Stream both these funny and poignant shows on Netflix if you can spare the time this long holiday weekend.
From L to R: Celeste Barber in Wellmania and Rob Lowe in Unstable, photos: Netflix
I love a good series that refrains me from checking the remaining episodes and making time breeze by. Furthermore, I’m all in when the pacing, dialogue, and scenery are just right. Let’s not forget the superb acting mixed in, contemplating the characters’ actions long after the show has ended.
First Up — Wellmania
The Celeste Barber-driven comedy follows Liv Healy, a lifestyle journalist and food critic — living and playing hard in NYC, heading back to her native Sydney, Australia, for her best friend’s birthday party, only to suffer a health scare that leaves her stuck in the country. The eight-episode series chronicles her journey back to the States while trying to get healthy. The show is one misadventure after another, with family members and friends grappling with their issues, making Liv examine some childhood trauma. Barber is enigmatic in this role — from rocking wild funky outfits to her lousy decision-making and outright funny quips, she’s effortlessly funny and worth watching.
If you don’t know Celeste Barber, she’s the social media content creator that gained a massive following after recreating and parodying ridiculous celebrity and influencer posts like the one below:
From L to R: Kendall Jenner and Celeste Barber recreating the viral image, photo: Barber’s Instagram
Before poking fun at prominent personalities, Celeste Barber got her start in entertainment in the Australian medical drama All Saints as paramedic Bree Matthews and as a writer-performer on The Matty Jones Show. Celeste has since become an internet sensation with 9.5 million followers on Instagram. She’s funny and unapologetically herself. And indeed, why audiences respond to her.
Next up: Unstable
From L to R: Rob Lowe and son John Owen Lowe in Unstable, photo: Netflix
Veteran actor Rob Lowe assumes the role of Ellis Dragon, an eccentric CEO and founder of a biotech research firm acting erratic and on the verge of being ousted by board members. Anna Bennet, his reliable and whipsmart CFO, played by the talented English actress Sian Clifford (Fleabag), tries to remedy the situation by enlisting his son Jackson, who lives in New York, to prevent his father from spiraling further and save the company. The father/son relationship is strained. The most important person in their lives, wife to Ellis and mother to Jackson, recently passed, and they are coping as best as they can — but not in the healthiest way.
Unstable is refreshing, especially in a sea of contrived wannabe comedies recently released. The dialogue is punchy and quick-witted. Although, the father-son duo doesn’t go below the surface and could dig deeper into their grief. Rob Lowe is kooky and unpredictable, similar to his memorable Chris Traeger character in the series Parks and Recreation. Lowe’s real-life son, John Own Lowe, lands the socially awkward Jackson, who makes an impression and stirs up trouble between workplace besties scientists Luna (Rachel Marsh) and Ruby (Emma Ferreira).
Wellmania (created by Brigid Delaney and Benjamin Law) and Unstable have interesting premises and feature diverse, dynamic characters — a big step in Hollywood casting initiatives. Hopefully, Netflix will return these shows for a second season and beyond. Follow me for more fresh takes on amazing entertainment stories.
Prepare to Alter Your Preconceived Notions of the Classically Dutiful Prince Charming and Cinderella.
A new rendition of the timeless fairytale recently debuted on the Broadway stage. Famed composer Andrew Lloyd brought the musical from London’s West End stateside to delight and enchant new audiences with surprisingly entertaining twists to the story.
And If you follow or even write about Broadway as I do, you may have read that ‘Bad Cinderella’ took a lashing from the press for deviating from the original story. Or that the casting wasn’t traditional. Traditional in the sense that it wasn’t an all-white cast or didn’t follow the boy-meets-girl or boy-saves-girl formula often beaten to a pulp in storytelling. Instead, boy-and- girl save one another.
Andrew Lloyd Webber took a chance on casting the first Latina to play the lead as Cinderella, Linedy Genao (Dear Evan Hansen,In the Heights), and her love interest, Prince Sebastian is African-American, played by Jordan Dobson (Hadestown, A Beautiful Noise). In the musical, Dobson is Prince Charming’s uncharismatic socially-awkward brother, while Prince Charming is revered, perfectly chiseled, and slain at war — or was he?
The story follows Cinderella, a scruffy, leather-wearing outcast who doesn’t adhere to Belleville’s (the fictitious kingdom in the musical) societal rules of beauty and fitting in. She’s a misfit. Constant troublemaker. Someone who talks back to her stepmother and vandalizes Prince Charming’s statute with the words: Beauty Sucks! Though deep down she longs to be accepted and find people who love her as she is, Cinderella finds solace in her friendship with Prince Sebastian since they were kids. But their infatuation for one another is threatened when Prince Sebastian’s mother, the Queen, decides to marry him off to a maiden in Belleville. Cinderella comes to a cross-road. I won’t spoil what happens next.
But here are some highlights worth mentioning:
Bad Cinderella, written by Academy-Award-winning screenwriter Emerald Fennell (Promising Young Woman, Killing Eve), does take liberties with the dialogue. Phrases such as “Badass” and “You’re giving peasant” are part of the musical’s lexicon. Or the chorus, known as the Hunks, played by shirtless, buff male dancers gloriously basking in objectification. Lastly, when the seemingly ominous fairy godmother, played by Christina Acosta Robinson (Summer: The Donna Summer Musical), states she doesn’t perform plastic surgery. It’s reflective of the modern age we live in. Isn’t it?
Andrew Lloyd Webber’s musical numbers: “Only You, Lonely You” and “Far Too Late,” sung by Dobson and Genao, will trigger your emotions. The wickedly sassy number: “I Know You,” sung by the Stepmother, Carolee Carmello (Lestat, Finding Neverland), and the Queen, Grace McLean (Natasha, Pierre & The Great Comet of 1812), is a scene stealer. McLean and Carmello are intoxicatingly devilish in these roles — and they know it!
The set and costume design (by Gabriela Tylesova) is an extension of each character in this colorful and charming musical — intricately woven props adding drama and tension to each scene.
Bad Cinderella is worth the ride into the world of reenvisioned fairytales. The characters are memorable. Each of their quirky nuances melds into a unique story. Playing at the Imperial Theatre, Bad Cinderella runs for two hours and thirty minutes with one intermission and will be on Broadway through September 2023. Get your tickets now!
Music by Andrew Lloyd Webber. Lyrics by David Zippel. Book by Emerald Fennell and Alexis Scheer. Directed by Laurence Connor. Choreography, Joann M. Hunter; sets and costumes, Gabriela Tylesova; lights, Bruno Poet; sound, Gareth Owen; hair and wigs, Luc Verschueren; U.S. music supervision and direction, Kristen Blodgette; production stage manager Bonnie L. Becker.
Cast: Linedy Genao, Jordan Dobson, Carolee Carmello, Grace McLean, Sami Gayle, Morgan Higgins, Cameron Loyal, Christina Acosta Robinson. Savy Jackson, Raymond Baynard, Mike Baerga, Lauren Boyd, Tristen Buettel, Kaleigh Cronin, Josh Drake, Ben Lanham, Ángel Lozada, Cameron Loyal, Mariah Lyttle, Sarah Meahl, Christian Probst, Larkin Reilly, Julio Rey, Lily Rose, J. Savage, Tregony Shepherd, Dave Schoonover, Paige Smallwood, Aléna Watters, Alyssa Carol, Gary Cooper, Robin Masella, Michael Milkanin, Chloé Nadon-Enriquez, Lucas Thompson.
I hadn’t seen my sister in over three years. The pandemic made it difficult. I recently decided to change that and travel to our motherland: Cuba, to see her.
I grew up without my sister. Politics and second marriages changed our childhood upbringing forever. I left for the United States when I was four, her 13 when she adjusted to her new life without our father. I learned on this trip that he didn’t tell her he was leaving with his new wife and four-year-old daughter to the States. A fact she shared with me on this trip. “Cowardice,” she said. “That’s the only way I can describe our father’s actions.” I couldn’t challenge her. I had to agree. I thought, what if I were in her shoes? I would feel the same.
It was unfair to her. To only have a father until the age of 13, whereas I had him until I was 30. And although I had him longer than my sister, that didn’t mean we lived happily ever after. He was conflicted. Leaving a child behind couldn’t have been easy. He never expressed this loss to my mother or me, but I always felt something was missing, a longing he could never fulfill.
When I arrived in Cuba, it was unbearably hot. We are well into fall in the U.S., and my body temperature has adapted accordingly. “Oh, it’s breezy now,” my sister said before I arrived. After eight days there, I was still waiting for this breeze. Thirty-one degrees Celsius/88 Fahrenheit doesn’t exactly call for a momentary gust of wind. But that was the least of my discomfort. There was a toilet paper shortage, a lack of bottled water in stores, limited napkins, and four currencies to keep track of. Before I arrived in Cuba, I knew things were in short supply, like the U.S. or the rest of the world, but not to this extent. I was outraged. Where was all the money going into Cuba (over 65% by foreign countries) going towards? “It’s the embargo,” my sister would say. “Do you really think Cuba will thrive if the embargo is lifted? I asked. What about all the government corruption on the island?” My sister stood behind her statement. She also discussed why Putin wasn’t the enemy; Ukraine was. I was speechless. Who is this person? I knew she didn’t share all my Western views, and we both disdained Trump. But saying Ukraine is the villain didn’t sit well with me.
We stopped talking about politics. It was a mutual decision. We both wanted to enjoy each other’s company, free of tension and disagreements. After all, I had to travel to a communist country to see a sibling I missed and loved. Before he passed, our father made it a point for us to communicate by letters in the 90s to get to know one another, once he couldn’t write her because his diabetes had taken sight from his right eye. We’ve been close ever since. To feel her warmth in person is worth forgoing essentials I sometimes take for granted in the U.S. Until next time, Cuba! May things get better for you.
Mystical beasts. Heroes. Villains. Good vs. evil reimagined? These are just some highlights of this fantasy-driven film Netflix released today.
I was recently invited to an advanced screening and cast Q&A for The School For Good and Evil. Going in with a blank slate and no preconceived notions, I was pleasantly surprised to learn the story has predominantly female leads, with two powerhouse actresses in particular: Kerry Washington and Charlize Theron, who play the school’s deans. Professor Dovey (Washington) is optimistic and lively, while her counterpart Lady Lesso (Theron), is sour and unscrupulous; both oversee the heroes and villains in the making, ready to conquer the world.
Bringing this ensemble of magnetic actresses together is acclaimed director Paul Feig, who relishes in the dynamics of female narratives, heavily present in his films like the all-star female reboot of Ghostbusters and the comedy cult-classic: Bridesmaids. Besides directing the film, Paul Feig co-wrote the screenplay with David Magee and Soman Chainani (author of TheSchool For Good and Evil franchise).
The School for Good and Evil follows two best friends from the fictional village of Galvadon, Sophie (Sophia Anne Caruso) and Agatha (Sofia Wylie), who share a bond over being outcasts and form a pact when tested and chastised by fellow villagers and decide to have each other’s backs. Sophie is a seamstress disillusioned with her surroundings and already resembles a princess, albeit a shabby one. She dreams of leaving her village and attending the school of Good, while Agatha, appearing to possess witch-like tendencies, is determined to convince her friend to remain in their town and stick it out.
On a fateful night under the blood-red moon, the friends are swept away by mystical creatures that carry them to opposing sides of the school to room with the offspring of Cinderella, Captain Hook, King Arthur, and the Wicked Witch, to name a few — and train to be “pure” or “wicked.” The epic battle between the schools not only tests the girls’ friendship but seemingly reveals their true nature.
Adapted from author Soman Chainani’s Young Adult six-part book series (first published in 2013), he serves as executive producer on the film. According to the author:
“I was inspired to write a fantasy series that would turn fairy tale tropes on their head.”
Can the friendship between these two girls survive? Are the girls in their designated schools?
How can the secrets from their past turn the tide in the fairy-tale world they now inhabit? Although there are princes and nemesis to contend with — the focus is more on female kinship than the quintessential girl-meets-boy, boy-saves-girl narratives we’ve come to expect — I’m here for it. Rounding out the cast is Laurence Fishburne, authoritative and quirky, as a schoolmaster who declares that the only way for Sophie and Agatha to live out their destinies is with a “true kiss.” And the stoic and regal Michelle Yeoh, as Professor Anemone, is in charge of harnessing princess etiquette from students of the “Good” school.
Premiering on Netflix today, The School for Good and Evil is a fun ride into a new world of fairy tale storytelling filled with stunning sorcery, magic, and special effects. The Paul Feig flick will not disappoint fans of the fantasy genre — and will definitely attract some new ones. Click here to learn more!
Although Latinas have been disproportionately affected the most by the economic fallout the pandemic has inflicted, accounting for 45% job loss in the U.S.; there is also good news: as of last October, new data reveals Latinas are more determined than ever to achieve entrepreneurial and financial success in the arts, entertainment, and cultural sectors. One such Latina making her mark in her community, driven to make to make an impact for generations to come is Janessa Rose Perez. The first-time author, CEO and founder of the non-profit Motivational Monsters, Inc. is taking a stand and giving voice to the under-served neighborhood that has shaped and transformed her into a pillar of strength and positivity.
We sat down with Janessa Rose to learn more about her decision to self-publish during the throes of the pandemic lockdown, her interest in community activism, and her motivation to pursue entrepreneurship.
When did you launch your nonprofit Motivational Monsters Inc.? Can you walk us through your journey in launching this organization and why you thought it was necessary?
I started the nonprofit in 2018, after I had managed independent entertainers and artists. Working with them triggered something in me – songs about street-life, dealing with situations that I had experienced, growing up in Coney Island and confronting issues that caused me pain. I wanted to start a company and build programs around the community I’m from – addressing overcoming and healing trauma. Initially, I wanted to have a platform for motivational speaking. I’d go to prisons and juvenile detention centers in New York City. I would speak to kids, young adults, and older folks and talk about healing the broken urban mentality that leads us to believe we need to have a certain lifestyle to be happy that ultimately yields undesirable results, and leads to self-loathing, absence of self-love, and in turn, makes us normalize trauma. The nonprofit was born out these thoughts I was grappling with, and motivated me to eventually write my book: HOW TO: STOP BEING A F*CKING B.U.M. (Broken Urban Mentality)
So while other people were learning to make bread and picking up other hobbies during the lockdown, you wrote a self-help manuscript. What prompted you to write the book?
It took time to heal my own trauma and do some real deep self-reflection. During the pandemic, I was home, and chose to write and think about my own behavior and how I could change it. I was born in bred in Coney Island, Brooklyn. Many refer to my neighborhood as the ghetto-by-the-sea. It’s a project environment. Watching my grandmother, the matriarch of the family, come from Puerto Rico, uneducated, and take care of 10 of us was incredible. She ran an illegal number-running business, to put food on the table and I’d see her get dragged off to jail. It was rough witnessing that. She was so strong-willed, still is. And I think I inherited her strength; I had to protect myself from harmful circumstances. I became rebellious in my teens, started cutting school, hanging around dangerous men, drug dealers and realized that was the mentality of most people in my surroundings. The consensus was: you become cool and successful in this community making money and endangering your life. And most revered and normalized this fact. I’ve had many friends who’ve been murdered because they fell into this cycle of living this fast life and acquiring material things.
Being in this environment, I had to quickly learn how to provide for myself and become more business-oriented; establish myself as a boss to survive. I founded an escort agency, not where the women slept with anyone; more of a date-for-hire for an evening out or for an important event. I knew many girls and models in the entertainment industry at the time. But, the more involved I became with that scene the more lost I became in that world and a feeling of condemnation overcame me. The business no longer served me. I didn’t feel happy. And I realized I was meant to do something more meaningful with my life.
As I read your book, I found the chapter “The SEXY B.U.M.” interesting. In the sense that, it reminded me of many people I grew up with; turning to material things and the Internet to make themselves feel better. What made you decide to write about this topic? Do you think stars like Cardi B. are detrimental to young urban Latinas or young people in general?
Cardi B. doesn’t realize the people and systems that give her a platform are conditioning her, and she fits into this paradigm. It comes from this conditioned thinking we see with young urban women; they don’t see any women of value in their lives other than being sexy, subscribing to the ideology that your sexiness can make you millions or billions, and nothing else. Cardi B., and people that look up to her are going to jump at that chance! When I became a rapper, the management company representing me liked my look and encouraged me to wear less clothing; to be more seductive, and that’s not the image I wanted to portray. I was writing deep lyrics that were truthful, things that needed to be said. They didn’t think the songs would sell. I had the street and tough factor – but they realized I was too smart for them to control, so I abandoned my rap persona: Gina Montana, temporarily though, she might resurface!
How about the chapter on “The DRUNK B.U.M.” Can you speak to what motivated you to write it —even though it’s not rooted in science?
I respect everyone’s belief system. Not everyone is going to agree with what I’ve written, but these chapters are based on my lived experiences. We are all energies – vessels housing and emitting energies. When you’re drinking alcohol your energy and spirit can be easily manipulated if you’re in a low point in your life, as I’ve been many times. When you’re a person with unhealed trauma, living in fear or anger, you’re susceptible to lower vibrational frequencies, and are easily manipulated. When I used to succumb to liquor, I would get very violent. I’m very spiritual and believe there are entities out there (outside forces, if you will) that look for vulnerable individuals open to being manipulated. While those that have complete domain of their thinking, are in a good place in their lives, and can manage their alcohol without becoming reckless. Those that seek alcohol as a coping mechanism, don’t.
The takeaway I want readers to have from the book is for them to become more self-aware of their behaviors. Break the cultural generational cycle of internalized trauma and constantly searching for things and status that leave them feeling empty. And, finally to be honest about the work they have to do to heal.
What are your plans for the future with Motivational Monsters Inc. and your book?
I have so many plans. I want to make an audio version of the book and eventually go on a book tour. It’s been well received by my community. What I’m most excited about is developing an interactive creative center, where marginalized people in the community can get help with becoming entrepreneuers or having a creative outlet to build something of their own. I’ve been doing lots of work with the community this year, like launching our summer wellness fair, and our first annual Urban Pumpkin Patch event. I recently held my first Motivational Monsters Inc. Gala to promote my community garden project and get support and funding from elected officials. It’s been neglected for so long and I’d like to turn it into an urban farming community and start a daily urban farmers markets. I was recently asked to join the board as vice president. But, it doesn’t stop there. Fidelis, a big healthcare organization, recently became a sponsor and they are looking to establish wellness programs in women’s shelters and LGBTQ organizations.
It’s clear multi-hyphenate, Janessa Rose Perez shows no signs of slowing down. The entrepreneur and community activist is committed to making the same environment that caused her anguish at times – yet taught her to be resilient – a place where everyone can flourish; an inspirational hub the community can feel happy and hopeful about. As Perez meets and organizes with political leaders to get her projects off the ground, we may see political aspirations of her own in the future. Could she be the next A.O.C.? Putting her community’s needs on the political map and claiming her own moniker: J.R.P. Only time will tell for this inspirational Latina.
To learn about the programs offered by Motivational Monsters, Inc., click here and you can find Janessa Rose Perez’s book on Amazon.
Prepare to lose yourself to the magically colorful world of famed Dutch painter, Vincent van Gogh with the debut of the Immersive Van Gogh Exhibit in New York City, featuring 40 of the acclaimed artist’s masterpieces shown via 74 state-of-the-art projectors. Located at Pier 36 in lower Manhattan, the 70,000+ square foot venue is conducive to large crowds and adheres to COVID health protocols. Art enthusiasts apprehensive about re-joining society in this post-pandemic world can let their guard down in this spectacular space!
The exhibit is comprised of 3 concepts: art exhibition, filmmaking through animation, and experiential – where the public walks through the space and art happens within 360 degrees around them and projected on every surface in the building. Set designer, David Korins (Hamilton, Dear Evan Hansen) was tasked with creating interactive New York-centric installations, unlike no other. According to Korins, “This exhibit will take you deep within a personal and profound journey, look at Van Gogh’s work through Massimiliano Siccardi’s (creative director, film producer) interpretation and leave you with a deeper understanding of the man and his brand”
What to look out for?
The Ceiling, inspired by one of Van Gogh’s most revered work: The Starry Night, was created using 7,800 individually hung paintbrushes dipped in multiple colors – breathtakingly serene and enchanting. Next: an oversized reproduction self-portrait of Van Gogh, allowing viewers to peek into the artist’s eyes and facial expression – to appreciate the intricacies of his dynamic brushstrokes. A must see: The Synesthesia Experience, which invites audiences to walk through 10 booths, engulfed by light and sound, based on documented research watching people with chromesthesia react to certain colors. Vincent van Gogh had a special form of synesthesia called chromesthesia that enabled him to hear color and see sound. The most interactive yet: Letters from Vincent is an activation based on an artificial intelligence program developed from 1,000 digital scans Van Gogh sent his brother, Theo. Inside the booth, visitors can ask Vincent a question and a response with customized letter addressed to the individual materializes. My favorite exhibit of all, The Sunflower Wall, not just because this mesmerizing painting has been etched in my subconscious since my visit to the Van Gogh Museum in Amsterdam, a while back, but simply because of the emotions it evokes. The images of the sunflowers wash over you gradually and the light and music instill a warming effect you must experience in person; it’s as if you are one with the painting. Composer, Luca Longobardi’s mix of electronica and ethereal piano sounds aids with this transformative state of mind.
Don’t miss this imaginative and surreal exhibition dedicated to one of the most renowned post-impressionist artists in history. In his short 37 years of life, had he not succumbed to the pitfalls of mental illness, and had the adequate resources to seek help, it makes you wonder how far his creative reach would’ve been. Tickets for The Immersive Van Gogh Exhibit New York are on sale now at vangoghnyc.com and by phone at 844-307-4644. Tickets range in price from $29.99 for kids to $99.99 for VIP Flex tickets. Oh, and there’s also a fun over-priced gift shop (but, really what tourist attraction isn’t?) and a cute café with Van Gogh self-portrait cookies and refreshing sorbets to beat the New York summer heat.
DAVID KORINS, Creative Director New York David Korins is the award-winning Creative Director, Designer and Founder of his eponymous New York City based creative studio. In his two decades of creating omnidirectional experiences, he has, along with his expert team, reached hundreds of millions of people all over the world while helping the most influential brands, companies and individuals bring their stories to life. From stage to screen, museums to hospitality, experiential design to singular live events, Korins has traversed the landscape of world building and storytelling through almost every medium available. Korins created the worlds for the Tony Award-winning musicals Hamilton, Dear Evan Hansen and Beetlejuice: The Musical.
MASSIMILIANO SICCARDI, Creator Massimiliano Siccardi studied at the London School of Contemporary Dance of London. But in 1990, he left the world of dance to begin a new journey in the world of video art. Siccardi quickly became the artistic force behind several visual mise-en-scène for choreographers around the world. He also created video scenographies for numerous prestigious festivals and galas around the world. He also re-constructed the video mapping of the Basilica di Giotto for the Teatro Petruzzelli of Bari, where one of his permanent installation’s virtually reconstructs the frescoes of the Cupola. Siccardi is also a celebrated photographer and has had photo exhibitions in Spoleto and Rome, to name a few.
LUCA LONGOBARDI, Composer Italian composer and pianist Luca Longobardi is a classically trained musician who incorporates the contemporary electronic music into his pieces. Born in 1976, Longobardi studied classical music in Italy and New York and went on to earn his doctorate in digital audio restoration in Rome in 2011. His works reveal a strong interaction between classical and contemporary music. The experience he has gained as a theatre musician has increased his interest in the relationship between sounds and spectacle; he has composed music for ballets and films and accompanied installations and experimental art productions (Atelier de Lumières – Paris, Carrière does Lumières – Baux-de-Provence, Kunstkraftwerk – Leipzig).
About the Producing Team The producers of Immersive Van Gogh New York are Corey Ross and Svetlana Dvoretsky, working with Co-Producers Maria Shclover and Irina Shabshis. The presenting organization of Immersive Van Gogh is Lighthouse Immersive. Corey Ross is the founder of Starvox Entertainment which has ranked in Profit Magazine’s Fastest growing Canadian companies for 5 years in a row. The company produces and manages cross-over performing arts shows and exhibition including the Art of Banksy in London, Canada, the USA, Taiwan, and Japan. He is also a co-founder at Lighthouse Immersive – a company producing the Immersive Van Gogh in 19 North American cities and Illusionarium in Toronto.
Svetlana Dvoretsky is the founder of Toronto’s Show One Productions and a proud recipient of the Order of York by the Government of Canada for her “significant role in arts and culture.” Show One Productions is leading presenter of high-profile international artists in classical music, theater and dance. She is a co-founder of Lighthouse Immersive and co-producer of Immersive Van Gogh.
Maria Shclover and Irina Shabshis are the co-founders of Maestro Immersive Art. Shclover founded Maestro Artist Management in 2004, Shabshis in 2005 and together they have presented more than 1,000 theatrical and classical music performances across the United States, including projects with Michel Legrand, Mikhail Baryshnikov, John Malkovich and more. In 2012, Shclover and Shabshis formed a non-profit organization, Cherry Orchard Festival Foundation, presenting an annual international theatrical festival to audiences in New York City and beyond.
This past year has exposed us all to an array of hand sanitizing products that we’ve, to remain healthy and prevent the spread of the COVID-19 virus, indiscriminately sampled without a second thought. And most brands remained unmemorable, especially in their effort to tackle excessive leakage, dry skin, and the pungent smell of alcohol or other abrasive ingredients in their products. There’s one hand sanitizer that has risen above the rest.
Hand Sanitizing Never Felt So Good!
With just one pump, the soothing Visolis hand sanitizer leaves you feeling protected against germs while lathering your skin with the aroma of eucalyptus.
WHAT’S IN IT?
Mevalonolactone – Plant-based ingredient clinically proven to hydrate skin and improve moisture barrier.
2. Sunflower Oil – Helps hydrate skin and enhance smoothness.
3. 70% Ethyl Alcohol – kills 99% of germs.
My verdict: Give this luxe hand sanitizer gel, that feels like a lotion, a try. It comes in a 3.4 Fl oz recyclable glass bottle. Add it to your health defense arsenal in your home or while out-and-about. No need to wipe after applying. It retails for $20. For more product information, click here.
On the fence of what to watch to keep you entertained, while we collectively, stay home to weather the uncertainty of our existence? Look no further than Barb and Star Go to Vista Del Mar, starring Kristen Wiig and Annie Mumolo – the dynamic female duo responsible for the hilarious Oscar-nominated comedy, Bridesmaids, deliver a ridiculous and funny film – yet again. With Writer/Actor/Producer credits under their belt, Mumolo and Wiig, bring a whole new meaning to kitsch – they actually make it cool. According to Mumolo, the completed story for the film took many drafts and years to make, and both her and Wiig were thrilled to see these characters come to life.
So who are these memorable characters? The premise: Barb and Star have known each for most of their lives and come from the fictitious Midwestern city of Soft Rock, Nebraska. After recently being laid off from their dream job at Jennifer Convertibles, the delightfully chatty middle-aged best friends embark on journey of self-discovery and freedom from inhibitions at the Vista Del Mar resort in Florida. What ensues is a trippy and colorful story of a friendship tested by an amorous encounter with Edgar, played by the charismatic, Jamie Dornan, from the famed 50 Shades of Grey trilogy. Who knew Mr. Grey had comedic timing? Well, the dramatic actor who’s played him in the last 3 titillating films – that’s who. Dornan is fantastic as he sings, leaps, and rolls around in the sand, professing his love for his boss and villain in the movie, Sharon Gordon Fisherman, also played by Kristen Wiig. Wiig’s Fisherman villain is reminiscent of her kooky character, Alexanya Atoz from Zoolander 2. Fisherman’s zany plot to destroy the made-up Floridian city, where Barb and Star are vacationing, is as nutty as her costume and make up, also nothing short of spectacular.
Barb and Star Go to Vista Del Mar serves up the type of escapism and joy a movie should provide. Mumolo and Wiig do a superb job of giving these quirky and enchanting characters, in their late forties, a refreshing narrative injected with marvelous musical numbers. Directed by Josh Greenbaum, and also produced by Will Ferrell and Adam Mckay, the Lionsgate film has a running time of 106 minutes, is currently out on all major streaming platforms, arrives on digitalMarch 26th, and will be out on Blu-ray April 6th. For more information on the Barb and Star Go to Vista Del Mar,click here.
If you were inclined to enter any of the flurry of social media contests advocating for your well-being, the Pure Culture Beauty collab with Ash Wagner is the top contender. Wagner, a two-time Olympic-medal winning American figure skater , Peloton devotee, and Instagram-influencer exudes health and fitness. She does it in a casual, fun lifestyle kind of way versus a “Hey, don’t you wish you were me?” vibe. And after integrating Pure Culture Beauty into my daily routine, I’m sold. Hardly an easy admission for me.
As someone who has suffered from eczema, late in life, my days of sampling any ole product that smells nice and has the the right flashy and cute packaging are long gone. I began using the customized skincare set and as a skeptical consumer, especially having worked in women’s editorial for some time, I was surprised at how my skin responded after 2 months. The chronic red patches around my face and neck began appearing less and less. My sensitivity to the customized serum and moisturizing cream diminished drastically. So how does it work?
First: you participate in an at-home skincare test (FREE) measuring your skin condition (microbiome markers), lifestyle, and environment privy to you on Pure Culture Beauty’s site. Second: based on your transparency (you have to be honest!) they customize a skincare routine, consisting of a cleanser, serum, and moisturizer unique to your needs. Try it out! Science-based skincare is the future. And, totally worthy it.
Women in the C-suite are having quite a moment. As of this year, 37 women are leading Fortune 500 firms – up 12% from last year. Progress, certainly. But what about women of color, primarily Black and Latina women holding these leadership roles? That stat has dropped to 0%? Dismal, sure, even after the resurgence of the Black Lives Matter movement this past summer, with corporations “committing and pledging” to diversifying their workforce and hiring minorities to executive positions. Seems like the enthusiasm and solidarity has died down, hasn’t it? But, the good news is that women-owned businesses, specifically those of color are starting businesses faster than anyone else, according to Fast Company. Women of color account for 89% (1,625) of the new businesses opened daily for the last year. And they are just getting warmed up!
Women-owned businesses generate 1.8 trillion a year. This year, Latina-owned businesses grew more than 87%, as evidenced by statistical data. Women in business are the driving force in our nation’s economy. A testament to this fact is former and the first Latina CEO of Diane Von Furstenberg, Sandra Campos. Under her leadership, the veteran fashion executive has restructured 6 contemporary women’s brands for the Global Brands Group – popular labels such Juicy Couture and the BCBG. We recently chatted with Sandra Campos to discuss the current state of fashion and her next career venture in the continuously evolving industry.
You’ve recently parted ways with Diane von Furstenberg (DVF). Can you go into detail about the split?
Yes, I left in mid-June, or rather resigned. It was completely amicable. COVID has impacted retail significantly. There has been a plethora of bankruptcies. With DVF, we had a complicated turnaround – which is why I was brought into the company. COVID presented an opportunity, as a private company, to change their business strategy – and it needed to for a while. Diane was looking at the future – to maintain and leave a legacy; the business model was changing; it didn’t make sense to have a CEO, especially with DVF becoming an IP business and transitioning into a small company by early 2021. We’re still on good terms. I’m a big believer of DVF’s “Women In Charge” mission – if you are around it, you become it. Whatever we can do as women to help other women become more confident is the biggest priority for me. Since then, I founded a fashion startup called Fashion Launchpad – a digital online continuing education platform for fashion and retail. It’s a Master class-type of micro courses that really touch upon every aspect of the industry and it is all continuing education. Fashion Launchpad will be up and running early 2021.
That’s fantastic for individuals looking to get into the fashion business. Can you walk us through your career trajectory, some of the milestones you’ve had?
I’m first-generation. Both my parents are from Mexico, my mother from Mexico City D.F. and my father from Zacatecas. I was raised 1 of 6 kids in Texas. When I was growing up, for whatever reason, I had a very strong interest in color, prints, sewing and fashion. I was changing my mother’s drapes, making slipcovers. I went to college in Western Texas – Texas Tech University. Not at all a fashion mecca. I was making clothes for friends and sisters and forcing everyone to wear my stuff. I thought I wanted to be a designer, but instead, I went into a pattern-making internship and decided design was not for me. So I pursued a job in New York City. I had never traveled New York City and I was so naïve. I knew I had to go to the fashion capital of the world. I was making 17,000 year as a salary, so I had to have 3 jobs to live in the city. I was working at a retail store, the buying office, and in sales. It was all fashion-oriented, more business than design. With that, I was always motivated to become a CEO. I knew I wanted to be a VP young, and hit these different title milestones sooner rather than later. At that time, presidents and CEOs in fashion and retail had come out of sales. My career trajectory was one in product merchandising, being in stores, really understanding the consumer, then in sales, understanding the clients from a retailer’s standpoint: planning, financial analysis. And, eventually I worked my way up to becoming CEO of Diane von Furstenberg, prior to accepting this role, I held executive roles within Donna Karen, Ralph Lauren, and a license of Oscar de la Renta. I also had my own company a couple of times as well. I had corporate and entrepreneurial experience. The entrepreneurial experience more than anything else gave me exposure to all things. When you’re running your own business, you are all things to everyone. I was going out and pitching, doing the press releases. I was customer service, production, and manufacturing. It helped my understanding of business, my corporate roles, and how to build a brand and generate awareness and engagement from the customers.
It can be very gratifying, if you’ve worked in every facet of production and are privy to the ins-and-outs of any given department and what makes it tick.
That’s exactly why I’m launching Fashion Launchpad. It is all about knowledge and understanding your industry, inside-and-out. There used to be some training programs that allowed you the flexibility to be in the warehouse and understand how that operates, on the sales floor of a retail store, then go back into the financial office and be in sales showroom – and get to experience all the different aspects of the business. Not anymore. And if you’re in a silo you don’t know what goes on in other areas and unless there’s a lot of cross-functional partnerships, it’s very hard for somebody to understand the business as a whole and become a well-rounded individual. These courses will be taught by top industry executives – executives who are operating businesses on a day-to-day basis, therefore individuals will be able to really understand – in-depth – what a merchandising life plan is, what an PNO means? All kinds of things people need to comprehend; whether they are starting out in the industry or still in the C-suite level; crucial elements people should possess to be a team player, a better collaborator and the ability to run a profitable business.
As you ascended into your executive roles with various fashion brands, did you ever encounter obstacles because of your Latin background as opposed to your white counterparts in Texas or New York City?
I’ve thought about this topic a lot recently. There’s 2 parts right now that create barriers: 1) One is being woman 2) The other is being a minority. For me, I saw the impact and bias against women more than I saw the bias against Latinos. That said, I was very unaware, until 5 years ago, I was told that when I joined my sorority, they actually had a conversation on whether or not they wanted a Mexican in their sorority. Now, I didn’t know that at the time. I became a member of that sorority and became one of their leadership VPs. I love that sorority and I’m so involved with it. You don’t really know what people are thinking and what those racial biases might be – the undertones of that. Really some of it is subconscious as well. As a female, you see a lot more of that because there are a lot of men in my industry – especially in the C-suite and board-level executives. Thankfully, that’s changing. There is focus on building and supporting women to get to the C-suite – which is incredible; there are quite a few organizations and memberships helping women by providing so many resources and tools to succeed. That didn’t exist when I was starting out in the industry. I’ve put aside my own inhibitions of being Latina and decided to move out of Texas, because at the time, it wasn’t diverse enough. I wanted to be part of the diverse melting pot that makes up New York City.
Latino consumer buying power will be reaching 1.7 trillion within the next year. Shouldn’t luxury brands and other mega brands make a concerted effort to reach this huge demographic with this kind of disposable income?
There are so many conversations happening right now about race and racial bias, and not just with Latinos; Latinos start 80% of startup businesses, exactly to your point of representing a huge percentage of consumer spending power. Change needs to start from the top in a couple of different ways. First and foremost: we have to push to have more diverse boards in companies, more diverse leadership. When I say diverse – it’s not just about Latinos, but diversity in general, male and female. Unless you have diverse C-suites and a diverse group of leaders that understand and empathize with consumers’ needs, things won’t change. They have to be able to really walk the walk, instead of saying: Hey! Here’s a segment – a group on a piece of paper we’re targeting. That’s futile. Instead, let’s try: truly understanding this segment by making them part of the corporate community, the board, and executive suite reflecting the group(s) targeted.
As far as Latinos demanding representation in advertising and entertainment with real diversity to reflect their increasing spending power, do you think Latinos from different nationalities lack a united front?
That has definitely something to do with it. We are all so separated in a way. We should be able to figure out a way to come together, because together we are more powerful and a stronger force. That has an impact, sure!
Have you confronted colorism biases within your personal and professional life as a Latina as you’ve paved your way into the C-suite?
Absolutely. It’s not a conversation I’ve had a lot of discussion about. Honestly speaking it’s there. Skin tone has been a topic since I can remember. I’ve never really embraced my Latina heritage until 5, 8 years ago. Only then because of my own kids – seeing my oldest daughter embrace her Latina heritage, feeling more Latina than I did. And I thought: Why is that? I realized it was because I grew up in a situation where I had lighter skin than the Mayans, Mexicans growing up in my area. My last name wasn’t specifically Latino. Campos could be from Spain, European and I felt that it put me in a situation where I could walk away from certain responsibilities of being a Latina. I lightened my hair. People would say I looked Greek, Italian or from Spain. No one ever said you look like a Mexican. I felt I needed to cover that up throughout my career and life to move upwards. I didn’t embrace my Latin heritage. That was an issue I didn’t address. Now, the conversations are so much more prevalent. I see first and second-generations, like my kids, part of Generation Z that are activists and being prideful of their heritage, I look at that and I realize that girls can’t be what they don’t see. So I have a responsibility to share my story and help the next generation not have that level of prejudice I dealt with.
Sandra Campos is among the many Latina pioneers consistently breaking barriers in their respective industries after achieving many firsts in business, government and heads of households. It the responsibility of the next generation to receive and pass the torch of opportunity, forge ahead and fight for seats at the decision-making tables in every aspect of our lives. We must harness our voices for the collective advancement of Latinas in the United States to impact change and see true representation of multidimensional cultures claiming our over due space in this country.