We know you’re disappointed. We all are! The “Game of Thrones” season finale left much to be desired and even more to be angry about.
Even Alexandria Ocasio Cortez was bummed about the ending.
In an interview with Massachusetts Senator Elizabeth Warren, Ocasio-Cortez expressed her deep disappointment in the series saying “I’m sad. I’m disappointed about it… “I feel like we were getting so close to having this ending with just women running the world.”
A “Game of Thrones” Prequel is underway, and we’re so excited!
HBO has announced that a new series based on “Game of Thrones” will be released. Here’s a little backstory about what it’s about: “Taking place thousands of years before the events of ‘Game of Thrones, the series chronicles the world’s descent from the Golden Age of Heroes into its darkest hour. From the horrifying secrets of Westeros’s history to the true origin of the White Walkers, the mysteries of the East to the Starks of legend, only one thing is for sure: It’s not the story we think we know.” Sounds very intriguing.
GoT author George R.R. Martin is very much involved in the show, and that’s a good thing.
While we may have been pissed at his idea of a finale, we still love the show and wouldn’t want anyone else creating this new series. While the show takes places in Westeros, it won’t look like the place we have come to know.
“Westeros is a very different place. There’s no King’s Landing. There’s no Iron Throne. There are no Targaryens — Valyria has hardly begun to rise yet with its dragons and the great empire that it built,” Martin told Entertainment Weekly last year. “We’re dealing with a different and older world, and hopefully that will be part of the fun of the series.”
The show will also be way more diverse than “Game of Thrones.”
As you may recall, “Game of Thrones” featured very little diversity, including two main people of color, that will all change with this new cast.
Some of those actors include Marquis Rodriquez, Naomi Ackie, Sheila Atim, and Ivanno Jeremiah. The main stars will be Miranda Richardson and Naomi Watts.
After over a decade of lobbying, The National Domestic Workers Alliance’s (NDWA) work is on the verge of paying off. This week, Representative Pramila Jayapal (D-WA) and Senator Kamala Harris (D-CA) introduced legislation that would establish the first-ever National Domestic Workers Bill of Rights.
The bill would effectively include domestic workers as worthy of the same rights as other American workers–including “paid overtime, safe and healthy working conditions, meal and rest breaks, earned sick time, and freedom for workplace harassment,” according to NDWA.
Rep. Pramila Jayapal is leading the charge to ensure this bill is passed into law.
“Did you know most domestic workers are not covered by federal anti-discrimination and sexual harassment laws? Well we’re pushing back to change that,” tweets Rep. Jayapal. “My #DomesticWorkersBillofRights will give domestic workers the protections they deserve!”
The bill would grant basic worker’s rights to 2.5 million people in the U.S.
Of those 2.5 million people, 91 percent are women, mostly women of color. Given that domestic workers aren’t required to be paid even minimum wage, and that their work doesn’t include benefits like health insurance, it’s important to make sure every worker earns a living wage. According to NDWA, 70 percent of domestic workers are paid less than $13 an hour.
The workers who do the heavy lifting in the shadows of our economy may finally be recognized as worthy of rights.
NDWA has worked hard over the years to make it easier for domestic workers (home care workers, nannies and house cleaners). They even created a web app that would allow clients to contribute to a PTO and benefit fund for domestic workers. This bill would ensure that the government is advocating for every worker, so that domestic workers don’t have to fight so hard to advocate for themselves.
Members of the group broke off to meet with their representative.
“We had a powerful meeting with @timkaine where our members in Virginia shared stories about abuse and exploitation in the workplace,” the organization tweeted. “Every single worker deserves to work safely and with dignity. Onward to a National #DomesticWorkersBillOfRights!”
The group met with AOC, who opened up about how the bill would help “little girls like [her].”
“My mom was a domestic worker,” she tells the group. “As a child I grew up reading books on the staircases of other people’s homes, and doing homework on other people’s dinner tables, because my mom was pursuing domestic work so that I could go on field trips and have a future.”
For AOC, this bill is about reparations for a group of people who often go unseen in this world.
She praised the group for their advocacy, saying, “When you all are fighting for this, you’re fighting for little girls like me. You’re putting a shirt on a little girl like me’s back. I can’t tell you the reparations it has to see people who are used to being unseen and that’s what this bill does.”
The group also live-tweeted a conversation between several domestic workers and Rep. Jayapal.
The stories were shocking. A nanny named Thaty shared her experience, saying that “being a nanny takes so much hard work. I don’t know many people who can handle caring for 5 kids under 5 years old! But our work is still considered unskilled. We need to bring our work out of the shadows — so everyone can know what we do and how hard we work.”
Jayapal touched on something deeper than granting legal rights–this issue is about overdue respect.
So many families rely on domestic workers to come home to a clean home, safe and cared-for children, and more. They’re often not seen as employees but rather, “the help.”
But “The Help” encounter medical issues and injuries while on the job, without any legal protections.
Domestic workers are not included in federal protections for workers injured while on the job. So when Sylvia shared that she never fully recovered from a bad fall on the job, and though it impedes her ability to continue to work, she just has to grimace through it.
That same Sylvia is an inspiration. She told Rep. Jayapal that her experience “meeting workers who felt too vulnerable at work to raise their own voices forced me to be brave enough to raise my own voice, for me and for them. That’s why I’m part of the National Domestic Workers Alliance.”
We’re rooting for you!
As Latinos, so many of our own moms, tías or abuelas have driven this industry that, frankly, serves as the backbone to our economy. They offer support to middle and upper-class families who have money but don’t have time, and their work supports our families. Time to give some respect.
In the most recent installment of Blumhouse’s “Into the Dark” Hulu TV movie anthology series, “Culture Shock”, a story about a Mexican woman who finds herself trapped in a warped American utopia after attempting to cross the border, Blumhouse explores the horrors of the migrant crisis, adding a dose of supernatural to the already chilling situation many migrants are face when striving for a better life.
“Culture Shock” follows Marisol, played by Mexican actress Martha Higareda, a poor young pregnant woman living in Mexico who dreams of a better life for her and her unborn child.
“Culture Shock” immediately establishes the harrowing conditions that many immigrants face in their home countries before deciding to emigrate. Indeed, one of “Culture Shock”‘s first scenes shows Marisol being raped by Oscar, a man we had previously been led to believe was her loving boyfriend. Shortly after, we also discover that Oscar stole money she had given him to secure her passage across the border to the U.S. This leaves Martha stranded and alone in her home country of Mexico, and also now carrying the child of the man who assaulted her, which adds even more urgency to her situation.
Marisol bravely decides to attempt the crossing one more time to secure a future for her and her baby, paying a “coyote” hundreds of dollars to help smuggle her into the U.S. The journey isn’t an easy one–at nearly every stop on the way to America, Marisol is strong-armed into giving every new handler additional money–money that she wasn’t told about before. If nothing, “Culture Shock” gives a realistic, if infuriating, portrayal of all of the injustice desperate migrants are subjected to while trying to cross the border. And the danger is steeper than ever for Marisol, a single woman who is also pregnant. The threat of sexual violence on Marisol’s body is constant, and what’s more disturbing is how habituated to sexual and other forms of violence she seems to be. It’s just another subtle nod towards her complicated and traumatic history.
After being caught at the U.S. border, Marisol wakes up in a pastel-colored paradise that embodies the American dream in every aspect: the residents are beaming, the food is delicious and abundant, and the pervading sense of peace and harmony of the so-called town of “Cape Joy” easily lulls Marisol into an immediate sense of security. It’s here that the director, Latina auteur Gigi Saul Guerrero, begins to flex her artistic muscles. The cinematography is disorienting, with off-center and odd-angled close-ups, quick cutaways that mimic Marisol’s constant confusion, and a visual stark contrast between Marisol’s old, dreary life in Mexico and her new, vibrant life in Cape Joy, USA.
But something isn’t right in Cape Joy.
Not only does Marisol have no recent memories of what happened to her after being caught by US Border Patrol, but the fellow immigrants she crossed over with have no idea who she is. And while Marisol mysteriously gave birth to her baby while she was presumably unconscious, she’s never allowed to hold her. When Marisol expresses concern to her host mother, Betty (Barbara Crampton) about her missing old belongings, Betty tells her: “Don’t worry about what you’ve lost. Think instead of all that you’ve gained.” It’s lines like this, which are obviously meant to convey more than just the literal meaning of the words, that the movie leans hard into.
Throughout “Into the Dark”, there is an underlying current of not-so-subtle political messaging that makes it obvious that this movie isn’t your typical straight-forward horror film. It’s as much a vehicle for social commentary and critique on the migrant crisis and America’s inhumane treatment of migrants at the border as it is about delivering stomach-churning gore and jump scares. The movie, directed by, confirms the existential fear many migrants have of looked at as sub-human when they try to cross the border. Sometimes, the social commentary comes off as a little too on-the-nose, with Big-Bads saying things such as: “Nobody gives a fuck about these people,” and “We’re not paid to give [them] the American Dream. We’re paid to keep them out of it”.
When the mystery behind the oddness of Cape Joy is finally revealed, the element of sci-fi and horror that’s added to Marisol’s story can almost feel like a relief, purely due to its obvious fictional tropes. The more terrifying parts of the movie–the abusive boyfriends, the violent men, the human traffickers, and the Mexican cartel–are arguably more frightening than the supernatural parts.
And lest, while watching, you trick yourself into thinking the movie isn’t really a horror movie, prepare yourself for a few jarring scenes.
The climax of the movie is an extremely gruesome and violently gory climax that establishes the anthology installment as exactly what it markets itself as: a horror movie. But as we’ve seen in headlines that flood the TV, the newspapers, and our phones, sometimes, reality can be more horrifying than fiction.
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