Monday, September 27, 2021

British children's TV show, 'CBeebies,' hires first presenter with Down syndrome


from The Guardian:

The BBC’s preschool TV channel CBeebies has appointed George Webster as its first presenter with Down syndrome. The 20-year-old will join the channel as a guest presenter from the CBeebies House, hosting segments and links between programmes from Salford’s MediaCityUK.

An actor, dancer and ambassador for the disability charity Mencap, Webster was announced as a presenter on Monday. In a video posted on social media, he said: “I feel so proud and I’m feeling so excited to start”, adding that he was looking forward to cooking and dancing in his new role.

Webster, who is from Leeds, previously appeared in an educational video for the BBC’s Bitesize strand on misconceptions around the genetic condition.

Many expressed their delight online at his announcement, especially parents of disabled children. Actor Sally Phillips, who has a son with Down’s syndrome, wrote: “Oh CBeebies I could not love you more. This means so much to us and isn’t George amazing!!”

Elsewhere, Mencap described Webster as “a brilliant role model”.

CBeebies, aimed at children under seven, has been praised for its diverse content in recent years. In June 2020, following the death of George Floyd, mixed race presenter Ben Cajee informed young viewers about his own experiences with racism. A series of two-minute films titled My Black History Heroes, highlighting figures including Barack Obama and Mary Seacole, is currently airing on the channel.

Reactions to Webster’s appointment contrasts with the reception some 12 years ago to then-CBeebies presenter Cerrie Burnell, born with her lower right arm missing, and whose appearance on the channel in 2009 led to a barrage of complaints.

Burnell Tweeted the news about Webster’s appointment, with the words “absolute joy”, as well as retweeting another message which posited that perhaps “the world has turned” in the intervening years.

Saturday, September 18, 2021

Emmys stage will feature accessible, ADA-compliant ramp — Here’s how it happened

 

from The Hollywood Reporter:

Pictured is James LeBrecht and the Emmy Award statue at the Academy of Television Arts & Sciences 

When the select in-person attendees get settled in their seats for the 2021 Primetime Emmy Awards on Sunday night, they’ll see the stage feature a new addition: a ramp.

The accessible, front-facing design was overseen by CBS Entertainment and the Primetime Emmys’ producers and follows an ADA complaint filed on Sept. 7 by Disability Rights Education & Defense Fund (DREDF) and lawyer Michelle Uzeta on behalf of James LeBrecht, who co-directed and co-produced the Oscar-nominated documentary Crip Camp alongside Nicole Newnham.

LeBrecht was notified that a ramp had been built as of Thursday evening, and according to the director, CBS confirmed to his reps that “anyone sitting in the audience will have unimpeded access to an ADA-compliant ramp” which “has been constructed as a fully-integrated, visible portion of the stage.”

It’s a step towards broader and more standard accessibility at Hollywood awards shows that LeBrecht says he supports, though it was an effort at least six exhausting weeks in the making. For the disabled director and disability rights advocate, muddled and slow communications from CBS Entertainment and The TV Academy meant that while the goal has been achieved, questions still remain about whether entertainment institutions understand what was at the heart of his ask for disabled members of the entertainment industry.

Addressed to Executive Vice President, Diversity, Inclusion & Communications at CBS Entertainment Tiffany Smith-Anoa’i and TV Academy president Maury McIntyre, the complaint alleges that both the TV Academy and CBS Entertainment were in violation of the American Disabilities Act and California civil rights law prior to building the ramp. Specifically, that what was first presented to LeBrecht was insufficient in meeting ADA standards because the options did not actually provide “the full and equal enjoyment… of any place of public accommodation.”

According to the complaint, the planned accommodations did not satisfy LeBrecht’s and his legal representation’s reading of the law. The filing states that Smith-Anoa’i advised “that individuals who cannot climb the stairs to the stage can go backstage to access the stage,” with another suggestion that “a staff member can bring a microphone to individuals’ seating area.”

“Separate is never equal,” the complaint asserts adding that the backstage route would be “not a directly connecting route” per the ADA, and would visibly other a potential winner. Both options ultimately fail to comply with the ADA, it argues, while additionally conveying “disrespect and exclusion.”

LeBrecht told THR that he had been in contact with both the TV Academy and CBS Entertainment ahead of filing the public complaint. “As the Emmys were approaching and following Crip Camp‘s extraordinary experience at the Oscars — where it wasn’t simply compliance with the law, but it was inclusion at every step of the way that had an equal experience to people who could walk — I just wanted to try to effect a change,” he explained about why he reached out.

He first brought the issue forth to the “management at TV Academy” through one of its advisory boards, after which he was told to pursue the issue with CBS Entertainment as the decisions around the design and accessibility of the stage are left up to the producers of the show. (A rep for the TV Academy confirmed this while redirecting THR to CBS for comment on this story.) That’s when LeBrecht says that he and several others got on a call with Smith-Anoa’i and started the conversation.

LeBrecht, who also sent a long email regarding the issue, lauded the executive who “really took to heart what we were talking about and understood the difference between compliance and inclusion, and what do those optics look like.” But he noted that he came away with no answer as to how CBS Entertainment would approach its stage accessibility issue. Once he finally heard back, he says it was to offer what was noted in the complaint. After that, repeated follow-ups yielded little information.

“I appreciated the efforts, but I felt like I needed to get the attention of people up at the top, too, because I just felt like if I’m talking about inclusion and you keep on coming back with compliance, you’re either not getting the message or you don’t care,” he said. “How often do I have to say there’s a difference between compliance and actually serving people with dignity?”

CBS did not return a request for comment.

The issue of what full equitable treatment looks like doesn’t end with critiques of microphones and backstage ramps. For LeBrecht, it also concerns the use of lifts, which TV Academy president McIntyre confirmed to Variety were available during last week’s Creative Arts Emmys. Lifts take a long time, the director says, before noting they can also be “insulting” to the independence of people with disabilities.

“You are not actually getting yourself there under your own power, and it makes you look helpless,” he says.

While LeBrecht has praised the Oscars — one of his first big industry awards events — that show was also lobbied and aware that at least some of its nominees needed equal stage access. It’s something LeBrecht was told the TV Academy tried to confirm by reaching out to all of this year’s attendees — limited due to the show’s COVID protocols and precautions. It was relayed to him that no one with a disability had been nominated.

According to the CDC, around 26 percent of Americans live with a disability, with millions estimated as having an invisible disability — in other words, a disability, whether it be cognitive, mobility-related or otherwise, that is not immediately visibly apparent. That can include joint or bone issues that people might otherwise treat as mere pain, but that would be supported, like wheelchair users, with a ramp. But LeBrecht also tells THR that after successfully lobbying for “a ramp at the front of the stage” while promoting Crip Camp at Sundance, it became clear that not just disabled attendees were benefiting.

“The fact of the matter is that that ramp was a real asset because that stage had this little dance number with a bunch of men doing a routine and they used the ramp in their choreography. They were thrilled to see the ramp because there were only going to be stairs,” he recalled.

Still, for LeBrecht, there’s an even bigger issue at hand with that kind of effort. “Do we have to reveal our disabilities?” he asks. “I mean, why force someone to do that?” Especially, he says, when there’s already law that demands equal access regardless of whether a disability is disclosed.

“This is why the ADA was passed. The intention of the ADA, among a lot of other things, was our participation in society be as equal as possible to people who do not have disabilities.”

The director says it is important for industry events and companies building these stages to understand that “the ADA is a base for disability rights. Not the ceiling.” And that’s ultimately what the rejection of othering accommodations, and his continued push for a front-stage ramp, was about. “In our society, do we accept that people with disabilities will take a separate route, especially when it’s completely possible to be inclusive when you’re building a stage from scratch?”

While LeBrecht shares that the experience was at times painstaking and frustrating, particularly the weeks lacking communication about the ongoing efforts, he lobbied for and was made aware of other positive efforts the show enacted or is at least trying to put in place.

“I was told that there are going to be [American Sign Language] interpreters available if needed. That’s fabulous. I also requested that they provide live audio descriptions for the broadcast, as well,” he said. “I know they’re trying to make that happen. That takes a while to coordinate, let alone get a sponsor to pay for it.” (Google sponsored audio description for April’s Academy Awards.)

The Oscar-nominated director knows that the industry — and much of society — is still catching up when it comes to equal access, but LeBrecht also says that it’s time.

“We’re asking people to do things that they haven’t done before,” LeBrecht admits. “But the ADA was passed 31 years ago. Why do we still have to ask for these things? Live audio description may or may not be actually law, but why does it take law for people to say we have a responsibility for everyone in society and not just those who are quote-unquote non-disabled?”

Friday, September 17, 2021

PBS' AMERICAN MASTERS season finale will explore life of Helen Keller

 

from Broadway World:

Note: Anyone interested in learning more about Keller's work as a writer for magazines and newspaper, can consult Byline of Hope, Collected Newspaper and Magazine Writing of Helen Keller, edited by Beth Haller of Media dis&dat. 

"American Masters: Becoming Helen Keller" examines one of the 20th century's human rights pioneers in honor of National Disability Employment Awareness Month. The new documentary rediscovers the complex life and legacy of author and activist Helen Keller (1880-1968), who was deaf and blind since childhood, exploring how she used her celebrity and wit to advocate for social justice, particularly for women, workers, people with disabilities and people living in poverty.

Closing the series' 35th season, American Masters: Becoming Helen Keller premieres nationwide Tuesday, October 19 at 9 p.m. on PBS.

American Masters tells Keller's story through rarely seen photographs, archival film clips and interviews with historians, scholars and disability rights advocates. Narrated by author, psychotherapist and disability rights advocate Rebecca Alexander, the film features on-camera performances from Tony- and Emmy Award-winning actor Cherry Jones reading Keller's writings.

Actor and dancer Alexandria Wailes provides American Sign Language (ASL) interpretation of Keller's words with all other ASL interpretation by writer and rapper Warren "WAWA" Snipe. The program also features audio description by National Captioning Institute and closed captioning by VITAC.

Keller first came into public view at a young age, soon after her teacher Anne Sullivan taught her to communicate. As she progressed through her education, graduating from Radcliffe College, Keller steadily gained international attention. Though she lived until age 87, became an accomplished writer and activist, Keller continues to be immortalized as a child, such as in the U.S. Capitol with the statue of her at a water pump. She recounted this moment from her youth in her first autobiography, "The Story of My Life," later made famous by the book's stage and screen adaptation, "The Miracle Worker."

"American Masters: Becoming Helen Keller" delves beyond the mythologized disability icon to present a critical look at her rich, decades-long career and some of its controversies, including her support of socialism and her changing positions on eugenics. The film reveals little-known details of Keller’s personal life and examines her public persona and advocacy, including the progressive reforms she helped achieve. Speaking out for civil rights at great personal cost, Keller supported women’s suffrage, the NAACP, access to health care and assistive technology as a human right, and workers’ rights as a member of the Socialist Party of America and the labor union Industrial Workers of the World.



Selma Blair opens up about MS diagnosis, says she'll act again 'if there's the right thing'

 From Yahoo News:


All those years Selma Blair had appeared in fan-favorite movies — Cruel Intentions, Legally Blonde and The Sweetest Thing, just to name a few — she was suffering.  

"I'd compare myself to people. I didn't understand people didn't hurt every day," Blair said in an interview with Variety published Thursday. "I've hurt since I can remember."

The actress recalls particularly tough times after the birth of her son, Arthur, the now 11-year-old she shares with ex-partner Jason Bleick.

"I really couldn't move,” she said. "The pain was so intense in every joint, in my hip, everything."

So when Blair finally received a diagnosis of multiple sclerosis, which she shared with the world in 2018, she actually felt relief.

"If I could have acknowledged that there was something real — a label that people understood — it would have just helped me emotionally," Blair said of the days she was left wondering what was going on with her body. "If I could have found this label and given myself some solace that I was actually a fucking trouper, I would have been much easier on myself."

Blair revealed last month that she was "in remission" after undergoing a stem cell transplant in 2019, a process documented in her upcoming nonfiction film, Introducing, Selma Blair

The treatment — which was suggested to Blair by actress Jennifer Grey, whom she had never met before — sounds excruciating: chemotherapy for two months to reduce her immune system to almost nothing, then the transplanting of cells previously taken from her body in an effort to rebuild that same system. 

The procedure was so delicate that the 49-year-old had to film herself in some instances. No one was even allowed in her room because of the high risk of infection.

Despite the MS, Blair has continued to appear onscreen. She says that she might even act again in the future "if there's the right thing."

Introducing, Selma Blair premieres Oct. 15 in theaters and Oct. 21 on Discovery+.