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.

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Tejano music legend and TV host Johnny Canales passed away on June 12, 2024, he was 67. Canales will be remembered for a giving soul who was there to illuminate and give a hand up to new Tejano talent on his show, the Corpus Christi-based TV show The Johnny Canales Show, which ran from 1983 to the mid 1990’s.

He would introduce young and well known music talents with his signature phrase “You Got It, Take it Away”.  It was a show that captivated audiences near and far introducing talents like a teenage Selena who appeared on his show a couple of times before her career took off.  Canales was known at that time as the “Mexican American Dick Clark”.

Author, Filmmaker, & Activist David Damian Figueroa, was a friend of Canales throughout the years.  Figueroa, who was a publicist back in the day, would bring his clients to Canales show. In honor of Canales’ legacy Figueroa said:

“Johnny Canales was a true American hero who championed the uniquely American music genre of Tejano. His influence extended far beyond borders, as his show was broadcast in 23 countries, showcasing the vibrant sounds of Tejano music to a global audience. 

Canales’s ability to seamlessly blend Spanglish, with his tagline delivered in English to an audience that predominantly spoke Spanish, further solidifies his legendary status. His story serves as a testament to the power of music to transcend language barriers and unite people from diverse backgrounds. 

He was instrumental in inspiring other Corpus Christi hometown talents, like Selena, Freddy Fender, Pepe Serna, and Eva Longoria, who all went on to become icons in their own right.  As for me, Johnny was my good friend, compadre, and colleague.  He taught me a lot about the entertainment business and civil rights and how to merge both to help our community.  Johnny Canales’ legacy as a pioneer in promoting.”

David Damian Figueroa

There is a documentary currently in post production entitled Take It Away: The Rise and Fall of Tejano Hollywood that will recount Canales’ significant contribution to Tejano music.The documentary will shed light on Canales’ significant contributions to the Tejano music scene and his enduring legacy.

Canales’ legacy will live on in our hearts, in the talent he showcased, and now in this upcoming documentary

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Mags (Selina Ringel), is a Mexican-American financial advisor who runs the household and Ash (Ritesh Rajan), an Indian-American, and a great dad who runs a struggling cannabis start-up. The high-power couple seemingly have it all… except happiness.  You, Me & Her is the story of a couple who look to unconventional ways to rekindle their love life.

Leaving the baby with the nanny the two go off on a much needed vacation and a chance to re-kindly the romance they once had.  That’s when two turns into three or at least they are working on it.  They meet Angela, a spiritual digital nomad, who takes a romantic interest in Mags.  Mags is intrigued and starts to question her own sexuality. Suddenly Ash and Mags start to reconnect over the idea of having a threesome, in hopes the sexual experience will save their marriage.

You, Me & Her is a multi-festival winner, most notably taking Best Romantic Comedy at the Los Angeles Film Awards, and Best Feature Film at the Sherman Oaks Film Festival, The New York Film Awards and more recently at the Mexican-American Film & Television Festival.

It is decidedly a favorite of film reviewers on Rotten Tomatoes. Bradley Gibson encapsulates the film perfectly, “…a romantic comedy/sex farce with a bit of introspection around how emotionally healthy adults might act when presented with an option for ethical non-monogamy, then You, Me & Her will be worth your time”.

The director Dan Levy Dagerman does an excellent job of taking the actors through a myriad of emotions. From the opening scene where he sets the stage of the unhappy couple dealing with a new baby, money issues and a seemingly sexless life; to the beautiful vacation beach resort in San Pancho, Mexico where half the film takes place and the audience is set up for a in for quite a ride.

You, Me and Her, also seamlessly and organically dispels the Hollywood stereotype of what a Mexican looks like.  Ringal who not only plays the lead character, but also wrote and produced the film, is a blond haired, hazel eyed beauty, born in Guadalajara, Mexico whose character switches from English to Spanish while in Mexico and when speaking to her Mexican-Indian-American child in the film.  

You, Me and Her is a true delight in so many ways.

Production Company: Irreversible Pictures. Cinematographer: Michael Street Producers:
Anna Campbell | Cameron Fife | Fernando Lebrija | Pablo Lebrija

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The Mexican-American Cultural Education Foundation (MACEF), a 501c3 organization, proudly announces the upcoming 3rd edition of the Mexican-American Film & Television Festival (MAFTF) slated for April 20 – 21, 2024, at the prestigious Harmony Gold Theater in Hollywood. Marking 2024 as the “Year of the Mexican-American/Chicana Filmmaker,” MAFTF will honor accomplished individuals whose groundbreaking contributions have significantly impacted the entertainment industry.

In a dedicated effort to celebrate diversity and inclusivity within the cinematic landscape, MAFTF will pay tribute to four remarkable women during this year’s festival:

• Ivett Merino: Renowned producer, and Oscar Winner for the Academy Award winning film Encanto. Will received the Prestigious MACEf’s President Award.
• Eva Longoria: Her feature film directorial debut of Flamin’ Hot became the highest streaming movie from Searchlight ever and she made the Hollywood Reporter’s Forces for Change Power List for 2023.
• Patricia Riggen: Esteemed director, will be honored with the Trailblazer in Directing Award, known for her work on “Miracles From Heaven.”
• Josefina Lopez: Celebrated playwright and screenwriter, will be honored with the Excellence in Writing Award.
• Bel Hernandez Castillo: Noteworthy journalist and publisher, recognized for documenting the Latino Hollywood success in her publication, Latin Heat.

While embracing the evolving landscape of the entertainment industry, MAFTF seeks to acknowledge the vital role that Chicanas have played in shaping cinematic narratives. Despite Mexican-Americans constituting nearly 70% of all Latinos in the U.S., their contributions have often gone untold and unrecognized.

The festival’s mission is to provide a platform for Mexican-American/Chicano filmmakers to showcase, promote, and celebrate their creative talents. By fostering an environment of networking and support, MAFTF aims to bridge the gap between filmmakers and Hollywood executives, fostering opportunities beyond stereotypes.

The demand for the festival is evident, with over 150 submissions, including feature films, shorts, documentaries, and TV projects, reflecting a diverse range of themes. These stories address identity, high school angst, love, animation, relationships, immigration, marriage, and more, contributing to a vibrant showcase either in-person or virtually over the two-day event.

Statistics from the 2022 Latino Donor Collaborative Media Report emphasize the underrepresentation of Latinos on screen, despite their significant contribution as avid TV consumers and high movie ticket purchases. MAFTF provides a platform for Mexican-American/Chicano filmmakers to share stories that resonate with their communities.

With only 6% of speaking characters on screen being Latino, as reported by USC’s 2023 Annenberg Inclusion Initiative study, MAFTF stands as a crucial initiative in amplifying diverse voices in the film industry.

MACEF President and Founder, Dr. Jose Luis Ruiz, emphasizes the importance of representation, stating, “Our goal is to turn this trend around. This will not change unless we create the change.”

The festival will honor its distinguished recipients, Patricia Riggen, Josefina Lopez, with retrospective screenings of their impactful projects, Under The Same Moon and Real Women Have Curves respectively. As in previous years  MAFTF prestigious panels of judges lead by Festival Awards Director Jerry Velasco and award-winning film and television director, Jesus Trevino will choose among the 150 submission the best in 10 competition categories, including Best Film, Best Director, Best Short Film, Best TV Series, Best Male Actor, Best Female Actress, Best Screenplay for Film, Best Musical, and Best Screenplay for TV.

The two day festival will culminate with the star studded, red-carpet and Oscar styled  “Illustrious Award”, where winners and honorees will receive their awards in front of 350 colleagues and movie lovers, taking place on April 21st at 6 PM, capping the festivities.

Film submissions are still being accepted, with a deadline of January 31, 2024. For more information about the 2024 MAFTF, and to purchase tickets, visit www.MexAmCEF.org.

Mexican American Cultural Education Foundation’s mission is to change the negative narrative of Americans of Mexican descent by highlighting their stories and their positive contribution to the U.S. For more information about the 2023 MACEF Film Festival, www.MexAmCEF.org.

The post The Mexican-American Film & Television Festival Honors Mexican-American/Chicana Filmmakers in its 3rd Edition first appeared on .

TO SUBMIT: www.mexicanamericancef.org/film-television-festival

Los Angeles, CA — The Mexican-American Cultural Education Foundation (MACEF) will celebrate its second annual Mexican-American Film and Television Festival & Awards at the historic Raleigh Studios in Hollywood. MACEF is now accepting submissions from filmmakers for the festival which takes place May 13-14, 2023. 

After last year’s inaugural film festival, the The two day festival will feature films and TV content made by Mexican-Americans, featuring Mexican-Americans and championed by Mexican-Americans. The filmmakers will have an  opportunity to network with industry professionals and audiences. The festival will be inviting trailblazing filmmakers whose film changed the course of independent filmmaking and will provide a learning experience aNd a screening of their films with couple of retrospective screening  

Fitting with this year’s theme of “changing the narrative, recognizing who we are”, MACEF’s mission is to change the negative narrative of Americans of Mexican descent by highlighting their stories and their positive contribution to the U.S.

The Mexican-American Cultural Education Foundation (MACEF) is a Non-Profit organization, with the mission of educating the community about the rich cultural contributions of the Mexican-American community to this country, which are often unrecognized.The MACEF Film Festival submission application is for those individuals who want to showcase their work to other film lovers, filmmakers, and Hollywood industry professional.

“For over 100 years, Hollywood has ignored the presence and contribution of Mexican-Americans and mainly represented them as maids, gardeners, and gangsters,” says Jose Luiz Ruiz, MACEF president, and founder. “This will not change unless we make it change. We at MACEF encourage our Mexican and Mexican-American filmmakers to submit their projects to the festival, the first of its kind in the nation”.

The festival will feature eight competition categories: Best TV Show, Best Short Film, Best Screenplay for Film, Best Screenplay for a TV Show, Best Film, Best Performance by an Actor, Best Performance by an Actress, and Best Director.  

All festival entries must be the applicants’ original works, not already in distribution and will be judged by noted industry professionals on the quality of the stories, production value, and submission guidelines. Stories that are culturally positive and non-stereotypical will have priority.

MACEF applicants can be of any background, but the production team must include at least one producer, writer, director, or lead actor who identifies as Mexican-American or Chicano of any generation or mixed ethnicity. Also, entrants will be responsible for obtaining all rights to third-party materials included in their submitted works, including trademarks, copyrights, and music. Furthermore, a digital link to the film or TV pilot is required.

The deadline for entries is January 15, 2023. 

This year’s MAF&TF will also feature retrospective screening of Latino filmmakers that changed the course of independent filmmaking throughout the years.

MACEF hopes to impact the TV and film industries in a period of extraordinary growth and relevance for the past few decades called a “new golden era of television,” which has only been strengthened by streaming platforms in recent years. “Welcome to the New Golden Era of Mexican-American Chicano television and film,” declares Ruiz. 

As the largest group of the U.S. Latino sector, Mexican-Americans have the power to make or break a film or TV show in release, as they are one of the largest filmgoing audiences. 

“There are 40 million Americans of Mexican descent, approximately 70 percent of the Latino demographic, a key group to the success of any film premiere,” says Ruiz. “Our festival will address a need for the increase in representation on the screen, as well as a change on how we are represented,” concluded Dr. Ruiz. “It will build community and provide support to the filmmakers coming from this creative, hard-working community.”

For more information, visit www.mexicanamericancef.org.

Follow us on social media:

Facebook: @MexAmCEF

Instagram: @MexAmCEF YouTube: Mexican-American Cultural Education Foundation

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It was Los Angeles 1942 wartime tensions, an influx of servicemen, overzealous authority, rebellious youth and racial strife brought the city to its breaking point. At the center of the conflict were 50,000 sailors, itching to blow off steam before they shipped off to war, and Mexican American teens called “zoot suiters” for the baggy pants and long jackets they wore.

Vividly capturing the moment when tensions boiled over and the city erupted into some of the worst violence in its history, Zoot Suit Riots features evocative archival footage and interviews with a wide variety of eyewitnesses and historians.

The mood in wartime Los Angeles was one of tension and suspicion. Less than a century before, Los Angeles had been part of Mexico but by 1942, Mexican Americans were seen as racially inferior and vulnerable to manipulation by enemy agents. At the same time, Mexican American youth were rebelling against the culture of the tight-knit barrios of their parents. They punctuated their speech with jazz phrases like “hip” and “cool” and took fashion cues from African Americans, favoring the zoot suit’s exaggerated baggy pants and long jackets. Shocked by their outrageous clothes and cocky attitudes, their parents feared they were becoming pachucos or punks. 

On August 1, 1942, 19-year-old Hank Leyvas and a group of his friends from L.A.’s 38th Street crashed a party near a swimming hole dubbed the “Sleepy Lagoon.” Claiming the partygoers had beaten him and his girlfriend earlier, Leyvas was determined to get revenge. A brawl ensued. After Leyvas and his friends left the party, neighbors found Jose Diaz badly beaten and stabbed. His subsequent death was a call to action for the city’s police, for whom Mexican American youth crime had been a growing concern. 

Within 48 hours, a police dragnet snagged 600 young Mexican Americans; Leyvas and 21 others were indicted for Diaz’s murder. When the Sleepy Lagoon trial began in October 1942, it was the largest mass trial in California history. Judge Charles Fricke presided over the case. Overruling objections from the defense, he sat all the defendants together, isolated from their lawyers, and refused to permit them to clean up or change their clothes for the trial. 

Seventeen defendants were found guilty. Leyvas was sentenced to life in San Quentin prison. Believing the boys had been railroaded, a group of intellectuals and Hollywood celebrities — Orson Welles and Rita Hayworth among them — lent their names to the Sleepy Lagoon Defense Committee.

The Sleepy Lagoon Defense Committee successfully appealed their case, claiming that they had been denied a fair trial. The 38th Street boys were released in October 1944 after serving two years in prison. Although the boys were not cleared of the murder charge, the LA authorities decided not to re-try the case.

Decades later, Lorena Encinas, who had been at Sleepy Lagoon, revealed a long-held secret to her children. Her brother Louie and his friends had attacked Jose Diaz and left him to die before Hank and his group even arrived at the party.

Hank Leyvas died in an East L.A. bar in 1971.

The post Zoot Suit Riots Encore Broadcast on PBS first appeared on .

For more information, visit mexicanamericancef.org/film-television-festival.

Los Angeles, CA — Mexican-American/Chicano filmmakers and/or projects that feature stories about this sector of the U.S. population are now being accepted for the newly formed Mexican-American Film and Television Festival (MAFTF). The submission period is now open for this unique festival which will hold its inaugural edition on May 14-15, 2022 at Raleigh Studios in Hollywood. The festival seeks to promote Mexican American/Chicano storytellers and their projects as they become the new generation of filmmakers looking to turn the negative portrayals promoted by Hollywood into a more balanced look at Mexican-Americans.

Organized by the Mexican-American Cultural Education Foundation, the MAFTF will feature eight competition categories: Best TV Show, Best Short Film, Best Screenplay for Film, Best Screenplay for a TV Show, Best Film, Best Performance by an Actor, Best Performance by an Actress and Best Director. MACEF’s mission is to change the negative narrative of Americans of Mexican descent by highlighting their stories and their positive contribution to the U.S.

“For over 100 years, Hollywood has ignored the presence and contribution of Mexican-Americans and mainly represented them as maids, gardeners, and gangsters,” says Jose Luiz Ruiz, MACEF president, and founder. “This will not change unless we make it change. We at MACEF encourage our Mexican and Mexican-American filmmakers to submit their projects to the inaugural edition of our festival, the first of its kind in the nation”.

All fest entries must be the applicants’ original works and will be judged by noted industry professionals on the quality of the stories, production value, and submission guidelines. Works with stories that are culturally positive and non-stereotypical will have priority.

MAFTF applicants can be of any background, but the production team must include at least one producer, writer, director, or lead actor who identifies as Mexican-American or Chicano of any generation or mixed ethnicity. Also, entrants will be responsible for obtaining all rights to third-party materials included in their submitted works, including trademarks, copyrights, and music. Furthermore, a digital link to the film or TV pilot is required.

The deadline for entries is January 15, 2022.

MAFTF hopes to impact the TV and film industries in a period of extraordinary growth and relevance for the past few decades called a “new golden era of television,” which has only been strengthened by streaming platforms in recent years. “Welcome to the New Golden Era of Mexican-American Chicano television and film,” declares Ruiz.

MAFTF will acknowledge Hollywood’s past luminaries, such as Anthony Quinn, Ricardo Montalban, Lupe Velez, and Pedro Armendáriz. But Dr. Ruiz declared, “This festival exists to recognize the Mexican-American/Chicano filmmakers of today who are changing the narrative.” Filmmakers whose stories have impacted the Latino community in a positive include directors Robert Rodriguez, Miguel Arteta, Edward James Olmos, Luis Valdez, Salma Hayek among several others.

According to a study by the Latino Donor Collaborative, Latinos buy 23% of all English-language movie tickets. MAFTF sees the need to increase the presence of this filmgoing audience on-screen — minus the stereotypes Hollywood has perpetuated for over a century.

As the largest group of the U.S. Latino sector, Mexican-Americans have the power to make or break a film or TV show in release, as they are one of the largest filmgoing audiences.

Already in place for the inaugural edition of MAFTF will be a Retrospective Screening which will highlight two independent films that have elevated the image of U.S. Latinos. The film Luminarias (1999), written by Evelina Fernandez and directed by Jose Luis Valenzuela, is a story of four professional women who meet at an East Los Angeles restaurant to share secrets about career, love, family, and sex. Walkout produced by Moctezuma Esparza, directed by Edward James Olmos and written by Marcus de Leon, Ernie Contreras, Timothy J. Sexton, and Victor Villasenor will also have a screening.

“There are 40 million Americans of Mexican descent, approximately 70 percent of the Latino demographic, a key group to the success of any film premiere,” says Ruiz. “Our festival will address a need for the increase in representation on the screen, as well as a change on how we are represented,” concluded Dr. Ruiz. “It will build community and provide support to the filmmakers coming from this creative, hard-working community.”

For more information, visit mexicanamericancef.org/film-television-festival.

The post Mexican-American Film and Television Festival Premieres May 2022 first appeared on .

Apply at HERE

Dr. Jose-Luis Ruiz, president of the Mexican-American Cultural Education Foundation, announced the opening of the submission period for the inaugural Mexican-American Cultural Education Foundation Filmmaker Grant. 

MACEF was founded with a mission to address the negative image of  Mexicans and Mexican-Americans who have been largely portrayed in the media through degrading stereotypes such as “criminals”, “the help”, “lazy”, “illegal invaders” and “uneducated”, with devastating effects to the community. The MACEF board has decided that it is an important part of our mission to promote positive media content, as well as foster future Mexican-American, Chicana/o filmmakers to proactively change the narrative. 

As films, TV and media content online and on social media have a tremendous impact on the narrative, perception, and reputation of our community, MACEF has chosen to promote positive content and encourage future Mexican-American filmmakers to proactively change the narrative. 

The Mexican-American Film/Television Festival, grants and awards will serve to promote a more accurate portrayal, showing Mexican-Americans and Chicanas/os as a valuable part of American society. 

MACEF’S three-pronged approach is as follows: 

1. The Mexican-American Film/Television Festival, Grants and Awards, a yearly event celebrating and sponsoring films, television, and streaming content made by Mexican-American/Chicana/os with positive and true-to-life stories.  

2. The MACEF Filmmaker Scholarship which will further the education of aspiring filmmakers who want to enter the film/television industry.   

3. The MACEF Filmmaker Grant.

Eligibility and Submissions Process for the MACEF Film Grant

MACEF Advisory Board members Alex Nogales, chairman and CEO emeritus of the National Hispanic Media Coalition, and Naibe Reynoso, an Emmy-Award winning journalist and author and publisher of Contodo Press, will oversee the selection process.  

Eligibility:   Individuals already in the industry or starting out who need funds to finish their short film, a feature-length film, or TV pilot to put it on the market. Film school students working on their thesis film are encouraged to apply. Filmmakers of any background can apply, however, the production team must include at least one producer, writer, or director, and one main actor who identifies as Mexican-American or Chicana/o, of any generation or mixed ethnicity. 

Submissions: To qualify for this grant the applicant must submit the script of the short film, feature-length film, or TV pilot, and be in an advanced stage of pre-production, production, or post-production. Qualifying films will be assessed by quality of the story, culturally positive, the production team assembled, and the viability of the project. Non-stereotypical stories will have priority. 

Grantees will have their film highlighted at the First Annual Mexican-American Film/Television Festival in May of 2022. 

Submission Period:  April 1 – June 15, 2021

Applications will be accepted between April 1 and June 15, 2021. Those chosen to receive the grant will be announced July 15 and the award amount will be dispersed at an August 2021 MACEF Reception. Grantees must present their film or television program at the first Mexican-American Film/Television Festival scheduled for May of 2022. 

MACEF’s core goal is to spotlight the contributions the Mexican-American culture and people have given to America. We offer a free library of live and online seminars, grants and scholarships to inspire pride and motivate success, specifically designed for Mexican immigrants, Mexican-Americans, Chicanos and any person wishing to embrace diversity and progress.

For more information on how to apply: https://www.mexicanamericancef.org under Scholarships & Grants.

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Mexican Luchadores are all the rage lately and Disney has joined the lucha libre craze with their live-action comedy entitled Ultra Violet & Blue Demon. The Disney Channel has ordered the pilot which stars Mexican professional wrestler Blue Demon Jr. and Scarlett Estevez (BUNK’D).

The series revolves around a Mexican-American girl with a special legacy family. Ultra Violet & Blue Demons has a predominantly Latino cast, with creators, executive producers, and writers who will lend authenticity to the story. The title of the Disney series includes the name of one of the most famous wrestlers in Mexico, the late Blue Demon which should delight luchador fans around the world. Blue Demon Jr., his adopted son carries on his legacy while creating his own.  

In 2008 Blue Demon Jr. became the first Mexican professional wrestler, as well as first masked luchador, to win the NWA World Heavyweight Championship when he defeated the then champion, Adam Pearce.  In 2014 he appeared in Robert Rodriguez El Rey network’s television series Lucha Underground and one of the wrestlers and appeared in a cartoon version in an episode of ¡Mucha Lucha! On Kids WB.

Estevez, whose acting career started at the age of three and has a long list of credit, plays a 13 year old student dealing with the angst that is middle school. When she is selected to wear the magical luchador mask that allows her to become Ultra, she begins training with her famous Mexican wrestler uncle, Blue Demon Jr. who is also a superhero in disguise. Together they teach each other, Ultra trains with her uncle to attain her superhero status and Uncle Blue discovers he can also learn a thing or two from his modern Gen-Z niece.

“Blue Demon Jr. is a Mexican cultural icon and we are looking forward to introducing him—and the luchador mythology—to our viewers,” said Rafael Garcia, vice president, Development, Disney Branded Television. “With Violet and her family, we also have the opportunity to present an authentic Mexican American family in a series that combines humor and adventure in a unique Latinx shake-up of the superhero genre.”

The cast includes: Venezuelan actress Marianna Burelli plays Violet’s mother; Juan Alfonso as Violet’s father; Brandon Rossel is Violet’s brother; Zelia Ankrum is Violet’s best friend; and Bryan Blanco as Violet’s goody-two-shoes classmate.Blue Demon Jr. is set to co-executive produce the series alongside fellow co-executive producers Moxie 88’s Dan Carrillo Levy and Eugenio Villamar who brought the IP to Disney. Jorge Garcia Castro will also serve as a co-executive producer. The pilot episode was written and executive produced by Dan Hernandez and Benji Samit (Pokémon Detective Pikachu, One Day at a Time) and directed by Alejandro Damiani (“M.A.M.O.N.”).

— Bel Hernandez

Featured Photo” (Disney/Mitch Haaseth)

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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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