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Content Writing Tips: Improve Your Skills & Productivity

by Julia Evans – Entertainment Editor
written by Julia Evans – Entertainment Editor

In our Q&A /feature series Tell Me Más, we ask some of our favorite Latine celebs to share some inside info about their lives and some of the ways they are prioritizing their mental health. This month, we spoke with reggaetón artist Moffa on how being adopted by his Puerto Rican parents impacted his music, identity and the way he navigates the world.

It’s impossible to talk about rising acts of reggaetón in 2024 without mentioning Moffa. The 22-year-old Puerto Rican artist has seen his star power grow at lightspeed over the last two years. In 2022, he was one of the lucky three young acts — along with Alejo and Jotaerre — who teamed up with megastar Karol G on the hit song “Un Viaje,” where he was personally flown out to Colombia to work on the track. Since then, he’s been dropping music nonstop with bangers like “Bentley Remix,” “Sussy,” “DAMMN,” and “0 Millas,” all surpassing millions in combined streams. His versatile flow and catchy lyricism have made other artists flock to him as well, from established stars like Manuel Turizo and reject to O.G.s like Ñengo Flow.

On July 18th, Moffa’s debut album finally made its debut. Titled “Playground,” the project reflects his unbridled enthusiasm and curiosity. As he puts it: “Even as an adult, I still feel like a child in lots of ways,” which in part inspired the LP’s name. Not only are the feelings and experiences he explores over its tracks his own personal playground of emotions, but as an artist, so is the variety of sounds he experiments with. The recording studio, and life itself are both his playground.

For a long time, Moffa has been a person who keeps his cards close to his chest, never delving too much into his personal life. While he’s hinted in the past at his rootshe’s never spoken out about his backstory in great detail.

Though born and raised in Puerto Rico, he is, in fact, adopted. Moffa is the Afro-Latino son of a Brazilian mother and Dominican father. His mother tragically passed away when he was still an infant, and he and his twin sister were taken in by his Puerto Rican godparents, whom he now considers his parents in full.

In an exclusive chat with PS, Moffa talks about what it felt like to learn he was adopted, the struggle to reconcile with family members from his biological parent’s side, if he’s ever questioned his identity, how he taps into his roots, and more.

The following quotes have been translated, edited, and condensed for clarity.

PS: Where were you born and raised?

Moffa: I was born in Puerto Rico, in Bayamón. I was raised in the metro area, but I traveled a lot to Isabela and Aguada because my family was from there, from the west side [of the island.] We’d go every weekend or every other weekend, so that’s why I feel I was raised on both sides.

PS: When did you find out you and your sister were adopted?

Moffa: I’ve known since I was little. My biological mother passed away when I was nine months old, from cancer, and I never met my biological father. And so, once she passed, [my godparents] adopted us and became my parents.They were friends with my mom since they were kids. They were all friends together. It wasn’t something that was hidden from us, thank God. They let us know that, yeah, we’re adopted. And people would’ve asked us anyway once they saw my mom and dad because we’re not the same color at all [laughs]. It would be very hard to convince anyone they’re my biological parents.

PS: You said you became aware you were adopted from an early age. How would you describe the way you and your sister were raised by your parents; did they make sure this knowledge never weighed on you or affected you?

Moffa: I think they were always transparent and never hid anything from us, at all. They were always straightforward about our background and history — our roots. And if we ever wanted to travel to those places and get to know them, they would support us and in fact encourage us to explore all the corners and spaces of our family that we didn’t know.

PS: I know children can be cruel; were you ever bullied as a child because you looked different from your parents? How did you manage that, if so?

Moffa: I wasn’t bullied, actually. Here in Puerto Rico, I feel like that kind of discrimination exists, but it’s not as strong these days. I think we should all be aware we’re all the same. I’m not and never will be different just because I’m adopted or have a different family.

PS: Do you know anything about your biological parent’s family now? Have you had any contact or interaction with them? If so, how does it make you feel?

Moffa: To this day, my family from Brazil has always kept an eye on me. They write to me over DMs sometimes, but it’s hard to communicate because I don’t speak [Portuguese,] so I’m using [translator apps] to write them back.

I haven’t mentioned this publicly before, but a few days ago, my biological father actually ‘liked’ one of my social media posts. And it was, like, “Oh shit” because I’ve never met him. […] I’ve heard I might have seven siblings on my father’s side. It’s a difficult situation. You don’t want to look down on that person because you [exist] because of them. But since there’s no relationship there — no affection, no love — then you don’t know how to react or what to do. [They say] “We’re here if you need anything,” but the feeling isn’t there. It’s strange.

PS: Do you have any curiosity about meeting them or any of your extended family members from that side?

Moffa: Ehhh… for me, you’re really focused on your own things, y’know? You discover all this stuff, which thankfully was revealed to me when I was much younger. But I haven’t had that curiosity because you sort of feel like you’re cheating on your present family — people who dedicated their lives to me, who gave me a roof over my head. I don’t have a problem meeting [them,] that would be actually cool, but my family also deserves some respect.

PS: When it comes to your identity, what kind of conversations have you had with other people or with yourself, for that matter? Now that you’re older, is that something you’ve grappled with?

Moffa: Unfortunately, I don’t know a lot about Brazilian culture. I do know a bit about the history, but I’ve never visited to get to know the country fully. Neither the Dominican Republic nor Brazil. But to me, I am Puerto Rican, just with Brazilian and Dominican blood. I have a ton of family in Brazil, but I’m clear about my identity.

PS: The last few years have heated up the conversation around cultural appropriation, even amongst Hispanics and Latinos, and whether they can make songs in genres that are historically and culturally associated with specific countries. You’re in a unique spot where you kind of have a hall pass for multiple genres. Have you ever considered doing a Brazilian funk or Dominican dembow?

Moffa: Last year, I came out with my first Brazilian funk, produced by Young Martino and Hokage. It’s called “SHOP,” and I remember thinking exactly that. Like, “Can I really do this? Am I allowed?” I never felt like, “Oh, this is my birthright, and I must do it,” y’know? I wanted to experiment with it, and I love that sound. I can’t wait to go to one of their carnivals. I think that’s one of my biggest goals, to be able to go to a carnival in Brazil. It’s not just one of Brazil’s most popular events, but it’s famous worldwide, too.

PS: Since your parents knew your mother for so long, I’m sure they’ve talked to you about her. Is there anything about her personality you think you have? Have you thought about how your life might have been different if she’d raised you?

Moffa: From what I’ve been told, if she were still here, I probably wouldn’t [have the success] I have now in music. Both because of resources available [to her,] but also her character. I probably wouldn’t be in music. I probably would have been raised to be more studious and work in something more “proper” like a doctor or engineer. I’m sure I could’ve followed my dreams, but I think it would’ve been more difficult.
And also, she looked way more like my sister, [laughs]

PS: There still seems to be a stigma or shock when people find out a person is adopted, in part because of this dated societal idea that “ideal” families conceive their children. I don’t agree with that; in my own case, my dad wasn’t my biological father, but he was my dad all the same. What would you tell people who find out they’re adopted — or anyone who, for any reason, feels like an “other” in their group?

Moffa: Don’t pity yourself or feel different. You’re a normal person just like all the other people who achieved their dreams, and you can do the same thing. Sometimes, these things will come up in life, in your personal life, at work, or in conversation with people close to you, but you just have to engage with it head-on. Don’t feel bad about it. Be yourself, follow your dreams, and live your life as it’s happening. Don’t pretend it’s not real, of course, because it’s a part of you. But don’t hide it. Be proud of it, even. Don’t run from it.

I’m happy and proud of where I came from. I don’t think being adopted puts me in a fence or anything. I’m a normal person, just like any other guy… I can do anything I want if I put my mind to it.

PS: What have you learned about mental health that you apply today — not necessarily in regards to your identity, but even within your career? How do you manage anxiety and things of that nature? What advice have you received?

Moffa: In this fast-moving industry, you have to stay grounded above all and be aware of your station in life. You [have to] be patient about what’s happening around you and not rush yourself. At times, I find myself asking thousands of questions in my head, but then I have to stop and center myself and my thoughts, and ease up. Sometimes, you simply have to shed tears to release all that anger or anxiety that we feel when faced with adversity in this world where there are many ups and downs. It helps to get it all out and not let emotions get the best of you.

Juan J. Arroyo is a Puerto Rican freelance music journalist. Since 2018, he’s written for PS, Remezcla, Rolling Stone, and Pitchfork. His focus is on expanding the canvas of Latin stories and making Latin culture — especially Caribbean Latin culture — more visible in the mainstream.

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Entertainment

Content Writing Tips: Improve Your Skills & Productivity

by Julia Evans – Entertainment Editor
written by Julia Evans – Entertainment Editor

“A Hungry Heart: A Memoir” ($19, originally $22)

“Now, if I were to tell you that Gordon Parks has written at least three autobiography-memoir mashups, you’d probably ask, ‘Why?’ And I would say, ‘Because this man has Lived,’ with a capital L. Parks was a groundbreaking photographer, film director, author, poet, composer — the very definition of reinvention without limits. Need I say more? OK, just a bit: ‘A Hungry Heart,’ Parks’s final memoir, chronicles the extraordinary life of a man who, from a young age, was on a mission to make his mark. It’s impossible to read this and not be in perpetual awe or turn the final page without finding your own heart hungrier for more.”

— Mateo Askaripour, author of “Black Buck” and “This Great Hemisphere”

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Entertainment

Content Writing Tips: Improve Your Skills & Productivity

by Julia Evans – Entertainment Editor
written by Julia Evans – Entertainment Editor

I have a deep yearning for uniting people. I believe that one of my purposes in this life is to bring people together in a way that transcends status, class, and occupation, creating a space where everyone feels truly united and understood. That’s why in 2022, I decided to launch my first The Teteo Party in Los Angeles, driven by a longing for something that reminded me of my home in NYC.

I was feeling homesick and needed to feel connected to my roots and my community. El Teteo serves as an extension of what I was taught: to find moments of joy through pain, troubles, and hard work. For me, community is about gathering with the people you love and care for, no matter where you are — whether that’s getting together with beach chairs in front of a building or plastic chairs at a park under a bridge. Teteo, which is a Dominican slang word for partying and gathering anywhere, suggests that when it comes to community, all you need is good music, good company, and some beers — and, in some cases, food. It’s all about sharing moments that aren’t guaranteed tomorrow, and it’s something that’s very much embedded in Latine culture.

As a New Yorker, I found myself missing my city and its vibrant club scenes and dance parties. At almost every party and club I’d been to in Los Angeles, people stood around with a drink in hand instead of getting on the dance floor. Through El Teteo, I wanted to bring the East Coast vibe to the West Coast, raise awareness about Latine Caribbean culture, and foster community. As New Yorkers, we experience different cultures like a melting pot. Not only do I get to share other people’s cultures, but I also introduce others to mine.

As an unapologetically proud Dominican American, I yearned for our presence to be felt here in Los Angeles, where it felt like there weren’t many of us. Moving to LA made me acutely aware of the lack of representation of Dominicans and Caribbean Latines. It was a culture shock. People were often shocked when I spoke in Spanish. Not many folks in Los Angeles were familiar with the Dominican community or Dominican culture overall.

So I kicked off my first El Teteo party on February 26, 2022, to celebrate Dominican Independence Day in Los Angeles. I partnered with Angela Carrascoa Dominican American realtor in Los Angeles, and Dominican American actress and host Katherine Castrowho both had ties to a venue. Our event reached new heights of success as 600 people gathered to participate. People even traveled from New York to be part of the unforgettable experience.

These parties have been more than just a big fun event; they’ve become a place for Latine creatives, particularly those in media and entertainment, to network and build community. The success of the parties is measured by the joy and connection they bring. It’s a space where Latindad looks different from what the West Coast is used to.

As a Dominican American, I’ve faced challenges in auditions because Hollywood often expects Latinas to be light-skinned mestizo with straight dark hair, overlooking the diversity within our community. Afro-Latina Caribbeans are still considered “other” or “not Latina enough” in Hollywood. But these events feature Dominican music, artists, and cultural elements like hookah, creating a cultural hub in LA that showcases our rich heritage and fosters representation in a city that often overlooks us.

At the first Teteo, we had Latines in entertainment from TV shows like “Insecure,” “On My Block,” “Gentefied,” “Station 19 “and “How I Met Your Father” attend. It was a dream come true because people who look like us don’t move to Hollywood often, and for Latines, being engaged in community plays a big part when it comes to our mental health. I often hear stories of Caribbean actors, directors, producers, and screenwriters who leave Los Angeles because they can’t find community. I wanted to bridge that gap within the Latine diaspora, from Mexicans to Dominicans. My goal was to foster the representation lacking in Hollywood, making our voices heard in the actual city of Hollywood.

The pain of Hollywood has been constantly trying to fit into a mold that asks you to erase parts of yourself, only to be rejected. Despite this pain and uncertainty, one thing they can’t take away from me is joy. That’s why Teteo was born, out of a desire to challenge the narrative that we don’t exist and to celebrate every facet of who we are, including our humanity and the gift of life. Dominican culture is often celebrated without proper recognition, from viral dembow songs to James Bond being inspired by Porfirio Rubirosa, to bachata being sung in different languages across the globe. Yet, despite these cultural contributions, we are often overlooked in the larger Latine conversation. Executives often don’t invest in us because they don’t believe we exist. However, seeing diverse crowds at Juan Luis Guerra and Romeo Santos concerts made me question why we aren’t part of the broader conversation.

I see El Teteo as a moment and a movement that has inspired a new Caribbean ecosystem in LA. It puts Caribbean and Afro-Latino culture at the forefront without relying on executives and investors who aren’t interested in us. I wanted to create a space where our presence and culture is acknowledged and celebrated. El Teteo has carved its path by spreading joy and awareness of our vibrant culture, created by us for all to enjoy.

This summer, I’m inspired to bring El Teteo to NYC and make it a global event in an effort to elevate Latine culture and put Dominicans on the map worldwide. I also wanted to use El Teteo as an opportunity to give back to the Dominican community. We are partnering with the Dream Project to support educational opportunities for Dominican youth. It was important for us to create something that not only brings joy but also gives back to people in need.

The Dominican spirit is more than just NYC and my island. It’s a way of life and a subculture celebrated by many. It’s about taking the positive parts of my culture and sharing them with the world. Like my father says, you never know when God will call you, so enjoy the life you have today. My hope is to bring this joy worldwide through my culture, to elevate and celebrate the community, and to create the representation we’re not seeing — all through community gatherings.

Sasha thank you is a first-generation Dominican American actor, comedian, and viral digital creator. She showcases over a decade of diverse experience in entertainment with roles in films like “Righteous Thieves” and “De Lo Mio,” along with collaborations with renowned brands such as Target and Bumble. She shares her Bronx roots and passion for Latine culture by being vocal about mental health and navigating comedy.

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Entertainment

Elsa y Elmar Talks Mental Health and New Album “PALACIO”

by Julia Evans – Entertainment Editor
written by Julia Evans – Entertainment Editor

In our Q&A /feature series Tell Me Más, we ask some of our favorite Latine celebs to share some inside info about their lives and some of the ways they are prioritizing their mental health. This month, we spoke with Colombian rising star Elsa y Elmar about dealing with burnout, safeguarding her mental health, and how all this impacted the process of creating her latest album, “PALACIO.”

Elsa Margarita Carvajal is no stranger to success. Better known by her stage name, Elsa y Elmar, the Latin Grammy-nominated singer has been making waves in the music scene for more than a decade. But with her latest album “PALACIO” releasing on August 30th, and on the brink of hitting the road for her biggest tour yet, Carvajal is poised to reach a whole new level. To reach that level once meant putting in many years on the indie circuit and playing solo in bars trying to connect to people who had never heard of her. And even though her unknown indie artist days are behind her, the singer admits that the pressure remains. Carvajal says that pressure can be both good and bad. On the one hand it can push artists to achieve bigger and better things, reaching the levels previously reached by their idols.

But on the other hand, the constant pressure to push for more and compare oneself to their peers or those who came before can be detrimental from a mental health perspective. The songstress says that she sometimes found herself in a constant state of work, thinking about what more she can do. This led her to take a much needed break to recharge after her last album “Ya No Somos Los Mismos.” However, in the intervening two years, the singer-songwriter has learned valuable lessons about self-care, understanding when she needs to be “on” and when she needs to take time for herself. From this mentality and two years of no labels and A&Rs asking her for new music or what she was going to do next, Carvajal was able to bounce back from her bout of burnout with her new disc “PALACIO.” The album is the first to be released on her new label, Elmar Presenta, and tackles various challenges many of us deal with on a daily basis. In a recent interview, she sat down with PS to talk about mental health and creative pressures and dive into some of the sentiments behind the project.

PS: You’re about to perform in your biggest venue ever. How does it feel getting to this point in your career?

Elsa y Elmar: You know, it’s really interesting because all the odds were against me. I’m not from that generation of women in pop like Belenova, Julieta Venegasand Natalia Lafourcade. And I’m also not an urbano artist. I’m an artist that, since day one, the people I’d work with would say, “I don’t know where you fit in. I don’t know how to explain [your sound]whether you’re indie or alternative.”

PS: What are some things that might surprise people about the reality of being a professional musician?

Elsa y Elmar: It’s physically and mentally taxing and requires a lot of patience . . . I feel like I’m always on.

PS: How have you learned to balance the pressure to be creative with the need to turn off and indulge in self-care?

Elsa y Elmar: I try to take maximum advantage of the periods when I’m feeling most creative and make as many ideas, songs, and videos as I can because I know at any given moment, there’s going to be a dry spell. But I also try to take advantage of that time when I’m not feeling as creative, and not stress, trusting that the creativity will return.

PS: What were some of the factors that led to your two-year hiatus?

Elsa y Elmar: I was tired of the bureaucracy, of the expectations, of working with the big labels, of just chasing the carrot. I decided that if I was going to chase any carrot, it was going to be my carrot.

PS: The album is filled with songs that tackle real-life issues. But maybe the song that has attracted the most attention so far is “Entre Las Piernas,” a song celebrating menstruation. What inspired you to tackle a topic that, to some, is still considered taboo?

Elsa y Elmar: Being honest, the subject hadn’t really crossed my mind as song-worthy, until one day it just hit me that half of the population of the planet bleeds once a month. And even today in 2024 it’s a subject that’s still taboo, that still grosses people out, and we’re not supposed to talk about…and I just thought “thousands of love songs have been written and no one’s written about this topic that’s so common?”

PS: On another standout on the album, you apply incredible sensitivity to the “mini heartbreak” of being left on read with the song “Visto” — a uniquely digital problem that the singer manages to make feel timeless. Why did you think something as simple as being ignored via text can be so painful?

Elsa y Elmar: I mean, obviously there are legitimate reasons that people get left on read . . . but what I’m talking about in the song is when you’re being vulnerable with someone and they leave you on read, and that feels horrible, to not understand why the other side of the conversation rather than communicate what they feel, eliminates the possibility of communication and leaves you with a mountain of questions and self-doubt.

PS: Lastly, for those who might be going through what you’ve passed through in the last two years — heartbreak, pressure to create, being left on read — can you give them any advice on how you kept yourself centered?

Elsa y Elmar: The other day I was listening to a little chat and [heard something] that struck me as very beautiful. If a problem has a solution, it’s no problem. And if it doesn’t have a solution, it’s no problem.

Whether it’s her interviews or her work, Carvajal’s vulnerability comes across effortlessly. And yet, she also understands that for many of us, vulnerability is a challenge in these modern times. But if she’s learned anything over the past two years, it’s that in order to make space for love, work, or anything else, we first have to make space for ourselves, make space for ourselves in our “PALACIO.”

“PALACIO” drops on August 30th.

Miguel Machado is a journalist with expertise in the intersection of Latine identity and culture. He does everything from exclusive interviews with Latin music artists to opinion pieces on issues that are relevant to the community, personal essays tied to his Latinidad, and thought pieces and features relating to Puerto Rico and Puerto Rican culture.

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Entertainment

40 Sexy Horror Movies to Thrill & Chill | PS Entertainment

by Julia Evans – Entertainment Editor
written by Julia Evans – Entertainment Editor

The Rise of sexy Horror: A Genre That Bites Back

world-today-news.com – July 5, 2025 – forget jump scares and gore – a new wave of horror is captivating audiences by blending terror with titillation. While seemingly paradoxical, the intersection of eroticism and horror is proving to be a potent formula, arguably deserving of its own dedicated genre.

This isn’t your grandmother’s horror. We’re talking films featuring everything from seductive vampires and primal werewolves to disturbingly charismatic serial killers – all with a generous helping of sensuality. The appeal? It taps into primal fears and desires, creating a uniquely thrilling experience.

Classics Reimagined & Modern masterpieces

The genre boasts both reimagined classics and modern masterpieces. Francis Ford Coppola’s “Bram Stoker’s Dracula,” starring Gary Oldman, Winona Ryder, and Keanu Reeves, is frequently cited as a landmark example, offering an intensely erotic interpretation of the iconic vampire tale. More recently, “Jennifer’s Body,” featuring Megan Fox and Amanda Seyfried, has become a cult favorite, demonstrating that even demonic posession can be a source of dark, alluring entertainment.

Why Now?

The growing popularity of sexy horror reflects a broader cultural shift. Audiences are increasingly seeking complex and nuanced narratives that challenge traditional genre boundaries. This blend allows filmmakers to explore themes of power, control, and vulnerability in a way that is both provocative and unsettling.

Further Reading:

For those interested in exploring the world of vampire films, check out this resource: [[1]]. And for a deeper dive into NC-17 rated films, see: [[1]].

Stay tuned to world-today-news.com for more on the evolving landscape of horror and entertainment.

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Entertainment

Code-Switching in Hollywood: Actors on Navigating White Spaces

by Julia Evans – Entertainment Editor
written by Julia Evans – Entertainment Editor

Hollywood Actor Calls for Authentic Portrayal Beyond Stereotypes

Table of Contents



Actor Christopher Rivas, known for his role in “Call Me Kat,” is advocating for a paradigm shift in Hollywood, urging the industry to move beyond tokenism and embrace authentic representation. Rivas emphasizes the need for nuanced stories that reflect the true diversity of society, both in front of and behind the camera. According to a 2023 UCLA study, while representation has improved, significant disparities persist in key creative roles Hollywood Diversity Report.

The Fight for Authentic Self-Expression

Rivas frames the struggle for authentic representation as a fight for self-love and acceptance. He critiques the industry’s tendency to promote Eurocentric beauty standards, citing products like the NoseSecret tool as examples of the pressure to conform.

Did You Know? The global beauty industry was estimated at $430 billion in 2022 and is projected to reach over $580 billion by 2027,highlighting the immense economic forces driving beauty standards Statista.

The High Cost of “Pretending”

Reflecting on his own experiences, Rivas recounts how he altered his appearance early in his career, including getting a nose job, to secure more roles. He highlights the irony of white actors lamenting the perceived advantages of minority actors, underscoring the complex dynamics of race and opportunity in Hollywood.

Breaking Free from Narrative Traps

Rivas critiques the formulaic nature of many television shows, where characters are frequently enough trapped in cycles of self-sabotage to maintain audience engagement. He argues that this perpetuates harmful stereotypes and limits the potential for meaningful growth and change.

Pro Tip: Seek out independent films and series that often offer more diverse and nuanced portrayals of characters and stories.

Reimagining Storytelling

Rivas proposes a new framework for script development, urging creators to consider whether their stories promote humanity, avoid marginalizing communities, and represent society honestly. He envisions a Hollywood where diverse stories are commonplace, not exceptional.

He calls for more stories featuring people of color in ordinary situations,such as a Brown “When Harry Met Sally” or an Afro-dominican futurist fantasy,where race is not the sole focus of the narrative.

The Power of Imagination and Representation

Rivas emphasizes the transformative power of media to shape perceptions and inspire a new future.He acknowledges the progress he has made, including his role on “Call Me Kat,” but remains vigilant about ensuring that his presence is not merely tokenistic.

Signing the Checks: A Call for Economic Empowerment

Rivas asserts that true change will only occur when people of color gain economic power within the industry, becoming the ones who “sign the checks.” He stresses that it’s not just about casting diverse actors but honoring the stories that make them worthy of more than being devices in “small-minded white stories.”

Evolving Beyond Code-Switching

Rivas shares his personal journey of embracing his natural curls and rejecting the pressure to code-switch. He encourages fellow people of color in Hollywood to assert their boundaries, create their own art, and support one another.

The Lion Must Write

Drawing on an African proverb, Rivas urges people of color to take control of their narratives, lest their stories be told solely from the perspective of the dominant culture. He calls for a commitment to anti-racist work and the creation of inclusive spaces where everyone can belong.

A Fluid and Expansive Narrative

Rivas concludes by emphasizing that the story of who we are is not fixed but constantly evolving. He invites everyone to participate in shaping a more inclusive and truthful representation of humanity.

Key Metrics: Diversity in Hollywood

Category 2021-2022 Change from Previous Year
Directors (Films) 29.8% people of color +2.1%
Writers (Films) 28.8% people of color +3.5%
Lead Actors (Films) 50.2% people of color +4.3%

Source: UCLA Hollywood Diversity Report, 2023

Evergreen Insights: Background, Context, Ancient Trends

The push for diversity and inclusion in Hollywood is not a new phenomenon, but it has gained significant momentum in recent years due to social movements and increased awareness of systemic inequalities. Historically, people of color have been marginalized and underrepresented in the entertainment industry, both on and off screen. This has led to a lack of authentic portrayals and the perpetuation of harmful stereotypes.

The ongoing conversation about representation in Hollywood is part of a larger global dialog about diversity, equity, and inclusion across various sectors. As audiences become more diverse and demand more authentic stories, the industry faces increasing pressure to adapt and reflect the world we live in.

Frequently Asked Questions

What are the key challenges to achieving authentic representation in hollywood?
Some key challenges include systemic biases, lack of diversity in decision-making roles, and the reliance on outdated stereotypes. overcoming these challenges requires a multi-faceted approach that addresses both conscious and unconscious biases.
How can audiences contribute to promoting authentic representation?
Audiences can support media that features diverse and authentic portrayals, advocate for inclusive casting, and challenge stereotypical representations. By being mindful consumers, audiences can help shape the demand for more inclusive content.
What role do film schools and training programs play in fostering diversity?
Film schools and training programs have a crucial role in fostering diversity by providing opportunities for aspiring filmmakers from underrepresented backgrounds. By creating pathways for diverse talent, these institutions can help diversify the industry from the ground up.
How does the lack of diversity behind the camera affect on-screen representation?
The lack of diversity behind the camera can lead to biased and inauthentic portrayals on screen. When stories are told primarily from a single perspective, they frequently enough fail to capture the nuances and complexities of diverse experiences.
What are some examples of films or TV shows that have successfully promoted authentic representation?
Examples include “Black Panther,” “Crazy Rich Asians,” and “Pose,” which have been praised for their diverse casting,nuanced storytelling,and authentic portrayals of marginalized communities. These projects demonstrate the potential for commercial success and critical acclaim when authentic representation is prioritized.

What steps do you think Hollywood should take to ensure more authentic representation? Share your thoughts in the comments below!

If you found this article insightful, share it with your friends and family!

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