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covid-safer-hotties · 11 days ago

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An older (published in January 2024) but interesting and comprehensive look at long Covid's effect on Latino families and communities in the US.

By Lygia Navarro and Johanna Bejarano

Editor’s note: This story first appeared on palabra, the digital news site by the National Association of Hispanic Journalists. It is part of a series produced in partnership between palabra and Northwest Public Broadcasting (NWPB) with the collaboration of reporters Lygia Navarro and Johanna Bejarano. *Some people interviewed for this article requested anonymity to discuss private health issues.

Victoria* is already exhausted, and her story hasn’t even begun. It’s late January 2021 in rural Sunnyside, Washington. The town of 16,000 people is a sleepy handful of blocks flecked with pickup trocas, churches on nearly every corner, and the twangs of Clint Black and Vicente Fernández. Geometric emerald chunks of farmland encircle the town.

Thirty-nine-year-old Victoria drags herself back and forth to her parents’ bedroom in a uniform of baggy burgundy sweatpants, scarf, knit hat and mask. Always a mask. As the eldest sibling, her unspoken job is to protect the family. But COVID-19 hits before they can get vaccinated.

When Victoria’s mamá got sick and quickly infected her papá, Victoria quarantined them. She shut them in their room, only cracking the door briefly to slide food in before retreating in a fog of Lysol.

Working in the health field, Victoria knows if they make it through the first 14 days without hospitalization, they will likely survive. Yet, caregiving drains her: Keeping track of fevers. Checking oxygen saturation. Making sure they’re drinking Pedialyte to stay hydrated. Worrying whether they will live or die.

Five days in, COVID comes for Victoria. Hard. Later, when she repeatedly scrutinizes these events, Victoria will wonder if it was the stress that caused it all — and changed her life forever.

At the pandemic’s onset, Victoria’s family’s work dynamics fit the standard in Sunnyside, where 86% of residents are Latino. “Keeping the members of your household safe — it was hard for a lot of families,” Victoria says. Living in multigenerational homes, many adult children, who’d grown up in the United States with access to education, had professional jobs, and switched to working from home. Their immigrant elders, who’d often only been able to finish fourth grade, braved the world to toil in fields, produce packing plants, supermarkets, or delivery trucks. As Leydy Rangel of the UFW Foundation puts it: “You can’t harvest food through Zoom.”

More than three decades ago, when 6-year-old Victoria’s family migrated from rural northern Mexico to this fertile slip of land cradling the zigzagging Yakima River, their futures promised only prosperity and opportunity.

According to oral histories of the Confederated Tribes and Bands of the Yakama Nation — who white colonizers forced out of the Yakima Valley in 1855 — the valley’s fecund lands have fed humans since time immemorial. Soon after the Yakamas’ removal to a nearby reservation, settler agriculture exploded.

By World War II, employers were frantic to hire contracted bracero laborers from Mexico — themselves descendants of Indigenous ancestors — to harvest the valley’s bounty of asparagus, pears, cherries and other cornucopia. This was how Victoria’s family arrived here: her abuelo and his brother had traveled back and forth to Washington as braceros decades before.

Victoria’s path took similar twists, in a 21st century, first-gen way. She moved all over the country for her education and jobs, then returned before the pandemic, bringing a newfound appreciation for the taste of apples freshly plucked from a tree that morning, and for the ambrosial scent of mint and grapes permeating the valley before harvest.

Today, agriculture is the largest industry fueling the Yakima Valley, the country’s twelfth-largest agriculture production area. Here, 77% of the nation’s hops (an essential ingredient in beer) and 70% of the nation’s apples are grown. Latinos, who constitute more than half of Yakima County’s population, power the agricultural industry.

While the area’s agricultural enterprises paid out $1.1 billion in wages in 2020, 59% of the low-wage agriculture jobs are held by undocumented folks and contracted foreign seasonal laborers doing work many Americans spurn. Latinos here live on median incomes that are less than half of white residents’, with 16% of Latinos living in poverty. Also in 2020: as they watched co-workers fall ill and die, Latino farmworkers repeatedly went on strike protesting employers’ refusals to provide paid sick leave, hazard pay and basic COVID protections like social distancing, gloves and masks.

“Every aspect of health care is lacking in the valley,” Yakima Herald-Republic health reporter Santiago Ochoa tells me.

In interview after interview, Yakima Valley residents and health care workers sketch in the details of a dire landscape:

The state’s busiest emergency room. Abrupt shutdowns of hospital facilities. Impoverished people without transportation or internet access for telehealth. Eight-month waits for primary care appointments. Nearly one in five Latinos uninsured. More than half of residents receive Medicaid. Resident physicians cycling in and out, never getting to know their patients. Not enough specialists, resulting in day-long trips for specialized care in bigger cities. With its Latino essential workforce risking their lives to feed their families — and the country — by summer 2020, COVID blazed through Yakima County, which quickly became Washington’s most scorching of hot spots. Not only did Yakima County tally the highest per-capita case rate of all West Coast counties (with Latinos making up 67% versus, 26% for white people), it also saw more cases than the entire state of Oregon. Ask Latinos here about 2020, and they shiver and avert their gazes, the trauma and death still too near.

Their positive tests marked just the beginning of terrifying new journeys as COVID slammed Victoria and many other Yakima Valley Latinos. Mix in scanty rural health care, systemic racism and a complicated emerging illness, and what do you get? Chaos: a population hardest hit by long COVID, but massively untreated, underdiagnosed, and undercounted by the government and medicine itself.

It won’t go away The cough was the first clue something wasn’t right. When Victoria had COVID, she’d coughed a bit. But then, three months later, she started and couldn’t stop.

The Yakima Valley is so starved for physicians that it took five months to see a primary care doctor, who attributed Victoria’s incessant cough to allergies. Victoria tried every antihistamine and decongestant available; some brought relief for three, maybe four weeks, and then returned spasms of the dry, gasping bark. A few minutes apart, all day long. The worst was waking up coughing, at least hourly.

Victoria had chest x-rays. An ear, nose and throat specialist offered surgery on her nose’s deviated septum. As months passed, the black hair framing Victoria’s heart-shaped face started aging rapidly, until it was grayer than her mother’s.

Over a year after the cough began, an allergist prescribed allergy drops, and Victoria made a chilling discovery. Once the drops stopped the cough for a month, then two, Victoria realized that the extreme fatigue she’d thought was sleep deprivation from coughing all night persisted.

“The exhaustion comes from within your soul, it overpowers you,” she says. “It’s intolerable.”

And her mind was foggy. When interrupted at work every 10 minutes by a coughing jag, Victoria hadn’t realized COVID had substantially altered her brain. “There are things in my brain that I should have access to, like words, definitions, memories,” she says. “I know that they’re there but I can’t access them. It’s like a filing cabinet, but I can’t open it.”

Before long, the cough resurfaced. Sometime in 2021, reading COVID news for work, Victoria learned of long COVID: new or lingering health issues persisting at least three months after COVID infection.

How to get help if you think you might have long COVID Talk to your doctor, and if your doctor doesn’t listen to your concerns, bring a loved one to advocate for you at your next appointment. Bring this article (or other materials on long COVID) to show your doctor. Ask your doctor about seeing specialists for long COVID symptoms, such as a cardiologist (for dysautonomia symptoms like dizziness, heart palpitations and shortness of breath), a gastroenterologist (for digestive problems), or a neurologist (for chronic nerve pain). Ask to be referred to a long COVID clinic (if there is one in your area). Now four years into the pandemic, there is still no treatment or cure for long COVID. COVID long-haulers (as they call themselves) have reported over 200 varied symptoms, with fatigue, dizziness, heart palpitations, post-exertion exhaustion, gastrointestinal issues, and brain dysfunction among the most common.

Long COVID is far from a mysterious illness, as it’s often called by the medical establishment and some media. There are precedents: for at least a century, historical documentation has shown that, while most recover, some people remain sick after viral or other illnesses. Yet funds for research have been severely limited, and sufferers ignored. Myalgic Encephalomyelitis – sometimes called Chronic Fatigue Syndrome, or ME/CFS — is a prime example. Like ME/CFS, long COVID afflicts many more women (and people assigned female at birth) than men, with women comprising as many as 80% of COVID long-haulers. Most long-haulers are in their 30s, 40s and 50s — the busiest years for women with children, who often put their own needs last.

What should have been instantly clear, given how disproportionately Black and Brown communities were hit by COVID, was that long COVID would wallop Americans of color. Yet, the U.S. government waited until June 2022 to begin tracking long COVID. Even now, with 18 months of data showing Latinos are the population most impacted by long COVID, palabra is among the very few media outlets to report this fact. Are the nation and the medical community willfully ignoring Latino long-haulers — after sending them into clouds of coronavirus to keep society’s privileged safe?

Fighting for a diagnosis When Victoria mentioned long COVID, her doctor didn’t exactly ignore her: she listened, said “OK,” but never engaged on the topic. Same with Victoria’s allergist and the ear, nose and throat specialist. All they could do, the doctors said, was treat her symptoms.

“I’m highly educated and I know that you have to be your own advocate. But I kept asking, kept going on that line of thought, and they had nothing to say to me. Absolutely nothing,” she laments.

Victoria understood science on long COVID was limited, but still expected more. “All of the treatments we tried, it was as if COVID hadn’t existed. They should at least say that we need to investigate more, not continue acting like it wasn’t a factor. That was what was most frustrating.”

Just as Victoria fought to have her illness validated by doctors, 30 miles away in the northern Yakima Valley town of Moxee, 52-year-old María* waged a parallel battle. Both felt utterly alone.

When the pandemic began, María became the protector of her husband and children, all asthmatics. When she fell ill New Year’s Day 2021, she locked herself in her room, emerging weeks later to find her life unrecognizable.

Recounting her struggles, María reads deliberately from notes, holding back tears, then pushes her reading glasses atop her head. (María moved here from northern Mexico as an adult, and feels most comfortable in Spanish.) Her dyed brown hair, gold necklace and lightly made-up face project convivial warmth, but something intangible behind her expression belies a depth of grief María refuses to let escape. When I tell her I also have long COVID, and fell ill the exact same month, she breathes out some of her anxiety.

María’s long COVID includes chronic, full-body pain; memory lapses so severe she sometimes can’t remember if she’s eaten breakfast; such low energy that she’s constantly like a battery out of juice; unending shortness of breath; joint inflammation; and blood flow issues that leave her hands a deep purple. (The only time María ventured to the hospital, for her purple hands, she says staff attempted to clean them, thinking it was paint.) Like Victoria, María used to enjoy exercise and hiking in the valley’s foothills, but can do neither anymore.

María has no insurance, and receives care at the Yakima Valley Farm Workers Clinic, created in 1978 out of the farmworkers’ movement. The clinic’s multiple locations are the valley’s main providers of care irrespective of patients’ ability to pay.

Whereas Victoria’s doctors expressed indifference to the idea of COVID causing her health complaints, María’s doctors not only discounted this connection, but made serious errors of misdiagnosis.

“Every week I went to see my doctor. She got so stressed out (at not knowing what was wrong with me) that she stressed me out,” María says. “My doctor told me, ‘You know what? I think you have multiple sclerosis.’” María saw specialists, and afterwards, even without confirmation, María says her doctor still insisted she had MS. “I told her, ‘No. No, I don’t have multiple sclerosis. It’s COVID. This happened after COVID.’ I was really, really, really, really, really, really insistent on telling them that all of this was after COVID.”

Latinos uncovering the connections between their ill health and COVID is rare, partially due to the plummet in COVID coverage on Spanish-language news, says Monica Verduzco-Gutierrez, a long-hauler and head of the University of Texas Health Science Center San Antonio long COVID clinic. There has been no national public education on long COVID, in any language.

“It’s hard for people to understand what the real impact of long COVID is now and in the future,” says Lilián Bravo, Yakima Health District director of public health partnerships and the face of COVID updates on Yakima Valley television early in the pandemic. “We’re looking at a huge deficit in terms of people’s quality of life and ‘productivity.’”

Eventually, María’s doctor sent her to another specialist, who said that if she didn’t improve within a month, he’d operate on her hip. María’s never had hip problems. “He said, ‘Well, I don’t know what you’re going to do,’” and then put her on a strong steroid medication that made her vomit horribly, María says. She hasn’t tallied what she’s spent on medical bills, but after paying $1,548 for a single test, it must be many thousands of dollars.

Meanwhile, María’s family and friends kept insisting her maladies were psychological. “I never accepted that. I told them: ‘It’s not in my head. It’s in my body.’” It wasn’t until more than a year after becoming ill that María finally saw a rheumatologist who diagnosed her with long COVID and other immune dysfunctions. “I told her, ‘Yes, I knew that my body wasn’t working. I knew that something was wrong.’ I felt like I could relax. Finally someone is telling me that it’s not all in my head.” Once María was diagnosed, her extended family switched to asking how she was feeling and sympathizing with her.

Victoria, on the other hand, has never received a long COVID diagnosis. At Victoria’s request, her doctor referred her to the state’s only long COVID clinic, at the University of Washington in Seattle, but Victoria’s insurance, Kaiser Permanente, refused to pre-approve the visit — and the clinic wouldn’t accept cash from her. At present, the clinic isn’t even accepting patients from the Yakima Valley or any other part of Washington — they are only accepting patients in King County, which includes Seattle.

Victoria’s family hasn’t accepted her health struggles either. “I’d say, ‘I know that you think I’m crazy,’” Victoria says, chuckling, as she often does to lighten her discomfort. “My mom would fight with me: ‘You forgot to do this! Why are you so spacey?’ ‘Mami, it’s not that I forgot. In reality, I completely lost track of it.’” If Victoria is fatigued, her family asks how that’s possible after a full night’s sleep. “I’ve found that I have to defend myself. When I try to explain to people, they hear it as excuses from a lazy person — especially being Latinos.”

Karla Monterroso, a 42-year-old California Latina long-hauler since March 2020 who spent her first year bedbound, says, “(With long COVID), we have to rest in a way that, in our culture, is very difficult to achieve. We really judge exhaustion.” In fact, pushing physically or mentally for work can make long-haulers much sicker. Karla says Latino ethics of hard work like those of Victoria’s parents “aren’t the principles that are going to serve us with this illness.”

Long COVID diagnoses in Latinos are still too rare, due to untrained family medicine physicians and medical stereotypes, says Verduzco-Gutierrez. (Doctors might see blood sugar changes, for example, and assume that’s just because of Latinos’ high rates of diabetes, rather than long COVID.) She says “misinformation on long COVID” is rampant, with physicians claiming long COVID is a fad, or misdiagnosing the bone-deep exhaustion as depression. When Verduzco-Gutierrez’s own doctor invited her to speak to their practice, the assembled physicians weren’t aware of basic research, including that the drugs Paxlovid and Metformin can help prevent long COVID if taken at infection. In Washington, physicians must complete training on suicide, which takes 1,200 to 1,300 lives in the state yearly, but there’s no state-wide training on long COVID, which currently affects at least 498,290 Washingtonians.

Cultural skepticism about medicine — and entrenched stigmas about illness and disability — mean Sunnyside conversations about aftereffects don’t mention COVID itself. Victoria’s relatives push traditional herbal remedios, assuming that anyone still sick isn’t doing enough to recover. “(People suffering) feel like they’re complaining too much if they try to talk about it,” Victoria says. Meanwhile, her parents and others in her community avoid doctors out of stubbornness and mistrust, she says, “until they’re bleeding, when they’re super in pain…, when it’s gotten to the worst that they can handle.”

“People in this community use their bodies for work,” Victoria says. “If you’re Latino, you’re a hard worker. Period,” says Bravo. “What’s the opposite of that, if you’re not a hard worker? What are you? People don’t want to say, ‘I came to this country to work and all of a sudden I can’t anymore.’”

Victoria sees this with her parents, who’ve worked since the age of 10. Both have health issues inhibiting their lives since having COVID — her dad can’t take his daily hour-long walks anymore because of heart palpitations and shortness of breath, and her mom began getting headaches and saw her arthritis worsen dramatically — yet neither will admit they have long COVID. Nor will their friends and family. “If they noticed the patterns of what they themselves are saying and what their friends of the same age are suffering after COVID,” Victoria says of her community, “they’d hear that almost everyone is suffering some type of long COVID.”

Long COVID’s deep impact on Latinos The “back to normal” ethos is most obvious in the absence of long COVID messaging while as many as 41 million adults now have — or have recovered from — long COVID nationwide. “The way that we’re talking about the pandemic is delegitimizing some of (long COVID’s) real impacts,” says Bravo of the Yakima Health District.

Even with limited demographic data, statistics show a nationwide reality similar to Victoria’s Sunnyside. Through a recurring survey, the Census Bureau estimates that 36% of Latinos nationally have had long COVID — likely a vast underestimate, given that the survey takes 20 minutes to complete online (Latinos have lower rates of broadband internet), and reaches only a sliver of the U.S. population. Experts like Verduzo-Gutierrez believe that true rates of long COVID in Latinos are higher than any reported statistic. California long-hauler Karla Monterroso agrees: “We are underdiagnosed by a severe amount. I do not believe the numbers.”

This fall, a UC Berkeley study reported that 62% of a group of infected California farmworkers developed long COVID. Weeks later, a survey from the University of Washington’s Latino Center for Health found that, of a sample group of 1,546 Washington Latinos, 41% of those infected became long-haulers. The Washington results may also be an undercount: many long-haulers wouldn’t have the energy or brain clarity to complete the 12-page survey, which was mailed to patients who’d seen their doctor within the prior six months. Meanwhile, many long-haulers stop seeing doctors after tiring of the effort and cost with no answers.

“Our community has not bounced back,” says Angie Hinojos, executive director of Centro Cultural Mexicano, which has distributed $29 million in rent assistance in Washington and hasn’t seen need wane. “That is going to affect our earning potential for generations.” The United Farm Workers’ philanthropic sister organization, the UFW Foundation, says union organizers hear about long COVID, and how it’s keeping people out of work, frequently.

Cultural and linguistic disconnects abound between doctors and Latinos on long COVID symptoms, some of which, like brain fog and fatigue, are nebulous. If doctors lack patient rapport — or don’t speak their language — they’ll miss what patients aren’t sharing about how long COVID changed their lives, work and relationships. That’s if Latinos actually go to the doctor.

“If you’re working in the orchards and your muscles are always sore, it’s just part of the day-to-day reality,” says Jesús Hernández, chief executive officer of Family Health Centers in north-central Washington. “If you’re constantly being exposed to dust and even chemicals in the work environment, it’s easy to just say, ‘Well, that’s just because of this or that,’ and not necessarily be readily willing to consider that this is something as unique as long COVID.”

Even Victoria says if not for the cough, she wouldn’t have sought medical advice for her fatigue. “There are a lot of people out there that are really tired, in a lot of pain and have no idea why. None,” says Karla, who was a nonprofit CEO when she became sick. “I have heard in the last three-and-a-half years the most racist and fatphobic things I have ever heard in my life. Like, ‘Oh, sometimes you got to lay off the beans and rice.’ I have a college education. I’m an executive. I am in the top 10% of wage earners in my community. If this is my experience, what is happening to the rest of my people?”

Conspiracy theories and misinformation As Yakima Valley’s Latino vaccination rates continue dropping, I hear all the COVID conspiracy theories: the vaccine has a chip that’ll track you; the vaccine makes you and your children infertile; COVID tests are rigged to all be positive; that hospitals get paid more for COVID patients. Victoria laughs at the most absurd one she’s heard. Her mom’s explanation for her health problems nearly three years after COVID: the vaccine.

Across the Latino United States, social media algorithms and WhatsApp threads promoting COVID disinformation proliferate. Last summer, Latino Center for Health co-director Dr. Leo Morales did a long COVID community presentation just south of Yakima Valley. The audience’s first question: Are vaccines safe? “This is where we’re still at,” Morales says. “That’ll be a big stumbling block for people…in terms of getting to talking about long COVID.”

One morning in early November, Morales and his team gather in Toppenish at Heritage University, where 69% of students are Latino, to present their survey data. Neither presenters nor attendees wear masks, an essential tool for preventing COVID transmission and long COVID. “The only conversation that I’m having about COVID is in this room,” says María Sigüenza, executive director of the Washington State Commission on Hispanic Affairs.

Yakima Valley health institutions are also ignoring long COVID. Of the two main hospital systems, Astria Health declines interview requests and MultiCare reports that of 325,491 patients seen between January and November 2023, 112 — or 0.03% — were diagnosed with long COVID. The Yakima Valley Farmworkers Clinic, where María’s doctor works, refuses to let me speak to anyone about long COVID, despite providing patient information for the Latino Center for Health’s survey. Their doctors simply aren’t seeing long COVID, the clinic claims. Same with the other main community provider, Yakima Neighborhood Health Services, whose media officer responds to my interview requests with: “It’s not going to happen.”

“I think they’re not asking, they’re not looking,” Verduzco-Gutierrez says. “Do the doctors just…look at your diabetes or your blood pressure, but not ask you, ‘Did your diabetes get worse when you had COVID? Did your blood pressure get worse? Did you not have blood pressure problems before? And now do you get dizzy? Do you get headaches? Do you have pains?’” She believes that many, if not most, Latinos with long COVID aren’t getting care, whom she calls “the ones that we’re missing.”

An uncertain future The outlook for Latinos with long COVID is grim. Cultural stigma and ableism cause now-disabled long-haulers to feel shame. (Ableism is societal prejudice and discrimination against disabled people.) Disability benefits are nearly impossible to get. Long-haulers are losing their homes, jobs and insurance. Latinos’ overrepresentation in sectors that don’t offer sick pay and are heavily physical — cleaning, service, agriculture, construction, manufacturing, homecare and healthcare among them — may automatically put them at higher long COVID risk, given ample anecdotal evidence that pushing through a COVID infection instead of resting can lead to long COVID. Latino care providers will become ill in greater numbers, imperiling the healthcare industry.

But Latinos may not be clear on these factors, says long-hauler Karla Monterroso. “My tío had said…'We must be defective because we get sick more than the white people.’ And I’m like ‘No, tío. We are exposed to the illness more. There’s nothing defective about our bodies.’ I’m afraid for us. It’s just going to be disability after disability after disability. We have to start in our small communities building caring infrastructure so that we can help each other. I am clear: No one is coming to save us. We’ve got to save us.”

Disability justice advocates worry about systems unable to cope with inevitable disabling waves of COVID in the future. “(Latinos) aren’t taking it as serious as they should,” says Mayra Colazo, executive director of Central Washington Disability Resources. “They’re not protecting each other. They’re not protecting themselves.” Karla sees the psychology behind this denial: “I have thought a lot about how much it takes to put yourself in danger every single day. (You have) to say ‘Oh, it’s fine. People are exaggerating,’ or you get that you’re in existential hell all of the time.”

Reinfection brings additional risk of long COVID, research shows, and Verduzco-Gutierrez says, “We still don’t know the impact of what is going to happen with all these reinfections. Is it going to cause more autoimmune disease? Is it going to be causing more dementia? Is it going to be causing more cancer?�� She believes that every medical chart should include a COVID history, to guide doctors to look for the right clues.

“If we were to be lucky enough to capture everybody who has long COVID, we would overwhelm our (health) system and not be able to do anything for them,” Victoria says. “What’s the motivation for the medical field, for practitioners to find all those people?” For now, Victoria sees none. “And until that changes, I don’t think we will (properly count Latino long-haulers),” she adds.

Flashes of hope do exist. In September 2023, the federal government granted $5 million each to multiple long COVID clinics, including three with Latino-specific projects. In New York City, Mt. Sinai Hospital will soon open a new long COVID clinic near largely-Latino East Harlem, embedded in a primary care clinic with staff from the community to reach Latino long-haulers. Verduzco-Gutierrez’s San Antonio clinic will teach primary care providers across largely rural, Latino South Texas to conduct 15-minute low-tech long COVID examinations (the protocol for which is still being devised), and will deploy community tools to educate Latinos on long COVID.

Meanwhile, at the University of Washington long COVID clinic, staff are preparing a patient handbook, which will be adapted for Latinos and then translated into Spanish. They will also train primary care physicians to be local long COVID experts, and will return to treating patients from the whole state rather than just the county containing Seattle. After palabra’s inquiry, the UFW Foundation now has plans to survey United Farm Workers members to gauge long COVID pervasiveness, so the Foundation can lobby legislators and other decision makers to improve Latino long-hauler care.

Back at the Yakima Valley survey presentation, attendees brainstorm new care models: Adding long COVID screening to pediatric checkups, given that long COVID most impacts child-bearing-age women, so moms can bring information to their families and community. Using accessible language for long COVID messaging, or, as Heritage University nursing faculty member Genevieve Aguilar puts it: “How would I talk to my tía, how would I talk to my abuelita? If they can understand me, we’re good to go. If they can’t, olvídate. We have to reframe.”

More than anything, personal narratives will be the key to open people’s minds about long COVID — although that path may be challenging. In Los Angeles, Karla has dealt with a lack of full family and community support, in part, she believes, because her body represents COVID. “I am living, breathing proof of a pandemic no one wants to admit is still happening, and that there is no cure for what I have. That is a really scary possibility.”

While Karla does identify as disabled, Victoria and María don’t. Victoria has learned to live and move within her physical limits. At work, she sometimes feels inhibited by her cognitive issues. “I tell my boss all the time, ‘Oh man, you guys hired such a smart person. But what you got was after COVID, so it’s not the same.’” At times, she worries about the trajectory of her career, about how her work’s intense problem-solving wears out her brain. Will she be able to pursue larger challenges in work in the future? Or will long COVID ultimately make her fail?

Victoria tells me she “remains hopeful that there is a solution.” In a surprising twist, her cough completely disappeared eight months ago — when she became pregnant. (Other long-haulers have seen their symptoms improve with pregnancy, as well, likely due to immune system changes allowing a pregnant person’s body to not reject their baby’s growing cells). Victoria is optimistic that her other symptoms might disappear after she gives birth. And that, maybe someday, her parents will admit they have long COVID, too.

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mightyflamethrower · 11 months ago

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Something eerie, something creepy, is happening in the world—and now in America as well. The dark mood is brought on by elite universities, the Diversity, Equity, and Inclusion industry, and massive immigration from illiberal nations and anti-Enlightenment societies.

At Hillcrest High School in Queens, New York, hundreds of students rioted on news that a single teacher in her private social media account had expressed support for Israel. Waving Palestinian flags, and screaming violent threats, the student mob rioted, destroyed school property, sought the teacher out and tried to crash into her classroom—before she was saved from violence by other teachers and an eventual police arrival.

The subtext was that the overwhelmingly minority students (whose school is ranked academically near the bottom among New York City schools) were acculturated to the racist reality that as the “oppressed” they were exempt from any punishment for hunting down their own teacher. As a Jewish (and thus white) “oppressive” supporter of Israel, she was reduced to, in the words an enthusiastic commenter on a Tik Tok video of the riot, a “cracker ass bitch.” And so the student pack tracked her down as if they were hunting an animal. The old Nazi youth gangs tried to kill Jews because they were not considered “white;” our new Nazis hunt them down because they allege that they are. The common denominator between the 1930s and 2023 is an unhinged hatred of Jews.

Hundreds of such incidents are now occurring on a daily basis—as the country is leaving its Weimar phase and heading at warp speed into normalizing Jew-hatred and worse. Instructors singled out Jewish students in classes at UC Davis and Stanford. Pro-Hamas students ripped down posters, swarmed public buildings, and disrupted traffic.

A pro-Israeli demonstrator in Los Angeles was hit on the head and killed by a pro-Palestinian university professor.

Jewish students were trapped in a Cooper Union university library surrounded by pro-Hamas demonstrators. At MIT, Jewish students were warned to keep away from particular areas of the campus deemed dangerous for them.

What would happen to a university president who warned black or Latino students to keep clear of areas where she could not guarantee their safety from other students?

A bankrupt media deserves much of the blame. They daily broadcast Hamas’s suspect casualty figures, as if that terrorist organization has ever been capable of speaking the truth.

The Western news regurgitated “500 dead at a Gaza hospital,” due to a supposedly deliberate Israel bombing. In fact, the hospital parking lot was hit by an errant Islamic Jihad missile intended to kill civilians in Israel.

No matter—few reporters apologized for spreading Hamas-fed misinformation, despite the previous Hamas lies that they never harmed civilians, that tunnels were not beneath hospital grounds, that they did not murder 1,200 Israelis; or their lies that Hamas gunmen do not rape, when they engaged in mass rape on October 7.

The media normalizes Hamas’s atrocities by treating it as if it were an ordinary government, not a murderous terrorist clique that decapitates civilians, takes children as hostages, and mutilates those it slaughters. That the terrorist organization has kidnapped at least ten American citizens and killed perhaps another 31 is lost on the “journalists,” many of them Americans who could care less about the fate of their fellow citizens.

The media fixates on the Israeli response to mass murder, but rarely the mass murder of 1,200 Israeli civilians that prompted the current war. During ceasefires do Israeli terrorists drive into Gaza cities, and shoot and kill innocent civilians—and then brag, as did Hamas recently, that such murdering will only increase?

Sometimes the anti-Semitic hatred reaches Orwellian levels of absurdity. A British reporter asked an Israeli official whether his country valued life less than Hamas did because it had agreed to Hamas’s demand to release three convicted terrorists in exchange for one Israeli captive. The media fawned over a released disfigured Gazan terrorist—without mentioning that her injuries came from a car bomb she exploded in hopes of killing Jews.

The media is further emboldened by the Biden administration. When asked about the outbreak of anti-Semitism across the U.S.—nearly 60 percent of hate crimes are committed against Jews, who make up 2.5 percent of the population—Biden Press Secretary Karine Jean-Pierre dismissed them with the false claim that the White House “had not seen any credible threats” to Jews. And then she claimed that the real danger to American residents was Islamophobia and threats to Arab-Americans. Hate crime and interracial crime statistics do not support Jean-Pierre’s assertions, which prompts the question of why she made them in the first place.

Note that almost all the violence in demonstrations over the current war comes from the pro-Hamas side that shouts “river to the sea” genocidal threats, swarms the Capitol rotunda and the White House wall, disrupts traffic, occupies bridges at peak traffic, defaces private and public property, shouts down speakers on campus, harasses passers-by, and often battles the police. One wonders whether, should the U.S. military be forced to try to rescue American captives, the demonstrators would cheer for the American troops or Hamas hostage-takers.

Abroad, the world has gone even crazier.

The United Nations has appointed Iran—a theocratic, terrorist-supporting government that kills dissidents and takes hostages—as the chair nation of the UN Human Rights Council Social Forum. What a cruel joke.

But what would one expect from the UN when its secretary-general, António Manuel de Oliveira Guterres, a former Portuguese socialist politician, condemns the Israeli response to October 7, but rarely, if ever, the Hamas mass killing of civilians that prompted it. Right after the mass killing Guterres opined, “The attacks by Hamas did not happen in a vacuum.” According to the secretary-general’s logic, I suppose, Pearl Harbor, the 1939 Nazi invasion of Poland, and the Russian invasion of Ukraine did not happen in a vacuum either.

When told that an Irish citizen hostage was freed by Hamas, Irish Prime Minister Leo Varadkar declared that the “lost” child was finally “found.” In other words, he wished to hide the obvious fact that a terrorist organization had kidnapped an Irish citizen child, held her hostage for 50 days, and released her only when Israel gave up convicted terrorists to obtain her release.

Our domestic political leadership is not helping the situation.

Just days after October 7, Secretary of State Antony Blinken, along with the foreign minister of the now often hostile Turkish government, were calling for a cease-fire to prevent an Israeli response.

When the Islamic Jihad rocket aimed at Israeli cities went off course and damaged a Gaza hospital (leading to the fake story that Israel bombed the hospital), President Biden joked, “You got to learn to shoot straight.” Did Biden mean that, had the terrorists only launched a successful terrorist rocket into Jewish neighborhoods, there would have been no ensuing controversies?

Biden later apologized for doubting fatality figures provided by the Gaza Health Ministry, which is controlled by Hamas—a terrorist organization that has lied about the hospital “bombing,” denied it had tunnels under hospitals, denied that it had engaged in mass rape in Israel, and has supplied no proof of its civilian casualty numbers. Has Hamas released figures of how many of its terrorists were killed, and does it separate those numbers from lost “civilians?” And so are there really vast new cemeteries in Gaza to handle the 15,000 graves for those who, Hamas asserts, were killed?

What explains the collective madness?

For the last 40 years, while Western leftists have naively supported Palestinian terrorists, their governments have appeased terrorist-supporting Middle Eastern governments for very practical reasons. The old subtext to such mollification was that 500-million irate Arab Muslims, and a Middle East with 40 percent of the world’s oil reserves, in realist terms, simply argued against the interests of 10 million Israelis.

But now there are two new, venomous elements in the matrix.

One is that the racist DEI industry assumes that all intersectional nonwhite communities are victims of white privilege and supremacy. Therefore, as permanently oppressed, they are declared incapable of being racist themselves. And so they can harass with impunity the supposed victimizers—in this case American Jews, who are declared culpable whites.

So the oppressed, according to the DEI bible, cannot be anti-Semitic, though many certainly are. And they apparently cannot be held accountable for their hatred or frequent violence.

Secondly, in the last two decades there has been an epidemic of immigration into Western nations from the Middle East. In often-divided democracies like ours, politicians seek to appease as many pressure groups as possible, whether citizen voters or merely resident demonstrators, to acquire and maintain power.

Such pro-Hamas demonstrators, rah-rahing from a free, prosperous, and secure West, expect no rebuke for their obvious hypocrisy in cheering on an autocratic, dictatorial Hamas that has wrecked the economy of Gaza, shoots dissidents, and allows no free expression. And Middle Eastern guests and immigrants are never reminded that their very demonstrations are predicated on not being physically present in their homelands, where they might be shot for what they say and do freely in the West.

We are on a trajectory similar to that of 1930s Germany.

Every time a student is cornered, harassed, or threatened; a high school mob tries to swarm and harm a teacher; a government spokesperson dismisses such hatred; or American soldiers are targeted by Iranian-fed terrorist organizations; the madness, racism, and anti-Semitism will increase—until it reaches a saturation point of abject violence in our streets.

Once a society mainstreams the values of thuggish brownshirts, and ignores their “from the river to the sea” eliminationist chants and screams of “beat the f—king Jew,” then the next emboldened step is foreordained.

True, most Americans were appalled by October 7 and accept that every nation has the right to defend itself from terrorist killers. Most Americans deplore vicious demonstrators and their calls for violence on behalf of the Hamas death cult. And most Americans want their President to demand the release of American hostages and to deter Iranian-backed terrorists who attack U.S. military personnel in the region.

But unless the public demands that their universities enforce on campus the Bill of Rights and the right to move freely in safety, that police enforce laws against mob violence on America’s streets and in our schools, and that the United States stops greenlighting mass immigration from anti-Western nations and extending student visas to residents of anti-American, terrorist-supporting, and autocratic Middle East regimes, then in suicidal fashion we are headed for a 1930s nightmare.

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johannstutt413 · 1 year ago

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Everything below this line is sad. If you are not in a place to experience secondhand grief, feel free to skip this post.

You’ve been warned.

About two years ago (not really sure anymore), I lost a friend of mine to COVID. I didn’t know how to grieve, so I didn’t, but I had a reminder of a different kind of loss today and wondered why it hit me so hard. So, in an attempt to take a couple steps towards figuring out how to deal with the emotion without burying it in logic, I’m doing two things today.

The first is the bowls pictured above: Mexican lasagna, because we made lasagna together, and she was a Latino-American ball of sunshine. The one on the right is hers, my roommates and I are gonna leave that one be for a while (hopefully the cats respect that), the one on the left and the rest of the pan are for the household. Yay lunch.

The second is talking about her, and I’m doing this here because I can trust Tumblr to leave this public but not broadcast to a mob of people who will assault me verbally for needing an outlet. As I’ve done so often (albeit not much recently), I’m gonna tell a story. A true story this time. Here’s another chance to leave before things get really emotional.

I met Alicia in my freshman year of high school; she was running for class president, and I’d just arrived a few days late to the school year because I’d transferred out of Big-Ass Public School to Small Charter School. We had a couple classes together, and we talked to some of the same people, but ultimately the only reason it went any further was because she asked me for my phone number. I was on a pay-per-minute plan which I rapidly started chewing through (and eventually upgrading to a normal unlimited talk/text plan) almost exclusively because of her. We got to know each other pretty well as friends; I asked her out on a date in a rather muddled way, and for the next couple years I lived in a limbo thinking I was in some will-they-won’t-they teen drama.

That was not the case.

She was a leading member of the school’s robotics club; around junior year, I joined that club because she was in it and my parents wanted me to build on my college application checklist. It was not a good fit, and I took that out on a few people, her included. I tried ghosting her. She didn’t make that easy. I appreciate that now a lot more than I did then.

During senior year, as everyone made plans, we chose disparate paths: she chose to attend the local college for a degree in social work, because if anyone could save the world it was certainly her, and I decided I wanted to be anywhere but where she was. That ended up being enlisting; i joined my country’s military for a few reasons, but the honest truth was trying to escape responsibility for taking the closest relationship I’ve had with someone and throwing it away through pettiness and poor reading of social cues. It may be the one thing I hate that my autism has contributed to.

Training took a while; when I was about to leave for my first duty station, I went back home to say my goodbyes to family and friends, her included. We cleared the air between us - on my end, for the first time ever, for her it was more of an “oh that explains a lot.” We wished each other the best. Our lives continued without really intersecting too much.

COVID wasn’t a bad time for me - it hit before I actually started working, so I had time to kill, and it a way it saved my prospects as a service member because I was flunking the physical requirements hardcore and the lockdown bought me some time. I started writing fanfic seriously, leading to this blog here. I’d made new friends based on shared interests and occupation, we played DND together, and I was sure that despite her severe medical conditions which put her at risk that she was behaving wisely. She wouldn’t have any issues with COVID, I told myself, and she told me once I believe. She was always smarter than she thought she was… but she needed to see people too, she needed that social interaction, and she was working as a cleaner alongside her classes.

I don’t know which of those actually killed her. I don’t particularly think it would make it any easier.

I didn’t know what to do with the news she died. So many emotions flooded my field of vision I didn’t process any of them; when my folks told me there would be a funeral, I skipped out, didn’t think it do me any good to stand in front of a grave with some amount of people and say words to a person who couldn’t hear them… I’m sorry, past me, but you really fucked us there.

A few years passed. I’ve gotten into a couple other fandoms since then - namely, Hololive and by extension the game Weiss/Schwarz which has Hololive cards in it. A streamer from that group, Tsukumo Sana, had to quit streaming as that character after I joined the fandom, and it hit me much harder than I expected. I thought I was feeling other people’s pain, and until today lumped it to the side with that assumption. It didn’t occur to me that I was feeling echoes of my own pain refracted in another form, one loss reminding me of another. I simply carried on with my business, crying on very rare occasion. Crying takes up to time, and I only had so much of that to do what I wanted to with it since by that point I’d started doing what the military trained me for, what I volunteered to do.

This is where Weiss/Schwarz comes in. I’m a creator, I create things, and that includes custom cards when I get into a new card game. A while back I made some Ina and Sana cards because neither of them had enough to play a full deck with just the two of them represented as characters. I mentioned this yesterday in a Discord server for custom cards, and someone suggested a set that gave additional cards to all of the retired characters - the ones the casual majority are aware of, at least - would be nice to have. I started working on that this morning, and seeing lovingly created art of these characters before and after they retired, before and after thousands of people’s’ best wishes for those people were crushed by circumstances beyond their control, before and after those characters essentially “died”… I finally made the connection. I wasn’t feeling the level of grief i have been for anime characters whose seiyuus (voice actresses) had stopped acting for. I was feeling grief I’d kept repressed for years by this point because it felt easier to do that than reflect on myself…

Alicia, I’m sorry it took this long for me to figure that out. I’m sorry I wasn’t there with you when you were dying, that I didn’t go to your funeral, that I ran in the opposite direction from anything to do with you because I didn’t want to be wrong about my chances at more than a friendship with you. I’m sorry to myself I buried all this shit in the deepest corners of my mind to avoid having to experience temporary pain, because now I’m experiencing the pain and the guilt of knowing I could have dealt with this better. Hindsight’s only 20/20 when you’re not half-blind, but I’ll try not to have such thick sunglasses on going forward.

I loved you, Alicia. I still do. I hope that the God you served with such fervor tells you that, and that one day I’ll be able to say it you personally.

I hope you enjoy the lasagna. I’m gonna eat mine now. Until we see each other again, friend.

-Johann

#personal #working through some shit

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the-daily-tizzy · 1 year ago

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An Interesting Eight-Question Survey with interesting national results.

This should be a wake-up call if you don't already know this…

A recent poll was conducted by a national polling outfit. Names don't matter. They are all the same. This one was "YouGov."

Questionnaire:

What percentage of the United States is black?

What percentage of marriages are mixed race?

What percentage of the United States is "Latino"?

How many families make more than $500,000 per year?

What percent of Americans are vegetarians?

What percent of Americans live in New York City?

What percentage of Americans are 'transgender?

Results:

Results to these questions asked of average people on the street:

What percentage of the country is black? Answers - 41%… Actual 13%. If you watch commercials, you would think it is 90%.

What percentage of marriages are mixed race? Answers 50%… Actual 1%. If you watch commercials, you would think it is 90%.

What percentage is "Latino"? Answers 39%… Actual 17%.

How many families make more than $500,000 a year? Answers 26%… Actual figure 1%. We think a quarter of the country is rich.

What percent of Americans are vegetarians? Response? 30%… Actual 5%.

What percent of Americans live in New York City? Answers? 30%… Actual 3%.

What percentage of Americans are 'transgender? Answers 22%… Actual number .5% (that is POINT 5)

So why do people have such inaccurate thoughts on these counts?

THE MEDIA!

The media runs race, gender, and wealth stories constantly.

Result?

You are being brainwashed by the national left with the media.

Hitler's propaganda minister Joseph Goebbels would be proud if he had half the success.

Disney just went full-on "gender."

It will no longer welcome guests with the traditional, "Welcome ladies and gentlemen, boys and girls."

Why?

Because .5% (that's one-half of one percent) of the population dictates to the other 99.5% (that would be the vast majority), and corporate America falls for it.

Regardless of what you think, less than 20% of Americans use "Twitter," yet Twitter controls 80% of public opinion.

Why?

Because the media is so effective at what it does.

It promotes as well as censors.

Think about it.

Next time you are thinking Americans have changed and not in a good way, remember, it's mostly fake.

It's mostly all a lie.

Most people think just like you do but the media has brainwashed Americans with constant broadcasting of LIES.

It's called social engineering.

It's here and it's effective.

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jenifersohowe · 4 months ago

Video

youtube

2RD SINGLE ALBUM "REASONS/TANNER PATRICK" BY AMERICAN MUSIC FAMILY LEADE...

#music #musicindustry #musicindustrynews #musicstudio #musica #musicvideo musician #musicgenre #musicproducer #musically #musical #orchestra #musicapp #musicstore #musicbank #worldbank #globalbanking #appstore #apps #reel #reels #reelkarofeelkaro #reelsfb #reelsinstagram #reelsvideo #reelsindia #reelvideo #musicnews #musicchannel #musictv #musicvlog #musicblog #musicshorts #shorts #musicmagazine #musicentertainment #tv #tv9 #tvshow #tv9newslive #tv9d #entertainment #entertainmentnews #entertainmentshorts #entertaining #entertainmentvideo #entertainingvideos #magazine #vogue #voguedance #vogueparis #vogueworld #vogueformals #newyorktimes #washingtonpost #newyorkcity #newyork #washingtondc #washingtonstate #applemusic #appleringtone #applepodcast #applepodcasts #appleiphone #applewatch #apple #appletv #applestore #appleappstore #spotify #spotifymusic #spotifyplaylist #spotifypodcast #spotifyartist #spotifypodcasts #spotifytophits #soundcloud #sound #soundtrack #soundvariations soundcloudrapper #soundcloudartist #soundcloudproducer #soundcloudbeats #deezer #deezermusic #tital #tidalmusic #pandoramusic #pandora #iheart #iheartradio #iheartradiopodcast #fm #fmv #radio #radioshow #podcast #podcasts #broadcast #broadcasting #channel #musicacademy #academy #academia #agency #musicmarketing #marketing #marketingdigital #market #markets #musicbusiness #business #businessman #businessowner #investment #investor #investimentos #investimento #entrepreneurs #entrepreneur #entrepreneurship #hollywood #hollywoodnews #hollywoodringtone #hollywoodsongs #hollywoodtv #disneymusic #disney #disneyplus #disneytv #amazon #amazonmusic #amazonestore #sony #sonytv #sonymusic #sonymusicsouthvevo #sonyinteractiveentertainment #sonymusicindia #foodnews #foodnewstv #designnews #industrynews ##industry #industryleader #industryleadership #leader #leadership #leadershipdevelopement #CEO #chairman #boss #bosses #manager #management #founder #founders #supervisor #creator #maker #producer #director #professionals #professional #master #ikea #musiccompany #company #publishers #publishingcompany #saudiaramco #semiconductorindustry #nestle #louisvuitton #homedepot #novonordisk #zara #nescafe #carbrands #carbrand #toyota #BMW #tesla #phonebrands #IBM #mcdonalds #intel #cisco #gillette #oracle #nokia #americanexpress #NIKE #canon #jpmorgan #HSBC #ebay #volkswagen #philips #lorealparis #accenture #thomsonreuters #reuters #ford #heinz #colgate #goldmansachs #panasonics #MTV #nintendo #xerox #restaurant #mastercard #electronics #electronic #news #world #worlddance #dance #sports #sport #billboard #billboardmusic #billboardnews #latimes #celebritynews #celebrity #uniqlo #digital #digitalmarketing #digitalart #socialmedia #media #mediaonenews #label #brand #worldmagazine #onlinestore #olympics #texas #usa #unitedstates #america #americatv #americanews #latino #latinamerica #american #nativeamerican #people #public #publictv #publicnews #itunes #itunesstore #distrokid #ad #newmusic #newsong #newlyrics #artists #artist #vocals #singing #newmelody #newsymphony #newtunes #giveaways #giveaway #goodvibes #goodmusic #advertisement #advertising #yahoo #yahoonews #finance #financenews #goodmorningamerica #usanews #usavlog #BBC #bbcnews #foxnews #cbsnews #abcnewsmedia #abcnews #cbsenews #cnbcnews #texasnews #nbcnews #NBC #CBS #dallasmorningnews #asia #africa #europe #australia #asianews #asiavlog #europenews #europvlog #australianews #australiavlog #africatv #africanews #africavlog #vlog #vlogger #blog #blogging #blogs#shorts #short #shortvideo #shortsvideo #lyrics #filmmakers #musicproducer #musicproduction #musicdirector #talentmanger #artistmanager #management #musicmanagement #exclusive #musicexecutive #executives

#youtube

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tejanaculturalstudiesrocio · 11 months ago

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Maria Hinojosa

Photographed by Kevin Abosch. Published October 9, 2020 at 7:38 PM CDT via Texas Public Radio.

Maria Hinojosa is among one of the first Latina journalist at NPR and CNN broadcasting newtwork. In addition, she is the anchor and executive producerr for Latino USA, and founder/CEO of Futuro Media.

In an interview with Raul. A. Reyes, she lays out all about her new memoir "Once I Was You: A Memoir of Love and Hate in a Torn America". Within it, she states that many individuals contacted and reached out to her via social media to tell her how they relate and resonate to her story, to which she mentioned it "meant a lot to me". Born in Mexico City, when Hinojosa was young she emigrated to the US with her family in 1962 and grew up in Chicago. Early in her career, she experienced many discrepancies, such as how identifying as Latina and Mexican-American shaped her perspective on media platforms. As a result, and later on into her career, she started believing in herself, stating "I had to stop fighting against everyone and every institution. I had to change the way I was fighting". Moreso, the title of the book derives from her experience and conversation with a young girl being transported in McCallen, Texas at the height of Trump's family separation policy. Where in having a final word with the young girl she said "I see you-because once I was you".

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blogger360ncislarules · 1 year ago

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Public television has held separate collective bargaining agreements with the Writers Guild and SAG-AFTRA for years. So, while studios and networks this fall faced the ramifications of dual Hollywood strikes, it’s been mostly business as usual at PBS.

Perhaps lost in the conversation about this most unusual fall — in which the broadcast networks tweaked and re-tweaked their schedules in light of the lengthy production stoppage — has been PBS’ ability to keep the majority of its schedule intact.

In fact, according to Sylvia Bugg, PBS’ chief programming executive and GM of general audience programming, just one program on its fall lineup was impacted by the strikes: John Leguizamo’s “American História: The Untold History of Latinos,” which had been scheduled to premiere last month. In solidarity with the strikes, Leguizamo opted to delay the project until 2024. PBS replaced it with another docuseries, “Becoming Frieda Kahlo.”

“Besides that, on the general audience content side, we really didn’t have any impact,” Bugg said. “The fact that we were not really impacted by the strikes, we were ready for this moment.”

A lot of networks are touting semi-strike-proof schedules filled with reality TV and acquisitions, but PBS’ traditional makeup of documentary series, news magazines, international fare and educational programs makes it truly strike-proof. (That, and the aforementioned public TV agreements with the guilds, which made PBS completely not on anyone’s list for striking.)

Upcoming fare include this Thursday’s PBS debut of the Canadian Indigenous drama “Little Bird.” The six-episode limited series centers a native woman (Darla Contois) who is searching for her roots, having been removed from her home as a child and adopted by a Montreal Jewish family. Lisa Edelstein also stars in the show, from creators Jennifer Podemski and Hannah Moscovitch.

“This is one of our first forays into native/Indigenous drama,” Bugg said. “And in addition to the series launch, there’s also a documentary that profiles some of the stories on which the series is based. We also have a ‘Next at the Kennedy Center’ episode [airing Oct. 20] that celebrates Indigenous music and musicians. We’re looking at some of the thematic ways that we could present a collection of programs — and had talked about wanting to do more in the native/Indigenous space and profiling those stories — all of these beats sort of hit around the same time.”

Other fall scripted fare include the second seasons of “Masterpiece” dramas “Annika” (starring Nicola Walker) and “World on Fire” (starring Jonah Hauer-King and Lesley Manville), both of which return on Sunday.

On the unscripted side, Ken Burns’ latest documentary event, the two-part “The American Buffalo,” premieres Oct. 16, while the second season of “Native America” is back on Oct. 24. And Billie Jean King hosts “Groundbreakers” (Nov. 21), which looks at the impact of Title IX on women athletes. PBS kicked off the fall with Season 2 of “America Outdoors with Baratunde Thurston” in September.

“We’ve been really trying to beat the drum that we’ve always been here with free content that is serving the American people, that’s educational, informative, relevant and speaks to these times that we’re in,” Bugg said. “We were thinking more opportunistically about the fall, a little bit differently perhaps than we normally would. And I think it’s turned out really well.”

#pbs

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mirecalemoments01 · 1 year ago

Link

#ArizonaCelebrates #CulturalHarmony #GritoDeDolores #HistoricCelebration #MexicanIndependence #UnityInDiversity

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abcnewspr · 1 year ago

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NEW ABC NEWS/IPSOS POLL SHOWS 52% OF AMERICANS APPROVE OF THE U.S. SUPREME COURT DECISION TO RESTRICT THE USE OF RACE AS A FACTOR IN COLLEGE ADMISSIONS, 32% DISAPPROVE

45% of Americans Approve of the Supreme Court’s Decision To Strike Down President Biden’s Student Loan Forgiveness Program, Compared to 40% Who Disapprove

ABC News/“This Week with George Stephanopoulos”*

A new ABC News/Ipsos poll released this morning on “This Week with George Stephanopoulos” shows 52% of Americans approve of the U.S. Supreme Court decision to restrict the use of race as a factor in college admissions, compared to 32% of Americans who disapprove and 16% who say they don’t know. Additionally, 45% of Americans approve of the Supreme Court’s decision to strike down President Biden’s student loan forgiveness program, compared to 40% who disapprove and 14% who do not know.

ABC News*

In the poll conducted by Ipsos for ABC News, using Ipsos’ KnowledgePanel®, 33% of Americans think that the U.S. Supreme Court justices rule mainly based on law, compared to 53% of Americans who think they rule mainly based on their partisan political views and 14% do not know.

ABC News*

Additional highlights from the ABC News/Ipsos poll include the following:

67% of Americans believe that white students have a fair chance of getting into the college of their choice, compared to 22% who believe they have an unfair advantage and 9% who believe they have an unfair disadvantage.

47% of Americans believe that Black students have a fair chance of getting into the college of their choice, compared to 15% who believe they have an unfair advantage and 36% who believe they have an unfair disadvantage.

50% of Americans believe that Hispanic and Latino students have a fair chance of getting into the college of their choice, compared to 12% who believe they have an unfair advantage and 37% who believe they have an unfair disadvantage.

65% of Americans believe that Asian students have a fair chance of getting into the college of their choice, compared to 11% who believe they have an unfair advantage and 22% who believe they have an unfair disadvantage.

This ABC News/Ipsos poll was conducted using Ipsos Public Affairs‘ KnowledgePanel® June 30-July 1, 2023, in English and Spanish, among a random national sample of 937 U.S. adults with oversamples of Black, Hispanic and Asian respondents weighted to their correct proportions in the general population. Results have a margin of sampling error of 3.6 points, including the design effect. Partisan divisions are 26-25-41%, Democrats-Republicans-Independents. See the poll’s topline results and details on the methodology here.

*COPYRIGHT ©2023 American Broadcasting Companies, Inc. All photography is copyrighted material and is for editorial use only. Images are not to be archived, altered, duplicated, resold, retransmitted or used for any other purposes without written permission of ABC News. Images are distributed to the press in order to publicize current programming. Any other usage must be licensed.

-- ABC --

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phonographfilms · 2 years ago

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Los Angeles, CA (February 7, 2023) - Latino Public Broadcasting (LPB) today announced its latest round of projects selected for funding. Included are two projects by the Current Issues Fund, which supports films that explore contemporary social justice issues and have potential for civic dialogue beyond broadcast. The remaining projects are supported by LPB's Public Media Content Fund and Digital Media Fund.

"We're pleased to be providing funding this vear for both new filmmakers as well as some LPB veterans," said Sandie Viquez

Pedlow, executive director of Latino Public Broadcasting. "This year's awardees include acclaimed and award-winning filmmakers, such as Lourdes Portillo and Hector Galan, as well as first-time makers working in both film and digital. From New York to California, from Texas to Puerto Rico to Venezuela, these works offer an up-to-the-minute look at the rich and complex breadth of

experience from a unique Latino perspective."

#film #documentary #lpb

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yesthatssadirichardslove · 2 years ago

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Golden Globes are back on TV, but are reform efforts enough?

NEW YORK

Without a TV show, starry red carpet, host, press or even a livestream, the Golden Globe Awards were in chaos last year after scandal broke over lack of diversity, accusations of sexism, and ethical and financial lapses among members of the Hollywood Foreign Press Association.

Once known as Hollywood’s biggest, booziest party that regularly drew 18 million television viewers, the doling out of statues was reduced to a 90-minute private event with no celebrities present at the Beverly Hilton Hotel.

Winners were announced on Twitter, often without specifying what project a person had actually won for.

What a difference a year can make.

After dumping the telecast in the aftermath of a damaging expose by the Los Angeles Times, NBC will put the battered 80-year-old Globes back on the air Tuesday under a one-year deal, as opposed to multi-year contracts of the past worth tens of millions of dollars.

A wave of celebrities plan to attend, along with star presenters and funnyman host Jerrod Carmichael after the embattled controllers of the Globes dug deep into the work of implementing top-down reforms.

There’s now a strict code of conduct, refreshed bylaws, a ban on gifts and new rules on accepting travel and other perks from the industry. Contentious news conferences were dumped, and the pool of awards voters was expanded beyond the 87 Los Angeles-based foreign journalists who once ruled the organization.

But are the powerful publicists, studios and other stakeholders who boycotted in protest satisfied with the changes? And are those changes the beginning — or closer to the end?

“It's, by far, not over,” said German journalist Helen Hoehne, who took over as president of the HFPA a year and a half ago. “We always said when we started this journey that it would be ongoing and that it would take some time.”

Kelly Bush Novak, CEO and founder of the A-list public relations firm ID, said more must be done, but she supports steps taken so far.

“We came together ... to ensure the future of the Globes, in step with our culture and our shared values as an industry, and we see commendable and seismic progress,” she said. "I’m optimistic that the work will continue.”

Still, Novak acknowledged not all stakeholders are on board ahead of Tuesday's broadcast, despite sweeping changes aimed at restoring the luster of the Globes.

Last year, publicists like Novak banded together to battle the HFPA, and studios that included Netflix and WarnerMedia cut ties with the organization after the LA Times raised questions about corruption and a range of bias issues over race and sexual orientation.

None of the 87 Hollywood Foreign Press Association members was Black and the group had not had a Black member since at least 2002.

Now, after an effort to increase and diversify its ranks, 199 people decide who gets a Globe, a mix of 96 HFPA members and outsiders from other countries brought in to dilute the power of the old guard. Membership eligibility was expanded from Los Angeles to anywhere in the United States.

Heading into the telecast, Globes voters stand at 52% female, and 51.8% racially and ethnically diverse, including 19.6% Latino, 12.1% Asian, 10.1% Black and 10.1% Middle Eastern. Voters also include those who are LGBTQIA+. In all, 62 countries are represented.

The governing board was expanded from nine to 15 and includes three Black members, two of whom vote on rules and other matters but not awards. Overall, the organization now has six Black HFPA members and 14 Black international Globes voters who aren't members.

Perhaps the most significant change: The Globes were purchased by billionaire Todd Boehly, who also owns the Beverly Hilton, Globes producer dick clark productions and the Chelsea soccer team. He's shifting the voting body from its founding nonprofit status to a for-profit model, pending approval by the California attorney general. He plans to preserve the HFPA's charitable work with a separate nonprofit entity.

A hotline managed by two independent law firms was opened, with complaints investigated by outsiders. A chief diversity officer was hired, and mandatory racial, sexual harassment and sexual orientation sensitivity training was put in place, required for any HFPA member casting Globe votes.

Michelle Williams, nominated for her turn in “The Fabelmans,” is among dozens of stars panning to attend Tuesday.

“It feels to me like the community as a whole has decided that this organization has really done a lot of work to reform themselves and that we can support change, like we can hold people accountable and then we can support them as they continue to journey in their path towards being a better organization,” she said.

Added Judd Hirsch, nominated for the same film: “We'll be there. We'll give them another chance.”

Dumping news conferences at the center of insensitive questions posed to talent who felt obligated to show up helped cool off some critics, but not all.

“I can’t speak for everyone. There may be some reluctance to participate," Novak said. “We must acknowledge the past and will never forget the damage done. Manifesting a new future requires it.”

Brendan Fraser, nominated for his performance in “The Whale,” will not be there Tuesday. In 2018, Fraser said he was groped by Philip Berk, a former HFPA president who is from South Africa.

Berk was expelled in 2021 after calling Black Lives Matter “a racist hate movement.”

“I just hope that we can regain his trust over time,” Hoehne said of Fraser.

The same, Hoehne said, goes for Tom Cruise. Last year, he returned his three Golden Globes in protest. With a best picture nod for his long-awaited sequel “Top Gun: Maverick,” he was snubbed for best actor this year.

Under Boehly's leadership, HFPA members will earn $75,000 a year as his employees, as opposed to current stipends closer to $5,000. They'll vote on nominations and winners among films and television series submitted for awards consideration. They'll write for the organization's website, and organize other projects, the LA Times said, citing a confidential employee memo it reviewed.

The 103 new voting non-members recruited with the help of the National Association of Black Journalists, Asian-American Journalists Association and LGBTQIA+ organizations will not be paid, setting up a two-tier structure aimed at eliminating the taint of financial compensation as more new recruits come on board.

Outraged industry stakeholders had called for the overall Globes voting body to be closer to 300. Other reforms are aimed at battling the perception of influence peddling.

As eventual paid employees, members will be subject to firing without cause. They're now required to sign a code of conduct every year covering job performance, decorum and ethical behavior.

The 80-year-old group had been stuck in its ways, Hoehne acknowledged.

“We needed to question a lot of things. We needed to look at these bylaws and say, OK, how can we make them better? How can we modernize the association? We had never really done it and not addressed it,” she said.

Although the new pay structure has not yet been implemented, over the past year the HFPA has pushed out several members it accused of violating its standards.

One was accused of forging signatures on Internal Revenue Service documents, another case related to sexual harassment and a third involved fabricating interviews that never occurred, according to an HFPA spokesperson.

Boehly himself acknowledged the future is uncertain.

“I have nightmares where it doesn’t work too, you know? I get it, you can’t convince all of the people all of the time of anything,” he told the LA Times. “We know we have to add value and we know that we have to be part of the solution.”

#yesthatssadirichardslove

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mightyflamethrower · 1 year ago

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omething eerie, something creepy, is happening in the world—and now in America as well. The dark mood is brought on by elite universities, the Diversity, Equity, and Inclusion industry, and massive immigration from illiberal nations and anti-Enlightenment societies.

A pro-Israeli demonstrator in Los Angeles was hit on the head and killed by a pro-Palestinian university professor.

What would happen to a university president who warned black or Latino students to keep clear of areas where she could not guarantee their safety from other students?

A bankrupt media deserves much of the blame. They daily broadcast Hamas’s suspect casualty figures, as if that terrorist organization has ever been capable of speaking the truth.

Abroad, the world has gone even crazier.

Our domestic political leadership is not helping the situation.

What explains the collective madness?

But now there are two new, venomous elements in the matrix.

So the oppressed, according to the DEI bible, cannot be anti-Semitic, though many certainly are. And they apparently cannot be held accountable for their hatred or frequent violence.

We are on a trajectory similar to that of 1930s Germany.

On days like this I can't help thinking "Maybe the end of the world wouldn't be such a bad thing.

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queermediastudies · 2 years ago

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Queer Media Example

Hello everyone, I hope your week has been fantastic so far! Tomorrow I will discuss a media example related to this week's readings. Raina Deerwater, who analyzed LGBTQ+ media representation in the article "LGBTQ Representation Reaches New Record Highs" focuses on the volume of Queer, lesbian, Bi-sexual, and gay actors on streaming platforms between 2021-2022. To elaborate, 58% of LGBTQ characters are POC exceeding the percentage of white LGBTQ characters on broadcast television. This year alone, GLAAD counted "42 transgender regular and recurring characters across all broadcast, cable, and streaming services" (Deerwater, 2022). These numbers are reflected in Tv shows like Orange Is the New Black, Pose, Euphoria, and many other fantastic cinematic productions. Hollywood is making profound changes to LGBTQ representation; out of 775, 390 characters are POC, and this number is growing. It is remarkable how far we have come. Production agencies are headed in the right direction. In the past, tv shows that have LGBTQ characters have tried to represent these categories through a heteronormative lens. I want to illustrate this by talking about the 2006 tv show Ugly Betty. America Ferrera, who stars as Betty Suarez, gets a job at Meade Magazine as an intern. Claire and Bradford Meade, founders and owners of the magazine, allow Daniel and Alexis (their children) to run the publication. This was a reasonably progressive tv show due to the portrayal of the transgender character, Alexis Meade. She has a relatively significant role in the production, but her role is very inconsistent. Prior to her transition, Alexis is well built, and is seen as a sporty jock. After she transitioned, ABC hired Rebecca Romijn to step in as Alexis, a completely different actor. While breaking down beauty misconceptions, Ugly Betty still failed to represent trans people accurately. Alexis was often dead-named and spoken about as if she was "still a male". This can be seen in the youtube clip where she is called he and mocked by her brother, Daniel.

The show did not allow Alexis to speak about her transition and robbed the audience of witnessing their first trans character in many ways. She does have moments where she grapples with her transition, but you can tell that the writers did not have the capability to use her storyline in the way they should have. This is most evident in the youtube clip where Alexis is freaking out that she can’t do anything right.

To add on, It seems as if ABC was juggling multiple identities and could not figure out how to make them intersect. This is best expressed by Ludmila Leiva, who wrote the article, “TV Is Getting More Progressive, But It's Failing Queer POCs”. She states, “These calculated placements of emphasis, on race instead of queerness or visa-versa — as if the two identities are mutually exclusive — occur constantly in the media” (Leiva, 2017). In earlier scenes, Alexis is heterosexual; however, after she transitions, she is only seen dating men. In this sense, it was the choice between having a gay trans character or a trans character. This show had a lot of potholes and inconsistencies but still gave some space to LGBTQ categories at the time.

This space also included two gay characters, Michael, the assistant, and Mark, Betty’s Nephew. While they both identified as homosexual, Mark is Latino, which resonates with a portion of the LGBTQ community we don’t see on tv two often. Mark and Miachel are both portrayed as queer, outspoken, and fashion gurus. The difference between Alexis and these two supporting characters is the storylines. Mark is shown coming out, experimenting with his sexuality, and changing his identity. There was more time fulfilling his character arc than any other LGBTQ character on Ugly Betty. This is not necessarily bad for the audience, but if given the opportunity, Ugly Betty could have represented four or five LGBTQ categories than just 2.

References

Deerwater , R. (2022, February 17). GLAAD's 2021-2022 where we are on TV report: LGBTQ

representation reaches new record highs. GLAAD. Retrieved September 27, 2022, from

https://www.glaad.org/blog/glaads-2021-2022-where-we-are-tv-report-lgbtq-representation-re

aches-new-record-highs

Leiva, L. (2017, June 28). TV is getting more progressive, but it's still failing queer people of color.

Bustle . Retrieved September 27, 2022, from

https://www.bustle.com/p/tv-is-getting-more-progressive-but-its-still-failing-queer-people-of-c

olor-64520

Phillips, C. (2021, September 19). "gentefied" will drop brown queer

love bombs all over your netflix queue. Autostraddle. Retrieved

September 28, 2022, from https://www.autostraddle.com/gentefied-

will-drop-brown-queer-love-bombs-all-over-your-netflix-queue/

#queer media #media examples #ugly betty

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alonsista · 4 years ago

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tbh the saddest thing for me as a latina is how when people say that you only truly realize one’s worth when they’re gone, they’re really NOT lying... this shit is so real. in 2010/2011 and also 2015/2016 we had like 4 and even 5 latinos on the grid at the same time and many people - including me - didn’t realize how powerful that was back then, because instead of hyping them up the media was so busy making worthless comparisons (esp between the brazilian drivers)

then you see things like maldonado being turned into a laughstock and retiring, nasr who recently talked about the hell of a time he had at sauber, other latinos who had a short run in F1 (like esteban gutierrez)... since 2018 checo has been the only latino remaining and i’m not even gonna talk about his contributions to force india bc i’m not the one for this but yeah......... he managed to stay in F1 despite the crazy line up changes in the last few years and his team almost yeeting out of the sport

then you look at F1 in latin america and there’s brazil as one of the few countries that still broadcasts the races in a public station... or should i say at least only until this season ends, because despite F1 having broken its own audience records and having an enormous and solid fanbase, globo (the richest brazilian tv station) didn’t renew contract with liberty media for the next seasons and there’s no way any other public station has the money for this.

and i’m not even gonna start talking about interlagos because everything is already as frustrating as it is but please do have in mind that their contract ends this year, which means there’s a high chance of no brazilian gp being held in the near future because some fucking rich people want to literally destroy a forest just to build a brand new circuit in rio

in the end, everything sucks and i hate it here

#f1.txt

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ver-encanto-gratis2021 · 3 years ago

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Encanto (2021)

STREAMING MEDIA

Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. And users lacking compatible hardware or software systems may be unable to stream certain content.

Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it frequently is.

Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio content before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.

Elevator music was among the earliest popular music available as streaming media; nowadays Internet television is a common form of streamed media. Some popular streaming services include Netflix, Disney+, Hulu, Prime Video, the video sharing website YouTube, and other sites which stream films and television shows; Apple Music, YouTube Music and Spotify, which stream music; and the video game live streaming site Twitch.

Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time. The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself. A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States.

Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom hOlds a set of rights to use or license the work, and who are commonly referred to as rights hOlders. [better source needed] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.

Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.

Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities to establishing copyright, others recognize copyright in any completed work, without a formal registration. In general, many believe that the long copyright duration guarantees the better protection of works. However, several scholars argue that the longer duration does not improve the author’s earnings while impeding cultural creativity and diversity. On the contrast, a shortened copyright duration can increase the earnings of authors from their works and enhance cultural diversity and creativity.

MOVIES or FILM

Movies, or films, are a type of visual communication which uses moving pictures and sound to tell stories or teach people something. Most people watch (view) movies as a type of entertainment or a way to have fun. For some people, fun movies can mean movies that make them laugh, while for others it can mean movies that make them cry, or feel afraid.

It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc. Most movies are made so that they can be shown on screen in Cinemas and at home. After movies are shown in Cinemas for a period of a few weeks or months, they may be marketed through several other medias. They are shown on pay television or cable television, and sOld or rented on DVD disks or videocassette tapes, so that people can watch the movies at home. You can also download or stream movies. Older movies are shown on television broadcasting stations.

A movie camera or video camera takes pictures very quickly, usually at 24 or 25 pictures (frames) every second. When a movie projector, a computer, or a television shows the pictures at that rate, it looks like the things shown in the set of pictures are really moving. Sound is either recorded at the same time, or added later. The sounds in a movie usually include the sounds of people talking (which is called dialogue), music (which is called the “soundtrack”), and sound effects, the sounds of activities that are happening in the movie (such as doors opening or guns being fired). In the 20th century the camera used photographic film. The product is still often called a “film” even though there usually is no film.

A genre is a word for a type of movie or a style of movie. Movies can be fictional (made up), or documentary (showing ‘real life’), or a mix of the two. Although hundreds of movies are made every year, there are very few that do not follow a small number of set plots, or stories. Some movies mix together two or more genres.

Action movies have a lot of exciting effects like car chases and gun fights, involving stuntmen. They usually involve ‘goodies’ and ‘baddies’, so war and crime are common subjects. Action movies usually need very little effort to watch, since the plot is normally simple. For example, in Die Hard, terrorists take control of a skyscraper and ask for a big ransom in exchange for not killing the hostage workers. One hero somehow manages to save everyone. Action movies do not usually make people cry, but if the action movie is also a drama, emotion will be involved. Adventure Movies usually involve a hero who sets out on a quest to save the world or loved ones. Animated movies use artificial images like talking cartoons to tell a story. These movies used to be drawn by hand, one frame at a time, but are now made on computers. Buddy movies involve 2 heroes, one must save the other, both must overcome obstacles. Buddy movies often involve comedy, but there is also some emotion, because of the close friendship between the ‘buddies’. Comedies are funny movies about people being silly or doing unusual things or being in silly or unusual situations that make the audience laugh. Documentaries are movies that are (or claim to be) about real people and real events. They are nearly always serious and may involve strongly emotional subjects, for example cruelty. Dramas are serious, and often about people falling in love or needing to make a big decision in their life. They tell stories about relationships between people. They usually follow a basic plot where one or two main characters (each actor plays a character) have to ‘overcome’ (get past) an obstacle (the thing stopping them) to get what they want. Tragedies are always dramas, and are about people in trouble. For example, a husband and wife who are divorcing must each try to prove to a court of law that they are the best person to take care of their child. Emotion (feelings) are a big part of the movie and the audience (people watching the movie) may get upset and even cry. Film noir movies are 1940s-era detective dramas about crime and violence. Family movies are made to be good for the entire family. They are mainly made for children but often entertaining for adults as well. Disney is famous for their family movies. Horror movies use fear to excite the audience. Music, lighting and sets (man-made places in movie studios where the movie is made) are all designed to add to the feeling. Romantic Comedies (Rom-Coms) are usually love stories about 2 people from different worlds, who must overcome obstacles to be together. Rom-Coms are usually light-hearten, but may include some emotion. Comedy horror movies blend horror and comic motifs in its plots. Movies in this genre sometimes use black comedy as the main form of humor. Science fiction movies are set in the future or in outer space. Some use their future or alien settings to ask questions about the meaning of life or how we should think about life. Science fiction movies often use special effects to create images of alien worlds, outer space, alien creatures, and spaceships. Fantasy movies include magical and impossible things that any real human being cannot do. Thrillers are usually about a mystery, strange event, or crime that needs to be solved. The audience is kept guessing until the final minutes, when there are usually ‘twists’ in the plot (surprises). Suspense movies keep you on the edge of your seat. They usually have multiple twists that confuse the watcher. Western movies tell stories about cowboys in the western United States in the 1870s and 1880s. They are usually action movies, but with historical costumes. Some involve Native Americans. Not all films that are set in the American West are made there. For example, Western films made in Italy are called Spaghetti Westerns. Some films can also use Western plots even if they are set in other places.

Old MOVIE

The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last hOldout among daytime network shows converted to color, resulting in the first completely all-color network season.

Formats and Genres

See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed] In “DC1&”, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In “DC1&”, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

Thank’s For All And Happy Watching

Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors. Thanks u for visiting, I hope u enjoy with this Movie Have a Nice Day and Happy Watching

#HD | Ver Encanto (2021) | Película Completa Online Gratis en Español

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