Category: Entertainment
John Leguizamo’s ‘The Other Americans’ puts art before activism
“Do you know John?”
Yeah, LinkedIn. I know John Leguizamo.
LinkedIn
There is no way John Leguizamo knows me, but following the professional networking platform’s suggestion, I went ahead and sent an invitation to the actor/producer to connect.
I grew up in Queens; my family has a butcher shop in Spanish Harlem. If you think Latinos are so united, see what happens when you call a Puerto Rican a Mexican.
I haven’t kept up with Leguizamo’s career. The only times I see him pop up now is when he’s complaining about the lack of Latino representation in show business. In fact, when it comes to complaining about representation, John Leguizamo is overrepresented.
‘Liquor Store Gunman’
I read in Variety that early on in his career, Leguizamo “felt humiliated” playing the role of “Liquor Store Gunman” in Mike Nichols’ “Regarding Henry” (1991).
“I shoot this white guy [Harrison Ford],” Leguizamo explains. “It was like, ‘Oh my God, I’m perpetuating what they want to see,’ which is negative Latino images.”
It’s interesting that Leguizamo felt humiliated playing a Latino stereotype in “Regarding Henry” but managed to put that humiliation aside a couple years later to play a Latino stereotype in “Carlito’s Way.” To be fair: Latino gangster Benny Blanco from the Bronx is a far more memorable character than Liquor Store Gunman. (What kind of last name is “Gunman” anyway? It ain’t Latin.)
When not at the mercy of other screenwriters and casting agents for roles, Leguizamo, a one-man-show-making machine, made a career out of performing his own Latino characters — which are not all necessarily negative images but certainly stereotypical in many respects. I mean, this is the same artist who made “Freak,” “House of Buggin’,” and “John Leguizamo’s Spic-O-Rama,” which is not to be confused with generic Spic-O-Rama.
In an interview with “NBC Nightly News,” Leguizamo declares, “We’re almost 20% of the population, I want 20% of the executives, 20% of the stories, 20% of the principal leads, then I’ll be quiet.”
Regarding ‘us’
By “we,” of course he means Latinos — which includes me (even though, again, John doesn’t know me).
I doubt a perfectly equitable distribution of roles in show business along ethnic lines will quiet Leguizamo though. Even a world where an Al Pacino can’t swoop in to capture the leading Cuban and Puerto Rican roles will shut Leguizamo up.
Notice Leguizamo isn’t making this appeal for equity when it comes to other industries. Can you picture John Leguizamo showing up to a farm or construction site, demanding fewer Latinos — legal or undocumented — because they’re overrepresented?
So in the year 2025, we’re about 20% of the population, but looking back at the “Regarding Henry” year of 1991 — can you imagine if that were the movie that defined 1991! — Latinos were only about 9% of the population.
In the year of Benny Blanco from the Bronx, 1993, it jumped to about 9.5%. The further you go back, the fewer Latinos there are in the United States. To expect to see yourself represented when there are so few of you out there is quite something. Narcissistic, you might call it. Perfect for a talent like Leguizamo — who has made a lot of work for and about himself. Albeit a lot of good, original, entertaining, and funny work, I must say.
Hate-watch interrupted
Which brings me to his new play, “The Other Americans,” at the Public Theater — which I only heard about because of Leguizamo’s media appearances that come across like he’s on a grievance tour.
So from a marketing standpoint, the Colombian American’s promotional shtick worked. I bought a ticket — but to hate-watch his play.
I don’t like going into a show expecting it to suck — let alone wanting it to suck. I tried to shake those intentions as best as I could. One thing I made sure not to do before the show was to read Leguizamo’s “note from the playwright” that’s printed in the playbill. I don’t know if it really made a difference, because once I stepped into the Anspacher Theater at the Public Theater, he’d won me over.
I had a seat center-stage in the second row. The set looked like an authentic house in Forest Hills, Queens, with a fenced-in backyard and even an above-ground pool that the neighbors could see from their second-story windows. If the Jeffersons had been Latinos, this is what moving on up from Jackson Heights would look like.
The change in neighborhoods is a punch line, as is the pool. One of the first arguments in the play is whether the above-ground pool is a real pool or not, because real pools are in-ground, you know. Yes, an above-ground is kind of trashy, but it still holds water.
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Bruce Glikas/Michael Ochs Archives/Getty Images
Crowd-pleaser
Leguizamo plays Nelson Castro, a Colombian American laundromat owner, and from his first entrance onto the stage, I’m all in, whether it’s watching him mix a drink or listening to him curse into his cell phone — in English and Spanish. When his wife, Patti (played by actress Luna Lauren Velez), arrives, they’re soon dancing, like a stereotypical Latin couple. The audience loves it.
It feels like I’m on the set of a mult-cam sitcom. The live audience laughs, oohs and aahs. At one point in the play, an audience member caps one of Patti’s lines with what I think was a, “You go, girl!”
I remember Leguizamo saying he was out to create “a new type of American drama” — but what we’re presented with at first is something I could see running on network TV. They’d have to clean up the language and cut back on the Spanglish, but even the plot is perfect pilot material.
Complicated portrayal
Nelson and Patti are preparing for their daughter Toni’s wedding as well as the return of their son, Nick, who’s been gone for some time. Mami’s so nervous she keeps burning the sofrito!
During one of their dance passes in the living room, I notice a run in Patti’s stocking. That image — whether the wardrobe department meant for it to be there or not — has stuck with me.
It turns out their son is coming home after being hospitalized for a nervous breakdown — which his therapist attributes to his family not addressing the trauma he experienced when he was brutally beaten by a group of white boys his last year of high school.
The attack happened at one of his family’s ’mats. The perpetrators even tried to stuff him into one of the washing machines “to wash the brown off of him.” (I guess the racist white boys succeeded? Because the actor who plays Nick, Trey Santiago-Hudson, is rather pale-skinned.)
Nick is in pain and while Nelson wants a do-over with him, the Latin father is not equipped to deal with it. Imagine asking your son who was just released from a mental institution what he has to be anxious about?
It’s in these moments where Leguizamo really shines. He plays such a great dick! Although I don’t think “shines” is the right word for a performance that has so much darkness to it. Nelson is not just a flawed man — in many respects, he’s a wicked man.
The plot to “The Other Americans” is so well-crafted that I don’t want to risk revealing too much, but in one exchange, a family member compares Nelson to Sisyphus of Greek mythology. It’s a setup to a perfect sitcom punch line, where Nelson assumes it must be a real Greek guy from Astoria. But while Nelson shares some traits with Sisyphus, I think he’s even more like Tantalus.
Who’s ‘we’?
In his note from the playwright, John Leguizamo writes:
I wanted to write a play about race, and I wanted it to be complicated. I didn’t want it to be a morality play, but rather I wanted to show life as we Latino people experience it. We don’t always see the microaggressions, or the systemic road blocks in effect. Even though there’s a subtle tokenism at work around us, we often witness the macroaggressions: those obvious, in-your-face type moments. We Latinos experience racism through poverty, the schools in which we are allowed to enroll, and the geographical areas in which we are packed. In New York City, we are equal to the white population, yet you never see us on the cover of newspapers and magazines.
There’s more to his note, but I think this bit above is worth addressing. Firstly, this “we” stuff has got to go. Latinos are not a monolith. I grew up in Queens; my family has a butcher shop in Spanish Harlem. If you think Latinos are so united, see what happens when you call a Puerto Rican a Mexican.
Secondly, in the play Nelson is the one who blames “the system” (which is synonymous with racism) for his lot in life — for example, the failure of his laundromats. “The toxicity of the American dream” is another way I’ve seen it described. But as Nelson’s secrets are revealed, what becomes clear is that he, a tragic figure, is the one responsible for his and his family’s downfall.
The system — if there is one — has actually been very good to the Castros. Just like in real life, the system has been very good to Leguizamo.
With “The Other Americans,” Leguizamo fails to make his political statement but succeeds in making a powerful piece of art. ¡Bravo, hermano! Please accept my invitation on LinkedIn.
Red, white, and boo: Almost two-thirds of Americans now believe in ghosts
“I ain’t afraid of no ghost.”
Easy enough to say 40 years ago, when audiences delighted to the spectral pest control antics of Bill Murray, Harold Ramis, and Dan Aykroyd. You can’t fear what isn’t real, after all.
The show pioneered a tactic known as ‘provocation.’ This is when an investigator attempts to goad a spirit into manifesting by insulting it.
Things have changed. Since then, the proportion of Americans who believe in ghosts has surged 400%. Surveys indicate that nearly two-thirds of the population now hold supernatural beliefs, and 20% have reported seeing a ghost.
Entrepreneurial spirits
With roughly 50 million Americans purportedly having encountered a haunting, the business of ghost hunting has evolved into a profitable enterprise. It would appear that the invisible hand of the market really does exist.
As proof that even the ethereal cannot escape the iron law of supply and demand, paranormal tourism is booming. Millions of Americans now spend over $300 million on haunted attractions each year. You can satiate your gruesome desires by visiting Iowa’s Villisca Axe Murder House, where eight people, including six children, were murdered in 1912. For $430, anyone brave enough to take a whack at it can try to spend the night.
Ghost-hunting shows are scaring up unprecedented interest as well. YouTube, for example, has hundreds of paranormal-themed channels. One of the biggest is “Sam and Colby.” With an average of 10 million views per video, the kids are among the most popular ghost hunters online. The two film themselves while visiting haunted locales across the United States. Freed from the limitations of conventional television, the videos are lengthy and typically unedited, offering a more immersive experience for their audience of 15 million subscribers.
There are compilation channels for those who don’t want to endure the deferred gratification of 90 minutes of shaky handheld videos and constant cries of, “What was that?”
Then there are channels like “Mind Junkie” and “Nuke’s Top 5,” which brazenly monetize our endless appetite for not-so-carefully-vetted supernatural slop. One wonders if these shrewd content creators are also behind the “debunking videos” they attract. Nice business model, if so.
Tales from the clip
“Paranormal Caught on Camera,” now in its ninth season on Discovery+ and the Travel Channel, can best be described as a reality show. From poltergeist activity to mysterious shadows roaming the woods, a panel of experts weighs in on supposed paranormal footage from around the world. Imagine “Ghostbusters” meets “America’s Funniest Home Videos” — with the approximate scientific rigor of both.
Psychologists say a prior belief in ghosts makes a person more inclined to perceive unexplained sounds and events as paranormal. The show’s presenters are clearly familiar with the research. They frequently use the term “energy” (which appears to function as a noun, verb, and adjective) and attribute every sound or camera jiggle to the spirit realm.
Ghost roast
“Ghost Adventures” is one of the longest-running and best-known of these types of shows. While the experts on “Paranormal Caught on Camera” are content to remain armchair investigators, aging goth heartthrob Zak Bagans and his crew actually go out into the field. Since 2008, they have traveled around the United States looking for paranormal phenomena. The format is simple: They arrive at an alleged haunted location, turn off the lights, hit record, and explore the building. What we get is a well-curated, finely edited spectacle.
The show pioneered a tactic known as “provocation.” This is when an investigator attempts to goad a spirit into manifesting by insulting it. While this demonstrates a fortitude worthy of Ray Parker Jr. himself, it has never once worked over 300 episodes. The only scary thing that appears to be happening is a group of middle-aged men screaming in the dark about nothing in particular.
The truckload of pseudoscientific equipment these guys bring to the task separates them from your average amateur. A truckload of pseudoscientific instruments is used to add an element of objectivity. Particularly prized is the EMF meter, used to detect the electromagnetic fields ghosts apparently emit. This essential prop emits clicks and pings reminiscent of the motion trackers used to detect xenomorphs in the movie “Aliens.” Unsurprisingly, there is no James Cameron-level tension here. Ninety-nine times out of 100, they’ve probably just found the fuse box.
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Matt Himes
Phantom itch
Slick, polished, and carefully choreographed. It’s all very Hollywood. It comes as no surprise that the massive increase in belief in ghosts over the last 50 years coincides with the golden era of horror. Art imitates life. Many of these shows use the same strategies as your typical Hollywood special effects department.
So why are we watching these shows? “Ghost Adventures,” now in its 28th season, has perfected the art of selling us fear. These shows give us what we want. We love to be afraid. A horror movie grants us the chance to live vicariously through the characters on the screen. A way to experience and navigate terror from the comfort of our couch.
Then there’s another, more poignant, explanation. We believe in ghosts for the same reason that we believe in God. In the end, both ghost hunters and Christians are motivated by the same persistent yearning that has dogged us since the dawn of humanity: There’s got to be something more than this.
Justin Bieber confesses Christian faith in candid livestream
Justin Bieber’s latest album ends with the pop star delivering an almost eight-minute, spoken-word retelling of the first three chapters of the book of Genesis.
Now the 31-year-old singer has opened up about his own Christian faith on a recent livestream, a clip of which was shared on YouTube. In it, the Canadian-born heartthrob sits over fast-food takeout with some of his crew, discussing the Bible, God, and what it means to be a man.
‘Now we get to live free and rather than focus on sin, now we can focus on Jesus, the wonderful savior.’
Many of Bieber’s comments revolve around the responsibility he feels he has to others and to God and how he is doing his best not to judge life based on perceived outcomes.
“It rains on the just and the unjust,” Bieber says, going on to stress that:
Bad s**t happens to everybody, you know? Bad s**t happens to good people, good s**t happens to bad people. … Everyone’s on the same equal playing ground, and that’s hard for people to really comprehend or want to digest because I think it’s makes us feel better to be like, ‘Well, I’m better than this guy.’
He adds, “I don’t want to think I’m better than anybody ’cause you don’t know what someone’s born into.”
‘It’s the same thing’
The conversation also turns to matters of morality, with Bieber speaking about taking “ownership” as a man and avoiding the sin of adultery:
“If you even think of a woman with lust it’s the same thing as actually doing it; committing adultery or whatever,” he says, clearly referring to Christ’s Sermon on the Mount and Matthew 5:28. “It’s the same thing. So if it even just crosses your mind for one second, if you treat a man with anger or something, it’s the same as killing a man, scripture says.”
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– YouTube
Am I worthy?
The singer seems to touch on his own mental battles when he speaks of God’s mercy.
“Someone’s probably struggling with their own self-image of like, ‘You know, am I worthy of love?’ And God says you are. You know what I mean? I don’t make the rules. But Jesus says that, and I really believe Him.”
“I believe He loved us so much,” Bieber passionately continues.
He put on skin and bones and came onto this Earth as a person, as a human. Lived a sinless life so that we don’t have to be focusing on sin because none of us can do the right thing all the time. And then He literally went to the cross, was lashed, whipped, made fun of, then he rose on the third day defeating death, Hell, and the grave. Now we get to live free and rather than focus on sin, now we can focus on Jesus, the wonderful savior. And I really think He’s the king of the world, bro. He’s the king of Hollywood. He’s the king of L.A., bro. He’s the king.
Transaction reaction
The men further discuss how and when scripture makes its way into their daily lives, with Bieber revealing that at this point in his career, he does not want to work with people for transactional purposes.
“That’s what, like, business is these days,” he says. “It’s just like, ‘I scratch your back, you scratch mine.’ And you guys, it’s not based on love.”
When asked how he learned about his faith and if it simply comes from reading the Bible, Bieber responds by saying much of it has stuck with him after his mother rewarded him for memorizing passages as a child.
“I would get a gold star. So I would just memorize it,” he recalls enthusiastically.
Bieber admits he often doesn’t know where a particular passage comes from in the Bible — just that God brings it to the front of his mind.
“The scripture says, ‘I will remind you the things that I’ve told you’ and He just reminds me,” Bieber concludes. “Because He knows what I want. He knows that I want this for other people. So I think He puts it to my brain.”
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‘Last Days’ brings empathy to doomed Sentinel Island missionary’s story
It would be easy to demonize John Allen Chau, the Christian missionary who died while trying to bring the Bible to a remote tribe. The 26-year-old could have introduced new diseases to the North Sentinel Island community, causing serious harm. He also vowed to invade a community that craves isolation above all.
Now imagine a Hollywood film capturing Chau’s short, dramatic life. The industry isn’t known for sympathetic close-ups on faith, to be generous.
‘Whenever we go into places where we’re not comfortable, the first thing is, “I have to impose my point of view. Here’s my worldview.”‘
Yet veteran director Justin Lin (“Star Trek Beyond,” the “Fast & Furious” franchise) took a less expected path in bringing the young man’s life to theaters.
Justin Lin. Photo: Giles Keyte
Quick to judge
“Last Days” stars Sky Yang as John, a determined Christian who vowed to do something remarkable with his life. He risked everything to travel to the North Sentinel Island, hoping to share Jesus Christ’s message.
The story ended tragically, but Lin’s film portrays Chau as a kind-hearted lad whose complicated life led him to his fate. Lin isn’t a Christian, but he treated the material with care and empathy. That wasn’t his first reaction.
“It’s very easy to judge and dismiss. That’s what I did when the story broke,” Lin told Align of the initial news reports, the kind of “hot take” that swiftly decried Chau’s fateful decision. “It didn’t sit well with me that I was so quick to judge and dismiss him.”
A father’s story
An Outside Magazine feature on Chau’s life had a powerful effect on the filmmaker. The story shared Chau’s father’s perspective on his late son, among other details.
That rocked Lin.
“I have a teenage son. As a parent, I know exactly what he was going through, how you’re trying to impart your wisdom, make sure they’re not going through any hardships,” he said. “What I learned from that article was that if you do it on your timeline, and your son is not ready, you just miss each other.”
The project didn’t involve fast cars or intergalactic travel, but the change of pace spoke to the veteran filmmaker.
“I really wanted to try something different,” added Lin, even if he wouldn’t have the kind of blockbuster budget at his back.
“It’s going to be a run-and-gun, small crew,” he imagined before reading more from the real Chau’s diary. “In John’s writing, he was clearly inspired by adventure novels and Hollywood films. … I’m going to honor that and be the signpost for our film. … It’s an intimate story, but it has to feel like a big Hollywood film.”
He called in some professional favors to give the film a Tinsel Town sheen that otherwise might not have been feasible.
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Still courtesy Pictures from the Fringe
Fresh perspectives
Lin approached Chau’s faith delicately, while acknowledging the dubious decisions he made along the way. A mid-film romance ends unexpectedly, for example, allowing for fresh perspectives on Chau’s quest.
That balance came via an extensive effort on the director’s part.
“Whenever we go into places where we’re not comfortable, the first thing is, ‘I have to impose my point of view. Here’s my worldview.’ I made that commitment early on to say, ‘No,’” he said. “Taking three years of my life [for this film] … was to connect with his humanity.”
More with less
“Last Days” looks as lush as a $100+ million film, the kind that Lin routinely delivers. He didn’t have those resources nor an A-list cast to bring John Chau’s life to the big screen. Yang is a minor revelation, while Ken Leung’s turn as the young man’s father is heartbreaking.
Lin has a knack for doing more with less.
“I made a credit card movie for $250,000, and that movie opened the door and gave me all these opportunities,” said Lin of “Better Luck Tomorrow,” his 2002 breakthrough made by maxing out his personal credit limit. The film earned $3.8 million theatrically, a tidy sum given the budget. Hollywood swiftly came calling.
“Last Days” may have an indie sensibility, but Lin still felt the pressure to “nudge” the film in certain directions. The real Chau refused to be “boxed in” by society, yet the film industry tried to do just that with the film.
“Can you make this a Christian movie?” he recalled of the behind-the-scenes chatter about “Last Days.” … I didn’t understand or even appreciate that kind of nudge. … ‘If you really wanna be marketable, you should do more of this.’ Those conversations for me ended very quickly.”
“That is a challenge with independent films … the temptation. … ‘If I give you all this money, can you cast my son?’ Those are all choices you encounter,” he said.
Lin will find himself on more familiar ground with the upcoming “BRZRKR,” based on the Boom! Studios comic book co-created by Keanu Reeves. The “John Wick” star served as an angel investor in “Last Days.”
“I didn’t grow up wanting to make action movies, but I ended up enjoying the process,” he admitted.
The public got a sneak peek at “Last Days” during the Sundance Film Festival earlier this year, months before its Oct. 24 theatrical rollout. The post-screening Q and A left him hopeful he had accomplished what he had set out to do with the film.
“Five minutes in, they could find a common bridge in [the film],” Lin recalled. “We need that now more than ever.”