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#gloria kellett
burningtacozombie · 2 years
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Danny Pino, Gloria Calderon Kellett and Justina Machado backstage at the 26th Television Hall of Fame gala in support of Hall of Fame inductee Rita Moreno on November 16, 2022 at the Television Academy in North Hollywood, California.
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buckyytorres · 2 years
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Jordan Peele, while presenting a Rising Star Award to Brandon Perea, shows everyone the moment Brandon (and Brandon’s best friend) found out he got the role in “Nope”
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Harvey has joined the inaugural Visionary Alliance for the National Hispanic Media Coalition! As The Hollywood Reporter describes:
Alliance members will lend their professional expertise to longstanding NHMC entertainment initiatives such as its Series Scriptwriters Program and Latinx Stream Showcase and also get involved in the nonprofit’s social justice and policy advocacy work.
“NHMC is about representation from the White House to Hollywood,” the coalition’s president and CEO Brenda Victoria Castillo tells THR. “The policies and decisions that are made in D.C. affect Hollywood. The way Hollywood decides they’re going to portray Latinos is the way we’re perceived and the way the public treats us, and it’s a vicious cycle.”
The inaugural Alliance members also include Ismael Cruz Córdova (The Lord of the Rings: The Rings of Power), Wilson Cruz, Rosario Dawson, Diane Guerrero (Encanto, Doom Patrol), Harvey Guillén (What We Do in the Shadows), Eva Longoria, Gabriel Luna (The Last of Us), Justina Machado, Encanto producer Yvett Merino, Lin-Manuel Miranda, Danny Pino (Mayans M.C., Law & Order: Special Victims Unit), Aubrey Plaza, Gina Torres, Wilmer Valderrama and Lisa Vidal (Being Mary Jane).
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alotogifs · 2 years
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IG Live - Roberta Cloindrez, Priscilla Delgado, and Gloria Calderón Kellett [Sept 9 2022]
Question timings under the cut
0.37 - Gloria joins 3.06 - Priscilla joins (finally lol) 3.30 - Gloria - loves the show 4.00 - Roberta - authentic representation 4.40 - Priscilla - used to have tryouts in Havana 5.25 - Priscilla - Esti inspired by Isabelle [...] 5.50 - Roberta - white passing/ historical context 6.30 - Rita Hayworth/ anglicizing latin names 7.50 - Gloria - characters historically righting wrongs 8.07 - How did you come to be on the show? - 8.10 Priscilla answers - 9.26 Roberta answers 10.05 - How did you collaborate with the creators to bring the characters to life? - 10.40 Roberta answers - 11.30 Priscilla answers 12.33 - Gloria - Spanish Heritage Month/ representation 13.20 - Roberta - year-round representation 13.36 - Priscilla - receiving messages from fans 14.15 - Roberta - reading comments 15.15 - What is it like having access to Amazon’s global audience? - 15.45 Roberta answers/ dubbing - 17.05 Priscilla answers 17.30 - Roberta - Mexican baseball leagues in America 19.20 - Roberta, was your character based on anyone? 20.00 - What were your favorite things to shoot? 20.40 - What is dubbing? 21.30 - Filming in Pittsburgh 22.05 - Favorite scene to shoot 23.00 - Gloria - compliments the cast and crew/ leaves chat 23.50 - Question Time 24.25 - Season 2? (They don’t know) 24.35 - [in Spanish (& Italian)] 25.15 - Priscilla, are you really from Cuba? 25.50 - [in Spanish] fanart 26.15 - [in Spanish] 27.05 - [in Spanish] 27.52 - Do you play for real? 28.05 - [in Spanish] 28.25 - [in Spanish] 28.30 - Who's the best player? 28.40 - [in Spanish] 28.52 - You guys should do IG Lives more 29.15 - Roberta - Fan conventions 29.35 - [in Spanish] 29.50 - Funniest BTS moment 30.00 - Wrapping up/ goodbyes
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loisfreakinglane · 2 years
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WITH LOVE // 1.05 “Día De Los Muertos”
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cr-nack · 7 months
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I can’t believe I’m just now seeing this. Let me curl into a ball and cry for the next 26 minutes and 44 seconds
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fans4wga · 11 months
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Where Are My Residuals? Actors/Writers Share Horror Stories On Picket Line, Social Media
"With all the strike talk about low pay, WGA and SAG-AFTRA members are starting to play a little show me yours and I’ll show you mine when it comes to their (paltry) residual checks.
Just about everyone has a story to share about how their residuals took a serious nose dive with the advent of new media. A recent story in The New Yorker about how actors on the once successful Orange is the New Black never enjoyed a financial windfall only exacerbated the angst felt by actors and writers these days.
Here’s a sampling of their stories:
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With all the strike talk about low pay, WGA and SAG-AFTRA members are starting to play a little show me yours and I’ll show you mine when it comes to their (paltry) residual checks.
Just about everyone has a story to share about how their residuals took a serious nose dive with the advent of new media. A recent story in The New Yorker about how actors on the once successful Orange is the New Black never enjoyed a financial windfall only exacerbated the angst felt by actors and writers these days.
Here’s a sampling of their stories:
Jason Belleville (Home Economics): “I wrote on the first season of Cobra Kai, which is one of the biggest shows in Netflix history. I think I have more money in my pockets right now than any residuals I’ve seen from that. I was also was an executive producer of a show for Netflix called Sneakerheads, which was a smaller show, but it premiered No. 1 one in a bunch of countries for a little while. I have yet to see $1 from that. And I was a writer and EP on that, in comparison. Some of them [broadcast shows he worked on] you can still get some money from but obviously, it’s not like it was. But there’s always a steady trickle that comes in to remind you that you once worked, right? The [residual] formats for cable and for networks are clear and transparent. Whether they’re as much as we want them to be or not, they’re at least something that you can rely on. Whereas, some of these YouTube shows, these [shows licensed to] Netflix. This whole strike is about having money you can rely on through the years so you can pay for your mortgage, you can take care of your kids, as opposed to opening an envelope and going ‘oh, it’s a nickel this time.'”
Aisha Tyler (Criminal Minds, The Last Thing He Told Me): I do a show [Whose Line Is It Anyway] that is double and triple and quadruple pumped in the United States and maybe 50 countries, and I don’t see any residuals. I know it’s been very frustrating to me and my co-stars. It’s theft. We generate all of the creative output on that show. We are the writers, we are the performers, we do everything and we don’t get compensated for it. I already I already threw a couple of temper tantrums so you can see I’m a bit more sanguine about it now but we’ve been fighting about it for years and it’s just pure and simple. It is creative theft."
Mike Royce via Twitter (writer-producer, One Day At A Time, Men of a Certain Age): “Some people are wondering how residuals will work for this, and since One Day at a Time had the somewhat unique experience of running on streaming, cable AND network TV, I can tell you how it worked for me. In 2020, season 4 of ODAAT was on the Pop Network (cable). Later that year CBS repeated it, because it was the pandemic and they needed programming. I co-wrote an episode with Gloria Calderón Kellett so we split the residuals. For the Pop showings I got (lower) cable residuals, but the CBS repeat paid me half the network residual (exactly what it should be for a co-written episode) … For perspective, that one CBS repeat of one episode of ODAAT paid me roughly the same as I’ve been paid IN TOTAL for one episode of ODAAT streaming on Netflix 24/7 for the last 4-6 YEARS. In other words, 1 network repeat residual = 5 years of streaming residuals. This is why we’re on strike."
Sarah Sokolovic (Big Little Lies, Homeland): “I can tell you the money I made from residuals dropped in 2015 to less than half in 2018. And the funny thing about it was I was on two, Emmy-award winning shows. It’s not on the side of the individual producers, of course. It’s really about the studios making sure that the basic contract has things in place so that actors like me benefit from their work residually over time. There was a time when I was traveling out of the country, so I had to have my mail forwarded to my mother. She was helping me with deposits, physical checks at the time. She opens a check and she goes, ‘Sarah, it’s three cents’. I said yes. She said it actually costs more to mail it.'”
Marqui Jackson (showrunner, All American: Homecoming): “Just in general, residuals are not what they used to be. You can’t depend on residuals to even begin to sustain a living in between gigs. It’s just kind of like extra money because sometimes they’re as low as a couple of bucks. I don’t think there has been a wellspring of residuals from All American: Homecoming, even though we are doing well. It is hard to fight for the right number when you don’t know what the numbers [ratings] are. That’s part of why we’re fighting because if they’re making money off on our content we should be part of it.”
John Carroll Lynch (Trial of the Chicago 7, White House Plumbers): “I’ve noticed that anything I do for streaming is not even one-tenth of the residual stream that I got for something terrible that I did. I certainly got paid more for an episode of The Visitor, which is a show I did when I first got here and only lasted one season. I got higher residuals by about 100 percent to what I get when it [was licensed to] Netflix. At some level, we’re dealing with a different group of people who have union institutional memory. Disney as a corporation has institutional memory of using unions, often much to their chagrin. That’s true of Warner Bros. and Universal. Apple, Amazon, and Netflix all come from Silicon Valley which has no institutional memory of unions. It’s time to teach them what sharing needs to be.”
Kevin Sussman (The Big Bang Theory) “For me the big issue is residuals for streaming. I’ve known that it’s been untenable for years. I was surprised that it took this long for there to be a strike like this. I’ve seen residuals for my own shows absolutely tank once they go to streaming. I’m lucky because I was on The Big Bang Theory, which was on a broadcast network for years. Since it moved to streaming [like Max and Amazon Prime], it’s night and day. I don’t see how it’s possible for an upcoming actor these days to actually be able to make a living.”
Charlie Barnett (Men in Black 3, Russian Doll): I have those check stories of like $9 coming out. Twenty years ago, if I had the career that I have today, it would be entirely different. I can’t afford to buy a house. We just moved into a smaller place in order to start saving. It would be improper to say that I don’t have a certain amount of privilege in the position that I am. I have to recognize that. But us in these positions in of height, have all the ability to fight for the people who are under us, who are still climbing. Just the background deal that they said is historically different is bullshit. I started out in background. Are you going to tell me that I’m going to sell my image in perpetuity to a studio? It’s insane. What happens to my career for the rest of my life? It doesn’t provide any safety, any protection, any ability for growth for what this industry is, for what it’s always been. These contracts that we have built off of network television have stood for so long. We have not seen any growth through the streaming platforms. It’s kind of the Wild West. The conversation point in saying over and over again, the industry we are funding and continuing to put millions and millions of dollars into, is not profiting us. It’s BS. It’s also mirrored in the fact that half of these execs, their pay is raising continually, year and year. We have not seen growth on our side. And through the writers as well.”
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ancestralsurvival · 2 months
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“Jews run Hollywood.”
No, as Ms. Streisand makes clear, Jews began aspects of modern Hollywood out of the tradition of the Yiddish theater, which also made significant contributions to Broadway:
But we didn’t just tell our own stories, we made it so others could tell their stories:
From the above article:
“He listened,” says Gloria Calderón Kellett, co-showrunner of the 2017-2020 revival of Lear’s One Day at a Time. “He very much understood his privilege, and he leveraged it consistently for other people. For him, it was, ‘How can I best serve you guys in the telling of this story authentically?'”
Listening and helping others are Jewish values.
Maybe Jews were mistaken to ascribe these values to people who don’t believe the way we do. Yet, it still hurts all the more when other people don’t listen and try to help us.
Note: This post is about antisemitism in the diaspora, particularly in the US, and also to contextualize why diaspora Jews in the US have contributed to certain industries. There are many other important issues right now, but they aren’t what this post is about. Also, the “privilege” mentioned in the quote is easily revoked, as we all know too well.
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sigelfire · 4 months
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Gloria Calderón Kellett and Diego Luna at the Latinx Creatives Empowerment Lunch, 2023
There's a 44 minutes video at the source in case somebody is interested.
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burningtacozombie · 2 years
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Danny Pino, Gloria Calderon Kellett and Justina Machado on the red carpet at the 26th Television Hall of Fame gala in support of Hall of Fame inductee Rita Moreno on November 16, 2022 at the Television Academy in North Hollywood, California.
Photos by: Tommaso Boddi, Michael Buckner and Dan Steinberg
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Don't think I haven't noticed Adam's absence from Aisha and Kirsten's posts, so imagine my joy seeing this
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in Gloria Calderón Kellett's stories for a Latinas Acting Up picket from today. Gina Torres was also there. Man I love Gina Torres.
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shelbbswrites · 11 months
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This week's HIMYF is my favorite episode of the season, and OF COURSE, Gloria Calderón Kellett directed the hell out of it.
I'm a sucker for when characters can't rely on technology, and this version of that story is SO FUNNY. This show's humor really works best the more specific it is.
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ramascreen · 1 year
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WITH LOVE Season 2 Interviews: Isis King, Todd Grinnell, Emeraude Toubia, Rome Flynn & Desmond Chiam
In the anticipation of Gloria Calderón Kellett’s WITH LOVE Season 2 premiering June 2nd on Prime Video, I recently had the opportunity to interview the stars of this joyously inclusive, intergenerational rom-com: Emeraude Toubia (“Shadowhunters”),  Rome Flynn (“How to Get Away with Murder”), Desmond Chiam (“Joy Ride,” “The Falcon and the Winter Soldier”), Isis King (“America’s Next Top Model”)…
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marvelousgeeks · 11 months
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Gloria Calderón Kellett’s seasonal gem, With Love, starts strong during its debut season and grows exponentially better in its sophomore run. The show’s wholesome approach to romances and its unquestionable love for families and inclusivity remains its greatest strength. Moreover, its efficient means of simultaneously subverting expectations deserves incredible praise. It’s hard to trust television when it comes to romance, and it’s especially tough to trust how long LGBTQ+ relationships will last, but With Love Season 2 admirably takes on both, showcasing some of the year’s most notably romantic moments.
With Love Season 2 is a love letter to romances and an exploration of growth. It takes everything we think we know in the show’s debut season and flips them to exhibit how far our characters need to go to find lasting hope. At the same time, the show does a marvelous job of reminding the audience of the authentic challenges people in relationships find themselves in, effectively moving away from the contrived drama we often see on TV. Instead of exploring frustrating cliches, With Love Season 2 allows its characters to embrace the mess to find direction.
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