The post On Friendship: Four Duos Talk Individuality and Shared Bonds appeared first on Latina.

The role of Sam is unlike any role Barrera has undertaken; her career started with reality television in Mexico, and she has since gained popularity in the U.S. with shows and films that center around Latino narratives (“Vida,” “In The Heights”). Barrera’s first foray into horror represents an exceptional departure, for both the actress and the series, and puts her at the forefront of one of this generation’s most recognizable film franchises.

When the first “Scream” film came out in 1996, its cultural impact was palpable. The cult classic is credited with reinventing horror films forever; it idiosyncratically implemented scary genre conventions while infusing its narrative with whip-smart humor and fully-realized, self-aware characters. By exploring how media attention exploits sensational violence and integrating feminist plotlines, the original “Scream” film was in many ways ahead of its time. However, in terms of casting a racially diverse lead ensemble, the film fell short.

I met Barrera in mid-January on a LATINA photoshoot in West Hollywood. “Scream” had premiered that same day, and she was participating in a whirlwind of promotional events and press releases. Barrera didn’t hesitate to underscore the broader significance of her unprecedented casting. “As a Latina, as a Mexicana, joining ‘Scream’ means so much because I know that we as a community have always supported this franchise. I know how big it is in Mexico, and we have never seen ourselves represented in the saga.”

Over the past twenty-five years, the franchise has released three additional films that have reached a collective box office total of $603 million. As Barrera suggested, Latinos do indeed make up a large portion of the “Scream” audience — and have demonstrated an enormous appreciation for the genre of horror in general. In recent years, several studies have revealed that Latino audiences in the U.S. dominate the genre’s movie-watching demographic. For example, a Nielsen report from 2015 found that horror fans are 23% more likely to be Hispanic than the average consumer. Moreover, a 2020 UCLA report found that the genre comprised 40 percent of the top ten films Latinos watched in 2018 and half of the top ten films in 2019.

Yet across the board, Latino actors rarely secure lead — or even speaking — roles in Hollywood, especially in this macabre genre. For this reason, Barrera understands why her role in “Scream” is revolutionary. “I’m so excited to represent us in a title that is known worldwide. Latinos deserve to be leading franchises as well.”

Playing Sam, Barrera is not only confident and expressive; she pulls off the role effortlessly. Most of all, the dynamic actress is a whirlwind to watch — someone who you can’t help rooting for, especially as she navigates the combined threats of a psycho killer and an uncertainty about her place in the world. Amongst all the films in the quintessential slasher whodunit series, the conceit is essentially the same: a ragtag group of teens is haunted by a Ghostface Killer among them, racked with fear and suspenseful uncertainty about the murderer’s true identity. The groups and settings may differ from one film to the next, but all iterations are united by thrilling kills and a heaping dose of meta-humor.

In this reboot, Sam is a young woman who returns to the fictional California town of Woodsboro after her younger sister Tara, played by Jenna Ortega, is nearly killed by an attacker outfitted as Ghostface. Barrera describes her character as resilient and courageously prepared to emotionally confront her inner demons. But suddenly, she finds herself surrounded by an external demonic presence — Ghostface — in the physical world.

When I asked Barrera to describe her acting approach, she explained that she relishes intensity, emphasizing a hyper-awareness of the part she plays in telling a larger story on screen. “I put everything into every role that I do, sometimes to a fault. I fall in love with it,” she confessed.

The Mexican actress first entered the public eye in 2011, when she starred in “La Academia,” a Mexican musical talent show. During her stint on the series’ ninth season, Barrera sang hits such as “I Will Survive” and “Desesperada,” and also met her future husband, a fellow contestant named Paco Zazueta.

Barrera’s career trajectory and outlook on the entertainment industry has been markedly shaped by this origin story. “I feel like reality TV is often looked down upon by a lot of people in the industry, but I am so grateful that that’s where I started. It was like an introduction to television, but being myself,” said Barrera. In Mexico, a broad audience got to know her without performative filters, an experience that has brought both gratitude and, at times, unease. Whereas many enter the realm of “reality” television with a predetermined character and strategic plan, she admits she had no idea what the stint would set in motion.

After all, she was 21 and had only recently graduated from the musical theater program at NYU’s Tisch School of the Arts. “I was young and vulnerable. It really was a taste of what the industry is like. The judges were ruthless, mean, and very critical. So after I came out — even though I was very traumatized for a while — I was like, ‘If I could handle that, I know that I can handle this industry.'”

Despite these emotional setbacks, the actress put her best foot forward. More than anything, she wanted to “play pretend for a living” — to embody different characters, try out new skills, and inhabit incomparable lives. After the reality show, Barrera found success starring in telenovelas in her native Mexico. All long, however, she kept her sights on returning to the U.S.

Brought up in Monterrey — the sprawling capital of Nuevo Leon, a Mexican state bordering Texas — Barrera described her childhood as a blend of cultures. She watched and listened to U.S. content and even attended the American School of Monterrey. She frequently crossed the border into the U.S. to shop and eat, like many raised in border towns.

During our interview, she summed up how these early experiences impacted her outlook as an aspiring actress: “I knew that the things that came out of the United States were global. And the things that came from Mexico were what could potentially become very popular in Latin America, but not necessarily around the world.”

She now concedes that this outlook has evolved because of the expansive reach of international streaming platforms. But at the time, 11 or 12 years ago, when she had just graduated high school, Barrera resolved that she would only reach her full potential as an artist in the U.S. This provided the impetus for her to apply to theater schools and ultimately accept an offer to attend NYU’s Tisch School of the Arts.

After six years in Mexico, Barrera racked up a roster of credits and was ready to forge her path in Los Angeles. “I always knew that everything I was doing in Mexico was to prepare me for when I decided to go back to the U.S.,” said Barrera.

The timing was in her favor. Weeks after arriving in LA on a tourist visa, the Mexican actress auditioned for “Vida,” a show developed by the wildly talented multi-hyphenate Tanya Saracho and backed by Starz. It was only the third audition she had taken upon returning to the country. Within a month, Saracho had tapped Barrera to play Lyn Hernandez, a free-spirited Chicana layabout-turned-bar owner with an unwavering dedication to her older sister Emma.

“Vida” was bold, unfiltered, and radically expanded Chicano millennial representation. The show provided Barrera with her breakout role stateside. But despite the show’s critical success and favorable reception, “Vida” failed to secure broad viewership and was canceled after three seasons.

I asked her how she felt about the cultural tensions at play when she took on the role and whether she may have a different perspective on them in hindsight. When I asked about the show’s copious — and acclaimed — sex scenes, Barrera recalled feeling terrified. The actress had never done nudity on camera. “I grew up Catholic and conservative in Mexico. I was worried about what people were going to say, what my family was going to say, and what my husband’s family was going to say,” she confessed.

Nevertheless, the conscientious actress dug deeper. She confronted her fears and can now insightfully reflect, “El qué dirán is a huge cloud above all Latinos. I was shattering something that needed to be shattered in me and in our community.”

During the filming of “Vida,” the actress secured a lead role in Lin Manuel Miranda’s feature-length adaptation of his original musical “In the Heights.” Barrera played Vanessa, a compelling girl-next-door and aspiring fashion designer, a role she describes as her “dream come true.” She had been a long-time fan of the musical and, on multiple occasions, had unsuccessfully tried out for roles in the Broadway production.

Barrera sensed the film would be a win for all Latinos in Hollywood, but when it finally premiered in June 2021, a year after its scheduled release date, it proved divisive. While some celebrated the film for bringing working-class Washington Heights to the big screen, many criticized it for its controversial erasure of dark-skinned Latinos. Reflecting on this moment of upheaval, the actress said, “Sadly, it got wrapped up in a controversy that dimmed its light a little bit.”

In the Spring of 2020, after “In the Heights” had its debut pushed back due to the pandemic, Barrera left LA and returned to Mexico, dispirited by this news. Then, an offer to join “Scream” arose out of the blue and in atypical fashion: it was the first role she’d been offered without auditioning.

The film was a first in other ways, too: it was Barrera’s first slasher and the first time she would play a character that did not immediately read as Latina. In fact, there is absolutely no mention of Sam’s ethnicity in the film — she is simply herself. “I feel like Latinos usually have to justify our existence in every single thing that we’re in. Like speaking in Spanglish, or we have to wave our flag, or talk about our abuela, for it to be clear to the audience,” Barrera said.

With her role in the “Scream” franchise, Barrera plays a protagonist whose plotline isn’t centered entirely around her identity. The Mexican actress isn’t pigeonholed into a character arc based only on her cultural background. As Barrera pronounced with characteristic self-awareness, “I think that is revolutionary in itself.”

Outfits (Chronological):
Black Pearl Dress by Moschino, Pumps by Maya Lakis, and Earrings by Fallon
Floral Pants and Top by La Doublej, Pumps by Casadei, and Earrings by Cuyana

Credits:
Photography by Eduardo Medrano, Creative Direction by Alissa Lopez Serfozo, Styling by Penny Lovell, Makeup by Lilly Keys, Hair by Clayton Hawkins, and Production Assisting by Pato Hernandez-Ysasi

The post The Many Faces of Melissa Barrera appeared first on Latina.

 In Spielberg’s adaptation, DeBose takes on the role of “Anita,” the charismatic confidante first made famous by Rita Moreno in the original “West Side Story” (1961). Earlier this fall, LATINA’s Alissa Lopez Serfozo connected with DeBose.

This interview has been edited and condensed for clarity. 

You made your television debut competing on “So You Think You Can Dance.” How did your stint on reality television shape your artistic perspective?

I sure did! “SYTYCD” was a whirlwind experience! I learned how to successfully audition from my experience on the show. I also learned that reality tv is not real at all, HA! It was during that time that I chose to pursue theatre in NY. I left the show knowing I wanted to do more than just dance, I missed the challenge of singing, dancing, and acting at the same time.

Walk me through your pivot to theatre and acting. What inspired you to cultivate a career in both industries?

Dance is my first language and after a while I wasn’t feeling as challenged by it. That’s when I discovered theatre. I am someone who thrives on being challenged & theatre never allows me to settle. After almost 10 years on Broadway, the next logical challenge was to try my hand at acting for the camera, which is a whole different world/craft in and of itself. I love it! Early on I learned that being versatile would allow me to always find work. So that’s what I live by! 

Walk me through your Broadway career. Did you always envision yourself performing on NYC stages or did this develop over time?

Growing up I thought I was going to be Madonna’s backup dancer and then I saw my first Broadway show at age 10 or 11 and was absolutely entranced by the whole experience. I remember walking into Times Square and seeing a billboard of Bebe Neuwirth as Velma Kelly, but I recognized her as Lilith from “Frasier.” That’s when it clicked that you could potentially do it all, particularly in NYC. 

So, when I came to the city, I started to audition for literally everything until I landed my first big show, “Bring It on The Musical.” I followed that up with “Motown the Musical,” “Pippin,” and then “Hamilton.” I’m extremely proud that all those shows are completely different in style and time-period (VERSATILITY!).  Post “Hamilton,” I chose to pursue more featured and leading roles which led me to playing Jane in Chazz Palminteri’s “A Bronx Tale” the musical and Disco Donna Summer in “Summer: The Donna Summer Musical” for which I was Tony nominated. Not too bad for a girl who started out just wanted to be a backup dancer, huh!

You’ve starred in many Broadway productions. Are there any roles that were especially challenging to take on? Are there any roles that were especially rewarding?

Every role I take on is challenging in its own way. Playing Donna Summer on Broadway was a huge challenge. She was the “Queen of Disco” and a very real person, so bringing her persona to the stage without having her feel like a caricature was very important to me.  “Hamilton” of course was incredible because I had the privilege of a front row seat to how a show can change lives, appeal to all ages, inspire political players, and ultimately make people believe in the democracy again. “Raise a glass to freedom, something they can never take away…”

You work in Television and Film. Do you approach each medium differently when preparing for a new role?

Of course! There’s an art to each medium, but the creation of a character is the same for me no matter the medium. Typically starts with their body language for me, or the way they walk. It depends!

Are there any roles you covet? Are there any roles you would love to take on in the future?

There are, but if I told you then it wouldn’t be a surprise later. 

Looking back on your role and experiences filming “The Prom,” are there any aspects you are especially proud of?

Recently I found my onscreen work to be especially rewarding as it’s allowed me to reach so many people! I cannot tell you how many young people I heard from after they saw “The Prom.” Alyssa Greene’s journey coming out to her mother and her community was one that I believe young girls especially hadn’t seen on screen. Alyssa held space for so many young people to find the courage to accept themselves for exactly who they are and stand in their own power. 

Walk us through your journey to landing the role of Anita in “West Side Story” (2021).

Well, I got a call one night having just finished playing Donna on Broadway. Casting asked me to come in to audition the next morning. I said yes, but that I wouldn’t read the sides because I was exhausted from the show and didn’t have enough time to prepare. I arrived the next day to discover Steven Spielberg was actually there for the session.

So, I danced. He liked my dancing and asked me to sing. So, I sang. Then he asked me to read, and I said, “No sir,” and thankfully the casting director came to my rescue and explained. Steven mercifully understood and asked if I would come back and read at a later date. I said I would be honored. About a month later after a very intense chemistry test, Steven called from a plane to offer me the job and ask me to be his Anita. Class act. I cried like a baby and here we are!

What led you to initiate the Unruly Hearts Initiative?

Jo Ellen and I created UHI as a bridge for young people and their parents to be connected to resources to help them along their journey with identity. We are so proud to have been able to raise over $100,000 for our 2021 partners (Covenant House, Point Foundation, and The Trevor Project). As we grow, UHI will grow with us! We are so grateful for all those who have supported us in our goal to support LGBTQAI+ youth. 

Tell us about your collaboration with Diageo and Johnnie Walker. 

I’ve always loved the Johnnie Walker slogan “Keep Walking,” and I’ve found it particularly inspiring as we are coming back from a global pandemic. I believe passionately that those with power and privilege have a responsibility to invest and uplift our local communities and that’s exactly what the Diageo family is doing with their campaign by partnering with organizations like The Street Vendor Project to support Hispanic Street Food vendors in NYC in need of support. I had a blast hosting an event in the Bronx celebrating and uplifting local businesses and encouraging the community to safely return to social settings, nightlife & move towards a positive future, and all the things I love in one space: Culture, Johnnie Walker y comunidad!

The post Ariana DeBose Went from Broadway to Hollywood to ‘West Side Story’ appeared first on Latina.

On Twenty Years in Hollywood and Creating Stories by Latinos for Latinos

America Ferrera has catapulted herself to mainstream success by making the most ordinary characters seem all but ordinary. She has played the roles of teenage girl on the cusp of college-age adulthood, big-box store employee, and overworked assistant, to name just a few, and given them on-screen complexity that reaches deeper than their superficial descriptions. In turn, a generation of Latinas have grown up alongside her, including myself. Still, upon meeting her, I was struck by her unique movie-star-meets-older-sister disposition. She is undeniably well known, with a household name and familiar face. And she is disarmingly percipient, with a persuasive smile and introspective demeanor.

When I met Ferrera in mid-November, she zoomed in from New York City. We spoke during a round of press junkets for the second season of Netflix’s hit Dramedy, “Gentefied,” a series for which she was executive producer and director of several episodes. Her day was jam-packed with interviews and A-list appearances. During our conversation, she reflected on her glass-ceiling breaking moments and what it’s like to be a role model to countless individuals, including those she’ll never meet and those she works alongside on a daily basis.

This past spring, Ferrera reached an uncommon milestone for an actor in their late 30s: she celebrated 20 years of continuous work in the entertainment industry. As an actor, she is secure, efficient, and focused. She has leaned into her hard-earned comforts, telling me: “I have more fun now than I ever have.”

In ’02, America Ferrera starred in “Real Women Have Curves.” She played Ana García, an 18-year-old East L.A. native aspiring to attend college while simultaneously clashing with her Mexican-American mother’s expectations. Photography courtesy of HBO Studios/LaVoo Productions.

As we continued our discussion, she spoke candidly about the stress she faced as a young striving actor, battling fears of illegitimacy and assuming one opportunity might not lead to the next. But over two decades, she has weathered industry pressure and settled into the security of her late thirties. “At this age, I’m not interested in running myself into the ground, which is what I often did in the past. Because when you never know where the next job is coming from, or when it’s coming, you say yes to everything. You’re afraid to say no, and you’re afraid to take care of yourself.” 

Acting has been Ferrera’s lifelong passion. She describes it as a craft that makes her feel electric and alive, as if she is firing on all cylinders. Ferrera posits that a gradual but seismic shift over the past 20 years allowed her to move away from measuring her worth against others’ expectations. “When you walk into a room, and your goal is to prove that you belong or that the people who have hired you are not going to be disappointed, it’s very, very hard to be creative and bring the best of you,” said Ferrera. Yes, some of this confidence comes with age, but she also underlines her conscious intention to stay out of her own way.

When I asked her about the medley of roles she has embodied and why these characters resonated with her audiences, Ferrera turned the question around. “Well, I have my guesses, but what I can speak to is why they resonated with me,” she said. Fortuitously, she has had the opportunity to create characters that she felt she had never seen represented through a Latino lens. Ferrera expanded on this point, “I had never seen these versions of a woman like me. I fell in love with each of them because they were complex, human, and they were outside of the stereotype.” The actress has taken on shape-shifting roles that allowed her to build out a diverse career. But for Ferrera, shape-shifting was a necessary skill that she picked up early in her youth.

The Los Angeles-born actress is the youngest of six children raised by her Honduran immigrant parents in Woodland Hills. In the foreword to her 2018 compilation of essays, “American Like Me: Reflections on Life Between Cultures,” Ferrera details early experiences being labeled as a “whitewashed gringa” in Latino groups and categorized as “rare” and “exotic” by her white friends. Despite the struggle of this cultural hybridity, Ferrera demonstrates how her early experiences only further fueled her determination to become an actress. On her path to realizing her dream, she faced criticism and doubt from all directions, including her family. Ferrera writes, “Family members would say to me bluntly, the way families are prone to do, ‘Actresses don’t look like you. You’re brown, short, and chubby.’”

Young America Ferrera. Photograph originally published in “American Like Me: Reflections on Life Between Cultures” (2018). 

When she became a working member of the entertainment industry, she faced the same battle but with even more insidious and stifling dynamics. As she writes in the book, “Somehow the boxes I resisted being shoved into during my childhood were even tighter and more suffocating in Hollywood. The first audition I ever went on, the casting director asked me if I could ‘try to sound more Latina.’” After she booked her first two major roles, Yolanda in “Gotta Kick it Up!” (2002) and Ana in “Real Women Have Curves” (2002), Ferrera focused on securing characters that were well-written and relatable. She recounts how when she requested that her former manager send over roles that fit this bill, he had responded, “Someone needs to tell that girl that she has unrealistic expectations of what she can accomplish in this industry.”

To this very day the actress is astonished by her unlikely career. “When you look at the actual data and the facts and the numbers of how many Latinx people get to have and build a long career in this industry, it’s quite a miracle. And then when you add in what way we’re allowed to build and sustain a career in this industry, it’s often by playing into the most common stereotypes of who we are.” 

In 2007, Ferrera was the first Latina to win an Emmy in a lead actress category. Hollywood lifts up accomplishments such as Ferrera’s in ’07 with exaggerated pageantry. These unprecedented moments are exalted to affirm communities of strivers to believe that they too can reach such milestones. Reflecting on this pivotal moment, Ferrera laments, “I can’t help but just look back and think that it didn’t change very much. I take no joy knowing that’s how long it took for someone like me to be acknowledged and that not much has changed. When we have these moments of cultural presence, where all of a sudden something breaks through — a story, a character, a creative person — I hope those moments create a watershed.” But in Hollywood, that is rarely the case.

America Ferrera, her husband Ryan Piers Williams, and the cast of “Ugly Betty” in ’07 reacting to Ferrera’s Outstanding Lead Actress In A Comedy Series win. Photography by Mike Blake/Reuters.

For example, in 2002, “Real Women Have Curves” was critically praised and commercially successful. One would expect the film to lay a viable pillar for other Latino industry talent to build future critical and commercial success. But that’s not what happened in 2002. That’s not what happened in 2007, either, after “Ugly Betty” was a massive hit and Ferrera took home an Emmy. Neither moment created an onslaught of network shows empowering Latino creatives and Latino stories. Ferrera opined, “We were viewed in many of those instances as an exception versus proof that there is talent.”

In 2006, Ferrera founded her television and film production company, Take Fountain, and branched out into an activist mantle behind the scenes. At the time, her modus operandi had transformed: she became intent on expanding representation, hiring fellow Latinos, allowing her community the opportunity to fully express their talent, and advocating for other Latino creators to succeed. In Hollywood, producers act as gatekeepers and grant access and opportunity based on their position. Given her experiences in the industry, Ferrera was a natural fit to assume the role. After her Emmy win, she nabbed her first two production credits. First as an executive producer on a short directed by her husband Ryan Piers Williams titled “Muertas” (2007) and then as an executive producer/lead actress for the crime thriller “Towards Darkness” (2007). Next came a lead role/EP credit in the Iraqi veteran coming home flick “The Dry Land” (2010) and a millennial New York centric film “X/Y” (2014). Both films were directed by Piers Williams and starred Ferrera. Reflecting on her behind-the-scenes pivot, Ferrera admitted, “I was acting and very, very busy. I didn’t need another job, but I realized that I could get into certain rooms. People were interested in the stories I wanted to tell. The longer my career went on, the more I had the power and ability to turn people’s attention towards certain stories and certain creators.”

America Ferrera and Linda Yvette Chávez on the set of “Gentefied.” Photograph courtesy of Netflix.

Ferrera’s most well-known production credit thus far is Netflix’s bilingual dramedy “Gentefied” (2020-present). The series follows a Mexican-American family in Boyle Heights, CA, who are scrambling to save their grandfather’s taco shop and pushing back against gentrification in their ‘hood. The Netflix series is a television adaptation of the “Gente-fied” web series created by Marvin Lemus and Linda Yvette Chávez in 2016, two creatives that had never before sold a TV script or set foot in a writer’s room. Before the web series went into production, the duo had a chance to meet with Ferrera, who immediately signed on as an executive producer. The digital series was picked up by Netflix shortly after premiering at the Sundance Film Festival in 2017. 

“Gentefied” coalesces Ferrera’s behind-the-scenes strengths and her high-level impetus to lift up remarkable Latino storytellers. She is the persuasive ally for talents like Lemus and Chavez, aiding in all steps from development to post-production to the promotional rollout. She is, after all, experienced in weathering the challenges of Hollywood. “I think people may only have an inkling of — but don’t understand — just how difficult it is to get a show by Latinx talent, made with Latinx talent in every key position, and to get it out into the world. In this current system, it’s a tough feat,” underscored Ferrera. Making TV is hard, period. Making Latino TV by Latinos for Latinos is nearly impossible. 

America Ferrera and Marvin Lemus on the set of “Gentefied.” Photograph courtesy of Netflix.

During our conversation, Ferrera pointed out that shows like “Gentefied,” “Vida” (2018-2020), or “One Day at a Time” (2017-2020) — by Latinos for Latinos — are, in fact, miracles. She knows this from the outside looking in and maintains a collaborative relationship with the creative forces behind the shows. This past fall, Tanya Saracho (of “Vida”), Gloria Calderón Kellett (of “One Day at a Time”), and Ferrera announced the launch of their DEAR Hollywood project: a vehicle for advocacy and access within the realm of Latino representation. This venture’s core is five pillars that read as a timely manifesto. The project aggregates decades of their hard-earned professional gains and a crescendo of mounting frustration with the entertainment industry’s storytelling status quo. As Ferrera summed up, “The truth about making change and the difference between a successful and unsuccessful creative process comes down to real benign minutia.” She’s right. The sum of the boring stuff, like who’s in the room, who’s on the phone call, or who gets worn down first, drives a series’ creative potential. Ferrera sums these unspoken power dynamics up as a “battle of attrition.” She added, “How much power do we have to defend the version of the story? And then ultimately, who’s in our corner? Who are our allies?” Ultimately, these etiquette traditions and unspoken rules dictate how stories are told and developed. Ferrera and her generation of Latino creative movers and shakers intend to remake the game.

Looking towards the next two decades, Ferrera is firmly intent on making art that appeals to her as a Latina, and to her many other identities: mother, daughter, west-coast native, millennial, NYC transplant, and so on. She hopes that the industry will hold opportunity and space for Latinos to present their whole identity without the responsibility of representing a monolith. Ferrera hopes Latino artists, storytellers, creatives, and craftsmen will be seen in their fullness. She wants to believe that in 20 years, Latinos will no longer need to fight for the most basic level of representation. As for where the multi-hyphenate wants to see herself in the next two decades, she is not interested in predicting where her career will turn. Instead, she spoke about turning inward, to focus on continuing to cultivate self-assurance: “In 20 years, I want to feel more in my body, more joy, more comfort with all the things that I am. More able to walk into any room exactly as I am, and to feel true ownership of myself and my power, with no apology.”

The post America Ferrera’s Evolution appeared first on Latina.

Latina’s Alissa Lopez Serfozo connected with “Gentefied” Executive Producer/Director America Ferrera and the show’s Co-Creators/Showrunners/Executive Producers Linda Yvette Chávez and Marvin Lemus. They discuss the Netflix hit show’s second season, immigration, the cost of the American dream, and family sacrifice. “Gentefied” Season 2 is now available to stream on Netflix.

Instagram: @Gentefied
Twitter: @Gentefied
#Gentefied

The post Exclusive: Netflix’s ‘Gentefied’ Creators Share Season 2 Takeaways appeared first on Latina.

Latina’s Alissa Lopez Serfozo connected with the cast of “Gentefied” – J.J. Soria who plays “Erik,” Karrie Martin Lachney who plays “Ana,” and Carlos Santos who plays “Chris” – to talk about the Netflix hit show’s second season, Pop’s deportation, intergenerational struggles, and failure. “Gentefied” Season 2 is now available to stream on Netflix.

Instagram: @Gentefied
Twitter: @Gentefied
#Gentefied

The post Exclusive: Netflix’s ‘Gentefied’ Stars Share Season 2 Takeaways appeared first on Latina.

Age: 25

Homebase: New York City, but I’m traveling and working remote at the moment

Tu país: Puerto Rico ¡Boricua aunque naciera en la luna!

Describe your professional role(s): 

EL ADN Podcast, Creator and Host

EL ADN interview series first began as an Instagram LIVE show during the pandemic.Some guests included Sky Rompiendo, Brytiago, Ismael Cruz Córdova, Miky Woodz, etc. Instagram recognized this show on their official account and dubbed me a “Creator to Keep an Eye On.” 

Today, EL ADN exists as a podcast on Spotify and Apple Podcasts with new episodes every Monday morning with guests such as Julissa Prado, Alicia Menendez, Cyndi Ramirez, and Dee Nasty. In each conversation, I sit down with the movers and shakers of culture for honest and intimate conversations about challenges overcome to reach their current success. 

We ask guests about the concrete steps taken and habits adopted in the journey to their achievement. We talk about what in their ADN (DNA in English) makes them the extraordinary and unstoppable people they’ve become today. 

Editorial Director 

I’m the Latino Content Editorial Director for a start-up media company focused on delivering a mix of cultural + political news to a young Latina audience in the US exclusively on social media. My day-to-day includes managing a newsroom of 6 journalists covering the Puerto Rican community in FL and developing and implementing the content strategy for a newsroom focused on reaching Arizona’s Mexican-American audience.

Independent Journalist

As an independent multimedia journalist, I work with US media outlets such as Refinery29, Oprah Magazine, Bustle, Mic, VICE, Remezcla, CBS Puerto Rico, etc. as a host, producer, and writer covering the Latinx community. Some topics I’ve covered: uprisings in the Dominican Republic and Chile, the current energy crisis in Puerto Rico, and interviews with Rep. Alexandria Ocasio Cortez, Alexandra Lúgaro, and J Balvin.

Content Creator (I’m not a fan of the word “influencer”!) 

Over the years, I’ve grown my Instagram presence into a 17K+ community of people who want to reach their highest potential in their professional and personal lives. Past partnerships include HBO Max, Adidas, Bumble, Facebook, and Maybelline. 

What’s been your journey to your current profession? 

I left Puerto Rico when I was 17 years old to pursue a career in journalism. I did not know a soul when I landed in NYC, one of the most humbling and challenging experiences in my life. Today, I’m an award-winning journalist and multimedia host/producer/writer focused on socio-political issues and Latinx culture. 

My first job was at Bloomberg as a social curator for their newly launched brand “QuickTake.” I went on to work at VICE News as a multimedia producer/reporter where I covered domestic and international stories in both English and Spanish. I also launched several video series, one of which introduced international artists to the US mainstream. Up until then, we had never featured Bad Bunny, Anuel AA, or Natti Natasha on VICE News!

The journey was worth it. I use my voice for something greater than myself. I tell the stories of nuestra gente to an audience that rarely understands us and the nuances within our cultura.

What excites and stimulates you in your career? What draws you into the work you do?

As a journalist, I’m [a product] of the stories I tell, the people I meet, the places I visit. Seeing the world through someone else’s eyes draws me into this work. I feel grateful when someone opens their heart and shares with me their inner dialogue. We often go about our lives too focused on ourselves that we forget to look next to us and ask, “How did you overcome that phase that was challenging in your life? What keeps you up at night? How do you want to be remembered?” All of those questions are important because the answers bring the human side [to the forefront] and strip away someone’s titles, roles, and status.

What did you used to believe that you now see was completely misguided? 

That you can only do one thing. That you need to pick and choose from all your skills, talents, ideas, and dreams and select just one thing that you’ll end up pursuing. That you can only have one career or one passion. That era is long gone.

I live every moment in the day as my last one. I’m hyper-aware that the clock is always ticking. I want to make sure that when my time comes, I can look back at my life and say, “I did everything I wanted to do. I became what I wanted to be. I explored all my talents and ideas.”

What are some ways that you continue to stay inspired and motivated in your career?

Whenever I feel too comfortable, I embark on a new journey to purposefully feel uncomfortable. This is how my podcast, EL ADN, was started. [I have always been impressed by] the craft of telling a story with no visual component, as it happens with audio. [This medium] allows you to focus on someone’s message without being distracted by anything else.

I’m always seeking the excitement that “something new” provides in my personal and professional life. I thrive on it. I can sometimes be too hard on myself, so it’s not often that I feel accomplished. I had a special moment recently when I had just finished editing the 6th episode of this season and suddenly started crying. I felt fulfilled because I had completed something I once thought impossible: developing, launching, hosting, and producing my podcast.

Who are people you connected with in your journey that empowered you in your career? How did they empower you?

There’s a long list of individuals, especially women of color, who have paved the way for me. Marsha Cooke, Cristy Marrero, Arianna Davis, Raquel Reichard, Cristina Novo, Lissette Rios, Shanté Cosme, Youyoung Lee, Milena Mikael-Debass, and many others! 

They’ve all impacted me during different [but pivotal] parts of my career. Some gave me my first opportunity, others showed me the ropes, some were connectors, and others reminded me of my potential. 

A journalist I deeply admire, Alicia Menendez, told me in a podcast interview: “You need sponsors, as opposed to mentors, people that use their network to push you forward.” These mujeres have been that for me. Now I want to become a sponsor for the next generation of Latina journalists in the US media. 

What does Latine culture mean to you on your home turf?

Mí cultura is everything to me. I didn’t grow up with the concept of being “Latina” as I was born and raised in Puerto Rico. At the time, I simply called myself Puertorriqueña. If anyone asked me locally, I’d say I was from my hometown of Bayamón. It wasn’t until I landed in the US that I encountered terms like “Hispanic” and “Latina/x/e.” 

Being Boricua is at the crux of everything I do as a journalist. From my reels explaining the history of protest music in Puerto Rico to shedding light that Viequenses still don’t have a hospital, four years after Hurricane Maria. I see storytelling as a way to give back to my community and represent mí patria (homeland) wherever I go. 

What’s next for you?

I’m excited about growing EL ADN Podcast. We just launched a month ago. The amount of positive feedback and love I have received is overwhelming in the best of ways. I want to continue highlighting people of color and their journeys to success to inspire others to [pursue] their ambitions, no matter their circumstances.

There is also a new project I can’t announce just yet, but I know people will resonate with it. 15-year-old Victoria would be proud of this one.

On a more personal level, I’m training to run my second half-marathon, this time in Miami. I’m one step closer to running the full one, hopefully in 2022. Still not ready to run 26.2 miles!

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For Las Mujeres Doin’ the Work, Latina has partnered with La Nueva Link, a digital and IRL community for Latinx creatives and media professionals in every intersection of the culture. LNL’s mission is to shift the understanding of US Latinxs from a monolith to micro-communities. They are a network fostering visibility and facilitating connections for Latinx professionals and creatives. Not only does their work empower a new generation of culture-makers, but also LNL pushes institutions to think critically about how they engage with Latinx communities.

Follow La Nueva Link @lanuevalink and sign up to join at lanuevalink.com

The post Q&A: Victoria Leandra on Developing a Podcast and Telling Nuanced Stories appeared first on Latina.

Age: 35

Homebase: Los Angeles and NYC

Tu país: Dominican Republic

Describe your professional role(s): 

Head of Multicultural Partnerships at Twitter

What’s been your journey to your current profession? 

Many ups, some downs but mostly a lot of moments full of gratitude because I’m always prepared when new opportunities arise.

What advice would you tell your younger self as she embarks on her professional career?

Continue to follow your intuition. It will never steer you wrong.

What did you used to believe that you now see was completely misguided? 

Early in my career, I was worried that any executive or powerful person could make or break my career at any moment. And that is not the case. I am (and so are you) the captain of the ship. I can’t control the waves and the weather, but I can control how I navigate them. I have power over my own path.

Who are people you connected with in your journey that empowered you in your career? How did they empower you?

[I was empowered] by the individuals that allowed me to take on projects and have full ownership of them. They were not scared to let me try and come back with [new experience and knowledge]. There is something powerful about having agency over your vision.

What’s your go-to music genre, playlist, or song(s)?

I have a playlist called “Getting Ready” which I am always updating. Right now it [includes] J Balvin’s “Brillo”, Doja Cat’s “Woman,” “No me conoce” remix, and Wizkid’s “Essence.”

What does Latine culture mean to you on your home turf?

It allows [members] the community to show up as our most authentic selves and not judge based on appearance, musical interest, and language barriers. We all bring a different flavor to the dinner table and I fully embrace that.

What’s next for you?

Planning for 2022. Who do I want to collaborate with? Who do I want to mentor? And honestly, continuing to prioritize my joy and health above all else. 

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For Las Mujeres Doin’ the Work, Latina has partnered with La Nueva Link, a digital and IRL community for Latinx creatives and media professionals in every intersection of the culture. LNL’s mission is to shift the understanding of US Latinxs from a monolith to micro-communities. They are a network fostering visibility and facilitating connections for Latinx professionals and creatives. Not only does their work empower a new generation of culture-makers, but also LNL pushes institutions to think critically about how they engage with Latinx communities.

Follow La Nueva Link @lanuevalink and sign up to join at lanuevalink.com

The post Q&A: Yari Blanco on Authenticity and Resilience in the Workplace appeared first on Latina.

This collection marks the second edition of The Land of Milk and Honey, a collaboration between visual artist Alexander Julian and Instagram culminating in a series of photo essays and interviews with immigrant families of color. Together, the project depicts the anthropology and intersections of Afro-Latin and Afro-Hispanic cultures for an audit of the American Dream.

Shot by Camila, filmed by Dior Rodriguez and visually designed by Colombian & Israeli art director Orly Anan, this edition of The Land of Milk and Honey takes us inside a scene inspired by an authentic Colombian social club and captures the bodies of Afro-Colombian family, musicians, dancers, and creatives in New York City moving to the sounds of Maraca Bruja.

“As an Afro-Colombian Trans woman, it’s imperative to represent my heritage through color, rhythm, and the ephemeral feeling of connecting with your community in a celebratory space. As an American, I can’t help but to speak it all out loud — this too is my inheritance! We sing, we dance, we love, and we are joy uninhibited.” Yasha Lelonek

“I am Colombian and I have always wanted to be part of a project in which I [can] exalt the beauty of our culture, dance, singing, and art.” Geordette Cervantes

“Being an Afro-Latina woman has always been a conundrum. Everyone has a different idea of who you are and how you fit in. There are so many different identities to assume depending on the place or who you are talking to….There are all kinds of Black people in the world. We don’t all look, talk or behave the same. And so it’s important for the world to see that.” Dior Rodriguez, Director, The Land of Milk and Honey   

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The Land of Milk and Honey is an audit of the American Dream, in the form of a series of photo essays and interviews with immigrant families of color. The United States of America is famously known as a “land of immigrants.” This idea is often used to signal some kind of shared allegiance or ideology between immigrants. In response, this ongoing project interrogates and celebrates the ways in which these groups are different. The way their experiences vary, intersect and deviate, all within the spectrum of the American experience.

The post Dior Rodriguez and Camila Falquez Present ‘The Land of Milk and Honey’ appeared first on Latina.

Age: 27

Homebase: Los Angeles (Tongva Land)

Tu país: Born in the US to immigrants from Mexico

Describe your professional role(s): 

I am the founder of Casa Mija — formerly known as mija mgmt — a home for music industry mentorship with more to come. I am also the founder of Solidarity for Sanctuary, a non-profit aimed to amplify the voices of immigrant communities through music, advocacy, and the arts.

What’s been your journey to your current profession? 

I grew up in a family of musicians, specifically worship leaders. Music has always been spiritual [for me] and at the core of who I am. Yet, I never thought I could make a true profession out of it until I started booking shows for my university. This [experience] opened the floodgates of interning all over the music industry: from artist management to working at major record labels like RCA and Columbia, and even to event production with School Night.

My experience working for a Miguel secret show led me to realize I could be Latina and make it in the music industry. This role led [me to embark] on my first entrepreneurial endeavor: mija mgmt launched in early 2017. Around the same time, I began Solidarity for Sanctuary as a call to action to raise money to help protect my parents from deportation. [This project] grew to help more families, individuals, and organizations. SFS will always be my life’s project.

Then 2020 came around. Like many, the pandemic brought the necessary perspective as to what [fulfills me]. I took a leap [of faith]. I transitioned from artist management to music industry mentorship.

Last year, I was offered a fellowship in civic media with the Annenberg Innovation Lab at USC. This opportunity fostered the necessary tools and support system to pivot in my career. I know I’m [within] my larger purpose as long as I live at the intersection of creating, curating, and community building within the arts.

What excites and stimulates you in your career? What draws you into the work you do?

Seeing the new generation of creatives and future executives ushering into the scene keeps me excited and stimulated. This movement can only continue if we lift each other in the process. [We can] support new music and fill new positions in companies with the right folks (this is why I started the mentorship program). My work will always be rooted in the why, which is for my family. I wouldn’t be here today if it weren’t for their sacrifice to immigrate to this country, the music my brothers and parents raised me on, and all the love and support they have given me on this journey of seeing my wildest dreams come true.

What advice would you tell your younger self as she embarks on her professional career?

It feels like everything I do as of late is speaking to coming-of-age Doris. Teenage and college-age Doris thought she had to assimilate to make her way in the music industry. I felt invisible when I was running around as an intern. I realized there were so many of us who felt the same when I launched my own company. I wish I [had] learned earlier to honor my roots and stand firm in who I am. [I’m] a direct reflection of where I come.

What’s your go-to music genre, playlist, or song(s)?

I feel like a señora sometimes porque I stay listening to boleros y rancheras most of the time, but of course I’m also a huge fan of the new Latinx indie scene. My current rotation oscillates between legends like Juan Gabriel, Los Panchos, and Linda Ronstadt. I also listen to up and comers like Maye, Divino Niño, and Ambar Lucid.

What does Latine culture mean to you on your home turf?

There is an inter-generational impact taking place in Los Angeles. Immigrant families hustle their way to survival. Kids of immigrants are paving a new path in the world of arts and culture. [For example], I think of my friend Anita Herrera who reps Los Angeles harder than anyone I know. Sacred Rose Mercado, her recent work at Human Resources, directly reflects how our generation created culture from Los Angeles to the Inland Empire. From honoring being raised at the swapmeet to vintage shirts with scenes from lowrider communities, to reimagining religious jewelry, y más. Latine culture will continue to evolve generation after generation. I think we’re lucky to live in this specific moment of time of creatives.

What’s next for you?

During the pandemic and the Annenburg fellowship, I reconnected with recording the music I’ve been writing and keeping close to my heart for years. The first single [I recorded] was made with love by my community of close friends and even someone I consider a mentor in my life, a legend, Camilo Lara (composer for Coco, Y Tu Mama Tambien, Narcos, Lila Downs, etc.). The song will be out next month. The way life has been aligning for me, as of late, led to this moment where it feels like it’s finally the right time, turning the years of fear into fuel for this new chapter.

Featured image by Vero Lechuga

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For Las Mujeres Doin’ the Work, Latina has partnered with La Nueva Link, a digital and IRL community for Latinx creatives and media professionals in every intersection of the culture. LNL’s mission is to shift the understanding of US Latinxs from a monolith to micro-communities. They are a network fostering visibility and facilitating connections for Latinx professionals and creatives. Not only does their work empower a new generation of culture-makers, but also LNL pushes institutions to think critically about how they engage with Latinx communities.

Follow La Nueva Link @lanuevalink and sign up to join at lanuevalink.com

The post Q&A: Doris Muñoz on Creativity and Community appeared first on Latina.