in the headlines. Yet, according to Nielsen’s recent research, almost a quarter of people still feel that there is not enough content that adequately represents people from their identity group.”

To obtain a copy of the report click here.

The post Nielsen Study: Latinos Show Gains on Broadcast TV – Lagging on Streamers first appeared on .

Latin Heat Media Founder and CEO  Bel Hernandez has been selected to the Hollywood Foreign Press Association’s Credentials Committee. The committee selects new members of the HFPA, the group that presents the prestigious Golden Globe Awards.

Considered “The Godmother of Latino Hollywood,” Hernandez is one of five prominent outside journalism professionals recruited to join a committee key to diversifying the HFPA. The other members are journalist Tre’Vell Anderson, author and former TV anchor Terry Azur, publicist Toni B. Moston and USC assistant journalism professor Allissa Richardson. 

The appointments are hailed by HFPA as “one of the most important steps of their comprehensive reform plan announced in May,” when the nonprofit organization announced proposed changes to correct its failures. Those shortcomings were the subject of a Los Angeles Times expose last February which generated widespread criticism of the 78-year-old group about its inner workings and lack of diversity. After the reporting, some actors returned their Golden Globes, NBC canceled the broadcast of the awards ceremony and some HFPA members resigned.

With the Credential Committee namings and other recent changes and new proposals, the beleaguered association hopes to turn the page on this year’s controversies.  

“We are so grateful that these five highly respected journalism professionals—each with diverse backgrounds and extensive experience in their fields—are devoting their time and energy to ensure an inclusive makeup of our Association,” said recently installed HFPA Board President Helen Hoehne. “Just in the past few months, we’ve changed our governance structure from top to bottom. Inclusion will be at the core of our new organization, and this new structure will allow us to not only grow but continue to add unique, representative voices from journalists around the world.” 

Hernandez has worked as a journalist for more than four decades, with her work earning recognitions from the Hispanic Public Relations Association, Latina Style Magazine, La Opinion newspaper, Hispanic Lifestyle, National Hispanic Health Foundation, National Hispanic Media Coalition and the City of Los Angeles. 

For her work focused on Latinos in the film industry, Moviemaker Magazine dubbed Hernandez “The Godmother of Latino Hollywood.” Hernandez is at the helm of Latin Heat Media, a multi-media company creating content by and about Latinos for universal audiences. She wears many hats under the Latin Heat brand including the publisher of the online magazine Latin Heat Entertainment (LatinHeat.com), executive producer and co-host of TheTRENDTalk Show and co-founder of LATINAFest: Mind, Body & Soul, an annual event to empower Latina women.

Latin Heat’s unprecedented coverage has supported the growing impact of Latinos in Hollywood. Considered the third entertainment trade in Hollywood by many, the outlet provides business news coverage, latest breaking industry news, talent profiles, TV & films news, spotlight on talent in front and behind the camera, and inside research not found anywhere else on Latinos in Hollywood. 

An accomplished Hollywood businesswoman, Hernandez originally pursued acting as a career. And although she may have found big success as a multimedia mogul, she more recently appeared in The Purge: Anarchy and the indie film Pretty Rosebud directed by Oscar Torre.

Hernandez’s work and leadership led her to serve as a juror on the George Foster Peabody Awards Board, where she was the first Latina/o to serve as the chair of the board.  

“I am beyond honored to be part of the HFPA Credentialing Committee which is tasked with the important work of helping diversifying the make-up of their members to be as inclusive as possible,” said Hernandez. “I know first hand about the importance of diversity, equity, and inclusion”.

In late August, the HFPA selected a new 15-member board of directors, with four of them serving on the powerful body for the first time. This board selected Hoene as the new president in early September and also oversaw the selection of the five new outside members of the revamped Credentials Committee, which is expected to announce a “class of new members” in the next few days. 

In the past several weeks, the HFPA also appointed Shaka McGlotten, Santiago Pozo and Paula Williams Madison to its Advisory Board. Also, it named Jeff Harris, Joanna Dodd Massey and Sharlette Hambrick as the first independent board directors for the association.

Latin Heat’s Hernandez and the other four new appointees will help the Credentials Committee with its sole responsibility to “ensure potential members meet the proper requirements,” according to the association. The obscure membership approval process was one of the main criticism the exclusive, 80-something-member association has faced, leading to allegations of persistent cronyism and even racial discrimination.

The HFPA overhauled its criteria for new member applicants in August in an effort to make itself more inclusive. That includes:

• Applicants can now work for any foreign publication medium: print, radio, television, online, or be a photojournalist. The previous requirement allowed only print journalists.
• Applicants can live anywhere in the United States. This replaces the former requirement of living solely in Southern California.
• Applicants must submit eight examples of their journalistic work products from the past two years. The previous requirement was 24 examples over a three-year period. The credentials committee will set a required number of clippings in subsequent years.
• Eligibility is now expanded to journalists outside of those accredited by the Motion Picture Association, MPA.
• The sponsorship requirement is now eliminated and the role of the credentials committee will include third parties from credible journalistic and other organizations focused on diversity, equity and inclusion.
• New members will immediately be allowed to vote on the Golden Globes, vote on board members and serve on committees.
• All current members will be required to meet the standards as incoming members for re-accreditation of their membership. This process will take place annually, and members may begin submitting materials to the credentials committee.

The post Latin Heat Media’s Bel Hernandez Appointed to HFPA’s Credentials Committee first appeared on .

Edward James Olmos was a strong voice for Latinos as he presented his testimony, virtually, to the House Judiciary Committee hearing on Diversity in America: The Representation of People of Color in the Media.

Congressional Hispanic Caucus and Chair Rep. Joaquin Castro (TX-20) has been digilintaly working along with the Congressional Tri-Caucus—composed of Congressional Hispanic Caucus Chair Rep. Joaquin Castro (TX-20), Congressional Black Caucus Chair Rep. Karen Bass (CA-37), and Congressional Asian Pacific American Caucus Chair Rep. Judy Chu (CA-27) to bring forth the House Judiciary Committee hearing on to bring forth this hearing which specifically addresses the lack of inclusion of Latinos in Hollywood, both in front and behind the camera. Castro recently published an op-ed in Variety on why representation matters and the case for government intervention in the industry. 

Olmos’ full testimony to the House Judiciary Committee follows:

Good afternoon.  My name is Edward James Olmos; I am an American film, television, and theatrical actor of Mexican descent.  I am a producer, screenwriter, and director of film and television.  Blade Runner, Selena, Battle Star Galactica, and Miami Vice are just a few examples of my work in film and television productions.  Still, my overall body of work consists of over one hundred and twenty-one films, over three hundred television shows, and the iconic role of El Pachuco in the theatrical and film production of Zoot Suit – for which I received a Tony Award nomination.  I have an estimated 29 awards as an actor and some 27 nominations.

With that said, I want to tell you that I am also a storyteller – a truth-teller.  Here is my truth.

In 1981, I produced and starred in a film entitled The Ballad of Gregorio Cortez, lauded as a landmark of Chicano cinema.  This film depicts a Mexican American farm worker who speaks no English and is falsely accused of stealing a Texas Rangers horse.  A heated misunderstanding leads to the death of a lawman.  Cortez is forced to run from the Texas Rangers.  This film peels away layers of prejudiced and myth surrounding Cortez, uncovering an ordinary hard-working man persecuted by the law and put on trial for murder.  I drove from city-to-city in my beat-up car, promoting and screening this film to anyone who would have it and me.  I made this film because I wanted to make sure that the truth was told.  

In 1979, I starred in Zoot Suit, a play written by Luis Valdez.  Zoot Suit is loosely based on the Sleepy Lagoon murder trial and the Zoot Suit Riots in Los Angeles during World War II.  After a run-in with a neighboring gang, a fight ensues at a party, where a young man is murdered.  Discriminated against for their zoot suit-wearing Chicano identity, twenty-two members of the 38th Street Gang are placed on trial for the murder, found guilty, and sentenced to life in San Quentin prison.  Meanwhile, in Los Angeles, through the efforts of persistent lawyers and an activist-reporter, the boys win their court appeal and are set free.

I starred in this powerful play because I felt it was a role that I could not pass up.  This story needed to be told, and I thought I could add texture to the overall plot, and I wanted to make sure that the truth was told.

I am the first Mexican American to ever receive an Academy Award nomination for best actor for my portrayal of Jaime Escalante in Stand and Deliver.  Escalante was a Bolivian American educator known for teaching Chicano students calculus from 1974 – 1991 at Garfield High School in East Los Angeles, California.  Stand and Deliver depicts how Chicano students overcame immense obstacles to pass AP Calculus tests during their senior year.  The film received several Independent Spirit Awards, including for Best Male Lead, which I won. No one wanted to give us a penny to tell the story of a Bolivian man helping Chicano kids take a math test.  After watching my performance, I realized what Escalante gave us, it was like catching lightning in a bottle, and we did it.  We made a film about a Chicano here.  Si Se Puede! Si Se Pudo! Yes, We Can!

I helped make this film because I wanted to make sure that the truth was told.

In 1964, while in college, I took my first acting class.  Playing baseball and my passion for singing naturally led me to consider acting.  As a young actor, I was always auditioning, but I was always rejected.  So, I kept at it and studied acting under the greats.

I speak to students throughout the country to help promote the notion of taking responsibility for one’s actions and one’s happiness in life.  I use my own “disadvantaged background” as an example of the childhood I had growing up in East Los Angeles, infamous for its gang problems. I tell the kids, “If I can do it, so can you.”  And I try to point them in a positive direction.

I am here to state to you, the Congress of the United States of America, that the entertainment industry, also known as Hollywood, does not understand diversity.  I am an outspoken person.  Just because there are several successful Latino actors does not mean that Latinos are making it in Hollywood.  I can tell you for the fact that those same actors are not testifying before you today because they are afraid.  They are afraid of being blacklisted and punished for speaking truth to power.  I am not afraid.  I have the truth on my side.  La pura verdad.  The word. 

The Constitution of the United States guarantees freedom of speech – freedom of expression, but for Latinos and other people of color in the entertainment industry, the likelihood of being retaliated against or blacklisted is a reality.

I was an outspoken person when I was a poor actor trying to find work in Hollywood, and I am still outspoken as a successful actor in today.  I will always be outspoken.  The bottom line is that Hollywood does not want to give us any real opportunities.  They throw us a bone here and maybe one over there, but there is no real concerted effort to do anything because they do not have to, and that is also the truth.

In 1964, when I started out in the entertainment business, Latinos were less than 2 percent of all the content in television and film.  Today, with 22 percent of the population, we are still less than 4 percent of all content created. We are in a worse place now.

The entertainment industry feels that if they hire one Black actor, one Latino, and one Asian American actor as extras that they have done their job.  With that, they feel that they have met their diversity quotas.  I say, “shame on you. Shame on you for being lazy.”  The industry will argue that they are doing a better job with the overall diversity numbers, but the real facts and the statistics prove otherwise.  The truth is that the lack of Latinos in Hollywood is worse than it has ever been.  The actual numbers are deplorable.  Look them up, and you will see for yourself.  

My colleagues, Alma Martinez, and Pepe Serna, are veteran actors like myself whose body of work has garnered them entry into the Academy of Motion Pictures of Arts and Sciences (AMPAS).  We are voting members.  They will be submitting written statements, and it is my hope that you will read their powerful words that share their personal experiences as dig deeper.  We are all directed by a true storyteller, Luis Valdez, who created a troupe of actors known as El Teatro Campesino / The Theater of the Farmworker, followed the migrant workers and Cesar Chavez.  El Teatro Campesino’s origins began with performances on flatbed trucks to educate farm workers on the dangers related to agricultural fieldwork.

The truth is that Latinos are not given the opportunity to tell their own stories.   We recently saw the mega-success of the film “Black Panther.” Where is the superhero who represents the Latino community?  Where is our superhero?  I tell you where our superhero is.  They are working in the agricultural fields of America, making sure that America has plenty of inexpensive food to eat.  That is where they are!

The film and television studios do not want to give us the opportunity to create a superhero because they are content with their belief that Latinos must be feared and kept in their place.  So, they continue writing us into the stereotypical roles of pimps, prostitutes, drug addicts, drug dealers, gang bangers, bank robbers, and serial killers.

I am here to tell you that they are lazy writers, producers, and directors.  They are not writing from a space of truth.  They would rather write from what they know and not what they discover.  They know that writing us into these stereotypical roles that there is a formula for success that makes money for the studios.  That is what they know.

Throughout my years in the entertainment industry, I have been trying to make a movie about the life of a Mexican American real-life superhero, Roy P. Benavidez, Recipient of the Medal of Honor.  In 1968, Mr. Benavidez, a staff sergeant with the Army’s Special Forces, the Green Berets, heard someone yell “get us out of here” over his unit’s radio while at his base in Loc Ninh, South Vietnam.

Sergeant Benavidez jumped aboard an evacuation helicopter and flew to the scene.  After jumping off the helicopter, Sergeant Benavidez was shot in the face, head, and right leg, but he ran toward his fellow troops, finding four dead and the others wounded.

He pulled survivors onto the helicopter, but its pilot was killed by enemy fire as he tried to take off, and the helicopter crashed and burned. Sergeant Benavidez got the troops off the helicopter, and over the next six hours, he organized return fire, called in airstrikes, administered morphine, and recovered classified documents.  In the process, he was shot in the stomach and thigh and hit by grenade fragments.  He was also bayoneted by a North Vietnamese soldier, whom he killed with a knife. At the end of the ordeal, he shot two enemy soldiers as he dragged the survivors aboard another evacuation helicopter.

Can you believe that Roy P. Benavidez, a former Green Beret sergeant who received the Medal of Honor from President Ronald Reagan for heroism while wounded in the Vietnam War, had to also fight to keep the Government from cutting off his disability benefits?

You see, Hollywood does not want to make a movie about the life of a real-life superhero who happens to be Mexican American.  They want to make movies like Wonder Woman, Black Panther, and the Avengers.  These blockbuster films never include a Latino.  

I’m very grateful that I’ve been able to do the movies I’ve been able to do in my lifetime, but I will say it’s been a really difficult time to understand or accept why more Latino-led stories have not been produced.

I say to all my brothers and sisters in Hollywood to never give up pursuing your dream of making it in Hollywood.   Tell your stories and to have the courage to use your voice.

White Hollywood does not want to tell the real stories of Latinos.  Our stories of success do not stand up to the reality of the myth and the preconceived notions that they have of us.  So, it is up to us to tell our own stories.  And we will.  

I am here to stress the importance of quality education and arts in education.  I encourage you all to champion funding that helps students become our future storytellers.

I have served as an ambassador for UNICEF, and I have received numerous citations for my work as an activist. Yes, I am an actor, but I would rather be known as an activist, and here is why:  The children are our future.

I devote much of my time to causes, particularly those focusing on the needs and rights of children. I make, on average, some 150 personal appearances each year to places where he can reach kids at risk: juvenile halls, detention centers, boys/girls clubs, schools.  Anywhere I can get across my message that “we all have a choice” about where life takes us.

I particularly proud of my work in The Youth Cinema Project (YCP), which helps to teach young students resilience and to become real-world problem-solvers.  YCP bridges the achievement and opportunity gaps by creating lifelong learners and the entertainment industry’s multicultural future.

Our curriculum is aligned with English and VAPA Standard to help close the Achievement Gap. Every student, no matter his or her academic background, writes from experience, learns the value of their voice, and promotes their ideas, verbally and in writing. Our young filmmakers learn graduate-level concepts and decide how to apply them to their films while collaborating and problem-solving with their peers. YCP is not a classroom exercise in which students pretend to be filmmakers. Every Youth Cinema Project student is a filmmaker.  Banking on students is one of the solutions.

I still find it incredible that we still use the word “race” out of our need to differentiate one another. It is also incredible that film and television studios and theatrical companies strongly resist telling the story of the American Latino.

In the sci-fi television program, Battlestar Galactica, I played the role of Admiral William Adama.  The Admiral was known for proclaiming, “So, say we all!!  I ask you, “Whatever happened to the human race?  Are we not all part of the human race?  

So, say we all – We are all part of the human race.  So, say we all.

The post Edward James Olmos Testifies Before the Judiciary Committee first appeared on .

Chairman Castro recently published an op-ed in Variety on why Latino representation matters and the case for government intervention in the industry. This hearing would not be possible without the support of the Congressional Black Caucus and Congressional Asian Pacific American Caucus. We hope this is the first hearing of many on the issue of diversity in media and entertainment.

The hearing is open to the public and can be viewed HERE

Established in 1813, the House Judiciary Committee is the second oldest standing committee in Congress. Today, the Committee is at the forefront of some of the most significant issues facing our nation, including protecting Constitutional freedoms and civil liberties, oversight of the U.S. Departments of Justice and Homeland Security, legal and regulatory reform, innovation, competition and anti-trust laws, terrorism and crime, and immigration reform. The Committee has jurisdiction over all proposed amendments to the Constitution, and each of its subcommittees has roots in that document. The House Judiciary Committee usually sends the greatest number of substantive bills to the House floor each year.

“The media and Hollywood are the narrative-creating and image-defining institutions of American culture, yet for far too long Latinos have been hardly represented, and often depicted as stereotypes. This erasure has a high cost: today there is dangerous nexus between the racist political rhetoric and the images that people see on their screens of Latinos as criminals and as threats to society,” said Chairman Joaquin Castro, Congressional Hispanic Caucus.  “I appreciate Chairman Nadler and the House Judiciary Committee for holding this important hearing, especially during Hispanic Heritage Month. “Diversity and representation are not just about jobs, but also shape the perception of our communities.”

Witnesses who will be testifying include (in this order). 

Ms. Erika Alexander, Actor/Director/Producer and Co-Founder & Chief Creative Officer, Color Farm Media

• Alexander Truth in Testimony [PDF]
• Alexander Bio [PDF]

Mr. Daniel Dae Kim, Actor and Producer

• Kim Truth in Testimony [PDF]
• Kim Bio [PDF]

Mr. Edward James Olmos, Actor and Producer

• Olmos Truth in Testimony [PDF]
• Olmos Bio [PDF]

Dr. Stacy L. Smith, Associate Professor of Communication and Founder and Director, Annenberg Inclusion Initiative Annenberg School of Communication and Journalism, University of Southern California

• Smith Truth in Testimony [PDF]
• Smith Bio [PDF]

Ms. Karyn A. Temple Esq., Senior Executive Vice President and Global General Counsel, Motion Picture Association, Inc.

• Temple Truth in Testimony [PDF]
• Temple Bio [PDF]

Ms. Joy Villa, Recording Artist, Actor, and Author

Mr. Jason Whitlock, Sports Journalist

Ahead of the hearing, Tri-Caucus Chairs and Latino community leaders released the following statements before the House Judiciary Committee hearing on Diversity in America: The Representation of People of Color in the Media.

The post House Judiciary Hearing: Speaking Up For Multi-Colored Media first appeared on .

The Directors Guild of America is both a craft union and a Guild that protects the creative and economic rights of film, TV, commercial, and new media directors and their teams. It is the most powerful and richest union in the United States. Its membership is 71% white males. As a Mexican-American director member, I’d like to talk about my complex relationship with one of most prestigious organizations in Hollywood.

I was a sensitive 7-year-old boy who was deeply affected by the movies I saw.  My home was broken. My mom and dad split up when I was a young kid, but I have vivid memories of them together.  I clearly also recall their divorce and many influences that shaped my life after that. The movies played a big role in molding me.  I got lost in the films. Cinema was in my soul. I fantasized of becoming an actor and film director someday.  

My family lived in Boyle Heights.  My dad was a contractor and my mom was a teacher’s aide at LAUSD.  My dad made decent money.  We went places.   Disneyland, Knotts Berry Farm, Magic Mountain were common visits for us. We spent a lot of time all over LA, from Malibu to East LA, visiting the very best of our favorite restaurants — The Velvet Turtle, Barragan’s, The Pantry, Philippe’s and Little Joes in Chinatown. Surf and turf were my fancy; it still is today. My parents taught me confidence. I belonged anywhere I chose to belong. I could become anything if I worked hard enough.  This is how I grew up.  “Positivity,” “equality,”“confidence” were the words that guided me — they still do today. 

I got hooked on drama class in the eighth grade.  By ninth grade I was pursuing my acting career. At 19 I was in a play, Caught in the Middle With No Way Out, at the Harold Clurman Theatre off Broadway in New York.  By 21, I was a star in Angeltown alongside actress Theresa Saldana.  By 27, I wrote, produced, directed and starred in my first film, My Father’s Love.  I believed in myself. Opportunities were as much mine as they were anyone’s. I didn’t know anything different. 

However, for the first time in my life I have come to question my belief in inherent equal opportunities.  After I became a member of the Directors Guild of America, I began to question whether this is a room I belonged in, whether or not I truly stood side by side with fellow members.

The Directors Guild of America, or the DGA as it is commonly known, is a guild for the biggest and most talented directors in the world — film and TV’s very best. In my opinion, you don’t win an Oscar without first winning a DGA award.  In 2013 my dream came true; I became a member after years of hard work paying my dues.  After having had one of my films, Down for Life, accepted into Sundance and world premiered at Toronto in 2009; after winning the Golden Eagle award in 2001 from Nosotros for “Outstanding Independent Filmmaker” for feature My Fathers Love; after multiple film festival wins; after being hired to direct 2nd unit on a feature film (which was signatory to the DGA), I was finally eligible.   

I didn’t hesitate to submit my request for consideration to join.  It wasn’t easy.  In addition to my work, I needed three endorsements from other directors who were current union members. That took time.  But I eventually got it done. I’m still extremely grateful to those who finally signed my endorsement. Thank you to the lone three who supported me.

One of the most momentous days of my life was the day I received my package in the mail from the DGA.  I was accepted!  Now I just had to raise the money to join.  I could make payments. Great.  That was awesome. It was happening! I was now a member of a group composed of the creative greats that I had admired all my life.  Like all the great directors, I would now have a spotlight to show my work.  I was surely going to meet studio heads and showrunners. I was going to meet executives. I was surely going to work on big studio lots as a director, not a PA, not a grip, not a tour guide. 

I wholeheartedly believed I arrived until the reality of being a Latino in the Directors Guild of America set in. I enthusiastically attended all the meetings I could.  First perk, they feed you at every meeting.  Second perk, I was invited to watch the latest movies.  I was beyond excited to meet and see the work of my fellow directors.  On occasion, some of the screenings were followed by a Q and A with the director.  This was the biggest thrill — Steven Spielberg, Martin Scorsese, Robert Zemeckis, Bradley Cooper! I could listen and learn from the best. 

However, something was missing. I didn’t hear or see many movies from anyone who looked like me or had a diverse cultural perspective.  I quickly noticed the token diversity when I walked in the rooms and attended events. It is, for the most part, white males, perhaps a couple of Blacks, one or two Asians; I rarely noted anyone who looked like me — Latino. 

My ego got the best of me. I was a rare sight at the DGA because I was different.  I initially rationalized it by telling myself, perhaps I worked harder than other Latinos.  I broke barriers and got myself into the rooms that many Latinos hadn’t yet.  So I was going to make myself known.  I would also crack the door open for other Latinos who need a little support.  Being the proud confident kid from Boyle Heights, was resilient and determined. I was ambitious, full of hope.

I emailed my hero directors. I asked to shadow. I asked to be mentored. I was ignored.  Emails went unanswered. I requested guidance from the DGA executives, board members, western director council members.  How do I join these studio programs for directors that are in collaboration with the DGA?  A white woman, one of the people composing the diversity task force suggested, “Go be a production assistant at Warner Brothers. Go make a short film.”  What? Really? 

I didn’t understand that because I had years of hard work, and had accomplished so much already. I’m a DGA member.  I am an award winner. I’ve made full-length feature films. Did she really believe I should devote more time being a production assistant? 

DGA life was becoming quite clear.  The DGA executives weren’t concerned with how I got there.  Who the hell was I anyway?   I had no ties to greatness.  I had no uncle who was a studio director. I had no well-known industry friends. Therefore, all I was offered was talk, talk, talk.  I was offered, I’m sorry to say, BS programs that I see as more effective to filter out my color.  If I didn’t work within a couple of years in a studio or TV show, I could not even advance within the guild to run for Co-Chair of the Latino Committee.  I wasn’t eligible. This was the real DGA.  No one cares about our stories, not the brown ones, not the Black ones, not the Asian ones, not even women get a fair shake. Statistics continue to show very little has changed.

I approached my first shadow assignment enthusiastically and optimistically.  A “shadow” is where you follow around a TV director on an episodic TV show to learn from them, hopefully make an impression with the showrunner, and hopefully land a directing job down the road. 

This was my honest impression: Day 1 on a DGA sanctioned show, the executive producer was DGA, but I prefer not to identify the show.   As I slowly walked up closer to the monitor to see how the director was setting up the shot, I overheard a white gaffer quietly speaking to the first AD, “Every week we have another Mexican.”  It was not meant for me to hear.   I felt awkward to say the least. 

I began to notice uneasy glances and strained smiles.  What was I doing there? The craft service people and security guards were the ones I sat with to eat. They were Latino and they were very welcoming towards me. Was this the level I had achieved?  Was I really seeing prejudice because I looked different from those around me?

The motion picture studios send their VPs and executives to speak at the DGA membership. These are the so-called diversity events. The panelists don’t know us. Aside from valet parking attendants and the cooks in the kitchen, many in the film industry from the west side of town, including executives at the DGA, seem to have a limited understanding of Latinos.  I was literally handed the keys to a car at the DGA parking garage.  The gentleman was embarrassed when he realized I was a member and not his valet. This lack of understanding is reflected in the way I’ve been treated.  

What I want from the DGA is an honest discussion.  

Past Presidents have all told me things are going to get better. Well they haven’t. I’m not calling anyone out. These men are friendly, caring and supportive leaders. But that’s not enough.  I believe there is, like in many organizations in our country, institutional and systemic racism in the DGA.  All we have to do is look at the statistics.  Many top DGA members have gone on to become producing directors, showrunners, and executive producers on film and TV shows that have horrible track records when it comes to hiring people of color.  Statistics don’t lie.  

But there is an obvious and urgent need to speak out, so I’m taking a chance. I have questions for the DGA. How many Latino directors have been hired from participating in their diversity initiatives? There are almost 60 million Hispanics in the United States. Does the Hollywood DGA elite recognize that working Latino directors are less than 3% in mainstream movies and television?  Perhaps I’ll be further alienated just for asking these questions. 

Is the DGA willing to set effective programs that will give diverse members a fair shot? Does the DGA sincerely want to offer equal opportunities to people of color?  What true success has come from the diversity committees set up by the DGA? If these committees were effective at what they were formed to accomplish, at some point wouldn’t there be no need for these committees?  

The protests across the United States are an indication that American people value diversity. This movement is also supported around the world as we watch the Black Lives Matter movement resonate around the world.  

The movie industry touches hearts and minds globally.  The DGA can choose to welcome and celebrate the various colors, cultures, and genders which are more reflective of our country.  We could use the collective bargaining agreement we sign every couple of years with major motion picture studios to bring real change and opportunity to all people of color.  

DGA members of color have worked hard to become members.  We earned our right at a fair chance.  

There has never been a better time to bring our the hard-uncomfortable truths to light.  My story is just one of dozens that should be heard.  My work so far hasn’t stemmed from any DGA programs, it’s been coming from relentless persistence and belief in myself.  Regardless of how difficult it has been, I have no doubt I belong in the room. I have hope. I still believe what my parents instilled in me — I can do anything and I belong anywhere.  

We are equal. It’s long overdue. It’s time for true real change! 

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