Thursday, January 31, 2019

'The L Word' Is Coming Back and Dear God It's About Time

The L Word—the massively popular 2000s Showtime drama series about lesbians in Los Angeles—is coming back. According to the Hollywood Reporter, Showtime just gave the sequel the green light for its new season, which will pick back up in the same sun-kissed queer world of the original, only this time with a contemporary crew of new characters that have tie-ins to the lives of some women from the original series.

The original show became the guilty pleasure of people across the spectrum during its run from 2004 to 2009, when it broke new ground for lesbian representation on television. Gone were the days of seeing lesbians as token characters adding brief color to someone else’s story. The L Word gave viewers an array of front-and-center lesbian characters and invited audiences to see facets of their lives rarely seen on TV as they navigated love, sex, friendship, and, of course, a bunch of deeply messy drama. The show wasn’t perfect, raising eyebrows at the time—and in retrospect—from fans who wanted to see even less stereotypical characters, and more diversity in just about every arena (gender, race, class, body type—you name it). But importantly, the show depicted a community of lesbians, allowing folks who felt isolated to live vicariously through a world in which lesbians were everywhere.

The show’s team seems well aware that they’re going to need to upgrade their sequel. Original creator Ilene Chaiken is back as executive producer, along with original actresses Jennifer Beals (who played Better Porter), Katherine Moennig (Shane McCutcheon) and Leisha Hailey (Alice Pieszecki). But the show has added Marja Lewis Ryan, the executive-producing showrunner who, hopefully, can lend some fresh perspective to the series.

“Marja has brought her unique and contemporary vision to The L Word and blended it beautifully into the fabric of Ilene’s groundbreaking series,” Showtime president Gary Levine told Deadline. “This revered show was both entertaining and impactful when it originally ran on Showtime, and we are confident that our new version will do that and more in 2019.”

It goes without saying, but a lot has changed in the lesbian community between the 2000s and now. As The L Word’s title suggests, being proudly out of the closet was still taboo when the show aired, and many of the show’s fans were tuning in privately themselves. But now, there are more popular shows with leading queer characters—from Orange Is the New Black to Queer Eye—and some of the stigma has lessened, which means the sequel has to do a lot more to push the conversation forward than just put a handful of lesbian characters front-and-center.

California’s vibrant lesbian community has continued to grow and make noise since The L Word went off the air, maintaining a certain fantasy-land lure within the queer community. In 2010, a reality show spinoff about lesbians in LA, The Real L Word, took off at Showtime, running for three seasons until 2012. Meanwhile, popular YouTube vloggers and Instagram influencers in LA’s queer scene like Ari Fitz (AKA Tomboyish), Hannah Hart (My Drunk Kitchen), and Amber (from Amber’s Closet) have built massive followings of queer people around the country eager to live vicariously through their lifestyle. There’s still no word on when The L Word will drop this year, but—for as groundbreaking as the original might have been—here’s to hoping we see a new kind of queer LA reflected on screen when it does.

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'The Babadook' Director Finally Recognized Her Creation as a Queer Icon

When The Babadook came out in 2014, audience members were awed by the film's emotional authenticity and unique visual style. Plus, its titular monster was shit-your-pants levels of terrifying.

The movie is about a single mother, Amelia, who resents her young son, Samuel, who she blames for her husband's death. When the two of them move into a new house, the boy finds a pop-up book called Mr. Babadook, from which the nightmarish Babadook springs forth—a spindly fingered, top-hat wearing supernatural creature who grows stronger as victims deny his existence. The film gained notoriety for its reexamination of familial horror story tropes and its avoidance of sacrificial motherhood or matricide. In their effort to escape the Babadook, mother and son actually grow closer together.

But The Babadook's true claim to fame and continued relevance stems from its antagonist's emergence as a queer icon. The fervor started on Tumblr, of course, and was probably intended as a joke. Netflix classified The Babadook as an LGBTQ+ title, and Tumblr user taco-bell-rey called them out for it. Memes began proliferating across the platform, and by mid-2017, the Babadook had cemented his status as a queer icon—popping up at Pride celebrations and inspiring drag performances.

For years, The Babadook director Jennifer Kent kept silent about the phenomenon. But at Sundance this year, where Kent's newest horror film The Nightingale is being screened, she finally acknowledged the icon her monster had become. "Of course, I love that story," she told Bloody Disgusting reporter Fred Topel. "I think it’s crazy and just kept him alive. I thought, 'Ah, you bastard.' He doesn’t want to die, so he’s finding ways to become relevant."

Given the Babadook's penchant for lurking around, Kent's long-awaited response to the phenomenon feels pitch perfect. Remember, the more you deny the existence of the Babadook, the more he'll infiltrate your daily life. According to the rules of first-order logic, ignoring the Babadook's status as a queer icon only makes it more true.

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'Family Guy' Is 20 Years Old and America Still Can't Decide if It Sucks

Seth MacFarlane’s animated sitcom, Family Guy—a show that still bags 2–4 million viewers a night on the reg—turns 20 years old today. While it started as an upstart RISD kid’s fringe sitcom parody, the series is now a juggernaut that’s as divisive as many political wedge issues.

For the haters, the show either isn’t their type of humor, or the rape jokes, gay jokes, Jew jokes, disabled jokes, trans jokes, Muslim jokes, or AIDS jokes are often so repulsive that watching can be painful. Fans who defend Family Guy argue that offensive bits are the whole point of the show, so if viewers don’t want to be offended they should just not watch. As the A/V Club’s Todd VanDerWerff put it, “Somewhere along the way, we’ve all decided if we’re Family Guy fans.” Whether or not someone likes the show can be an indicator of their most deeply held cultural beliefs.

A scene in the episode “Movin’ Out (Brian’s Song)” is a typical example of why it’s so controversial. There’s no way to finesse this: Peter Griffin’s buddy Quagmire rapes Marge Simpson. She pushes him off of her body and runs off-screen as he pursues, pants around his ankles. A few moments later, they walk back on screen together and he says, “That wasn’t so bad, was it?” She says it was “fantastic” and they wind up in her bed. When Homer discovers them, Quagmire shoots each one of the Simpsons dead. The clip is on YouTube and it’s pretty fucked up, so watch with discretion.

FOX chose not to air it in the United States, but nobody kept it off of Canadian TV, the DVD box set, or Family Guy’s revival on Adult Swim. MacFarlane said in the clip’s commentary track that the studio canned the joke because it was “too personal” an attack on The Simpsons. MacFarlane felt it was proportional retaliation for an episode of Matt Groening’s show dunking on his for “plagiarismo.”

What more needs to be said about the quality of a series with writers who would write such a scene, animators who would animate such a scene, and producers who would send such a scene to the network with the intention to broadcast it, all for such a petty beef? Isn’t this rape joke so tasteless it deserves an automatic red card?

On the other hand, why focus on this instance when talking about Family Guy’s now 20-year legacy? Why not talk about how its debut made then-24-year-old MacFarlane the youngest executive producer on television? Why not talk about how the show has won eight Primetime Emmys, plus picking up the first nom for Outstanding Comedy that an animated show had received since The Flintstones? Why not talk about its resilient struggle to stay on air despite two separate cancellations? Why not talk about the guest stars and the stoned chuckles sparked by extended chicken fights and road trip episodes and relentless “The Bird Is the Word” non-sequiturs?

The reason is that rape or race jokes where the rapist or the racist isn’t being taken down a peg sour the show for some viewers, but not for millions who tune in each week. Peter McGraw, the director of the University of Colorado, Boulder’s Humor Research Lab, HURL, has a theory why.

He spoke to hundreds of professional funny people for his book, The Humor Code, and kept finding two philosophies when it comes to what makes a good joke. “One model of thinking is comedians should try to punch up and do no harm,” he told VICE. “And then the other one is that there shouldn't be limits, that the limits are imposed by the audience. If they're not laughing, you're not going to stay in business very long.”

There’s a metaphor he uses to explain the difference between the two ideologies. “No limits” people think comedy is like a thermometer, and the “do no harm” crowd sees it as a thermostat. The joke is either measuring the temperature of the room by finding the laugh, or it’s using laughter to adjust it. Jokes either change people’s minds, or they simply reveal what people already think. Watching Family Guy then becomes a litmus test for whichever of the two camps a viewer falls into, just as assuredly as views on reproductive rights are a steady indicator of who a voter picked for president in 2016.

To be clear, this conversation isn’t about whether rape jokes can be funny. Survivors use comedy to cope with the horror of sexual assault, and master comedians like George Carlin have been praised for their sensitive approach the subject. Others argue that rape is never funny, and jokes about it can harmfully trigger traumatic memories. Either way, the Quagmire gag crosses a line for those who see comedy as a space with a responsibility to set the tone for what is acceptable in a larger, cultural conversation.

Once that line is crossed with no apology, MacFarlane and his show are effectively outside of the “do no harm” group’s trusted circle. The “no limits” folks can shrug off a joke that didn’t land as a minor failure—no one was actually raped, it’s just a cartoon—and Family Guy’s whip-fast, 5.2-jokes-a-minute pace makes it easy to focus on the ones that do get a chuckle. But once someone is on the outside, jokes that toe the line all of a sudden cross it, alienating themselves from those that don’t. McGraw compares the effect to being tickled by a trustworthy person versus a creepy old dude in a trench coat—one makes people laugh, the other makes them scream.

Comedians are playing out this culture gap in real time. In one corner is Louis C.K., who infuriated many comedians with his abrupt return to the stage after admitting to sexual misconduct last year. In the other is Hannah Gadsby, who acknowledges the power that jokes have to harm people and make society worse—or better. This dichotomy resonated with Lou Wilson, an L.A.-based improv comic you may recognize from American Vandal. He told VICE, “If I make a joke that cracks the whole room up, but hurts one person, that ruins the joke for me. That is a bad joke.”

A growing shift toward that way of thinking could be part of why fewer people than ever are tuning into Family Guy, which Nielsen says peaked in its first season with an average of 12 million viewers per episode. Season 16, which aired from 2017 to 2018, landed about 3.52 million viewers per episode. Family Guy, and even MacFarlane’s appearances outside of the show, may come off as the creepy trench coat guy to a larger percentage of the viewing public. Think about his ode to women's breasts at the 2014 Oscars, or the subplot about an alien who essentially exudes date rape drugs on The Orville. That could put a lot of people off, especially as our culture becomes more and more conscious in the #MeToo era.

Of course, there are a lot of reasons for such a change, ranging from what Vulture’s John Hugar called the show’s “perpetual rut” to the simple fact that the market is more fragmented than it was 20 years ago and there are more animated series geared at adults today.

My colleague Angus Harrison identified Family Guy’s three big draws as pace, recognition, and bright colors—and in 2019 there are shows that do each one better, without the baggage. Rick and Morty and Big Mouth can both can be as crudely entertaining as Family Guy, while avoiding jokes that propagate harmful stereotypes or violence against marginalized people. Bojack Horseman tops it for jokes per minute and pop culture references. Steven Universe is more brightly colored and has catchier songs to boot. South Park has been on for longer than Family Guy, but it still holds up.


Related:


In mid-January, Family Guy aired an episode in which Donald Trump sexually assaults Peter’s daughter Meg, and people got so mad that producers Rich Appel and Alec Sulkin, who weren’t available for comment on this piece, had to publically defend the joke. The angry either balked at the crass depiction of the President of the United States, or found it to be proof that the writers still have no clue how to joke about the transgressive issues to which they cling.

The showrunners wrote an announcement that they’re “phasing out” gay jokes. Some are puzzled about how it took until 2019 for them to make this move, but it makes sense when you realize that Family Guy has no interest in being the proverbial thermostat. It’s reactive, chasing the lowest common denominator of what will get 12 or five or three million people to snicker. In a world with increasing demand for comedy that cranks up the heat on institutional oppression, Family Guy is a thermometer through and through.

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We Asked Mile High Club Members How They Did it

This article originally appeared on VICE Australia.

In 1785, just two years after the invention of the hot air balloon, two English lords at a popular London gentleman’s club made a bet. Lord Cholmondeley, from Cheshire, wagered two guineas [British form of currency worth about $1.38 in modern money] against Lord Derby, from Derbyshire, that he would accomplish the as-yet-unprecedented feat of having sex “in a balloon one thousand yards [3,000 feet] from the Earth." The odds were negotiated at 250-to-one: If Cholmondeley pulled it off, he stood to gain a lucrative reward of 500 guineas [$690]. More importantly, he’d also go down in history as the first official member of what has since been dubbed the “Mile High Club.”

Today there’s zero evidence either of them managed to take home the prize —which seems fitting. Because for all the people who claim to have joined the Mile High Club, it always just feels like they’re lying. Of course there’s a handful of celebrity cases, and that time those two British tourists banged on a Ryanair flight, but that’s about it. And sure, these things always happen behind closed doors. But in a post-9/11 age, in planes filled with seemingly insurmountable surveillance and judgmental aircrew and pervy spectators with camera phones, how does anyone actually pull it off?

With this question in mind, we asked a few self-reported Mile High Club inductees to tell us their tales, in detail. And this is what they had to say.

Laurel, 34

A member of the Mile High Club since July 2015

I was on vacation with my boyfriend in Italy. We’d had this huge fight like two days before because he thought I was cheating on him (I wasn’t). We’re flying from Rome to Florence—it’s a pretty short flight—and he just wasn’t talking to me. So I waited until the flight attendants had walked down the aisle with drinks, and then I unbuckled his seat belt and pulled him into the bathroom with me.

Honestly, I don’t know what came over me. I’m not usually a spontaneous wild person, but I think I was feeling helpless and as though I had nothing to lose. Surprisingly, the sex was great. Quick, but great. We came out of the bathroom and the people in the rows closest to us were giggling like school kids. I felt so triumphant: I thought we’d gotten away with it. Then, as we went past the flight attendants on the way out, one said “be more subtle next time.” I was so embarrassed! Safe to say, my boyfriend and I didn’t fight for the rest of the trip.

Liam, 23

A member of the Mile High Club since August 2018

This guy I’d been seeing for two weeks surprised me by booking this spontaneous trip to New Zealand. We spent an amazing, romantic week there and then flew home in Emirates First Class, which was also a surprise. Apparently, he just wanted to “see what first class was like.” We found that the bathrooms are LUSH. They have showers! And they’re huge.

So, naturally, we fucked in the shower. Usually you book them for 30 minutes and you get 15 minutes of hot water, but we were the only ones in first class, so they kept the hot water running and didn’t give us a time limit. It was pretty great—kind of exhilarating. I smashed a glass while we were having sex, so I was pretty sheepish when we exited the bathroom. The flight attendant was waiting outside the door with a dustpan and broom, but she just nodded and smiled at us. First class is amazing.

Grace, 26

A member of the Mile High Club since December 2018

I was with two of my girlfriends, and we were flying back to Manchester, England. I hate flying, so I just got wasted—drinking double gin and waters by the half hour. I’d been flirting with this flight attendant, which I assumed was innocent banter. Well, turns out he was into me, and started flirting with me over the in-flight message system (it pops up on your TV screen). He invited me up to the staff quarters, which was this area in the roof of the plane, with beds. I agreed, so he came and got me and took me up.

I didn’t know planes even had a staff quarters! Anyway, we went up there and he got me some bubbles and we had sex. For like, two hours. It was fucking great: He was so into it, it was as though he hadn’t had sex for months… I mean, he probably hadn’t. It was worth giving up his sleep break for!

David, 29

A member of the Mile High Club since 2012

Okay, so here’s what you do: You wait until the flight attendant is busy with the drinks cart, and then you pretend to feel sick. You rush to the bathroom, and a few minutes later your ‘friend’ comes in to give you some water. Then you have roughly ten minutes to reach your desired destination.

Lavatory occupied
Image by Ashley Goodall

You have to pick a position and stick with it. As a guy, I suggest sitting on the toilet, with her sitting on top of you, facing away. Then you’ve just got to focus and get it done. I’ve done it twice now. Both were successful. You come out of the bathroom looking disheveled and a bit sweaty, which is completely understandable… as you are not feeling well.

Tiff, 24

Currently in the induction stages of becoming a Mile High Club member

I was on a flight to Ireland, and there were these girls on board that were getting hammered. They started using the seat-to-seat chat and told me to go and sit with them, so I did. When I moved to their row, I could see this hot guy, kind of diagonally across from me, that I’d seen getting on the plane. He saw me with these girls, and obviously noticed how exceptionally hammered they were and how sober I was, so he started using the seat-to-seat chat too. He was like “You’re hot. You should come sit next to me, there’s a spare seat.” I stayed and drank with the girls until they took some Xanax and passed the fuck out, and then I went and sat with him.

Basically, I introduced myself and then we started making out. When we came up for air, we asked each other if we were a part of the Mile High Club—and neither of us were. I wanted to fuck him, but there was also no way it wasn’t going to be suspicious: I’d been drinking and sitting with the loudest people on the plane and the flight attendants definitely had their eye on me. So, instead, I asked for extra blankets and y’know… a lot of finger-banging and hand-jobs ensued.

James, 29

A member of the Mile High Club since 2014

I used to fuck a flight attendant. This one time, we found ourselves on the same flight when she wasn’t working. She saw me get up to go to the bathroom, and waited in her seat until I was finished. Then when I opened the door she pushed me back in and closed it behind us. It was very to the point.

We made out, gave each other head, and fucked. To be honest, I couldn’t quite believe that it was happening, but obviously there was no time to ask questions. She worked for the company and knew the people on the flight, which probably explains why no one stopped us. It was fucking awesome.

Patrick, 27

A member of the Mile High club since October 2017

I always wanted to be a part of the Mile High club. But I also didn’t believe it existed. Then my grandma—yes, my GRANDMA—bought me a Mile High club plane ticket. I thought it was a joke. But sure enough, the ticket cost like $750 and turned out to be essentially a hotel in the sky!

There was champagne, snacks, a bed, and someone who came in to tell you when the altitude was “just right.” I took my girlfriend at the time. It was an amazing experience but somehow it didn’t feel genuine because isn’t doing it in secret the whole point? It definitely wasn’t secret. Everyone on that flight knew exactly what the fuck was going on.

Interviews have been edited for clarity.

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Canada Passed Legislation Condemning 'Bird Box'

Netflix tried to squash their beef with Canadian citizens who were upset to see real footage from a deadly train wreck in Quebec appear in some of the streaming service's original content. The streaming service apologized to the Mayor of Lac-Mégantic, a city still reeling after 47 people died and much of its downtown was destroyed in 2013 when a train carrying crude oil derailed and exploded.

Imagery from that event has been used in an episode of Netflix's sci-fi series Travelers and their blockbuster movie Bird Box. Quebec's minister of culture, Nathalie Roy, sent a letter to Netflix CEO Reed Hastings asking that the footage be removed from their content.

While Peacock Alley Entertainment, the production company behind Travelers, agreed to replace the disaster footage in the series, Netflix is keeping it in Bird Box.

In a response letter sent last week to Roy, Netflix promised not to use the footage again and assured they would incorporate better practices for choosing certain imagery. However, they explained that the image came from Pond 5, a company that sells stock images. “As a result, stock images are commonly used within content on Netflix and on other services. This widespread use prevents us from making the changes you request on finished content,” the letter reads.

That didn't seem to quell the anger, however. On Wednesday, Canadian parliament got involved, passing a motion demanding that the streaming service compensate the people of Lac-Mégantic. The parliament’s motion is non-binding, so it’s more of a public statement that acknowledges the bad blood.


Pierre Nantel, who introduced Wednesday’s motion, said, “We know people are going to go and watch this film, and again these real images will be used. For people in Lac-Mégantic, they saw images of their own downtown burning, and could imagine their own family members in it." Since parliament passed Nantel’s motion, Netflix has only referred back to their previous letter refusing to remove the scene.

It is a pretty common practice for fictional movies to weave in footage of real-world events to add color and save money on, say, apocalyptic explosions. But the morality of that has rarely been called out so clearly and vehemently by affected communities. If it's a question of morality, the answer seems to remain unclear.

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'The Best Halloween,' Today's Comic by Zach Cunningham

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This Mexican Filmmaker Casts Real Cartel Members in His Movies

CARTEL CHRONICLES is an ongoing series of dispatches from the front lines of the drug war in Latin America.

The heavily tattooed arms of casting director Eduardo Giralt Brun move excitedly as he talks in strongly accented Venezuelan Spanish about how he’s looking for genuine gangsters from the mountains of Sinaloa with experience in crime and killing to star in his latest movie.

And he’s come to the right place: Sinaloa, a state in western Mexico. Most of the youths standing and smoking in silence as they listen to him work for the Sinaloa Cartel, formerly controlled by Joaquin “el Chapo" Guzman, currently on trial in the United States. Giralt Brun is here because he's looking for realism in his casting, tempting Mexico’s criminal ranks into the limelight while offering independent Mexican directors a chance to make films that reflect the country’s social reality.

Mexico has been ravaged by violence in a drug war that has left swathes of the country controlled and co-opted by organized crime. A generation of working-class young men—especially in states such as Sinaloa, which is where Mexico’s organized drug trade was born—is practically being raised by the drug business. In part the drug business is attractive due to a lack of better job options, but it also offers status and power to a disenfranchised youth. It can be an enjoyable if ultimately short-lived rush, much like that offered by the cocaine they peddle.

Mexico’s popular culture has always featured drug dealers, so it feels like a natural progression that some directors want them on set. Giralt Brun believes that only those who have truly lived something can portray it adequately on screen.

“I’m talking about the outcasts and the renegades. You see it in their eyes, how they stand and hold themselves and how they look at you when they talk. There’s no way to recreate that and if there was a way I think it would be a waste of time because there is nothing as good as reality,” he said.

It was during the making of his own short film, called Los Debiles (The Weak Ones), that Giralt Brun first dipped into organized crime as a source for actors. The movie, which won recognition on the international film festival circuit in 2017, follows a character seeking vengeance after his dogs are killed by a local crime gang. Most of the actors are from the world the film depicts, and everything grew from there.

“I feel that in countries like Mexico there is a lot of need to talk about what is happening, and the fairest thing is to give a chance to people who are protagonists in real life and can be on the screen,” said Giralt Brun.

A photo from one of Giralt Brun's recent casting trips
A picture from one of Giralt Brun's recent casting trip. Photo courtesy of Eduardo Giralt Brun

His Instagram feed is littered with outtakes from his keyhole into this world. He wanders into communities, usually helped by locals, to make contact with la maña—criminals, delinquents, and others living on the fringes. He asks wannabe actors to play out scenes in front of his phone, and then shows them to the directors who contract him to find these actors.

Giralt Brun has tapped other vocations looking for real people to cast—construction workers in Mexico City, for example. But he struggles with the disparity of power between the film industry and the people it is trying to represent.

“When I work with people from organized crime I feel the same position of superiority one can feel working with indigenous people, displaced people, people in construction," he said. "But there is something with the kids involved in the drug trade that's different. I don’t feel like I am taking advantage of anyone. In fact it’s quite the opposite, I am in the weaker position.”

Many of the young men that Giralt Burn casts already have some standing in their communities, albeit as malandros (bad guys), unlike people working in working-class occupations, who he says tends to be more submissive.

“These guys are more in control,” said Giralt Brun. “If they want to do me harm they can, and they know that, and that changes the game completely.”

The daily tasks of these young men, aged between 15 and 25, range from local lookouts to kidnappers and killers.

That said, they have to be able to take orders or they don’t make the cut, said Giralt Brun. “They have to be able to take very concrete, very specific direction—direction with them cannot be conceptual or metaphoric as it often is with professional actors.”

Last year, he cast some of the actors in the independent movie Comprame Un Revolver (Buy Me a Revolver), directed by Julio Hernández Cordón. The film is about a young girl living with her father on an abandoned baseball pitch used by young narcos who work for the local capo, or crime boss.

“The person I found knew how to hold a weapon, how to hide drugs—he knew, he was there, he suffered,” said Giralt Brun. “He was the real deal.”

That actor, named Lucho, didn’t do well during auditions, but Giralt Brun had a hunch about him and cast him anyway. He stepped up, and showed the rest of the cast how to manage weapons on camera in a realistic way.



For those Giralt Brun can coax onto the screen from the criminal underworld, it is a chance for them to do something different from the day-to-day, to escape the innate boredom of jobs such as being a cartel watchman, as well as earn some extra money. Giralt Brun said that one gang member told him the audition process made him more nervous than the prospect of kidnapping an entire family.

The risks that Giralt Brun runs to find these faces are obvious.

“Eduardo has the same commitment to making film as a war correspondent to journalism. That’s very inspiring and contagious, so I have always wanted to support him,” said Gabriel Stavenhagen, founder of the production company Cineburó.

Stavenhagen is backing Giralt Brun's latest project, which is a documentary about millennial sicarios (killers). Based in part on research from his casting work, Giralt Brun is now placing himself as a fly on the wall in the lives of these young men, filming everything but their criminal acts. Working with partner Emmanuel Massú, a local Sinaloan rapper known as “El Enfermo” (the sick one), they are building a bank of characters from the underworld in an attempt to paint a picture of their daily lives, motivations, and struggles.

“It’s one of those projects that arrived at the right time and the right place and sometimes you just have to do it,” said Stavenhagen.

“It’s very moving," Giralt Brun said, "to see these guys, who have spent their lives being told that they’re good for nothing, to find a talent for doing something that is good.”

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Very Good Human Gets Hotel Rooms for 70 Homeless During Chicago's Storm

Chicago is currently being ravaged by some truly heinous and deadly winter weather. At least eight people in the Midwest have died from the polar vortex so far, with temperatures plunging below the negative 20s this week. And just to make matters worse, the city is bracing for something called "frost quakes," which are apparently a real phenomenon and not something the SyFy channel just invented for a movie or whatever.

But on Thursday, the Chicago Tribune reported an extraordinarily nice story that is sure to warm some hearts in the middle of all this fucked up weather. According to the Tribune, an anonymous donor decided to get hotel rooms for 70 homeless people so they can stay warm while the city rides out the storm.

Earlier this week, members of a homeless camp near the Dan Ryan Expressway had been braving the heat with the help of some donated propane tanks. But after one of the makeshift heaters exploded Wednesday, the Chicago fire department confiscated hundreds of the things, for safety reasons.

Unfortunately, this was the second-coldest day ever recorded in Chicago, and, uh, not exactly the greatest time for the city to take heat away from nearly 100 people—so one incredibly thoughtful Samaritan reached out to the city and offered to put the entire camp up in hotels on Chicago's South Side for the rest of the week.

"We think it’s wonderful that there’s somebody out there that has decided to be so kind to provide a warm place and a safe place for these folks to go," Salvation Army spokeswoman Jacqueline Rachev told the Washington Post. "We’re thrilled they’re safe and warm, at least for a few days."

Rachev apparently doesn't know who the mystery donor is—they opted to keep their identity a secret—or even the name of the hotel. But seeing as how even the cheaper motels in Chicago can run around $50 a night per room, the good Samaritan is likely paying at least a few grand to house the whole homeless camp through the storm.

"It’s a deadly situation for anyone," Rachev told the Post. "We’re thrilled that someone was in a position to be able to do this."

Chicago's dangerously cold temperatures are supposed to shoot back up into the 50s by Monday, but until then, some of the city's homeless population will be able to stay safe, all thanks to one thoughtful, selfless soul.

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This Man Bought a Far-Right Group’s Domain and Made a Furry Dating Site

This article originally appeared on VICE Canada.

If you try to go to the website for an Alberta far-right group, you won’t read the anti-immigration views “Wolves of Odin” usually spout, but you will see the dating profiles of some cartoon wolves packing serious heat.

Instead of finding some conspiratorial ramblings about how Muslim immigration is a purposeful conspiracy to replace the “real” Canadians, you’ll learn about “Bigger_Woofer” who loves “when you mark your territory on your chest.” This little bait-and-switch website was posted on the Edmonton subreddit Wednesday and it promptly blew up.

Brady Grumpelt is the man behind the Wolves of Odin’s new web presence. The Edmonton man told VICE that the idea was sparked when he saw men he thought were members of the Wolves of Odin “trying to pull their whole intimidation thing” in the Buckingham, a punk(ish) bar where Grumpelt used to work. (Full disclosure: the Buckingham is one of this reporter’s favorite haunts in Edmonton.) A video posted to Facebook appears to show the group causing a disturbance in the bar on Friday, defacing some property, and arguing with the owner. Grumpelt said that while the owner of the bar, Ben Sir, is “lawful, good, and would never do anything like this,” he’s personally more “chaotic good” and decided to pull something.

The same day, former members of the group gained national attention for stalking the grounds of a mosque. The men are members of a Wolves of Odin offshoot group—they now call themselves the Clann and the Canadian Infidels—having left the Wolves of Odin only weeks prior.

"I saw what group they were and wondered if they had their domain. The dot com was taken but the dot-ca was not—so I thought to myself, I think I might take this and do something funny with it,” Grumpelt told VICE. “It took about ten minutes to kind of think it up. I thought, well it is wolves, so that works fairly well."

"From that, I reached out to a friend who is better with computers and asked him to take this domain and turn it into a one-page furry fetish site."

Screencap of WolvesOfOdin.ca
A screencap from WolvesOfOdin.ca

It took the duo a couple days to get it up, but they finally made it happen Wednesday. Now if you go to WolvesOfOdin.ca you’re treated to the profiles of “DoggyTreat69” who wants you to “cum bury your bone in my backyard;” “White_Power_Bottom” who “can’t wait for you to fill me up like a Twinkie;” and, of course, “Wolveso_Fodin” who is “not the smartest wolf in the zoo.”

While the site has amused at least a few thousand Albertans, some members of the furry community took to Reddit to discuss the implications of their fandom being used in this way. A user named Kawauso98 said that they “appreciate the joke and all because fuck groups like this,” but as “self-deprecating as we furries are, someone making fun of a hate group by making them out to be ’one of us’... feelsbadman.” A few other furries voiced similar complaints.

Grumpelt said that he’s talked to a few people in the furry community online about the website and even had a few offer up images of their furry personas to be put up on the site. He said he chose furries because of the obvious wolf connection, and meant no ill will.

“I can understand if people in that community are upset about it,” said Grumpelt. “I would just basically say to them, I don't mean to upset you, I want the site itself to just be what it is and not be marginalizing the furry community."

“I hope that members of the furry community are forgiving of me if they are mad at me, just know that I’m trying to do good overall.”

Weirdly, this isn’t the first far-right community with a wolf theme, nor is it the first to be spoofed by furries. Before “Wolves of Odin”—an obvious wolfy take on “Soldiers of Odin”—there was La Meute in Quebec.

A furry group called La Meute, which translates to “The Pack,” shares a name with the province’s large far-right anti-immigration group. So this group scooped up the Facebook page for “La Meute Officielle,” and promptly became the top “La Meute” search result on the site.

Speaking to VICE in late 2017, Mr. Wolfenstein, the activist behind the page, described the move as “a really different way of fighting back. It's something we didn't know we could use, to use our identities as furries to fight.”

If you scroll down to the bottom of Grumpelt’s site, a note suggests readers can buy the domain by making a $10,000 donation to the charity “Hate Free YEG,” which cleans up racist graffiti in Edmonton. There is also a Go Fund Me for the group. A rep for the charity told the Edmonton Star that the stunt and the suggestive photos of sexualized wolves with giant bulges “are decidedly off-brand for us.”

Grumpelt said that he hasn’t heard too much from the far-right group, but had a few people call him up and say he’s an asshole or an idiot.

He might be used to that kind of reaction since Grumpelt launched a business selling gummy dicks in 2015. His “eat a bag of dicks” joke earned him a bunch of money and spotlight, including a profile from this reporter. He’s also launched an NES cartridge-shaped harmonica. Grumpelt told VICE he just likes “doing things.” But this latest thing is different, he said because this one could actually do some good, whether it be raising awareness, raising some cash for a good charity, or fucking with a far-right group’s web traffic.

"I think they're ridiculous," Grumpelt told VICE. "I don't understand the mentality of going into the mosque to intimidate people... To me, it's a backward way of thinking and they need to get over it, we're in the 21st century."

“At the end of the day, I just wanted to do a little good and I just hope I don’t get murdered by a group of racists or an angry group of furries.”

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Here Are the Wildest Photos of the Polar Vortex Rocking Chicago

A polar vortex swept through the Midwest this week, bringing with it historic low temperatures in some areas. Chicago, which was particularly hard-hit, dropped below -20 degrees on Thursday, with wind chill bringing temperatures down into the blistering -40s.

The cold snap has claimed the lives of at least eight people and a zebra, and shut down mail service in several states. More than 1,000 flights have been delayed and more than 2,000 have been canceled into and out of the US Thursday, according to FlightAware. The New York Times reports that number topped 2,700 on Wednesday. At least 7,000 people lost power thanks to frozen gas pipes, which also spawned this wild, rambling op-ed in the Chicago Tribune.

It's pretty clear that it's cold as shit in Chicago—but what does it actually look like out there?

It's so cold that subway tracks are being set on fire to make them usable.

It's so cold that the city is experiencing "frost quakes," CNN reports. That's when it's so frigid, underground water freezes and expands, cracking the rock and dirt upon which the city is built, leading to what sound like small explosions.

It's so cold that area noodle enthusiast James David says his bowl of spaghetti transformed into this surrealist sculpture in 60 seconds after he brought it onto the balcony of his 17th floor apartment on Wednesday. "The cold dry air pulled the moisture and heat away from my body so quickly that frost and ice formed on my eyelashes pretty instantly. Something I've never experienced in my life," he told VICE. "There's really no good reason to be outside."

A bowl of noodles froze solid in Chicago during the January 2019 polar vortex.
Image courtesy James David

With their city frozen to a near standstill, Chicagoans like David have spent their time documenting the icy tundra that used to be Lake Michigan and the frigid stalagmites of their skyline.

Mercifully, forecasters predict temperatures will shoot upwards of 40 degrees by the end of the week—but in the meantime, Chicago has basically been reduced to a real-life Hoth.

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What Happens When Latinx People Gentrify Latinx Communities

Boyle Heights is experiencing unfettered and unprecedented transformation. The Mexican American neighborhood, located just east of Downtown Los Angeles, was once characterized by its taquerías and quinceañera shops. Today, the barrio is glittered with new boutique coffee spots, bars, and record stores. These commercial adornments can be understood as omens of gentrification. They’re signals that what has been a predominantly low-income black and brown neighborhood is on its way to becoming a hub for young, affluent white folks.

Typically, the progenitors of gentrification are white, but what about when they’re not?

Recently, the barrio has seen an influx of upwardly mobile, college-educated, Mexican Americans. Usually, these well-to-do Chicano arrivistes are drawn to the area not only because of its relatively low rent and proximity to the city center, but also by its connection to their cultural heritage. With this new breed of settlers comes a new genre of commerce: one that—like its forbearers—sits at the crossroads of two commitments: first, to its Mexican American roots; second, to the dominant, Scandinavian aesthetic of the urban creative class.

At Primera Taza Coffee House, customers will not find a Café Americano on the menu. In its place, a “Café Chicano.” A few blocks away, in Mariachi Plaza, sits the wine bar Eastside Luv. At ESL (which stands for both Eastside Luv and English as a Second Language), you can buy a house-made sangria and sign up to participate in MariachiOke, which is like karaoke but with a catalog of traditional Mariachi songs. On the bar’s website, owner Guillermo Uribe describes ESL as a “bar where you can be as Mexican as you want and be as ‘American’ as you want plus everything in between.”

In 2007, Uribe coined a term to describe the movement that his bar and other new Chicano-owned establishments represented. He called it “gentefication,” a combination of the word “gentrification” and the Spanish word for “people” (“gente”).

In a 2014 interview with Los Angeles Magazine, Uribe said, “I started to see the potential of improving the community from the inside out. If gentrification is happening, it might as well be from people who care about the existing culture. In the case of Boyle Heights, it would be best if the gente decide to invest in improvements because they are more likely to preserve its integrity.”

Boyle Heights
Photo by Lorena Endara

In essence, the aim of gentefication is to allow Latinx communities, usually low-income, evolve without having their roots diluted into whiteness. On the surface, this evolution may seem to be a purely aesthetic one—swapping out traditional signage for sleek logos in sans-serif, blanching colorfully muraled walls into sterile white minimalism, making the town look less like Tijuana and more like Berlin.

Beyond aesthetics, however, the mission of gentefication is to bring much needed financial development to Latinx neighborhoods without displacing the people who have lived there for generations and need it the most.

Evelyn Santos and Barney Santos co-founded an organization dedicated to putting the goals of gentefication into action. The aptly named Gentefy started as a content strategy company, striving to bring old Latinx local businesses into the modern day. Today, Gentefy tries to spearhead gentefication efforts through education, consulting, and entrepreneurial incubating.

What the cofounders identified was a supply and demand shift—as Millennial Latinxs got older, their tastes evolved, but longstanding legacy businesses did not evolve with them. Because of this, Chipsters (Chicano Hipsters) and Gen X Latinxs spend their money outside of the community in more predominantly white neighborhoods like Echo Park, Silver Lake, and Downtown LA, where traditional gentrification had already taken fuller, says Barney Santos. Gentefy used contemporary branding to make these legacy businesses more attractive to these young Latinxs.

But in making a Latinx community more attractive to young Latinxs, gentefiers have to ask themselves if they’re subsequently making their communities more attractive to affluent white folks as well. “Sure, that might be attractive to outsiders and people who traditionally are associated with gentrification,” Santos agreed, “but you can’t avoid that.”

For Santos and others who champion Latinx driven redevelopment, there is a clear line between being a gentefier and being just a brown gentrifier. Given that Latinxs are now the ethnic majority in California, it makes sense for gentefication to have originated there. Gentefication—or more broadly “ethnic gentrification"—is happening all over the country. As more and more young people of color gain access to higher education, we see the return of newly affluent people of color to neighborhoods like New York City's Harlem.

Boyle Heights
Photo by Lorena Endara

Defend Boyle Heights (DBH) is the now infamous activist coalition committed to fighting gentrification in the barrio. They have been a leading force for keeping “hipster businesses” out of the Boyle Heights and boycotting those that managed to make their way in.

So far, DBH and affiliated groups, like the Boyle Heights Alliance Against Artwashing and Displacement (BHAAAD), have been responsible for the closure of multiple art galleries in recent years. Together, the group of community organizers have also successfully expelled businesses and non-profits that they’ve deemed culpable of gentrification. Their efforts are often criticized for being violent or radical, but the group is relentless. Last September they vandalized the coffee shop Weird Waves Coffee. Their stand against Weird Waves is unwavering, regardless of the fact that the coffee shop was founded by Salvadoran immigrant Mario Chavarria.

On their website’s F.A.Q., DBH makes it clear that they reject all gentrifiers regardless of race. “We target those who place demands for amenities in the neighborhood that do not address community needs and cause rents to rise and tenants to be forced out,” they state.

Is gentefication really just gentrification dressed up in culturally fitting conceit? Gentrification is a mechanism of power, and ethnicity is only one way that power can be wielded. Although it tends to be linked to ethnicity, gentrification can be instantiated without regard to one’s skin color or cultural background. Perhaps a rose by any other name or color is still a rose, thorns and all. Many of the gentrifying artists who move to areas like Boyle Heights are people of color, DBH points out: “We obviously boycott them.”

As gentrification continues to displace poor folks all over the country, Boyle Heights serves as a case study for what can happen (good or bad) when grassroots groups are unyielding in their resistance. The anti-gentrification organizing and activism by DBH has received plenty of exposure around the country, both in celebration and condemnation. Boyle Heights has become archetypal of the war between gentrification's actors and antagonists. So, it was only a matter of time before Hollywood adapted that war into a serialized drama on television.

The STARZ show VIDA revolves around two well-to-do Latina sisters who move back to Boyle Heights after the death of their mother and become the targets of anti-gentrification activism––a not-so-subtle nod to the action taken by DBH. The show itself is a feat in Latinx representation. Showrunner Tanya Saracho is a Latina leading a nearly all-Latina writers’ room on the English-language TV network. Its depictions of sexuality, class, and multiculturalism in 2018 are as realistic as they come on TV.

However, DBH activists accused the show of appropriating the struggles of the anti-gentrification movement. When VIDA was renewed for a second season, DBH announced that the show was not welcome in the barrio, planning demonstrations to disrupt on-location shoots.

“While our youth are getting arrested in the streets and our neighbors are getting thrown out to the curb - what does this show think it should do? Make a Hollywood T.V. show that belittles our sacrifices to organize community and pimps our struggle to fight for better living conditions in Boyle Heights,” DBH posted on Facebook.

Some folks in the neighborhood pushed back against DBH’s resistance to Saracho and her show, welcoming VIDA’s production for bringing not only money but recognition to Boyle Heights. Of course, change is inevitable, and for underserved black and brown communities it’s often necessary. Barrios like Boyle Heights have a long history of being underfunded and lacking a lot of the resources and amenities that wealthier, usually whiter, neighborhoods are so often afforded.

Boyle Heights
Photo by Lorena Endara

Rudy Espinoza is the executive director of the Leadership for Urban Renewal Network (LURN), which is a research and advocacy organization in Los Angeles promoting urban planning and policy to fight poverty and build resilient communities. Espinoza says that even developments that are well-intentioned and designed for the community—like a public park, for example—can act as gentrifying forces.

“The people who want a park deserve a park,” Espinoza affirmed, but he says communities must also be conscious about what a park can do to a neighborhood. “Is it going to raise property values? Will the increase in property values displace people?”

In essence, the question becomes: why can’t Latinx folks have nice things? It’s not to say that what Latinx folks have already been creating and cultivating within their communities is not great. Be it a park or an almond milk café de olla, Latinx people shouldn’t have to be excluded from new things just because white people might be attracted to them. It’s crucial, Espinoza said, for communities to anticipate and avoid the gentrifying effects of amenities that every neighborhood should be entitled to. “We have to think creatively about how we develop policy that mitigates that risk,” he adds.

In 2009, the MTA’s Gold Line Eastside Light Rail was extended to Boyle Heights, linking the neighborhood directly via subway train to the revitalized Downtown L.A. Improvements in public transportation are especially helpful for poorer communities in and around the urban core, but the MTA’s extension relied on purchasing the land where residents and local businesses resided, bringing about anxiety about what the Metro plans to do with the land. Better access to downtown makes Boyle Heights a lucrative option for folks who have been priced out of more expensive downtown neighborhoods.

Boyle Heights

As Espinoza points out, Boyle Heights is a majority-renter community, and in majority-renter communities, plans for new public parks, urban gardening, subway stops, etc., can bring a lot of good, but can also act as gentrifying forces. In order to mitigate their threat of displacement, he argues it's important that they be accompanied by plans to strengthen rent control and tenants' rights education.

Espinoza doesn’t feel comfortable using the word "gentefication" because it implies displacement. At its core, however, gentefication is meant to describe something very different from gentrification, which could be enacted by a white person or an affluent person of color. What he and LURN focus on is “responsible economic development.”

Because displacement is more likely in a community that is primarily comprised of renters, it’s also important, Espinoza says, to explore ways of supporting longtime residents who want to own property in the neighborhood. One example of this is with land trusts where, he says, “residents don’t have to live in fear that there’s going to be a new owner who is going to hike up rent, and folks actually have a stake in that ownership.”

Santos also believes strongly in the importance of property ownership by and within poor Latinx communities. That’s why Gentefy’s latest project is, for him, a sueño hecho realidad—a dream come true. “It’s a food hall,” Santos says, “but it’s also an economic stimulus for the city.”

Boyle Heights

BLVD MRKT is slated to break ground February and is expected to open to the public just in time for Summer. The large development will consist of a 1.2-acre real estate development in downtown Montebello, which is a predominantly Latinx city east of Los Angeles. The project will include 28 townhomes called BLVD WALK and an 8,500-square-foot corner lot, BLVD MRKT, which will serve as an open-air food hall modeled after those of Europe and Mexico. The development is the result of a public-private partnership between the City of Montebello, which owned the unused land, Olson Homes, and Santos’s organization, Gentefy. When asked about affordable housing options at BLVD WALK, a representative from Olson Homes said via email that the development would be comprised of 28 townhomes for sale at “market rate.”

The food hall at BLVD MRKT will have ten vendors. Of these ten, nine will be modern fast-casual restaurants, with limited menus and prices between $10 and $12 dollars, and four will be part of an incubation initiative Santos has been designing through Gentefy. The vendors in the incubator will be local entrepreneurs who would have otherwise been unable to open up their own restaurant storefronts due to socioeconomic barriers. As part of the incubation, they'll receive subsidized rent, mentorship, and ongoing coaching to ensure that within 18 to 24 months in the program, they’d be ready to open up a storefront of their own.

For Santos and other champions of gentefication, the inevitability of economic development is no longer something to be worried about. It’s something to take advantage of and participate in.

“In order for communities to become better without pushing people out,” Santos said, “people from the community have to be vested.”

Boyle Heights
Boyle Heights
Boyle Heights
Boyle Heights

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I Was Pulled Off a Bus and Humiliated by US Border Patrol

Comedian Mohanad Elshieky has lived in the US since 2014. First the Libyan citizen was on a J-1 visa as a student, but when the situation in his hometown of Benghazi worsened, Elshieky, who had been an outspoken political activist and radio personality while in Libya, began to receive credible death threats and warnings from his friends and family to stay in the US. He applied for asylum in December of 2014 and was finally granted it last October. His legal status in the country, however, doesn't protect him from being hassled by the authorities, as Elshieky's viral Twitter thread from Sunday showed:

The thread explained how Customs and Border Patrol (CBP) agents—he mistakenly called them ICE agents on Twitter—got on his Greyhound bus heading from Spokane, Washington, to his hometown of Portland, Oregon, and brought him and a few other people outside for questioning. As the encounter escalated, the officers insisted his documentation was falsified and that they could find no record of his asylum status.

Ultimately, Elshieky was released and let back on the bus, where he funneled his anger into a tweetstorm that captured the internet’s attention and raised a number of commonly held concerns about American's militarized border enforcement regime. The CBP later issued a statement that largely corroborated Elshieky’s version of the events, but suggested there would not have been an issue had Elshieky been carrying his proof of asylum documents with him. Elshieky saus that he has always been advised by immigration lawyers and government officials to keep this crucial, extremely difficulty to replace document in a safe place at home.

VICE got on the phone with Elshieky to try and get a better understanding of how the legal immigrant found himself in such a scenario and where his story fit into the larger issues regarding America’s immigration policies.

VICE: Why do you believe you were singled out and taken off the bus?
Mohanad Elshieky: The bus had like 20 people on it and most of these people were either older white folks or people who were my age and also white and [the CBP agents] did not ask them [for papers], although they now insist that they did ask everyone. The way I know for a fact that I'm not hallucinating or something is because they were asking for passports. It’s such an outrageous claim to say that 20 people on that bus had US passports on them. Most people, even citizens, don’t even have passports. People don’t travel. I know for a fact that everyone they asked was a person of color.

Was anyone brought off the bus with you detained further or were you ultimately all let back on?
They asked me and two other people to leave the bus. From what I remember, I and another person were let back on. You can see from the pictures I took that they were taking one person away with them in their car. Based on the way that guy who was taken was talking, he seemed Hispanic.

When you got back on, did any other passengers give you any signals of support or solidarity?
The vibe on the bus was as if nothing has happened at all, like nothing occurred outside. They were relieved when I got on because finally they can continue with this trip. I did not get anything negative or positive, like nothing. No one even tried to talk to me or asked me what happened. The driver got on the speaker and was like, OK, yeah, now we're moving, and mentioned the stops or whatever. And it ended there. It was like no one was searched, no one was asked where they’re from, no one was just taken outside off the bus and driven away. It was all very normal to everyone.



How does a “normal” document check typically go for you?
Before, when I've been asked for my identification, it was only at the airport and I have showed my driver's license and had no trouble. Bolt busses and in the city, I have never been asked to show my documents. This was the first time I’ve had to do such a thing.

What do you think a corporation like Greyhound’s responsibility is when it comes to these situations?
I believe that, as a private company, they should take the side of their customer. We all pay them to use their services to take us from point A to point B. For the money I pay, they should provide the best customer service, which includes not being harassed by anyone. So, they should have not consented to letting the agents on the bus.

What I learned from lawyers who have called me since the thread went up is that this was one of many cases where they've done this on Greyhound. I believe the reason they do it on Greyhound is because it’s very cheap so it's the best mode of transportation for people who are poor or who are more likely to be people of color. They know exactly who they are targeting.

I had someone from Greyhound call me to talk to me about it and he apologized to me and said that they were working to stop CBP from doing that and I asked him what sort of thing they were doing. He said, Oh, well, we're working on making posters that have both English and Spanish and we're going to put them all around in different stations. And we’re working with the ACLU and doing this and that. So, in my mind I’m thinking maybe I’m too hard on these guys, but soon after I look on Greyhound’s Twitter and it wasn’t what they told me. It was basically like they’re not going to stop them from coming on. (Note: VICE reached out to Greyhound for comment and the company did not respond.)

You originally thought it was ICE that pulled you off the bus, but later learned that it was CBP. Does that change your opinion on either agency or what you feel needs to be done to address the systemic problems that led to your detention?
I feel they’re the same. The only reason I assumed it was ICE and not CBP is because I always assumed that the Border Patrol only functioned on the borders. And I obviously don't know the differences between their outfits, but to me there's no difference between ICE and Border Patrol. They do the same job. They both work for Homeland Security. They both detain people.

I know people are like mad at me because I said they are “racist trash.” Yeah, that's what I said, and the people who captured me kept asking if I was an “illegal,” so I still fully stand behind my statement. Anyone can feel free to quote me. I don't care.

The immigration system in general is very broken and that was something I knew because I've been an immigrant for five years now and even though my whole process was done legally with a lawyer, it was far from easy. I upheld my end of the process, and on their side, there would be so many delays and uncertainties. It was very, very chaotic.

But for these two agencies, I’m not gonna go full steam like we need to dismantle them. I know a lot of people say that, but I won't as I’m not an expert in that stuff. I don’t want to just speak out of emotion, because emotionally, yes, fuck both of them. They can burn in hell. But logically, as a person who understands that there needs to be laws, there should just be a better system.

In the Twitter thread, you mentioned never having felt as terrible as you did that day. What has the outpouring of support online been like, and has that left you on the other side of this ordeal in a more optimistic place than before you posted it?
The amount of support was very overwhelming. Yes, I have gotten a lot of trolls and people saying bad stuff to me and whatnot, but compared to the amount of support, the negative reaction is nothing to me. I have people reaching out to me from not just all around the country, but just all around the world. It was amazing. It gives me more hope for for this country. I like living here.

This interview has been edited for clarity and length.

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