Tag: HBO

Review: ‘The Janes,’ starring Heather Booth, Judith Arcana, Marie Leaner, Dorie Barron, Martha Scott, Diane Stevens and Laura Kaplan

June 7, 2022

by Carla Hay

A 1972 photo of Jane members in “The Janes” (Photo courtesy of HBO)

“The Janes”

Directed by Tia Lessin and Emma Pildes

Culture Representation: The documentary “The Janes” features a predominantly white group of people (with a few African Americans) discussing the Jane network, a Chicago-based group of mostly women who provided abortion services and counseling before the U.S. Supreme Court case Roe v. Wade made abortion legal on a federal level in 1973.

Culture Clash: The Jane network had to be an underground, outlaw group when abortion was illegal, and some members got arrested for homicide in 1972. 

Culture Audience: “The Janes” will appeal primarily to people interested in a fascinating documentary about reproductive rights and people who believe in a woman’s right to choose if or when to have a child.

A 1972 photo of Jane members in “The Janes” (Photo courtesy of HBO)

Regardless of how people feel about abortion, “The Janes” documentary is not only a history lesson about what life in America was like before Roe v. Wade but it’s also a compelling reminder of what’s at stake in reproductive rights and family planning. One of the best things about the movie is that it doesn’t give the narrative over to politicians. Instead, the story is told mostly from the perspectives of people who were involved with the Jane network, the Chicago-based underground group that provided abortion services and counseling at a time when abortion was illegal in Illinois and most other states in America.

The Jane network, whose origins began in 1965, disbanded in 1973, when the U.S. Supereme Court case Roe v. Wade made abortion legal on a federal level. The Jane network got its name because people who needed the services were told to ask for someone with the code name Jane when contacting the network, which advertised through flyers and through word of mouth. The outreach began on college campuses but then extended to many other communities in the Chicago area, including low-income and underprivileged communities.

Directed by Tia Lessin and Emma Pildes, “The Janes” had its world premiere at the 2022 Sundance Film Festival. The documentary begins with a harrowing personal story told by Dorie Barron, who got two abortions when abortion was illegal. She got the first abortion at a place that turned out to be disreputable: “I just wanted it over with,” Barron says of the abortion. “I had no other options. I was that desperate.”

Barron also remembers that because of the outlaw nature of this procedure: “It was [like] the mob. You had to talk in code.” “Chevy” meant the abortion cost $500. “Cadillac” meant that the abortion cost $750. “Rolls Royce” mean that the abortion cost $1,000.

Barron vividly recalls that as she was waiting to get her abortion that there were “three men and one woman, who brought another patient. They spoke all of three sentences the entire time: ‘Where’s the money? Lie back and do as I tell you. Get in the bathroom.'”

This cold and uncaring attitude wasn’t the worst of her experience though. After the abortion, she and the other abortion patient were sent to a hotel room. Barron says she was bleeding profusely and decided to get professional medical help for herself, knowing she’d be at risk of being arrested if the medical professional who treated her wanted to report her for having an abortion. “If I had stayed in that hotel room, I’d be dead,” Barron says emphatically.

Barron says she had her second abortion with the Jane network, which she describes as giving her a “total opposite” experience compared to her first abortion. With the Jane network, Barron says: “All I heard were kind words, consideration, concern. When I tell you they changed my life, they changed my life.”

Barron’s story is an example of how the Jane network distinguished itself from the incompetent patient care that other underground abortionists provided. According to “The Janes,” the Jane network is estimated to have performed about 11,000 abortions, with none of the patients dying as a direct result of these abortion procedures. It’s an astounding feat, considering all the horror stories before Roe v. Wade of women and girls who died after getting illegal abortions.

The documentary includes disturbing details of septic wards in Chicago hospitals where women and girls with botched abortions often received improper treatment and sometimes died as a result. Those who didn’t die were at risk of being arrested. Several people in the documentary say that the Jane network was different from other abortion groups because the Jane network was led by women, and the services included empathetic counseling in a safe and non-judgmental atmosphere.

The Jane network’s origins began in 1965, when activist Heather Booth was a student at the University of Chicago. A friend, who was also a University of Chicago student, was raped, and the rape victim was unfairly shamed for being “promiscuous.” In 1965, Booth also became involved in the Freedom Summer Project, an activist event. “And during that summer, I learned you have to stand up to legitimate authority,” Booth says in the documentary. “Sometimes, there are unjust laws that need to be challenged.”

Booth states that the turning point for her to become a reproductive rights activist was when a friend told her that his pregnant sister was suicidal because the pregnancy was unwanted. It motivated Booth to start an underground abortion service that ended up growing into the Jane network, whose official name was Abortion Counseling Service of the Chicago Women’s Liberation Union. Booth says in the documentary that when she launched this service, she was referred to Dr. T.M. Howard, a medical professional who could perform abortions. When she started getting more people to refer to Dr. Howard, she knew there was a demand to have an underground network.

“The Janes” documentary has interviews with several other women who worked in the Jane network, including Judith Arcana (also known as Judy Pildes), Marie Leaner, Martha Scott, Diane Stevens, Eleanor Oliver and Laura Kaplan. The documentary also features interviews with women who used the Jane network’s abortion services (or took a friend to the Jane network) but who only wanted to be identified by a first name in this movie. They include women identified by the names Abby, Eileen, Crystal O., Jeanne, Peaches and Sheila.

After Dr. Howard was arrested for performing illegal abortions, Booth was referred to someone who is interviewed in the documentary and uses the alias Mike. When Mike worked with the Janes, he used the code name Dr. Kaplan, even though he was never a medical doctor, but he received abortion training from a real medical doctor. The Jane network found out that Mike wasn’t a real doctor, but continued to use his services out of necessity until they parted ways with him because of money issues.

Mike says he got involved in doing Jane network abortions because it paid about “four or five times” the amount of money that he could make from doing construction work. He says he didn’t get personally involved with any of the patients’ feelings or problems when doing abortions. “It was a job,” he says nonchalantly in the documentary. By his own admission, Mike eventually had a falling out with the Jane network when he wanted to get paid more money than the network could give him.

Leaner comments on Mike: “I thought he was a blowhard, sort of a con man and a showman and a wise guy. But I also thought that he had a heart.” Mike wasn’t the only person doing abortions for the Jane network. Many women of the Jane network eventually performed abortions, even though they were not medical doctors either. It’s mentioned in the documentary that they did so because licensed medical doctors did not want to get involved or would charge too much money.

Because of the secretive nature of the Jane network, it was standard practice to talk in code. “The Front” was the term used for the waiting room. “The Place” would be the place where the abortions procedures happened. Women and girls who needed the abortion services could use aliases, although they often had to provide the real phone numbers where they could be contacted. In an era before the Internet or burner cell phones, it was a lot harder for people to get temporary contact information that couldn’t be traced back to them.

However, the Jane network had a confidentiality policy not just for their clients’ protection but also for their own protection. It’s mentioned in the documentary that the Chicago Mafia got involved (no doubt through payoffs for protection), which is typical of any illegal operation that attracts the Mafia. At a time when the overwhelming majority of attorneys, doctors and clergy were men, the Jane network also had male allies in these professions who would secretly offer their services to Jane clients.

Speaking of attorneys, Arcana’s lawyer husband (who has a surname that is not Arcana) is also interviewed in “The Janes.” At his request, he is only identified in the documentary by his first name: Michael. He says that he and many of his mostly male attorney peers did not want to get involved in abortion issues at the time, not only because abortion was illegal then but also because civil rights attorneys such as himself were more focused on race relations and had little to no interest in women’s rights.

Still, Arcana says that being a white woman married to an attorney helped a great deal when she and six other Jane network members were arrested in Chicago for homicide on May 3, 1972, because of the abortion services that they provided. The arrestees were Arcana, Scott, Stevens, Jeanne Galatzer-Levy, Abby Pariser, Sheila Smith and Madeleine Schwenk. (Ironically, nearly 50 years to the day later—on May 2, 2022—the news website Politico revealed a U.S. Supreme Court leaked draft suggesting that members of the court are preparing to overturn Roe v. Wade.)*

Arcana, who had recently given birth at the time of her 1972 arrest, says in the documentary that she had certain privileges that she knew would work to her advantage when it came to getting out on bail. Arcana comments, “Not only was I a nursing mother, I was a college graduate, a white woman, and married to a lawyer. And all of those things were going to get me out on bail. And boy, did I not disbelieve that.”

Because most of the Janes were privileged white women (many were homemakers, college students and full-time activists), they often came from very different backgrounds from many of the low-income people who needed the Jane network’s services. When New York state made abortion legal in 1970, and certain women in the Chicago area could afford to travel to New York for abortions, the Jane clients’ demographics changed to have more low-income people than ever before. “The Janes” documentary mentions that there were tensions and disagreements in the group about how to interact with underprivileged people. The Jane network eventually agreed to offer discounts or free services to those who couldn’t afford to pay the full price.

Issues of race and social class also came up because women of color were rarely allowed to be Jane network leaders. Leaner (who is African American) comments, “There were more women of color—not necessarily on the team of people, but the people who consumed the service.” Kaplan agrees: “The women who came through the Jane network [for abortion services] were very, very different from the women who were in Jane. We would say to women [of color], ‘You can join us,’ but there weren’t a lot of takers.”

“It was a concern for us,” Kaplan says of the differences in racial and social classes between the most of the Jane network workers and most of the Jane network clients, particularly in the network’s later years. “We were primarily white, middle-class women.” The documentary mentions that efforts were made to be mindful of different races and social classes, but the Jane network wasn’t perfect, and it how to deal with race/class differences was an area that always needed improving.

“The Janes” documentary says that Leaner was instrumental in getting civil rights attorney Jo-Anne Wolfson to represent the Jane network defendants in the homicide case. Wolfson, who was initially reluctant to take the case, had a strategy to delay the trial as much as possible. It turned out to be the correct strategy because the U.S. Supreme court’s Roe v. Wade decision in 1973 made the homicide charges no longer legally viable, so the charges were dropped. The Jane network disbanded not long after the Roe v. Wade decision, since their underground services were no longer needed.

The documentary doesn’t sugarcoat that abortion before Roe v. Wade was risky not just for physical reasons and legal reasons, but also for psychological and emotional reasons. The stress of being involved in illegal abortions took a toll on many of the clients and workers of the Jane network. The documentary mentions that one Jane leader identified only as Jody eventually had to check into a psychiatric facility because she had a breakdown. Jody eventually quit the Jane network.

And how did the Jane network stay underground for as long as it did with no arrests until 1972? Arcana’s husband Michael puts it bluntly by saying that a lot of the Jane network’s abortion clients were the wives, girlfriends and daughters of influential people in law enforcement and politics. Many of these men paid for the abortions.

Other people interviewed in the documentary include former Chicago homicide detective Ted O’Connor, Rev. Patricia Novick-Raby and Rev. Dr. Donna Schaper. In the documentary, Dr. Allan Weiland and former registered nurse Kathleen Kennedy talk about what they witnessed in pre-Roe. v. Wade septic wards at Chicago hospitals. A man who is only identified by the name Wayne says in the documentary that he was married to a woman who worked in the Jane network with his full support. “Our daughters understood not to talk about it, but they understood that it was just part of my life,” Wayne comments.

As a documentary, “The Janes” might not change people’s minds about the abortion issue. But the movie certainly succeeds in showing that abortion is a health issue that can affect anyone. This isn’t an issue that should be considered only in the realm of a select number of elite politicians and other lawmakers. “The Janes” shows in no uncertain terms that people who are directly affected can be family members, friends and other loved ones of people from all walks of life. These human stories and experiences are at the heart of reproductive rights and family planning.

*UPDATE: On June 24, 2022, the U.S. Supreme Court overturned Roe v. Wade, thereby eliminating the federal law making abortion legal in the U.S., and giving jurisdiction to each U.S. state to decide what the state’s abortion laws will be. This ruling means that abortions in the U.S. can now be illegal or legal, depending on the state.

HBO and HBO Max will premiere “The Janes” on June 8, 2022.

Review: ‘The Princess’ (2022), starring Diana, Princess of Wales

January 22, 2022

by Carla Hay

Diana, Princess of Wales in “The Princess” (Photo by Kent Gavin/HBO)

“The Princess” (2022)

Directed by Ed Perkins

Culture Representation: Taking place from 1981 to 1997, the documentary “The Princess” features a predominantly white group of people (with a few black people and Asians) representing the working-class, middle-class, wealthy and royalty discussing the life of Diana, the Princess of Wales, who died in a car accident in 1997, at the age of 36.

Culture Clash: Diana was plagued by a troubled marriage to Prince Charles; issues with depression and bulimia; and ongoing battles with the media over her privacy.

Culture Audience: “The Princess” will appeal primarily to people who can’t get enough of watching Princess Diana documentaries, but this all-archival documentary reveals nothing new and has nothing interesting to say.

Diana, Princess of Wales (center) in “The Princess” (Photo courtesy of HBO)

In the never-ending cottage industry of Princess Diana biographies and Princess Diana exploitation, the sloppily made documentary “The Princess” is completely unnecessary and leaves out a lot of information. The Wikipedia page for Princess Diana has more information than this cynical cash grab of a movie. The ending of “The Princess” is extremely off-putting by concluding abruptly with an image of Diana’s burial casket being driven off during the funeral. The movie irresponsibly doesn’t even mention that in Princess Diana’s fatal car accident, the driver of the car was drunk.

Directed by Ed Perkins, “The Princess” had its world premiere at the 2022 Sundance Film Festival. The documentary consists entirely of archival footage from 1981 to 1997—the years that the woman born as Diana Spencer lived in the public eye. Most of the footage is from British television. There is absolutely nothing new in this documentary that hasn’t already been seen elsewhere, except for some random home videos of people reacting to Diana’s untimely death. (She died in Paris on August 31, 1997.)

Watching this movie is exactly like watching a video version of a Wikipedia page, but less so because the movie gives no information about the investigation into Diana’s death. The filmmakers also seem to have an agenda by leaving out the drunk-driver information and instead showing repetitive footage of people blaming the paparazzi for Diana’s death. The documentary ignores the reality that the investigation into the car accident, the news coverage about it and the facts uncovered were extremely important to Diana’s tragic story.

“The Princess” is just a chronological telling of basic facts of her life that people already know, with some tabloid headlines thrown in the mix. People already know about the courtship and doomed marriage of Princess Diana and Prince Charles. (The former spouses separated in 1992, and officially divorced in 1996.) People already know about the conflicts in the British Royal Family. People already know about the tabloid scandals, Diana’s charity work, and how much she adored her sons William and Harry.

There are amateur YouTube videos about Princess Diana that are more interesting than this lazy documentary. The film has voiceover soundbites, but the people talking in these voiceovers are never identified, and neither are the media sources for these soundbites, or the year that these comments were made. The only people who might think “The Princess” is interesting are people who don’t know much about Princess Diana, or obsessive fans who can’t get enough of anything to do with her, no matter tacky it is.

UPDATE: HBO and HBO Max will premiere “The Princess” on August 13, 2022.

2021 Primetime Emmy Awards; ‘The Crown,’ ‘The Mandalorian’ are the top nominees

July 13, 2021

Pennie Downey, Marion Bailey, Josh O’Connor, Charles Dance, Olivia Colman, Tobias Menzies, Helena Bonham Carter, Erin Doherty, Michael Thomas and Pennie Downie in “The Crown” (Photo by Des Willie/Netflix)

Pedro Pascal in “The Mandalorian” (Photo courtesy of Disney+)

The following is a press release from the Television Academy:

Nominations for the 73rd Emmy® Awards were announced today recognizing a wealth of innovative storytelling, exceptional new programs, and a robust and diverse group of talent nominees.

The live virtual ceremony was hosted by father-daughter duo Ron Cephas Jones (“This Is Us”) from Los Angeles and Jasmine Cephas Jones (“Blindspotting”) from New York along with Television Academy Chairman and CEO Frank Scherma. “The Crown” and “The Mandalorian” have tied for the top spot for program nominations with 24 followed by “WandaVision” (23), “The Handmaid’s Tale” (21), “Saturday Night Live” (21), “Ted Lasso” (20), “Lovecraft Country” (18), “The Queen’s Gambit” (18) and “Mare of Easttown” (16).

HBO/HBO Max leads the nominations in totals by platform with 130. Netflix has the second-most nominations with 129, and rounding out the top four are Disney+ with 71 and NBC with 46.

“Television has provided a lifeline for so many around the globe this year, delivering a constant source of entertainment, information and inspiration during some of our most difficult days,” said Scherma. “We are thrilled to honor the diversity of storytelling in television today by recognizing talented artists, programs, producers, directors and craftspeople throughout our industry and celebrating their commitment to this extraordinary medium.”

“Bridgerton,” “Lovecraft Country” and “The Boys” are newcomers to the Outstanding Drama Series category, joining returning nominees “Pose,” “The Crown,””The Mandalorian,” “This Is Us” and previous category winner “The Handmaid’s Tale.”

Seventy-five percent of this year’s nominees for Outstanding Comedy Series are new to the category including “Cobra Kai,” “Emily in Paris,” “Hacks,” “Pen15,” “Ted Lasso” and “The Flight Attendant.” Returning favorites include “black-ish” and “The Kominsky Method.”

In total, there were 44 first-time performer nominations across the Lead, Supporting, Guest and Short Form categories this season.

Jonathan Majors, Josh O’Connor and Regé-Jean Page received their first-ever Emmy nominations for Outstanding Lead Actor in a Drama Series joining previous Emmy winners in this category Sterling K. Brown, Billy Porter and Matthew Rhys. Emma Corrin, Jurnee Smollett and Mj Rodriguez received their first nominations for Outstanding Lead Actress in a Drama Series, while previous Emmy winner Uzo Aduba was nominated for the first time in this category. They are joined by returning nominee Olivia Colman and previous Emmy winner in this category Elisabeth Moss.

Kaley Cuoco received her first-ever Emmy nomination for Outstanding Lead Actress in a Comedy Series, while previous Emmy winner Jean Smart and previous Emmy nominee Aidy Bryant were nominated for the first time in this category. They join previous Emmy nominee Tracee Ellis Ross and Emmy winner Allison Janney.

Jason Sudeikis received his first-ever Emmy nomination for Outstanding Lead Actor in a Comedy Series, while previous Emmy winner Kenan Thompson was nominated for the first time in this category. They join six-time nominee in the category Anthony Anderson, along with previous Emmy winners Michael Douglas and William H. Macy. Individuals with multiple nominations this year include David Attenborough, Sterling K. Brown, Aidy Bryant, Bo Burnham, Steven Canals, Dave Chapelle, Michaela Coel, Jon Favreau, Derek Hough, Brendan Hunt, Maya Rudolph, Jean Smart, Jason Sudeikis and Kenan Thompson.

The nominations rosters may be revised in cases where names or titles are incorrect or appeals for changes—including the addition or removal of names—are approved by the Television Academy’s Emmy Awards Committee. Producer eligibility is based primarily on title; the producer nominees in certain program categories will be announced by mid-August. Final-round online voting begins Aug. 19, 2021.

The complete list of Emmy nominations, as compiled by the independent accounting firm of Ernst & Young LLP, and other Academy news are available at Emmys.com. As recently announced, the 73rd Emmy Awards will be hosted by Cedric the Entertainer. Executive Producers Reginald Hudlin and Ian Stewart and Director Hamish Hamilton have been selected to helm the show for production companies Done+Dusted and Hudlin Entertainment. The Emmys will be broadcast on Sunday, Sept. 19 (8:00-11:00 PM, live ET/5:00-8:00 PM, live PT) on the CBS Television Network and will be available to stream live and on demand on Paramount+. The 2021 Creative Arts Awards will be broadcast on Saturday, Sept. 18 (8:00 PM ET/PT) on FXX.

Review: ‘Sesame Street: 50 Years of Sunny Days,’ starring Sonia Monzano, Whoopi Goldberg, Angelina Jolie, Rosie Perez, Steve Youngwood, Kay Wilson Stallings and Sherrie Westin

May 20, 2021

by Carla Hay

Ryan Dillon (Elmo puppeteer), Bradley Freeman Jr. (Wes Walker puppeteer) and Chris Thomas Hayes (Elijah Walker puppeteer) in “Sesame Street: 50 Years of Sunny Days” (Photo courtesy of ABC)

“Sesame Street: 50 Years of Sunny Days”

Directed by Rebecca Gitlitz

Culture Representation: The documentary “Sesame Street: 50 Years of Sunny Days” features a racially diverse group of people (African American, white, Latino and Asian) discussing their connection to the groundbreaking children’s TV series “Sesame Street.”

Culture Clash: “Sesame Street,” which launched in 1969 on PBS, was the first nationally televised children’s program in the U.S. to be racially integrated, and “Sesame Street” has endured controversy over racial diversity, AIDS and representation of the LGBTQ community.

Culture Audience: “Sesame Street: 50 Years of Sunny Days” will appeal primarily to people who are interested in a comprehensive overview of “Sesame Street,” with an emphasis on how “Sesame Street” is responding to current global issues.

Stacey Gordon (Julia puppeteer) in “Sesame Street: 50 Years of Sunny Days” (Photo courtesy of ABC)

ABC’s documentary “Sesame Street: 50 Years of Sunny Days” offers some nostalgia for “Sesame Street” fans, but the movie is more concered about how this groundbreaking children’s culture has made an impact around the world and with contemporary social issues. Directed by Rebecca Gitlitz, it’s an occasionally repetitive film that admirably embraces diversity in a variety of viewpoints. The major downside to the film is that it won’t be considered a timeless “Sesame Street” documentary, because the movie very much looks like it was made in 2020/2021. Therefore, huge parts of the movie will look outdated in a few years.

“Sesame Street: 50 Years of Sunny Days” premiered on ABC just three days after director Marilyn Agrelo’s documentary “Street Gang: How We Got to Sesame Street” was released in select U.S. cinemas. “Street Gang: How We Got to Sesame Street,” which focused mainly on “Sesame Street’s” history from 1969 to the early 1990s, interviewed people who were “Sesame Street” employees from this time period, as well as some of the family members of principal “Sesame Street” employees who are now deceased. “Sesame Street: 50 Years of Sunny Days” takes a broader approach and includes the perspectives of not just past and present employees of “Sesame Street” but also several “Sesame Street” fans who are famous and not famous.

In addition, “Sesame Street: 50 Years of Sunny Days” (which was produced by Time Studios) makes a noteworthy effort to convey the global impact of “Sesame Street,” by including footage and interviews with people involved with the adapted versions of “Sesame Street” in the Middle East and in South Africa. “Sesame Street,” which is filmed in New York City, launched in 1969 on PBS. In the U.S., first-run episodes of “Sesame Street” began airing on HBO in 2016, and then on HBO Max in 2020. “Sesame Street” is now available in more than 150 countries.

“Sesame Street: 50 Years of Sunny Days” quickly breezes through how “Sesame Street” was conceived and launched. There are brief mentions of “Sesame Street” co-creators Joan Ganz Cooney and Lloyd Morrisett, but this documentary does not interview them. “Street Gang” has interviews with Ganz Cooney and Morrisett, who go into details about how they were inspired to create “Sesame Street” to reach pre-school kids, particularly African American children in urban cities, who had television as an electronic babysitter.

“Sesame Street: 50 Years of Sunny Days,” just like “Street Gang” did, discusses that the concept behind “Sesame Street” was to have a children’s TV show with a racially integrated cast and puppets, which were called muppets. A lot of research went into creating the show before it was even launched. The intent of “Sesame Street” was for the show to be educational and entertaining.

But the creators also wanted “Sesame Street” to include real-life topics that weren’t normally discussed on children’s television at the time. For example, when actor Will Lee, who played “Sesame Street” character Mr. Hooper, died in 1982, “Sesame Street” had an episode that discussed Mr. Hooper dying. “Sesame Street” did not lie to the audience by making up a story that Mr. Hooper had moved away or was still alive somewhere.

Time For Kids editorial director Andrea Delbanco says, “Many people avoid the topics that they know are going to be lightning rods. ‘Sesame Street’ goes straight for it. And they handle each and every one of them with the amount of thoughtfulness and research and care that they require.”

David Kamp, author of “Sunny Days: The Children’s Television Revolution That Changed America,” mentions that one of the reasons for the longevity of “Sesame Street” is the show’s ability to adapt to changing times: “They’ll pivot. They’ll adjust. They’ll say, ‘We got it wrong. Now, we’re going to get it right.’ That’s one of [the show’s] great virtues.”

One of the noticeable differences seen in comparing these two “Sesame Street” documentaries is how racial diversity has improved for “Sesame Street” behind the scenes. “Street Gang,” which focused on the first few decades of “Sesame Street” shows that although the on-camera cast was racially diverse, behind the scenes it was another story: Only white people were the leaders and decision makers for “Sesame Street” in the show’s early years. Several current “Sesame Street” decision makers are interviewed in “Sesame Street: 50 Years of Sunny Days,” and it’s definitely a more racially diverse group of people, compared to who was running the show in the first two decades of “Sesame Street.”

Sonia Monzano, an original “Sesame Street” cast member (her character is Maria), says that although the show has always had a racially diverse cast, the muppets are the “Sesame Street” characters that people remember the most. “I remember my first scene with [muppet character] Grover,” Monzano comments with a chuckle. “It took me a while to be comfortable, not try to upstage them. And that’s the same with kids. You give them the platform. Get out of their way.”

As memorable as the “Sesame Street” muppets are, the human characters on the show had a particular impact on children, who saw “Sesame Street” people who reminded them of their family members or neighbors. Several celebrities who are interviewed in the documentary grew up watching “Sesame Street”—including Lucy Liu, Rosie Perez, Olivia Munn and Questlove—and they talk about the importance of seeing their lives and experiences represented on the show.

Perez comments on the show’s racial diversity: “We needed to see that, because when you’re a little girl in Brooklyn watching ‘Sesame Street,’ it’s nice to know that when you opened your door and walked down your stoop, you had the same type of people on your television.” Perez says about “Sesame Street’s” Maria character: “She was my Mary Tyler Moore,” and that until Maria came along, “Desi Arnaz Jr. was our only [Hispanic TV] role model for years.”

Racism, social justice and AIDS are some of the topics that “Sesame Street” has openly discussed over the years, sometimes to considerable controversy. But one topic was apparently too much to handle in “Sesame Street’s” first year: divorce. In “Sesame Street: 50 Years of Sunny Days,” it’s mentioned that the original pilot episode of “Sesame Street” had a segment about muppet character Mr. Snuffleupagus dealing with his parents’ divorce. The “Sesame Street” executives did a test screening of this episode with children.

“The kids freaked out” because the idea of divorce was too upsetting for them, says Time staff writer Cady Lang. And the episode was “tossed out.” The documentary has some of this unaired Mr. Snuffleupagus “divorce” footage. In the documentary, Martin P. Robinson, the puppeteer and original voice for Mr. Snuffleupagus, expresses disappointment that this decision was made to eliminate talk of divorce on the first “Sesame Street” episode, because he says it was a missed opportunity for “Sesame Street” to start off with an episode that would have been very cutting-edge at the time.

However, there would be plenty of other episodes that would rile up some people. It’s not mentioned in the “Sesame Street: 50 Years of Sunny Days” documentary, but it’s mentioned in the “Street Gang” documentary that TV stations in Mississippi briefly wouldn’t televise “Sesame Street” in 1970, because they said people in their communities thought the show’s content was inappropriate. They denied it had to do with the show having a racially integrated cast. But considering that Mississippi was one of the last U.S. states to keep laws enforcing racial segregation, it would be naïve to think that racism wasn’t behind the “Sesame Street” ban.

The topics of racism and race relations take up a lot of screen time in this “Sesame Street” documentary, but mostly as pertaining to a contemporary audience, not the “Sesame Street” audience of past decades. Black Lives Matter protests and the racist murders of George Floyd and other African Americans have been discussed on “Sesame Street.” And there has been a concerted effort to have all races represented on “Sesame Street,” for the human cast members as well as the muppets.

Roosevelt Franklin (the first African American muppet on “Sesame Street”) was on “Sesame Street” from 1970 to 1975, and was voiced and created by Matt Robinson. The “Sesame Street” documentary briefly mentions Roosevelt Franklin, but doesn’t go into the details that “Street Gang” did over why the character was removed from the show: A lot of African American parents and educators complained that Roosevelt Franklin played too much into negative “ghetto” stereotypes. In the “Sesame Street: 50 Years of Sunny Days” documentary, musician Questlove and TV host W. Kamau Bell mention that they have fond memories of watching Roosevelt Franklin on “Sesame Street” when they were kids.

Although most muppets aren’t really any race, some of have been created to be of a specific race or ethnicity. Some muppets look like humans, while others look like animals. For the human-looking muppets, there have been Asian, Hispanic and Native American muppets in addition to the muppets that are presented as white or black people. And the documentary also gives significant screen time to Mexican muppet Rosita, a character introduced in 1991, which is considered a role model to many, particularly to Spanish-speaking people. Carmen Osbahr, the puppeteer and voice of Rosita, is interviewed in the documentary.

The documentary features a Mexican immigrant family called the Garcias, including interviews with mother Claudia and her autistic daughter Makayla, who are the only U.S. citizens of the family members who live in the United States. The Garcias say they love watching “Sesame Street” for Rosita, because she represents so many American residents who are bilingual in Spanish and English. Claudia Garcia, who moved from Mexico to the United States when she was 12, comments in the documentary: “When I was 12, it was not cool to speak Spanish. Now, it [the ability to speak Spanish] is a super-cool thing that you have.”

Four other diverse muppet characters are the Walker Family, an African American clan that is intended to be a major presence in contemporary “Sesame Street” episodes. Elijah Walker (a meteorologist) and his underage son Wesley, also known as Wes, have already been introduced. The characters of Elijah’s wife Naomi (a social worker originally from the Caribbean) and Elijah’s mother Savannah were being developed at the time this documentary was filmed. The documentary includes concept art for Naomi and Savannah.

According to Social Impact U.S. vice president Rocío García, “The Walker Family is a new family we’re creating for the racial justice initiative [Coming Together].” Wes and Elijah are characters that are supposed to contradict the media’s constant, negative narrative that black males are problematic. “Sesame Street” producer Ashmou Young describes the Wes Walker character as “a happy, energetic, innocent child who loves reading and architecture.” Elijah is a positive, intelligent role model. And no, he does not have an arrest record.

Bradley Freeman Jr., the puppeteer for Wes Walker, says in the documentary how proud he is to be part of this character, which he knows can be a role model for all children. “I was bullied at school for being black. That’s something that can hurt you, and you don’t know how to talk about it.” In “Sesame Street,” Elijah and Wes candidly discuss race issues and what it means to be an African American.

Omar Norman and Alisa Norman, an African American married couple, are in the documentary with their two daughters and discuss how the Walker Family on “Sesame Street” means a lot to them. Elder daughter Macayla says it’s impactful when Elijah talks to Wes about racism and how being a black male means being more at risk of experiencing police brutality. Omar gets emotional and tries not to cry when he thinks about how it’s sadly necessary for these topics to be discussed on a children’s show.

All the muppet characters were designed to not only teach kids (and adults) about life but also show what the world is all about and how to cope with problems in a positive way. Chris Jackson (who’s known for his role in the original Broadway production of “Hamilton”) talks about writing the song “I Love My Hair,” which debuted on “Sesame Street” in 2010. The song was written for any girl muppet to sing, but it has special significance to black girls because of how black females are judged the harshest by what their hair looks like. Jackson says that after he wrote the song, he thought, “I think I just wrote a black girl’s superhero anthem,” which he knows means a lot to his daughter.

And if some people have a problem with “Sesame Street” supporting the Black Lives Matter movement, well, no one is forcing them to watch the show. Kay Wilson Stallings, executive vice president of creative and production for Sesame Workshop, comments: “Following the murder of George Floyd, the company decided to make it a company-wide goal of addressing racial injustice [on ‘Sesame Street’].” U.S. first lady Dr. Jill Biden adds, “‘Sesame Street’ is rising up to he movement and addressing what’s going on and what kids are seeing and feeling around them.”

Wilson Stallings says, “We showed diversity, we showed inclusion, we modeled it through our characters. But you can’t just show characters of different ethnicities and races getting along. That was fine before. Now what we need to do is be bold and explicit.”

Sesame Workshop CEO Steve Youngwood comments on increasing “Sesame Street’s” socially conscious content: “We realized that nothing was hitting the moment the way it needed to be. And we pivoted to address it. The curriculum we developed is going to be groundbreaking, moving forward.”

LGBTQ representation on “Sesame Street” is still a touchy subject for people who have different opinions on what’s the appropriate age for kids to have discussions about various sexual identities. In 2018, former “Sesame Street” writer Mark Saltzman, who is openly gay, gave an interview saying that he always wrote muppet characters Ernie and Bert (bickering best friends who live together) as a gay couple. The revelation got mixed reactions. Frank Oz—the creator, original voice and puppeteer for Bert—made a statement on Twitter that Ernie and Bert were never gay.

Sesame Workshop responded with a statement that read: “As we have always said, Bert and Ernie are best friends. They were created to teach pre-schoolers that people can be good friends with those who are very different from themselves. Even though they are identifiable as male characters and possess many human traits and characteristics (as most ‘Sesame Street’ muppets do), they remain puppets, and have no sexual orientation.”

In retrospect, Sesame Workshop president Sherrie Westin says: “That denial, if you will, I think was a mistake.” She also adds that people can think of Ernie and Bert having whatever sexuality (or no sexuality) that they think Ernie and Bert have. As for LGBTQ representation on “Sesame Street,” Jelani Memory (author of “A Kid’s Book About Racism”) is blunt when he says: “It’s not enough.”

And it’s not just social issues that are addressed on “Sesame Street.” The show has also discussed health issues, such as the AIDS crisis and the COVID-19 pandemic. Although “Sesame Street” got pushback from some politically conservative people for talking about AIDS on the show, this criticism didn’t deter “Sesame Street,” which was supported by the majority of its audience for this decision. Dr. Anthony Fauci is in the documentary praising “Sesame Street” for helping educate people on health crises.

The documentary includes a segment on the first HIV-positive muppet Kami, a character in “Takalani Sesame,” the South African version of “Sesame Street.” Kami, who is supposed to be a 5-year-old girl, was created in 2002, in reaction to the AIDS epidemic in South Africa. Her positive outlook on life and how she is accepted by her peers can be viewed as having an impact on people that’s hard to measure.

Marie-Louise Samuels, former director early childhood development at South Africa’s Department of Basic Education, has this to say about Kami: “It wasn’t about her getting some sympathy. It was really about how productive she is in society with the virus.” Even though Kami was well-received in South Africa, “the U.S. was not as receptive,” says Louis Henry Mitchell, creative director of character design at Sesame Workshop.

Also included is a segment on Julia, the first autistic muppet on “Sesame Street.” It’s a character that is near and dear to the heart of Julia puppeteer Stacey Gordon, who tears up and gets emotional when she describes her own real-life experiences as the mother of an autistic child. Julia is one of several muppet characters that represent people with special needs. As an autistic child of a Mexican immigrant family, Makayla Garcia says in her interview that Rosita and Julia are her favorite muppets because they represent who she is.

The documentary shows how “Sesame Street” is in Arabic culture with the TV series “Ahlan Simsim,” which translates to “Welcome Sesame” in English. The Rajubs, a real-life Syrian refugee family of eight living in Jordan, are featured in the documentary as examples of a family who find comfort in “Ahlan Simsim” even though they’re experiencing the turmoil of being refugees. David Milliband, CEO of International Rescue Committee, talks about how “Sesame Street” being a consistent presence in children’s lives can help them through the trauma.

Other people interviewed in the documentary include Shari Rosenfeld, senior VP of international at Social Impact; Elijah Walker puppeteer Chris Thomas Hayes; Dr. Rosemarie Truglio, senior vice president of education and research at Sesame Workshop; Dr. Sanjay Gupta; Peter Linz, voice of muppet character Elmo; “Sesame Street” actor Alan Muraoka; Nyanga Tshabalala, puppeteer for the mupppet character Zikwe on “Takalani Sesame”; and former “Ahlan Simsim” head writer Zaid Baqueen. Celebrity fans of “Sesame Street” who comment in the documentary include Usher, Gloria Estefan, John Legend, Chrissy Teigen and John Oliver, who says about the show: “It was my first introduction to comedy, because it was so relentlessly funny.”

United Nations High Commissioner for Refugees (UNCR) special envoy Angelina Jolie comments that The Count (the muppet vampire who teaches counting skills) is her favorite “Sesame Street” character: “He had a wonderfully bold personality: The friendly vampire helping you learn how to count. It worked for me.” Whoopi Goldberg adds, “All the things that ‘Twilight’ did for vampires, The Count did more. [The Count] made vampires cool because they could count.”

Jolie also comments on “Sesame Street’s” social awareness: “What they’re bringing is more relevant to today than ever.” The documentary includes 2021 footage of “Sesame Street” executives cheering when finding out that Sesame Workshop and International Rescue Committee won the MacArthur Foundation’s inaugural 100 and Change Award, a grant that gives the recipients $100 million over a maximum of six years.

There’s also a notable segment on the music of “Sesame Street.” Stevie Wonder (who has performed “123 Sesame Street” and “Superstition” on “Sesame Street”) performs in the documentary with a new version of the “Sesame Street” classic theme “Sunny Days.” The documentary has the expected montage of many of the celebrity guests who’ve been on “Sesame Street” too.

“United Shades of America” host Bell says that being asked to be on “Sesame Street” is a “rite of passage” for “famous people at a certain point. Got to get that ‘Sesame Street’ gig! That’s when you know you really made it: When ‘Sesame Street’ calls you.”

Although there’s a lot of talk about certain “Sesame Street” muppets, the documentary doesn’t give enough recognition to the early “Sesame Street” muppet pioneers who created iconic characters. The documentary briefly mentions Jim Henson (the creator and original voice of Kermit the Frog and Ernie), but Frank Oz (the creator and original voice of Grover, Cookie Monster and Bert) isn’t even mentioned at all.

Big Bird is seen but not much is said about Caroll Spinney, who was the man in the Big Bird costume from 1969 to 2018, and who was the creator and original voice of the Oscar the Grouch muppet. Spinney died in 2019, at the age of 85. Henson died in 1990, at age 53. Oz did not participate in the documentary.

The movie doesn’t mention the 2012 scandal of Elmo puppeteer Kevin Clash resigning from “Sesame Street” after three men accused him of sexually abusing them when the men were underage teenagers. The three lawsuits against Clash with these accusations were dismissed in 2014. Clash had been the puppeteer and voice of Elmo since 1984.

“Sesame Street: 50 Years of Sunny Days” tries to bite off a little more than it should chew when it starts veering into discussions about United Nations initiatives and how they relate to “Sesame Street.” There’s no denying the global impact of “Sesame Street,” but “Sesame Street” is a children’s show, not a political science show about international relations. And some viewers might be turned off by all the talk about social justice content on “Sesame Street.”

The documentary could have used more insight into the actual process of creating these memorable muppets. Except for some brief footage in a puppet-creating workspace, that artistic aspect of “Sesame Street” is left out of the documentary. Despite some flaws and omissions, the documentary is worth watching for people who want a snapshot of what’s important to “Sesame Street” in the early 2020s. Whereas “Street Gang: How We Got to Sesame Street” is very much about the show’s past, “Sesame Street: 50 Years of Sunny Days” tries to give viewers a glimpse into the show’s future.

ABC premiered “Sesame Street: 50 Years of Sunny Days” on April 26, 2021. Hulu premiered the documentary on April 27, 2021.

Review: ‘Street Gang: How We Got to Sesame Street,’ starring Joan Ganz Cooney, Sonia Manzano, Caroll Spinney, Emilio Delgado, Bob McGrath, Roscoe Orman and Lloyd Morrisett

May 19, 2021

by Carla Hay

Jim Henson, Frank Oz and Jon Stone in “Street Gang: How We Got to Sesame Street” (Photo by Robert Fuhring/Screen Media Films)

“Street Gang: How We Got to Sesame Street”

Directed by Marilyn Agrelo

Culture Representation: The documentary “Street Gang: How We Got to Sesame Street” features a predominantly white group of people (with some African American and Latinos) discussing their connection to the groundbreaking children’s TV series “Sesame Street.“

Culture Clash: “Sesame Street,” which launched in 1969 on PBS, was the first nationally televised children’s program in the U.S. to be racially integrated, and some TV stations initially refused to carry the show because of this racial diversity.

Culture Audience: “Street Gang: How We Got to Sesame Street” will appeal primarily to people who are interested in the history of “Sesame Street” from 1969 to the early 1990s.

Caroll Spinney in “Street Gang: How We Got to Sesame Street” (Photo by Luke Geissbühler/Screen Media Films)

“Street Gang: How We Got to Sesame Street”(directed by Marilyn Agrelo) is a documentary that is very much an “origin story” of “Sesame Street,” because it focuses so much on what the show was like in the 20th century. The movie gives a very good and comprehensive overview of the behind-the-scenes work and conflicts that went into making this groundbreaking children’s show, which has been televised in the U.S. on PBS since 1969. (“Sesame Street,” which is filmed in New York City, began airing first-run episodes on HBO in 2016, and then on HBO Max in 2020.) What’s missing from the documentary is more current information about “Sesame Street,” including muppet characters that were introduced in the 21st century, and a contemporary context of why the show is still impactful today.

The ABC documentary “Sesame Street: 50 Years of Sunny Days” takes a more modern look at the “Sesame Street” phenomenon and how the show has adapted to a global audience and a more diverse culture. “Street Gang: How We Got to Sesame Street” is pure nostalgia for a bygone era when the Internet didn’t exist, and kids’ on-screen entertainment options at home were mainly to be found on television, until computers and video games became household items in the 1980s. “Street Gang” (which was produced in association with HBO Documentary Films) is inspired by Michael Davis’ 2008 non-fiction book “Street Gang: The Complete History of Sesame Street.”

“Street Gang: How We Got to Sesame Street” is so rooted in the past that it’s impossible not to notice a huge racial disparity between who appeared on camera for “Sesame Street” and who was running the show behind the scenes. In “Street Gang,” several of the original “Sesame Street” staffers say that the show was conceived to have a target audience of “inner city” African American children, with cast members who were African American, white and Hispanic. Later, a few Asian cast members were added.

But for the longest time, the only people making decisions about the show were white. The head writers and executive producers were white, almost all the puppeteers were white, and even the crew (camera operators, editors, etc.) were all white. It’s all there to see in the archival footage.

And it’s a sign of the times. When “Sesame Street” was launched in 1969, it was only five years after the Civil Right Acts went into law, and much of the United States was still unofficially racially segegrated. Therefore, the racially integrated cast for “Sesame Street” was very groundbreaking for a children’s show at the time.

The show’s setting also broke traditions in children’s television: It took place in an imaginary urban location called Sesame Street, where humans and a variety of puppets (also known as muppets) co-existed and learned from each other. Almost everyone agrees that the muppets were the real stars of the show.

“Sesame Street” puppeteers/writers Jim Henson and Frank Oz, who both created and voiced several muppet characters (including best friends Ernie and Bert), get a lot of praise in the documentary for being the show’s driving creative force. Joan Ganz Cooney and Children’s Television Workshop co-founder Lloyd Morrisett are credited with coming up with the “Sesame Street” concept, with Ganz Cooney being largely responsible for putting together the show’s original team. And longtime “Sesame Street” director/writer Jon Stone (who died in 1997, at age 64) is singled out as having the most to do with keeping the show’s proverbial engine running for decades. Henson died in 1990, at age 53. Oz did not participate in the “Street Gang” documentary.

Ganz Cooney explains in “Street Gang” why it was so important to her for “Sesame Street” to be racially integrated, at least on screen. She says that she was “heavily involved in the civil rights movement. I was not focused on children though.” That changed when Morrisett attended a dinner party hosted by Ganz Cooney in the late 1960s.

Morrisett remembers, “I was a psychologist at the Carnegie Foundation, and we were heavily influenced by the national dialogue in the [racial and economic] gap that was being created in schools. I wondered if there was a possibility for television to help children with school, but television was not very popular with the Carnegie staff. Academics weren’t interested in television.'”

At this fateful dinner party, Morrisett asked Ganz Gooney if television could be used as a way to educate children. The Carnegie Foundation then hired Ganz Cooney to do a feasibility study, where the bulk of the study’s original $8 million budget came from the U.S. federal government’s Office of Education. The study revealed that because children were spending more time watching TV than children did in the 1950s, and because more children than ever before had mothers working outside the home, television had become an electronic babysitter for a lot of kids.

And so, the idea of “Sesame Street” was born to be a show that would both entertain and educate pre-school-age children, in a racially integrated setting that had puppets with distinctive personalities. And, for the first time in American TV history, television writers and children’s educators would collaborate on episodes. At first, the idea was to have the humans in episode segments that were separate from the muppets. But test screenings shown to kids found that the kids responded best to the show when the humans interacted with the muppets.

Ganz Cooney says in “Street Gang” that even though she came up with the concept of “Sesame Street,” she experienced sexism from certain people who didn’t think a woman should oversee the show. However, Ganz Cooney says that because the entire show “was all in my head,” TV executives needed her to bring her vision to reality. They had no choice but to give her the top leadership role for “Sesame Street.”

One of the first people she recruited was Sharon Lerner, who had a master’s degree in education from Columbia University. Lerner was hired to be a research and curriculum coordinator for “Sesame Street.” Lerner says it was “unprecedented” to see educators and TV writers teaming up to help create a TV show for children. Other staffers from the early years of “Sesame Street” who are interviewed in the documentary include camera operator Frank Biondo and composer/lyricist/writer Christopher Cerf.

Based on the research studies, economically disadvantaged non-white children in urban areas, especially African American children, were getting inferior educations in public schools, compared to their white counterparts. And so, the idea was to target these “inner city” kids with a TV show that could help bridge the gap in their education. In an archival TV interview, Stone describes why an urban street was chosen as the “Sesame Street” setting: “To the 3-year-old cooped up in the room upstairs, the action is on the street.”

Ganz Cooney admits that at first she wasn’t convinced that the show should take place on an urban street because “I didn’t know how it would play to suburban parents.” Translation: “I didn’t know if it would alienate white people who live in very white neighborhoods.” Jon Stone is given credit for the urban street idea, which turned out to be the right concept, because “Sesame Street” soon developed a reputation for not shying away from real-life topics that are often tough to discuss with kids, such as death, bullying and loneliness.

In “Street Gang,” Ganz Cooney says she enlisted the help of an African American consultant named Evelyn Davis to do outreach work in African American communities before “Sesame Street” was launched. Although having this inclusivity was certainly necessary and thoughtful, it’s clear that in those early “Sesame Street” years, the decision makers at “Sesame Street” didn’t want African American input to include hiring any African Americans in leadership positions for the show.

The closest that “Sesame Street” had to an African American creative executive in the show’s early years was Matt Robinson, who was the first actor to portray the character of Gordon, and he was a writer on the show. Robinson (who died in 2002, at the age of 65) came from a TV background of hosting, writing and producing. Before joining “Sesame Street,” he was the host of the Philadelphia talk shows “Opportunity in Philadelphia” and “Blackbook.” In addition to portraying Gordon on “Sesame Street,” he created and voiced the show’s first African American muppet character: Roosevelt Franklin, which was on “Sesame Street” from 1970 to 1975.

Dolores Robinson, Matt Robinson’s widow, remembers her late husband’s contributions to “Sesame Street” as being part of the era when the Black Power movement was blossoming. “These were revolutionary times,” she says. Matt and Delores’ children Holly Robinson Peete and Matt Robinson Jr. have different perspectives, since they were in “Sesame Street’s” target age group when their father was on the show.

Robinson Peete says, “Back then, if your dad was Gordon on ‘Sesame Street,’ that was a big deal.” Matt Robinson Jr. adds, “We looked at the TV, and it still wasn’t registering, like, how did he get in the [TV] box?” Dolores Robinson says of the Roosevelt Franklin character, “For Matt, Roosevelt Franklin represented truth.”

The documentary mentions that the Roosevelt Franklin character wasn’t well-received by many African American parents and educators, who felt that Roosevelt Franklin represented too much of the negative “ghetto” stereotype used by racist people who think black people are inferior. “Sesame Street” got enough complaints about Roosevelt Franklin that the character was removed from the show in 1975, without any explanation to the audience. Matt Robinson stopped doing the Gordon character in 1972, but had stayed on with the show behind the scenes as a writer and to voice the Roosevelt Franklin character. The removal of the Roosevelt Franklin character was apparently one of the last straws for Matt Robinson, and he exited “Sesame Street” in 1975.

After Matt Robinson stopped portraying the character of Gordon, Hal Miller stepped into the role from 1972 to 1974. Miller was replaced by Roscoe Orman in 1974, who has been doing the role of Gordon ever since. Orman says of “Sesame Street” writer/director Jon Stone’s contributions to the show: “Jon was the guy who really created the reality of it—the style, the vision of the show.”

Sonia Manzano, who portrayed the role of Maria on “Sesame Street,” comments on Stone: There were a lot of shows that really talked down to kids. And he didn’t really want that. Jon Stone thought that you could have a kids’ show where adults wouldn’t run for the door as soon as it’s on.” Manzano also recalls that Stone didn’t want her to wear too much makeup on the show, because he wanted Maria to look like a real person, “raw and unpolished.”

Manzano and Emilio Delgado (who portrayed Maria’s boyfriend-tuned-husband Luis) talk about the importance of Hispanic representation on “Sesame Street.” Delgado says that as an actor, “Sesame Street” was the first show in a long time where he wasn’t cast as a criminal or a menial servant, and he was grateful for doing a character that wasn’t about those stereotypes. He says of the Luis character: “He was a regular person! He was part of the neighborhood and he had a business.”

During the first season of “Sesame Street,” the cast members did a 1969 U.S. tour with the muppets and life-sized characters from the show. It was a big success. Bob McGrath, who portrayed the character of Bob on the show, remembers the tour this way: “It was a madhouse.” He gushes about his “Sesame Street” experience: “It was a dream come true to fall into this job.” Ganz Cooney comments on “Sesame Street’s” instant popularity: “I was stunned by the overwhelming support for what we were doing. It was if the world had been waiting for us.”

Well, not everyone was so welcoming. The documentary mentions that certain TV network executives in Mississippi were so outraged about “Sesame Street” having a racially integrated cast that these executives refused to televise the show on their local PBS affiliates for a brief period in 1970. In archival news footage, one of these TV executives (who is unidentified in the footage) denied that the decision was racist and blamed it on community standards. Apparently, these “community standards” were offended by a children’s show with people of different races getting along with each other.

Bob McRaney, the general manager of the NBC affiliate WJDX-WLBT in Jackson, Mississippi, broke away from this racist mindset and decided to televise “Sesame Street” anyway. “Sesame Street” got such great ratings for WJDX-WLBT that eventually all the racist TV executives who thought their communities would be ruined if they saw “Sesame Street” suddenly changed their minds and wanted “Sesame Street” on their TV stations. Sometimes greed trumps racism.

Behind the scenes of “Sesame Street,” things weren’t as harmonious as they were presented on screen. Ganz Cooney says that she and Stone clashed with each other. In the documentary, she implies that he might have been envious that she got most of the attention for “Sesame Street’s” success. Ganz Cooney describes Stone as “a very sensitive, difficult man.”

Stone’s daughter Kate Stone Lucas says that her father “battled depression all of his life … ‘Sesame Street’ was the love of his life.” Stone Lucas and her sister Polly Stone say that their father, whom they describe as a civil rights activist, initially wasn’t sold on the idea of doing a children’s TV show because he had become disillusioned with television at that point in his career. Stone Lucas says what convinced him to be involved in “Sesame Street” was Ganz Cooney’s “political vision” to improve the quality of children’s TV, especially for inner city kids whose parents were working while the kids were at home.

Stone Lucas says her father’s personality was that he “saw the world in black and white … You were either a good guy or a bad guy.” He was an iconoclast at heart who resisted being too corporate. One of the anecdotes mentioned in the documentary is that there was an office “push pin” bulletin board that had the words “Children’s Television Workshop,” and Jon Stone would rearrange the letters so that they would spell “Children’s Porkshow.”

The documentary doesn’t have much screen time that gives insight into the creation of the most iconic muppets, such as Kermit the Frog (originally voiced by Henson), Grover (originally voiced by Oz), Cookie Monster (originally voiced by Oz), Ernie (originally voiced by Henson), Bert (originally voiced by Oz), Oscar The Grouch (originally voiced by Caroll Spinney) and The Count (originally voiced by “Sesame Street” head writer Norman Stiles, who is one of the people interviewed in “Street Gang”). “Sesame Street” puppeteer Fran Brill says of Henson and Oz: “Jim and Frank were a comedy team … The dynamic between these two guys was magic.”

Off screen, Henson and Oz were described as opposites who weren’t really friends, but they worked well enough together that they had a special chemistry that translated well on screen. Ironically, Henson’s workaholic ways in children’s entertainment (he was also a key creator of “The Muppet Show”) meant that he didn’t spend as much time with his kids as other fathers did. Jim Henson’s children Lisa Henson and Brian Henson are interviewed in “Street Gang.”

Brian Henson says that it was normal for him as a child to not see his father for three or four days in a row because his father was so busy working. He also says, “My father was a pretty quiet, shy person, but he wanted to be hip. He wanted to be cool. And he wanted his company Muppets Inc. to have a very cool reputation. Children’s entertainment wasn’t what he had in mind.”

Ganz Cooney remembers the first time she saw Henson in a staff meeting, she thought he looked like a hippie and she wasn’t sure how he would fit in with the more conservative-looking employees. But she says that Henson became one of her favorite “Sesame Street” people. “He was terrific,” she says adoringly. The documentary has some archival clips of Henson and Oz, separately and together, behind the scenes and doing interviews.

Spinney (who died in 2019, at age 85) was famously the man inside the Big Bird costume, and he was interviewed for this documentary, which has footage of him with his Oscar the Grouch puppet during the interview. Big Bird was originally conceived as a klutzy character with the intelligence of a teenager or young adult. But it wasn’t long before the character of Big Bird was changed to have the innocence of a child in “Sesame Street’s” target age group of 3 to 5 years old.

In 1982, the real-life death of actor Will Lee, who played Mr. Hooper on “Sesame Street,” was written into the show as Mr. Hooper dying off-camera. Big Bird’s denial about the death was one of the more memorable aspects of this tearjerking episode. In the documentary, “Sesame Street” people who were involved in this episode say that they wanted to keep the show honest by not lying to the audience about why Mr. Hooper wasn’t coming back to “Sesame Street.”

Music has always been a big part of “Sesame Street,” which features the human characters and muppets performing original songs and cover tunes. Joe Raposo, who composed the “Sesame Street” theme song and many other tunes for the show, is fondly remembered as a larger-than-life character. His son Nick Raposo says that his father didn’t want to talk down to children in his songs.

Kermit the Frog’s melancholy “It’s Not Easy Bein’ Green” is mentioned as a song that could be interpreted as a metaphor about racism. The documentary also includes clips from several music stars who made guest appearances on “Sesame Street,” including Stevie Wonder, Johnny Cash, Paul Simon and Odetta Holmes. There’s also footage of Jesse Jackson’s well-known “Sesame Street” appearance where he leads a group of kids in a pep talk chant that starts off with repeating “I am somebody!”

“Street Gang: How We Got to Sesame Street” certainly has plenty of heartwarming moments. The movie also has many good anecdotes and archival footage. But the documentary is very American-centric because it doesn’t really acknowledge the impact that “Sesame Street” has had worldwide. If you believed everything that’s presented this documentary, Americans are the only people worth interviewing about a global show such as “Sesame Street.” (“Sesame Street” is currently available in about 150 countries.)

And the “Street Gang” filmmakers didn’t seem to bother asking Ganz Cooney or any of the other white people from the original “Sesame Street” executive team why a show that they wanted to be aimed at urban African American kids had no African Americans making major decisions about the show in its early years. The documentary doesn’t seem to want to acknowledge that the groundbreaking racial integration on “Sesame Street” was just in front of the camera only. Behind the camera, it seems that the hiring practices for the “Sesame Street” original production team weren’t reflective of progessive civil rights after all, even though these are the same people who claim to be passionate about civil rights and racial equality.

“Sesame Street” has a long history, and this documentary’s real focus is what “Sesame Street” did up until the 1990s, when Jim Henson and Jon Stone died. Therefore, the “Street Gang” movie will probably be best enjoyed by people who are old enough to remember “Sesame Street” before the 1990s. It’s a meaningful nostalgia trip for “Sesame Street” fans, but not a completely thorough one for people who want more of “Sesame Street’s” history after the 1990s.

Screen Media Films released “Street Gang: How We Got to Sesame Street” in select U.S. cinemas on April 23, 2021, and on digital and VOD on May 7, 2021. The movie’s release date on Blu-ray and DVD is July 6, 2021. HBO and HBO Max will premiere the movie on December 13, 2021.

Review: ‘Baby God,’ starring Wendi Babst, Cathy Holm, Quincy Fortier Jr., Jonathan Stensland, Brad Gulko, Dorothy Otis and Mike Otis

December 2, 2020

by Carla Hay

A 1966 photo of Cathy Holm with her daughter Wendi in “Baby God” (Photo courtesy of HBO)

“Baby God”

Directed by Hannah Olson

Culture Representation: The documentary “Baby God,” which was filmed in various parts of the U.S. but centers primarily on activities that occurred in Nevada, features an all-white group of people discussing the actions and repercussions of the late Dr. Quincy Fortier, who illegally inseminated an unknown number of women with his semen from the 1940s to the 1980s.

Culture Clash: Several of Fortier’s secret insemination children and their mothers found out years later what Fortier did and had varying reactions to these crimes and violations of their family genetics. 

Culture Audience: “Baby God” will appeal primarily to people who are interested in documentaries about family secrets or true-crime issues that involve medical doctors.

Wendi Babst in “Baby God” (Photo courtesy of HBO)

The advertisements for home DNA test kits paint a heartwarming picture of people finding out great things about their ancestors and other biological relatives. What the ads never show is the dark side of taking these DNA tests, such as when people find out shocking and vile things about their biological heritage. That’s how numerous people discovered that Dr. Quincy Fortier, a Nevada obstetrician/gynecologist/fertility specialist who died in 2006 at the age of 94, was the biological father they never knew they had.

The reason why people would be horrified or ashamed that Fortier is their biological father is because Fortier illegally impregnated (through artificial insemination) an unknown number of women with his own semen instead of the semen of the correct sperm donors, without the women’s knowledge and consent. Based on DNA test results, it’s estimated that Fortier committed these heinous acts from the 1940 to 1980s. The fascinating but disturbing documentary film “Baby God” (directed by Hannah Olson) is about several women and children whose lives were permanently altered by Fortier’s genetic crimes.

Fortier was a prominent doctor who opened hospitals in Las Vegas and later in the rural town of Pioche. He was even named Doctor of the Year in 1991 by Nevada’s Clark County Medical Society. But beginning in the late 1990s, when DNA tests started to become more prevalent and accessible, Fortier was sued several times by people (former patients and/or their children) who were directly affected by his illegal inseminations. In most cases, the lawsuits were settled out of court. And the doctor never lost his medical license.

One of Fortier’s former patients who is interviewed in “Baby God” is Cathy Holm. Her daughter Wendi Babst (born in 1966; Babst is her married surname), who was one of Fortier’s secret insemination children, is also interviewed in the documentary. Holm says that when she first saw Dr. Fortier as a patient, she was a 22-year-old wife in Las Vegas who longed to become a mother.

“All my friends were having babies right off the bat, but we didn’t have one,” remembers Holm. “It wasn’t easy to easy to get pregnant.” None of the fathers who were affected by Fortier’s crimes is interviewed in this documentary. “Baby God” director Olson says that many of these deceived fathers have either died, are under gag order due to settled lawsuits, or they simply weren’t available to be interviewed for the documentary.

Holm adds that even though there was a lot of society pressure on a young wife to become a mother, “It wasn’t just the pressure. I wanted kids. Nobody had any solutions until I went to Dr. Fortier … He was listed in the phone book as a fertility specialist.”

Babst was Holm’s first child. And over time, Holm says, she noticed that her daughter didn’t resemble Holm or Holm’s husband. She also says that her daughter was a lot smarter than the other children in her class at school. Something that’s mentioned repeatedly in the documentary is what people believe are the shared characteristics that Fortier’s biological children inherited from him. These character traits include above-average intelligence, piercing blue eyes and a tendency to be emotionally aloof.

In the documentary, director Olson uses an effective visual technique by showing a close-up montage of blue eyes of the children who are interviewed in the documentary, so viewers can see the ocular similarities. (Almost all of Fortier’s insemination children in the documentary have blue eyes.) And observant viewers will notice that several of the children have a nervous tick of scratching, usually their leg. It’s something that the directors “shows, not tells,” but it’s implied that this scratching habit is a characteristic that the children could also have inherited from Fortier.

“Baby God” includes footage of several of the children meeting each other, some for the first time. The other insemination children in the documentary include Brad Gulko, who has a doctorate in human evolutionary genomics, born in 1966; Mike Otis, born in 1949; Brent Leavitt, born in 1984; and Michael Cleaver, born in 1984.

Babst, who is a retired police detective, put her investigative skills to good use when she found out that Fortier was not only her biological father but also the biological father of numerous other people she never heard about or met before. In the documentary, she describes how she discovered this shocking fact after taking a DNA test that she got from Ancestry.com: “When I noticed that I had half-sibling matches, I knew something wasn’t right. The only name I kept seeing was Fortier.”

Babst was able to find several other half-siblings who were conceived in the same way that she was. By her own admission, she became obsessed with finding out how far Fortier’s crimes went. In one of the documentary’s unsettling scenes, Babst visits the abandoned Pioche Hospital where Fortier had his practice. At this hospital, she finds some of the birth record announcements of babies who were delivered by Fortier. It might never be known how many babies he delivered in his career were his biological children. But based on Babst’s reactions to finding these records, the thought has crossed her mind many times.

During Babst’s investigation, some of which is shown in the documentary, she uncovered a web of lies that went beyond what Fortier did. She also found out that several other people knew for years about the crimes that Fortier was committing, but they did nothing to stop him. These enabling or complicit actions explain why Fortier was able to get away with what he did for so many years.

Dr. Frank Silver and Dr. Harrison Sheld, two retired former employees of Dr. Fortier, are interviewed separately in the film. They say they’re not surprised that Dr. Fortier illegally impregnated so many women because they say that it’s common for male fertility doctors to have a mentality of secretly wanting to spread their genetic lineage to as many people as possible. Silver and Sheld say that they both donated sperm many times in the past, but never illegally inseminated anyone. Sheld begins chuckling when he discusses finding out about the numerous children he fathered through sperm donations.

Silver comments that at the time Fortier committed these crimes, no one had any idea that DNA testing would be invented. Although Sheld and Silver stop short of admitting that they helped cover up any of the doctor’s misdeeds, their attitude seems to be that if they did know about Dr. Fortier illegally inseminating patients, they probably weren’t going to report him because he was their boss. And these two former employees of Fortier don’t seem at all sympathetic to the victims who’ve been hurt by these widespread crimes.

However, one of the self-admitted enablers who’s interviewed in the film is Quincy Fortier Jr., who calls his father a “brilliant man … He understood the human body.” Fortier Jr. says in the documentary that his mother Ruth and the six children (four daughters and two sons) she raised with Fortier Sr. all knew for decades that Dr. Fortier was illegally inseminating his patients with his own sperm. Fortier Jr. says that his father explained it to them by saying that he was helping women conceive because these women were desperate to have children.

But the documentary includes information that not all of the female patients who were impregnated by Dr. Fortier wanted to have a child at the time they got pregnant. Shockingly, one of the patients who was impregnated against her knowledge and consent was Dr. Fortier’s own stepdaughter Connie, who was reportedly a virgin when she got pregnant through artificial insemination. It’s mentioned in the documentary that Dr. Fortier, who practiced other types of medicine even if he wasn’t technically licensed for it, insisted on having his children as his patients. Connie is not interviewed in the documentary, but the movie includes someone reading parts of a letter that Connie wrote years ago that directly addressed her stepfather’s crimes.

The result of that pregnancy was a son, born in 1965, who was adopted. His name is Jonathan Stensland, and he is also interviewed in the film. (As with all of the insemination children who are interviewed in “Baby God,” a DNA test proved that Fortier is their biological father.) In the documentary, Stensland remembers that he had a chance to meet Dr. Fortier and that the doctor was a master of avoiding topics if he didn’t want to discuss them.

“Conversations with Quincy, he doesn’t want to talk about anything that means anything,” remembers Stensland. “I can remember a feeling of mendacity. You try to listen to somebody who’s wiggling away.” Stensland also hints at a dark side to himself that he believes he could have inherited from Dr. Fortier when he thinks about what motivated the doctor to commit these crimes: “I think it was violence … I feel like the consciousness of the violence was born into me.”

“Baby God” also has an interview with Dorothy Otis, another one of Dr. Fortier’s patients who was impregnated by him when she didn’t want to get pregnant. At the time, she was living in Pioche (she now lives in Concord, California), and Dorothy says that she originally went to see Dr. Fortier about an infection. Otis’ son Mike was born as a result of this pregnancy. Just like Holm, Dorothy is a mother who didn’t find out until decades later that Dr. Fortier was the biological father of her child.

Dorothy comments that the man whom she thought was Mike’s father for all of these years was very abusive to her and Mike (her son Mike also confirms these abuse allegations), so she says she has mixed feelings about Dr. Fortier being the biological father: “I’m relieved, because I didn’t think much of what we thought was Mike’s father.” However, she says of insemination crimes committed by Fortier and other doctors: “I think it’s a terrible thing to do to people, but I wouldn’t have had Mike.”

When Dorothy found out that she was pregnant, even though she didn’t feel ready to have a child at that time in her life, Dr. Fortier convinced her that the pregnancy was a blessing. And in those days, Dorothy says doctors were trusted as much as priests. For many people, doctors are still held in such high regard that they can’t fathom the idea of a doctor committing morally reprehensible crimes. This type of blind trust meant that, especially before DNA testing existed, Dr. Fortier’s crimes went undiscovered for a long period of time.

Two of the people who still have this unwavering trust in Dr. Fortier are his adopted daughters Nannette Fortier and Sonia Fortier, whom he adopted in his 50s, after he and Ruth got divorced. Fortier Jr. says that Connie’s pregnancy was one of the main reasons for the divorce. Nannette and Sonia are both interviewed in the documentary.

Nannette didn’t allow her face to be shown in the film, although “Baby God” has archival TV news footage of Nannette accompanying Dr. Fortier to court in a rare situation where a lawsuit against him went to trial. (Before a verdict could be reached, that case was eventually settled out of court too.) Nannette also mentions something odd that can be considered “too much information” about Dr. Fortier: He circumcised himself.

Nannette and Sonia reportedly refuse to take DNA tests to find out if Dr. Fortier was their biological father. And there are other things that they deny in the film too. All they do is praise Dr. Fortier and say what a wonderful father he was to them. But there are hints (Sonia’s facial expressions and the sisters’ body language) that they know more than they’re willing to say in a documentary.

Nannette has this to say to try to excuse Dr. Fortier’s illegal insemination of his patients: “Using his own sperm, to him, was no different than using his own blood.” Sonia adds, “People were so desperate to have a child and wanted it so badly … In his mind, he meant no harm.”

But there was a lot of damage done, not the least of which is that there are unknown numbers of people whose reproductive rights were violated and who now unwillingly have Fortier’s genes in their family. Many of these people still do not know. And considering that Dr. Fortier illegally inseminated women in a relatively small geographic area, it’s very likely that many of these half-siblings have met each other without knowing that they share the same biological father. It isn’t publicly known if any of them unknowingly committed incest by getting romantically involved with someone they didn’t know was a sibling, or going even further by unknowingly marrying a sibling and unknowingly having children with a sibling.

In addition to the physical, genetic and biological repercussions, there’s the emotional devastation. The people who find out that Dr. Fortier’s crimes directly affect their families have feelings of anger and sadness over this cruel violation of their families. Children can feel confusion over their identity. Parents feel betrayed. And in some cases, as what happened with Babst, there are feelings of guilt when a child finds out and has to tell a parent that the father who raised the child isn’t the biological father.

And without revealing any spoilers, some more bombshell allegations are revealed toward the end of the film. These accusations have to do with incest and pedophilia. The person accused of committing these sex crimes was never arrested or sued for these crimes.

“Baby God” director Olson (who makes her feature-film directorial debut with this movie) has a knack for gripping storytelling by showing many examples in the film of how things are not what they first appear to be, which essentially can be a parallel metaphor for how Dr. Fortier conducted his life. In the documentary, the person who makes the allegations about incest and pedophilia seems to be one way in the beginning of the film, but when this person reveals these crimes, this person’s perspective is seen in a much different way.

Thankfully, the movie isn’t stuffed with people who weren’t directly affected by Dr. Fortier’s crimes, such as talking head “experts.” And given the sensitive nature of this documentary’s subject matter, “Baby God” doesn’t feel exploitative because Olson lets the children and their mothers give their candid perspectives without interference of pesky voiceovers or other sometimes-intrusive choices that documentary filmmakers make. While being respectful of the victims, the movie also doesn’t shy away from confronting the awful, complicated and damaging mess left behind by Dr. Fortier.

Although “Baby God” is mostly about how certain people were affected by the illegal actions of one doctor (and it’s chilling to think about how many more doctors have done the same things), this documentary speaks to much bigger problems of people being afraid to report crimes if they think someone powerful is committing those crimes. The movie is also a wake-up call about putting blind faith and complete trust in certain authority figures (such as doctors) who could decide the fates of certain people’s lives. And because the movie responsibly includes different viewpoints, it also shows that when people deny that the problem even exists, that denial is one of the biggest obstacles to getting justice.

HBO premiered “Baby God” on December 2, 2020.

Review: ‘Yusuf Hawkins: Storm Over Brooklyn,’ starring Diane Hawkins, Amir Hawkins, Freddy Hawkins, Christopher Graham, Al Sharpton, David Dinkins and Joseph Regina

August 14, 2020

by Carla Hay

Yusuf Hawkins in “Yusuf Hawkins: Storm Over Brooklyn” (Photo courtesy of Hawkins Family/HBO)

“Yusuf Hawkins: Storm Over Brooklyn”

Directed by Muta’Ali

Culture Representation: Taking place in New York City, the documentary “Yusuf Hawkins: Storm Over Brooklyn” features a predominantly African American group of people (and some white people) discussing the 1989 racist murder of 16-year-old Yusuf Hawkins and the controversial aftermath of this hate crime.

Culture Clash: Yusuf Hawkins was murdered by a mob of young white men just because Hawkins was an African American, and there were many conflicts over who should be punished and how they should be punished.

Culture Audience: “Yusuf Hawkins: Storm Over Brooklyn” will appeal primarily to people interested in true crime stories that include social justice issues.

Yusuf Hawkins, Amir Hawkins and Freddy Hawkins in “Yusuf Hawkins: Storm Over Brooklyn” (Photo courtesy of Hawkins Family/HBO)

The insightful documentary “Yusuf Hawkins: Storm Over Brooklyn” gives an emotionally painful but necessary examination of the impact of the 1989 murder of Yusuf Hawkins, a 16-year-old African American who was shot to death in New York City’s predominantly white Brooklyn neighborhood of Bensonhurst. He was killed simply because of the color of his skin—and it’s a tragedy that has been happening for centuries and keeps happening to many people who are victims of racist hate crimes. This documentary, which is skillfully directed by Muta’Ali, offers a variety of perspectives in piecing together what went wrong and what lessons can be learned to help prevent more of these tragedies from happening.

One of the best aspects of “Yusuf Hawkins: Storm Over Brooklyn” is how it has interviews with many of the crucial people who were directly involved in the murder case and the subsequent controversy over how the perpetrators were going to be punished. The people interviewed include members of Yusuf Hawkins’ inner circle, such as Yusuf’s mother, Diane Hawkins; his younger brother Amir and older brother Freddy; Yusif’s cousins Darlene Brown and Felicia Brown; and Yusuf’s friends Christopher Graham and Luther Sylvester, who was with Yusuf during the attack. (Yusuf’s father, Moses Stewart, died in 2003.) They are all from the Brooklyn neighborhood of East New York.

The documentary also has the perspectives of some Bensonhurst residents or people who allied themselves with the accused perpetrators. They include Joe Fama, who was convicted of being the shooter; Stephen Murphy, who was the attorney of Keith Mondello, who was accused of being the mob’s ringleader; and Russell Gibbons, an African American who was a friend of many of the white men in the mob of attackers. Gibbons was involved in providing the baseball bats used in the attack, but Gibbons ended up testifying for the prosecution.

And in the aftermath of the murder, several people became involved in the investigation, court cases and public outcry seeking justice for Yusuf. The documentary includes interviews with activists Rev. Al Sharpton, Dr. Lenora Fulani, Rev. Conrad Tillard (formerly known as Conrad Muhammad) and Rev. Herbert Daughtry; Douglas Nadjari, who was New York’s assistant district attorney at the time; former New York City mayor David Dinkins; publicist Ken Sunshine, who was Dinkins’ deputy campaign manager at the time; Joseph Regina, a New York Police Department detective involved in the investigation; and journalist John DeSantis, who covered the Yusuf Hawkins story for United Press International.

There have been many disagreements over who was guilty and who was not guilty over the physical attacks and shooting, but no one disputes these facts: On August 23, 1989, Yusuf and three of his friends—Luther Sylvester, Claude Stanford and Troy Banner (who are all African American)—went to Bensonhurst at night to look at a 1987 Pontiac Firebird that was advertised in the newspaper as being for sale. Banner was the one who was interested in the car.

When they got to Bensonhurst, all four of them were surrounded by a mob of young white men who were in their late teens and early 20s (it’s estimated that 10 to 30 people were in this mob), who attacked them with baseball bats and yelled racial slurs at them. Yusuf was shot to death during this assault. (A handgun was used in the shooting.) The attack was unprovoked, and several people involved in the attack later admitted that it was a hate crime.

Nadjari comments in the documentary: “Yusuf and his friends walked into what I call ‘the perfect storm’ … They [the attackers] didn’t want black guys in the neighborhood.” And even defense attorney Murphy admits: “You’d have to be stupid to not determine that there was a racist element to the whole thing to begin with.”

Furthermore, Yusuf and his friends were not “thugs” with a history of violence. All of the people who knew Yusuf describe him as a thoughtful, caring and good kid. He was the type of person who looked out for his friends to steer them away from trouble. It was consistent with his personality that he would accompany a friend who wanted to look at a car for sale. As journalist DeSantis comments in the documentary about Yusuf: “He was perceived by many to be a martyr.”

It came out during the investigation that a lovers’ quarrel was the spark that ignited the viciousness of the attack. Mondello’s girlfriend at the time was Gina Feliciano. During an argument between Feliciano and Mondello earlier that evening, she said that she was going to have a bunch of black guys come to the neighborhood to beat up Mondello and his friends. Feliciano lied in that threat, but apparently Mondello believed her. According to testimony in the trials, Mondello and the rest of the mob wrongly assumed that Yusuf and his friends were the (fabricated) gang of black thugs that Feliciano had said was coming to assault Mondello.

The documentary points out that even though New York City has an image of being “liberal” and “cosmopolitan,” the city is not immune from racism and racial segregation. East New York and Bensonhurst are just 13 miles apart, but these two very different Brooklyn neighborhoods might as well have been on other planet, because the people in these neighborhoods rarely mixed with each other. East New York has a predominantly working-class black population, while Bensonhurt’s population consists mainly of middle-class white people, many who are Italian American.

According to Amir Hawkins, who was 14 at the time his brother Yusuf was murdered, even though he lived in Brooklyn for years, all Amir knew about Bensonhurst was from “The Honeymooners,” one of his favorite sitcoms. He says of Bensonhurst: “Nobody told us, ‘Hey, that’s off-limits You can’t go there.'”

Amir also gives a chilling description of how his grandmother Rosalie seemed to have some kind of premonition that something would go horribly wrong when Yusuf was in Bensonhurst. According to Amir, when his grandmother found out that Yusuf had gone to Bensonhurst, Amir says he never saw his grandmother more upset in his life. Sadly, her apparent premonition turned out to come true, when the family got the devastating news about Yusuf’s murder later that night.

As an African American and longtime Bensonhurst resident, Gibbons admits in the documentary that he has experienced a profound racial identity crisis and still has deep-seated inner conflicts about race. He says that even though he was bullied by white racists in Bensonhurst, he also wanted to be friends with them. Gibbons was the only “black friend” of the mob accused of attacking Yusuf and his friends.

In the documentary, Gibbons downplays his role in providing the baseball bats used in the attack. Just as he said in trial testimony, Gibbons claims that all he heard on the night of the incident was that some black and Latino men were coming to Bensonhurst to attack some of his friends and he wanted to assist his friends in defending themselves. He says in the documentary, “I wasn’t thinking about race. I was just there because my friends were there.”

As for Fama, he says nothing new in the documentary that he hasn’t already claimed during his trial in 1990. Although he didn’t testify during his trial, Fama admits that he was part of the mob of attackers, but he claims that he’s not guilty of shooting Yusuf. Fama went into hiding after the murder, but he eventually turned himself in to police a little more than a week after the murder. During the documentary interview, Fama is shifty-eyed when discussing the case and seems more concerned about trying to appear innocent than expressing remorse about the circumstances that led to Yusuf’s murder.

Yusuf’s father (Moses Stewart) had been mostly an absentee father who left the family when Yusuf was about 17 months old. Walter Brown, a friend of Stewart’s, says in the documentary, says that Stewart was “stupid” for being a deadbeat dad, but Stewart wanted a chance to redeem himself. In January 1989, Stewart and Yusuf’s mother Diane reconciled, and so he was back in the family’s life. Seven months later, Yusuf was murdered.

After the murder, Stewart reached out to Sharpton who, along with other activists, spearheaded the protests and rallies demanding justice for Yusuf. Yusuf’s mother, father, brothers and other family members participated in many of these protests and rallies, but it’s mentioned in the documentary that Yusuf’s father was more comfortable than Yusuf’s mother with being in the media and public spotlight. There’s archival footage showing that Yusuf’s mother was often very reluctant to make a statement when there was a crowd of media gathered around asking her to say something.

In the documentary, Yusuf’s mother gives heartbreaking descriptions of her nightmarish grief. Its sounds like she had post-traumatic stress disorder, because she experienced panic attacks and became paranoid of going outside at night and was afraid of doing simple things such as taking the subway. She and other family members and friends confirm that losing Yusuf is a trauma that they will never get over.

Yusuf’s murder happened to occur in an election year for New York City’s mayor. The incumbent mayor Ed Koch was widely perceived by his critics as too sympathetic to the accused attackers. (Koch died in 2013.) Dinkins, who defeated Koch in the primary election and would go on to become New York City’s first black mayor, openly supported the Hawkins family before, during and after the trials took place. Dinkins comments in the documentary about how Yusuf’s murder affected the mayoral race that year: “I knew that Yusuf Hawkins would be a factor in my contest, but I’d like to believe that we treated it as we would have had I not been seeking public office.”

The protests also came at a time when filmmaker Spike Lee’s 1989 classic “Do the Right Thing” had entered the public consciousness as the first movie to make a bold statement about how racial tensions in contemporary New York City can boil over into racist violence against black people. It’s not a new problem or a problem that’s unique to any one city, but in the context of what happened to Yusuf Hawkins, “Do the Right Thing” held up a mirror to how these tragedies can occur. The documentary mentions that Lee and some other celebrities became outspoken supporters of the Hawkins family.

The documentary also offers contrasting viewpoints on the protests, which included protestors going into Bensonhurst on many occasions, sometimes to protest at other events happening in the neighborhood. There’s a lot of archival footage of the protestors (mostly black people) and angry Bensonhurst residents (mostly white men) clashing with each other, with many of the Bensonhurst residents and counterprotestors hurling racially charged and racist insults at the protestors.

While Sharpton and other activists involved with the protests felt that the protestors were peaceful and law-abiding, critics of the protests thought that the protestors were rude and disruptive. It’s part of a larger issue of how people react to racial injustice. Some people want to stay silent, while others want to speak out and do something about it.

In fact, it’s mentioned in the documentary that Yusuf’s family was initially told by police to not speak out about the murder because the police were afraid that news of the murder would cause civil unrest. But after the media reported that Yusuf’s murder was a racist hate crime, the crime couldn’t be kept under the radar. According to several people in the documentary, the media helped and hurt the case.

The documentary mentions that although the media played a major role in public awareness of this hate crime, the media (especially the tabloids) got some of the facts wrong, which distorted public opinion. One of the falsehoods spread by the media was that Yusuf or one of his friends in the attack was interested in dating white girls they knew in Bensonhurst, and that was one of the reasons for the attack. In fact, Yusuf and the three friends who were with him didn’t know anyone in Bensonhurst and were really there just to look at a car for sale.

And even though Dinkins publicly gave his support to the Hawkins family, the documentary reveals that there was tension behind the scenes between Dinkins and Sharpton. Dinkins wasn’t a fan of the protests because he felt that they were too disruptive, while Sharpton and many of his supporters thought that Dinkins and other local politicians weren’t doing enough to help with the protestors’ cause. The documentary shows that although Dinkins and Sharpton were at odds with one another over the Yusuf Hawkins protests, many people in positions of power (including Dinkins and Sharpton) used the murder case to further their careers.

Sharpton was also controversial because of his involvement in the Tawana Brawley fiasco. In 1987, Sharpton publicly supported Brawley (a teenager from Wappinger Falls, New York), who claimed that four white men had raped her and covered her in feces. But her story turned out to be a lie, and the hoax damaged Sharpton’s credibility, even though he claimed he had nothing to do with the hoax. Many of Sharpton’s critics pointed to the Brawley hoax as a reason why Sharpton couldn’t be trusted.

In the documentary, Fulani makes it clear that she thinks that it’s enabling racism when people are told to keep silent about it: “I think the problem is that the people who aren’t involved in being racist pigs couldn’t get it together enough to make a different kind of statement.” The documentary shows that a huge part of the controversy in cases such as this is that a lot people can’t really agree on what kind of statement or response should be made.

Gibbons, the African American who was a friend to the Bensonhurst mob of attackers, has this criticism of Sharpton and his protests: “Men like that, they do more damage, and maybe they think they’re doing good.” NYPD detective Regina adds, “Yusuf Hawkins did lose his life because the color of his skin, but not because Bensonhurst is a racist, vigilante neighborhood trying to keep colored people out … There was justice. And after that justice, there should have been peace.”

But considering the outcome of the trials, it’s highly debatable if justice was really served. And is there really peace when people are still getting murdered for the same reason why Yusuf Hawkins was murdered? As long as people have sharply divided opinions on how these matters should be handled by the public and by the criminal justice system, there will continue to be controversy and civil unrest.

“Yusuf Hawkins: Storm Over Brooklyn” could have been a very one-sided documentary, but it took the responsible approach of including diverse viewpoints. “Yusuf Hawkins: Storm Over Brooklyn” is the well-deserved first winning project of the inaugural Feature Documentary Initiative created by the American Black Film Festival and production company Lightbox, as part of their partnership to foster African American filmmakers and diversity in feature documentaries. And the poignant ending of this documentary makes it clear that Yusuf will be remembered for more than his senseless murder. The positive impact he made in his young life goes beyond what can be put in a news report or documentary.

HBO premiered “Yusuf Hawkins: Storm Over Brooklyn” on August 12, 2020.

Review: ‘Showbiz Kids,’ starring Evan Rachel Wood, Cameron Boyce, Wil Wheaton, Jada Pinkett Smith, Milla Jovovich, Todd Bridges, Mara Wilson and Henry Thomas

July 15, 2020

by Carla Hay

Evan Rachel Wood in “Showbiz Kids” (Photo courtesy of HBO)

“Showbiz Kids”

Directed by Alex Winter

Culture Representation: The documentary “Showbiz Kids” interviews several white and African American current and former child actors (and a few of their parents) about what it’s like to be a child in the entertainment business.

Culture Clash: Several of the people interviewed discuss missing out on having a “normal” childhood; the pressures and down sides of fame; and rampant child abuse and exploitation in showbiz.

Culture Audience: “Showbiz Kids” will appeal primarily to people who like behind-the-scenes stories about the entertainment business, although almost all of these cautionary tales have already been told.

Cameron Boyce in “Showbiz Kids” (Photo courtesy of HBO)

There are plenty of news exposés and tell-all books that have revealed the good, bad and ugly sides of being a famous child in the entertainment business. The documentary film “Showbiz Kids” doesn’t uncover anything new or shocking, but it’s a generally good compilation of personal stories from current and former child entertainers.

“Showbiz Kids” director Alex Winter, a former child actor who became famous as an adult—he’s best known for co-starring in the “Bill & Ted” movies with Keanu Reeves—keeps the film’s focus uncluttered by showing mainly the perspectives of actors. There’s the expected archival footage, but the only new interviews are with actors (some who are more famous than others) and a few parents of children who are trying to make it big in showbiz. (There are no agents interviewed in the film.)

The interviewees include famous former child actors Evan Rachel Wood, Cameron Boyce, Wil Wheaton, Jada Pinkett Smith, Milla Jovovich, Todd Bridges, Mara Wilson, Henry Thomas and Diana Serra Cary. Boyce died of a stroke in 2019, at the age of 20. Serra Cary, who was known as Baby Peggy in the 1920s, passed away in 2020, at the age of 101. An epilogue in the documentary announces that “Showbiz Kids” is dedicated to Boyce and Serra Cary.

One of the best things about “Showbiz Kids” is that it has a wide range of ages and experiences for the actors who are interviewed in the film. Some (such as Wood, Wheaton, Serra Cary and Jovovich) were pushed into acting by their parents. Others sort of fell into acting, such as Pinkett Smith and Thomas, who says that he only decided to become a professional actor as a way to get out of piano lessons. And some others (such as Bridges, Wilson and Boyce) say that they wanted to be entertainers from an early age but started so young that they didn’t know any other way of life when they were kids.

Also interviewed are two families who each have a child who’s trying to become famous in showbiz, with varying degrees of success. One family consists of Melanie Slater, Jeff Slater and their son Marc Slater from Orlando, Florida. The other family consists of Demi Singleton and her single mother Tricia Miranda, who are based in New York City. (The children in these families don’t appear to have any siblings.)

Melanie, Jeff and Marc Slater (who looks like he was about 9 to 11 years old when he was filmed for this documentary) represent the experience that’s most common: The child has not been able to find steady work as an actor. The Slaters say that Melanie and Jeff haven’t pushed Marc into showbiz, and they say that Marc doesn’t want to quit, despite the fact that he almost never gets work as an actor.

However, the documentary shows Marc in a one-on-one session with a female acting coach, who notices that Marc is yawning while she’s trying to teach him. Marc admits that he’s feeling tired (because he didn’t much sleep from the night before) and a little bored. When the acting coach asks him how he feels about the lessons, he makes a “so-so” indication.

The acting coach thanks Marc for being honest, but it’s pretty clear that this kid doesn’t have the passion to be an actor. And that lack of driving passion will probably affect his chances of continuing to pursue an acting career. There’s nothing in the documentary that indicates Marc has extraordinary talent. And, as it’s pointed out in the documentary, the entertainment business is notorious for chewing kids up and spitting them out when they get older and aren’t as “cute” anymore.

Meanwhile, the documentary shows Marc and his mother Melanie in the Los Angeles area, where they’ve traveled every year for the past few years, to audition for pilot season. Although it’s not mentioned in the documentary, pilot season is the peak time when people who don’t live in the Los Angeles area are most likely to bring their kids to Hollywood for auditions. There are plenty of reality TV shows that have chronicled this process.

Pilot season is the period of time (January to March) when TV studios and production companies are casting actors for pilot episodes of TV series that might or might not be ordered for a full season. After the pilot episodes are filmed, they’re shopped to various networks or streaming services. Most of the shows end of up not being sold to any outlets. The shows that are sold and picked up for a full season are usually announced in April or May and usually debut later that year or the following year.

The pushy and domineering “stage mother” has become a showbiz cliché, because a lot of it is true. Almost all of the actors interviewed in the documentary say that their mothers had a more active role than their fathers did in guiding their children’s showbiz careers. Their mothers are also usually their managers when they are children. (Managers handle the day-to-day business, while agents are responsible for finding and booking work for their clients.)

When the image of a “stage mother” is brought up, Melanie Slater says with a horrified voice: “I don’t ever want to be one of those!” However, Melanie Slater is shown being very much a stage mother, as she (without her husband) is the one who accompanies Marc to Los Angeles for his pilot-season auditions. She’s the one who usually takes the photos that are posted on her son Marc’s social media.

And she’s the one who’s taught Marc to parrot her loopy way of comparing getting an acting job to the planet Saturn. According to Melanie and Marc, there are three main rings around the planet that they have to get through in order to reach the planet. The first ring is the audition, the second ring is the callback, the third ring is booking the job, and the final destination (the planet) is actually doing the job and getting paid for it. You can’t make this kind of stuff up.

On the other end of the wannabe star spectrum is Singleton, who looks like she was about 11 or 12 years old when this documentary was filmed. Singleton says that she and her mother are originally from Baton Rouge, Louisiana, but they moved to New York City when she was 3 years old. Unlike the Slaters, they’ve been more successful in booking gigs for the child actor in the family. (Maybe that’s because Singleton and her mother don’t spend time sitting around talking about rings of Saturn as a way to break into showbiz.)

Singleton has been in the cast of Broadway musical productions, such as “The Lion King” and “School of Rock.” And she’s had a small supporting role in the Epix drama series “Godfather of Harlem,” starring Forest Whitaker. It’s clear that Singleton wants to be a “triple threat” entertainer (someone who can sing, dance and act), and she takes her craft seriously. She’s shown in ballet classes, which is a discipline that many kids with access to ballet don’t have the patience to commit to on a long-term basis.

Unlike Marc Slater, it’s obvious that Singleton has a passion for being an entertainer. And just as importantly, she’s ambitious. In the documentary, she unapologetically says that she wants to be so famous that she can change a lot of people’s lives for the better. It’s clear that she’s one of those kids that wasn’t forced to be in showbiz, because the documentary shows that when she has a choice between going to summer camp or working that summer, she seems happy that she ended up getting booked for a job for the summer.

The people interviewed in “Showbiz Kids” inevitably bring up the issue of having a “normal childhood” versus pursuing a career in showbiz. How and where you are raised make all the difference, say the interviewees. “Westworld” star Wood says that her parents, who run a theater company in North Carolina, were definite “snobs” about what kind of material she would do as an actor, which affected her choices then and now.

Pinkett Smith, who attended Baltimore School of the Arts, says that growing up in a tough Baltimore neighborhood prepared her for the cutthroat side of the entertainment business. When she started her Hollywood acting career in her late teens (her breakout role in her early 20s was in the 1991-1993 sitcom “A Different World”), she says that these “street smarts” helped prevent her from being conned and exploited. “I survived the streets of Baltimore, so as far as I was concerned, this [Hollywood] was kind of a Disneyland.”

Meanwhile, Wilson (who’s most famous for her 1990s movie roles in “Matilda” and “Mrs. Doubtfire”) grew up in the showbiz city of Burbank, California, so she says it was normal for her to go to school with kids who regularly auditioned for acting jobs. Thomas had the opposite experience. After he became world-famous as a star of the blockbuster 1982 movie “E.T. the Extra Terrestrial,” he says he still attended a regular school in his Texas hometown, where he was the only professional actor in his class. Thomas remembers his fame was a double-edged sword in that environment, because he got a lot of perks and adulation, but he also got a lot of bullying and teasing from some of his peers at school.

Getting an education is a tricky subject for showbiz kids, and it depends on how busy the child is as an entertainer. The busier the entertainer, the less likely the child will be attending a “normal” school. Homeschooling and on-set tutoring are how many famous child entertainers got most of their childhood education. But most still attend “regular” school at some point in their childhoods.

Boyce (a former Disney Channel star) had education experiences at a “regular” school and a home school. In the documentary, Boyce says that he preferred the regular school because he was able to do “normal” activities with kids his age. At his home school, he wasn’t around people in the same age group. And Boyce also says that being a busy entertainer meant that he didn’t really think about going to college, since going to college would no doubt put his career momentum on hold.

Boyce says in the documentary that one of the biggest problems of being a famous entertainer as a kid is that people are expecting you to be someone that you’re not. Finding an identity outside of showbiz can be difficult. Adolescent mistakes and the natural process of physically looking different while growing into adulthood are issues that get blown out of proportion when a child is famous, compared to when a child is not famous.

Most of the people interviewed in the documentary express having complicated emotional relationships with their parents, who usually controlled their careers as children. Although they express gratitude over having supportive families who sacrificed a lot so that they could become successful entertainers, there are some lingering resentments.

Wheaton says that his parents, especially his mother, at times seemed to care more about him being famous and successful than his emotional well-being. He says of becoming an actor: “It was never my idea.” Wheaton states that he has a “great family,” but he also expresses anger that his mother didn’t adequately protect him from an abusive situation that he experienced on a job. (He doesn’t go into details about the abuse.)

Thomas describes his parents as not being prepared for the worldwide fame that came his way because of “E.T.,” because they initially thought acting was just going to be a hobby for him. Thomas says that his mother, who accompanied him on every job he had as a child, was highly suspicious and paranoid that people were trying to abuse or exploit him. Therefore, she was labeled as “difficult.” And, in hindsight, he believes that his mother cost him a lot of acting jobs.

Serra Cary says her father didn’t just cost her some acting jobs. She says he ruined her entire acting career. In the documentary interview, she claims that her father hated that he wasn’t going to get a cut of the money that was in her work contract, so he terminated the contract. “My [acting] career was over [when I was] 7,” Serra Cary says.

Wood says that the entire time that she was becoming a successful young actor, no one close to her bothered to ask her how she was feeling. She says that the assumption was that the more successful she became, the happier she was expected to be. And she says that her parents instilled in her the idea that because she had the talent to be an actor, she would be ungrateful and foolish if she didn’t pursue an acting career.

Jovovich, who grew up as the child of immigrants from the former Soviet Union, says that her mother was a “brilliant” actress who had to give up her dreams to be a famous actress in order to help make money for the family. Jovovich’s mother ended up being a servant to rich and famous people, and she pushed Jovovich into a showbiz career, as a way to vicariously live through Jovovich. Although Jovovich is mainly known as an actress and former supermodel, she says that she really wanted to become a singer, but that career didn’t really work out for her because she was pigeonholed as being a model/actress. Jovovich is now best known for starring in the “Resident Evil” action-horror movie franchise, written and directed by her husband Paul W.S. Anderson.

Pinkett Smith, who’s married to superstar Will Smith, offers her perspective as a famous mother of kids who are also in the entertainment business. She says that their son Jaden and daughter Willow were not pushed into showbiz, but she’s well-aware that her kids have the privilege of not having to struggle financially, like other kids who don’t have any family wealth or connections. (Willow and Jaden were not interviewed for this documentary.)

Pinkett Smith also mentions that she’s glad that social media didn’t exist when she started her own showbiz career because she’s not sure how social media would’ve affected her as a child or teenager growing up. Boyce, who is one of the few actors interviewed in the documentary who grew up with social media, comments that social media just amplifies insecurities that kids already have in their real lives. It’s obviously why Wood (who has a son with her actor ex-husband Jamie Bell) says it’s a conscious choice as a parent that her son is not on social media.

Trust issues and isolation are also common with child entertainers, say many of the people interviewed in the documentary. Wheaton expresses bitterness over people treating him differently only because he’s famous, which causes him to question people’s sincerity. He says that he was bullied by cousins when he was growing up, but after he became famous (his breakout role was in the 1986 movie “Stand by Me”), they became extra-nice to him. He comments that this experience was his beginning of not being able to trust anyone. Wheaton also says he hated being marketed as a “teen idol,” and he was pressured into doing “teen idol” things that he really didn’t want to do.

Wilson and Boyce also talk about how much it can mess with a child star’s mind to not know how much fame is the reason for why people are being nice to them and want to become their friends. It gets even more complicated when the star is old enough to date. And Boyce says that social media puts famous people under pressure to document a lot of their personal lives on their social media.

“It’s a very fulfilling but lonely experience,” Wood says of being a successful child entertainer. Wood quips that you know you’re in the presence of a child star when they know how to do a lot of things that children normally don’t do. She says that’s because child entertainers often spend a lot of time alone in trailers and in hotels, and they pick up unusual hobbies out of sheer boredom and loneliness.

Drugs and sexuality, which people discover as they are growing up, are inevitably mentioned in the documentary. “Showbiz Kids” includes examples of former child stars who have histories of personal problems that became very public, including Drew Barrymore, Britney Spears, Lindsay Lohan, Amanda Bynes, Shia LaBeouf, Corey Haim (who died of pneumonia complications in 2010) and Corey Feldman. On the flip side, the documentary also includes examples of former child stars who went on to have successful showbiz careers as adults and reputations for being emotionally stable, such as Natalie Portman, Jodie Foster, Ron Howard, Brooke Shields and Scarlett Johansson.

Sexism and sexual exploitation are also discussed. Wood says that she felt most exploited not on film sets but on photo shoots, where she was forced to wear outfits that didn’t really reflect who she is. Wood comments, “I didn’t want to wear dresses. I didn’t want to wear heels. I was a tomboy.” Wood, who is the only openly LGBTQ person interviewed in the documentary (she identifies as bisexual), also mentions that she knew she was bisexual as a pre-teen, but there was pressure for her not to go public about her sexual orientation until much later in her life.

Jovovich says that when she was an underage teen model made to look like an adult, it was both horrifying and embarrassing for her. She thought the hair and makeup that she had for photo shoots looked “hideous” on her. And she says that the constant push to make her look like a sexy adult when she was still a kid wouldn’t be as acceptable today as it was when it happened to her in the late 1980s and early 1990s.

Although Jovovich’s parents allowed her to be emancipated at the age of 16, Jovovich admits in hindsight that she was still too young to go through many of the things that she experienced—even though she thought at the time that she was mature enough to handle these situations. She makes a vague reference to getting into “messes” with older men when she was underage. Looking back on these experiences, she now says that these older men were “schmucks” for taking advantage of her.

The  documentary points out the obvious fact that girls in the entertainment business are made to look sexual at a much earlier age than boys are. “Showbiz Kids” includes clips and/or photos from controversial movies, such as 1962’s “Lolita” (about a middle-age man who commits statutory rape when he becomes sexually obsessed with an underage teenage girl), as well as 1976’s “Taxi Driver” and 1978’s “Pretty Baby,” which each featured an underage girl prostitute as one of the main characters. The 1994 movie “Léon: The Professional” (which had the title “The Professional” in the U.S.) is also mentioned as a movie that portrayed sexual undertones/sexual tension between the two main characters: a professional hit man and a 12-year-old girl.

The #MeToo movement is mentioned as important progress for people speaking up and getting justice for sexual harassment/abuse, but the people who talk about it say that despite this progress, sexual harassment/abuse is still a major problem. People in the documentary reiterate that even though most of the showbiz #MeToo stories that people hear about are about experiences that happened to adults, that doesn’t mean that there’s a low percentage of children in showbiz with #MeToo stories. Children are just as likely to be harassed/abused as adults but are more likely to keep it a secret.

Wood states that sexual abuse happens to boys much more than what’s being reported. She says that most male actors have been sexually harassed or sexually abused by powerful men in the industry. And she remembers attending a recent Golden Globes ceremony where she had to temporarily go outside because she was nauseated that a man who’s known to sexually abuse boys had won a Golden Globe award at the show. (She doesn’t name names.)

Bridges, who’s best known for co-starring in the 1978-1986 sitcom “Diff’rent Strokes,” went public years ago about his own childhood abuse. He was sexually abused by his male publicist for years. And when he told his parents, Bridges’ father sided with the publicist. Bridges, who claims that his father was physically and emotionally abusive to him when he was growing up, says that all this trauma led him on a downward spiral of drug addiction and suicidal thoughts.

Fortunately, Bridges recovered, but his “Diff’rent Strokes” co-star Dana Plato (who went public with similar problems) did not. She died of a drug overdose in 1999, at the age of 34. Meanwhile, “Diff’rent Stokes” co-star Gary Coleman (the most famous member of the cast) struggled with health problems and being typecast as a child star for the rest of his life. In 2010, Coleman died of a subdural hematoma at the age 42.

In the documentary, Bridges says that of the three actors who played the kids on “Diff’rent Strokes” (Bridges, Plato and Coleman), Bridges was the one who most people predicted would die first. Bridges marvels that he’s now “the last one standing.” He also expresses sorrow over his “Diff’rent Strokes” co-stars’ untimely deaths and gratitude that he was able to come out of his personal ordeals alive and able to help other abuse survivors.

However, none of this information is new. And “Showbiz Kids” does have some noticeable omissions and blind spots. The film has no Asians and Latinos, the two fastest-growing racial groups in the United States. And although there are some African Americans in the documentary, there’s absolutely no discussion of how racism impacts opportunities that are given to child actors.

Also left out of the documentary is any coverage of children with disabilities and how they’re represented and treated in showbiz. The closest that the documentary comes to addressing this issue is when Bridges talks about how his “Diff’rent Strokes” star Coleman (who had lifelong kidney problems) had to go to work the day after having kidney surgery. According to Bridges, Coleman ended up resenting how the “Diff’rent Strokes” bosses didn’t seem to care about his health.

To its credit, “Showbiz Kids” responsibly brings up the important issues of sexism, sexual exploitation and abuse. However, the discussion is fairly superficial, since there’s no discussion about how these issues have trickle-down negative effects on how children, especially girls, feel about their body image. (It’s very obvious that girls who are famous entertainers are under more pressure than boys to not be overweight.)

You would think that a documentary called “Showbiz Kids” would have some discussion about eating disorders, such as anorexia and bulimia. People who have these disorders are usually female, and they usually become afflicted with these disorders when they’re underage. But there’s no mention of eating disorders in “Showbiz Kids.”

The reasons why anorexics and bulimics get these disorders are usually the same: They want to look “thin and attractive.” And their unhealthy eating habits are their way to have control over their lives because they often don’t feel in control of their lives. Showbiz kids are textbook examples of being very vulnerable to getting eating disorders, because their physical appearance goes under much more scrutiny than kids who aren’t in showbiz.

There’s a large percentage of women who are former child stars who’ve gone public about having eating disorders when they were pre-teens or underage teens. (And it’s impossible to know many more have also had an eating disorder, but have kept it private.) Therefore, it’s disappointing that “Showbiz Kids” failed to even mention this rampant problem.

The movie predictably covers drug abuse/addiction, but sparingly. Bridges is the only one interviewed in “Showbiz Kids” who talks about his drug problems. And if it seems very unrealistic that he’s the only celebrity in the documentary who’s ever done illegal drugs, that’s because it is unrealistic. Pinkett Smith and Wood have been open in other interviews about their past drug use and other self-destructive behavior, but they don’t tell those stories in this documentary. (And if they did, those stories were cut out of the film.)

Wheaton says he was angry about the untimely death of his former “Stand by Me” co-star River Phoenix, who died of a cocaine and heroin overdose in 1993, at the age of 23. Wheaton says that he looked up to Phoenix as an older brother. Although he acknowledges that Phoenix made the choice to take the drugs that killed him, Wheaton also puts a lot of blame on the people who enabled Phoenix’s drug addiction.

Wheaton claims that no one in Phoenix’s life cared enough to help Phoenix quit doing dangerous drugs. But by his own admission, Wheaton hadn’t been in touch with Phoenix for about two years before Phoenix died, so Wheaton doesn’t really know the whole story about who might or might not have tried to help Phoenix get clean and sober.

Cutting one’s own skin, which is a form of self-harm that is not uncommon with showbiz types (especially young people), barely gets mentioned in the documentary. The only reference to cutting is when the documentary shows a brief 2018 clip from “Red Table Talk”—the Facebook talk show hosted by Pinkett Smith, Willow Smith and Adrienne Banfield-Jones (the mother of Pinkett Smith)—when Willow publicly confessed that she used to be a cutter, and her mother appears to be shocked.

Because the documentary primarily has viewpoints of former child actors, there’s little to no discussion of the crucial roles and responsibilities of people who aren’t these children’s parents but who have a lot of power in what happens to a child in showbiz, such as agents, managers, directors, producers, casting directors, talent coaches and other people who work behind the scenes. Labor unions are not mentioned at all. And except for a brief flash of a sexual-abuse hotline number at the end of the film, there’s really no reference to how people can recover or get justice for any abuse or harassment they’ve experienced or witnessed in the entertainment business.

Despite these gaping holes in the documentary, “Showbiz Kids” takes the interviews that it has and weaves them together into a concise narrative that’s very easy to follow. People certainly won’t get bored watching this documentary, but people will certainly wonder about all the information that wasn’t revealed.

HBO premiered “Showbiz Kids” on July 14, 2020.

 

 

Review: ‘Welcome to Chechnya,’ starring Maxim Lapunov, David Isteev and Olga Baranova

July 1, 2020

by Carla Hay

“Bogdan” and Maxim Lapunov (also known as “Grisha”) in “Welcome to Chechnya” (Photo courtesy of HBO)

“Welcome To Chechnya”

Directed by David France

Russian with subtitles

Culture Representation: Taking place in Russia and other parts of Europe, the documentary “Welcome to Chechnya” interviews white and Arabic middle-class people about the deadly persecution of LGBTQ people in the Russian republic of Chechnya, and the documentary follows a group of activists who smuggle LGBTQ people in Chechnya to safe locations.

Culture Clash: The documentary reports that several LGBTQ people in Chechnya have been tortured or killed because of their sexual orientation, while Chechnya officials ignore these hate crimes or try to silence witnesses.

Culture Audience: “Welcome to Chechnya” will appeal primarily to people who are interested in compelling documentaries about human rights.

A scene from “Welcome to Chechnya” (Photo courtesy of HBO)

It’s not a secret that there are many countries and communities in the world that openly endorse or enable the persecution and murders of LGBTQ people. These crimes and human-rights violations are usually committed under the guise of religious beliefs. The documentary “Welcome to Chechnya” takes a harrowing, up-close look at Russian LGBTQ people (and some of their family members) who have suffered from hate crimes in the Russian republic of Chechnya and are trying to escape. The film also focuses on leaders of a group of activists who provide shelter and relocation services for LGBTQ people who want to leave Chechnya and start new lives in countries that outlaw discrimination against LGBTQ people.

For people who don’t know anything about Chechnya, the documentary gives a brief overview. Chechnya, which has about 1.4 million residents (many of whom are Muslim), is a republic that was formed in 1993, and is part of Russia, but operates independently from Russia in many ways. Ramzan Kadyrov, the current prime minister of the Chechnya, was appointed to the position in 2006. He is the son of former Chechen president Akhmad Kadyrov, who was assassinated in 2004.

Ramzan Kadyrov, who is a close ally of Russian president Vladimir Putin, has openly expressed contempt for LGBTQ people and believes that the Chechen government shouldn’t interfere if families want to kill LGBTQ family members for religious reasons or to protect the family’s “honor.” The documentary includes footage from a TV interview where Kadyrov (who projects an overly macho, swaggering image) denies that LGBTQ torture prisons exist in Chechnya. In the interview, he also denies that LGBTQ people even exist in Chechnya, but at the same time he says that if LGBTQ people are in Chechnya, then they should be sent away.

“Welcome to Chechnya” director David France (who is American) has experience doing documentaries about how discrimination against LGBTQ people can literally be life-threatening. In his Oscar-nominated 2012 documentary “How to Survive a Plague,” he examined how homophobia caused the AIDS crisis to be mishandled for years by the U.S. federal government. In his 2017 Netflix documentary “The Death and Life of Marsha P. Johnson,” he chronicled what happened to LGBTQ activist Marsha P. Johnson, a New York City transgender woman whose death in 1992 at the age of 46 was officially ruled an accident, but many people suspect that Johnson’s death was really a hate-crime homicide.

“Welcome to Chechnya” is not the type of investigative documentary that most American viewers are used to seeing about human-rights issues. Most American filmmakers who do investigative documentaries about human-rights violations have dramatic “justice must prevail” type of music throughout the story, while there’s at least one “larger than life” personality (usually someone who’s the chief investigator, an activist or an attorney) who’s presented as the “star” of the film.

Instead, “Welcome to Chechnya” shows how Russian culture is very different from American culture, because there are no over-the-top, outraged histrionics in this movie. Emotions are very suppressed in “Welcome to Chechnya,” compared to how many Americans would act if this documentary had been made about Americans. Everyone in the movie is an “ordinary citizen,” and there’s no “larger than life” hero who’s coming to their rescue.

“Welcome to Chechnya” wisely chose to focus on only a handful of people in presenting their stories for this documentary, in order to make the film easy to follow. Two LGBTQ activists are featured in the film: David Isteev, a former journalist, is a crisis response coordinator for the Russian LGBT Network. Olga Baranova, a former advertising employee, is director of the Moscow Community Center for LGBT Initiatives.

Isteev and Baranova are both heavily involved in helping LBGTQ people in Russia get visas to move to countries where there are laws against discriminating against LGBTQ people. Both of these activists experience exhaustion and burnout because of their work. By the end of the film, one of them will quit, while the other one continues.

The hate-crime survivors who are featured in “Welcome to Chechnya” all have aliases to protect their identities, although they fully appear on camera without any disguises. One of the survivors initially goes by the alias “Grisha,” but he later goes public with his real name—Maxim Lapunov—for reasons that are explained in the film.

Lapunov, who was 30 when this documentary was filmed, never lived in Chechnya, but he visited there because of his job as an event planner. He says he was kidnapped and put in a secret prison in Chechnya, where he and other LGBTQ people were tortured just because of their sexual orientation. Lapunov was eventually released, he sought shelter in a house in Moscow for survivors of LGBTQ hate crimes, and he made plans to move out of Russia. He says that before this horrific turn of events, he had always thought that Chechnya was a great place full of friendly people.

“When the gay persecution began, it was a huge shock for me,” Lapunov comments in the film. “Being abducted and tortured changes you. That period of time broke me hard.” It’s mentioned in the documentary that the secret imprisonment and torture of LGBTQ people in Chechnya is believed to have increased sometime in 2017.

During a drug raid in 2017, police found explicitly gay messages on the phone of one of the men arrested. He was tortured and forced to identify other LGBTQ people in Chechnya. This raid is believed to have set off a firestorm of persecution attacks and abductions of LGBTQ people in Chechnya and other parts of Russia.

The documentary includes disturbing undercover video of some of these attacks. “Welcome to Chechnya” also mentions openly gay Russian pop singer Zelim Bakaev, who disappeared in Chechnya in 2017. Bakaev is believed to have been abducted and killed because of his sexual orientation.

During the course of the film, Lapunov is reunited with his boyfriend, who goes by the alias “Bogdan” and who was 29 when this movie was filmed. At the time Lapunov and “Bogdan” reunited, they had been in a romantic relationship for about 10 years. “Bogdan” left his family behind to move with Lapunov to a country that can give them asylum. Because Lapunov’s immediate family members accept his sexual orientation and because he is a key witness to the Chechen prison torture of LGBTQ people, his family members are also in danger of persecution, so they all plan to make the same relocation.

Another hate-crime survivor featured in the documentary is “Anya,” a 21-year-old Muslim whose uncle threatens to tell her family that she’s a lesbian. In exchange for his silence, he demands that she have sex with him. “Anya’s” father is a powerful government official, and “Anya” is certain that her father will have her killed if he finds out that she’s a lesbian. The documentary shows how the LGBTQ activist group helped “Anya” escape to an undisclosed location, but there are unexpected problems that occur with this rescue mission.

“Akhmad” is a 30-year-old hate-crime survivor who relocates to Canada. Out of all the survivors featured in the documentary, he gets the least amount of screen time, because the film shows him toward the end of his shelter stay and how he eventually leaves the shelter to move to Canada. It’s mentioned in the documentary that each shelter resident can stay for a maximum of 14 or 15 days. Although the Russian LGBTQ activists get help from LGBTQ activist groups in many other countries, not having enough money is a constant challenge in being able to continue the work.

Isteev is very clear about what’s at stake for LGBTQ people in Russia: “Being gay, lesbian and transgender in Russia can get you killed or maimed. And no one will be held accountable for it.” Although it’s not explicitly stated in the movie, Isteev and Baranova being filmed for this documentary with their real names can put their lives in danger.

Isteev’s personal life is not shown at all in the film, but Baranova is filmed with her son Filip (who looks to be about 5 or 6 years old when this movie was filmed) and some of her LGBTQ friends. Baranova says that she wants Filip to know that there are other LGBTQ families like theirs, so he won’t grow up with the same feelings that other people have that LGBTQ people are “abnormal” and should be hidden away in shame.

Because most of the documentary is in the Russian language (with translated subtitles) and because the people in “Welcome to Chechyna” speak in calm, measured tones, some viewers might think the movie is “boring,” compared to other movies that would cover the topic of LGBTQ persecution. But if you have the patience and interest in looking at the movie for what it really is, there’s a quiet desperation that people have in this documentary that is no less impactful than Americans who loudly shout about their own rights and are ready to file complaints if they feel their rights have been violated.

“Welcome to Chechyna” accurately shows the repressed social behavior in a culture that’s ruled by a government that doesn’t allow street protests, legal recourse or freedom of speech for certain issues in the same way that other countries do. The only real moment of emotional hysteria in the documentary comes when one of the male residents of the LGBTQ shelter attempts suicide by cutting his wrist with a razor blade, and the panicked residents react to this suicide attempt in various ways. The shelter leaders make the agonizing decision not to get professional medical help because it would expose the location of the shelter.

Even though the emotions in “Welcome to Chechnya” are more muted than if this movie had been made about Americans or other Europeans, that doesn’t mean that the Russian people in this documentary are less passionate about fighting for their rights. They face more uphill battles than they would in many other countries.

And the documentary shows how much survivors have to sacrifice if they take the chance of starting new lives in other countries: They almost always have to leave their families and other loved ones behind. And they usually have to cut off contact with their families and other loved ones permanently, since the families left behind in Russia will be under government surveillance to track down the LGBTQ families members who escaped.

“Welcome to Chechnya” is nothing short of sounding the alarm that there is a modern-day holocaust of LGBTQ people. Baranova puts it bluntly when she says: “A group of people is identified without charge or trial. [Ramzan] Kadyrov and his people openly say that they are cleansing the republic.”

HBO premiered “Welcome to Chechnya” on June 30, 2020.

HBO Max announces more distribution partners, plus Zack Snyder cut of ‘Justice League’

May 20, 2020

The following is a combination of press releases from HBO Max:

WarnerMedia, a division of AT&T Inc., announced today a robust slate of new distribution agreements that will make HBO Max, the company’s highly anticipated streaming platform, widely available to customers at launch later this month. Covering a range of categories and platforms, including cable and broadband operators, gaming consoles and connected TVs, the newest companies to sign on to distribute HBO Max at launch include Altice USA, Cox Communications, Microsoft, National Cable Television Cooperative (NCTC), Samsung, Sony Interactive Entertainment and Verizon. These companies join AT&T, Apple, Charter, Google, Hulu and YouTube TV in offering HBO Max to their customers at launch.

HBO Max will debut May 27, 2020 with 10,000 hours of curated content and a programming lineup that offers something for everyone in the home. Anchored by the entire HBO service, the platform will also include an exciting roster of new original series, fan-favorite series and films from across WarnerMedia’s rich library and key third-party licensed programs and movies. HBO Max will be available from WarnerMedia at $14.99 per month.

“The launch of HBO Max is an important milestone for our company, and we’re excited that these valued partners will be on board for the launch,” said Rich Warren, president of WarnerMedia Distribution. “Through our expansive distribution pipeline, millions of customers will have immediate access to a best-in-class streaming experience come May 27.”

Detailed information about each distributors’ offering for HBO Max is as follows:

Altice USA has signed on to distribute HBO Max, giving all of its existing Optimum and Suddenlink HBO and HBO NOW subscribers immediate access to HBO Max and its expanded programming offering at launch. HBO Max will be available to these customers in addition to their existing HBO linear and on demand services and at no extra cost. Customers will be able to access HBO Max by downloading the app or accessing it on desktop and logging in using their Altice One, Optimum or Suddenlink credentials. Altice’s remaining and new customers will be able to purchase HBO Max directly from the company as part of a cable TV package, as an add-on to a video package, or as a standalone streaming service available to internet-only customers.

Verizon has signed on to distribute HBO Max to customers through its Fios TV and Fios Internet services. All of Verizon’s existing Fios customers who subscribe to HBO or HBO NOW will get immediate access to HBO Max at launch and at no extra cost. HBO Max will be available to these customers in addition to their existing HBO linear or streaming services. Those customers can use their Fios login credentials to access HBO Max either on supported devices through the app or via desktop. Verizon’s remaining and new Fios TV and Fios Internet customers will be able to purchase HBO Max directly from the company, as an add-on to video services or as a standalone streaming service available to internet-only customers.

Cox Communications, the largest private telecom provider in the U.S., will give all of Cox Contour’s existing HBO subscribers immediate access to HBO Max at launch and at no extra cost, in addition to their existing HBO linear and on demand services. Customers will be able to log into the HBO Max app on supported devices or access it on desktop and log in using their Cox account credentials. All remaining and new customers will be able to purchase HBO Max directly from Cox.

HBO Max will be made available at launch to independent cable and broadband operators – such as WOW!, Atlantic Broadband, RCN, Grande Communications & Wave, and MCTV, among others – through a new agreement with NCTC, on behalf of its 750 member companies throughout the U.S. and its territories. Existing HBO customers of the participating NCTC member companies will be given access to HBO Max at launch at no extra cost and new customers will be able to purchase HBO Max directly through their cable or broadband provider. The offering will then roll out more widely in the coming months, with additional member companies having the opportunity to provide the offering to their customers. For a full list of NCTC’s member companies, visit nctconline.org.

HBO Max will be available on PlayStation® 4 systems at launch. PlayStation® users in the U.S. who subscribe to HBO Max will be able to download the HBO Max app via the PlayStation®Store and access its full programming slate directly through their consoles for a seamless viewing experience beginning May 27th.

Users of Microsoft’s popular Xbox One gaming consoles in the U.S. who subscribe to HBO Max will be also able to access the platform at launch. The HBO Max app will be available on current Xbox One consoles and via the Microsoft Store on day one.

Finally, HBO Max will now be available through select Samsung TVs, bolstering the platform’s U.S. distribution to include a television manufacturer at launch. Owners of Samsung smart TVs – models from 2016 through 2020 – will be able to download and purchase HBO Max directly, offering another seamless viewing option for customers looking to access this best-in-class content experience.

In addition to including HBO favorites, Max Originals available at launch include Love Life, On the Record, Legendary, Craftopia, Looney Tunes and The Not Too Late Show with Elmo. Throughout the summer, new Max Originals will debut, including Karma, an original second season of the critically acclaimed DC fan favorite Doom Patrol, an original second season of Sesame Workshop’s animated series Esme & Roy, the return of the critically beloved mystery comedy Search Party, Adventure Time: Distant Lands- BMO, the three-part documentary series Expecting Amy, the adult animated comedy Close Enough, the 1988-set comedy Frayed, the heart-warming British animal rescue series The Dog House, the generational family docuseries The House of Ho, the animated children’s series Tig N’ Seek, and Seth Rogen’s feature length comedy An American Pickle.

More information about HBO Max is available at www.hbomax.com/.

“PlayStation” is a registered trademark or trademark of Sony Interactive Entertainment Inc.

May 27, 2020 UPDATE: 

Comcast to Bring WarnerMedia’s HBO Max to Xfinity Customers

Comcast and WarnerMedia today announced a deal to bring HBO Max to Xfinity X1 and Flex customers. As part of the deal, existing Xfinity HBO customers will have access to HBO Max beginning today at no additional cost via the HBO Max app and website while the companies work to quickly bring the HBO Max app to the award-winning Xfinity X1 platform along with the recently launched Xfinity Flex, a 4K streaming device that is included with Xfinity Internet. Additionally, new customers will be able to purchase HBO Max directly through Xfinity in the coming days.

“X1 and Flex bring our customers an unmatched depth and breadth of live, on demand and streaming entertainment, and we look forward to partnering with WarnerMedia to integrate the HBO Max app on our platforms alongside close to 200 other streaming services – all searchable with the award-winning Xfinity Voice Remote,” said Rebecca Heap, Senior Vice President, Video and Entertainment, Comcast Cable.

”We’re thrilled to cap off the excitement of today’s launch by adding Comcast’s Xfinity to our roster of distributors who are now offering HBO Max to their customers,” said Rich Warren, president of WarnerMedia Distribution. “This deal marks another important step in the distribution of HBO Max and provides millions of Xfinity customers with access to the product.”

Existing Xfinity TV customers who subscribe to HBO either a la carte or as part of a package – along with Xfinity Internet customers who subscribe to HBO through Flex – can access HBO Max by signing in to the HBO Max app or website with their Xfinity credentials. When HBO Max launches on Xfinity platforms, it will join Peacock, Hulu, Netflix, Amazon Prime Video, Amazon Music, HBO, YouTube, EPIX, STARZ, Pandora, and many more streaming services on X1 and Flex.

Xfinity X1 delivers the most comprehensive library of entertainment on one platform – aggregating live TV, On Demand, and popular streaming apps from a growing collection of networks and streaming services. Xfinity Flex is a 4K streaming device included with Xfinity Internet that extends the best features of X1 to Xfinity Internet customers, giving them one integrated guide to access all of their streaming video and music, as well as a TV interface to manage their Xfinity WiFi, mobile, security and automation services – all of which is controllable with voice.

HBO Max is WarnerMedia’s newest direct-to-consumer streaming platform delivered over the internet with 10,000 hours of curated content and a programming slate that offers something for everyone in the home. Anchored by the entire HBO service, the platform also includes an exciting slate of new original series, fan-favorite series and films from across WarnerMedia’s rich library and key third-party licensed programs and movies.

About Comcast Corporation
Comcast Corporation (Nasdaq: CMCSA) is a global media and technology company with three primary businesses:  Comcast Cable, NBCUniversal, and Sky.  Comcast Cable is one of the United States’ largest video, high-speed internet, and phone providers to residential customers under the Xfinity brand, and also provides these services to businesses.  It also provides wireless and security and automation services to residential customers under the Xfinity brand.  NBCUniversal is global and operates news, entertainment and sports cable networks, the NBC and Telemundo broadcast networks, television production operations, television station groups, Universal Pictures, and Universal Parks and Resorts.  Sky is one of Europe’s leading media and entertainment companies, connecting customers to a broad range of video content through its pay television services.  It also provides communications services, including residential high-speed internet, phone, and wireless services.  Sky operates the Sky News broadcast network and sports and entertainment networks, produces original content, and has exclusive content rights.  Visit www.comcastcorporation.com for more information.

HBO Max to #ReleaseTheSnyderCut

After global passionate fan calls to action and the #ReleaseTheSnyderCut movement, HBO Max and Warner Bros. Pictures announced today that it will exclusively world premiere Zack Snyder’s director’s cut of the Warner Bros. Pictures/DC feature film Justice League in 2021. Snyder surprised fans with the news this morning during a live online commentary of his film Man of Steel with Henry Cavill.

#ReleaseTheSnyderCut first became a passionate rallying social media cry among fans in 2017 and has not let up. From countless press articles and hundreds of thousands of social media mentions, it became a powerful global movement among cinephiles and comic book fans.

“I want to thank HBO Max and Warner Brothers for this brave gesture of supporting artists and allowing their true visions to be realized. Also a special thank you to all of those involved in the SnyderCut movement for making this a reality,” said Snyder.

“Since I got here 14 months ago, the chant to #ReleaseTheSnyderCut has been a daily drumbeat in our offices and inboxes. Well, the fans have asked, and we are thrilled to finally deliver. At the end of the day, it really is all about them and we are beyond excited to be able to release Zack’s ultimate vision for this film in 2021. This could never have happened if it weren’t for the hard work and combined efforts of the teams at HBO Max and Warner Bros. Pictures,” said Robert Greenblatt, Chairman, Warner Media Entertainment and Direct-To-Consumer.

“When Zack and Debbie shared the extraordinary vision of where Zack wanted to take Justice League, my team and our counterparts at Warner Bros. took it as a mission to solve the many issues that stood in the way,” said Kevin Reilly, Chief Content Officer at HBO Max, President, TNT, TBS and truTV. “Thanks to the partnership at Warner Bros. and the relentless pursuit of the entire WarnerMax team we are able to deliver this incredibly exciting moment for Zack, the fans and HBO Max.”

“Thanks to the efforts of a lot people, we’re excited to bring fans this highly anticipated version of Justice League,” said Toby Emmerich, Chairman, Warner Bros. Pictures Group. “This feels like the right time to share Zack’s story, and HBO Max is the perfect platform for it. We’re glad the creative planets aligned, allowing us to #ReleaseTheSnyderCut.”

In Justice League, fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.

The Justice League screenplay is by Chris Terrio, story by Chris Terrio & Zack Snyder, based on characters from DC, Superman created by Jerry Siegel and Joe Shuster. The film’s producers are Charles Roven, Deborah Snyder, with executive producers Christopher Nolan, Emma Thomas, Jim Rowe, Ben Affleck, Wesley Coller, Curtis Kanemoto, and Chris Terrio.

About HBO Max 
HBO Max is WarnerMedia’s direct-to-consumer offering debuting May 27, 2020. With 10,000 hours of curated premium content anticipated at launch, HBO Max will offer powerhouse programming for everyone in the home, bringing together HBO, a robust slate of new original series, key third-party licensed  programs and movies, and fan favorites from Warner Media’s rich library including  Warner Bros., New Line, DC, CNN, TNT, TBS, truTV, Turner Classic Movies, Cartoon Network, Adult Swim, Crunchyroll, Rooster Teeth, Looney Tunes and more. Sign up for updates at HBOMax.com.

About WarnerMedia

WarnerMedia is a leading media and entertainment company that creates and distributes premium and popular content from a diverse array of talented storytellers and journalists to global audiences through its consumer brands including: HBO MAX, HBO, Warner Bros., TNT, TBS, truTV, CNN, DC Entertainment, New Line, Cartoon Network, Adult Swim, Turner Classic Movies and others. WarnerMedia is part of AT&T Inc. (NYSE:T).

About Altice USA

Altice USA (NYSE: ATUS) is one of the largest broadband communications and video services providers in the United States, delivering broadband, pay television, mobile, proprietary content and advertising services to more than 4.9 million residential and business customers across 21 states through its Optimum and Suddenlink brands. The company operates a4, an advanced advertising and data business, which provides audience-based, multiscreen advertising solutions to local, regional and national businesses and advertising clients. Altice USA also offers hyper-local, national, international and business news through its News 12, Cheddar and i24NEWS networks.

About Cox Communications

Cox Communications is committed to creating meaningful moments of human connection through broadband applications and services. The largest private telecom company in America, we proudly serve six million homes and businesses across 18 states. We’re dedicated to empowering others to build a better future and celebrate diverse products, people, suppliers, communities and the characteristics that makes each one unique. Cox Communications is the largest division of Cox Enterprises, a family-owned business founded in1898 by Governor James M. Cox.

About National Cable Television Cooperative, Inc.

The National Cable Television Cooperative, Inc. (NCTC) is a Kansas-based, not-for-profit corporation that operates as a programming and hardware purchasing organization for its member companies who own and operate cable systems throughout the U.S. NCTC seeks to maximize current and future opportunities to ensure the profitability, competitive stature and long-term sustainability of its member companies. NCTC represents more than 750 small and mid-sized independent cable and broadband operators across the U.S., in programming and technology acquisition. NCTC is actively engaged in helping network providers and suppliers evolve their business models to deploy new video/data solutions to match the changes in the media landscape.

 

Copyright 2017-2023 Culture Mix
CULTURE MIX