“I’m glad I cleaned the house today,” she thought in her best Lady Macbeth fashion. “Too many damn cobwebs. Out damn memories.”
She’d contemplated burning some sage but settled on removing old totems from the past as being enough. Finding the photos of “that other family” triggered this latest “limpiada,” a lesson taught by her mother.
“The best way to get rid of the past,” her Mamá Coraje once said, “is to believe it never happened at all.”
Rewriting history was a family skill so well-honed, even Orwell would blanch out of shame. For the Coraje women, lies were irradiated truths. Truths were best regarded as lies told by those who only wanted to destroy their gossamer veneer of perfection. The singular male Coraje — the son or brother — seemed to lack the focus required. He was a man-boy with feet of clay, desperate to be liked and loved, lacking integrity and grit.
Adept at creating her own reality since youth, this particular Coraje sister didn’t even break a sweat at the effort anymore. Ignoring events, people, the color of her skin, her family’s lower-middle-class reality, it didn’t faze her in the least. She chose to dance on the jagged edge, to remain a beautiful liar en pointe. Yet, the years were now revealing their own subtle truths, manifested in her stick-thin figure and the frozen look of bitter disappointment on her face. Whatever beauty or character was erased now.
It was seeing a photo of her mother with her American-born cousins that triggered this bolt of divine inspiration as she finished cleaning. She’d send the found photos to their original owners. It would be easier to simply place them in the trash.
“La basura se junta,” Mamá Coraje would say about people who had lost their use to her.
Another pair of trembling hands would soon hold the plain manila envelope she’d carefully filled with photos covering several years from what was now a different lifetime. The note? Benign in its phrasing, but packing a wallop that would reverberate beyond several area codes: “I thought you could use these.” Its simplicity was almost too perfect! Minimum effort for maximum damage, this bread & butter note written with the same intent as a “Thank you” card or a grocery list.
Would she know that sending this package would elicit feelings of anger and rage? Would she know that emptying her house of what was once treasure would be deemed callous and heartless? That the question of “Who does this?” would be muttered via texts and phone calls and several lunchtime conversations? The frozen smiles captured in these wrinkled black & whites and torn color images belied something she would never allow herself to acknowledge: her own feelings of malignant envy.
As la Hermana Coraje transported the sealed envelope to the post office, she reflected on the scorched earth demeanor of the Corajes. It was a cold feeling, cold and lonely and terrifying in its power. Was this too much? Had she gone too far? But she caught herself before any rationality or humanity could take root. Gripping the steering wheel of her sensible Japanese car, a trace of a smile revealed itself as she accelerating on the gas.
“The most important thing I want to express to people is that I’m not cured. I could probably relapse in a minute. Who knows? It’s just a weird disease that sneaks up on you and all of a sudden you’re boozing at the bar, or whatever. And it doesn’t have to be because of you or pressure or this-or-that. It just can be.
The most important thing is that I didn’t want to set myself up for failure and be like, “Look at me!” I wanted to write the book that I needed when I was suffering. ” — Kristen Johnston, actor
I won’t even try to gloss it over with a layer of shiny wit, dear readers.
I am truly sick.
My diabetes is worse than ever. My cholesterol has hit a number that even scared the staff of my doctor’s medical team.
I’ve written about this before. All of my friends have heard the tale before. I had to admit to myself that I’ve been playing Russian Roulette with my health for the better part of a year. I know I went too far. I’ve known. My insatiable thirst for sugary drinks? My getting up more than three times to urinate during a given night, having to witness a small mountain of foam in the toilet each time? The numbness on the tip of my right-hand thumb, which mirrors the nerve damage I have on my right pinkie toe? All signs of diabetes left unchecked.
Given my unpredictable mood of late, I was literally given a “time out” by my boss. I was given a day off. Another red flag, but one that motivated me to sit down for blood work at One Medical. It was time to do something. Anything. It was months overdue. I was told by the phlebotomist that I’d get my results in about a week or so.
I received this email 24 hours later.
I’d just visited my shrink when I received Dina’s note. After the first two reads, all I could see was the words “Blindness,” “Kidney Failure,” “Heart Attacks” and “Strokes.” I felt nothing as I sat in my car in that parking lot off Wilshire Blvd. I turned the ignition, put the car in reverse, drove off the lot… and went straight to 7-11 to buy a Super Big Gulp filled with Fuze Raspberry Iced Tea for the trip home.
A new shade of anger has set in. Anger that I am in this square. Again. I am angry at myself. Again. I am sick. Sick, tired, and scared. It sounds like an ambulance chasing law firm. The office of Sick, Tired and, Scared. I can only imagine their rates.
Alan asked me earlier last week if I was looking at death as a means of avoiding dealing with a few situations in my personal life. Of course, I said, “No.” But as I write this diary entry now, I realize, some truth exists to the question he posed. Yes, I would rather be dead than have to deal with what is happening in my life at the moment. I don’t know this person I’ve become. I know the behaviors very well, but not the individual. When did fear and anxiety become my defining characteristics? How did I let myself become so afraid that I’ve immobilized myself?
When I began my career in the film industry, if doors were closed in front of me, I’d either knock them down or find another way in. I don’t do that anymore. This is beyond complacency. What I feel is a form of terror. I’d prefer leading myself to a stroke, heart attack or worse than to deal with a crisis point. That is suicide.
Friends of mine have lost loved ones this year to health issues that we are able to control. It isn’t just a question of age. We know eating better, taking a bit of exercise, and thinking healthy are the sure-fire ways to live a healthier life. Genetics only account for a portion of the reason for illnesses like diabetes and heart disease. We can get BETTER. But it takes focus and control, two things that people like me, who live with an addiction to poor food choices and insolence, struggle to engage.
This anxiety, which has only been amplified thanks to the Trumpist Age, cannot swallow me whole. I haven’t felt so alone as I do right now, even if I do live in a crowd. Taking solace in knowing just how MANY people are desperate at this moment isn’t enough anymore. But, I do know who I can trust with these feelings, even if I’ve worn out my welcome with this story. I dig my heels into the ground the minute most people offer me advice to “get better” or “smile” or “stop reading the news.” If you knew how much I love shoes, such behavior has no place in my adult life anymore. I’m not a child and being stroppy about anything in this life is beyond idiotic.
This self-destruction must end in a way that doesn’t require my mortality. I need to get my shit together. I need to start thinking healthy again. I need to at least LIKE myself again. Otherwise, this diary will live on as an obituary or a cautionary tale. Take your pick.
I will be seeing my physician this week to review the lab results and put together a medical strategy that will play a role in getting my numbers to safer levels. I am tracking my food intake on the Weight Watchers app. I am being proactive. This doesn’t resolve the bigger issue that is a key reason why I’ve lost control, though. I’ll begin with this first truth, this first salvo in positive thinking:
It isn’t betrayal, my wanting to tell the people close to me, that I want to change my life before this situation kills me.
The rise of Trumpism has torn the veil off of 21st century America and what lies beneath is a roiling sea of hatred towards all non-white groups. It seems no one is immune from this cancer. Just view any of the iPhone videos of unbridled rage shot on location at hotel pools to Starbucks to any grocery store of late.
I can’t help but shake in rage when I think how mainstream media was complicit in giving Trump and his minions a platform that is part-revival tent and part- propaganda machine. By reporting and repeating his often wildly untrue statements designed for maximum collateral damage, the effect is not to inform the masses, but to give the Trump machine more steam and crucial validation.
Before the election, I found it unfathomable that we’d live in an era where a U.S. President would turn to social media to handle world affairs in the manner of an unhinged youth suffering from Twitter Tourette’s. The very thought of such a political figure leading the greatest nation on Earth as if he’s the oligarch of the Troll Nation churned my stomach. It couldn’t possibly happen here, right Sinclair Lewis?
Now we have the children of the undocumented living in detainment camps on American soil.
What we decide to do about Trump and his rabid fan base will define the next generations of our nation. But we have to start paying attention. We can’t turn away or tune it out, people. We can’t distract ourselves with cat videos, endless phone swiping through the digital swamps of clickbait nonsense, Beyoncé & Jay-Z’s new album or whatever it is we do to pretend our lives are hunky dory.
We are at war for the soul of this great nation. To avoid service is to call yourself a deserter. You do not warrant a place in this nation once we put down our arms to vanquish the Orange menace, the entitled, rich white men who’d rather see us corralled up like animals and treated like garbage. You are no better than them in thinking it is someone else’s problem.
We cannot be complicit in our silence. You see, it won’t stop here, this flouting of human and civil rights. If we allow these camps to continue, Trump will allow for them to grow in numbers and the parameters can only be broadened from here. Citizens may find themselves behind those gates just because they fit a government profile that can change at any given moment.
Camps have happened here before. Like all the evil that men do, a precedent exists. We have the power to look back in anger and do something with that emotion to make sure it doesn’t happen again. That’s the beauty of history. The clues. The answers. The best-laid plans are present for us to make our futures better. Yet, we are the fly in the ointment. Our apathy and divisiveness make us so.
Walls. Chainlink fences. Camps. These are devices engaged by the weak and cowardly to keep control and power. But these are also man-made constructs. And it is men and women of great courage and faith in the goodness of humankind that will take them down. Change cannot be contained. This is our chance. Make your voice heard. Speak your truth.
Here’s mine: I am the gay son of Mexican immigrants, people who chose to become citizens of this great nation. To witness the children of other Latinos in camps is a slap in the face of all immigrants who created America. We must become the change we want to see in the world before we are all on the other side of that fence wondering what the hell happened.
After you’ve taught the world how to be a Latin lover, what do you do for a follow up? If you’re an international comedy star, you offer the world an unexpected new twist on one of the most beloved romantic comedies of the 1980s and go… “Overboard.”
Since his groundbreaking American film debut in 2013 with “Instructions Not Included,” Mexican actor and filmmaker Eugenio Derbez broadened his audience further with the 2017 box office hit “How to Be a Latin Lover.” Seeking a new challenge, Derbez and production partner Benjamin Odell knew they set the right course in taking on the famed 1987 romantic comedy “Overboard.”
Several industry heavy hitters had already tried to find the right combination that would take the film from being a mere remake to a filmed entertainment that spoke to a generation that, incredibly, may not be familiar with the original. Recasting the roles played by powerhouse duo Goldie Hawn and Kurt Russell would not be enough. The basic premise of sweet, vengeful justice that happened to blossom into an unexpected romance also would need an update.
After much planning and discussion, this bold, new “Overboard” was ultimately set forth on a journey that would reflect the diversifying image of mainstream American cinema. Genders would be reversed, giving Derbez and blonde comic dynamo Anna Faris a chance to put their mark on the characters essayed by Hawn and Russell. More, the identity of the film would take on a multi-cultural one, mirroring the audience that continues to impact more than box office revenue. The end result can only create a splash of its own. Find out how this “Overboard” set sail in the following Q&A with stars Eugenio Derbez, Anna Faris, and Eva Longoria.
“Overboard” opens citywide on Friday, May 4th.
JORGE CARREÓN: What is it about the original that makes people smile, even today?
EUGENIO DERBEZ: Goldie Hawn. I love her. She’s amazing. She’s adorable. She’s charming. She’s funny. She’s everything. And the story is interesting, you know? This clash of cultures is funny when you see the rich against the poor and then they switch, and they torture her.
ANNA FARIS: I love the original so much. I grew up watching “Overboard.” It was my sick day movie! It feels like I watched it every day. It was the movie that my friends and I could all quote.
EVA LONGORIA: It is such a classic film! I love the original. I love Goldie Hawn. I love their love story!
CARREÓN: What makes this take on “Overboard” special to you?
DERBEZ: Flipping the genders was fresh because we wanted to break stereotypes. The normal thing to do is I would play the carpenter and Anna (Faris) would play the billionaire in the yacht. But it’s a different world. When you want to do a remake, you do it because you love the movie. If you start changing too much it becomes another movie. We were careful in not losing the core of the original story.
FARIS: I’m thrilled to be a part of it. it’s also terrifying because When I was approached with the project, I was incredibly flattered but I also felt like these were huge shoes to fill. But, I couldn’t resist it, so we’ve reimagined it. The Kurt Russell character is played by my me and Goldie Hawn’s character is played by Eugenio. I think we’ve updated it and I hope that it satisfies fans of the original.
LONGORIA: There are movies that you go, “You cannot touch that!” I thought this was one of them. When I first read the script, I wanted to not like it. [LAUGHTER] It’s a reinvention more than a remake. The role reversal makes more sense now if you think back to the original. This role reversal is a little more accepting because it’s the guy who is going to do hard labor in the house. He should. [LAUGHTER]
CARREÓN: The gender reversal of roles is just one layer of this new imagining of “Overboard.” Eugenio, what did it mean for you to take on the role played by Goldie Hawn?
DERBEZ: It’s typical that in Hollywood you always see the Mexicans playing the gardener, the immigrant. But there are other kinds of Mexicans. Many Americans don’t know that one of the richest men in the world is Carlos Slim. That’s why I decided to play this Mexican billionaire as if he were a Carlos Slim type. What I loved the most is I got to play two Leonardos. The Leonardo who’s rich and the Leonardo who’s poor later. But, it was a real challenge playing the billionaire. When I watched the original movie, one of the things that I really loved from Goldie Hawn was that even though she portraying a mean and terrible human being, she was always charming. And I was like, “God, I need to find the way to do the same thing!”
I wanted this guy to be, even though he’s a jerk and he’s always mistreating people, I wanted him to be charming and lovable. That was the challenge. Although, I did love being the billionaire more than the other Leo because it had more room to play.
CARREÓN: How about you, Anna? How did you want to make your role as Kate resonate in this new context? Is she an extension of your real self?
FARIS: I think that every character that I play of course has a degree of me in it because I think that’s how you sort of attempt to embody a character. I love Kate because I could recognize her sort of desperation. She wanted to be able to do the right thing. And yet, there’s this temptation. She succumbs to it and takes Eugenio’s character out the local hospital when he’s suffering from amnesia and convinces him that he’s her husband and that he also has three jobs and must now support her family. [LAUGHTER] That sounds pretty horrendous! But, I like that Kate was very real to me. She’s funny and gritty and she’s working her ass off to raise these kids and to try to make ends meet. It makes me feel like a lot of the people that I grew up with. Hopefully, it’s honoring the idea of how just hard it is for working single women and people.
CARREÓN: It is important to be able to trade comedic dialogue with an actor who’s also adept at bringing the funny. How was it creating a bond as Leo and Kate?
DERBEZ: Anna and I clicked from the moment we met. There’s nothing better than having chemistry with your co-star. Anna was exactly as I imagined. She’s funny, she’s amazing, she’s full of energy, she’s always making jokes. It was easy to work with her because she’s always feeding you with funny stuff. During takes, I’d be enjoying her performance as if I was watching a film! I’m like, Sorry I wasn’t reacting! I was watching Anna!”[LAUGHTER] Besides it is a little bit freaky because she looks like Goldie Hawn. You can’t imagine how similar she is. There were a lot of takes where I was watching her and thinking, “Oh my God, it’s exactly like Goldie Hawn!” I loved that.
FARIS: I couldn’t adore Eugenio Derbez more. He’s got these big eyes. He’s innately charming. He’s hysterical. Our first day of shooting we were stuck in a car on a trailer together. And we hadn’t spent that much time together except for a couple of rehearsals and a couple of meetings before. And I was just like chatting his ear off. And I remember him looking over at me with like sort of this look of confusion. I’d like to think also he was charmed by my chatty Cathy business I was doing. [LAUGHTER] We both come from this comedic background. We both have though dramatic undercurrents in ourselves. We talked a lot about acting throughout the course of the movie. I admire him so much.
CARREÓN: One of the revelations from these interviews is that Eugenio admitted he and Anna are both insecure when it comes to performing. Why?
DERBEZ: Well, she’s so humble. Anna is one of the funniest comedians in Hollywood. English is not my first language. It’s hard for me to perform in English. I was always curious about whether I could be funny in English? People say I’m funny in Spanish, but I’m not so sure I’m going to be able to crossover in English. Every day I would ask Anna, “Was I funny?” She would say, “What are you talking about? You were really funny!” Then she’d be the opposite, “I think I wasn’t funny.” And then I’d say, “What are you talking about? You’re really funny! You’re Anna Faris!” I think all actors in the world are insecure, but probably more so if they’re comedians. [LAUGHTER]
FARIS: I don’t know how Eugenio does it. We were just talking about that just a sec ago. Like, I was like how do you do this. How do you, how do you, it’s just incredible to be able to speak and act in a language that’s not your first!
CARREÓN: Do you think a cross-cultural romance experienced by Leo and Kate is a risky move for a mainstream film today?
DERBEZ: Yes and no at the same time. We’re going through rough, tough times. But it’s time to make a statement. I think America is a great country and it’s built by many groups of people, not just one. I’m Latino and Latinos have been doing great things here in the U.S. In a certain way, we’re telling people that anything can happen. This is America. That’s life in America.
FARIS: I loved the idea. I hope that this movie can touch different cultures, different generations. It feels progressive in that way. I love it that we have these incredible Mexican actors in our movie. I love it that we speak Spanish. It feels like next generation as well and I feel to be a part of that. I think that is something that makes this movie stand out.
CARREÓN: The new “Overboard” also has a secret weapon that wasn’t part of the original film, which is the scene-stealing Eva Longoria as Kate’s best friend, Theresa.
FARIS: The first day Eva came to set she ran up to me, and mind you, I had never met her before. She gives me this massive bear hug and she’s just like, “You and I are going to be best friends.” And I was like, “Oh my gosh! You are a dream!” I loved acting with her. She’s just an incredible person and an amazing actress. I think that there can be a sense of competitiveness sometimes, which many of us have experienced in the past. It’s wonderful to be at a place in life where no one is bringing any of that to the table. I just love her so much. We should definitely play buddy cops or something in another movie! [LAUGHTER]
LONGORIA: It is just so fun being able to play off Anna. I’ve been such a huge fan of hers my entire life, from “The House Bunny” to the “Scary Movie” franchise to “Mom.” She’s just such a talented comedian. She has this natural instinct for comedy. She’s really great with physical comedy, so doing scenes with her has been a lot of fun. And to play her confidant and to be able to play off each other has been a dream for me.
CARREÓN: How important was it to have all roles not depict a cultural or gender stereotype?
FARIS: There’s been this wonderful sort of awakening, where we have brilliant writers and our directors and screenwriters creating material that’s multi-dimensional and doesn’t fall into a particular category. I love that Kate, my character, had dialogue could have easily been played by a guy. It feels great to have anything that sort of fits into a box that’s conforming in any way. Hopefully, we’ll see more roles played by all different kinds of people.
LONGORIA: We’re taking steps forward in the right direction with diversity in film. We have to do more and it starts behind the camera. Eugenio’s directing and producing. I’m directing and producing. When you have the viewpoint of a diverse person, what’s in front of the camera is bound to be diverse. We are taking small strides, day by day. The landscape of America is changing, and changing in a Latin way, I think that will eventually be reflected in television and film.
CARREÓN: What’s been the most compelling aspect of having creative control over a film project? A great example with “Overboard” is its diverse ensemble, particularly with the talents of such acclaimed Mexican actors as Cecilia Suárez, Mariana Treviño, and the great Fernando Luján as Leo’s family.
DERBEZ: I’m basically hiring myself for every project. And I like that because I have a voice. It’s important to have a voice nowadays. I wanted to introduce some of our great Mexican actors to a new audience. They’re amazing! I loved doing that. And if I can be a bridge for all this great talent we have in Mexico, then I’m happy.
LONGORIA: I applaud what Eugenio’s been doing with his films in Hollywood as a Mexican actor. What’s been so wonderful to see is that he brings his culture with him. He brings the actors from Mexico with him. He’s never turned his back on his origins. He’s doing these bi-cultural films really well. They’re funny. They have general themes. Universal themes that a general market can enjoy and I think that’s the key. That’s why “Desperate Housewives” was so successful worldwide because you deal with universal themes that everybody can relate to. If you do movies about love and romance and divorce and heartache and jobs and child raising and death. I mean, those are things everybody can relate to. And then you make it a comedy? [LAUGHTER] It’s enjoyable to watch. I’ve had these moments where I look around the set and I get chills because there are so many talented actors on the set, but there are also so many diverse talented actors on set. It’s very rare that you go onto a movie set and you see actors from Mexico City doing an American film. And that’s really what I applaud Eugenio for.
CARREÓN: Expectations versus reality. Which did you all enjoy more? The scenes on the yacht or the ones on land?
DERBEZ: We were all so happy the day they told us were going out into the open sea on a luxurious yacht. Then we had to reduce the crew because we all couldn’t go onboard for weight purposes. In the end, we couldn’t wait to finish shooting on the yacht. [LAUGHTER] It was so hard! The interiors of the yacht were covered in plastic to protect the walls, the furniture. We were standing up most of the time. We’re sitting on the floor. It was packed. You couldn’t walk around. You couldn’t bring food inside or drinks. All of us had to have lunch outside. It’s Vancouver. It’s Canada. It was freezing. It was so windy! The scenes on the jet with the beautiful women in bikinis? We were all shouting and yelling and laughing. When I came back to the yacht, and the crew said, “You all looked like you were having a lot of fun!” I said, “No! We were freezing. The water was cold! Those were shouts, not laughs!”
FARIS: I loved making “Overboard.” Just the thrill of getting to be a part of it is amazing to me, one I could never have imagined as a child. I also loved that our directors and Eugenio gave me a sense of freedom. There was a lot of improvisation, plus the idea that we’re telling a romantic journey in an unconventional way.
LONGORIA: We had a funny scene, Eugenio and I with the condoms. That’s all I’m going to say. I’m going to say is Eugenio Derbez, Eva Longoria, and condoms. Watch the movie. [LAUGHTER] I loved anything with Anna. I loved my screen husband Mel Rodriguez [who portrays Bobby]. You have no idea. Mel and I have known each other for 18 years. Every time we had a scene together, the director was like, “More of that!” Now we have to go do a show together. We’re that good together. It feels like we’ve been married 20 years. We’ve all had a lot of fun, but the water scenes were rough. It was raining, it was freezing. It’s probably some of the funniest stuff we’ve shot, the end of the movie, the little boat chasing the big boat. I think people are really going to enjoy it.
CARREÓN: What do you hope audiences take away from watching “Overboard?”
FARIS: It ultimately becomes a love story. What Kate and Leo bring out in each other is eventually the best in each other. Leo becomes a version of himself that he didn’t know he had in him. And I think Kate’s walls get broken down. There’s something really interesting in the idea that this man who has everything that the world could offer and he somehow finds reward in having a family and a simpler life. It’s the idea of what money can’t buy.
LONGORIA: People can expect a lot of fun out of this movie. They’re going to want to go on this journey with these characters, between Kate and Leo and their families. I feel like there’s a desire for a movie like this right now, especially in the world we’re living in. We want to escape into a beautiful place, a happy place. You want to experience someone else’s journey and not think about your own problems. [LAUGHTER] This movie’s going to do that for you.
DERBEZ: It was a challenge and a great responsibility to do a remake of this great film. When we hired writers Rob Greenberg and Bob Fisher and we read the final script, we were thrilled. We first talked to MGM about flipping roles and they were like, “No! This is an iconic movie. We don’t want to go that far!” They read the script, and they were like, “Oh my God. We love it!” We have a great movie. I think we have an amazing movie. Funny, interesting, and with a lot of heart. It has everything and it’s a roller coaster. It’s a family movie, too, which is a plus. I like doing movies for everyone.
**The interviews with Eugenio Derbez and Eva Longoria were completed on location in Vancouver during production in June 2018. The Anna Faris interview was completed in Los Angeles in January 2018. The transcripts have been edited for this piece.
The “Overboard” English and Spanish featurettes were produced by Jorge Carreón at Monkey Deux, Inc. for Pantelion Films.
Edited by Kate Ryan (English) and Steve Schmidt (Spanish), the featurettes are included courtesy of Pantelion Films.
It is the Monday after the March for Our Lives and our young people have staked their position in history. Between 800,000 and a million people made their way to Washington, D.C. and more than 800 sibling marches were staged across this nation in support. From the heart of downtown Los Angeles, I saw and heard these youth leaders from all walks of life speak with the temperature of passion that only happens on a mountaintop. They are no longer living in the shadow of MLK’s dream, rather, their very DNA has been imbued with its power. And, like the student movements of the 1960s and 1970s in this country, they are taking destiny and change into their own hands.
Our children, tired of being mowed down over and over again in our schools, first by rampaging white gunmen then by the privileged white men & women of public office who dare to diminish their intent or anger, took to the streets on March 24 to send a simple yet complex statement to our leaders and the world:
So, how did some leaders respond?
“I respect their views and recognize that many Americans support certain gun bans… However, many other Americans do not support a gun ban. They too want to prevent mass shootings, but view banning guns as an infringement on the Second Amendment rights of law abiding citizens that ultimately will not prevent these tragedies.” — Senator Marco Rubio, R-Fla.
“How about kids instead of looking to someone else to solve their problem, do something about maybe taking CPR classes or trying to deal with situations that when there is a violent shooter that you can actually respond to that.” — CNN commentator and former Pennsylvania GOP Sen. Rick Santorum.
Yeah. Good luck with that, Messers. Rubio and Santorum. Let’s see you walk up to the many families you and your party would like to see thrown out of this country, or rendered ill, or murdered by your lack of empathy and concern. Let’s see if your return to “core values doesn’t keep the body count rising.
Since the ascent of Donald J. Trump to the American presidency, sectors of the media have done well in rebranding themselves as purveyors of a Cheeto orange-colored hell that makes me like I’m in the Garden Club scene in the original “Manchurian Candidate.” Interviews with porn stars or Playboy models were teased with TV spots and other spoils of hyperbole, the whorehouse effect of catering to the lowest common denominator have overridden the sanity mainframe. At least for the grown-ups and it appears to be affecting our children are following suit.
It is not surprising that the circus of distraction rolled back in town with the Stormy Daniels interview with Anderson Cooper on “60 Minutes” the same weekend as the March for Our Lives. Of course, the landmark series earned its BIGGEST ratings in a decade. Honestly, no offense Ms. Daniels, but you’re part of the problem, too. And as much as I do think 45’s titanic ego deserves to be sunk, shame on us for making your story obfuscate the bigger news and issues at play here.
It was on February 14th when 19-year-old Nikolas Cruz felt the need to commit a domestic terrorist act by murdering 17 people at Marjory Stoneman Douglas High School in Parkland, Florida. It may not offer consolation to the dead and their families, but an angrier beast than the intolerant rage that motivated Cruz to infamy has awakened in our nation’s youth. They are gaining strength and are committed to fighting in the name of those who were brought down in cold blood by cowards juiced up on arrogance and bullshit Trumpism dogma. I know I am not alone in thinking about one seminal moment in film history at this moment.
In 1976, writer Paddy Chayefsky unfurled what may be the greatest wake-up call of the 20th century. Imagine being in the audience at the local cinema watching “Network” when the great British actor Peter Finch stared down the camera as Howard Beale, an elder statesman journalist who has just been fired for poor ratings. Radiating with the exquisite clarity gained by either divine intervention or insanity, Beale addresses what is to be his final audience with the following speech, a true Jeremiah for the ages:
Program Director: Take 2, cue Howard.
Beale: I don’t have to tell you things are bad. Everybody knows things are bad. It’s a depression. Everybody’s out of work or scared of losing their job. The dollar buys a nickel’s worth; banks are going bust; shopkeepers keep a gun under the counter; punks are running wild in the street, and there’s nobody anywhere who seems to know what to do, and there’s no end to it.
We know the air is unfit to breathe and our food is unfit to eat. And we sit watching our TVs while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes as if that’s the way it’s supposed to be!
We all know things are bad — worse than bad — they’re crazy.
It’s like everything everywhere is going crazy, so we don’t go out anymore. We sit in the house, and slowly the world we’re living in is getting smaller, and all we say is, “Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials, and I won’t say anything. Just leave us alone.”
Well, I’m not going to leave you alone.
I want you to get mad!
I don’t want you to protest. I don’t want you to riot. I don’t want you to write to your Congressman because I wouldn’t know what to tell you to write. I don’t know what to do about the depression and the inflation and the Russians and the crime in the street.
All I know is that first, you’ve got to get mad.
You’ve gotta say, “I’m a human being, goddammit! My life has value!”
So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window, open it, and stick your head out and yell:
I’m mad as hell and I’m not going to take this anymore!
Earlier in the film, network programming executive Diana Christensen (portrayed by Faye Dunaway), makes this pronouncement:
“The American people are turning sullen. They’ve been clobbered on all sides by Vietnam, Watergate, the inflation, the depression; they’ve turned off, shot up, and they’ve fucked themselves limp, and nothing helps.” So, this concept analysis report concludes, “The American people want somebody to articulate their rage for them.”
It takes very little to make either of these monologues relevant today. The American people are sullen, but they aren’t keeping their rage in check. They’ve allowed it spill out of their beers and cheap wine with ice, dousing innocents with their own special brand of hate. The American people are have turned into Cheeto-colored assholes.
Was having a black president for eight THAT bad? Now we’re being clobbered on all sides by the NRA, Russiagate, rising costs, being depressed; we’ve turned on virtual reality with handheld devices, swiping away our dignity in the process. We’ve Netflix and chilled ourselves limp, and nothing helps. We are using guns, homemade bombs, the Internet, and social media, all parried by the biggest bunch of instigators who want to see us kill each other so they can reap the benefits — financial and political — of a smaller, whiter pack of beasts.
Yes, we do need someone to articulate our rage. Yet, it is our American youth that took it upon themselves to make it happen in a way that is proactive and a benefit to us all. I am ashamed of the adult leaders who scoff at these students, particularly Emma González, who boldly called “BS” on these leaders for their lack of mobilization, leadership, and humanity. Behold GENERATION MAD AS HELL And don’t begrudge them a damn thing!
Perhaps too many of us still feel America is not THAT bad. No amount of self-loathing can wipe away the ever-growing stockpile of sins of 45, the Alt-Right and, especially, the GOP. They’ve been meme’d, shared, gif’d and archived only to be brought back each time our nation reaches a crisis moment. Generation Mad As Hell is not allowing false piety, gender or cisgender hate, keep its hammerlock of keeping the rest of the country divided and afraid. They are repurposing these weapons of mass distractions to illuminate their way to a better future. We cannot deny them that. We are also part of that future. The Kids are going to do what we’ve failed to accomplish: turn the tide and restore sanity and a greatness represented by ALL Americans, not the ones deemed worthy by a sociopath president incapable of hiding his contempt in the name of “greatness.”
It is believed strength can be achieved numbers. Generation Mad As Hell can’t do this alone. It is our obligation to stand with them, to share what we’ve seen in the past so they don’t make the same tactical errors like allowing complacency to take root once the cameras or Tweets go away.
This fight for our lives won’t be resolved with a single march or the mid-term elections in November. The Trumpian Age is not the way its supposed to be. We are human beings! Our lives have value! Generation Mad As Hell is here and we all do not need to take this bullshit anymore.
As Tony Kushner wrote in his landmark play “Angels in America,” “Greetings, Prophet. The great work begins! The messenger has arrived.“
I wanna fly like an eagle
To the sea
Fly like an eagle
Let my spirit carry me
I want to fly like an eagle
‘Till I’m free
Oh, Lord, through the revolution
— Lyrics from “Fly Like an Eagle” by Steve Miller Band
The buzz of optimism that started out my year is morphing into something closer to pessimism and sadness. It isn’t as dark a place as 2016 or 2017, where I was systematically killing myself with food and rage. What I feel now is different as I do want to embrace the beauty and goodness that is still very much a part of the world. But I want to take my leave, to escape to a space that is nurturing and not so damn empty and cold.
I’ve written about that sinkhole that is my solitude at times. It widens and closes up in an instant, usually at my command. It can let it edge me to the brink of being swallowed up whole, like a sleepy Florida suburb. Yet, somehow, I always manage to move far enough from its reach in the nick of time. Perhaps it is my will to witness the good that is still possible, of never losing the hope that things are never as bad as they seem.
Then something like this happens:
From cunt attitude…
… to fat loser
… to fat bitch.
Mind you, I did laugh at the exchange pictured above as I was in the middle of a pedicure. Backstory: I rejected someone I met on the dating app Chappy because the texting went from benign to odd and ultimately profane when I began to feel a lack of compatibility. In the end, this individual lost the lid to his cookie jar of insanity, going from zero to “cunt attitude,” “fucking asshole,” and “fat bitch” in a matter of minutes. I blocked him and continued to read my news feed of the day.
As I reflect on this moment, I don’t seem to feel anything, just “Oh, well. That’s gay dating in L.A. for you!” Many of my gay brethren have this story and more to tell. Yet, I can’t help but feel that my time in Los Angeles is coming to a close. The city reminds a lot of New York in the 1980s when being rich or poor were the only way to properly have “The Experience.” It feels like Nuestra Señora de Los Angeles has abandoned her mission and is only catering to the young and beautiful and desperate to be noticed and in the “know.” Wasn’t that me 25 years ago? Did I mature my way out of “The Experience?”
I think of escape now as a means of taking back the adventurous spirit that was so much a part of my youth. I used to dream big, but now I’ve downsized said dreams into what makes sense in my life today at 50. I used to want to run away from what troubled me. It didn’t work. As we all know our troubles will follow you until they’re reconciled and purged from your self.
Some of my on demons have been banished, but not all. What dominates my mind now is the reality I won’t have the chance to engage in another long-term relationship. It’s been eight years since I broke up with my last significant other. Despite some interesting yet unsatisfying interludes, a new fella just hasn’t made his appearance yet. Some relationships I sabotaged myself, but it’s been quiet these last few years. And, yes, it is possible he may not show up at all. Would that be the end of the world? I don’t know anymore since the era of polyamorous and open relationships has gained striking momentum and acceptance within the gay male community. My own rigid thinking on this reality is starting to waver a bit. As much as I am not a fan of the “cake and eat it” lifestyle, what other recourse do we have? The man waiting room now feels like the one from the end of “Beetlejuice.” Will my options improve elsewhere? London? Mexico City? Sheboygan? Albuquerque? Maybe? Probably?
Time does feel a wee bit different to me now. Its speed is faster than FloJo at her peak, man. And, I spend so much time looking back, I’m always crashing into things that could have been avoided in the first place. Looking ahead, I really just want to accomplish one more good dream. I don’t need to change the world, but I do want to add one good thing before it’s truly over.
Escape isn’t always about moving to a new destination. It can also mean to leave the space you’re emotionally inhabiting, too. Best part? The ticket is free.
When I’m feeling weak
And my pain walks down a one-way street
I look above
And I know I’ll always be blessed with love
And as the feeling grows
She breathes flesh to my bones
And when love is dead
I’m loving angels instead
I spent quite a bit of time on the set of Gina Prince-Bythewood’s poignant adaptation of Sue Monk Kidd’s best selling novel, “The Secret Life of Boys.” Given the task to produce the behind the scenes footage and content for this high profile project was both enviable and fulfilling. Impeccably cast with such luminaries as Queen Latifah, Sophie Okonedo, Alicia Keys, Jennifer Hudson, and Dakota Fanning, I sat down with all of these formidable talents on set on some cold and rainy days in Wilmington, North Carolina in 2007, later following up with them at the 2008 Toronto International Film Festival.
I’ll never forget that beautifully designed pink house, the centerpiece of Monk Kidd’s historical novel chronicling the life of a young white girl on the cusp of womanhood and the effect her housekeeper, and especially, a family of three beekeeping sisters have on her life. Projected against the canvas of the Civil Rights era in the Amercian South, the layers on which the narrative is told still resonate today, perhaps even more so.
The interviews with the cast had to encompass a dialogue on racial and gender equality, a conversation that has lost none of its power or importance today. At the time of principal photography, Barack Obama and Hillary Rodham Clinton were both seeking the Democratic Nomination for president. It was a time of great hope and wonder, at seeing history happen before our very eyes. It was an inspiring force, particularly for the cast who were essaying roles set in an era of great pain and suffering in a war for societal change.
Grammy winner Alicia Keys was at the peak of her popularity when she signed on to star in “The Secret Life of Bees” in 2007. Still a vocal activist and philanthropist today, I chose this interview as the second installment of “Generic” as a means to bridge our conversation in 2008 with today’s dialogue on fighting to protect and promote gender and racial equality. Keys has not given up the fight in 2017, as heard through her artistry and public appearances. Neither should any of you.
The Four Seasons Hotel, Toronto
September 8, 2008
Few recording artists today have the incredible staying – and selling — power like that of Alicia Keys.
Instantly setting herself apart from her rump-shaking contemporaries upon her 2001 debut, Keys’ smooth blend of old school soul and rhythm & blues continues to court global favor. With 11 Grammy awards on her shelf, as well as more than 20 million albums sold worldwide, the musical life of Ms. Keys is without compare. So, why the eagerness to extend her artistic reach into acting where so many others have been met with deaf ears? The answers were direct and simple.
Performance for Keys comes from the same place and she is more than up for the challenge of voicing new words without music. However, what matters for this artistic hyphenate – which continues to extend with new titles – is that what she is saying is something of worth. And in 2008, Keys proved she had quite a bit to say through several mediums, beginning with her most challenging motion picture effort to date, an acclaimed role in the hit screen adaptation of Sue Monk Kidd’s “The Secret Life of Bees.”
Citing the novel as one of her favorite books, Keys was eager to portray “June Boatwright,” the strong protector of a trio of beekeeping sisters living in 1960s era rural American south. What drew Keys to the project was that the character of “June” more than understands the racial strife of the outside world and its threat to the idyllic Eden of her family home. It is no coincidence that the character’s ability to express a softer emotion is through playing the cello, something Keys, already trained musician in her own right, sought to learn to give realism to the role. It is a scene-stealing performance, in spite of formidable work from co-stars Queen Latifah, Dakota Fanning, and Jennifer Hudson. Yet, it was the experience of making her third film, in advance of the most historic moment in African-American history that offered Keys the most gratifying and educational experience of her career.
In discussing this latest chapter in her life, the 27-year-old native New Yorker proved as passionate and focused as she sounds in such hits as “No One” and “Fallin’.” Those smoky tones are no studio-enhanced trick, something I commented to her during our chat at the Toronto Film Festival for “The Secret Life of Bees” earlier in September. Shamelessly, I said it was a “drop-drawers” kind of voice. I got a flash of that amazing smile and a husky laugh.
It is encouraging to know that film will continue a role in her life, whether on screen or by contributing music. In addition to “Doncha Know (Sky is Blue), the end credits song from “The Secret Life of Bees,” Keys can also be heard with Jack White (of The White Stripes) tearing through “Another Way to Die,” the theme to the new James Bond film “Quantum of Solace.” Even with just being nominated for a few more Grammy Awards for several tracks off her recent “As I Am” album, art will have to share space with her most serious endeavor, working tirelessly as a global ambassador for Keep A Child Alive, a non-profit organization that provides life-saving AIDS medicines directly to children and families living with HIV/AIDS in Africa. Yes, this Julliard-trained hyphenate knows no bounds this year, one of the 2008’s most important personalities.
Without further delay, a confession that is truly in the key of Alicia.
JORGE CARREON: It can be said that each of the woman in “The Secret Life of Bees” represents a different facet of what it is to be a woman. Would you agree with that?
ALICIA KEYS: I would. I really do see the many variations of beautiful women in this film. They come in all styles, shapes, sizes, colors and all types of pasts; things that we’re recovering from and going through and embracing. So I do agree.
CARREON: Regardless of the film’s time frame and issues, is it really hard to be a woman?
KEYS: I think it is. It’s the most beautiful thing to be on the planet, so that’s first. But secondly, it is difficult to be a woman because we carry a lot on our shoulders and we are very, very strong. Sometimes we make it look really easy, but it’s not always easy. I think another thing we do as women is we hold things inside of us because we have to keep on pushing and keep going. Keep going for our family, our kids, for the ones that we love, you know? Sometimes that does weigh heavily on us. But I think that we are the most resilient and we are definitely just beautiful creatures. I love being a woman. I love it very much.
CARREON: Do you think such gender driven a story like “The Secret Life of Bees” has a place in contemporary entertainment that extends beyond a female audience?
KEYS: There are so many wonderful women in the world and we have to be represented properly. So, yes! It is time to tell more interesting stories about the many variations of women.
CARREON: Men are thinking, “How does this relate to me?”
KEYS: I think ‘The Secret Life of Bees’ is something that will relate to a lot of men. In fact, all the men that I spoke to were like, “I’ll tell you what. I thought it was a ‘chick flick,’ but I really loved it.” They can see in the women their mothers, their sisters, lovers they know. They can see all the women that they know and they can see their own experience being a young person displaced and trying to find their way through it all. It’s not really about color and it’s not about gender. It’s about the experience of finding your place in this world and I think that’s something that everyone can relate to. It’s a story about the human condition. We can all relate to love, family, defeat, and fear. And, we can all relate inspiration, hope, and faith. These are all the themes that are inside the movie.
CARREON As you continue to evolve as an artist, what made this filmmaking experience important to you?
KEYS: This experience is what I expected it to be and more! I learned that it’s just incredible to be around such fascinating women. I learned that it’s amazing to be directed by a woman like Gina (Prince-Bythewood), who was the screenwriter as well. I learned that when you put a whole lot of great women in one space, it’s a wonderful outcome.
CARREON: Faith continues to be a buzzword in the media of late. It seems entertainment is not shying away from addressing such themes, either. Why do you think faith and family have to go hand in hand?
KEYS: Faith brings the family together. And through all of the things that families go through, it’s the faith that we keep that allows us to know that we’ll make it through everything. You can’t do it on your own, even if it’s just one person; you need someone that has that faith with you.
CARREON: Do you find yourself thinking about your life’s journey after being part of a project like a film as opposed to music?
KEYS: Very much so. Always. Especially now, I am definitely searching for my place, my stability, what I’d like for myself. It’s a good journey because sometimes I just dig and find and figure it out. That’s what I think they’ve all done in “The Secret Life of Bees” and I’m doing it, too.
CARREON: Is there any coincidence that three of the film’s leads are actually musicians in their own right?
ALICIA KEYS: No! (Laughs)
CARREON: As your career continues to evolve, do you feel different about music and acting in a movie? Is it exercising the same muscle or is it nice to switch it up a little bit?
KEYS: Well, for me, acting and music do come from the same muscle in regards to tapping into something that’s honest and pure. You’re expressing it with abandonment, and in that way, it’s very much the same. The difference is, obviously, you are in a film. You’re becoming a different person from yourself, so you’re expressing another person’s story. With music, I’m expressing my story but it’s so similar because you’re empathetic, you understand it and you can connect. What I find about “June,” I can connect with every part of her. I understand her from a woman’s perspective, from a transitional perspective, from growing from one kind of part of your self into the next. There’s so much of me in her.
CARREON: “Bees” director/writer Gina Prince-Bythewood gave the cast an amazing amount of resources to feel connected to the period of the film. Why is it important then, Alicia, to continue to look back to honor the struggles of one time and how they parallel to our own contemporary experience?
KEYS: That’s something that we discussed a lot. Gina has been phenomenal in providing us with a multitude of ways to dig out who our characters are and where they sit amongst society and what’s happening in the society at this time. The NAACP and SNCC and all of these organizations that were coming up were really fighting powerfully for a major change with the opportunity for Black people to be able to vote. It’s an incredible history. Sometimes we go on in life and don’t realize the amount of struggle that it took to just get to the point of where we are. You know how many people say, “Oh, I’m not voting, it’s rigged anyway.” How many people struggled, fought and died for that and you take it for granted as if it’s not important to utilize your voice when that’s all we wanted? To have a voice? It’s important to remember and understand things like that. To understand where we have come from and to realize that we, honestly, haven’t even come that far, which is the sad part. You know what I mean? Because you think about the state of the world today and I think about where we are in this film, and it’s almost parallel. Major change, radical change, much struggle and fighting needed to just demand something different.
CARREON: The film offers your first of two new songs bearing your voice this year. What was the inspiration for the song featured in “The Secret Life of Bees?”
KEYS: I love the song in the film and it really represents it perfectly. Just the fact that sometimes you might feel down, you might feel like the world is on your shoulders, but have a little faith in you because the sky is blue.
** My interview with Alicia Keys was conducted on September 8, 2008, at the Toronto Film Festival for 20th Century Fox International. It has been edited from the original transcript.