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Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.[aside postID=news_11954383 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/20230626-SAUCY-CHICK-05-KQED-1020x816.jpg']Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I decided I was just going to do it part-time for a little while before I decided what I really wanted to do. It turned out that I loved it. And here I am, almost 20 years later.’[/pullquote]They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘Then, you might see her start to sauce it. Then, you might see it finished, but uncooked. At the very, very end of the scene, she’ll pull out that perfect pizza.’[/pullquote]McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.[aside postID=news_11958720 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/RS66538_230623-wahpepahs-kitchen-05-ks-KQED-1020x679.jpg']“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with. Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers.’[/pullquote]“The food couldn’t look like anything that we’ve seen here,” McSorley said. “Was it a planet that actually had an environment: air, water to it? Was it a dry planet that maybe everything would have been from root vegetables? And then, you just figure out what exists in the edible world that you can make look like that.”\u003c/p>\n\u003cp>For one scene in \u003cem>Boba Fett\u003c/em>, McSorley helped fill a 30-foot-long table for a feast. One element was a roasted \u003cem>nuna\u003c/em>, a swamp turkey from the planet Naboo.\u003c/p>\n\u003cp>“And it was really awesome because I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with,” she said. “Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers. And you really get the idea that these came from another planet.”\u003c/p>\n\u003cp>In the hands of a stylist like McSorley, food becomes a character on screen. It can help set the mood with party food, home cooking or upscale bites.\u003c/p>\n\u003cp>It can mirror the personality of a character — like a meticulous assassin who also bakes with precision. One glance at a plate and the viewer should get a sense of the person in the scene with it.\u003c/p>\n\u003cp>It takes a lot of labor to make the shimmering fantasy that Hollywood sells to the world. There are a lot of behind-the-scenes industry people like Melissa whose work is largely invisible — and they’re all feeling the impact of recent labor disputes.\u003c/p>\n\u003cp>“I guess I wish people knew that the job existed, that the food didn’t just miraculously appear on the plate,” she said.\u003c/p>\n\u003cp>\u003cem>Lisa Morehouse’s series \u003c/em>\u003ca href=\"https://californiafoodways.com/\">\u003cem>California Foodways\u003c/em>\u003c/a>\u003cem> is supported by California Humanities, a nonprofit partner of the National Endowment for the Humanities.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Hollywood writers and actors are on strike. But these work stoppages also affect other creative people in the business, including food stylists for TV and film.","status":"publish","parent":0,"modified":1693587992,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":52,"wordCount":2083},"headData":{"title":"The Hollywood Food Stylist Behind the Scenes of Popular Films and TV | KQED","description":"Hollywood writers and actors are on strike. But these work stoppages also affect other creative people in the business, including food stylists for TV and film.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"The Hollywood Food Stylist Behind the Scenes of Popular Films and TV","datePublished":"2023-09-01T14:00:25.000Z","dateModified":"2023-09-01T17:06:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"Food","sourceUrl":"/food/","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/e712bbfc-a3f5-4276-a764-b06e01610b66/audio.mp3","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11959359/hulus-good-trouble-hired-this-hollywood-food-stylist-to-make-18-pizzas","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making engaging movies or TV shows is all about creating a convincing fantasy. Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11954383","hero":"https://ww2.kqed.org/app/uploads/sites/10/2023/06/20230626-SAUCY-CHICK-05-KQED-1020x816.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I decided I was just going to do it part-time for a little while before I decided what I really wanted to do. It turned out that I loved it. And here I am, almost 20 years later.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Melissa McSorley, Hollywood food stylist","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Then, you might see her start to sauce it. Then, you might see it finished, but uncooked. At the very, very end of the scene, she’ll pull out that perfect pizza.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Melissa McSorley, Hollywood food stylist","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11958720","hero":"https://ww2.kqed.org/app/uploads/sites/10/2023/06/RS66538_230623-wahpepahs-kitchen-05-ks-KQED-1020x679.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with. Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Melissa McSorley, Hollywood food stylist","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“The food couldn’t look like anything that we’ve seen here,” McSorley said. “Was it a planet that actually had an environment: air, water to it? Was it a dry planet that maybe everything would have been from root vegetables? And then, you just figure out what exists in the edible world that you can make look like that.”\u003c/p>\n\u003cp>For one scene in \u003cem>Boba Fett\u003c/em>, McSorley helped fill a 30-foot-long table for a feast. One element was a roasted \u003cem>nuna\u003c/em>, a swamp turkey from the planet Naboo.\u003c/p>\n\u003cp>“And it was really awesome because I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with,” she said. “Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers. And you really get the idea that these came from another planet.”\u003c/p>\n\u003cp>In the hands of a stylist like McSorley, food becomes a character on screen. It can help set the mood with party food, home cooking or upscale bites.\u003c/p>\n\u003cp>It can mirror the personality of a character — like a meticulous assassin who also bakes with precision. One glance at a plate and the viewer should get a sense of the person in the scene with it.\u003c/p>\n\u003cp>It takes a lot of labor to make the shimmering fantasy that Hollywood sells to the world. There are a lot of behind-the-scenes industry people like Melissa whose work is largely invisible — and they’re all feeling the impact of recent labor disputes.\u003c/p>\n\u003cp>“I guess I wish people knew that the job existed, that the food didn’t just miraculously appear on the plate,” she said.\u003c/p>\n\u003cp>\u003cem>Lisa Morehouse’s series \u003c/em>\u003ca href=\"https://californiafoodways.com/\">\u003cem>California Foodways\u003c/em>\u003c/a>\u003cem> is supported by California Humanities, a nonprofit partner of the National Endowment for the Humanities.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11959359/hulus-good-trouble-hired-this-hollywood-food-stylist-to-make-18-pizzas","authors":["3229"],"programs":["news_72","news_26731"],"categories":["news_223","news_24114","news_8"],"tags":["news_18538","news_17719","news_333","news_5396","news_2254","news_24590","news_701","news_3414"],"featImg":"news_11959570","label":"source_news_11959359"},"news_11958785":{"type":"posts","id":"news_11958785","meta":{"index":"posts_1591205157","site":"news","id":"11958785","score":null,"sort":[1692784837000]},"guestAuthors":[],"slug":"how-silicon-valley-ate-hollywood","title":"How Silicon Valley Ate Hollywood","publishDate":1692784837,"format":"audio","headTitle":"How Silicon Valley Ate Hollywood | KQED","labelTerm":{},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hollywood is no stranger to changes brought on by technology. But KQED’s Rachael Myrow says that for writers and actors currently on strike, this moment is existential — thanks in no small part to Silicon Valley.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Many KQED staffers are also members of SAG-AFTRA, but journalists have a different contract from Hollywood actors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9846389333\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra, and welcome to The Bay. Local news to keep you r ooted. Writers in Hollywood have been on strike since May, demanding better wages and working conditions. And last month, thousands of actors joined them. This standoff between the Writers Guild of America, the Screen Actors Guild and the Alliance of Motion Picture and Television Producers is likely to drag on for a while. And behind these calls for improved working conditions is an entire business model changed in large part by none other than Silicon Valley.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>The entire business model has been changed by streaming digital air. This is a moment of history. That is a moment of truth. If we don’t stand tall right now, we are all going to be in trouble.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Hollywood is no stranger to big changes brought on by technology. But for writers and actors on strike right now, this moment is existential. Today, how Silicon Valley changed Hollywood and why this strike has everything to do with big tech.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, my first question, Rachel, I understand you actually come from a Hollywood family. So am I in the presence of Hollywood royalty right now?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>I wouldn’t call it royalty, but I come from a long line of composers.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Rachael Myrow is senior editor of KQED’s Silicon Valley Desk.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[“You Make Me Feel So Young” by Frank Sinatra]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Both my father and grandfather worked in Hollywood. My grandfather worked for 20th Century Fox in the studio system during the 1940s and fifties. He’s probably best known today for two songs. “You Make Me Feel So Young” and “Autumn Nocturne.”\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[continues]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>You know, you make me feel so young was was part of a sort of a boiler plate musical of the kind that Hollywood used to churn out back then and would probably have been buried in that movie, except for the fact that a number of years later, Frank Sinatra decided to do a cover. Oh, my gosh. I don’t know. That’s that sounds like royalty to me.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[continues]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra:: \u003c/strong>Well, I guess what did you come to learn about how Hollywood works from like this point of view or this perspective?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>There’s always been this war dance, if you will, between labor and the production companies. New technologies always been new technologies, disrupting things. And there’s always been this sort of gap between the experimental phase of a new technology being rolled out and that moment when the unions catch on and demand a piece of the action for their members in the next contract talks. So whether you’re talking about the shift to television or videotape rentals, remember those or foreign residuals? You know, there’s a little lag and then the unions catch up.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You know, we’re talking about the strike. All these actors, producers, writers demanding higher wages and better protections. But what is that? What does any of that have to do with big tech and Silicon Valley?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>This wouldn’t be the first time Big Tech has essentially gone up against Big Labor in California, Right? These are very well-established unions. The Writers Guild of America, SAG-AFTRA. The gig economy has disrupted all sorts of labor markets. Right. And in really stark terms, because the shift to part time work with minimal employer provided benefits has taken money out of the pockets of rank and file workers and shifted it to the pockets of executives and investors. And again, in Hollywood, you know, the executives have always looked out for themselves, for sure. But what’s happening now is that these companies don’t mind sharing the wealth with the top 1%, the superstars, the the showrunners. But everybody else appears to be treated as expendable in much the same way that you see very carefully delineated stratification of the labor market in Silicon Valley. So, you know, Hollywood was already gig ified by the time Silicon Valley arrived. But Silicon Valley has perfected the business model in a very kind of dark and foreboding way.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And that is in big part because of the fact that streaming has really sort of changed the game. Right. You talk about the role of streaming in all this and Netflix sort of changing the landscape for many of these these folks.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Netflix introduced the concept of streaming. Netflix has also changed the name of the game in terms of transparency or lack thereof. You know, it was always hard to know exactly what was happening under the hood, financially speaking, with a show that you’re involved in producing. But Netflix tells you nothing. Even if you were the one making this the show and people who have been very successful on these programs report that they’re not making the kind of money you would think you would make if you were involved with a hit. My God, I’m going to be so rich.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>News Anchor \u003c/strong>That was Kimiko Glenn, who played Brooks Soso on Netflix’s Orange is the New Black. She earned just $27 on that residual check. You saw it there. Her frustration being echoed by many of her costars.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Which makes you ask the question, who knows how much Orange is the New Black is actually making, and who stands in for the actors inside Netflix arguing for them to get a fair amount of money?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>News Anchor \u003c/strong>Leah DeLaria telling The New Yorker, I got $20. I would love to know how much money did Ted Sarandos make last year? Well, here’s the answer. Sarandos, who’s the CEO of Netflix. According to the company’s financial statements last year, he received $20 million in base salary, more than $50 million, if you include the stock and the options…\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Protesters \u003c/strong>[chanting]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>The people I talked to on the picket lines outside of Netflix headquarters in Los Gatos. These people, Ericka, they can connect the dots. They watched what happened to gig workers in other industries. They saw what happened to musicians. My grandfather made a comfortable living on contract with 20th Century Fox, now owned by Disney. My father, on the other hand, died young, in large part from the stress of the ups and downs of working as an independent, a creative gig worker before we knew what that meant. But then you get to someone like Rajiv Shah, right? He’s from Los Gatos. He’s a member of SAG-AFTRA, the Screen Actors Guild slash American Federation of Television and Radio Artists for more than 20 years.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rajiv Shah: \u003c/strong>This is full time for me. So, I mean, I do a lot of work in L.A. and here I’m also a writer, so I do a lot of work with that. And we actually have a production company that does a lot of work for, you know, small businesses and things like that. So it’s all creative. You know, what I’ve been doing.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>And like many creatives, he’s a hyphenate. He’s working a diversified portfolio of gigs. And I think I mentioned he’s from Los Gatos, right? He gets the tech has eaten Hollywood.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rajiv Shah: \u003c/strong>But I think what everybody understands is this is setting a precedent for what’s going to come in the future because, you know, tech is only going to grow. You know, streaming is only going to grow. So all we’re asking is that we grow with it.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>You know, But this is Labor’s moment, right? Maybe the last opportunity it has to fight for a share of the pie that allows people like Shah to survive economically.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I mean, Rachael, big tech has also been notoriously anti-union, right? I mean, just sort of thinking about how Uber and Lyft, for example, have been some of the biggest champions of gig work as opposed to full time work with benefits. How does that play into this? Like has. Have you seen this sort of anti-union, I guess, energy trickling down into Hollywood?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>The companies coming from tech. They don’t have this history of hashing things out every few years with the writers, the directors and the actors. Many of them are not union in the slightest, not even a portion of their employee base. It’s a different ballgame. We’ve seen Hollywood executives say some pretty dark things about willing to watch the writers and the actors bleed. You lose their homes. And, you know, it’s not that the companies aren’t at risk of losing a lot of money, but a lot of their entertainment services are are kind of loss leaders, to borrow a phrase from retail. If you’re Amazon, it doesn’t matter if prime, you know, at least the entertainment part of prime makes money. The whole point is to give people a reason to sign up for prime. Right. To to have the diapers delivered to your doorstep and to keep you engaged with Prime to continue re-upping every year. So that’s what Prime video is there for if you’re Apple. You don’t need to make money from Apple TV, right? This it’s just one unit. And in truth, you could say, well, yeah, those other media behemoths, they’re also made up of multiple units, many of which they talk about selling to each other. So so there’s some of that. But the big media companies, they have to succeed in entertainment versus for tech companies. I don’t think they have to.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>There’s so much talk now about A.I. in big tech. How do you think that might further reshape the landscape of Hollywood?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>This is the question on everybody’s lips, and there’s a lot that really nobody really knows yet. You’ve probably noticed the companies are busy hiring specialists just to figure out what’s possible. Right. And what kind of intellectual property rights are protectable because nobody owns as much creative content as these companies. Right. But already it doesn’t take a software engineer to see that visual special effects people are in big trouble and actors are in big trouble. I don’t know if you saw the latest Indiana Jones movie. There’s a big chunk at the beginning, which is starring a fairly believable younger version of Harrison Ford, but that’s Harrison Ford. So he gets to make bank off that project, right? $25 million. Now, imagine that you’re an extra or the kind of actor who makes a little money here and there for big roles. People might recognize your face or the kind of character you usually play. There are legions of people like this in Hollywood and really all over the world, because there are all sorts of film sets all over the world. Right, including the Bay Area today. Nothing protects these actors from having their likeness recorded on the one or two days. They’re brought on to a set and then used for perpetuity. They’re never going to get called back.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Harley Ford: \u003c/strong>There’s places for A.I., but let us do the work.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>So actors like. One woman I met outside of Netflix in Los Gatos, Harley Ford, she can see the writing on the wall. She knows where this is going.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Harley Ford: \u003c/strong>We’re the ones that, you know, have felt those emotions. And how can a robot put a tear behind something that doesn’t know what a real feeling is? It doesn’t know love. It doesn’t know respect or kindness. It doesn’t know fear.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Harley understands something that I think if you can appreciate that spark of creativity, the way that that only a human can speak to the emotions within us, like some some computer driven retread just can’t. Get to that. Looking ahead here, where does the, I guess, strike stand now? Are the actors and writers any closer to reaching a deal? At this moment, it’s just the writers back at the bargaining table. But I. I can’t read the tea leaves on this one because for one thing, we’re not getting a lot of public information about what they’re talking about. But also, I think that all three core issues for the writers especially are existential, right? Who gets paid and how? Who works and how much and who gets a say in how generative AI is used. And I should say it’s existential for the actors, too. I just think this is this is a moment, perhaps the last moment when when these two unions have the strategic capacity to drive the conversation. I go back to the idea, Erica, that Silicon Valley has eaten Hollywood, eaten the production model, eaten the economic model, and, you know, seems to be well on its way to eating the creative model. We might not see so many picket lines up here in the San Francisco Bay Area. But I’ll tell you, when you see those actors and writers yelling into the cameras on social media, they are yelling at us.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Rachel, thank you so much.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Thank you.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Rachael Myrow, senior editor of the Silicon Valley desk for KQED. Many KQED staffers are members of SAG-AFTRA. But broadcast journalists have a different contract than the Hollywood actors. This 40-minute conversation with Rachel was cut down and edited by senior editor Alan Montecillo. Producer Maria Esquinca scored this episode and added all the tape. If you liked this episode or learn something, tell someone about it. I’m Ericka Cruz Guevarra, thanks for listening to The Bay. Talk to you next time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp style=\"font-weight: 400\">\n\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1700689172,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":2547},"headData":{"title":"How Silicon Valley Ate Hollywood | KQED","description":"View the full episode transcript. Hollywood is no stranger to changes brought on by technology. But KQED’s Rachael Myrow says that for writers and actors currently on strike, this moment is existential — thanks in no small part to Silicon Valley. Many KQED staffers are also members of SAG-AFTRA, but journalists have a different contract","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"How Silicon Valley Ate Hollywood","datePublished":"2023-08-23T10:00:37.000Z","dateModified":"2023-11-22T21:39:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC9846389333.mp3?updated=1692732229","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11958785/how-silicon-valley-ate-hollywood","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hollywood is no stranger to changes brought on by technology. But KQED’s Rachael Myrow says that for writers and actors currently on strike, this moment is existential — thanks in no small part to Silicon Valley.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Many KQED staffers are also members of SAG-AFTRA, but journalists have a different contract from Hollywood actors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9846389333\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra, and welcome to The Bay. Local news to keep you r ooted. Writers in Hollywood have been on strike since May, demanding better wages and working conditions. And last month, thousands of actors joined them. This standoff between the Writers Guild of America, the Screen Actors Guild and the Alliance of Motion Picture and Television Producers is likely to drag on for a while. And behind these calls for improved working conditions is an entire business model changed in large part by none other than Silicon Valley.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>The entire business model has been changed by streaming digital air. This is a moment of history. That is a moment of truth. If we don’t stand tall right now, we are all going to be in trouble.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Hollywood is no stranger to big changes brought on by technology. But for writers and actors on strike right now, this moment is existential. Today, how Silicon Valley changed Hollywood and why this strike has everything to do with big tech.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, my first question, Rachel, I understand you actually come from a Hollywood family. So am I in the presence of Hollywood royalty right now?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>I wouldn’t call it royalty, but I come from a long line of composers.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Rachael Myrow is senior editor of KQED’s Silicon Valley Desk.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[“You Make Me Feel So Young” by Frank Sinatra]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Both my father and grandfather worked in Hollywood. My grandfather worked for 20th Century Fox in the studio system during the 1940s and fifties. He’s probably best known today for two songs. “You Make Me Feel So Young” and “Autumn Nocturne.”\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[continues]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>You know, you make me feel so young was was part of a sort of a boiler plate musical of the kind that Hollywood used to churn out back then and would probably have been buried in that movie, except for the fact that a number of years later, Frank Sinatra decided to do a cover. Oh, my gosh. I don’t know. That’s that sounds like royalty to me.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>MUSIC: \u003c/strong>[continues]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra:: \u003c/strong>Well, I guess what did you come to learn about how Hollywood works from like this point of view or this perspective?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>There’s always been this war dance, if you will, between labor and the production companies. New technologies always been new technologies, disrupting things. And there’s always been this sort of gap between the experimental phase of a new technology being rolled out and that moment when the unions catch on and demand a piece of the action for their members in the next contract talks. So whether you’re talking about the shift to television or videotape rentals, remember those or foreign residuals? You know, there’s a little lag and then the unions catch up.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>You know, we’re talking about the strike. All these actors, producers, writers demanding higher wages and better protections. But what is that? What does any of that have to do with big tech and Silicon Valley?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>This wouldn’t be the first time Big Tech has essentially gone up against Big Labor in California, Right? These are very well-established unions. The Writers Guild of America, SAG-AFTRA. The gig economy has disrupted all sorts of labor markets. Right. And in really stark terms, because the shift to part time work with minimal employer provided benefits has taken money out of the pockets of rank and file workers and shifted it to the pockets of executives and investors. And again, in Hollywood, you know, the executives have always looked out for themselves, for sure. But what’s happening now is that these companies don’t mind sharing the wealth with the top 1%, the superstars, the the showrunners. But everybody else appears to be treated as expendable in much the same way that you see very carefully delineated stratification of the labor market in Silicon Valley. So, you know, Hollywood was already gig ified by the time Silicon Valley arrived. But Silicon Valley has perfected the business model in a very kind of dark and foreboding way.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>And that is in big part because of the fact that streaming has really sort of changed the game. Right. You talk about the role of streaming in all this and Netflix sort of changing the landscape for many of these these folks.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Netflix introduced the concept of streaming. Netflix has also changed the name of the game in terms of transparency or lack thereof. You know, it was always hard to know exactly what was happening under the hood, financially speaking, with a show that you’re involved in producing. But Netflix tells you nothing. Even if you were the one making this the show and people who have been very successful on these programs report that they’re not making the kind of money you would think you would make if you were involved with a hit. My God, I’m going to be so rich.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>News Anchor \u003c/strong>That was Kimiko Glenn, who played Brooks Soso on Netflix’s Orange is the New Black. She earned just $27 on that residual check. You saw it there. Her frustration being echoed by many of her costars.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Which makes you ask the question, who knows how much Orange is the New Black is actually making, and who stands in for the actors inside Netflix arguing for them to get a fair amount of money?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>News Anchor \u003c/strong>Leah DeLaria telling The New Yorker, I got $20. I would love to know how much money did Ted Sarandos make last year? Well, here’s the answer. Sarandos, who’s the CEO of Netflix. According to the company’s financial statements last year, he received $20 million in base salary, more than $50 million, if you include the stock and the options…\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Protesters \u003c/strong>[chanting]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>The people I talked to on the picket lines outside of Netflix headquarters in Los Gatos. These people, Ericka, they can connect the dots. They watched what happened to gig workers in other industries. They saw what happened to musicians. My grandfather made a comfortable living on contract with 20th Century Fox, now owned by Disney. My father, on the other hand, died young, in large part from the stress of the ups and downs of working as an independent, a creative gig worker before we knew what that meant. But then you get to someone like Rajiv Shah, right? He’s from Los Gatos. He’s a member of SAG-AFTRA, the Screen Actors Guild slash American Federation of Television and Radio Artists for more than 20 years.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rajiv Shah: \u003c/strong>This is full time for me. So, I mean, I do a lot of work in L.A. and here I’m also a writer, so I do a lot of work with that. And we actually have a production company that does a lot of work for, you know, small businesses and things like that. So it’s all creative. You know, what I’ve been doing.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>And like many creatives, he’s a hyphenate. He’s working a diversified portfolio of gigs. And I think I mentioned he’s from Los Gatos, right? He gets the tech has eaten Hollywood.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rajiv Shah: \u003c/strong>But I think what everybody understands is this is setting a precedent for what’s going to come in the future because, you know, tech is only going to grow. You know, streaming is only going to grow. So all we’re asking is that we grow with it.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>You know, But this is Labor’s moment, right? Maybe the last opportunity it has to fight for a share of the pie that allows people like Shah to survive economically.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I mean, Rachael, big tech has also been notoriously anti-union, right? I mean, just sort of thinking about how Uber and Lyft, for example, have been some of the biggest champions of gig work as opposed to full time work with benefits. How does that play into this? Like has. Have you seen this sort of anti-union, I guess, energy trickling down into Hollywood?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>The companies coming from tech. They don’t have this history of hashing things out every few years with the writers, the directors and the actors. Many of them are not union in the slightest, not even a portion of their employee base. It’s a different ballgame. We’ve seen Hollywood executives say some pretty dark things about willing to watch the writers and the actors bleed. You lose their homes. And, you know, it’s not that the companies aren’t at risk of losing a lot of money, but a lot of their entertainment services are are kind of loss leaders, to borrow a phrase from retail. If you’re Amazon, it doesn’t matter if prime, you know, at least the entertainment part of prime makes money. The whole point is to give people a reason to sign up for prime. Right. To to have the diapers delivered to your doorstep and to keep you engaged with Prime to continue re-upping every year. So that’s what Prime video is there for if you’re Apple. You don’t need to make money from Apple TV, right? This it’s just one unit. And in truth, you could say, well, yeah, those other media behemoths, they’re also made up of multiple units, many of which they talk about selling to each other. So so there’s some of that. But the big media companies, they have to succeed in entertainment versus for tech companies. I don’t think they have to.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>There’s so much talk now about A.I. in big tech. How do you think that might further reshape the landscape of Hollywood?\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>This is the question on everybody’s lips, and there’s a lot that really nobody really knows yet. You’ve probably noticed the companies are busy hiring specialists just to figure out what’s possible. Right. And what kind of intellectual property rights are protectable because nobody owns as much creative content as these companies. Right. But already it doesn’t take a software engineer to see that visual special effects people are in big trouble and actors are in big trouble. I don’t know if you saw the latest Indiana Jones movie. There’s a big chunk at the beginning, which is starring a fairly believable younger version of Harrison Ford, but that’s Harrison Ford. So he gets to make bank off that project, right? $25 million. Now, imagine that you’re an extra or the kind of actor who makes a little money here and there for big roles. People might recognize your face or the kind of character you usually play. There are legions of people like this in Hollywood and really all over the world, because there are all sorts of film sets all over the world. Right, including the Bay Area today. Nothing protects these actors from having their likeness recorded on the one or two days. They’re brought on to a set and then used for perpetuity. They’re never going to get called back.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Harley Ford: \u003c/strong>There’s places for A.I., but let us do the work.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>So actors like. One woman I met outside of Netflix in Los Gatos, Harley Ford, she can see the writing on the wall. She knows where this is going.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Harley Ford: \u003c/strong>We’re the ones that, you know, have felt those emotions. And how can a robot put a tear behind something that doesn’t know what a real feeling is? It doesn’t know love. It doesn’t know respect or kindness. It doesn’t know fear.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Harley understands something that I think if you can appreciate that spark of creativity, the way that that only a human can speak to the emotions within us, like some some computer driven retread just can’t. Get to that. Looking ahead here, where does the, I guess, strike stand now? Are the actors and writers any closer to reaching a deal? At this moment, it’s just the writers back at the bargaining table. But I. I can’t read the tea leaves on this one because for one thing, we’re not getting a lot of public information about what they’re talking about. But also, I think that all three core issues for the writers especially are existential, right? Who gets paid and how? Who works and how much and who gets a say in how generative AI is used. And I should say it’s existential for the actors, too. I just think this is this is a moment, perhaps the last moment when when these two unions have the strategic capacity to drive the conversation. I go back to the idea, Erica, that Silicon Valley has eaten Hollywood, eaten the production model, eaten the economic model, and, you know, seems to be well on its way to eating the creative model. We might not see so many picket lines up here in the San Francisco Bay Area. But I’ll tell you, when you see those actors and writers yelling into the cameras on social media, they are yelling at us.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Rachel, thank you so much.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Rachael Myrow: \u003c/strong>Thank you.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Rachael Myrow, senior editor of the Silicon Valley desk for KQED. Many KQED staffers are members of SAG-AFTRA. But broadcast journalists have a different contract than the Hollywood actors. This 40-minute conversation with Rachel was cut down and edited by senior editor Alan Montecillo. Producer Maria Esquinca scored this episode and added all the tape. If you liked this episode or learn something, tell someone about it. I’m Ericka Cruz Guevarra, thanks for listening to The Bay. Talk to you next time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">\n\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11958785/how-silicon-valley-ate-hollywood","authors":["8654","251","11802","11649"],"programs":["news_28779"],"categories":["news_8","news_33520"],"tags":["news_28321","news_5396","news_26182","news_727","news_353","news_22598"],"featImg":"news_11958791","label":"source_news_11958785"},"news_11926009":{"type":"posts","id":"news_11926009","meta":{"index":"posts_1591205157","site":"news","id":"11926009","score":null,"sort":[1663360045000]},"guestAuthors":[],"slug":"hollywoods-first-chinese-american-star-pronouns-lost-in-translation","title":"Hollywood's First Chinese American Star + Pronouns Lost in Translation","publishDate":1663360045,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2022/09/16/she-fought-racism-in-early-hollywood-now-shell-be-the-first-asian-american-on-us-currency/\">\u003cstrong>She Fought Racism in Early Hollywood. Now She'll Be the First Asian American on US Currency\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The pioneering Asian American actress Anna May Wong is one of five American women the U.S. Mint is recognizing this year with an image on the American quarter, and the first Asian American to appear on U.S. currency. Wong was born in Los Angeles in 1905, and she grew up helping out at her father's laundromat. When the film industry moved from New York to Hollywood, she started skipping school to visit movie sets. She would eventually go on to become Hollywood’s first Chinese American movie star. Wong fought the ever-present obstacle of institutional racism in the film industry to forge a remarkable career that spanned 40 years. Host Sasha Khokha talks about Wong’s legacy with Nancy Wang Yeun, a sociologist and expert on race in Hollywood.\u003c/p>\n\u003cp>\u003cstrong>Lost in Translation\u003c/strong>\u003c/p>\n\u003cp>What is it like to talk about your gender identity in different languages? What happens when the pronouns for “he” and “she” in a particular language are similar, or even identical? We meet Emmett Chen-Ran, who decided during his senior year of high school to tell his parents he is transgender. While he grappled with whether they would accept and understand him, there was another challenge: deciding what language he should use to tell them – English or Chinese? The California Report Magazine’s former intern Izzy Bloom and reporter Elena Neale-Sacks bring us this story, which first aired on \u003ca href=\"https://www.npr.org/transcripts/1115176145\">NPR’s Code Switch\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1664567978,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":269},"headData":{"title":"Hollywood's First Chinese American Star + Pronouns Lost in Translation | KQED","description":"She Fought Racism in Early Hollywood. Now She'll Be the First Asian American on US Currency The pioneering Asian American actress Anna May Wong is one of five American women the U.S. Mint is recognizing this year with an image on the American quarter, and the first Asian American to appear on U.S. currency. Wong","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Hollywood's First Chinese American Star + Pronouns Lost in Translation","datePublished":"2022-09-16T20:27:25.000Z","dateModified":"2022-09-30T19:59:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11926009 https://ww2.kqed.org/news/?p=11926009","disqusUrl":"https://ww2.kqed.org/news/2022/09/16/hollywoods-first-chinese-american-star-pronouns-lost-in-translation/","disqusTitle":"Hollywood's First Chinese American Star + Pronouns Lost in Translation","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC8516851929.mp3?updated=1663360063","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/news/11926009/hollywoods-first-chinese-american-star-pronouns-lost-in-translation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2022/09/16/she-fought-racism-in-early-hollywood-now-shell-be-the-first-asian-american-on-us-currency/\">\u003cstrong>She Fought Racism in Early Hollywood. Now She'll Be the First Asian American on US Currency\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The pioneering Asian American actress Anna May Wong is one of five American women the U.S. Mint is recognizing this year with an image on the American quarter, and the first Asian American to appear on U.S. currency. Wong was born in Los Angeles in 1905, and she grew up helping out at her father's laundromat. When the film industry moved from New York to Hollywood, she started skipping school to visit movie sets. She would eventually go on to become Hollywood’s first Chinese American movie star. Wong fought the ever-present obstacle of institutional racism in the film industry to forge a remarkable career that spanned 40 years. Host Sasha Khokha talks about Wong’s legacy with Nancy Wang Yeun, a sociologist and expert on race in Hollywood.\u003c/p>\n\u003cp>\u003cstrong>Lost in Translation\u003c/strong>\u003c/p>\n\u003cp>What is it like to talk about your gender identity in different languages? What happens when the pronouns for “he” and “she” in a particular language are similar, or even identical? We meet Emmett Chen-Ran, who decided during his senior year of high school to tell his parents he is transgender. While he grappled with whether they would accept and understand him, there was another challenge: deciding what language he should use to tell them – English or Chinese? The California Report Magazine’s former intern Izzy Bloom and reporter Elena Neale-Sacks bring us this story, which first aired on \u003ca href=\"https://www.npr.org/transcripts/1115176145\">NPR’s Code Switch\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11926009/hollywoods-first-chinese-american-star-pronouns-lost-in-translation","authors":["236"],"programs":["news_72","news_26731"],"categories":["news_1169","news_8"],"tags":["news_29182","news_31632","news_31655","news_31656","news_5396","news_20202","news_20004","news_24732","news_31657"],"featImg":"news_11926003","label":"news_26731"},"news_11874704":{"type":"posts","id":"news_11874704","meta":{"index":"posts_1591205157","site":"news","id":"11874704","score":null,"sort":[1621710304000]},"guestAuthors":[],"slug":"a-star-without-a-star-an-oakland-mans-mission-to-get-his-aunt-on-the-hollywood-walk-of-fame","title":"‘A Star Without a Star’: An Oakland Man's Mission to Get his Aunt on the Hollywood Walk of Fame","publishDate":1621710304,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>Long before the current reckoning with the Golden Globe Awards and the push for more diverse representation in media, Black actors in Hollywood's golden age paved the way in an industry that gave them few options and, often, no credit. In her seven-decade stage and screen career, Juanita Moore made more than 80 film and television appearances.\u003c/p>\n\u003cp>Though she was nominated for an Academy Award for her performance in the 1959 film, \u003ca href=\"https://www.imdb.com/title/tt0052918/?ref_=tt_mv_close\">\"Imitation of Life,\" \u003c/a>she didn't reach the level of fame and recognition that might normally follow such a nomination. Her nephew, Arnett Moore, says her spotlight is long overdue. [pullquote size=\"medium\" align=\"right\" citation=\"Arnett Moore\"]'In the '50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again. You might not know her name, but you knew that she was that person.'[/pullquote]\u003c/p>\n\u003cp>From his home in the Oakland Hills, 75-year-old Arnett has launched a one-man campaign to get his late aunt a star on the Hollywood Walk of Fame. The Hollywood Chamber of Commerce only picks one posthumous candidate each year to get a star. Applications are due by May 28, and this is the third year in a row Arnett has submitted Juanita for consideration.\u003c/p>\n\u003cp>“In the '50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again,” he says, \"You might not know her name, but you knew that she was that person.\"\u003c/p>\n\u003cfigure id=\"attachment_11874869\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait.jpg\">\u003cimg class=\"wp-image-11874869 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg\" alt=\"\" width=\"800\" height=\"947\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-1020x1207.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-160x189.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-1298x1536.jpg 1298w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-1731x2048.jpg 1731w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of Juanita Moore. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita was born in Itta Bena, Mississippi, one of seven sisters, and the youngest of nine children, though one of her brothers died in childhood. Her other brother was Arnett's father. Juanita's mother moved all the children to Los Angeles around 1921. Her brother, Juanita's uncle, was a sleeping car porter and was able to get train tickets for the family to come to California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While attending Thomas Jefferson High School in Los Angeles, Juanita was part of the glee club, singing and dancing. A teacher saw her perform and suggested that she had the talent to pursue a career on stage. Arnett says she and a friend moved to New York City to do just that.\u003c/p>\n\u003cp>\"She was a showgirl at 18 at Small's Paradise, at the (Cafe Zanzibar), at several venues throughout New York, during the Harlem Renaissance. This is in the thirties.\u003ci>\" \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11874820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18.jpg\">\u003cimg class=\"wp-image-11874820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-1020x833.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-1536x1255.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18.jpg 1921w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore, around 18 years old, as a Chorus Girl in New York circa 1933. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon after, says Arnett, Juanita headed to Europe, \"Because Black entertainers weren't as well received in America as they were in Europe.\" She sang at the London Palladium, at the Moulin Rouge, and Arnett says she even had a chance to sing and dance with Josephine Baker, the entertainer and civil rights activist.\u003c/p>\n\u003cfigure id=\"attachment_11874838\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend.jpg\">\u003cimg class=\"wp-image-11874838 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg\" alt=\"\" width=\"800\" height=\"983\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-1020x1253.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-160x197.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-1250x1536.jpg 1250w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-1667x2048.jpg 1667w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore (right), with a friend, sometime in the early '30s. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita returned to California after the death of her mother, and it was then that she began to pursue acting. \"She started out in, they called it, Black cinema or\u003ca href=\"https://www.npr.org/sections/codeswitch/2016/03/04/469149240/restored-movies-by-african-american-filmmakers-find-new-audiences\"> race movies,\u003c/a>\" Arnett says. These were films made by Black filmmakers featuring primary Black casts for Black audiences. \"But these were all movies that you aren't getting credit for, for being a Hollywood star yet.\u003cem>\" \u003c/em>\u003c/p>\n\u003cp>Her first appearance in a mainstream movie came in the 1949 film, \"Pinky,\" in which she had a few lines as a nurse. Many of the roles available to her were based on negative stereotypes, Arnett says.\u003c/p>\n\u003cp>“She once said she was from the boudoir to the jungle,” he says, “In other words, she played a maid to a savage. And that was her early career.” Those were the roles available to Black women at the time, says Arnett, but Juanita had her limits. \"One thing she wouldn't do is play the mammy role or the buffoon roles. She would not do those, and those that did became very successful. But she refused to do those.\"\u003c/p>\n\u003cp>It wasn’t until 1959 that Juanita got her big break when she was cast in the drama, \"Imitation of Life,\" alongside Lana Turner and Susan Kohner. Juanita plays Annie, a woman whose light-skinned daughter rejects her Black identity, to live her life passing as white.\u003c/p>\n\u003cp>https://youtu.be/-_ax1pt8zp0\u003c/p>\n\u003cp>\"I remember that it was a very emotional picture,\" Arnett says, \"I once was asked by a friend of mine who was older, 'Did you cry during Imitation of Life?' I said, 'No!' I didn't want him to think I cried. But yes,\" Arnett admits, laughing, \"I cry even today. And I cried then.\"\u003c/p>\n\u003cp>During a 1995 interview with Turner Classic Movies, Juanita Moore remembered what the film’s producer, Ross Hunter, told her when she got the part: “'Juanita,' he said, 'I've put my neck out for you. If you’re no good, the picture is not gonna be any good.’\"\u003c/p>\n\u003cfigure id=\"attachment_11874895\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg\">\u003cimg class=\"wp-image-11874895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg\" alt=\"\" width=\"800\" height=\"1234\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1020x1573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-160x247.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-996x1536.jpg 996w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1328x2048.jpg 1328w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1920x2960.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg 1660w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita with Ross Hunter, the producer of 'Imitation of Life,' and Sammy Davis Jr. Sammy was a friend of Juanita's, and stopped by the set for a visit. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was significant pressure,” Arnett says, “Because really that was her coming out too. She had been in movies prior to that, playing small parts and some uncredited parts. But this was her opportunity to bust out at 44-years-old.”\u003c/p>\n\u003cp>The film was a success and Juanita received an Academy Awards nomination for Best Supporting Actress. She became the fifth Black actor ever to be nominated for an Oscar. Although she didn’t win, Juanita hoped she would get cast in more leading roles. But the offers never came. She didn’t work for a year after that.\u003c/p>\n\u003cp>“I didn't want to carry the trays anymore,” recalled Juanita during the 1995 interview. “I knew that was the only kind of job that I was going to get. I knew that, but I did not want to do that. So I don't know if being nominated helped me or not.”\u003c/p>\n\u003cp>But true to her passion, Juanita never quit acting. She went on to perform in mostly small roles. Her last role was in 2000, as a grandmother in Disney’s \"The Kid\" with Bruce Willis.\u003c/p>\n\u003cp>She died just before New Year's Day 2014, at the age of 99.\u003c/p>\n\u003cfigure id=\"attachment_11874843\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s.jpg\">\u003cimg class=\"wp-image-11874843 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-800x995.jpg\" alt=\"\" width=\"800\" height=\"995\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-800x995.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-1020x1268.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-160x199.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-1235x1536.jpg 1235w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-1647x2048.jpg 1647w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore in the 1950s. Photo courtesy Arnett Moore\u003c/figcaption>\u003c/figure>\n\u003cp>Arnett says his aunt never talked much about her career when he was a kid growing up in LA.[aside tag=\"hollywood, golden globes\" label=\"More Hollywood Stories\"] He’s had to uncover much of her professional history himself after her death, including digging up hundreds of photos. A three-inch-thick binder holds much of the information he's found about his aunt, and many family photos too. Framed portraits of her sit in his living room. His affection and admiration for her is clear.\u003c/p>\n\u003cp>“I'm very proud of her,” he says, “She had a lot of obstacles, the biggest one being racism … she's a star without a star.”\u003c/p>\n\u003cp>Arnett recalls a conversation he had with Juanita just a few months before her death.\u003c/p>\n\u003cp>\"I said, Nita, do you want a star on the Hollywood Walk of Fame? And she says, 'If you think I deserve one, baby.' From that point on, I did everything I could to look and research and see how she could earn a star on the Hollywood Walk of Fame.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Arnett says he's mostly optimistic. If Juanita isn't selected this time around, he says he'll keep trying until she gets her star.\u003c/p>\n\n","blocks":[],"excerpt":"In her seven-decade stage and screen career, Juanita Moore made more than 80 film and television appearances.","status":"publish","parent":0,"modified":1621972683,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1359},"headData":{"title":"‘A Star Without a Star’: An Oakland Man's Mission to Get his Aunt on the Hollywood Walk of Fame | KQED","description":"In her seven-decade stage and screen career, Juanita Moore made more than 80 film and television appearances.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"‘A Star Without a Star’: An Oakland Man's Mission to Get his Aunt on the Hollywood Walk of Fame","datePublished":"2021-05-22T19:05:04.000Z","dateModified":"2021-05-25T19:58:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11874704 https://ww2.kqed.org/news/?p=11874704","disqusUrl":"https://ww2.kqed.org/news/2021/05/22/a-star-without-a-star-an-oakland-mans-mission-to-get-his-aunt-on-the-hollywood-walk-of-fame/","disqusTitle":"‘A Star Without a Star’: An Oakland Man's Mission to Get his Aunt on the Hollywood Walk of Fame","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/ff7dbe31-104a-402c-9a6a-ad30000b5f30/audio.mp3","path":"/news/11874704/a-star-without-a-star-an-oakland-mans-mission-to-get-his-aunt-on-the-hollywood-walk-of-fame","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before the current reckoning with the Golden Globe Awards and the push for more diverse representation in media, Black actors in Hollywood's golden age paved the way in an industry that gave them few options and, often, no credit. In her seven-decade stage and screen career, Juanita Moore made more than 80 film and television appearances.\u003c/p>\n\u003cp>Though she was nominated for an Academy Award for her performance in the 1959 film, \u003ca href=\"https://www.imdb.com/title/tt0052918/?ref_=tt_mv_close\">\"Imitation of Life,\" \u003c/a>she didn't reach the level of fame and recognition that might normally follow such a nomination. Her nephew, Arnett Moore, says her spotlight is long overdue. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'In the '50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again. You might not know her name, but you knew that she was that person.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Arnett Moore","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From his home in the Oakland Hills, 75-year-old Arnett has launched a one-man campaign to get his late aunt a star on the Hollywood Walk of Fame. The Hollywood Chamber of Commerce only picks one posthumous candidate each year to get a star. Applications are due by May 28, and this is the third year in a row Arnett has submitted Juanita for consideration.\u003c/p>\n\u003cp>“In the '50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again,” he says, \"You might not know her name, but you knew that she was that person.\"\u003c/p>\n\u003cfigure id=\"attachment_11874869\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait.jpg\">\u003cimg class=\"wp-image-11874869 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg\" alt=\"\" width=\"800\" height=\"947\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-1020x1207.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-160x189.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-1298x1536.jpg 1298w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-1731x2048.jpg 1731w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of Juanita Moore. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita was born in Itta Bena, Mississippi, one of seven sisters, and the youngest of nine children, though one of her brothers died in childhood. Her other brother was Arnett's father. Juanita's mother moved all the children to Los Angeles around 1921. Her brother, Juanita's uncle, was a sleeping car porter and was able to get train tickets for the family to come to California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While attending Thomas Jefferson High School in Los Angeles, Juanita was part of the glee club, singing and dancing. A teacher saw her perform and suggested that she had the talent to pursue a career on stage. Arnett says she and a friend moved to New York City to do just that.\u003c/p>\n\u003cp>\"She was a showgirl at 18 at Small's Paradise, at the (Cafe Zanzibar), at several venues throughout New York, during the Harlem Renaissance. This is in the thirties.\u003ci>\" \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11874820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18.jpg\">\u003cimg class=\"wp-image-11874820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-1020x833.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-1536x1255.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18.jpg 1921w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore, around 18 years old, as a Chorus Girl in New York circa 1933. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon after, says Arnett, Juanita headed to Europe, \"Because Black entertainers weren't as well received in America as they were in Europe.\" She sang at the London Palladium, at the Moulin Rouge, and Arnett says she even had a chance to sing and dance with Josephine Baker, the entertainer and civil rights activist.\u003c/p>\n\u003cfigure id=\"attachment_11874838\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend.jpg\">\u003cimg class=\"wp-image-11874838 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg\" alt=\"\" width=\"800\" height=\"983\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-1020x1253.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-160x197.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-1250x1536.jpg 1250w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-1667x2048.jpg 1667w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore (right), with a friend, sometime in the early '30s. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita returned to California after the death of her mother, and it was then that she began to pursue acting. \"She started out in, they called it, Black cinema or\u003ca href=\"https://www.npr.org/sections/codeswitch/2016/03/04/469149240/restored-movies-by-african-american-filmmakers-find-new-audiences\"> race movies,\u003c/a>\" Arnett says. These were films made by Black filmmakers featuring primary Black casts for Black audiences. \"But these were all movies that you aren't getting credit for, for being a Hollywood star yet.\u003cem>\" \u003c/em>\u003c/p>\n\u003cp>Her first appearance in a mainstream movie came in the 1949 film, \"Pinky,\" in which she had a few lines as a nurse. Many of the roles available to her were based on negative stereotypes, Arnett says.\u003c/p>\n\u003cp>“She once said she was from the boudoir to the jungle,” he says, “In other words, she played a maid to a savage. And that was her early career.” Those were the roles available to Black women at the time, says Arnett, but Juanita had her limits. \"One thing she wouldn't do is play the mammy role or the buffoon roles. She would not do those, and those that did became very successful. But she refused to do those.\"\u003c/p>\n\u003cp>It wasn’t until 1959 that Juanita got her big break when she was cast in the drama, \"Imitation of Life,\" alongside Lana Turner and Susan Kohner. Juanita plays Annie, a woman whose light-skinned daughter rejects her Black identity, to live her life passing as white.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-_ax1pt8zp0'\n title='//www.youtube.com/embed/-_ax1pt8zp0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"I remember that it was a very emotional picture,\" Arnett says, \"I once was asked by a friend of mine who was older, 'Did you cry during Imitation of Life?' I said, 'No!' I didn't want him to think I cried. But yes,\" Arnett admits, laughing, \"I cry even today. And I cried then.\"\u003c/p>\n\u003cp>During a 1995 interview with Turner Classic Movies, Juanita Moore remembered what the film’s producer, Ross Hunter, told her when she got the part: “'Juanita,' he said, 'I've put my neck out for you. If you’re no good, the picture is not gonna be any good.’\"\u003c/p>\n\u003cfigure id=\"attachment_11874895\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg\">\u003cimg class=\"wp-image-11874895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg\" alt=\"\" width=\"800\" height=\"1234\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1020x1573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-160x247.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-996x1536.jpg 996w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1328x2048.jpg 1328w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1920x2960.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg 1660w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita with Ross Hunter, the producer of 'Imitation of Life,' and Sammy Davis Jr. Sammy was a friend of Juanita's, and stopped by the set for a visit. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was significant pressure,” Arnett says, “Because really that was her coming out too. She had been in movies prior to that, playing small parts and some uncredited parts. But this was her opportunity to bust out at 44-years-old.”\u003c/p>\n\u003cp>The film was a success and Juanita received an Academy Awards nomination for Best Supporting Actress. She became the fifth Black actor ever to be nominated for an Oscar. Although she didn’t win, Juanita hoped she would get cast in more leading roles. But the offers never came. She didn’t work for a year after that.\u003c/p>\n\u003cp>“I didn't want to carry the trays anymore,” recalled Juanita during the 1995 interview. “I knew that was the only kind of job that I was going to get. I knew that, but I did not want to do that. So I don't know if being nominated helped me or not.”\u003c/p>\n\u003cp>But true to her passion, Juanita never quit acting. She went on to perform in mostly small roles. Her last role was in 2000, as a grandmother in Disney’s \"The Kid\" with Bruce Willis.\u003c/p>\n\u003cp>She died just before New Year's Day 2014, at the age of 99.\u003c/p>\n\u003cfigure id=\"attachment_11874843\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s.jpg\">\u003cimg class=\"wp-image-11874843 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-800x995.jpg\" alt=\"\" width=\"800\" height=\"995\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-800x995.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-1020x1268.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-160x199.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-1235x1536.jpg 1235w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-1647x2048.jpg 1647w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore in the 1950s. Photo courtesy Arnett Moore\u003c/figcaption>\u003c/figure>\n\u003cp>Arnett says his aunt never talked much about her career when he was a kid growing up in LA.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"hollywood, golden globes","label":"More Hollywood Stories "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> He’s had to uncover much of her professional history himself after her death, including digging up hundreds of photos. A three-inch-thick binder holds much of the information he's found about his aunt, and many family photos too. Framed portraits of her sit in his living room. His affection and admiration for her is clear.\u003c/p>\n\u003cp>“I'm very proud of her,” he says, “She had a lot of obstacles, the biggest one being racism … she's a star without a star.”\u003c/p>\n\u003cp>Arnett recalls a conversation he had with Juanita just a few months before her death.\u003c/p>\n\u003cp>\"I said, Nita, do you want a star on the Hollywood Walk of Fame? And she says, 'If you think I deserve one, baby.' From that point on, I did everything I could to look and research and see how she could earn a star on the Hollywood Walk of Fame.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arnett says he's mostly optimistic. If Juanita isn't selected this time around, he says he'll keep trying until she gets her star.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11874704/a-star-without-a-star-an-oakland-mans-mission-to-get-his-aunt-on-the-hollywood-walk-of-fame","authors":["8637","11727"],"programs":["news_26731"],"categories":["news_223","news_8"],"tags":["news_29500","news_29502","news_29499","news_5396","news_29498","news_4829","news_29497"],"featImg":"news_11874738","label":"news_26731"},"news_11801357":{"type":"posts","id":"news_11801357","meta":{"index":"posts_1591205157","site":"news","id":"11801357","score":null,"sort":[1582207226000]},"guestAuthors":[],"slug":"will-intimacy-coordinators-change-the-future-of-sex-scenes-in-hollywood","title":"Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood?","publishDate":1582207226,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">As jury deliberations continue in the trial of big budget movie producer Harvey Weinstein, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has signaled it wants to institutionalize more sensitive approaches to simulating intimacy on set.\u003c/span>\u003c/p>\n\u003cp>Last month, the guild released \u003ca href=\"https://www.sagaftra.org/contracts-industry-resources/workplace-harassment/intimacy-coordinator-standards-protocols\" target=\"_blank\" rel=\"noopener noreferrer\">new standards and protocols\u003c/a> for the work of intimacy coordinators, a growing industry of professionals who help choreograph scenes that depict sexual behavior\u003cspan style=\"font-weight: 400\"> in movies and TV\u003c/span>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\"The best practice around when to use us is whenever there are scenes involving any level of nudity — and then, of course, any type of simulated sex,\" said Amanda Blumenthal, an intimacy coordinator who helped the guild put together the new standards.\u003c/p>\n\u003cp>Blumenthal's website lists a number of specific scenarios during which intimacy coordinators can be useful, like \"coordinating with departments such as costumes and makeup to make sure that the actors are provided with appropriate nudity garments and prosthetics.\"\u003c/p>\n\u003cp>Intimacy coordinators, or ICs, can play a role in all kinds of intimate scenes, including “groping of breasts over clothing, heavy make out sessions, first kisses for minors and things like that,\" said Blumenthal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n","blocks":[],"excerpt":"The Screen Actor's Guild wants to institutionalize more sensitive approaches to filming scenes with simulated intimacy.","status":"publish","parent":0,"modified":1582227074,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1014},"headData":{"title":"Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood? | KQED","description":"The Screen Actor's Guild wants to institutionalize more sensitive approaches to filming scenes with simulated intimacy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood?","datePublished":"2020-02-20T14:00:26.000Z","dateModified":"2020-02-20T19:31:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11801357 https://ww2.kqed.org/news/?p=11801357","disqusUrl":"https://ww2.kqed.org/news/2020/02/20/will-intimacy-coordinators-change-the-future-of-sex-scenes-in-hollywood/","disqusTitle":"Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood?","path":"/news/11801357/will-intimacy-coordinators-change-the-future-of-sex-scenes-in-hollywood","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">As jury deliberations continue in the trial of big budget movie producer Harvey Weinstein, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has signaled it wants to institutionalize more sensitive approaches to simulating intimacy on set.\u003c/span>\u003c/p>\n\u003cp>Last month, the guild released \u003ca href=\"https://www.sagaftra.org/contracts-industry-resources/workplace-harassment/intimacy-coordinator-standards-protocols\" target=\"_blank\" rel=\"noopener noreferrer\">new standards and protocols\u003c/a> for the work of intimacy coordinators, a growing industry of professionals who help choreograph scenes that depict sexual behavior\u003cspan style=\"font-weight: 400\"> in movies and TV\u003c/span>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\"The best practice around when to use us is whenever there are scenes involving any level of nudity — and then, of course, any type of simulated sex,\" said Amanda Blumenthal, an intimacy coordinator who helped the guild put together the new standards.\u003c/p>\n\u003cp>Blumenthal's website lists a number of specific scenarios during which intimacy coordinators can be useful, like \"coordinating with departments such as costumes and makeup to make sure that the actors are provided with appropriate nudity garments and prosthetics.\"\u003c/p>\n\u003cp>Intimacy coordinators, or ICs, can play a role in all kinds of intimate scenes, including “groping of breasts over clothing, heavy make out sessions, first kisses for minors and things like that,\" said Blumenthal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11801357/will-intimacy-coordinators-change-the-future-of-sex-scenes-in-hollywood","authors":["11583"],"categories":["news_223","news_8"],"tags":["news_21812","news_5396","news_2838"],"featImg":"news_11802510","label":"news"},"arts_13872423":{"type":"posts","id":"arts_13872423","meta":{"index":"posts_1591205157","site":"arts","id":"13872423","score":null,"sort":[1578337581000]},"guestAuthors":[],"slug":"harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark","title":"Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark","publishDate":1578337581,"format":"standard","headTitle":"Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFX-wWVOyjc&feature=emb_logo\u003c/p>\n\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"It's the first criminal trial for Weinstein, whose alleged misconduct helped set off a movement. Now, the former producer faces five charges that may land him a long prison sentence in New York.","status":"publish","parent":0,"modified":1705021565,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1007},"headData":{"title":"Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark | KQED","description":"It's the first criminal trial for Weinstein, whose alleged misconduct helped set off a movement. Now, the former producer faces five charges that may land him a long prison sentence in New York.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark","datePublished":"2020-01-06T19:06:21.000Z","dateModified":"2024-01-12T01:06:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Jeenah Moon","nprByline":"Rose Friedman, Colin Dwyer","nprImageAgency":"Getty Images","nprStoryId":"793613868","nprApiLink":"http://api.npr.org/query?id=793613868&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/01/06/793613868/harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark?ft=nprml&f=793613868","nprRetrievedStory":"1","nprPubDate":"Mon, 06 Jan 2020 07:37:00 -0500","nprStoryDate":"Mon, 06 Jan 2020 05:07:00 -0500","nprLastModifiedDate":"Mon, 06 Jan 2020 08:37:48 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/01/20200106_me_harvey_weinstein_heads_to_trial_for_sex_crimes_in_a_metoo_landmark.mp3?orgId=1&topicId=1070&d=231&p=3&story=793613868&ft=nprml&f=793613868","nprAudioM3u":"http://api.npr.org/m3u/1793895450-28cbc0.m3u?orgId=1&topicId=1070&d=231&p=3&story=793613868&ft=nprml&f=793613868","templateType":"standard","featuredImageType":"standard","path":"/arts/13872423/harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/01/20200106_me_harvey_weinstein_heads_to_trial_for_sex_crimes_in_a_metoo_landmark.mp3?orgId=1&topicId=1070&d=231&p=3&story=793613868&ft=nprml&f=793613868","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VFX-wWVOyjc'\n title='//www.youtube.com/embed/VFX-wWVOyjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13872423/harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark","authors":["byline_arts_13872423"],"categories":["arts_74","arts_235"],"tags":["arts_2798","arts_2777","arts_2462","arts_5676"],"affiliates":["arts_137"],"featImg":"arts_13872424","label":"arts_137"},"news_11750104":{"type":"posts","id":"news_11750104","meta":{"index":"posts_1591205157","site":"news","id":"11750104","score":null,"sort":[1559346290000]},"guestAuthors":[],"slug":"how-an-old-school-l-a-video-store-thrives-in-a-netflix-world","title":"How an Old-School L.A. Video Store Thrives in a Netflix World","publishDate":1559346290,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>The year was 1989. Movies like \"Batman,\" \"When Harry Met Sally\" and \"Back to the Future Part II\" were Hollywood hits.\u003c/p>\n\u003cp>On the other side of Hollywood, miles from the production studios and industry gatekeepers, two Mexican-American brothers from East Los Angeles embarked on a plan to deliver movie magic to their side of town.\u003c/p>\n\u003cp>[pullquote size=“medium” align=”right” citation=\"Martin Felix\"]'We were one of the first to actually pioneer [movie delivery].'[/pullquote]\u003c/p>\n\u003cp>Martin and Eddie Felix purchased used VHS tapes from the rental stores on the Westside of Los Angeles. Once they had a sizable collection of '80s crowd-favorites, they converted their parent’s garage in East Los Angeles into a video library.\u003c/p>\n\u003cp>They called their business Fastlane Video, and unlike the nearby video rental spots, they took their cue from pizzerias. They advertised free delivery and pickup, with a free bag of microwavable popcorn for every two-movie rental.\u003c/p>\n\u003cfigure id=\"attachment_11750247\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg\" alt=\"An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles.\" width=\"729\" height=\"900\" class=\"size-full wp-image-11750247\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37368_156702-qut.jpg 729w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37368_156702-qut-160x198.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Already running a successful print shop out of the same garage, 21-year-old-Martin and his older brother Eddie designed mini catalogs of their VHS inventory. \u003c/p>\n\u003cp>They mailed them out to households across East L.A so customers could call in their orders.\u003c/p>\n\u003cp>“We were one of the first to actually pioneer [movie delivery],” says Martin Felix.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than a decade before Netflix would come to dominate the rental market and mail DVDs in red envelopes, the Felix brothers were finding innovative ways to collect their share of the lucrative movie industry.\u003c/p>\n\u003cp>Martin and Eddie enlisted their neighborhood buddies with cars to deliver from Soto Street to Whittier Boulevard, all the way to the 10 freeway.\u003c/p>\n\u003cfigure id=\"attachment_11750245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11750245\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg\" alt=\"\" width=\"1920\" height=\"1567\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-800x653.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1020x832.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1200x979.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video began as a movie delivery service to households throughout East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Business got so good that eager customers started showing up to the Felix’s family home — the address was noted on the return address of the mailed catalogs and flyers — expecting a storefront, only to find a garage.\u003c/p>\n\u003cp>“We needed a new location because more people wanted to actually come into a shop than for us to deliver,” says Martin.\u003c/p>\n\u003cp>In 1990, the brothers expanded from their parents’ East L.A. garage to a storefront in the nearby suburb of Pico Rivera. Two years later, the brothers went their separate ways but remained close.\u003c/p>\n\u003cp>Martin moved Fastlane Video to the city of Whittier and Eddie opened his own printing shop, Fastlane Printing, next door.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EkNxT89CgFE\u003c/p>\n\u003cp>Since Martin was a party promoter before the days of Fastlane Video, he knew how to attract large crowds to the store.\u003c/p>\n\u003cp>In the '90s he often organized autograph-signings with acts like \u003ca href=\"https://www.youtube.com/watch?v=XB91QfyBuz8\">Sweet Sensation\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Of-uhhQWNeA\">Miranda\u003c/a>, and eager teens would show up to get the latest mix-tapes and CDs for their backyard parties.\u003c/p>\n\u003cp>The part-video-store, part-record-shop quickly became a hub for local DJs and big name recording artists in the house music and \u003ca href=\"https://tropicsofmeta.com/2016/11/30/the-other-freestyle-recovering-80s-latin-dance-music/\">freestyle\u003c/a> scene.\u003c/p>\n\u003cfigure id=\"attachment_11750249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg\" alt=\"In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\" width=\"800\" height=\"405\" class=\"size-medium wp-image-11750249\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-160x81.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1020x516.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1200x607.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\u003cbr> \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unable to compete with the free digital music market kick-started by Napster, Martin discontinued the music side of the business in 2002. When his customers began requesting the newest releases on DVDs, he shifted his business model once again, this time from analog to digital.\u003c/p>\n\u003cp>“Our location is so small, we got to the point that we had to give away all our VHS tapes,” says Martin.\u003c/p>\n\u003cp>Today the only VHS tapes in the store are collecting dust in the back closet, left over from DVD transfers Martin makes for customers.\u003c/p>\n\u003cp>Now that streaming platforms have replaced video stores it’s hard to believe that \u003ca href=\"http://www.fastlanevideo.com/\">Fastlane Video is still standing\u003c/a>.\u003c/p>\n\u003cp>“There used to be a video store on every corner,\" says Martin. \"I was surrounded by 15 video stores, but we're still here.\"\u003c/p>\n\u003cp>It’s not a hipster spot with retro decor and underground art house films. Instead, Martin has the big blockbuster titles on 4K and Blu Ray DVDs.\u003c/p>\n\u003cfigure id=\"attachment_11750248\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11750248 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg\" alt=\"\" width=\"1279\" height=\"994\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-800x622.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1020x793.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for autograph signings at Fastlane Video & Records, a hub for fans of freestyle and house music. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin says keeping his shop modern is key to its survival.\u003c/p>\n\u003cp>“Either we move with the technology and learn from it or just close our doors and say, 'I'm not going to deal with it,' \" he says.\u003c/p>\n\u003cp>The modest place is crammed with more than 15,000 DVDs, leaving little room to move around. Stark fluorescent lighting beams from the ceiling — reminiscent of the early days when Fastlane Video began 30 years ago out of a garage.\u003c/p>\n\u003cp>“Making that customer smile. That's the only thing that hasn't changed in this industry,” says Martin.\u003c/p>\n\u003cp>He's even kept his free popcorn special from the early days.\u003c/p>\n\u003cfigure id=\"attachment_11750236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11750236 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martin Felix started Fastlane Video with his older brother at age 21, and hasn't closed his doors since. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like Martin’s original customers from 1989, who preferred the experience of visiting a store over the convenience of home delivery, so do today’s customers, like Angelo Sarni.\u003c/p>\n\u003cp>“I use Netflix, but I still like walking into a video place and renting videos the old school way,” says Sarni, who on this day is renting copies of \"The Equalizer 2\" and \"Crazy Rich Asians.\"\u003c/p>\n\u003cp>For others, paying subscription fees to various streaming platforms on top of their internet bill is out of reach. Fastlane Video is an affordable alternative that comes with the bonus of face-to-face interaction.\u003c/p>\n\u003cp>Whittier resident Louie Davis frequents the store to rent the latest Marvel movie, and chat about superhero trivia with a familiar face.\u003c/p>\n\u003cfigure id=\"attachment_11750244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg\" alt=\"Fastlane Video is still going strong in the Los Angeles suburb of Whittier.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750244\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video is still going strong in the Los Angeles suburb of Whittier. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Many customers come here to just talk to somebody. That's what I am to most of them,” says Martin. “Some of them rent movies, some of them don't, but I enjoy being here.”\u003c/p>\n\u003cp>The crowded store every Christmas Eve is a testament to Fastlane Video’s popularity in the community, explains customer Donald Calkims. In order to clear up shelf space for newer movies, Martin sets up tables in the parking lot stacked with overstocked DVDs that are free for his customers to take home.\u003c/p>\n\u003cp>“Now, I have a lot of customers that [bring] not just their kids but even their grandkids. So I have four generations that come in here to rent movies,” says Martin.\u003c/p>\n\u003cfigure id=\"attachment_11750254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg\" alt=\"Longtime customers turned out for Fastlane Video’s annual Christmas giveaway.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750254\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime customers turned out for Fastlane Video’s annual Christmas giveaway. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While streaming platforms have altered the way we consume media, Fastlane Video is a reminder of a time when movies brought people together instead of isolating us on our individual screens.\u003c/p>\n\u003cp>And as long as the neighborhood keeps coming, Martin Felix says he plans to keep his doors open for as long as he can.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"In ’89, two Mexican-American brothers from East Los Angeles started a business in their garage, delivering VHS movie magic to their side of town. And Fastlane Video is still going strong.","status":"publish","parent":0,"modified":1559346290,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":39,"wordCount":1231},"headData":{"title":"How an Old-School L.A. Video Store Thrives in a Netflix World | KQED","description":"In ’89, two Mexican-American brothers from East Los Angeles started a business in their garage, delivering VHS movie magic to their side of town. And Fastlane Video is still going strong.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"How an Old-School L.A. Video Store Thrives in a Netflix World","datePublished":"2019-05-31T23:44:50.000Z","dateModified":"2019-05-31T23:44:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11750104 https://ww2.kqed.org/news/?p=11750104","disqusUrl":"https://ww2.kqed.org/news/2019/05/31/how-an-old-school-l-a-video-store-thrives-in-a-netflix-world/","disqusTitle":"How an Old-School L.A. Video Store Thrives in a Netflix World","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2019/05/MedinaCadenaLAVideoStore.mp3","audioTrackLength":328,"path":"/news/11750104/how-an-old-school-l-a-video-store-thrives-in-a-netflix-world","audioDuration":328000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1989. Movies like \"Batman,\" \"When Harry Met Sally\" and \"Back to the Future Part II\" were Hollywood hits.\u003c/p>\n\u003cp>On the other side of Hollywood, miles from the production studios and industry gatekeepers, two Mexican-American brothers from East Los Angeles embarked on a plan to deliver movie magic to their side of town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'We were one of the first to actually pioneer [movie delivery].'","name":"pullquote","attributes":{"named":{"size":"“medium”","align":"”right”","citation":"Martin Felix","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Martin and Eddie Felix purchased used VHS tapes from the rental stores on the Westside of Los Angeles. Once they had a sizable collection of '80s crowd-favorites, they converted their parent’s garage in East Los Angeles into a video library.\u003c/p>\n\u003cp>They called their business Fastlane Video, and unlike the nearby video rental spots, they took their cue from pizzerias. They advertised free delivery and pickup, with a free bag of microwavable popcorn for every two-movie rental.\u003c/p>\n\u003cfigure id=\"attachment_11750247\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg\" alt=\"An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles.\" width=\"729\" height=\"900\" class=\"size-full wp-image-11750247\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37368_156702-qut.jpg 729w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37368_156702-qut-160x198.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Already running a successful print shop out of the same garage, 21-year-old-Martin and his older brother Eddie designed mini catalogs of their VHS inventory. \u003c/p>\n\u003cp>They mailed them out to households across East L.A so customers could call in their orders.\u003c/p>\n\u003cp>“We were one of the first to actually pioneer [movie delivery],” says Martin Felix.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than a decade before Netflix would come to dominate the rental market and mail DVDs in red envelopes, the Felix brothers were finding innovative ways to collect their share of the lucrative movie industry.\u003c/p>\n\u003cp>Martin and Eddie enlisted their neighborhood buddies with cars to deliver from Soto Street to Whittier Boulevard, all the way to the 10 freeway.\u003c/p>\n\u003cfigure id=\"attachment_11750245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11750245\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg\" alt=\"\" width=\"1920\" height=\"1567\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-800x653.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1020x832.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1200x979.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video began as a movie delivery service to households throughout East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Business got so good that eager customers started showing up to the Felix’s family home — the address was noted on the return address of the mailed catalogs and flyers — expecting a storefront, only to find a garage.\u003c/p>\n\u003cp>“We needed a new location because more people wanted to actually come into a shop than for us to deliver,” says Martin.\u003c/p>\n\u003cp>In 1990, the brothers expanded from their parents’ East L.A. garage to a storefront in the nearby suburb of Pico Rivera. Two years later, the brothers went their separate ways but remained close.\u003c/p>\n\u003cp>Martin moved Fastlane Video to the city of Whittier and Eddie opened his own printing shop, Fastlane Printing, next door.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EkNxT89CgFE'\n title='//www.youtube.com/embed/EkNxT89CgFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since Martin was a party promoter before the days of Fastlane Video, he knew how to attract large crowds to the store.\u003c/p>\n\u003cp>In the '90s he often organized autograph-signings with acts like \u003ca href=\"https://www.youtube.com/watch?v=XB91QfyBuz8\">Sweet Sensation\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Of-uhhQWNeA\">Miranda\u003c/a>, and eager teens would show up to get the latest mix-tapes and CDs for their backyard parties.\u003c/p>\n\u003cp>The part-video-store, part-record-shop quickly became a hub for local DJs and big name recording artists in the house music and \u003ca href=\"https://tropicsofmeta.com/2016/11/30/the-other-freestyle-recovering-80s-latin-dance-music/\">freestyle\u003c/a> scene.\u003c/p>\n\u003cfigure id=\"attachment_11750249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg\" alt=\"In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\" width=\"800\" height=\"405\" class=\"size-medium wp-image-11750249\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-160x81.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1020x516.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1200x607.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\u003cbr> \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unable to compete with the free digital music market kick-started by Napster, Martin discontinued the music side of the business in 2002. When his customers began requesting the newest releases on DVDs, he shifted his business model once again, this time from analog to digital.\u003c/p>\n\u003cp>“Our location is so small, we got to the point that we had to give away all our VHS tapes,” says Martin.\u003c/p>\n\u003cp>Today the only VHS tapes in the store are collecting dust in the back closet, left over from DVD transfers Martin makes for customers.\u003c/p>\n\u003cp>Now that streaming platforms have replaced video stores it’s hard to believe that \u003ca href=\"http://www.fastlanevideo.com/\">Fastlane Video is still standing\u003c/a>.\u003c/p>\n\u003cp>“There used to be a video store on every corner,\" says Martin. \"I was surrounded by 15 video stores, but we're still here.\"\u003c/p>\n\u003cp>It’s not a hipster spot with retro decor and underground art house films. Instead, Martin has the big blockbuster titles on 4K and Blu Ray DVDs.\u003c/p>\n\u003cfigure id=\"attachment_11750248\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11750248 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg\" alt=\"\" width=\"1279\" height=\"994\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-800x622.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1020x793.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for autograph signings at Fastlane Video & Records, a hub for fans of freestyle and house music. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin says keeping his shop modern is key to its survival.\u003c/p>\n\u003cp>“Either we move with the technology and learn from it or just close our doors and say, 'I'm not going to deal with it,' \" he says.\u003c/p>\n\u003cp>The modest place is crammed with more than 15,000 DVDs, leaving little room to move around. Stark fluorescent lighting beams from the ceiling — reminiscent of the early days when Fastlane Video began 30 years ago out of a garage.\u003c/p>\n\u003cp>“Making that customer smile. That's the only thing that hasn't changed in this industry,” says Martin.\u003c/p>\n\u003cp>He's even kept his free popcorn special from the early days.\u003c/p>\n\u003cfigure id=\"attachment_11750236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11750236 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martin Felix started Fastlane Video with his older brother at age 21, and hasn't closed his doors since. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like Martin’s original customers from 1989, who preferred the experience of visiting a store over the convenience of home delivery, so do today’s customers, like Angelo Sarni.\u003c/p>\n\u003cp>“I use Netflix, but I still like walking into a video place and renting videos the old school way,” says Sarni, who on this day is renting copies of \"The Equalizer 2\" and \"Crazy Rich Asians.\"\u003c/p>\n\u003cp>For others, paying subscription fees to various streaming platforms on top of their internet bill is out of reach. Fastlane Video is an affordable alternative that comes with the bonus of face-to-face interaction.\u003c/p>\n\u003cp>Whittier resident Louie Davis frequents the store to rent the latest Marvel movie, and chat about superhero trivia with a familiar face.\u003c/p>\n\u003cfigure id=\"attachment_11750244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg\" alt=\"Fastlane Video is still going strong in the Los Angeles suburb of Whittier.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750244\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video is still going strong in the Los Angeles suburb of Whittier. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Many customers come here to just talk to somebody. That's what I am to most of them,” says Martin. “Some of them rent movies, some of them don't, but I enjoy being here.”\u003c/p>\n\u003cp>The crowded store every Christmas Eve is a testament to Fastlane Video’s popularity in the community, explains customer Donald Calkims. In order to clear up shelf space for newer movies, Martin sets up tables in the parking lot stacked with overstocked DVDs that are free for his customers to take home.\u003c/p>\n\u003cp>“Now, I have a lot of customers that [bring] not just their kids but even their grandkids. So I have four generations that come in here to rent movies,” says Martin.\u003c/p>\n\u003cfigure id=\"attachment_11750254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg\" alt=\"Longtime customers turned out for Fastlane Video’s annual Christmas giveaway.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750254\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime customers turned out for Fastlane Video’s annual Christmas giveaway. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While streaming platforms have altered the way we consume media, Fastlane Video is a reminder of a time when movies brought people together instead of isolating us on our individual screens.\u003c/p>\n\u003cp>And as long as the neighborhood keeps coming, Martin Felix says he plans to keep his doors open for as long as he can.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11750104/how-an-old-school-l-a-video-store-thrives-in-a-netflix-world","authors":["11528"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_24708","news_21515","news_22033","news_17719","news_5396","news_23121","news_701","news_727","news_25809","news_18582","news_22630"],"featImg":"news_11751558","label":"news_72"},"news_11691757":{"type":"posts","id":"news_11691757","meta":{"index":"posts_1591205157","site":"news","id":"11691757","score":null,"sort":[1536967820000]},"guestAuthors":[],"slug":"golden-state-plate-the-unsavory-history-of-green-goddess-dressing","title":"Golden State Plate: The Unsavory History of Green Goddess Dressing","publishDate":1536967820,"format":"audio","headTitle":"Golden State Plate: The Unsavory History of Green Goddess Dressing | KQED","labelTerm":{},"content":"\u003cp>\u003cem>California is the birthplace of many iconic dishes and drinks, from cioppino to mai tais to the fortune cookie. So \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">The California Report Magazine\u003c/a> decided to look into the origin stories of some of those classics with a new series: \u003cstrong>\u003ca href=\"https://www.kqed.org/news/series/golden-state-plate\" rel=\"noopener\" target=\"_blank\">Golden State Plate\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he Palace Hotel in downtown San Francisco is historically notable in a number of ways, including as a place where a \u003ca href=\"https://www.kqed.org/news/105407/death-of-a-president-san-francisco-style\" target=\"_blank\" rel=\"noopener\">sitting president of the United States died\u003c/a>. It’s also the birthplace of a famous California recipe: Green Goddess Dressing.\u003c/p>\n\u003cp>You’ve likely seen the dressing on the shelves at the grocery store, but you may not know the story behind the condiment.\u003c/p>\n\u003cp>Two people who \u003cem>do\u003c/em> know a lot about Green Goddess Dressing are Renee Roberts, who’s worked with the Palace Hotel for more than 20 years, and Laura Borrman, author of the new book \u003ca href=\"https://www.arcadiapublishing.com/Products/9781625859587\" target=\"_blank\" rel=\"noopener\">Iconic San Francisco Dishes, Drinks & Desserts.\u003c/a>\u003c/p>\n\u003cp>I met Roberts and Borrman at the Palace’s Garden Court Restaurant to try some of the famous dressing at its birthplace.\u003c/p>\n\u003cfigure id=\"attachment_11691796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691796\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Garden Court at the Palace Hotel. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sitting here makes you feel sort of automatically connected to history,” says Borrman. “I think about all of the other people who have sat at these tables.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roberts agrees: “There’s a lot of history here… A lot of people have been through these doors.”\u003c/p>\n\u003cp>This hotel, back in its day, was a place where lots of well-known and wealthy people stayed, like opera star \u003ca href=\"https://en.wikipedia.org/wiki/Luisa_Tetrazzini\" target=\"_blank\" rel=\"noopener\">Luisa Tetrazzini\u003c/a>. The hotel claims to have invented \u003ca href=\"https://www.allrecipes.com/recipe/37784/easy-turkey-tetrazzini/\" target=\"_blank\" rel=\"noopener\">turkey tetrazzini\u003c/a>, named after her.\u003c/p>\n\u003cfigure id=\"attachment_11691797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691797\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-800x1002.jpg\" alt=\"\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-1020x1278.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-958x1200.jpg 958w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-1180x1478.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-960x1203.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-240x301.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-375x470.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-520x651.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luisa Tetrazzini was a famous opera singer who stayed at the Palace Hotel. \u003ccite>(Wikimedia Commons: Bain News Service, publisher Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, Green Goddess Dressing was inspired by another star guest: George Arliss.\u003c/p>\n\u003cp>Arliss was the lead actor in the 1920s play, \u003ca href=\"https://en.wikipedia.org/wiki/The_Green_Goddess_(play)\" target=\"_blank\" rel=\"noopener\">The Green Goddess\u003c/a>. While he was staying at the Palace Hotel for a performance, Head Chef Philip Roemer created the special dressing to be served on the starter salad — and the rest is history.\u003c/p>\n\u003cp>“It is a favorite,” Roberts says. “There was a point when someone thought they could change it, and took it off the menu. It lasted for like a day.”\u003c/p>\n\u003cp>“We can’t ignore how there’s something really enchanting about the phrase ‘The Green Goddess,'” says Bormann, who loves the dressing so much, she served it at her wedding.\u003c/p>\n\u003cp>“If you wear a green dress to work, everybody’s calling you the green goddess,” Roberts laughs. “It’s just kind of a thing around here.”\u003c/p>\n\u003cp>So how do you make Green Goddess Dressing?\u003c/p>\n\u003cp>In the kitchen, Executive Banquet Chef Juan Rojas throws all the ingredients in a blender: ice, pasteurized eggs, whole grain mustard, shallots, capers, chives, spinach, fresh tarragon, chopped parsley, tarragon vinaigrette, salt and pepper, some olive oil and lemon juice.\u003c/p>\n\u003cp>The result is a tangy, bright green dressing that is a far cry from the original invented in this kitchen almost 100 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11691763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691763\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Executive Banquet Chef at the Palace Hotel, Juan Rojas, with freshly made Green Goddess Dressing. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Roberts, the original recipe was heavy on the mayonnaise, and was served on a canned artichoke, considered a luxury in those days.\u003c/p>\n\u003cfigure id=\"attachment_11691764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691764\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-800x620.jpg\" alt=\"\" width=\"800\" height=\"620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-1020x791.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-1200x930.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-1180x915.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-960x744.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-520x403.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut.jpg 1433w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Goddess Dressing was invented at The Palace Hotel in 1923. \u003ccite>(Courtesy of Renee Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the Palace has lightened the dressing with olive oil. And there are no canned vegetables in sight.\u003c/p>\n\u003cfigure id=\"attachment_11691772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691772\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Goddess Dressing as its served today at the Palace Hotel’s Garden Court. \u003ccite>(Courtesy of Renee Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what about the dressing’s namesake? What exactly was the Green Goddess?\u003c/p>\n\u003cp>This is where things get complicated.\u003c/p>\n\u003cp>After the play finished, two film versions of The Green Goddess were made. And in them, Arliss — a white British actor — starred as an Indian maharajah.\u003c/p>\n\u003cfigure id=\"attachment_11691801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691801\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-800x1735.jpg\" alt=\"\" width=\"800\" height=\"1735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-800x1735.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-160x347.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-1020x2212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-553x1200.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-1180x2559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-960x2082.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-240x520.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-375x813.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-520x1127.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">English actor George Arliss (1868-1946) in his “Raja” costume. \u003ccite>(George Grantham Bain Collection (Library of Congress) )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the other actors were white too. They faked horrendous Indian accents. The film portrayed some of them as savages running around in afros, waving swords.\u003c/p>\n\u003cp>And the Green Goddess? She was a made-up deity in a bad Hollywood version of a Hindu temple.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2hldKQSUpgg\u003c/p>\n\u003cp>It’s honestly kind of a blow to me.\u003c/p>\n\u003cp>I love this dressing. I grew up thinking of it as hippie salad dressing, seeing it in the health food store, throwing it on my salads with sunflower seeds and carrots.\u003c/p>\n\u003cp>But my family is Hindu, my dad is from India. And this racist movie from nearly 100 years ago is straight-up worse than Apu on the Simpsons.\u003c/p>\n\u003cp>Sometimes digging into California food history isn’t so savory.\u003c/p>\n\u003cp>But Green Goddess is a California classic because of the things that make it so Californian: the fresh herbs, an obsession with Hollywood celebrity, and simply how good it is.\u003c/p>\n\u003cp>I’m still trying to work through the fact that something so seemingly innocent as salad dressing can carry baggage when my salad arrives: a big mountain of crab on a bed of shaved zucchini on one side of the plate, some greens on the other and a gravy boat full of electric green dressing.\u003c/p>\n\u003cfigure id=\"attachment_11691773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691773\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palace Signature Salad comes with crab and Green Goddess Dressing on the side. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to deny: the dressing is really good, despite the problematic origins of its name.\u003c/p>\n\u003cp>Both Borrman and Roberts describe it is as being “so Californian.” And they’re right: the dressing is clean and bright. It’s herbaceous and tangy.\u003c/p>\n\u003cp>But you don’t need to spend $40 on a salad at the Palace Hotel to try Green Goddess Dressing. You can find it pretty much anywhere at any supermarket — or make it yourself:\u003c/p>\n\u003cp>\u003cstrong>The Palace Green Goddess Dressing:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>2 bunches of Italian flat leaf parsley (finely chopped)\u003c/li>\n\u003cli>2 bunches fresh chervil (finely chopped)\u003c/li>\n\u003cli>5 bunches tarragon (finely chopped)\u003c/li>\n\u003cli>5 cups fresh spinach\u003c/li>\n\u003cli>1/2 bottle chopped capers\u003c/li>\n\u003cli>1/4 bottle Worcestershire sauce\u003c/li>\n\u003cli>1/2 cup chopped garlic\u003c/li>\n\u003cli>1/4 cup shopped shallots\u003c/li>\n\u003cli>1 tbsp. sugar\u003c/li>\n\u003cli>6 ea anchovies\u003c/li>\n\u003cli>3 cups tarragon vinegar\u003c/li>\n\u003cli>1/2 cup Dijon mustard\u003c/li>\n\u003cli>3 egg yolks\u003c/li>\n\u003cli>6 cups corn oil\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Preparation:\u003c/strong>\u003cbr>\nCombine all ingredients (except oil) in blender or in container using immersion blender. Blend on high until smooth. While blending, slowly drizzle oil into mixture. Keep drizzling until oil is gone, then season with salt and pepper to taste. This recipe is for a one gallon batch of dressing. Can be stored in refrigerator for up to 10 days.\u003c/p>\n\n","blocks":[],"excerpt":"California's iconic Green Goddess Dressing may be herbal and delicious — but its name has a not-so-savory history.","status":"publish","parent":0,"modified":1711754176,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":1147},"headData":{"title":"Golden State Plate: The Unsavory History of Green Goddess Dressing | KQED","description":"California's iconic Green Goddess Dressing may be herbal and delicious — but its name has a not-so-savory history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Golden State Plate: The Unsavory History of Green Goddess Dressing","datePublished":"2018-09-14T23:30:20.000Z","dateModified":"2024-03-29T23:16:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"Food","sourceUrl":"https://www.kqed.org/food","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/09/GreenGoddess.mp3","sticky":false,"audioTrackLength":386,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11691757/golden-state-plate-the-unsavory-history-of-green-goddess-dressing","audioDuration":400000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>California is the birthplace of many iconic dishes and drinks, from cioppino to mai tais to the fortune cookie. So \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">The California Report Magazine\u003c/a> decided to look into the origin stories of some of those classics with a new series: \u003cstrong>\u003ca href=\"https://www.kqed.org/news/series/golden-state-plate\" rel=\"noopener\" target=\"_blank\">Golden State Plate\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he Palace Hotel in downtown San Francisco is historically notable in a number of ways, including as a place where a \u003ca href=\"https://www.kqed.org/news/105407/death-of-a-president-san-francisco-style\" target=\"_blank\" rel=\"noopener\">sitting president of the United States died\u003c/a>. It’s also the birthplace of a famous California recipe: Green Goddess Dressing.\u003c/p>\n\u003cp>You’ve likely seen the dressing on the shelves at the grocery store, but you may not know the story behind the condiment.\u003c/p>\n\u003cp>Two people who \u003cem>do\u003c/em> know a lot about Green Goddess Dressing are Renee Roberts, who’s worked with the Palace Hotel for more than 20 years, and Laura Borrman, author of the new book \u003ca href=\"https://www.arcadiapublishing.com/Products/9781625859587\" target=\"_blank\" rel=\"noopener\">Iconic San Francisco Dishes, Drinks & Desserts.\u003c/a>\u003c/p>\n\u003cp>I met Roberts and Borrman at the Palace’s Garden Court Restaurant to try some of the famous dressing at its birthplace.\u003c/p>\n\u003cfigure id=\"attachment_11691796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691796\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32620_0E324908-3861-4EE3-AABF-2CF8D737D239-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Garden Court at the Palace Hotel. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sitting here makes you feel sort of automatically connected to history,” says Borrman. “I think about all of the other people who have sat at these tables.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Roberts agrees: “There’s a lot of history here… A lot of people have been through these doors.”\u003c/p>\n\u003cp>This hotel, back in its day, was a place where lots of well-known and wealthy people stayed, like opera star \u003ca href=\"https://en.wikipedia.org/wiki/Luisa_Tetrazzini\" target=\"_blank\" rel=\"noopener\">Luisa Tetrazzini\u003c/a>. The hotel claims to have invented \u003ca href=\"https://www.allrecipes.com/recipe/37784/easy-turkey-tetrazzini/\" target=\"_blank\" rel=\"noopener\">turkey tetrazzini\u003c/a>, named after her.\u003c/p>\n\u003cfigure id=\"attachment_11691797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691797\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-800x1002.jpg\" alt=\"\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-1020x1278.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-958x1200.jpg 958w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-1180x1478.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-960x1203.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-240x301.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-375x470.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32761_Luisa_Tetrazzini_1910-1915-qut-520x651.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luisa Tetrazzini was a famous opera singer who stayed at the Palace Hotel. \u003ccite>(Wikimedia Commons: Bain News Service, publisher Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, Green Goddess Dressing was inspired by another star guest: George Arliss.\u003c/p>\n\u003cp>Arliss was the lead actor in the 1920s play, \u003ca href=\"https://en.wikipedia.org/wiki/The_Green_Goddess_(play)\" target=\"_blank\" rel=\"noopener\">The Green Goddess\u003c/a>. While he was staying at the Palace Hotel for a performance, Head Chef Philip Roemer created the special dressing to be served on the starter salad — and the rest is history.\u003c/p>\n\u003cp>“It is a favorite,” Roberts says. “There was a point when someone thought they could change it, and took it off the menu. It lasted for like a day.”\u003c/p>\n\u003cp>“We can’t ignore how there’s something really enchanting about the phrase ‘The Green Goddess,'” says Bormann, who loves the dressing so much, she served it at her wedding.\u003c/p>\n\u003cp>“If you wear a green dress to work, everybody’s calling you the green goddess,” Roberts laughs. “It’s just kind of a thing around here.”\u003c/p>\n\u003cp>So how do you make Green Goddess Dressing?\u003c/p>\n\u003cp>In the kitchen, Executive Banquet Chef Juan Rojas throws all the ingredients in a blender: ice, pasteurized eggs, whole grain mustard, shallots, capers, chives, spinach, fresh tarragon, chopped parsley, tarragon vinaigrette, salt and pepper, some olive oil and lemon juice.\u003c/p>\n\u003cp>The result is a tangy, bright green dressing that is a far cry from the original invented in this kitchen almost 100 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11691763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691763\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32607_alt_780-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Executive Banquet Chef at the Palace Hotel, Juan Rojas, with freshly made Green Goddess Dressing. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Roberts, the original recipe was heavy on the mayonnaise, and was served on a canned artichoke, considered a luxury in those days.\u003c/p>\n\u003cfigure id=\"attachment_11691764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691764\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-800x620.jpg\" alt=\"\" width=\"800\" height=\"620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-1020x791.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-1200x930.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-1180x915.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-960x744.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut-520x403.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32760_GreenGoddessSalad-qut.jpg 1433w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Goddess Dressing was invented at The Palace Hotel in 1923. \u003ccite>(Courtesy of Renee Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the Palace has lightened the dressing with olive oil. And there are no canned vegetables in sight.\u003c/p>\n\u003cfigure id=\"attachment_11691772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691772\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32759_Palace-Green-Goddess-Dressing-2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Goddess Dressing as its served today at the Palace Hotel’s Garden Court. \u003ccite>(Courtesy of Renee Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what about the dressing’s namesake? What exactly was the Green Goddess?\u003c/p>\n\u003cp>This is where things get complicated.\u003c/p>\n\u003cp>After the play finished, two film versions of The Green Goddess were made. And in them, Arliss — a white British actor — starred as an Indian maharajah.\u003c/p>\n\u003cfigure id=\"attachment_11691801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691801\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-800x1735.jpg\" alt=\"\" width=\"800\" height=\"1735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-800x1735.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-160x347.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-1020x2212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-553x1200.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-1180x2559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-960x2082.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-240x520.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-375x813.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32762_George_Arliss_in_sultan_costume-qut-520x1127.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">English actor George Arliss (1868-1946) in his “Raja” costume. \u003ccite>(George Grantham Bain Collection (Library of Congress) )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the other actors were white too. They faked horrendous Indian accents. The film portrayed some of them as savages running around in afros, waving swords.\u003c/p>\n\u003cp>And the Green Goddess? She was a made-up deity in a bad Hollywood version of a Hindu temple.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2hldKQSUpgg'\n title='//www.youtube.com/embed/2hldKQSUpgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s honestly kind of a blow to me.\u003c/p>\n\u003cp>I love this dressing. I grew up thinking of it as hippie salad dressing, seeing it in the health food store, throwing it on my salads with sunflower seeds and carrots.\u003c/p>\n\u003cp>But my family is Hindu, my dad is from India. And this racist movie from nearly 100 years ago is straight-up worse than Apu on the Simpsons.\u003c/p>\n\u003cp>Sometimes digging into California food history isn’t so savory.\u003c/p>\n\u003cp>But Green Goddess is a California classic because of the things that make it so Californian: the fresh herbs, an obsession with Hollywood celebrity, and simply how good it is.\u003c/p>\n\u003cp>I’m still trying to work through the fact that something so seemingly innocent as salad dressing can carry baggage when my salad arrives: a big mountain of crab on a bed of shaved zucchini on one side of the plate, some greens on the other and a gravy boat full of electric green dressing.\u003c/p>\n\u003cfigure id=\"attachment_11691773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691773\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/09/RS32615_93004DA1-C92F-48DF-8742-F5D599410B79-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palace Signature Salad comes with crab and Green Goddess Dressing on the side. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to deny: the dressing is really good, despite the problematic origins of its name.\u003c/p>\n\u003cp>Both Borrman and Roberts describe it is as being “so Californian.” And they’re right: the dressing is clean and bright. It’s herbaceous and tangy.\u003c/p>\n\u003cp>But you don’t need to spend $40 on a salad at the Palace Hotel to try Green Goddess Dressing. You can find it pretty much anywhere at any supermarket — or make it yourself:\u003c/p>\n\u003cp>\u003cstrong>The Palace Green Goddess Dressing:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>2 bunches of Italian flat leaf parsley (finely chopped)\u003c/li>\n\u003cli>2 bunches fresh chervil (finely chopped)\u003c/li>\n\u003cli>5 bunches tarragon (finely chopped)\u003c/li>\n\u003cli>5 cups fresh spinach\u003c/li>\n\u003cli>1/2 bottle chopped capers\u003c/li>\n\u003cli>1/4 bottle Worcestershire sauce\u003c/li>\n\u003cli>1/2 cup chopped garlic\u003c/li>\n\u003cli>1/4 cup shopped shallots\u003c/li>\n\u003cli>1 tbsp. sugar\u003c/li>\n\u003cli>6 ea anchovies\u003c/li>\n\u003cli>3 cups tarragon vinegar\u003c/li>\n\u003cli>1/2 cup Dijon mustard\u003c/li>\n\u003cli>3 egg yolks\u003c/li>\n\u003cli>6 cups corn oil\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Preparation:\u003c/strong>\u003cbr>\nCombine all ingredients (except oil) in blender or in container using immersion blender. Blend on high until smooth. While blending, slowly drizzle oil into mixture. Keep drizzling until oil is gone, then season with salt and pepper to taste. This recipe is for a one gallon batch of dressing. Can be stored in refrigerator for up to 10 days.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11691757/golden-state-plate-the-unsavory-history-of-green-goddess-dressing","authors":["254"],"programs":["news_72"],"series":["news_24115"],"categories":["news_223","news_24114","news_8"],"tags":["news_20397","news_24116","news_24107","news_5396","news_19216","news_6627"],"featImg":"news_11691806","label":"source_news_11691757"},"news_11689561":{"type":"posts","id":"news_11689561","meta":{"index":"posts_1591205157","site":"news","id":"11689561","score":null,"sort":[1535672144000]},"guestAuthors":[],"slug":"thousands-sign-letter-calling-for-equal-pay-for-women-in-hollywood","title":"Thousands Sign Letter Calling for Equal Pay for Women in Hollywood","publishDate":1535672144,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>More than 3,000 people, including prominent director Ava DuVernay and actors Sterling K. Brown and Jane Fonda, have signed a letter calling on the entertainment industry to end the wage gap between male and female production workers in Hollywood. \u003c/p>\n\u003cp>The letter has not yet been delivered to large studios and industry officials, but there are plans to distribute it once it receives more signatures. \u003c/p>\n\u003cp>The effort is being spearheaded by the International Alliance of Theatrical Stage Employees (IATSE) Local 871. \u003c/p>\n\u003cp>In June, the union commissioned a study which found that female-dominated crafts in the film and television industry -- like script supervisors and art department coordinators -- are routinely paid hundreds or even thousands of dollars less than their male counterparts. \u003c/p>\n\u003cp>\"There’s been a conversation happening in Hollywood for quite a while about the issue of pay equity for women actors,\" says Leslie Simon, who works as a Business Representative with the union. \"However, the issue of below-the-line women has not been part of that dialogue at all.\" \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Simon, and as mentioned in the letter, the entertainment industry is largely violating the California Fair Pay Act, which requires equal pay for employees who perform “substantially similar work.” \u003c/p>\n\u003cp>Marisa Shipley works as an art department coordinator on television shows like Netflix’s \"Grace and Frankie\" and the Starz show “Vida.” \u003c/p>\n\u003cp>\"Film, and particularly behind the scenes and below the line is very collaborative,\" she says. \"And you work very closely with your team. And so, to be a young woman who makes one-third to one-half of what anyone else in my department is making is really discouraging.\"\u003c/p>\n\u003cp>The study also found that more than 50 percent of the women surveyed say they’ve seen or experienced sexual harassment at work. \u003c/p>\n\u003cp>Miranda Cristofani is on the Board of Directors at IATSE and worked as an art department coordinator in the industry for 14 years. She says you can draw a direct line between harassment and pay equity. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"If you’re paid peanuts,\" explains Cristofani, \"you’re treated as peanuts.\"\u003c/p>\n\n","blocks":[],"excerpt":"More than 3,000 people, including director Ava DuVernay and actor Jane Fonda, have signed a letter calling for an end to the wage gap between male and female production workers.","status":"publish","parent":0,"modified":1535672144,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":355},"headData":{"title":"Thousands Sign Letter Calling for Equal Pay for Women in Hollywood | KQED","description":"More than 3,000 people, including director Ava DuVernay and actor Jane Fonda, have signed a letter calling for an end to the wage gap between male and female production workers.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Thousands Sign Letter Calling for Equal Pay for Women in Hollywood","datePublished":"2018-08-30T23:35:44.000Z","dateModified":"2018-08-30T23:35:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11689561 https://ww2.kqed.org/news/?p=11689561","disqusUrl":"https://ww2.kqed.org/news/2018/08/30/thousands-sign-letter-calling-for-equal-pay-for-women-in-hollywood/","disqusTitle":"Thousands Sign Letter Calling for Equal Pay for Women in Hollywood","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2018/08/WileyHollywoodEqualPay.mp3","audioTrackLength":138,"path":"/news/11689561/thousands-sign-letter-calling-for-equal-pay-for-women-in-hollywood","audioDuration":154000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 3,000 people, including prominent director Ava DuVernay and actors Sterling K. Brown and Jane Fonda, have signed a letter calling on the entertainment industry to end the wage gap between male and female production workers in Hollywood. \u003c/p>\n\u003cp>The letter has not yet been delivered to large studios and industry officials, but there are plans to distribute it once it receives more signatures. \u003c/p>\n\u003cp>The effort is being spearheaded by the International Alliance of Theatrical Stage Employees (IATSE) Local 871. \u003c/p>\n\u003cp>In June, the union commissioned a study which found that female-dominated crafts in the film and television industry -- like script supervisors and art department coordinators -- are routinely paid hundreds or even thousands of dollars less than their male counterparts. \u003c/p>\n\u003cp>\"There’s been a conversation happening in Hollywood for quite a while about the issue of pay equity for women actors,\" says Leslie Simon, who works as a Business Representative with the union. \"However, the issue of below-the-line women has not been part of that dialogue at all.\" \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Simon, and as mentioned in the letter, the entertainment industry is largely violating the California Fair Pay Act, which requires equal pay for employees who perform “substantially similar work.” \u003c/p>\n\u003cp>Marisa Shipley works as an art department coordinator on television shows like Netflix’s \"Grace and Frankie\" and the Starz show “Vida.” \u003c/p>\n\u003cp>\"Film, and particularly behind the scenes and below the line is very collaborative,\" she says. \"And you work very closely with your team. And so, to be a young woman who makes one-third to one-half of what anyone else in my department is making is really discouraging.\"\u003c/p>\n\u003cp>The study also found that more than 50 percent of the women surveyed say they’ve seen or experienced sexual harassment at work. \u003c/p>\n\u003cp>Miranda Cristofani is on the Board of Directors at IATSE and worked as an art department coordinator in the industry for 14 years. She says you can draw a direct line between harassment and pay equity. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"If you’re paid peanuts,\" explains Cristofani, \"you’re treated as peanuts.\"\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11689561/thousands-sign-letter-calling-for-equal-pay-for-women-in-hollywood","authors":["11526"],"programs":["news_72"],"categories":["news_223","news_1758","news_6188","news_8"],"tags":["news_18565","news_17719","news_5396","news_19904","news_20482"],"featImg":"news_11689631","label":"news_72"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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