Podcast appearances and mentions of ava duvernay

Think about the histories of your family or memories from your past. What if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? Tonight's edition of APEX Express features three filmmakers who created magical realism short films centering AAPI women. Listen to directors Cami Kwan, Dorothy Xiao, and Rachel Leyco discuss their films and experiences behind the scenes with host Isabel Li. Cami Kwan: Website | Instagram | Seed & Spark Dorothy Xiao: Website | Instagram  Rachel Leyco: Website | Instagram   Transcript 00:01 [INTRO] Isabel: You're tuned into Apex Express on KPFA. Tonight's edition is all about stories. Think about the histories of your family or memories from your past. Now, what if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? I'm your host, Isabel Li, and today we have three very special guests, Cami Kwan, Dorothy Chow, and Rachel Leyco. All of them are AAPI filmmakers who received the Julia S. Gouw Short Film Challenge grant from the Coalition of Asian Pacifics and Entertainment and have created short films featuring AAPI stories with magical realism. My first guest of the night is Cami Kwan, a Chinese-American director specializing in stop-motion animation who directed the short film Paper Daughter.  Hi Cami, welcome to APEX Express!  Cami: Hello, thank you so much for having me. Isabel: How do you identify and what communities do you consider yourself a part of?  Cami: So I identify as a queer Asian American woman um and I am a descendant of immigrants, of Chinese immigrants. um Then the communities that I am part of, part of the queer community, part of the Los Angeles community, part of the Chinese American and Asian American community, part of the mixed race community and part of the stop-motion animation and independent artist community.  Isabel: I'm so excited to talk to you about your upcoming short film, Paper Daughter, a gothic stop-motion animated Chinese-American fairy tale about a young woman grappling with the guilt of using the identity of a deceased girl to immigrate to the US via Angel Island in 1926, which is such a fascinating concept. Can you tell our listeners a little bit about how you came up with this story and the historical specificity behind it?  Cami: Absolutely, yeah. So like I mentioned, I'm the child of immigrants, descendants of immigrants rather. So my great grandparents immigrated to the US from China. My great grandfather came over in 1916 and my great grandma came over in 1926. And so I've always grown up knowing the story of Angel Island and knowing the story about the paper sons and paper daughters who had to find any way into the United States that they could. And so they were forced to, you know, take on the identities of other people. And those stories have always stuck with me, you know, like it's very personal. Angel Island means a lot to me and my family. And just the extreme measures that people have always had to take just for the chance at a better life have always been really meaningful to learn about. just the like, I'll use romances in like the art movement, like romantic. It's very romantic and kind of fairy tale-ish, the idea of having to take on a new identity and pretend to be somebody that you're not. And often those identities would be people who had passed away, and then those families had then sold those identities or given those identities to new people. And so it's so interesting the idea of being like the last person to know somebody so deeply, but you'll never get to meet them and you'll never be able to thank them or repay what they sacrificed for your future. And that's kind of how I feel as a descendant of immigrants. The sacrifice that my family made for me was made so long ago that there's no way for me to ever pay it back. And I didn't really get a say in whether I received that sacrifice or not. And I think a lot of descendants of immigrants kind of have to struggle with this. What does it mean for us to be given this new chance at the cost of somebody who came before us? And so that's all of that kind of rolled up into this 14-minute film. Isabel: You describe your film as being in a gothic style? Can you describe what this looks like and why gothic?  Cami: The subject matter is just so naturally gothic. It's dealing a lot with death and a lot with guilt and those big capital R romantic subjects and stuff. My day job, my day-to-day job is working in stop-motion animation directing mostly like children's series and mostly toy related stuff. And so I spent so much of my time in the happy brighter like birthday party storyline kind of like space. But what really made me want to be a filmmaker in the first place were all these like heavier themes, these bigger themes, films by Guillermo del Toro and like Tim Burton and Henry Selig and Hayao Miyazaki and all of those kind of have this like gothic edge to them. And so that's like a story that I've been a type of story I've been wanting to tell for about a decade now.  Isabel: Stylistically, how does this show up in your film? So I imagine darker colors or do you have a visual like preview for us?  Cami: it is a little bit in the darker color space, but it's still very colorful despite all that. It's moody more so than dark, I would say. um We have a lot of like light and dark themes, a lot of like shadow. stuff and um a lot of magical realism, which is where that fairy tale aspect kind of comes in, because you're dealing with things that are so abstract, like guilt and sacrifice and wearing the identity of somebody else, that there's no literal way to convey that. Well, there are literal ways to convey that, but none of those literal ways I feel fully convey the emotional weight of everything. And so we've gone in this very magical realism space where people are tearing information out of these booklets that contain information about the person they're supposed to be and creating these paper masks out of them. And so yeah, there's this whole like magical aspect that tends to be kind of darker. There's imagery of just like being consumed by the identity that you're just supposed to temporarily wear. And there's a lot of like, yeah, there's a lot of darkness in those themes, I think.  Isabel: Wow, that's so interesting. I'd love to learn more about stop motion. What does stop motion make possible that isn't as easily accomplished through other forms of filmmaking? Cami: Yeah, I think the reason why I'm drawn to stop motion, what I stop motion makes possible is like a universality of just like a human experience because with other kinds of animation and other kinds of filmmaking, like there is kind of like an opacity to like how it's made. There's this this veneer, this magic to it, and there's that magic to stop motion too. But the difference between all of those and stop motion is made out of like everyday materials. It's made out of fabric. using paper. We're using clay. We're using materials that people have encountered in their day-to-day lives. And like, that's the one thing that we are all guaranteed to have in common is that we live in a material world and we encounter these textures and materials around us. so by like taking such a specific story and trying to convey such universal themes, it really like behooves us to be using like um a medium that is as universal as stop motion is. So I think that's like the big thing that stop motion unlocks for us. Plus also story-wise, like it's very paper centered, paper daughter, they're tearing paper strips, they're making paper masks. So like physically using these paper textures adds a lot to our world. um And I think working in stop motion gives you a degree of control that live action doesn't give you because we're creating. all of our characters, all of our sets by hand, which gives us so much of a say over what they look like and what they convey based on how they're constructed and stuff. And that's just a degree of communication that nothing else brings.  Isabel: I love that this is a magical realism film and you mentioned Guillermo del Toro. I know that in your campaign trailer, you featured Pan's Labyrinth, which is my all-time favorite movie.  Cami: Me too! Isabel: Yeah! How exactly did you come up with this specific blend of history and fantasy for your film?  Cami: I think that it's almost a natural human instinct to kind of have history and fantasy. Like, that's all that histories are, just stories told to us. And it's just being less literal about it and really leaning into the metaphors that we might use to convey the emotional realities of those histories, right? And so I feel like Del Toro does that a lot with his work. And Miyazaki as well does a lot of that with his work. So much of it deals with unpacking like World War II and things like that. And that's something that I've always just personally been drawn to. Even as a kid, my dream jobs were archaeologist or animator. And so here I kind of get to like do a little bit of both of those, know, like using the magic of animation to make history feel a lot more present and tangible and like emotionally relevant, which is It's really quite poetic to be able to be telling this story right now because it's going to mark the 100 year anniversary of my great grandmother's immigration to the US. I think we are due for an examination of immigration in our country. And I'm very interested to see how people respond to the questions that this raises of how different is the immigrant experience 100 years later. Have we gotten better? Have we gotten worse? Like I would posit it's perhaps worse now than it was then, but I'm really hoping to like, yeah, bring that reality into a more approachable space. And I feel like having that blend of magic and history just makes it a little bit more approachable than telling it in a literal way, you know? Isabel: Those are some great questions to ask. And on that same note, I'm interested in the specificity of Angel Island as well. What types of research did you do to produce your film?  Cami: Oh, gosh, I read every book I could find about it. have… How many books were those? Oh, my gosh, I want to say, like, not as many as I want there to be, you know? Like, Angel Island is not as well covered in history as places like Ellis Island, and there's a lot. to unpack as to why that may be, especially like the racial aspect of it. But I probably read about a dozen different books to prepare for this film. One of the most concrete and useful books that I read is a book called Island, and it's a collection of the poems that are carved into the walls of the men's barracks that remain on Angel Island. And those poems are a huge part, perhaps, the reason why Angel Island has even been preserved as a historical landmark. And so um the three authors went to great pains to replicate these poems, translate them into English, and provide a lot of historical context for the different topics of the poems. And there's a lot of like first-hand testimony from people who immigrated through Angel Island that they interviewed and included in this book. And so I do think that that book, Island, is like the primary source of most of my research for it. Everything else is more like quantitative history and quantitative data. Oh, also The Chinese in America by, I believe it's Iris Chang, that it's not just about Angel Island, but I read that and that gave me a much better understanding about like the place that Chinese immigrants have in American history. Because when I was a kid, like I really only ever learned about great grandma came over through Angel Island and now we're American and we live in America. But our history, as far as I was ever taught, begins and ends with us entering the United States. And so reading um the Chinese in America gave me a much broader understanding about, like, why did we leave China in the first place? And like, what has it meant for us to be in America as Chinese people since then? Yeah, all that came out of like in 2020 and 2021 when the rise of anti-Asian hate crimes were kind of coming about. I personally had to have a huge reckoning with like my racial identity and like how that has impacted like my experience growing up as a mixed-race person who's pretty perceivably Asian and all that stuff. So it was a really whole circle broad situation. Oh, I want to do a quick shout out to the Angel Island Immigration Station Foundation. They were very generous with their time and they answered a lot of my questions and sent me a lot of archival images from Angel Island. So I want to thank them so much for their help in the research process of this.  Isabel: Oh, wow. How fascinating. Did you have any expectations on how the production process was going to go? And now that you're on the other side of it, what are your reflections?  Cami: I had no expectations as to whether we were going to get outside funding or not. Like I, I'm not an experienced or adept grant applicant. Like, it was really just because this was the right kind of project to fit with those kinds of grants. So I had no expectations there. So I am beyond thrilled to have received the support from Cape and Janet Yang and Julia S. Gouw and Shorescripts that we've received, like beyond thrilled for that. So that exceeded all of my expectations. um But as far as how the actual production has gone, the fabrication and the animation and the post-production, that's all stuff that I'm extremely familiar with. Again, that is my day-to-day life, that is my job, that is like what I have done for the last eight years at my studio, Apartment D.  So that all went pretty much as I hoped and expected that it would, but here on the other side, the one thing that has surprised me about it was how much love all of the artists put in this project because like we've said so much in this conversation, there's so much specificity to this. This is about my great grandma. This is about my family and my feelings about being a descendant of immigrants. It's so specific that I wasn't sure how emotionally it would resonate with anybody else that wasn't me or wasn't part of the AAPI community, you know?  But every single person — doesn't really even matter if they were Asian, doesn't really even matter if they have a specific connection to immigration — every artist that I asked to join me on this project, I immediately understood what it meant and understood what we were trying to say. And they put so much love into it. And like, we all put a lot of love into everything we do. It's stop motion. It's like, you don't do this unless you love it, you know, because you certainly are not doing it for the money or anything. um everyone was just so…I'm gonna say careful, but I don't mean careful like cautious. I mean careful like full of care. And I did not expect that and I am so grateful for it. Yeah, looking back, it's just so precious and so tender and like I'm so fortunate to have had the crew with me that I had to make this film.  Isabel: That's so lovely. What are you most excited about upon completing your film?  Cami: I'm just excited to share it with the world. I'm so proud of it. It is truly, and I'm not just saying this because it's my baby, but it is very beautiful and it is very special. For a lot of us, one of the first times that we've been able to be in charge of our own departments or to make the decisions that we wanna make and tell things, do things, show things the way that we think they should be done. And so it's kind of significant for many of us to have this film come out and to be received. What I want people to take away from it is an appreciation and a gratitude for everything that has had to happen for us to be where we are now. And I also really want people to take away the unconditional love that has occurred for us to be in the country that we have and to be the people that we are. Every single person is where they are. doesn't matter if you're in America or anywhere else, like we are all here because of the sacrifices that were made by the people who came before us. And those were all made out of unconditional love. And that's like, I want people to come away from this film remembering that our country is built on the unconditional love and sacrifice from people who came before us. And then wanting to give that unconditional love and sacrifice to everybody who's gonna come after us. Isabel: Such an amazing message. And I know that there's still lots to do and you still have a lot to celebrate with your upcoming film and with the festival circuit with Paper Daughter. But looking ahead, do you have any plans of what you want to do after the short film?  Cami: Yeah, I would love to bring it into a feature. There was so much that we had to cut out to make this film. On one hand, I'm glad that we cut out what we did because I think the film as it is, is like so tight and so like airtight and good and perfect and sparse in a really nice way, but we don't even get to delve into life before Angel Island. It begins and ends on the island, and I would love to explore the stories that brought this all about and the stories that come after. So bringing this up into a feature version and getting that in front of people would be amazing. And I have a couple other short film and feature film and script ideas that I would like to start working on as well. I've kind of really, I'm really grooving on the like Asian early Chinese American history. um So most of them are going to be set in California and focus on like Chinese immigrants and their role in the founding of America. um I'm really excited for the like, after all the film festivals, I really want this film to end up in classrooms. And I even just the other day like I have a friend who's a third and fourth grade teacher and she showed it to her class and then the students asked me questions about Angel Island and about animation. if this can play any part in helping to spread the story of Angel Island and the people that immigrated through there, like that's all that I could ever want from this. So I'm really excited for that.  Isabel: That's wonderful. I'll put your website, social media and seed and spark page for Paper Daughter up on kpfa.org so our listeners can learn more about this stop motion film and get updates for how they can watch it. I can't wait to see it when it comes out. And Cami, thank you so much for joining me on Apex Express today.  Cami: Of course, thank you so much for having me. It was a great, great time talking with you.  Isabel: You just heard Cami Kwan talk about her film Paper Daughter. On Apex Express tonight, we have two more special guests who made magical realism short films. Next up is Dorothy Xiao, who made the film Only in This World. She's a Los Angeles-based award-winning filmmaker who likes to create grounded family dramas with a hint of fantasy.  Hi, Dorothy. Welcome to APEX Express.  Dorothy: Hi. Thanks for having me!  Isabel: Of course! Thank you for coming here. My first question for you is actually quite broad. How do you identify and what communities are you a part of?  Dorothy: Oh, that is a good question. I think in a broader sense. I would say, obviously, I identify as an Asian American. um But I think, like, for me, because I grew up in the 626 or the San Gabriel Valley, I grew up with a lot of people who looked like me. So I think I didn't truly identify as being Asian or had awareness of my identity until later on when I went to college. And then I took Asian American Studies classes and I was like, oh, wow, I'm Asian. Or like, what does it mean to be Asian? You know, like, I think I, at that time, prior to recognizing and understanding what it meant, and also even to be a minority, because at that, like I said, growing up in 626, even going to UCLA, where I'm surrounded by a lot of Asians, I never really felt like a minority. But I think it was really after graduating where I, depending on the spaces that I would enter into, especially in the film industry, I was learning like, oh, yeah, I am a minority and this is what it feels like. And prior to that, I think I just identified as being a daughter of immigrants. And that still is very strongly the case just because I grew up listening to so many stories that my parents would tell me, like coming from China, growing up like they grew up in China during a completely different time. I can't even imagine what it would be like living in the way that they did, you know, during the Cultural Revolution, under communism, in an intense way where they were starving, all this political stuff. But yeah, a second gen or for a lot of people, first generation, daughter of immigrants, of parents who decided that they wanted to make a better life for their kids out here in the States. I think that I want to stand by me saying that I don't feel like I am, I don't really want to identify as only just single categories all the time, just because within each community, could be, you could have nuances, right? Because I am a woman, but I'm also like a woman who doesn't want children, you know, and there was just so many different things of how I identify. So hard for me to categorize myself like that. But they are, there are tidbits of different communities. Like I still identify, identify as Asian American. I identify as a daughter of immigrants. I identify as a female filmmaker and yeah. And a business owner, I guess. Yeah.  Isabel: Right. Yes. Thank you for that nuanced answer. You know, it's so fascinating because I was reading about your work and you have worked in animal research administration and an afterschool program and even web development for nonprofits. How did you get into writing and directing?  Dorothy: Yeah. So after graduating college, I was definitely in a place where many, I'm sure, fresh grads understand what we call the quarter life crisis, where we don't know what we wanna do with our lives. And I was working at UCLA because that was the only job that I could get out of college for an animal research administration office. And really, I worked for them as a student. So I was like, well, it makes sense to have that be my full-time job, because you're in a place where you don't have skills. So how do you get a job if you don't have skills? That weird silly catch-22 situation. So I studied psychology in undergrad because my goal was to become a therapist. I wanted to work with Asian and Asian immigrant communities to help them with mental health because there's such a stigma attached to it. And being somebody who found mental health really important and also found that it was a really great way to understand myself. I wanted to work with, I guess, the people of my community. But at that time, I realized that there's still a stigma attached to mental health and it's really hard to get people to even go to therapy. Like living with my parents, it's really difficult. I cannot ever convince them to go. um And so I had pivoted into, or at least I discovered this filmmaking competition and ended up just like making a film for fun with a couple of friends, random people that um were not in film at all. And I had a lot of fun and I realized that we could actually create stories talking about things that are very similar to mental health or could provide that catharsis and validation that you could probably get in a session, in a therapy session. And it's not clinical at all. It's not as clinical. So, you know, on all those different jobs that you mentioned, they're all day jobs, know, animal research administration and then working for an after school program. That was me still trying to figure out how to be a filmmaker on my weekends. I still needed a day job. I didn't have the luxury of going to film school. So I would work at different places that gave me the flexibility of having a day job. But then also I had free time during the weekend to just make films with my friends, make friends films with people like my mom, who was one of my first actors earlier on. Love my mom. She did not do the greatest in my film, but I love her for being there for me. But yeah, like the different organizations or just jobs that I worked for were all really good in terms of providing me management skills and also communication skills because I worked in different industries, you know, and so at the end of the day, it all culminated in me at my current place. Like I am a freelance filmmaker and I also run my own video production company. So um becoming a writer, I mean, being a writer director is my main identity as a filmmaker. However, I don't think you could be a good writer-director if you don't have life experience. And having all those different jobs that I've had provided me with a lot of varied life experience and I interacted with a lot of different people, many different personalities.  Isabel: Yeah, no, I love that. So you grew up in Alhambra, which I'm familiar with because I too grew up in the San Gabriel Valley. How would you say that growing up in Alhambra has shaped you as an artist?  Dorothy: Alhambra is really special, I feel like, because in the San Gabriel Valley, there are many cities like this. You have Chinese people who can actually get by without ever having to learn English. And the same goes for Latin communities as well. And, you know, I have aunts and uncles who lived in Alhambra for years and never learned how to speak English. So I think it's like, what's so special about it, it feels like a safe space for a lot of immigrant communities. And then my parents being immigrants from China. living in Alhambra was a place where they could feel safe and feel connected to the people that they left behind in another country. And so being a child of immigrants, a daughter of like an Asian American, like a Chinese American growing up in Alhambra, I definitely felt like I grew up with a lot of people who were similar to me. know, we were like a lot of times the first American born children of our families even, and it was, we had to essentially understand what it meant to be Asian versus American and all of that.  But I think like being in Alhambra, I never felt like I wasn't seen, or at least I never felt like I was a minority. I think I mentioned this earlier, in that growing up in Alhambra, you do see a lot of people who look like you. And I have a lot of friends in the film industry who have moved out to California because they grew up in towns where they were like one, the only person, the only Asian person in their school or whatever. And I didn't have that experience. So for me, it was really special just being able to have a whole group of friends where there's a bunch of Asians. And we all spoke different languages. Like I had a lot of friends who were Cantonese speakers, but I'm a Mandarin speaker, but it was just really cool. It was like going to your friends' places and then you have aunties. So it's almost like having more family. You could feel like you have more aunts and uncles that will feed you all the time because that is the way they show love, right?  Isabel: Oh, certainly. I think there's so many stories in multicultural places like Alhambra. And speaking of which, you did in your film Only in This World. It's about an empty nester who has to face her ex-husband's mistress in order to summon her daughter back from the afterlife, which is featured in the 2025 Silicon Valley Asian Pacific Film Festival in Sunnyvale. Congratulations on such a beautiful film. I will say that I am a huge fan of magical realism, and Only in This World has some magical elements to it. So I'd love to get to know, how did you come up with this specific plot and characters that make up this film? Dorothy: Yeah, and thank you for wanting to talk about this one. It's a special story to me just because it is, I think it's the first film that I've made where I just decided to incorporate elements of where I grew up. And so Only in This World is inspired by my mom and her Tai Chi group at our local park, so Alhambra Park. My mom would go to do Tai Chi every morning for years. And in Alhambra, actually, as I mentioned, because there are so many immigrant communities, many of the immigrant communities tend to stay together with the people who speak their language. So Chinese people usually stick together with the Chinese speakers, Spanish speakers stick together with the Spanish speakers. You don't see a lot of mingling or intersectionality. But one of the special things that I saw with my mom's Tai Chi group was that they were not just Chinese people or Asian people, but there were Latino people in their group as well. And so even though they couldn't speak the same language, they would show up and still do Tai Chi every morning because it was a matter of doing something together. And so I love that a lot. And I wanted to tell a story about just older women who are finding friendship because I think that's really important in older age and in these groups because you see that a lot of the people in these Tai Chi groups are even the ones, not just Tai Chi groups, but there are dancers in the park, you know, like you'll see them in the mornings, not just in Alhambra, but in Monterey Park, all the different parks, open spaces, they'll have little dance groups.  A lot of the people who are part of those groups happen to be seniors, and I think it's just because they don't have work, they don't have children, they're lonely. And so…I think it's really important to be aware that where friendship or loneliness is actually an epidemic in the senior community. And it's really important to providing good quality of life is to just have them have that connection with other people. And seeing that in my mom, because my mom is getting older, having her be part of that community was what kept her happier. And so, yeah, and also my mother-in-law is Colombian. And she's done Tai Chi before as well with her group in Rosemead. And so I just was like, well, I'm part of a multicultural family. I want to tell a multicultural family story. Yeah, in terms of the magical realism element, I thought a lot about just how my family, if our house has ever burned down, the things that they would take out are our photos, the print four by six, like, you know, just the print photos because they're just so precious to them. There's something about hard copy pictures that is so special that digital photos just can't take over. Like there is an actual energy to how a photo is made or even like back then when we used to use film, there's energy that's required to actually create photos. And so, you know, I wanted that to be the power that powers this magical scanner where energy is taken from the picture and then you have the ability to bring someone you love back from the afterlife. And I really love grounded magical realism because I think it just makes difficult things a lot easier to understand when you add a little bit of magic to it, a little bit of fantasy.  Isabel: Yeah, magical realism is such a special genre. What part of the production process that you find the most profound?  Dorothy: I think it was just really my gratitude in how much my family came together for me and also just like the people of this team, know, like there were, I think one major situation that I can think of that I always think is really funny was, um so we filmed at my mother-in-law's house and my husband, Diego, was also working on set with me. He is not in the film industry. He's a software engineer manager. He's like in tech, but he is one of my biggest supporters. And so…when we were like, yeah, can we film at your mom's house? He was like, okay. But he had to end up being the, quote unquote, location manager, right? Because the house was his responsibility. And then, and he was also my PA and he was also DIT. Like he would be the one dumping footage. He did everything. He was amazing. And then ah one day we found out that his neighbor was actually doing construction and they were hammering. It was like drilling stuff and making new windows. They were doing new windows. And we were just like, oh, like, how do we get them to, like, not make noise? And so, and they don't speak English. And so we were like, oh crap, you know. So like, unfortunately, my producers and I don't speak Spanish, like we're all just English speaking. And then I did have Latinos working on my set, but they, you know, they had other jobs. I wasn't going to make them translate and do all that other stuff. So then Diego so kindly went over and talked to them and was like, essentially we set up. They were totally cool about it. They were like, yeah, okay, you're making a film. then whenever you're rolling sound, we'll just like prevent, like not hammer. And then so Diego is sitting outside with a walkie and talking to the first AD and other people inside the house, because we're all filming inside. don't know what's going outside. And then so like, we would be rolling, rolling. And then um the workers, I think his name was Armando, are like…whenever we cut, Diego would hear it through the walkie and he'd be like, Armando, okay, you're good to go. You can drill. Armando would drill. And then when we're going, and we'd be like, I'm going for another take. And then Diego would be like, Armando, please stop. So it was so nice of them to be willing to accommodate to us. Because you hear a lot of horror stories of LA productions where neighbors see you're filming something and they'll purposely turn on the radio to make it really loud and you have to pay them off and whatever. And in this case, it wasn't it was more like, hey, like, you know, we're making a movie and they were so supportive and they're like, yeah, totally. This is so cool. We will definitely pause our work, our actual work and let you roll down during the brief period. So we're really grateful. We definitely brought them donuts the next day to thank them. But that was just something that I was like, oh yeah, like I don't think I could have pulled that off if I didn't have Diego or if the fact, if it wasn't for the fact that these were the neighbors, know, that we were filming at someone's house and the neighbors already had a relationship with the people who lived here.  Isabel: Wow, that's really adaptable. And I'm so glad that went well for you. Dorothy, you've directed 13 films by now. Have you ever seen one of your films resonate with an audience member that you've interacted with in the past?  Dorothy: So there was this one short I had done a couple years ago called Tarot and it came at a time when I was struggling with the idea of whether or not I wanted to have kids and many of my friends are off having their first or second kids, you know, and so I never really wanted to be a mom, but then I have a partner who I can see being a great father, so I'm more open to the idea of being a mother, but it was still something I was conflicted about. And so I put this all into a short film, just my feelings of how my identity would change if I were to become a mom, because I've read so much about that. I found a Reddit thread one day where people were just talking about how being a mother is hard. And they openly stated how much they hated it. And it's okay to feel that way. And I wanted to put those feelings into this film to just put it out there like, hey, like if you don't like being a mom, even though you love your kid, you could still hate having that identity and be lost about, and it's okay to be lost or not sure about who you are. And so it was a really short film and it ended kind of open ended. It was like five minute film, so it didn't have like a full ending, but it was an open ended ending. And then afterwards I had a bunch of people come up. I had people who were parents, not just mothers, like even, or like fathers who had just had their first kid who were coming up and telling me like, oh, I totally identify. I understand that struggle of learning about who your new identity is after you've had a kid. And then I had people who were child free who were coming to me and saying like, yeah, this is a similar feeling that I've had about whether or not I should have any kids. Because, you know, as women, we have a biological clock that ticks. And that's something I feel frustrated about sometimes where it's really because of my body that I feel pressured to have a kid versus wanting to have one because I want one. And so that was a story I wanted to, or just something I wanted to put into a film. Yeah, and I also had another person come up and tell me that they were like, this was something I felt, but I never really openly talked about. And so I resonated a lot with this and it just helped basically articulate or helped me identify like, oh, I totally feel this way. And so that was really validating to me as a filmmaker because my goal is to reach others who don't feel comfortable talking about certain things that they tend to hide because I have a lot of those types of thoughts that I might feel ashamed or embarrassed to share. But then I put it into a story and then it makes it more digestible and it's like, or it's more, it's entertaining. But then like the core message is still there. And so people watch it and if they feel that they can connect to it, then I've done my job because I have resonated with somebody and I've made them feel seen. And that's ultimately what I wanted to do when I wanted to be a therapist was I just wanted to make people feel seen. I wanted to make them feel connected to other people and less lonely because that's something that I also have struggled with. Yeah, so filmmaking is my way of putting something small out there that I feel and then finding other people who feel the same way as me. And then we can feel validated together. Isabel: Ah yes, that is the power of film, and Dorothy's work can be viewed on her website, which I'll be linking on kpfa.org, as well as her social media, so you can get new updates on what she is working on. Dorothy, thank you so much for joining me on APEX Express today!  Dorothy: Thank you! Thank you for having me, it was so great to meet you!  Isabel: That was Dorothy Xiao, our second guest for tonight's edition of Apex Express, featuring magical realism AAPI filmmakers. Now time for our final guest of the night, Rachel Leyco, who is a queer, award-winning Filipina-American filmmaker, writer, actress, and activist. We'll be talking about her upcoming short film, Milk & Honey.  Hi Rachel, it's such an honor to have you here on APEX Express. Rachel: Hi, thank you so much for having me.  Isabel: How do you identify and what communities do you consider yourself a part of?  Rachel: Yeah, I identify as a queer Filipina-American. Isabel: So we're here to talk about your short film, Milk & Honey, which is about an ambitious Filipina nurse who leaves her family behind in the Philippines to chase the American dream in the 1990s and facing conflicts and hardships along the way. How did you come up with this specific 90s immigration story?  Rachel: Yeah. So Milk and Honey is inspired by my mom's immigrant story. you know, that's really her true story of coming to America in the early 1990s as a very young Filipina nurse while, and also a young mother and leaving behind her daughter, which was me at the time. um you know, following her journey in the film though fictionalized, a lot of the moments are true and there's a lot of exploration of assimilation, cultural barriers, loneliness and the emotional cost of pursuing the American dream.  Isabel: Yeah, when I read that synopsis, I immediately thought of this short film could totally be something that's feature length. How did you sort of this story to something that is like under 15 minutes long?  Rachel: Yeah, so I wrote the short film script first. And actually, you know, this is a proof of concept short film for the feature film. I actually wrote the feature film script after I wrote the short because there was just so much more I wanted to explore with the characters and the story. It definitely couldn't fit into a short film, though I have that short film version. But there was just so much richness to my mom's story that I wanted to explore, so I expanded into a feature. So I do have that feature film version, which I hope to make one day. Isabel: And you mentioned that this film is inspired by your mom's story. Is there any other sort of research that you did into this story that really helped you write? Rachel: Yeah, one of the main reasons I wanted to write the story, I mean, there's many reasons, but one is because there, if you ask the average American or the general public, they won't really know why there are so many Filipino nurses in the healthcare system. Because if you walk into any hospital, you'll see a Filipino nurse, more than one for sure. ah so I was really curious about the history. ah Having my mom as a nurse, my sister's also a nurse, I have a lot of healthcare workers around me. I grew up with that. I, you know, growing up, I also didn't really know or learn Filipino American history because it's not taught in schools. And I, you know, I took AP US history and didn't learn anything about, you know, my culture and our history. It's, not in the books at all. And it wasn't until like my early twenties that I was really curious about my roots and my upbringing and what it means to be Filipino-American specifically. And so um I really went into like a deep dive of just researching Filipino-American history. And specifically last year, I had been wanting to tell a story about a Filipino nurse because of my proximity to it with my mother. And you know, myself being an artist, being a filmmaker in the industry, there's so many medical shows out there, like, know, Grey's Anatomy, that's been long running, but very, very few, and rarely do we see Filipino nurses at the forefront and at the center of those stories. um You know, rarely are they series regulars. You know, sometimes they'll feature a Filipino nurse for like one episode or two and, you know, a recurring or a side character, but Filipino nurses are never the main character, never the series regular. And so that was another big driving force for why I wanted to make this story. And, you know, really making my mom's character the center of it. And so as far as like research, too, I definitely interviewed my mom and I asked her to just tell me her her entire story and specifically why she even wanted to move to the United States because she could have stayed in the Philippines or she could have moved somewhere else. um she saw a newspaper or her friend actually at the time when she was in a nursing school, a friend of hers saw an ad in the newspaper that America was sponsoring nurses. And so she had it in her mind already like, oh, yeah, I've heard of America. I've heard of the United States that it's, you know, there's better opportunities for me there. And at the time she had just had me. And so she had, you she's a young mother. She's trying to take care of her baby, her newborn. And so, you know, she had her eyes set on moving to the United States and that's kind of how her journey happened. And on top of that, I also did my own research on you know, our history, I watched this really amazing documentary um by Vox. It's on YouTube. It's all about why there are so many Filipino nurses in America. And it really just ties back to U.S. colonization. And after World War II, was so many, there was big nursing shortage in the United States. you know, white Americans did not want to, you know, fill that role. So they turn to Filipino women to fill the gap.  Isabel: Yeah, was there something special about the production process that looking back, you would want to replicate in the future or that really speaks to you?  Rachel: Absolutely. um Yeah, mean, definitely this experience and a lot of the people that I brought on to this project, I want to continue to make films with them and continue to make art with them because um I'm just so proud of the team that we put together. Everyone was so passionate and they knew how important the story was. They also had their own special connection to the material that they brought so much heart and passion into the film. that really comes through in the project. so like a lot of the people I brought onto this film, I want to continue to make art with them forever. That's one thing that I'm really, really grateful for, because I got to work with some really awesome people that I had never worked before or I had been wanting to work with. And so it was such a great opportunity that was given to me to be able to connect with such amazing and talented AAPI creatives in my circle.  Isabel: Yeah, I saw on your Instagram page for the film that you shot this film in both Los Angeles and Austin, Texas. Have you ever done a production where you had to sort juggle two different sets in two very different locations? And how was that entire process?  Rachel: Yeah, that was really, it was really fun. It was my first time being able to film in two different cities, let alone like two different states, really. A lot of my past projects have just been, you know, shooting it with the resources that I had that were available to me. You know, usually like my past short film, Thank You for Breaking My Heart, that I did last year, we shot all of it in one location, which was of course like, know, that is something that's really impressive in and of itself, of course. But, you know, because of the bigger budget that we had for Milk and Honey, I really wanted to challenge myself with this. And I really advocated for filming a part of the film in Texas because it is set in Texas. I was raised there. That's where my mom was placed when she, because how the process goes is, you know, she applied for the nursing sponsorship and then they placed them in certain areas. And so she was placed in El Paso, Texas at the time. And so that's where I also grew up. So I set the film there and I really advocated for filming in Texas because I wanted the film to have that feeling of the environment and atmosphere of Texas. um And so we shot some exteriors there for like this really fun Texas montage where you can really like feel that the character is there in, you know, in that heat, the Texas heat. So that was really, that was really fun. And I, you know, we shot, we shot two days in LA and we shot half a day in Austin, Texas. And we hired a second unit in Texas, because, you know, again, like, even though we had a really good budget, was still, you know, it was still pretty small. So I wasn't able to, you know, fly my LA crew over there. um So what we did was we just hired a second unit crew in Austin, Texas, and they were amazing. And most of them were queer, non-binary filmmakers. And it was just such a fun, intimate crew that you know, we just breezed by and had such a great time shooting that.  Isabel: That's wonderful. As a director, what inspires you and what are some of your filmmaking influences?  Rachel: Yeah, I mean, I'm constantly inspired by, you know, new films, filmmakers that I've seen, em particularly for Milk and Honey. I um so the film is, you know, this grounded drama, but there are a lot of moments of magical realism that I mix into it. love magical realism. love one of my favorite movies is Eternal Sunshine of the Spotless Mind. It's such a beautiful film, also very grounded, but it's filled with all of this, you know, magical realism, surrealism. And so I infused that into, you know, Milk and Honey, which was really fun and a challenge to execute. But yeah, and some other filmmakers and creatives that I'm inspired by are Ava Duvernay. think her work is just incredible and also just an incredible artist overall. I love the kind of work that she does because it comes from such a deep place. And I love that she can combine art with politics and social justice as well. Isabel: I also love that you said in your one of your project funding descriptions that you use your art as your act of revolution, which is so relevant given that, you know, in our current state of, you know, our administration is silencing and suppressing voices of our immigrant communities. And how do we as filmmakers, as artists, what does that revolution and representation mean to you as a filmmaker and artist?  Rachel: I truly believe that that art is our act of revolution and just merely creating the art is that act in and of itself. We don't have to do more than that as from, in my opinion, as an artist, because the mere fact of us existing as artists, existing, myself existing and creating the work and having the work exists out there and putting it out. The most powerful thing that an artist can do is to make their art and share it with the world. And after that, just let it go, you know, forget about how it's going to be received. Forget about like, you know, the critics and, and, and the, you know, self doubt you may have and all of those things, because yeah, it's going to come. I think especially in the landscape of, like you said, of where we're at right now with our current administration and you know, just who knows what's going to happen in the next few years, but also in the face of like AI and technology and all of that, I think all we can really do as artists is to, in order for us to change the system is we have to be the change, right? And in order for us to be that change is just to continue to tell our stories and stay authentic to ourselves. Because I think that's also what a lot of people out there are really craving right now. People are craving authentic, real stories by people that we really don't get to see or hear their stories very often. And so um that for me is something that fuels me and my artistry every day.  Isabel: Very well said and a great reminder to all of us artists out there to keep making our art. What do you hope for audiences to take away when they watch your film?  Rachel: What I hope for audiences to get out of watching the film, well, one, at the core of it is a mother-daughter story. And I also did it to honor my mother and her sacrifices and her story. So I hope that, one, audiences will, you know, maybe reflect on their relationship with their mother and… um think of ways to honor their mother and their family and their ancestry as well. And another thing is to really think about what the American dream means to you, because that was another driving force for me with the film is it's called Milk & Honey because a lot of immigrants coined Milk & Honey as America's milk and honey as this like land of abundance, land of opportunity and you know, this is a, this is a place for creating a better life for ourselves. But I, for me, as I've grown up and as an adult now, really looking at like, well, what does the American dream mean to me? Is that still true to me? Do I still think the U S is a place where I can, where I can build a better life? Is it a place of abundance and something in the film, a big theme in the film is where Cherry's character scrutinizes that dream and thinks for herself, like, is the American dream worth it? And what does the American dream actually mean to me? What is the definition of that? So I think that's a big thing I would love audiences to also take away from it, you know, asking themselves that question. Isabel: That's a great thought to end on. I'll be including Rachel's social media and website on kpfa.org as usual so you can see if Milk and Honey will be screening in a film festival near your city during its festival run. Well, Rachel, thank you so much for joining me on APEX Express today. Thanks so much for having me. I really enjoyed it. Please check our website kpfa.org to find out more about magical realism in AAPI stories and the guests we spoke to. We thank all of you listeners out there. Keep resisting. Keep organizing. Keep creating and sharing your visions with the world. Your voices are important. APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Cheryl Truong, and Isabel Li. Tonight's show was produced by me, Isabel Li. Thanks to the team at KPFA for their support. Have a great night. The post APEX Express – 1.08.26 – Magical Realism and AAPI Short Films appeared first on KPFA.

Today on What's My Frame, I'm joined by award-winning director and producer DeMane Davis. This conversation has so much heart, insight, and encouragement—it's the perfect start to our year. From the way DeMane creates a culture of kindness on her sets to the creative community that has supported her career, this conversation is a beautiful example of following your dreams, preparing for opportunities, and understanding how thoughts become things. Today, DeMane shares favorite stories from QUEEN SUGAR, BRILLIANT MINDS, and a few childhood laughs.DeMane Davis is an award-winning television director, producer, and commercial director who has an overall creative deal with Warner Brothers Television Group. Under this pact, Davis first served as co-executive producer/producing director of Ava DuVernay's DC Comics series "Naomi" for the CW Network. She helmed multiple episodes (including the series finale) and oversaw the show's directing team. Soon after, she directed the pilot and second episode of the NBC missing persons drama "Found" from Nkechi Okoro Carroll and Greg Berlanti. Davis received a Gracies Awards Honorable Mention for her work on "Found" and returned in their final season to direct the penultimate episode. She is now working as Executive Producer/Producing Director on the acclaimed drama series "Brilliant Minds," the TV series inspired by the work of neuroscientist and author Dr. Oliver Sacks, played by Zachary Quinto. In 2020, Davis produced and directed the last two episodes of the four-part Emmy-nominated Netflix limited series "Self Made: Inspired by the Life of Madam CJ Walker." The period drama starred Octavia Spencer, Blair Underwood and won three NAACP Image Awards, including Outstanding TV Movie, Limited Series or Dramatic Special. In 2020 and 2021, she was co-executive producer on the CBS drama "Clarice," the television sequel to the Academy Award winning film "The Silence of the Lambs," and directed the two-part season finale.Davis began her career writing and directing independent features. Both of her films premiered in Dramatic Competition at the Sundance Film Festival internationally at Edinburgh. She's best known for "Lift," the story of a "booster" or professional shoplifter, which was selected for the prestigious Sundance Director's and Screenwriter's Labs. It starred Kerry Washington in her first leading role. "Lift" was honored with two Spirit Award nominations before airing originally on Showtime.Davis was working on teleplays and freelancing as an advertising copywriter when the prolific director and producer Ava DuVernay ("ORIGIN," "When They See Us" literally "slipped into her DMs. DuVernay asked her to helm an episode of her groundbreaking series, "Queen Sugar" (OWN). Davis, of course, agreed and arrived at the "Queen Sugar " production office on crutches (who has time for a broken ankle?). Later that summer, DuVernay asked Davis to be Producing Director on the third season of "Queen Sugar." She directed the celebrated premiere where Ralph Angel (Kofi Siriboe) learns he's not the father of his son, as well as two more episodes while overseeing DuVernay's all female, first-time-TV-directing sisterhood. She was also one of a handful of directors asked to return by DuVernay to direct two episodes of the final acclaimed season of "Queen Sugar" in 2022.Davis has directed the GLAAD Media Award nominated series, "The Red Line" (CBS), episodes of "You" and "The Girls on the Bus" for HBO/MAX. She also helmed "For the People," and multiple episodes of fan favorites "How to Get Away with Murder" and "Station 19"When not directing, Davis splits her time between writing and being involved with several philanthropic endeavors including ABCD Boston (an organization dedicated to eradicating poverty), The Innocence Project and the Boston Institute for Nonprofit Journalism.

Diane chats with DEMANE DAVIS, Director/EP on NBC's hit drama "BRILLIANT MINDS" about working in broadcast TV vs working on OWN's hit drama "QUEEN SUGAR." Davis also talks about her mentors and talents who influenced her as she made her way in the industry. She is an inspirational queen!

In this episode, Julie Jancius welcomes back Pedro Silva for a powerful continuation of their conversation on angelic timing, surrender, and how life places us in the exact right moment for the right encounter. Pedro shares the full story of meeting Oprah Winfrey in Japan, plus the surprising chain of synchronicities that included LaShana Lynch and Ava DuVernay. Together, Julie and Pedro break down the pattern of tension, surrender, and revelation, and how this becomes a practical way to understand manifesting beyond ego and control. They also discuss grief signs, divine orchestration, and how service and ministry can become the path back to peace. Work with Julie & Your Angels If you've been feeling the nudge  I want to hear my angels clearly, I want to work with them every day here's how to go deeper:

Episode 365 of RevolutionZ presents an essay by film director Ava Duvernay about the difficulty of writing in unimaginably chaotic times. Her's is a sentiment I share but that she expresses more eloquently. Simply put, it's hard to write to a conclusion when the world won't stop shouting new horrors. Then Miguel Guevara interviews Barbara Bethune and Emiliano Farmer, taken from chapter twelve of The Wind Cries Freedom. A doctor and nurse, Barbara and Emiliano describe their experiences in health work revealing aims, motives, biases, and beliefs. They report and analyze the class forces that shape who gets heard, who gets paid, who gets healed and who doesn't as well as the emergence of struggle about the issues including explaining the contrasting the circumstances and mindsets of doctors and nurses as a particular instance of the contrasting circumstances and mindsets of coordinators and workers more generally.Barbara Bethune is a doctor who loved the promise of medicine but who began early on to question the rituals that came with it. She describes how she came to realize the differences between training for obedience and training for excellence. She tested her impressions by comparing her experience of medical internship to her observation of military boot camp as surprisingly similar methods of imposing systemic deference. Beyond profit-seeking, Barbara reveals how doctors' and administrators' coordinator class culture manages care but resists democratizing its means and methods. She finds the roots in the hospital's division of labor and her takeaway is clear. Class divided health care  burns out workers, inflates costs, and leaves prevention on the cutting-room floor. It heals as a means, yes, but the ends are profits and power.Emiliano Farmer, a militant activist nurse who helped build Healthcare Workers United, speaks from the front lines of the pandemic and beyond, where applause never becomes protection or real power for workers. Emiliano challenges face to face the reflexive elitism that keeps nurses and techs out of key decisions, and he lays out reforms that move from grievance to governance, balanced pay scales, and participatory decision-making. He and Barbara explore their own negative and positive experiences, and actions, their politicization, their actions and commitments, and the conflicts that occurred within RPS over practical steps like single-payer momentum, Big Pharma accountability, antibiotic stewardship, food and housing as health policy, and especially job redefinition—all of which campaigns help make care safer, affordable, and patient-first. Guevara elicits from them personal experiences, views, and feelings to convey lessons about class division, rule, defense and resistance in health care and in broader social struggles. Support the show

Hey, WorkLifers, it's Adam here, and I have some exciting news.嘿，WorkLifers，我是 Adam，有个令人兴奋的消息要告诉你们。Last year, by popular demand, we started releasing more conversations and debates with my favorite thinkers, creators, doers, and leaders.去年，根据大家的强烈要求，我们开始发布更多与我最喜爱的思想家、创作者、实干家和领导者的对话与讨论。The goal is to figure out what makes them tick, and what they can teach us about a life well lived.目标是弄清楚是什么驱动着他们，以及他们能教会我们如何过好一生。Sometimes we talk about work, but often it's just been a window into the interesting ways their minds work.有时我们谈论工作，但更多时候，这些对话是了解他们独特思维方式的窗口。If you haven't had a chance to listen, the guests have included Lin-Manuel Miranda, Brene Brown, Ava DuVernay, and Malcolm Gladwell.如果你还没收听过，嘉宾包括林-曼努尔·米兰达、布芮内·布朗、艾娃·杜威内以及马尔科姆·格拉德威尔。You asked for more episodes, so we're doing just that, regular episodes all year round.你们希望有更多节目，所以我们照做了——全年持续更新。We've decided to call it Rethinking with Adam Grant, because that's been the pull for me, a chance to reexamine the things I think are true, and to dig into the psychology of these fascinating guests.我们决定把节目命名为《Rethinking with Adam Grant》（与 Adam Grant 一起重新思考），因为这对我来说，是一个重新审视自以为真实的事物、深入挖掘这些迷人嘉宾心理的机会。We'll kick off the fall with conversations with entrepreneur Mark Cuban, best-selling author Celeste Ng, Oscar-winning actor and producer Rhys Witherspoon, neuroscientist Chantal Pratt, Nobel Laureate physicist Saul Perlmutter, and death-defying rock climber Alex Connold.秋季我们将以一系列对话开场——包括企业家马克·库班、畅销书作家伍绮诗、奥斯卡影后兼制片人瑞茜·威瑟斯彭、神经科学家尚塔尔·普拉特、诺贝尔物理学奖得主索尔·珀尔马特，以及挑战死亡极限的攀岩者亚历克斯·霍诺德。And season six of Work Life will still be coming out right here next year.另外，《Work Life》第六季将在明年继续在这个频道推出。Thanks as always for listening. Follow Rethinking with Adam Grant on Apple Podcasts, Spotify, or wherever you listen.一如既往感谢你的收听。请在 Apple Podcasts、Spotify 或任何你使用的平台关注《Rethinking with Adam Grant》。

In this episode of Arts 24, we look at "Fall of Freedom" – a nationwide wave of performances, readings and public art events as artists across the United States mobilise against mounting censorship and political pressure on cultural institutions. Hundreds of theatres, museums, and libraries are taking part on November 21 and 22 in what organisers call an urgent stand for artistic freedom. Joining us from New York are two of the movement's leading voices: Pulitzer Prize–winning playwright Lynn Nottage and visual artist Dread Scott. They discuss why they believe democracy is at risk, how cultural institutions are being pressured into silence, and why artists are uniting now. Among the stars participating in "Fall of Freedom" are filmmaker Michael Moore, director Ava DuVernay, musicians John Legend and Amanda Palmer, Pulitzer-winning novelist Jennifer Egan and visual artists Marilyn Minter. Events include staged readings, public art installations, concerts, film screenings, and library programs, all aimed at defending free expression.

Oprah sits down with Reese Witherspoon and Mindy Kaling, her co-stars from the film "A Wrinkle in Time," for a lively conversation about ambition, guardian angels, learning to say no, and the pressures women face in today's culture. Reese and Mindy discuss the hardest decisions they had to make in order to fulfill their destinies. Oprah says, "I'm so excited to have a conversation with such beautiful, innovative, powerful women." Directed by pioneer filmmaker Ava DuVernay, "A Wrinkle in Time" is adapted from Madeleine L'Engle's classic 1962 novel of the same name. The movie is about a young girl, Meg Murry, played by newcomer Storm Reid, who hops through time to rescue her father from an evil, universe-threatening force. Ava describes the story as a tapestry of "spirituality and self-empowerment." Disney's "A Wrinkle in Time" has its premiere in movie theaters on March 9, 2018. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week my friend Kevin Gannon drops in to talk about his career in history education, how education has changed, what to do about A.I., and the role of social media as a scholar. This is a cool conversation with one of the coolest dudes I know.About our guest: Dr. Kevin Gannon is the Director of the Center for the Advancement of Faculty Excellence (CAFE) and Professor of History at Queens University of Charlotte.From 2014-22, he served as Director of the Center for Excellence in Teaching and Learning (CETL) and Professor of History at Grand View University in Des Moines, Iowa, where he also taught from 2004-2022. In addition to directing GV's faculty development operations, he was also a department chair (2011-2014) and co-directed the New Student Seminar program (2005-2011).His teaching, research, and public work (including writing) centers on critical and inclusive pedagogy; race, history, and justice; and technology and teaching. He writes at least semi-regularly for The Chronicle of Higher Education), and his essays on higher education have also been published in Vox and other media outlets. His book Radical Hope: A Teaching Manifesto, was published by West Virginia University press in Spring, 2020, as part of their Teaching and Learning in Higher Education series, edited by James M. Lang. He is currently writing a textbook for the US Civil War and Reconstruction eras that's grounded in settler-colonial theory for Routledge. In 2016, he appeared in the Oscar-nominated documentary 13th, which was directed by Ava DuVernay. He is a speaker and consultant about a range of topics on campuses across North America; in this work, he endeavors to bring passion, humor, and interactivity to my audiences. He is also delighted to work with smaller groups of students, individual classes, or selected groups of faculty and staff on these campus visits. You can find him on Twitter: @TheTattooedProf.Kevin's scholarly work centers on Race and Racisms, Critical and Inclusive Pedagogy, nineteenth-century history (particularly the United States and the Americas), and historiography and theory. His teaching ranges widely: Civil War and Reconstruction; Colonial America and the Atlantic World; Latin American history; Research Methods and Historiography; and the History of Capitalism are in my regular rotation, along with survey-level offerings in Ancient and Medieval World History. He teaches regularly in both in-person and online learning spaces, and he also has extensive experience working with first-year and at-risk students.As an educational developer, Kevin works closely with his colleagues in the faculty, staff, and administration to promote excellence and innovation in teaching, and to support faculty work across the areas of teaching, scholarship, and university service. He is a fierce advocate for professional development in all its manifestations, active learning, scholarly teaching, good technology, social justice, movable furniture, and humor in any environment.

In this episode, I sit down with actor, author, and speaker Edwina Findley Dickerson to talk about her new book, The World Is Waiting for You. Edwina shares her journey of listening for God's voice, navigating seasons of waiting, and discovering a deeper purpose beyond achievement. Together, we explore the tension between intentional planning and radical surrender, how to overcome fear and step into our God-given dreams, and why true purpose is found not only in what we do, but in who we are becoming. This is a conversation for anyone longing to live with clarity, courage, and faith in a noisy world.Edwina Findley is an award-winning film, television, and theatre actress, celebrated by critics as "a marvel to watch." Known to global audiences as the hilarious 'Sheila' in Shonda Rhimes' hit Netflix series "The Residence," Edwina first captured hearts as 'Tosha' on HBO's groundbreaking series "The Wire,” and garnered critical attention for her role as Rosie in Ava DuVernay's Sundance award-winning feature "Middle of Nowhere.” She then earned an Independent Spirit Award nomination for Best Supporting Female for her "skin-prickling performance" in "Free In Deed.” A vibrant and versatile actress, Edwina starred opposite Toni Collette in Amazon's global thriller ”The Power,” as Kevin Hart's wife, Rita, in Warner Bros' hit comedy "Get Hard" with Will Ferrell, "Fear The Walking Dead," Tyler Perry's “If Loving You is Wrong,” HBO's “Veep,” “Rogue Agent,” “Black Lightning,” ”Chicago Med," HBO's "Treme," and "Shots Fired” from “Woman King” director Gina Prince-Bythewood.Edwina is a native of Washington, DC, where she attended Duke Ellington School of the Arts then studied drama at NYU's Tisch School of the Arts. Edwina continued her studies at UCLA, Upright Citizens Brigade (UCB), and with Yale Drama's Gregory Berger-Sorbeck. Theatrically, Edwina has performed around the world and at some of the nation's finest theaters, including The Kennedy Center, Shakespeare Theatre Company, Juilliard, Atlantic Theatre Company, Center Theatre Group, Baltimore Centerstage, and Cleveland Playhouse. Edwina received a Barrymore Award for Outstanding Lead Actress for the historical drama Gee's Bend, and an NAACP Theatre Award nomination for Eclipsed, set during the Liberian war.Proclaimed in the New York Times as a “life force,” Edwina is a global speaker, mentor, and CEO of Abundant Life University. Edwina's most cherished blessings are her loving husband Kelvin Dickerson and their bright and beautiful little girls, Victoria and London. Connect with Edwina at www.edwinafindley.comEdwina's Book:The World is Waiting For YouSubscribe to Our Substack: Shifting CultureConnect with Joshua: jjohnson@allnations.usGo to www.shiftingculturepodcast.com to interact and donate. Every donation helps to produce more podcasts for you to enjoy.Follow on Facebook, Instagram, Twitter, Threads, BlThe Balance of GrayFaith That Challenges. Conversations that Matter. Laughs included. Subscribe Now!Listen on: Apple Podcasts SpotifySupport the show

This week! Jeremy is diving headfirst into the world of contemporary Black cinema, sharing his favorite films from the last ten to fifteen years and spotlighting directors like Ryan Coogler, Jordan Peele, Shaka King, Ava DuVernay, and Spike Lee. Inspired by the brilliance of F.D. Signifier, he also shouts out incredible POC creators including Foreign Man in a Foreign Land, Khadija Mbowe, Kat Blaque, Princess Weekes, and T1J. Along the way, he digs into the current mess of AI on YouTube and what it means for creators, all while celebrating stories, voices, and the power of Black creativity on screen. Also - did you miss out on our first

Welcome back to Shoptalkpodcast EP489! J and Dame are back for another week of foolishness. We start with Great American restaurant tours, Kona Grill happy-hour math, and a passionate wing/ nacho discourse (Captain J's vs. the field). Then it's real life: first-week-of-school nerves, junior-high giants, and the quiet art of co-parenting. Dame breaks down hand tattoos and navigating corporate spaces, while the fellas cook on WFH excuses, the post-pandemic laziness loop, and how “I deserve it” spending wrecks a budget.From DoorDash regrets to cable bills, they unpack what it costs to live right now—plus why “silver spoon” talk is jealousy in disguise. The convo turns to art and age: should you quit rapping at 35? (No.) Creativity is a lifetime sport—Ava DuVernay didn't pick up a camera until her late 30s. They touch on snitch culture vs. real-life civics, personal accountability, and making peace with the grind.It's jokes, gems, and Detroit perspective—489 straight weeks. Tap in.Dame's Music Pick Of The Week Playlist❶ Youtube  ☞ YouTube.com/jjohnson313❷ Website ☞ www.shoptalkpod.com❸ Facebook ☞ ⁠https://m.facebook.com/ShoptalkPod/Follow @jjohnson313 on Instagram and TwitterFollow @dame___313 on Instagram and TwitterFollow Shoptalkpodcast on Instagram and Twitter

Ava DuVernay is an award-winning director, writer, producer, film distributor, and advocate for diversity in the arts. She is passionate about telling the truth and inspiring everyone through story-telling.

In this episode, Hilliard and guest co-host TV comedy writer Myles Warden sat down in a super fun conversation with icon comedy/drama writer SARA FINNEY JOHNSON (co-creator on the ICONIC television series' Moesha and The Parkers) and who has worked on many one hour dramas (Queen Sugar, Games People Play, etc) that make her invaluable in the room, on set, and in production!HIGHLIGHTS: Growing up in Los Angeles, working as a PA to writer during the Norman Lear hey-day, coming up in the writers' room in the height of UPN network, co-creating the ICONIC television series' Moesha and The Parkers (with Ralph Farquhar and Vida Spears), becoming a showrunner and being ready for it, running the Parkers, how to write projects based on real people, the importance of Spec Scripts today and so much more!BIO: Sara was born in Mobile, Alabama and raised in South Central L.A.'s Leimert Park neighborhood.  She credits her southern roots and West Coast upbringing for providing the inspiration and passion for many of the stories she writes about.  After graduating from the University of Southern California with a degree in Broadcast Journalism, Sara began her television career as a P.A. and Writer's Assistant at Norman Lear's production company, Tandem/TAT.  Shortly afterwards, she got her start as a Writer on several classic television comedies including: The Jeffersons, The Facts of Life, Married with Children and 227.  She later worked as a Producer on Family Matters and The Parenthood.  Sara was Co-Creator, Executive Producer/Showrunner on the groundbreaking UPN hit comedy, Moesha -- inspired by her growing up in Leimert Park and its equally successful spin-off, The Parkers. She was a Consulting Producer the first two seasons on the popular BET dramedy, The Game and the hit BET drama, The Quad.  She was also Co-Executive Producer on BET's American Soul and Games People Play before landing as Consulting Producer on Ava DuVernay's award winning OWN series, Queen Sugar.  She was Co-Executive Producer on the seventh and final season of Queen Sugar.   She's also a playwright and has produced numerous plays over the years, including: Mens, which was nominated for an NAACP Theater Award.  She is also the co-founder of Los Angeles Black Playwrights, which was based at the Mark Taper Forum and produced plays throughout the Los Angeles area. She's proud to have been an Artist In Residence at Mara Brock Akil's amazing creative space, The Writers' Colony. While at the Colony she worked on her first feature which she's developing with a production company.SUBSCRIBE - like, follow, share & 5-star review!Our Motto: “Keep it GAME all day!"WWW.SCREENWRITERSRANTROOM.COMMerch (NEW T-SHIRTS/HOODIES)YouTube Shorts & Videos:https://www.youtube.com/channel/UCua83eFRxVA1-r3ry5c0-fQ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Hilliard Guess on all social media@Hilliardguess.bsky.socialIG: @ScreenwritersRantRoomGuest:@sarafinneyjohnson@reallymightyBTS: @iamJerryJeromeWE ARE NOW OPEN TO SPONSORSHIPS AND BRANDING OPPORTUNITIES⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ :Screenwritersrantroom@gmail.com

Send us a textToday's episode is a replay of the very first interview episode from back in June 2023. My guest was Mia Mask, a professor at Vassar College where she teaches African American cinema, Documentary History, and seminars on topics including horror film and auteurs like Spike Lee, Charles Burnett and Ava DuVernay. She also teaches feminist film theory, African national cinemas, and other genre courses. Her commentary can be heard on NPR and her first book Divas on Screen: Black Women in American Film was published in 2009. She joined me back in 2023 to talk about her latest book Black Rodeo: A History of the African American Western.Listen to hear about Mia's work with Criterion, including getting to speak with actor Sidney Poitier, what three of her favorite westerns are, and much more.Books mentioned in this episode include:The Western in the Global South by MaryEllen Higgins, Rita Keresztesi, and Dayna OscherwitzUndead in the West: Vampires, Zombies, Mummies, and Ghosts in the Cinematic Frontier by Cynthia J. Miller and A. Bowdoin Van RiperHorror Noire: Blacks in American Horror Films from the 1890s to Present by Robin R. Means ColemanHorse by Geraldine BrooksFilms mentioned in this episode include:The Learning Tree directed by Gordon ParksBuck and the Preacher directed by Sidney PoitierThomasine and Bushrod directed by Gordon Parks Jr.Queen & Slim directed by Melina MatsoukasBonnie & Clyde directed by Arthur PennDjango Unchained directed by Quentin TarantinoThe Harder They Come directed by Perry HenzellFive Fingers for Marseilles directed by Michael MatthewsThe Homesteader directed by Oscar Micheaux and Jerry MillsSwingtime directed by George StevensA Raisin in the Sun directed by Daniel PetrieHorror Noire: A History of Black Horror directed by Robin Givens, Kimani Ray Smith, Rob J. Greenlea, Director X., Zandashé Brown, and Joe WestCheck out Wikipedia for more information about the Lobo Comics mentioned in the interview.Support the show

Our next guest is an EMMY-nominated composer whose work can be heard on HBO Max/Amblin's animated series Gremlins: The Wild Batch. Previously, she scored Season 1– Gremlins: Secrets of the Mogwai, for which she was nominated for an Emmy for Best Music Direction And Composition for An Animated Program. Other recent credits include the Peacock original series Based on a True Story, Netflix's feature film Happiness For Beginners, and NBC's Found. Frequently recognized for her other television credits, including CW network series Kung Fu, Batwoman, and Riverdale, NBC's Blindspot, and Ava DuVernay's limited series The Red Line, she has also scored numerous feature films, documentaries, and commercials. I'm so excited to welcome her on to the podcast! And the composer is....Sherri Chung Hosted on Acast. See acast.com/privacy for more information.

Today on What's My Frame I'm joined by Director & Filmmaker, Deborah Kampmeier. This episode is so incredibly special; Deborah shares her beautiful creative journey of becoming a filmmaker. Deborah originally studied acting at The National Shakespeare Conservatory. After graduation she set, as she calls it, “an impossible goal” that took her far from home only to return a changed artist with filmmaking capturing her heart.Today we chat about her exquisite work on HBO's critically-acclaimed period drama THE GILDED AGE and how she builds trust and holds valuable space for her actors on set. This conversation paired with Deborah's creative bravery is sure to inspire, and have you setting your own outrageous goals. Deborah's first feature, VIRGIN starring Elisabeth Moss and Robin Wright, was nominated for two 2004 Independent Spirit Awards, including Best Actress for Elisabeth Moss and the John Cassavetes Award. Her second feature, “Hounddog,” starring Dakota Fanning and Robin Wright was nominated for the Grand Jury Prize at the 2007 Sundance Film Festival. Deborah's third feature, “Split,” won Best of Show at the 2016 Female Eye Film Festival. Deborah made her television directorial debut on Ava DuVernay & Oprah Winfrey's heralded drama QUEEN SUGAR in 2019 and followed immediately with two episodes of the first season of DuVernay's CHERISH THE DAY. Since then, she has directed episodes of STAR TREK: DISCOVERY, FBI: INTERNATIONAL, OUTER RANGE & TALES OF THE WALKING DEAD. Deborah is developing her next features PILGRIM'S WILDERNESS, THE CASSANDRA & DIRT RHAPSODY, as well as her series A WITHC IN HARLEM, and limited series RADIOACTIVE MOTHERS. As a creator, she is especially interested in giving a voice to women's untold stories.Deborah official siteFollow Deborah on Instagram --What's My Frame, hosted by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Laura Linda Bradley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the WMF creative community now!Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? official site⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Born and raised in Scarborough, actor Stephan James has defied the odds and climbed the ranks in Hollywood. He's made a name for himself by playing major historical figures like runner Jesse Owens in “Race,” and civil rights activist John Lewis in Ava DuVernay's film “Selma.” After working with legends like Julia Roberts and Laurence Fishburne, Stephan wants to come back to his community in Canada and share his success. Tom Power spoke with Stephan in front of a live audience, after he received the Canadian Award of Distinction at the Banff World Media Festival, to talk about his career and his plans to uplift young Black creatives.

Merriam-Webster's Word of the Day for June 15, 2025 is: progeny • PRAH-juh-nee • noun Progeny refers to the child or descendant of a particular parent or family. Progeny can also refer to the offspring of an animal or plant, or broadly to something that is the product of something else. The plural of progeny is progeny. // Many Americans are the progeny of immigrants. // The champion thoroughbred passed on his speed, endurance, and calm temperament to his progeny, many of whom became successful racehorses themselves. // This landmark study is the progeny of many earlier efforts to explore the phenomenon. See the entry > Examples: “‘I am (We are) our ancestors' wildest dreams.' The phrase originated from New Orleans visual artist, activist, and filmmaker Brandan Odums, and was popularized by influential Black figures like Ava Duvernay, who used the phrase in tribute to the ancestors of First Lady Michelle Obama. Melvinia Shields, who was born a slave in 1844, would be survived by five generations of progeny, ultimately leading to her great-great-great granddaughter—Michelle Obama ...” — Christopher J. Schell, “Hope for the Wild in Afrofuturism,” 2024 Did you know? Progeny is the progeny of the Latin verb prōgignere, meaning “to beget.” That Latin word is itself an offspring of the prefix prō-, meaning “forth,” and gignere, which can mean “to beget” or “to bring forth.” Gignere has produced a large family of English descendants, including benign, engine, genius, germ, indigenous, and genuine. Gignere even paired up with prō- again to produce a close relative of progeny: the noun progenitor can mean “an ancestor in the direct line,” “a biologically ancestral form,” or “a precursor or originator.”

Alvin and German conduct a great conversation with actor, educator, and creative visionary Aaron Morton '03. A dynamic presence in both performance and pedagogy, Aaron's career bridges the worlds of television, film, theater, and education—always with a commitment to uplifting voices that are too often left out of the frame. As an actor, Aaron has worked with groundbreaking creators including Ava DuVernay and Lena Waithe, and gravitates toward bold, character-driven narratives. His work spans a wide range of mediums, from commercials and video games to stage and screen, grounded in a deep foundation of classical technique and contemporary realism. Off the stage, Aaron brings the same passion to the classroom as an Acting Professor at BMCC and Marymount Manhattan College, where he is dedicated to training the next generation of performers with a focus on authenticity, personal storytelling, and craft. His commitment to representation in the arts also led him to found Bridge To Reality, a nonprofit that mentors high school students of color and aims to expand their access to careers in the arts. After Colgate, he continued to hone his craft, earning an MFA in Acting from Columbia University. At Colgate, Arron earned a B.S. in Computer Science, was a four-year student-athlete on the football team during a historic era, and a proud member of The Commission.

Visual Intonation Podcast – Featuring Taj Devore-Bey In this episode of Visual Intonation, we sit down with Taj Devore-Bey, a rising Philadelphia-based cinematographer whose lens is shaped as much by trauma as it is by talent. Before he picked up a camera, Devore-Bey was navigating the sharp edges of adolescence in Southwest Philly, where a life-altering home invasion forever redefined his idea of safety. At 16, he witnessed his father survive a near-fatal shooting — a moment that shattered the concept of home and safety, and later echoed through every frame of his visual storytelling. Devore-Bey's artistic journey is rooted in dualities: light and shadow, chaos and calm, grit and grace. A former high school football player at Cheltenham and a student of film and media at Mott Community College, he brings the discipline of sport and the depth of scholarship into his work. He has served as Director of Photography and Assistant Editor on Awaken: A Tale of Inner-City Violence, Crime, and Its Impact — a film that mirrors much of what he has lived and seeks to interrogate through his camera. His voice is young, but his eye is seasoned. Influenced by visionaries like Spike Lee, Terrence Malick, Ava DuVernay, and the visual mastery of Bradford Young and Chivo Lubezki, Devore-Bey crafts work that refuses to look away. Each shot is an invitation to see — not just what's there, but what it means. His commitment to empathy and perspective permeates every project, including his collaboration on Pulled Over/Pulled Under, where he worked alongside a powerful creative team addressing racial profiling and systemic injustice. Join us for a conversation that moves beyond the lens: into memory, identity, survival, and the enduring question of how art can not only reflect the world, but reshape it. Taj Devore-Bey isn't just documenting stories: he's reclaiming them.   Taj Devore-Bey's Website: https://www.tajdevorebey.com/  Taj Devore-Bey's IMDB: https://m.imdb.com/name/nm12091903/  Taj Devore-Bey's Instagram: https://www.instagram.com/tajdevorebey/?hl=en  Taj Devore-Bey's Vimeo: https://vimeo.com/tajdevore  Taj Devore-Bey's YouTube: https://www.youtube.com/c/tajdevorebey Support the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Kenya Barris talks about his messy childhood, the do's and don'ts of the writer's room, laying low during covid, Larry David making Kenya take the leap to star in a show, raising kids better than our parents, running a writer's room is like conducting music, making podcasts with Malcolm Gladwell, being pals with Jonah Hill, Eddie Murphy putting points on the board, the pleasure and importance of dressing well, and having people around you who can tell you, you suck. Bio: Kenya Barris is an award-winning writer, producer, director and actor, whose innovative approach to comedy has firmly cemented his place as one of Hollywood's great modern storytellers. Best known as the creator behind groundbreaking series like ABC sitcom black-ish and the Netflix original series #blackAF, Barris has built a career telling powerful stories that reflect our culture and fearlessly tackle an array of topics. Most recently, Barris executive produced Diarra From Detroit, a dark comedy about a divorcing schoolteacher who refuses to believe she's been ghosted by her rebound Tinder date; The Vince Staples Show, a scripted series loosely inspired by the life of multi-hyphenate musician Vince Staples; the final season of grown-ish; and produced The Underdoggs, an Amazon original sports comedy starring Snoop Dogg as a youth football team coach. In 2023, Barris and his production company, Khalabo Ink Society, received Emmy nominations for two of their projects: Entergalactic, a first-of-its-kind adult animated music project that featured new music from the Grammy Award-winning musician Kid Cudi and CIVIL, a documentary that offered an intimate portrait of groundbreaking civil rights attorney, Ben Crump. Barris also made his feature directorial debut with Netflix's hit comedy, You People, which he also produced and co-wrote. Barris and Khalabo have multiple high-profile projects in various stages of development. On the television side, projects include: sophomore seasons of Diarra From Detroit and The Vince Staples Show; The Book of Jose, a television series chronicling the life of rapper Fat Joe; Group Chat, a collaboration with Kim Kardashian, based on LaLa Anthony's best-selling book The Love Playbook; a limited series that will offer an intimate look into the life and legacy of the legendary comedian Richard Pryor. On the film side, Barris is developing projects such as: Get Lite starring Storm Reid and marking Teyana Taylor's feature directorial debut; a remake of It's A Wonderful Life; a documentary on the life and career of rapper Chief Keef; Yumanzu, a high concept family adventure movie; Girls Trip 2; and The Man Who Lives Underground. Additionally, Barris and Khalabo have a first-look deal with Audible and in 2023, launched their first podcast, DJ Drama Presents: Gangsta Grillz. Hosted and produced with legendary hip-hop producer, DJ Drama, the popular podcast featured conversations with notable artists such as Tyler, the Creator, Pharrell, Wiz Khalifa, Lil Wayne and more. In 2025, they also launched The Unusual Suspects hosted by Barris and bestselling author Malcolm Gladwell. Barris and Gladwell engage in raw, unfiltered conversations with some of today's most influential figures and titans across a spectrum of professions, including Ava DuVernay, Dr. Dre, Jimmy Kimmel, Sue Bird, and more. 

Nayo Campbell is an Emmy nominated journalist, Webby Nominated producer, and host. She is the Utah Jazz Digital Content Reporter and Producer and entering fourth season serving as one of the In-Arena Hosts for the Jazz.Born and Raised in PG County Maryland, Nayo is a proud graduate of Howard University and member of Alpha Kappa Alpha Sorority, Incorporated. Boasting and impressive resume in communications, her expertise includes all things media from digital, television, radio and more. With the Jazz she dives into the human interest of players, focusing on stories centered around their journeys to the NBA, hobbies outside of basketball and more. Which gained her three Emmy nominations for her long form content. When not sitting down with players she can be seen, hosting content centered around the organization and fans! Outside of sports she has interviewed notable people such as Kevin Hart, Ava Duvernay, Mary J. Blige , Jamie Foxx, and more.She was the lead producer on the Webby-nominated “Power Players” highlighting the black women behind the 2020 democratic campaigns.

Amanda Jones has had quite a career, as evident in this really insightful conversation about her journey as a film and television composer. One of her latest projects, Number One on the Call Sheet, is a prolific, eye-opening two-part Apple TV+ documentary featuring candid conversations with some of the entertainment industry's biggest stars, like Angela Bassett, Halle Berry, Jamie Foxx, Idris Elba, Whoopi Goldberg, Viola Davis, Denzel Washington and Dwayne “The Rock” Johnson, to name just a few.Amanda's career includes BET's Twenties from Lena Waithe, OWN's Cherish the Day, produced by Ava DuVernay and A Black Lady Sketch Show, produced by Robin Thede and Issa Rae. We learn about the empowerment she received from this powerful group of Black women so early in her journey.Amanda earned her first Emmy nomination for Home, an Apple TV+ series and became the first Black woman nominated for an Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score) Emmy. Later, Amanda was awarded a Daytime Emmy Award for Home.The idea of following one's passion resonates heavily throughout this conversation. Amanda shares that her love of sounds, more specifically music, started around the age of 3. After graduating from Vassar College and later, studying film scoring and orchestration at Berklee College of Music, she landed an internship with Hans Zimmer and it was an opportunity at Lionsgate that helped give her a more 360-degree sense of the business side of things.Other takeaways from this multifaceted chat hone in on creating a sonic language for films and TV, the importance of asking questions, communication and collaboration during the creative process, having a strong creative voice, knowing when to delegate as well as fighting off stigmas reserved for women of color and mothers.A co-founder of Composers Diversity Collective, Amanda's other credits include Somebody Somewhere, Good Trouble, Naomi, Young Love, 7 Days, Dreamland: The Rise and Fall of Black Wall Street, Definition Please, Moving On, The Perfect Find, Mea Culpa, Jodie and the new Apple TV+ series, Murderbot.  

Welcome back to another episode of The Haute Guide!  In this episode, I'm diving deep into the 2025 Met Gala, unpacking this year's compelling theme: "Superfine", inspired by Monica Miller's exploration of Black dandyism. Join me as I candidly break down the hits, misses, and everything in between on fashion's biggest night. Here's what's inside: My honest thoughts on who beautifully embodied the "Superfine" theme—including Janelle Monae's stunning "time traveler" concept, Tracee Ellis Ross's bold historical homage, and André 3000's brilliant nod to traveling musicians. The styling missteps that left me scratching my head: Zendaya's unexpected duplicate look and Megan Thee Stallion's disappointing Michael Kors dress. A personal glimpse into my own "Superfine" look for a Met Gala viewing party at the Ritz Carlton, complete with a custom floor-length durag, embracing Black dandyism with my unique twist. Reflections on how the fashion industry at large missed a prime opportunity to truly honor and elevate Black culture, creativity, and historical significance. Plus, I'm sharing a heartfelt update about my recent health journey, why I've been away from fashion events, and how this Met Gala reignited my passion and purpose. Key Moments: Best Dressed Spotlight: Janelle Monae, Tracee Ellis Ross, Tessa Thompson, Ava DuVernay, Kerry Washington. Critical Takeaways: Why Law Roach dropped the ball with Zendaya, and how Megan Thee Stallion and Coco Jones missed opportunities to solidify their personal brands. Personal Connection: The deeper meaning behind my own dandy-inspired look and how it marked my return to the fashion scene. Shoutouts + Special Mentions: Naheemah's Tracee Ellis Ross Deep Dive: https://www.tiktok.com/t/ZTjyedJBM/  My current Met Gala Deep Dives & Personal Style Moments: https://www.instagram.com/p/DJUU8MLt6g0/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==  https://www.instagram.com/reel/DJUi86Mp6a0/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==  https://www.instagram.com/p/DJW5kIONvpA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==  https://www.instagram.com/p/DJcDocGNuUH/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==  https://www.instagram.com/reel/DJXWgCvSzwX/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==  https://www.tiktok.com/t/ZTjye8Apb/  https://www.tiktok.com/t/ZTjyeNesX/ 

Dive into the hidden legacy of Black American farming with author Natalie Baszile as she unpacks the complex relationship between African Americans and the land that has shaped our nation. This eye-opening conversation takes us through her journey creating "Queen Sugar" – the acclaimed novel adapted by Ava DuVernay and Oprah Winfrey – and her anthology "We Are Each Other's Harvest," which brings to life the true stories of Black farmers across American history.Baszile reveals how her ancestral connections to farming (her great-great-grandfather acquired 600 acres in Alabama after the Civil War) subtly influenced her writing path, creating a personal connection to stories that needed telling. With remarkable insight, she illuminates the systematic discrimination that led to Black farmers losing approximately 90% of their land throughout the 20th century, while simultaneously celebrating the resilience, innovation, and determination that have characterized the Black farming experience.Basile's nuanced approach to a painful history makes this conversation particularly valuable. Rather than focusing primarily on injustice, she articulates how modern BIPOC farmers are recalibrating relationships with land, transforming narratives from "get away from the land" to understanding land as a valuable community asset. Through the Black Harvest Fund she established, Basile puts action behind her words, supporting organizations doing vital work for BIPOC people in agriculture.This episode challenges us to broaden our understanding of American agricultural history beyond the stereotypical image of the white male farmer. As Basile powerfully states, "We have to broaden our understanding of who participated in this American experiment." Want to better understand the whole history of American farming and support a more equitable agricultural future? Start by exploring Natalie Basile's powerful books and consider contributing to initiatives that support Black farmers reclaiming their agrarian heritage.Learn More About Natalie:https://nataliebaszile.com/https://nataliebaszile.com/black-harvest-fund@nataliebaszile InstagramWe Are Each Other's HarvestKara's Offerings &  Services:https://www.landfoodlife.com/https://www.balanceyourgut.com/

MSNBC's Ari Melber hosts "The Beat" on Wednesday, March 7, and reports on President Trump's crypto-related corruption and his mounting legal losses. Melber also covers the developing story that Voice of America will begin airing programming from the right-wing outlet One America News. Plus, Melber is joined by filmmaker Ava DuVernay for an extended conversation. Steve Herman, Darrick Hamilton and Richard Painter also join.

We sit down with executive producer Kristen V. Carter as she shares how she balances creativity, leadership, and social impact in the media. From producing music specials on PBS and docuseries on HBO Max to working with Kevin Hart and Ava DuVernay, Kristen has built a career rooted in authenticity and purpose.Kristen discusses how she navigates high-stakes productions, makes tough calls on projects that don't align with her mission, and champions Black Joy in storytelling. She also dives into her work with Trust Your Magic and Who You Know, two platforms dedicated to mentorship and networking for creatives of color.If you're looking for insights on building a meaningful and sustainable creative career, this episode is for you.About WrapbookWrapbook is a smart, intuitive platform that makes production payroll and accounting easier, faster, and more secure. We provide a unified payroll platform that seamlessly connects your entire team—production, accounting, cast, and crew—all in one place.Wrapbook empowers production teams to manage projects, pay cast and crew, track expenses, and generate data-driven insights, while enabling workers to manage timecards, track pay, and onboard to new projects from any device. Wrapbook brings clarity and dependability to production payroll, while increasing the productivity of your whole team.For crew: The Wrapbook app eliminates the headaches of production payroll by providing a fast, transparent, and secure solution for workers to complete startwork, submit timecards, and track pay.Trusted by companies of all sizes, Wrapbook powers payroll for some of the industry's top production companies, including SMUGGLER, Tuff, and GhostRobot. Our growing team of 250+ people includes entertainment and technology experts from SAG-AFTRA, DGA, IATSE, Teamsters, Amazon, Microsoft, Facebook, and more.Wrapbook is backed by top-tier investors, including Jeffrey Katzenberg's WndrCo, Andreessen Horowitz, and A* Capital.Get started at https://www.wrapbook.com/

Hear (or watch!) the full episode over on our PATREON! It's that time again, Bros -- and this time we're joined by a REAL LIVE MOVIE SCORE COMPOSER! That's right, we're delighted to welcome Andrew Scott Bell to the game

Get ready for an exciting conversation with Emmy-nominated and SAG Award-winning actress Sharon Lawrence, whose career spans iconic roles in NYPD Blue, Grey's Anatomy, Shameless, Joe Pickett, and more. From auditioning on fire escapes to commanding the stage and screen, Sharon shares invaluable insights on mastering auditions, navigating crucial one-on-one meetings, and making bold choices in a competitive industry. She reflects on landing her breakout role on NYPD Blue, the cultural phenomenon it became, and the transition back into the audition game afterward. Sharon also dives into the power of authenticity in storytelling, how saying "yes" to new filmmakers can lead to unexpected opportunities, and the importance of collaboration and respect on set. She opens up about navigating nudity on screen, tangible tools for script analysis, and how embracing vulnerability can be a source of power. Plus, she gives us a sneak peek into her upcoming theater performances and the ever-evolving phases of her career. These are the unforgettable stories that landed Sharon Lawrence right here. CREDITS: Grey's Anatomy On Becoming A God In Central Florida Joe Pickett NYPD Blue Dynasty Shameless Criminal Minds Rebel The Ranch Walker The Last Tycoon Queen Sugar One Tree Hill Cheers Resources GUEST LINKS: IMDB: Sharon Lawrence, Actress, Producer, Soundtrack THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition MAGIC MIND: Get 48% off with code ONEAUDITION20 THE BRIDGE FOR ACTORS: Become a WORKING ACTOR THE PRACTICE TRACK: Membership to Practice Weekly PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: WRITER: Erin McCluskey WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Alara Ceri

In this super fun episode, Hilliard & guest co-host actor/writer/dir Denzel Whitaker sit down for an in-depth conversation with award-winning writer-dir-producer LISA FRANCE. If you ever had questions about how to become an Episodic Director, this might be the podcast for you!Lisa France is an entertainment vet with over 25+ years in the business as a writer, director and producer. She began her film and TV career from the ground up. PA, AD, set dec, camera operator, props, 2nd AD, driver, stand-in, extra, etc.  She attributes her extensive entertainment job resume to her ability to think quickly in difficult production situations.  Eventually she landed a stunt gig with Spike Lee in He Got Game and a stunt acting job on The Summer of Sam and did stunts on a variety of other TV shows and films, most notably, The Sopranos. France directed, co-wrote and produced her first feature film, "Anne B. Real" in 2003, which won more than 40 film festival awards and nominations around the world, including two Independent Spirit Award nominations.She then directed two more award-winning independent films in rapid succession, both were distributed on Netflix, Starz and AMC theaters. Her first documentary, "Roll with Me", also garnered numerous awards, debuted at The Woodstock Film Festival and was a 2018 Slamdance Official Selection later acquired and distributed by Ava DuVernay's ARRAY Releasing. France has directed numerous thrillers and Christmas movies for Lifetime, BounceTV, OWN Hulu and Tubi. During the height of the pandemic, France directed and produced on Season 5 and 6, the critically acclaimed, award winning series "Queen Sugar" by creator Ava DuVernay. France recently directed episodes of the hit FOX series "The Cleaning Lady" and "Naomi" which is currently streaming on HBO MAX. France produced "The Herricanes" which just debuted and won a Special Jury Prize and the Audience Award at SXSW and is actually playing in theaters this month. France is a proud member of AWD, the LGBTQ+ community, the DGA, WGA, and SAG-AFTRA.Our Motto: "Keep it GAME all day!"For information, Merch (T-SHIRTS/HOODIES), and all things Rant Room!www.Screenwritersrantroom.comhttps://screenwriters-rant-room.printify.me/productsSubscribe, like, follow, share & 5-star review!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Hilliard Guess on all social media@Hilliardguess.bsky.socialIG: @ScreenwritersRantRoom@Lisafrance2067@DenzelWhitakerWE ARE NOW OPEN TO SPONSORSHIPS AND BRANDING OPPORTUNITIES⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠: Screenwritersrantroom@gmail.comWe invest countless hours per week to deliver the actionable content that goes into this podcast. We appreciate your support!THEME SONG: Jack SpadeWEBSITE: MQL2,Abigail Bloom & Laura HuieLOGOS: Rachel MusikanthRANT ROOM TEAM:Richard Scott - Creative ProducerTyler Musikanth - Assoc ProducerBrooke Baltimore - MarketingTogo - Marketing

The Author Events Series presents Carrie Rickey | A Complicated Passion, The Life and Work of Agnès Varda  REGISTER In conversation with Gary Kramer Born in Los Angeles, Carrie Rickey is an award-winning film critic, art critic, and film historian. She was the film critic at the Philadelphia Inquirer for twenty-five years and has also written for Artforum, Art in America, Film Comment, the New York Times, the Village Voice, and Politico. She has taught at the School of the Art Institute of Chicago and the University of Pennsylvania. She lives in Philadelphia. A Complicated Passion, The Life and Work of Agnès Varda is the first major biography of the storied French filmmaker, who was hailed by Martin Scorsese as ''one of the Gods of cinema.'' Over the course of her sixty-five-year career, the longest of any female filmmaker, Agnès Varda (1928 – 2019) wrote and directed some of the most acclaimed films of her era, from her tour de force Cléo from 5 to 7 (1962), a classic of modernist cinema, to the beloved documentary The Gleaners and I (2000) four decades later. She helped to define the French New Wave, inspired an entire generation of filmmakers, and was recognized with major awards at the Cannes, Berlin, and Venice Film Festivals, as well as an honorary Oscar at the Academy Awards. In this lively biography, former Philadelphia Inquirer film critic Carrie Rickey explores the ''complicated passions'' that informed Varda's charmed life and indelible work. Rickey traces Varda's three remarkable careers - as still photographer, as filmmaker, and as installation artist. She explains how Varda was a pioneer in blurring the lines between documentary and fiction, using the latest digital technology and carving a path for women in the movie industry. She demonstrates how Varda was years ahead of her time in addressing sexism, abortion, labor exploitation, immigrant rights, and race relations with candor and incisiveness. She makes clear Varda's impact on contemporary figures like Ava DuVernay, Greta Gerwig, Barry Jenkins, the Safdie brothers, and Martin Scorsese, who called her one of the Gods of cinema. And she delves into Varda's incredibly rich social life with figures such as Harrison Ford, Jean-Luc Godard, Jim Morrison, Susan Sontag, and Andy Warhol, and her nearly forty-year marriage to the celebrated director Jacques Demy. A Complicated Passion is the vibrant biography that Varda, regarded by many as the greatest female filmmaker of all time, has long deserved. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night The views expressed by the authors and moderators are strictly their own and do not represent the opinions of the Free Library of Philadelphia or its employees. (recorded 9/16/2024)

In this episode Netflix Griselda two special guests starting with Safowa Bright Bitzelberger a TV and Film costume designer. Most recently, she earned an Emmy nomination for her work as a costume designer on Netflix's Griselda, starring Sofia Vergara. As a multidisciplinary creative, and throughout her career in the industry, Safowa has worn several hats as a costume designer, wardrobe stylist, and costume supervisor. Beyond her work on Griselda, Safowa also worked on many acclaimed films, like Ava DuVernay's Origin, and TV shows, including Ballers, starring Dwayne Johnson, and DMZ, starring Rosario Dawson. Knut Loewe is a film and TV production designer and most recently, his outstanding work has been featured in Netflix's hit miniseries Griselda, starring Sofia Vergara. He just completed another miniseries titled Murder on the Inca Trail and has worked on a biopic about one of the most successful German entertainers Hans Rosenthal. He previously worked on many critically acclaimed TV series, like Starz's Counterpart, created by Justin Marks; Survive, starring Sophie Turner; and BAFTA TV Awards-nominated BBC drama Sinking of Laconia,starring Brian Cox. He won four German TV Awards with two additional nominations and was nominated twice at the German Television Academy Awards. Knut's credits in film range across various genres, including comedy The Pharmacist, and period drama Cold Is the Breath of Evening. Phillip Boutté Jr moderator/producer Sponsored by Western Costume Company @westerncostumecompany

Two-time Emmy and three-time NAACP Image Award-winning television Executive Producer Rushion McDonald interviewed Kathleen Bertrand. Kathleen Bertrand began talking in 2009 about a new film festival to attract people of color to Atlanta's growing film industry. From a discussion with her then CEO William Pate at the Atlanta Convention & Visitors Bureau, to talks with film enthusiasts and potential film partners, Bertrand began to assemble the team and resources needed to launch what was to become BronzeLens Film Festival, a non-profit organization. While everybody knew about Tyler Perry's Atlanta-based empire, Bertrand and her colleagues created a platform for broader engagement in the industry for people of color and did so in a way that showcased Atlanta and its history and culture. Under Bertrand's visionary leadership as executive producer, BronzeLens has grown to receive attention and accolades from across the country and around the world. It is a charter member of ARRAY (formerly AFFRM), the film distribution network founded by producer/director Ava DuVernay in 2011. BronzeLens has been mentioned in articles about film diversity in publications such as the New York Times, the LA Times, Atlanta Magazine, Oz Magazine, and Ebony Magazine. In late 2016, the festival was named as an Academy Award Qualifying Film Festival for the Short Film Award. This tremendous honor is one of only 3 such designations in the country for film festivals that support the work of people of color. In its most recent film season, the festival received film submissions from 59 countries around the world. BronzeLens has received two “Best of Atlanta” Awards from Atlanta Magazine: “Best Showcase for New Filmmakers,” and “Best Place to Break into the Film Industry.” Kathleen has received numerous awards for her work with BronzeLens. In 2016, she was given the Georgia Highlight Award, as part of the annual Georgia Film Gala. In 2018, she received the honorary Doctor of Humane Letters degree from her alma mater Spelman College, which honored her careers in both hospitality and the film industry. Additionally, in 2018, she was inducted into the Atlanta Hospitality Hall of Fame, which also honored her dual careers in film and in hospitality. In 2019, Mayor Keisha Lance Bottoms presented Bertrand with the City of Atlanta's highest honor – The Phoenix Award. Recent honors include the 2023 Image Award presented by Atlanta Film Society, the Synergy Award from African American Film Critics Association and being recognized by Georgia Entertainment Magazine as one of “200 Most Influential of Georgia's Creative Industries.” Company Description *BronzeLens Film Festival of Atlanta, Georgia is a non-profit organization, founded in 2009, that is dedicated to bringing national and worldwide attention to Atlanta as a center for film and film production for people of color. The mission of the BronzeLens Film Festival of Atlanta, Georgia is two fold: to promote Atlanta as the new film mecca for people of color; and to showcase films and provide networking opportunities that will develop the next generation of filmmakers. #BEST #STRAW #SHMSSee omnystudio.com/listener for privacy information.

Merriam-Webster's Word of the Day for October 13, 2024 is: ideate • EYE-dee-ayt • verb To ideate is to form an idea or conception of something. // Jocelyn used the education seminar's lunch hour to talk with other teachers and ideate new activities to use in the classroom. See the entry > Examples: “Well, luckily, at the same time that I was working within these industry spaces, I was also building ARRAY. It's over a decade old, it is a distribution company, we distribute films by women and filmmakers of color, we have public programming for free, for the community, all around cinema. We have a four-building campus in Echo Park where we edit and we ideate and we educate and we do all kinds of beautiful things.” — Ava DuVernay, Talk Easy with Sam Fragoso [podcast], 14 Jan. 2024 Did you know? Like idea and ideal, ideate comes from the Greek verb idein, which means “to see.” The sight-thought connection came courtesy of Plato, the Greek philosopher who based his theory of the ideal on the concept of seeing, claiming that a true philosopher can see the essential nature of things and can recognize their ideal form or state. Early uses of idea, ideal, and ideate in English were associated with Platonic philosophy; idea meant “an archetype” or “a standard of perfection,” ideal meant “existing as an archetype,” and ideate referred to forming Platonic ideas. But though ideate is tied to ancient philosophy, the word itself is a modern concoction, relatively speaking. It first appeared in English only about 400 years ago.

André Holland has spent the past decade stealing scenes in projects by the likes of Barry Jenkins, Steven Soderbergh, and Ava DuVernay. But on this week's Little Gold Men, the versatile actor talks about his thrilling shift into lead roles—including in the acclaimed Sundance debut Exhibiting Forgiveness (in theaters October 18) and, hopefully, a new season of The Knick: "I'm not going to rest until we get it done."

In the final episode of the season, Hilliard and guest co-host, veteran actor/writer TONY WINTERS sat down for a 2 hour conversation with award-winning writer/director of the new hit film - Searchlight Pictures THE SUPREMES AT EARL'S ALL-YOU-CAN-EAT - TINA MABRY (also Mississippi Damned, “Queen of the South”, “Pose”, "Queen Sugar", "Women of the Movement", "Insecure") to list a few!A native of Tupelo, Mississippi, Tina Mabry graduated from the University of Southern California's School of Cinematic Arts with an MFA in Film Production. A true hyphenate, Mabry is an award-winning writer, director, and producer for television and film. She was a co-producer, writer, and director for USA's hit drama "Queen of the South". Mabry was also a producer, writer, and director on OWN's "Queen Sugar" created by Ava DuVernay.Mabry's vast episodic directing credits include “Insecure” (HBO), “Dear White People” (Netflix), “Pose” (FX), “Grand Army” (Netflix), “Women of the Movement” (ABC), “Power” (STARZ), the “Beast Mode” pilot (Macro/TNT), and “The Politician” (Netflix).Out Magazine listed her as one of the most inspirational and outstanding people of the year (2009), Filmmaker Magazine named Mabry among the “25 New Faces of Independent Film,” the Advocate magazine featured her in their list of “Top Forty Under 40”, and with over 300 nominees and only 50 selected artists, United States Artists named Mabry the James Baldwin Fellow in Media (2010). In addition to winning the Creative Promise Award of Tribeca All Access, Mabry has participated in several talent development programs including the Fox Writers Intensive, Sundance's Screenwriters Intensive, and in a plethora of FilmIndependent's Artist Development programs (Project: Involve, Directors Lab, Writers Lab, Fast Track) where Mississippi Damned was awarded the Kodak Film Grant. She was also in the inaugural class for Women in Film's ReFrame Rise initiative (2019), highlighting her commitment to promoting diversity and inclusion in the industry.Our Motto: "We keep it GAME all day!"For information, Merch (T-SHIRTS/HOODIES), and all things Rant Room!Screenwritersrantroom.comhttps://screenwriters-rant-room.printify.me/productsSubscribe, like, follow, share & 5-star review!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Hilliard Guess on all social mediaIG: @ScreenwritersRantRoom@TinaMabry@prettytonywintersWE ARE NOW OPEN TO SPONSORSHIPS AND BRANDING OPPORTUNITIES⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠: Screenwritersrantroom@gmail.comWe invest countless hours per week to deliver the actionable content that goes into this podcast. We appreciate your support!SCREENWRITER NETWORKS:OBSwriter.comBTFC.orgSend in a voice message: https://podcasters.spotify.com/pod/show/screenwriters-rant-room/messageSupport this podcast: https://podcasters.spotify.com/pod/show/screenwriters-rant-room/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PODCASTS WE SUPPORT:2 Writers Talkin Shit: https://podcasts.apple.com/us/podcast/2-writers-talking-shit/id1671253747Hollywood Confessional: https://podcasts.apple.com/us/podcast/hollywood-confessional/id1628848064?i=1000630276175The Qube & Queer News: https://podcasts.apple.com/us/podcast/queer-news/id1595777135A Conversation With Floyd Marshall Jr: https://podcasts.apple.com/us/podcast/a-conversation-with-host-floyd-marshall-jr/id1544499834THEME SONG: Jack SpadeWEBSITE: Abigail Bloom & Laura HuieLOGOS: Rachel MusikanthRANT ROOM TEAM:Richard Scott - Creative ProducerTyler Musikanth - Associate ProducerBrooke Baltimore - MarketingTogo - Marketing --- Support this podcast: https://podcasters.spotify.com/pod/show/screenwriters-rant-room/support

Two-time Emmy and three-time NAACP Image Award-winning television Executive Producer Rushion McDonald interviewed Kathleen Bertrand. Kathleen Bertrand began talking in 2009 about a new film festival to attract people of color to Atlanta's growing film industry. From a discussion with her then CEO William Pate at the Atlanta Convention & Visitors Bureau, to talks with film enthusiasts and potential film partners, Bertrand began to assemble the team and resources needed to launch what was to become BronzeLens Film Festival, a non-profit organization. While everybody knew about Tyler Perry's Atlanta-based empire, Bertrand and her colleagues created a platform for broader engagement in the industry for people of color and did so in a way that showcased Atlanta and its history and culture. Under Bertrand's visionary leadership as executive producer, BronzeLens has grown to receive attention and accolades from across the country and around the world. It is a charter member of ARRAY (formerly AFFRM), the film distribution network founded by producer/director Ava DuVernay in 2011. BronzeLens has been mentioned in articles about film diversity in publications such as the New York Times, the LA Times, Atlanta Magazine, Oz Magazine, and Ebony Magazine. In late 2016, the festival was named as an Academy Award Qualifying Film Festival for the Short Film Award. This tremendous honor is one of only 3 such designations in the country for film festivals that support the work of people of color. In its most recent film season, the festival received film submissions from 59 countries around the world. BronzeLens has received two “Best of Atlanta” Awards from Atlanta Magazine: “Best Showcase for New Filmmakers,” and “Best Place to Break into the Film Industry.” Kathleen has received numerous awards for her work with BronzeLens. In 2016, she was given the Georgia Highlight Award, as part of the annual Georgia Film Gala. In 2018, she received the honorary Doctor of Humane Letters degree from her alma mater Spelman College, which honored her careers in both hospitality and the film industry. Additionally, in 2018, she was inducted into the Atlanta Hospitality Hall of Fame, which also honored her dual careers in film and in hospitality. In 2019, Mayor Keisha Lance Bottoms presented Bertrand with the City of Atlanta's highest honor – The Phoenix Award. Recent honors include the 2023 Image Award presented by Atlanta Film Society, the Synergy Award from African American Film Critics Association and being recognized by Georgia Entertainment Magazine as one of “200 Most Influential of Georgia's Creative Industries.” Company Description *BronzeLens Film Festival of Atlanta, Georgia is a non-profit organization, founded in 2009, that is dedicated to bringing national and worldwide attention to Atlanta as a center for film and film production for people of color. The mission of the BronzeLens Film Festival of Atlanta, Georgia is two fold: to promote Atlanta as the new film mecca for people of color; and to showcase films and provide networking opportunities that will develop the next generation of filmmakers. #AMI #BEST #SHMS #STRAWSee omnystudio.com/listener for privacy information.

Two-time Emmy and three-time NAACP Image Award-winning television Executive Producer Rushion McDonald interviewed Kathleen Bertrand. Kathleen Bertrand began talking in 2009 about a new film festival to attract people of color to Atlanta's growing film industry. From a discussion with her then CEO William Pate at the Atlanta Convention & Visitors Bureau, to talks with film enthusiasts and potential film partners, Bertrand began to assemble the team and resources needed to launch what was to become BronzeLens Film Festival, a non-profit organization. While everybody knew about Tyler Perry's Atlanta-based empire, Bertrand and her colleagues created a platform for broader engagement in the industry for people of color and did so in a way that showcased Atlanta and its history and culture. Under Bertrand's visionary leadership as executive producer, BronzeLens has grown to receive attention and accolades from across the country and around the world. It is a charter member of ARRAY (formerly AFFRM), the film distribution network founded by producer/director Ava DuVernay in 2011. BronzeLens has been mentioned in articles about film diversity in publications such as the New York Times, the LA Times, Atlanta Magazine, Oz Magazine, and Ebony Magazine. In late 2016, the festival was named as an Academy Award Qualifying Film Festival for the Short Film Award. This tremendous honor is one of only 3 such designations in the country for film festivals that support the work of people of color. In its most recent film season, the festival received film submissions from 59 countries around the world. BronzeLens has received two “Best of Atlanta” Awards from Atlanta Magazine: “Best Showcase for New Filmmakers,” and “Best Place to Break into the Film Industry.” Kathleen has received numerous awards for her work with BronzeLens. In 2016, she was given the Georgia Highlight Award, as part of the annual Georgia Film Gala. In 2018, she received the honorary Doctor of Humane Letters degree from her alma mater Spelman College, which honored her careers in both hospitality and the film industry. Additionally, in 2018, she was inducted into the Atlanta Hospitality Hall of Fame, which also honored her dual careers in film and in hospitality. In 2019, Mayor Keisha Lance Bottoms presented Bertrand with the City of Atlanta's highest honor – The Phoenix Award. Recent honors include the 2023 Image Award presented by Atlanta Film Society, the Synergy Award from African American Film Critics Association and being recognized by Georgia Entertainment Magazine as one of “200 Most Influential of Georgia's Creative Industries.” Company Description *BronzeLens Film Festival of Atlanta, Georgia is a non-profit organization, founded in 2009, that is dedicated to bringing national and worldwide attention to Atlanta as a center for film and film production for people of color. The mission of the BronzeLens Film Festival of Atlanta, Georgia is two fold: to promote Atlanta as the new film mecca for people of color; and to showcase films and provide networking opportunities that will develop the next generation of filmmakers. #AMI #BEST #SHMS #STRAWSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Two-time Emmy and three-time NAACP Image Award-winning television Executive Producer Rushion McDonald interviewed Kathleen Bertrand. Kathleen Bertrand began talking in 2009 about a new film festival to attract people of color to Atlanta's growing film industry. From a discussion with her then CEO William Pate at the Atlanta Convention & Visitors Bureau, to talks with film enthusiasts and potential film partners, Bertrand began to assemble the team and resources needed to launch what was to become BronzeLens Film Festival, a non-profit organization. While everybody knew about Tyler Perry's Atlanta-based empire, Bertrand and her colleagues created a platform for broader engagement in the industry for people of color and did so in a way that showcased Atlanta and its history and culture. Under Bertrand's visionary leadership as executive producer, BronzeLens has grown to receive attention and accolades from across the country and around the world. It is a charter member of ARRAY (formerly AFFRM), the film distribution network founded by producer/director Ava DuVernay in 2011. BronzeLens has been mentioned in articles about film diversity in publications such as the New York Times, the LA Times, Atlanta Magazine, Oz Magazine, and Ebony Magazine. In late 2016, the festival was named as an Academy Award Qualifying Film Festival for the Short Film Award. This tremendous honor is one of only 3 such designations in the country for film festivals that support the work of people of color. In its most recent film season, the festival received film submissions from 59 countries around the world. BronzeLens has received two “Best of Atlanta” Awards from Atlanta Magazine: “Best Showcase for New Filmmakers,” and “Best Place to Break into the Film Industry.” Kathleen has received numerous awards for her work with BronzeLens. In 2016, she was given the Georgia Highlight Award, as part of the annual Georgia Film Gala. In 2018, she received the honorary Doctor of Humane Letters degree from her alma mater Spelman College, which honored her careers in both hospitality and the film industry. Additionally, in 2018, she was inducted into the Atlanta Hospitality Hall of Fame, which also honored her dual careers in film and in hospitality. In 2019, Mayor Keisha Lance Bottoms presented Bertrand with the City of Atlanta's highest honor – The Phoenix Award. Recent honors include the 2023 Image Award presented by Atlanta Film Society, the Synergy Award from African American Film Critics Association and being recognized by Georgia Entertainment Magazine as one of “200 Most Influential of Georgia's Creative Industries.” Company Description *BronzeLens Film Festival of Atlanta, Georgia is a non-profit organization, founded in 2009, that is dedicated to bringing national and worldwide attention to Atlanta as a center for film and film production for people of color. The mission of the BronzeLens Film Festival of Atlanta, Georgia is two fold: to promote Atlanta as the new film mecca for people of color; and to showcase films and provide networking opportunities that will develop the next generation of filmmakers. #AMI #BEST #SHMS #STRAWSee omnystudio.com/listener for privacy information.

Two-time Emmy and three-time NAACP Image Award-winning television Executive Producer Rushion McDonald interviewed Kathleen Bertrand. Kathleen Bertrand began talking in 2009 about a new film festival to attract people of color to Atlanta's growing film industry. From a discussion with her then CEO William Pate at the Atlanta Convention & Visitors Bureau, to talks with film enthusiasts and potential film partners, Bertrand began to assemble the team and resources needed to launch what was to become BronzeLens Film Festival, a non-profit organization. While everybody knew about Tyler Perry's Atlanta-based empire, Bertrand and her colleagues created a platform for broader engagement in the industry for people of color and did so in a way that showcased Atlanta and its history and culture. Under Bertrand's visionary leadership as executive producer, BronzeLens has grown to receive attention and accolades from across the country and around the world. It is a charter member of ARRAY (formerly AFFRM), the film distribution network founded by producer/director Ava DuVernay in 2011. BronzeLens has been mentioned in articles about film diversity in publications such as the New York Times, the LA Times, Atlanta Magazine, Oz Magazine, and Ebony Magazine. In late 2016, the festival was named as an Academy Award Qualifying Film Festival for the Short Film Award. This tremendous honor is one of only 3 such designations in the country for film festivals that support the work of people of color. In its most recent film season, the festival received film submissions from 59 countries around the world. BronzeLens has received two “Best of Atlanta” Awards from Atlanta Magazine: “Best Showcase for New Filmmakers,” and “Best Place to Break into the Film Industry.” Kathleen has received numerous awards for her work with BronzeLens. In 2016, she was given the Georgia Highlight Award, as part of the annual Georgia Film Gala. In 2018, she received the honorary Doctor of Humane Letters degree from her alma mater Spelman College, which honored her careers in both hospitality and the film industry. Additionally, in 2018, she was inducted into the Atlanta Hospitality Hall of Fame, which also honored her dual careers in film and in hospitality. In 2019, Mayor Keisha Lance Bottoms presented Bertrand with the City of Atlanta's highest honor – The Phoenix Award. Recent honors include the 2023 Image Award presented by Atlanta Film Society, the Synergy Award from African American Film Critics Association and being recognized by Georgia Entertainment Magazine as one of “200 Most Influential of Georgia's Creative Industries.” Company Description *BronzeLens Film Festival of Atlanta, Georgia is a non-profit organization, founded in 2009, that is dedicated to bringing national and worldwide attention to Atlanta as a center for film and film production for people of color. The mission of the BronzeLens Film Festival of Atlanta, Georgia is two fold: to promote Atlanta as the new film mecca for people of color; and to showcase films and provide networking opportunities that will develop the next generation of filmmakers. #AMI #BEST #SHMS #STRAWSee omnystudio.com/listener for privacy information.

It's our first episode back! And Brittany knew who she wanted to talk to: Ava DuVernay, the visionary director who excels in “big-sister wisdom.” They get into everything about the state of the world now, from the DNC (cookout energy!)...to the way DuVernay's most recent film, Origin, reframes the world…to why DuVernay wishes Democrats would get “a little bit more bare-knuckle.” Plus, Brittany brings you the latest UNtrending news. This episode is brought to you in partnership with PEN America. Visit pen.org/undistracted to learn more about Banned Books Week.Follow Brittany on Instagram, Threads & Tik Tok @MsPackyettiFollow The Meteor on Instagram @themeteor and X @themeteor. Follow Wonder Media Network on Instagram @wmn.media, X @wmnmedia, and Facebook

Two-time Emmy and three-time NAACP Image Award-winning television Executive Producer Rushion McDonald interviewed Kathleen Bertrand. Kathleen Bertrand began talking in 2009 about a new film festival to attract people of color to Atlanta's growing film industry. From a discussion with her then CEO William Pate at the Atlanta Convention & Visitors Bureau, to talks with film enthusiasts and potential film partners, Bertrand began to assemble the team and resources needed to launch what was to become BronzeLens Film Festival, a non-profit organization. While everybody knew about Tyler Perry's Atlanta-based empire, Bertrand and her colleagues created a platform for broader engagement in the industry for people of color and did so in a way that showcased Atlanta and its history and culture. Under Bertrand's visionary leadership as executive producer, BronzeLens has grown to receive attention and accolades from across the country and around the world. It is a charter member of ARRAY (formerly AFFRM), the film distribution network founded by producer/director Ava DuVernay in 2011. BronzeLens has been mentioned in articles about film diversity in publications such as the New York Times, the LA Times, Atlanta Magazine, Oz Magazine, and Ebony Magazine. In late 2016, the festival was named as an Academy Award Qualifying Film Festival for the Short Film Award. This tremendous honor is one of only 3 such designations in the country for film festivals that support the work of people of color. In its most recent film season, the festival received film submissions from 59 countries around the world. BronzeLens has received two “Best of Atlanta” Awards from Atlanta Magazine: “Best Showcase for New Filmmakers,” and “Best Place to Break into the Film Industry.” Kathleen has received numerous awards for her work with BronzeLens. In 2016, she was given the Georgia Highlight Award, as part of the annual Georgia Film Gala. In 2018, she received the honorary Doctor of Humane Letters degree from her alma mater Spelman College, which honored her careers in both hospitality and the film industry. Additionally, in 2018, she was inducted into the Atlanta Hospitality Hall of Fame, which also honored her dual careers in film and in hospitality. In 2019, Mayor Keisha Lance Bottoms presented Bertrand with the City of Atlanta's highest honor – The Phoenix Award. Recent honors include the 2023 Image Award presented by Atlanta Film Society, the Synergy Award from African American Film Critics Association and being recognized by Georgia Entertainment Magazine as one of “200 Most Influential of Georgia's Creative Industries.” Company Description *BronzeLens Film Festival of Atlanta, Georgia is a non-profit organization, founded in 2009, that is dedicated to bringing national and worldwide attention to Atlanta as a center for film and film production for people of color. The mission of the BronzeLens Film Festival of Atlanta, Georgia is two fold: to promote Atlanta as the new film mecca for people of color; and to showcase films and provide networking opportunities that will develop the next generation of filmmakers. #STRAW #SHMSSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Two-time Emmy and three-time NAACP Image Award-winning television Executive Producer Rushion McDonald interviewed Kathleen Bertrand. Kathleen Bertrand began talking in 2009 about a new film festival to attract people of color to Atlanta's growing film industry. From a discussion with her then CEO William Pate at the Atlanta Convention & Visitors Bureau, to talks with film enthusiasts and potential film partners, Bertrand began to assemble the team and resources needed to launch what was to become BronzeLens Film Festival, a non-profit organization. While everybody knew about Tyler Perry's Atlanta-based empire, Bertrand and her colleagues created a platform for broader engagement in the industry for people of color and did so in a way that showcased Atlanta and its history and culture. Under Bertrand's visionary leadership as executive producer, BronzeLens has grown to receive attention and accolades from across the country and around the world. It is a charter member of ARRAY (formerly AFFRM), the film distribution network founded by producer/director Ava DuVernay in 2011. BronzeLens has been mentioned in articles about film diversity in publications such as the New York Times, the LA Times, Atlanta Magazine, Oz Magazine, and Ebony Magazine. In late 2016, the festival was named as an Academy Award Qualifying Film Festival for the Short Film Award. This tremendous honor is one of only 3 such designations in the country for film festivals that support the work of people of color. In its most recent film season, the festival received film submissions from 59 countries around the world. BronzeLens has received two “Best of Atlanta” Awards from Atlanta Magazine: “Best Showcase for New Filmmakers,” and “Best Place to Break into the Film Industry.” Kathleen has received numerous awards for her work with BronzeLens. In 2016, she was given the Georgia Highlight Award, as part of the annual Georgia Film Gala. In 2018, she received the honorary Doctor of Humane Letters degree from her alma mater Spelman College, which honored her careers in both hospitality and the film industry. Additionally, in 2018, she was inducted into the Atlanta Hospitality Hall of Fame, which also honored her dual careers in film and in hospitality. In 2019, Mayor Keisha Lance Bottoms presented Bertrand with the City of Atlanta's highest honor – The Phoenix Award. Recent honors include the 2023 Image Award presented by Atlanta Film Society, the Synergy Award from African American Film Critics Association and being recognized by Georgia Entertainment Magazine as one of “200 Most Influential of Georgia's Creative Industries.” Company Description *BronzeLens Film Festival of Atlanta, Georgia is a non-profit organization, founded in 2009, that is dedicated to bringing national and worldwide attention to Atlanta as a center for film and film production for people of color. The mission of the BronzeLens Film Festival of Atlanta, Georgia is two fold: to promote Atlanta as the new film mecca for people of color; and to showcase films and provide networking opportunities that will develop the next generation of filmmakers. #STRAW #SHMSSee omnystudio.com/listener for privacy information.

Get the Start Today Journal - https://starttoday.com/products/start-today-journal 00:00 Introduction: Overcoming Excuses01:22 Meet Rachel: Life Updates and Personal Stories02:42 Ankle Injury and Reflections07:22 Hair Extensions and Personal Confidence14:15 Ava DuVernay and the Array Event22:26 Hormones and Health Challenges24:46 The Start Today Journal25:57 Final Edits and Book Insights31:08 Pushing Through Resistance39:09 Conclusion: Keep Moving Forward Have a question you want Rach to answer? An idea for a podcast episode??Call the podcast hotline and leave a voicemail! Call (737) 400-4626Sign up for Rachel's weekly email: https://msrachelhollis.com/insider/Watch the podcast on YouTube: https://www.youtube.com/c/RachelHollisMotivation/videosFollow along on Instagram: https://www.instagram.com/MsRachelHollis/ To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Emmy and Peabody-winning director Ava DuVernay explains her choice to dramatize the real-life events portrayed in her new film, "Origin," based on the book "Caste" by Isabel Wilkerson. "Origin" is streaming now on Hulu. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ava DuVernay's new film Origin explores a new way to consider the historical subjugation of Black people in America: as the adverse result of a caste system. The film is inspired by Isabel Wilkerson's book Caste: The Origins of Our Discontents. In the movie, Wilkerson embarks on a journey to learn about caste, traveling to Germany and India to get to the root of the Black experience in America.Also, we'll talk about how algorithms flatten culture with journalist Kyle Chayka. He says algorithms affect every aspect of our lives — from what we watch on Netflix, what songs are at the top of the charts, to what our local coffee shop looks like. His book is Filterworld.

Origin is the story of a writer who faces personal loss at the same time she works on a book based on her unified theory about systems of oppression. Written and directed by Ava DuVernay, the film is adapted from Isabel Wilkerson's best-selling book, Caste: The Origins Of Our Discontents, and dramatizes the book's ideas and the way it comes together. Aunjanue Ellis-Taylor stars as Wilkerson, and also features Jon Bernthal and Niecy Nash-Betts.

See omnystudio.com/listener for privacy information.

Award-winning director Ava DuVernay's new film Origin explores a new way to consider the historical subjugation of Black people in America: As the adverse result of a caste system.The film is inspired by Isabel Wilkerson's book Caste: The Origins of Our Discontents. In the movie, Wilkerson embarks on a journey to learn about caste - traveling to Germany and India to get to the root of the Black experience in America. DuVernay also directed 13th, When They See Us, and Selma.