Women’s wrestling might not seem like the most natural of subjects for producers Liz Flahive and Carly Mensch to (pardon the expression) tackle. The two writers, who’ve been friends for years dating back to their time on “Nurse Jackie,” were looking for another project to team up on. “We knew we wanted it to be female-focused, we wanted it to be a comedy, but we had no other insight beyond that,” says Flahive.
And then they came across a documentary about the women of “G.L.O.W.” (Gorgeous Ladies of Wrestling), talking about their time making the show which aired back in the late ’80s. “We had never heard of ‘G.L.O.W,’ we had never watched it in the ’80s, we had never watched wrestling,” says Flahive. “We were so moved by the way that these women were talking about how this crazy experience transformed them and changed their lives, how it took them down these paths they would have never have walked down if not for this totally weird opportunity that they all came together.”
Intrigued, they started watching old episodes and found themselves hooked. “There was something about seeing how they used their bodies in this way that was really exciting to us,” says Mensch, “and I think we both have a history of writing for strong but flawed, weird women.”
They recruited Jenji Kohan, whom Mensch had worked with on “Orange is the New Black” to help them shape the project. Their pitch was a notably brief email: “Do you want to work on a show with us about women wrestling in the ’80s?”
Her even shorter reply came five minutes later: “Yes!”
All they kept from the original show was the name and the time period. “It felt like such a rich time in terms of sexual politics and the conservative swing,” says Flahive
In the series, which bows on June 23 on Netflix, a group of women are drawn to a casting call for a potential women’s wrestling show being assembled by a struggling director (Marc Maron). They’re all there for their own reasons — but as the series unfolds, it’s clear they’re all there to challenge stereotypes and conventions. “GLOW” becomes a meta conversation as the women debate whether they’re being exploited or empowered. That’s a conversation the showrunners had themselves.
“I think in our dream world the debate between is it empowering and is it exploitative is always going to live at the heart of the show,” says Mensch. “I think we hope to never fully leave the question of, ‘is this slightly exploitative?’” As the actresses — and the characters— learned how to wrestle, they formed a bond, report the producers. “I think that then percolates into the show,” says Mensch. “You can see them owning both the ring and their bodies in really awesome ways.”
Continue onto Variety to read the complete article.
In the wise words of Dunder Mifflin’s expert prankster, Jim Halpert, “sometimes goodbyes are a bitch.”
When Michael Scott bid his emotional farewell to the Scranton branch in Season 7 of The Office, he and Jim never officially said goodbye to each other. The sentiment was mutually understood, but the goodbye itself was too painful, so they simply ignored it. Years later, that’s exactly how fans and cast members parted ways with the show itself.
The NBC comedy ended in 2013, but fans have ultimately refused to let it go. The Office is one of the most popular shows on Netflix, acts as fodder for endless memes, and has even inspired an Off-Broadway musical. Though a reboot currently remains off the table, former co-stars and IRL best friends Jenna Fisher and Angela Kinsey wanted to give people another way to celebrate the off-air series, so they decided to host a podcast called Office Ladies.
Each week, the two ladies of The Office will re-watch an episode and share memories, a few fast facts, and behind-the-scenes stories from filming. The first episode, “Pilot,” aired Wednesday on Stitcher’s podcast network, Earwolf, and fans should definitely give it a listen.
In Episode 1, Fischer and Kinsey recall the early days of shooting, back when no one had any idea if the U.S. version of the UK show with the same name would take off. They take listeners back to the “Pilot” episode, which aired on March 24, 2005, and reminisce on which hilarious moments were improvised, Jim and Pam’s first flirts, how Sprinkles the cat came to exist, and more.
If you tune into the podcast, here are some of the enlightening tidbits that you can expect to hear.
Steve Carell is as nice as he is funny
You may have heard rumors that Steve Carell is a super agreeable guy, and Fischer is here to confirm. “He’s one of the nicest people you’ll ever meet,” she says, noting that while he’s not constantly cracking jokes he is personally responsible for some of the funniest moments on the show.
In the pilot, for instance, Carell improvised the line where Michael’s talking about his heroes. Showrunner Greg Daniels apparently asked Carell who he thought Michael Scott’s heroes would be, and that’s how they created the line, “Bob Hope. Umm, Abraham Lincoln definitely. Bono… and probably God would be the fourth one.” Iconic.
Jenna unpacks Pam and Jim’s undeniable spark
One of the fan-favorite relationships on the show is, of course, the slow-burn romance that develops between Jim and Pam. Jenna Fischer is just as obsessed with the two work pals turned spouses as you are, and is excited to lend some commentary to the couple. She talks about the flirtation between the two characters in the pilot, the heartbreaking talking head where Jim wonders if he’ll be invited to Pam’s wedding, and her favorite moment between the two: Their cat party conversation.
Continue on to Mashable to read the complete article.
Broadway’s Mandy Gonzalez, Bianca Marroquín and Lindsay Mendez are committed to the “sisterhood” of Latinas in the arts, and they are all working hard to encourage young people to pursue creative work. Pictured from left to right: Actresses Lindsay Mendez, Mandy Gonzalez and Bianca Marroquín.
Mandy Gonzalez was a teenager when she sat in her bedroom in Saugus, Calif. and watched the cast of “Rent” perform at the Tony Awards. Watching actress Daphne Rubin-Vega sing “Seasons of Love” made a lasting impression because she was “someone who looked like me… I thought ‘I can do this,’” recounted Gonzalez.
Flash forward to today, and there’s no doubt Gonzalez, who is Mexican and Jewish, has made it in the acting world. She currently plays Angelica in Broadway’s hit musical “Hamilton.”
Gonzalez is one of a small group of Hispanic professional theater actors working on Broadway today. Even though Hispanics make up 18.3 percent of the nation’s total population, the first-ever Actors’ Equity Association study of diversity noted that less than 3 percent of its members identify as Hispanic or Latinx. Broadway audiences don’t reflect our country’s diversity, either. A January 2018 report from the Broadway League discovered that Latinos account for only 7.1 percent of theatergoers.
However, Broadway has indeed been inching toward progress in terms of diversity over the years. For example, the original 1979 Broadway production of “Evita” was picketed by the Hispanic Organization of Latin Actors for not hiring Latino actors to tell a story about Argentinians. But when “Evita” was revived in 2012, it had actors of Latin descent in the two lead roles, among others.
And today, a quick glance at the headshots of performers in “Hamilton” paint an inclusive picture. Aspiring Hispanic performers can also look to multiple Broadway shows for inspiration—there’s Karen Olivo in “Moulin Rouge,” Eva Noblezada in “Hadestown,” and Shireen Pimentel in the upcoming “West Side Story,” to name a few.
Still, many are quick to note there is still a long way to go.
Photo Credit: Matthew Murphy/Ted Ely/Courtesy of Bianca Marroquín
Continue on to NBC News to read the complete article.
Bahara’s road to acting was not your ordinary. She was born in Kabul, Afghanistan and soon after she and her family were forced to flee the country and become refugees in Moscow. Eventually Bahara and her family were sponsored by the UN and were helped to settle-in the U.S.. Even though she faced many struggles while growing up, she never lost the passion and faith of one day becoming an actor.
After making a splash in multiple headlines with her announcement on Deadline, Variety and TheWrap, beguiling and multi-faceted actor Bahara Golestani is the new fresh face to watch on the new season of NBC’s smash hit series “This Is Us,” which returned for its 4th season in September.
A graduate of the world-renowned Stella Adler Academy of Acting & Theatre, Golestani is best known for her roles in TNT’s “Animal Kingdom” and is also a voiceover actor. Her upcoming projects also include the Jason Koch-directed indie film BENEATH THE BLACK VEIL and the highly-anticipated Michael Bay blockbuster film 6 UNDERGROUND premiering on Netflix in December 2019.
Having been both nominated and winning multiple Emmys, Golden Globes, SAG, People’s Choice, and NAACP Image Awards, NBC’s “This is Us” returned to television this fall to continue the captivating and unique story of the Pearson family. The newest season will dive deeper into the family’s history including stories from their pasts that have shaped their present day lives.
Having been announced recently in the industry trades and spreading like wildfire to the rest of the world, Bahara portrays a mysterious and important character that will drastically affect the lives of the Pearson family. “This is Us” Season 4 Trailer
Born in Kabul, Afghanistan, Golestani walked an untraditional path to achieve Hollywood success. She grew up in a creative household; her father was an artist and her mother was an actress, so she always had a natural passion to perform and to pursue the arts. She grew up playing the violin and loved performing in school plays. At the young age of four, she and her family were forced to flee the country and became war refugees in Moscow.
Their lives were completely transformed as they had to leave their home abruptly with nothing and led a refugee life with no stability. They ultimately were sponsored by the UN in Moscow helping her and her family move to America eventually residing in Phoenix, Arizona to start a new life. Golestani had a difficult childhood adapting in America as she didn’t speak a word of English. With the help of the hit television series “Friends,” she was able to learn the language and at the same time, became enthralled with acting. After high school, she pursued modeling, successfully landing several magazine covers, but always knew her true passion was to act.
From the moment she stepped foot into the Stella Adler Academy in Hollywood during a campus tour visit, she knew this was exactly where she belonged. In order to make money for the costly tuition, she worked diligently for two years on multiple jobs and finally saved enough money to move and enroll herself in the Academy. Upon graduating from Stella Adler, she persistently went out on auditions and worked as a professional fitness model, even successfully placing first in female bodybuilding competitions.
After landing roles in various short films, Golestani has since appeared in TNT’s “Animal Kingdom,” CBS’ “Madam Secretary” ID TV’s “Betrayed,” and film AN AMERICAN FUNERAL, before landing her breakout role on the newest season of NBC’s “This is Us.”
When Golestani isn’t busy acting and continuously honing her craft, she can be found working on her fitness continuously bettering herself both physically and mentally. As a speaker of five different languages (Farsi, Russian, Dari, Pashto and English), she has worked as a translator/consultant on film and TV sets and has also completed voiceover work in films like 6 UNDERGROUND. Golestani has a huge compassion for refugees of war and is very proud of her Afghan roots. Ultimately, she would love to become a role model to those in similar positions to her when she was a child and plans to become even more active through various charities and organizations.
A homeless woman, whose video showcasing her singing ability at a Los Angeles Metro station recently went viral, performed for a live audience Saturday, hoping to raise awareness of the homelessness crisis.
Russian-born singer Emily Zamourka appeared onstage during the “Little Italy” celebration in San Pedro, singing the same Italian opera piece that garnered her international attention.
“I’m not a professional singer, but I’m very critical to how I’m going to sound or how I’m going to perform,” she said. “It has to be delivered right. It’s not easy, so that’s why today I will apologize in front of everybody, because they probably thought I’m going to bring a [bigger] repertoire or something. It’s going to be the same song that they know me from the subway [for].”
Zamourka, who has been homeless for the past few years, said that she has been overwhelmed by the worldwide acclaim she has received since the Los Angeles Police Department posted a video of her singing at a Metro Purple Line station on its social media.
The video, which has been retweeted over 6,000 times on Twitter since being posted on Sept. 26, prompted many to applaud her operatic voice. Zamourka didn’t know that her singing had been heard by people around the world until friends called to tell her.
She later thanked the officer who took the video, as shown by another clip posted by the LAPD.
Zamourka previously said that she has no formal training, but would not decline to sing on stage. The opportunity to do so came on Saturday.
After performing at the event and giving interviews to local and international reporters, Zamourka left to rest. LA City Councilman Joe Buscaino’s office, which hosted the “Little Italy” event, said it is working to find housing for the singer.
But though she thanks everyone who has supported her, Zamourka believes a person’s skills shouldn’t determine whether they receive help.
She also landed an historic Tony Award, plus an Oscar nomination for her performance in ‘Claudine.’
Diahann Carroll, the captivating singer and actress who came from the Bronx to win a Tony Award, receive an Oscar nomination and make television history with her turns on Julia and Dynasty, died Friday. She was 84.
Carroll died at her home in Los Angeles after a long bout with cancer, her daughter, producer-journalist Suzanne Kay, told The Hollywood Reporter.
Carroll was known as a Las Vegas and nightclub performer and for her performances on Broadway and in the Hollywood musicals Carmen Jones and Porgy & Bess when she was approached by an NBC executive to star as Julia Baker, a widowed nurse raising a young son, on the comedy Julia.
She didn’t want to do it. “I really didn’t believe that this was a show that was going to work,” she said in a 1998 chat for the website The Interviews: An Oral History of Television. “I thought it was something that was going to leave someone’s consciousness in a very short period of time. I thought, ‘Let them go elsewhere.’ ”
However, when Carroll learned that Hal Kanter, the veteran screenwriter who created the show, thought she was too glamorous for the part, she was determined to change his mind. She altered her hairstyle and mastered the pilot script, quickly convincing him that she was the right woman.
Carroll thus became the first African American female to star in a non-stereotypical role in her own primetime network series. (Several actresses portrayed a maid on ABC’s Beulah in the early 1950s.)
Her character Baker, whose husband had died in Vietnam, worked for a doctor (Lloyd Nolan) at an aerospace company; she was educated and outspoken, and she dated men (including characters played by Fred Williamson, Paul Winfield and Don Marshall) who were successful, too.
“We were saying to the country, ‘We’re going to present a very upper middle-class black woman raising her child, and her major concentration is not going to be about suffering in the ghetto,'” Carroll noted.
“Many people were incensed about that. They felt that [African Americans] didn’t have that many opportunities on television or in film to present our plight as the underdog … they felt the [real-world] suffering was much too acute to be so trivial as to present a middle-class woman who is dealing with the business of being a nurse.
“But we were of the opinion that what we were doing was important, and we never left that point of view … even though some of that criticism of course was valid. We were of a mind that this was a different show. We were allowed to have this show.”
Julia, which premiered in September 1968, finished No. 7 in the ratings in the first of its three seasons, and Carroll received an Emmy nomination and a Golden Globe for her work.
While recuperating after starring on Broadway in Agnes of God, Carroll had found herself digging Dynasty — “Isn’t this the biggest hoot?” she said — and lobbied producer Aaron Spelling for a role on his series.
“They’ve done everything [on the show]. They’ve done incest, homosexuality, murder. I think they’re slowly inching their way toward interracial,” she recalled in a 1984 piece for People magazine. “I want to be wealthy and ruthless … I want to be the first black bitch on television.”
Fresh off her much buzzed performance in the movie “Hustlers,” the multi-talented performer has announced she will be hosting the 2020 Super Bowl halftime show alongside Shakira.
The duo follow in the recent footsteps of Maroon 5, Justin Timberlake, Beyonce, Bruno Mars, Katy Perry, and Lady Gaga, who have headlined the biggest show on American TV. Super Bowl LIV will take place at the Hard Rock Stadium in Miami on Feb. 2, 2020.
The news came via the two singers’ social media, and was swiftly followed by confirmation from the NFL’s official account.
The performances by Maroon 5 and Justin Timberlake in the last two years have drawn criticism, and many performers have been reluctant to take the gig in light of the NFL’s response to Colin Kaepernick and other players kneeling during the national anthem.
Earlier this year, the league announced a partnership with Jay-Z and his Roc Nation label which encompassed entertainment and social justice efforts. The rapper was likely instrumental in bringing Lopez and Shakira to the stage next year, given his position as a consultant on the halftime show.
Continue on to Variety to read the complete article.
In 2018, eight undocumented families took the extraordinary risk of allowing film crews to chronicle their lives as they faced potential deportation. Ranging from harrowing to hopeful, their journeys illuminate and humanize the complex U.S. immigration system. Living Undocumented depicts the struggles many must endure in their quest to pursue the American dream.
Living Undocumented is co-directed by Aaron Saidman and Anna Chai and is executive produced by Emmy®-winning executive producers Eli Holzman and Aaron Saidman via Industrial Media’s The Intellectual Property Corporation banner, along with executive producers Selena Gomez, Mandy Teefey, Anna Chai and Sean O’Grady.
Quote from executive producer Selena Gomez:
“I chose to produce this series, Living Undocumented, because over the past few years, the word immigrant has seemingly become a negative word. My hope is that the series can shed light on what it’s like to live in this country as an undocumented immigrant firsthand, from the courageous people who have chosen to share their stories.”
Quote from series co-director and executive producer Aaron Saidman:
“Living Undocumented is designed to illuminate one of the most important issues of our time. But rather than discussing this issue with only statistics and policy debates, we wanted viewers to hear directly from the immigrants themselves, in their own words, with all the power and emotion that these stories reflect.”
In the nearly 30 years since she danced her way onto our screens as a Fly Girl on In Living Color, Jennifer Lopez has evolved into an award-winning, record-breaking, history-making phenomenon.
A force to be reckoned with in every industry she enters—be it dance, music, TV or film—the star has also made strides in the business world, intertwining her marketability with her personal persona and riding her brand all the way to the bank.
The Business of Being J. Lo
The consummate boss lady, Lopez has leveraged a thorough understanding of her personal brand and identity to generate several multi-million-dollar business enterprises. It is a tactic that, according to the successful multi-hyphenate, is key to longevity.
“You have to remember the value of your individuality—that you have something different and special to offer that nobody else can,” she said in an interview with IOL.
Lopez’s marketability lies in her origin story and the hard work ethic that took her from the southside of the Bronx to the highest echelons of stardom. To quote her hit “Jenny from the Block”— “no matter where she goes, she knows where she came from”—that sentiment has endeared her to fans, and consumers, worldwide.
“Staying authentic to that image of an entertainer, mother, and woman of humble beginnings in a struggling Puerto Rican family from the Bronx is important, and it’s key to reaching a bigger audience of potential customers. That’s a big part of who I am, and my brand in a way,” Lopez said in a sales pitch to Silicon Valley.
Lifestyle a la Lopez
Lopez first flexed her business muscle in 2001, when she launched her eponymous clothing and accessories line, J. Lo by Jennifer Lopez. With an unapologetic focus on providing fabulous fashion choices for women of all sizes (including often overlooked curvaceous body types), the label has gone through several iterations over the years, expanding to include girls’ sportswear and housing decor. In 2010, she relaunched the brand in partnership with popular retail chain Kohl’s, capitalizing on their exclusive private brand strategy to ensure nationwide saturation of her vision. The collection, which includes a wide array of fashion running the gamut from statement pieces to chic comfort, is a testament to the entrepreneur’s personal taste (if she wouldn’t wear it, it doesn’t hit the shelf).
“It’s great to collaborate with Kohl’s in the creation of a full lifestyle
brand that represents my full style and essence,” said the entrepreneur, who is known for taking an active role in each stage of the production process. “I’m a mom. I work. I want comfort, but I also want to feel sexy and modern. I think a lot of women want the same thing.”
As Lopez’s star continued to rise on the charts and in theaters, she made yet another boss lady move that would further cement her status as a business mogul. Alongside then manager Benny Medina, the star co-founded Nuyorican Productions, a film and television production company, in 2001. The production house has developed a wide range of projects, from documentaries to primetime shows to online series, with Lopez often starring or serving in an executive producer capacity. To date, the entity is responsible for six films, 12 TV series (including award-winning The Fosters, which won two GLAAD Media Awards for its outstanding representation of LGBT issues), four TV specials, one online series, and nine musical releases.
The Smell of Success
Lopez’s long-term influence and impact on the fashion industry extends beyond clothing, accessories, and home goods. In 2002, she launched what would become America’s top-selling fragrance and the best-selling celebrity fragrance line in the world—Glow. The move jump-started the now common-place strategy of celebrities bringing their own namesake scents to the market. In the 17 years since its inception, Lopez has released 24 fragrances, with revenue in the billions.
No Time Off
The mid-2000s saw Lopez incrementally building her empire—starring in several films (including 2006’s Bordertown, which earned her an Artists for Amnesty Award from Amnesty International), producing several others under Nuyorican, releasing her sixth studio album, maintaining her lifestyle brands, and serving as the Chief Creative Officer for NuvoTV (a Latino community focused cable network). It wasn’t until 2008, after giving birth to twins Max and Emme, that she finally took a short hiatus to focus on her new family.
She was back on the grind less than two years later, when she joined the judging panel on the tenth season of American Idol. The comeback served as the spark of a resurgence predicated on her undeniably successful personal brand that—nearly a decade later—has yet to falter.
The Power of Branding
Armed with an ambitiously sharp business mind, an innate understanding of her brand, and a ferocious work ethic, Lopez has established herself as an obvious go-to for major companies looking to connect to consumers via a relatable feel coupled with a healthy dose of glamour. L’Oréal Paris, Gillette Venus, Fiat Automobiles, denim powerhouse Guess, and luxury footwear Giuseppe Zanotti have all called on the business behemoth, who boasts one of the most powerful brands on the planet.
The numbers don’t lie: more than 150 million people, a whopping 75 percent of them millennials, follow the phenom on social media, privy to Lopez’s every post, project, and partnership. That fact alone points to her uncanny ability to connect with the masses using her high-profile status as a business asset for social commerce.
To Lopez, that universal appeal serves as the potential foundation for creating wide-ranging business opportunities that have yet to be realized.
“I want to build something that has never been done before,” she declared in 2015 at VentureScape, a venture capital conference in Silicon Valley hosted by the National Venture Capital Association. And she most definitely will. Her companies boast a track record of success that surpasses Stanford graduates (the stereotypical recipients of such funds) and is predicated in part on her willingness to take risks.
“I have found that taking risks, being true to myself, and making decisions with good intentions can exceed even my own expectations,” the mogul mused in her 2014 bestseller, True Love.
Beyond the Business
Lopez may have established herself as an entrepreneurial enigma through her mastery of multi-faceted platforms and her sheer intelligence in strategically building and managing her brand, but her talents and impact (obviously) extend well past the boardroom. The fervent go-getter was advised as her career was just starting to blossom to “make a moment of her shot” (a piece of wisdom bestowed by fellow actor Jack Nicholson while on set shooting the neo-noir thriller Blood and Wine in 1997).
She took the advice to heart, harnessing every opportunity to its full potential, smashing racial barriers, and side-stepping naysayers to become one of (if not the) most influential Hispanic performers in the United States. In 2018, TIME Magazine named her among its “100 Most Influential People in the World,” and for good reason.
The quadruple threat (singer, actress, dancer, and producer) has sold more than 80 million records in the last two decades, holding the record for releasing the first remix album—entitled J to tha L-O! The Remixes—to ever debut at No. 1 on the Billboard 200, as well as the highest first week sales for a Spanish album in the United States—her 2007 Como Ana una Mujer.
As an actress, she has blazed a record-making trail in Hollywood as
well, capturing the nation’s attention in 1997 with her portrayal of Tejano superstar Selena Quintanilla-Perez in the namesake biopic Selena and demanding a salary that at the time made her the highest-paid Hispanic actress in history. Collectively, her films have grossed more than $3 billion, and she holds the distinction of being the first woman to have a number one film (The Wedding Planner) and the number one album (J. Lo) simultaneously in the United States.
Lopez has also left an undeniable mark in the dance industry, cementing her reputation as a powerhouse on the floor with her fierce choreography and the producing (and serving on the judges panel) of the wildly popular World of Dance, which features dancers and groups from all over the world competing for a $1 million prize.
Her influence goes beyond the glitz and glamour of Hollywood and the recording studio, however. Lopez’s list of philanthropic efforts rivals her professional achievements. From the founding of the Lopez Family Foundation, a global nonprofit “dedicated to improving the health and well-being of women and children and increasing available medical care,” to her service as the first national celebrity spokesperson for the Children’s Miracle Network Hospital and the BC Children’s Hospital Foundation, her care, concern, and support for her fellow man and women is evident.
With her tenacious can-do attitude, persistent work ethic, and unapologetic boss lady branding, Jennifer Lopez has built a successful, multi-tiered legacy that is sure to stand the test of time. And she is confident there is even more to come.
“You have to believe that you really have that power to make your life whatever you want it to be,” she said.
Some are born icons, some eventually achieve icon status, and some have icons thrust upon them. Such was the case with Angela Bassett, who became the recipient of the Icon Award, the highest accolade at the 2019 Black Girls Rock! event.
After Academy Award–winning actress Regina King introduced Bassett to the audience, the actress delivered an empowering acceptance speech, in which she discussed the winding road to finding her life’s purpose and what it means to stand in the face of adversity as a black woman.
“My purpose as a black woman, as an actress, has always been to portray excellence on the screen, to be proud, unapologetic, and without regret,” said the Black Pantherqueen.
“It hasn’t always been easy. And there have been tough times, days when the phone didn’t ring, even after What’s Love Got to Do with It, as well as moments of uncertainty and of doubt,” Bassett said.
“But what women like my mother, Betty Jane, and my Aunt Golden taught me is that there will be times when you seemingly face insurmountable obstacles, but that’s when you dig deep into your soul for the courage and the fortitude … .”
She additionally thanked her family for “giving me the opportunity and the space to be a black girl who rocks.”
Later, she urged the audience to persistently remind the world of their worth and irreplaceability. “When you’re told you’re not good enough, you tell them, not only am I good enough, I’m more than enough,” she said. “When they say send her back home, you tell them, I am home. I am the foundation of what you call home. When they tell you that you’re angry or nasty, you tell them that they’re mistaken. This is me. This is me being resolute and standing firmly in my truth. And when they say you’re not beautiful, you tell them that you are the descendant of royalty.”
Each of the nominees and honorees are carefully and thoughtfully chosen from a large pool of change makers in each of their respective industries. The winner in each category is the one who represents ADCOLOR’s motto best, which is “Rise Up and Reach Back.” They are honored not just for the accomplishments in their own careers, but also how they are able to give back to their community. The organization’s goal is to “create a network of diverse professionals to encourage and celebrate one another.”
“There is no better honoree to set the tone of Adweek’s inaugural Beacon Award than Eva Longoria,” said Lisa Granatstein, Editor, SVP, Programming, Adweek. “From her formidable seven-year-old Eva Longoria Foundation that empowers Latinas via STEM education and entrepreneurship to her leadership role calling for diversity in Hollywood, Eva’s remarkable accomplishments are both authentic and action-oriented.”
The inaugural Beacon Award honors talent who uses their celebrity as a catalyst to change the status quo in the quest for diversity and inclusion. In May, ADCOLOR and Adweek partnered on the first Champion awards and celebration recognizing the fearless leaders and rising stars in marketing and media who embody ADCOLOR’s call to “Rise Up. Reach Back.”