WEBVTT

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<v Speaker 1>I was convinced I was going to be a famous

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<v Speaker 1>singer actress. I started writing songs and my parents said,

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<v Speaker 1>what the hell is that? So I went to school

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<v Speaker 1>and I studied and became a lawyer. And I never

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<v Speaker 1>did I think that I was going to become famous

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<v Speaker 1>because of lawyering, But there it happened.

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<v Speaker 2>Bettino from Futuro Media, It's Latino Usa.

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<v Speaker 3>I'm Maria jo Josa Today Lado Tora Ara Maria Polo

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<v Speaker 3>the host of the long running court.

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<v Speaker 2>TV show Caso Serraro.

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<v Speaker 3>She talks about trauma, intimacy, queer rights, and her eluciones.

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<v Speaker 3>Like her TV personality, Dottra Ara Maria Polo's birth year

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<v Speaker 3>was dramatic. She was born in Havana, Cuba, in nineteen

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<v Speaker 3>fifty nine, just a few months after a scruffy Fidel

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<v Speaker 3>Castro and his compagnio's tople dictator Fulhencio Battista get.

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<v Speaker 1>I say it, Kaci I s Marcololo's.

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<v Speaker 3>Family decided to flee Cuba for Miami a couple of

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<v Speaker 3>years after the Cuban Revolution, and then they migrated to

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<v Speaker 3>another Caribbean island, Puerto Rico, where Polo spent her childhood

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<v Speaker 3>and teen years. It was there, as a Catholic schoolgirl,

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<v Speaker 3>that she discovered two passions that would one day converge

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<v Speaker 3>justice and entertainment. Polo wanted to pursue her career in

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<v Speaker 3>music and acting, but when her mom said hell no,

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<v Speaker 3>she obeyed. Back in Miami, she studied political science and

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<v Speaker 3>eventually earned a PhD in law, which means that's right,

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<v Speaker 3>she really is Unadopaolo had been practicing family law for

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<v Speaker 3>over twenty years in Miami when she was hired to

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<v Speaker 3>host a new Spanish language court TV show called Sala

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<v Speaker 3>de Parejas. It premiered on Telemundo in two thousand and

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<v Speaker 3>one and was eventually rebranded after her best known phrase.

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<v Speaker 3>The show wasn't limited to just couple's disputes. Instead, Gaso

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<v Speaker 3>Serraro brought on cases about everything in daytime court TV shows, like,

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<v Speaker 3>for example, Incesse Exploitation, Worn Immigration, Sketchy Beauty, Spas, buenotu Sas.

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<v Speaker 3>She also got to show off her musical talents by

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<v Speaker 3>composing and singing the theme song to her TV Showile Galazation.

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<v Speaker 1>Lenda.

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<v Speaker 3>Gaso Serrado often aired for multiple hours a day on

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<v Speaker 3>Telemundo and was nominated for a daytime Emmy. In true

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<v Speaker 3>Court TV style, each case goes a little something like this.

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<v Speaker 3>The plaintiff makes his or her case okay, making.

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<v Speaker 2>The defendant response.

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<v Speaker 1>Uh.

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<v Speaker 2>Witnesses and experts are brought in, roasts are.

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<v Speaker 3>Made and eventually makes for decision and that's it. Case closed,

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<v Speaker 3>marked by the dramatic pounding of a gattle. We spoke

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<v Speaker 3>to about the show's impact on Latino TV and culture.

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<v Speaker 3>Because the show was huge, we also wanted to look

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<v Speaker 3>at many paradoxes, like how it was dismissed as low

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<v Speaker 3>culture and yet it was hosted by a highly educated

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<v Speaker 3>Latina and how do Dora Polo is a longtime queer

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<v Speaker 3>advocate but has kept her own sexuality private until now

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<v Speaker 3>becaose to two decades on TV. Do Dora Polo is

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<v Speaker 3>a pop culture icon, particularly among millennial and jen Z

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<v Speaker 3>Latinos and Latinas who grew up watching her with their

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<v Speaker 3>parents and Agulitos and abulitas. There's a street in Hyalia,

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<v Speaker 3>Florida named after Dot Dora Polo. And don't you try

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<v Speaker 3>to suggest to Sam Jahidaze Caso Serrato isn't real. While

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<v Speaker 3>new episodes haven't been recorded since twenty nineteen. Reruns played

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<v Speaker 3>daily on Telemuno, and the show has been memorialized through

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<v Speaker 3>viral clips and memes on the internet. So here now

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<v Speaker 3>my conversation with Lado to a Maria Polo.

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<v Speaker 2>What do I call you?

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<v Speaker 3>Lot Tora, Ana, Maria, Anna, chica, muhamaa ASERI?

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<v Speaker 1>You know? Actually does my friends call me Anita? Anita?

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<v Speaker 3>But I'm not your friend though, so I'm just like,

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<v Speaker 3>thank you for letting me in.

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<v Speaker 1>We fight for what we believe, we do what we like.

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<v Speaker 1>We're friends, don't you think, dude?

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<v Speaker 2>I love that?

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<v Speaker 3>So Sin Saada, without reading your bio, just when I

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<v Speaker 3>would see you, I was like, well, she's Cuban and

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<v Speaker 3>she left the island somewhat recently, and that's why she

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<v Speaker 3>is so adamant about these issues of libertad and equality

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<v Speaker 3>and queer rights. And then it's like, actually, no, you

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<v Speaker 3>left Cuba when you were two, and to my fascination,

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<v Speaker 3>you're basically raised on the island of Puerto Rico. But like,

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<v Speaker 3>how do you see yourself as a Cuban who ends

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<v Speaker 3>up being essentially displaced at a very young age.

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<v Speaker 1>I see myself as a Cuban, but I feel myself

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<v Speaker 1>very American. I'm a Miami girl. Really, that's how I feel.

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<v Speaker 1>A Miami girl. First, I don't remember coming from Cuba.

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<v Speaker 1>I was two and a half years old. I have

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<v Speaker 1>no memories of that. My fair memories were at four

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<v Speaker 1>or five years old, I was already living here in

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<v Speaker 1>the United States and my parents said, Okay, we're moving

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<v Speaker 1>to Puerto Rico.

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<v Speaker 3>Did your parents have any doubts about the United States

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<v Speaker 3>or was it really like no, is this sit Baistrosuenos

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<v Speaker 3>or No?

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<v Speaker 1>They didn't. They had no doubts about this country. My

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<v Speaker 1>parents loved Cuba, okay, But I realized as I grew

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<v Speaker 1>up that they were harboring a deep depression in sadness

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<v Speaker 1>for what had happened to them. I mean, they were

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<v Speaker 1>the post of all the possessions, of all their memories,

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<v Speaker 1>in the prime of their lives. They were in their thirties,

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<v Speaker 1>they were doing well. They had dreams of Cuba. Cuba

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<v Speaker 1>was a wonderful country prior to nineteen fifty nine, you know,

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<v Speaker 1>a country that really was doing so well visa visa

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<v Speaker 1>the rest of the countries in the world. It is

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<v Speaker 1>a growing, modern city with its constant activity. It looks

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<v Speaker 1>like any busy.

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<v Speaker 2>American stream except for that wonderful custom of Cista when

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<v Speaker 2>everything is and.

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<v Speaker 1>They never really talked to us very much about Cuba.

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<v Speaker 1>They kept it silent and they would really focus everything towards.

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<v Speaker 1>This is the States. You can do anything you want here,

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<v Speaker 1>you can become anybody you want. You can and me

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<v Speaker 1>being a nasty kid archripy president, I wasn't born here.

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<v Speaker 3>Wait a second, you actually were like, I want to

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<v Speaker 3>be president.

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<v Speaker 1>I'm a political science major. My bachelor's is in political science.

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<v Speaker 3>Yeah, but I'm talking about when you were a little girl.

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<v Speaker 3>You were like, Mommy, I would have liked to have

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<v Speaker 3>been president, but I wasn't born here, Grusola.

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<v Speaker 1>Because I'm I was that kind of a kid. I

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<v Speaker 1>would like to read things and then just throw it

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<v Speaker 1>in my parents' face so that they knew I knew.

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<v Speaker 2>Yeah.

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<v Speaker 3>But you know, being a woman, a female president, having

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<v Speaker 3>that concept is pretty deep.

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<v Speaker 1>Well. I was discriminated for being Latina, for being a woman,

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<v Speaker 1>for being short, for being Wokona, for a lot of reasons.

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<v Speaker 1>But my parents never paid much attention to that. They

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<v Speaker 1>wouldn't label things. They said that, so well, find a

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<v Speaker 1>way of getting around it. You'll find a way do it.

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<v Speaker 1>There's always a way.

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<v Speaker 3>Interestingly, Anita, you've talked about just now your parents. You

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<v Speaker 3>were the one that kind of went there in the

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<v Speaker 3>sense of hitting on trauma like straight up and describing

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<v Speaker 3>what that trauma looks like. And for me as a

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<v Speaker 3>young journalist, it was when I went to cover the

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<v Speaker 3>story of Elian Gonzalez.

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<v Speaker 4>Old Elian Gonzalez has now been removed from his home.

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<v Speaker 1>He was staying with his Miami relatives. He was seized

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<v Speaker 1>before dawn this morning by federal marshals who are armed

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<v Speaker 1>not only with automatic webs.

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<v Speaker 3>I understood the reality that many Cubans were and are

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<v Speaker 3>still in the deep throes of PTSD. So can you

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<v Speaker 3>talk a little bit about having a sense of trauma

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<v Speaker 3>or understanding it even through your parents at a pretty

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<v Speaker 3>young age.

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<v Speaker 1>I believe that Cubans, really, most of them are the

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<v Speaker 1>one who understand their reality have PTSD, I have. I

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<v Speaker 1>have no doubt about that. Andez incident to me is

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<v Speaker 1>the clear one, clearest one.

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<v Speaker 2>I think.

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<v Speaker 1>Yeah, I think every Cuban lives with a little of

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<v Speaker 1>PTSD and we all live with that desire that one

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<v Speaker 1>day it will be free again. It will be a free.

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<v Speaker 3>Country now as I was thinking about that, because you, Anita,

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<v Speaker 3>have said that you will not go back.

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<v Speaker 1>Unless it's free, unless it's a free.

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<v Speaker 3>Country, unless it's free, and you have to kind of

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<v Speaker 3>sit with the fact that that means you may never

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<v Speaker 3>step foot on the island that you were born on.

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<v Speaker 1>Maria. There were times while I was growing older, like

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<v Speaker 1>in my twenties, I said, well, Cuba's free. In my thirties,

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<v Speaker 1>I'll go back, I'll help rebuild. And that went by

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<v Speaker 1>and it didn't happen. And then I learned about musicians

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<v Speaker 1>in Cuba and Silvio Rori Ga, Pablo.

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<v Speaker 2>Romano's game.

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<v Speaker 1>I don't know about us. I didn't know about these people.

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<v Speaker 1>I didn't my mother would play these singers or anything.

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<v Speaker 1>But I learned from other places, and I would listen

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<v Speaker 1>to their music and I would admire the lyrics, the melodies.

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<v Speaker 1>And then in my forties, I said, well, I'm still

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<v Speaker 1>in my forties. If Cuba should be liberated, well you know, okay,

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<v Speaker 1>so maybe I'll get involved with the political parties of

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<v Speaker 1>the transition to stabilize the government and blah blah blah.

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<v Speaker 1>And then the forties went by, and then the fifties

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<v Speaker 1>came in and I thought, well, you know, maybe i'll

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<v Speaker 1>raise some money from the United States to help those

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<v Speaker 1>who want to go there and do the best they can.

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<v Speaker 1>And now I'm in my sixties and I'm thinking, like

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<v Speaker 1>you do, eto arato Is, I don't think i'll see

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<v Speaker 1>it in my lifetime. And it's disheartening and it's depressing

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<v Speaker 1>because I wish I could see where my mother was

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<v Speaker 1>born in Binarlea Rio, and where I was born, and

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<v Speaker 1>my sister and my father and my grandparents. But I

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<v Speaker 1>think I won't. Sadly, I think I won't.

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<v Speaker 3>So talk to me a little bit about singing and

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<v Speaker 3>what it meant for you and why. And I think

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<v Speaker 3>you said to your mom, no, I'm going to be

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<v Speaker 3>this hall.

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<v Speaker 1>M No, no, no, that's not a career. Then you're

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<v Speaker 1>gonna have to sleep with these ugly producers.

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<v Speaker 2>And fat She said it like that, straight up.

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<v Speaker 1>See made met straight up. My mother was straight up.

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<v Speaker 1>She didn't cover anything up. You're not doing that, I'll see,

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<v Speaker 1>get buka boutka, you are not doing that at all.

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<v Speaker 1>And as a matter of fact, when I graduated from

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<v Speaker 1>high school, I had I had some nice offers from

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<v Speaker 1>art schools Juilliard University and a school in London for acting.

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<v Speaker 1>And my mother said, forget it. You're not leaving the house.

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<v Speaker 1>You're coming with us to Miami, and you're going to

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<v Speaker 1>a local college in Miami. So forget all of that.

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<v Speaker 1>It's not happening. And you know what I found out

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<v Speaker 1>later in life that my mother was a singer as well.

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<v Speaker 1>My mother won in Cuba when she was like sixteen,

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<v Speaker 1>one of those contests like lavos the boys and all that,

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<v Speaker 1>and she recorded records in every thing better. She didn't

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<v Speaker 1>want us to do that. Maybe she had a bad experience. Nevertheless,

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<v Speaker 1>when you have it inside, you have it inside. And

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<v Speaker 1>even studying something else, I would always write songs. At

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<v Speaker 1>some point I thought, okay, you know, I'll produce my

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<v Speaker 1>own record. I'll do whatever I have to do. But

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<v Speaker 1>life catch us on. You have to survive and you

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<v Speaker 1>have to do what you have to do. I became

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<v Speaker 1>a lawyer. I started to practice law. It went well.

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<v Speaker 1>I was a good lawyer only because I connect with

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<v Speaker 1>my clients. I did the worst area of the law,

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<v Speaker 1>which is family law, and they're interminable. Those cases they

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<v Speaker 1>never end because people don't want to, you know, they

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<v Speaker 1>don't want to give up on their kids or whatever.

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<v Speaker 1>Domestic violence, it's just terrible. Until one day, you know,

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<v Speaker 1>Salabad has happened. A friend of mine had opened up

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<v Speaker 1>a little restaurant right across the courthouse. She had a

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<v Speaker 1>little party. She asked me, I would just sing something

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<v Speaker 1>for us and not Well, I was in a good mood.

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<v Speaker 1>I picked up the guitar. I sag.

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<v Speaker 2>He said, can you say the US?

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<v Speaker 1>And there was a producer from the company that was

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<v Speaker 1>doing Sala de Bardiause, which is the predecessor to Castle SrAl.

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<v Speaker 1>And they had a casting that like three hundred lawyers.

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<v Speaker 1>They didn't like anybody, and and and I said, well,

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<v Speaker 1>you know what, why not? And I went and I

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<v Speaker 1>did a little audition.

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<v Speaker 3>Did Judge Judy already exist or did any of those

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<v Speaker 3>Judge shows?

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<v Speaker 1>You better tell me the truth, because I'm much smarter

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<v Speaker 1>than you are. I love the truth. Yes, absolutely, Judge

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<v Speaker 1>Judy existed, She's existence forever forever.

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<v Speaker 3>But did they say to you, look, basically, you're going

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<v Speaker 3>to be the Latina Judge Judy or not.

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<v Speaker 1>The company was an Argentinian company. I don't think they

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<v Speaker 1>knew about Judge Judy. Yeah, no, No, no.

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<v Speaker 2>Okay no.

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<v Speaker 1>So I said, so okay, So why do I have

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<v Speaker 1>to do this? And they told me you you're going

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<v Speaker 1>to be a mediator. You're the arbiter and you have

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<v Speaker 1>the power to decide because people sign a contract saying

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<v Speaker 1>that if they cannot reach an agreement, your decision shall

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<v Speaker 1>be final. Oh, I said, okay, I do that. That's

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<v Speaker 1>pretty good. And I just pop pop bind. They recorded

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<v Speaker 1>that thing, they sent it to Telem said, yes, that's

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<v Speaker 1>the pitch we want her. That's how it happened the way,

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<v Speaker 1>and then eventually it was my idea to change it

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<v Speaker 1>to casto, which everybody thought. It was, Oh my god,

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<v Speaker 1>so ingenious. All I did was translate what judges would

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<v Speaker 1>tell me every time a trial would finish, Miss Polo,

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<v Speaker 1>case closed. I've ruled Gay's close, because I will always

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<v Speaker 1>want to talk after the judge had ruled. So I said,

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<v Speaker 1>vii cho boom casoo. What I did is I give

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<v Speaker 1>it a little musicality. I put a little music because

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<v Speaker 1>I did the gavel in this in the middle of

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<v Speaker 1>Edi cho boom, you know. And I it was my idea.

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<v Speaker 1>I said to Telemund, listen, why are we doing a

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<v Speaker 1>show about couples. We're running out of ideas for couples,

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<v Speaker 1>and we're putting a couple of dogs, now a couple

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<v Speaker 1>of cows. Let's turn it into castoo. Everybody in the

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<v Speaker 1>street already is talking caso, and we can open up everything.

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<v Speaker 1>We can talk about immigration, and we can talk about

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<v Speaker 1>negligence and accidents, and we can talk about family law

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<v Speaker 1>and torts. And it just turned into Casso serra the

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<v Speaker 1>way through bigger and I served it, girl, I served it.

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<v Speaker 3>Coming up on Latino USA, La reflects on her role

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<v Speaker 3>as an entertainer and as a public figure in Spanish

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<v Speaker 3>language media. While her job was to be judgy, she

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<v Speaker 3>tells us why she always tried to strike a balance

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<v Speaker 3>even when she fell.

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<v Speaker 2>Stop, stay with us, not stay like us.

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<v Speaker 3>Hey, we're back, and just a note before we continue.

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<v Speaker 3>This part of the conversation contains discussion about sexual abuse.

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<v Speaker 3>Let's go back now to my conversation with the host

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<v Speaker 3>of the popular court TV show Caso Serrao.

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<v Speaker 2>I think I was drawn to the show.

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<v Speaker 3>Well, okay, the truth is my husband, he's the painter,

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<v Speaker 3>heammperees dose Elpinta, and he would always have the TV

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<v Speaker 3>in the back, so That's how I started watching Caso

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<v Speaker 3>because he would watch it because he was watching and

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<v Speaker 3>there was definitely it was like, oh, hey, wait is

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<v Speaker 3>it because I never watched any of those other shows.

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<v Speaker 3>I've never watched any Judge show in English period, But

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<v Speaker 3>I was watching Casoo and I'd be like, wow, see,

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<v Speaker 3>so now she's dealing with this immigration thing. So and

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<v Speaker 3>now she's dealing with an issue of race. I became

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<v Speaker 3>really intrigued when I was like, Oh, bit at there.

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<v Speaker 3>So Anita dot is like a major advocate on LGBTQ issues.

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<v Speaker 3>I was like, Oh, becomes even more interesting. So can

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<v Speaker 3>you tell me a little bit about that part, because

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<v Speaker 3>again in Spanish language television being out being gabe. On

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<v Speaker 3>the one hand, I think Latin America is incredibly accepting,

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<v Speaker 3>and on the other and I think they can also

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<v Speaker 3>be very damning.

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<v Speaker 1>Well, you know the double morality. We all the Latinos

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<v Speaker 1>have this double standard of morality. We know that. I

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<v Speaker 1>think religion has a big part in that. I mean,

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<v Speaker 1>religion muddles the issues. That's another issue that I've touched

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<v Speaker 1>in Casa Sao very openly. I mean I had some

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<v Speaker 1>strong words for the popes and the church in general.

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<v Speaker 1>You know how they talk about love and this and that,

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<v Speaker 1>but this kind of love is bad and that kind

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<v Speaker 1>of love is bad. To me, love is love. It's

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<v Speaker 1>not bad in any sense. And listen, I fully support abortion. Fully.

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<v Speaker 1>I truly believe it is better to get an abortion

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<v Speaker 1>that to bring a child into this world, to make

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<v Speaker 1>him suffer, to be mistreated, abused, end up in a

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<v Speaker 1>foster home, and all these horrible stories that we hear,

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<v Speaker 1>but they didn't want to ever say, well, I ordered

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<v Speaker 1>you to get an abortion. So I always had to

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<v Speaker 1>go around the bush and see how I would bring

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<v Speaker 1>them to their senses. LGBTQF all those letters. I don't

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<v Speaker 1>have a boneus discrimination inside of me. I don't and

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<v Speaker 1>I never had it. And it's very funny because my

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<v Speaker 1>parents did.

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<v Speaker 3>Against queer people, are against black people, against Jewish people, gay,

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<v Speaker 3>gay people.

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<v Speaker 1>I mean, it wasn't a constant thing or whatever, but

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<v Speaker 1>I would hear them make comments that I thought, but

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<v Speaker 1>that's not nice. But they're saying it's not nice only

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<v Speaker 1>because this person likes somebody of their own sex. I mean,

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<v Speaker 1>what's wrong with that? You know? I remember going to

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<v Speaker 1>the New York Gay Parade in June twenty fifteen when

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<v Speaker 1>the Supreme Court made finally that decision.

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<v Speaker 4>The Supreme Court found gay and lesbian Americans have a

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<v Speaker 4>constitutional right to marry.

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<v Speaker 1>We take two long in this country for everything. If

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<v Speaker 1>you ask me, it's one of my biggest complaints. But

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<v Speaker 1>finally we got that decision, and I was so elated.

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<v Speaker 1>I was so happy because prior to that, I have

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<v Speaker 1>been defending gay rights for years and years and years,

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<v Speaker 1>and finally here was my vindication. You know, the law

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<v Speaker 1>of the land, the Supreme Court.

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<v Speaker 3>It does Papasca sipt that on when when you came out,

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<v Speaker 3>were they like Simi Hita.

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<v Speaker 1>I never said anything to anybody, and I don't talk

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<v Speaker 1>about my sexuality because first, if you've seen Castosrala long enough,

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<v Speaker 1>you were going to understand that. I think everybody's bisexual.

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<v Speaker 1>I think we were all born bi sexual, and that

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<v Speaker 1>we eventually as we grow up, we have inclinations, orientations,

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<v Speaker 1>and we then lived them. I think that I am

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<v Speaker 1>truly bisexual. Truly, I can absolutely fall in love with

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<v Speaker 1>anybody from both sexes.

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<v Speaker 3>So I'm going to ask you a difficult question, Anita,

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<v Speaker 3>but I think it poses for me the paradox that

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<v Speaker 3>I began to feel about Casoo, which is like, wait

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<v Speaker 3>a second, Dot is so smart, so astute, non discriminatory,

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<v Speaker 3>so open and accepting of everyone. But there was something

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<v Speaker 3>that then became very performative, became very over the top.

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<v Speaker 3>It was weird sister Aravianraro for a hand bro the

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<v Speaker 3>woman who could not stop twerking, the man who was

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<v Speaker 3>impaled by his girlfriend.

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<v Speaker 2>I mean, it was just some.

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<v Speaker 3>Crazy, crazy stuff. And that's where I started to be like,

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<v Speaker 3>what's going.

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<v Speaker 1>On, Maria. We've gone through twenty years of a daily show.

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<v Speaker 1>I would do sometimes three hundred and twenty five episodes

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<v Speaker 1>of Castos Ral for Telemundo on a yearly basis. We

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<v Speaker 1>would study ratings and we would figure out what is

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<v Speaker 1>it that people really want to see? Iljantes on mor Bosa,

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<v Speaker 1>we love it.

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<v Speaker 3>No, maybe you guys think get those things were the

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<v Speaker 3>ones that were getting the top ratings.

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<v Speaker 1>They were getting the top ratings. Anything that had to

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<v Speaker 1>do with violence, sex, deceiving, infidelities, weirdness with the internet,

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<v Speaker 1>weirdness with tattoos and body modifications, and anything that was

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<v Speaker 1>weird would get the top ratings. So we had to

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<v Speaker 1>divide things and we had to say Okay, you got

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<v Speaker 1>to bring a serious case and sentimental case, and you

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<v Speaker 1>got to bring three weird cases or four weird cases

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<v Speaker 1>because that's what was selling. But I hope that you

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<v Speaker 1>saw that in even the weirdest of shows, I was

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<v Speaker 1>trying to be the voice of something that would transcend,

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<v Speaker 1>that would give a little more than just the scandalous.

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<v Speaker 1>I mean, it wasn't Jerry Springer. There was a part

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<v Speaker 1>of me that saw that you were also struggling. And

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<v Speaker 1>that's where I'm trying to understand that part of you.

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<v Speaker 1>Believe me, there were many times that I had to struggle,

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<v Speaker 1>and there were many days where I would scream off

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<v Speaker 1>the top of my lungs because I didn't want that,

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<v Speaker 1>and I would you know, I would get the people

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<v Speaker 1>ida saying, hey, but this is what self, So we

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<v Speaker 1>got to do it. It's what self. So I said, well,

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<v Speaker 1>you know what, I have to do the best I

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<v Speaker 1>can with this. And then we got more serious at times,

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<v Speaker 1>and we did more serious cases, and we dealt with

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<v Speaker 1>more political issues and issues of human value and human justice.

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<v Speaker 1>And the ratings weren't us good, but they had to

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<v Speaker 1>accommodate also what I wanted to bring out the balance.

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<v Speaker 1>You know, I needed some balance.

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<v Speaker 3>So you, like me, actually have I think a deep

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<v Speaker 3>love of humanity. Like while we're really capable of incredible things,

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<v Speaker 3>incredible love, sadly incredible hate. But when you're saying about

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<v Speaker 3>the studies that you were doing as a producer to

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<v Speaker 3>see minute by minute ratings and what people and you're like,

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<v Speaker 3>hint this, Morbosa, then how does that leave us in

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<v Speaker 3>terms of wait, but we love humanity and we want

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<v Speaker 3>to do the best. But it's like, wait a second,

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<v Speaker 3>but y'all are showing us that you you'll go to

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<v Speaker 3>the lowest common denominator.

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<v Speaker 1>This is how I see it, Manya. Television is a

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<v Speaker 1>very powerful medium, no doubt about it. And right now

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<v Speaker 1>I think we are in one of the best times

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<v Speaker 1>television has existed. We have an incredible amount of content,

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<v Speaker 1>some of which is excellent and some of which is deplorable.

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<v Speaker 1>So I think we got to educate more in the

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<v Speaker 1>sense of really saying, you know, this is television that

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<v Speaker 1>a CD is entertaining, is just for entertainment purposes, and

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<v Speaker 1>this is television that is serious, and you choose what

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<v Speaker 1>you want to watch, So that that's a lot of

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<v Speaker 1>years and days and shows that you have to record

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<v Speaker 1>that I had to record.

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<v Speaker 3>Yeah, it's a lot of having to have sl money

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<v Speaker 3>that in front of you, you know, kind of on

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<v Speaker 3>a daily and so again another sensitive question, Anita, I

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<v Speaker 3>get a sense that you're not very public, Like I

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<v Speaker 3>don't think I've seen you a lot in people in Espanol, Like,

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<v Speaker 3>I don't think that that's kind of like your life,

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<v Speaker 3>right am, I right.

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<v Speaker 1>No, it isn't. It is not my life. You say

421
00:26:59.480 --> 00:27:01.640
<v Speaker 1>fight on the you see I'm Lea.

422
00:27:03.680 --> 00:27:04.320
<v Speaker 2>On the show.

423
00:27:04.520 --> 00:27:07.120
<v Speaker 3>You look one hundred percent. And there are some people

424
00:27:07.160 --> 00:27:10.800
<v Speaker 3>who like to maintain that image, you know, throughout the

425
00:27:10.800 --> 00:27:12.480
<v Speaker 3>rest of their life. And you're basically saying, no, I

426
00:27:12.520 --> 00:27:14.680
<v Speaker 3>played that character. I was that, but then when I

427
00:27:14.720 --> 00:27:17.199
<v Speaker 3>went home, you know, I was in my pajamas.

428
00:27:17.560 --> 00:27:21.080
<v Speaker 1>No, I am exactly what you see in television. You know,

429
00:27:21.520 --> 00:27:24.919
<v Speaker 1>I do it with jeans and shorts and T shirt.

430
00:27:25.560 --> 00:27:28.440
<v Speaker 1>I am exactly what you see. This is who I am.

431
00:27:29.160 --> 00:27:31.879
<v Speaker 1>I'm not out there because I'm not into you know,

432
00:27:32.080 --> 00:27:34.800
<v Speaker 1>the press and this and being in the line. Like

433
00:27:35.400 --> 00:27:38.960
<v Speaker 1>you know, I've been retired basically since twenty nineteen. My

434
00:27:39.119 --> 00:27:44.480
<v Speaker 1>contract with Telemundo ended. We didn't renew anything, and nothing happened.

435
00:27:44.760 --> 00:27:48.680
<v Speaker 1>Then the pandemic came okay, because I had other offers

436
00:27:48.720 --> 00:27:52.879
<v Speaker 1>and other places that I was looking to revive renew Castle.

437
00:27:53.720 --> 00:27:56.840
<v Speaker 1>But the pandemic happened and it was a reality. A

438
00:27:56.840 --> 00:28:00.800
<v Speaker 1>lot of things just went south. I am still amazed

439
00:28:01.280 --> 00:28:04.240
<v Speaker 1>how people keep me alive without me doing a thing.

440
00:28:04.720 --> 00:28:07.680
<v Speaker 3>Well, that was part of what I wanted to talk about,

441
00:28:07.840 --> 00:28:10.480
<v Speaker 3>which is another one of the you know, kind of

442
00:28:10.600 --> 00:28:14.679
<v Speaker 3>contradictions that I see. So the level of intimacy that

443
00:28:14.720 --> 00:28:17.159
<v Speaker 3>you were able to achieve on a television show that

444
00:28:17.359 --> 00:28:22.680
<v Speaker 3>was rowdy, you know, a'm Ariyista, and yet I'm wondering

445
00:28:22.680 --> 00:28:27.080
<v Speaker 3>about your own intimacy and how you've decided to keep

446
00:28:27.119 --> 00:28:29.520
<v Speaker 3>that very private and why.

447
00:28:29.880 --> 00:28:32.879
<v Speaker 1>Okay, because there are things and things about subject matters

448
00:28:32.880 --> 00:28:37.960
<v Speaker 1>that we can talk. First, I went through cancer in

449
00:28:37.960 --> 00:28:40.880
<v Speaker 1>two thousand and three. I was diagnosed with breast cancer.

450
00:28:41.880 --> 00:28:44.840
<v Speaker 1>Many people in the public eye say, no, you know,

451
00:28:44.880 --> 00:28:47.480
<v Speaker 1>I'm not going to share this. It's a painful thing.

452
00:28:48.000 --> 00:28:53.800
<v Speaker 1>It's private. I'm going to look ugly whatever reasons people have.

453
00:28:54.640 --> 00:28:58.560
<v Speaker 1>I said to myself, you know, no, you are a

454
00:28:58.600 --> 00:29:01.920
<v Speaker 1>public figure, you have a following of people. But there's

455
00:29:01.920 --> 00:29:05.000
<v Speaker 1>a lot to learn about this matter. I am going

456
00:29:05.040 --> 00:29:08.160
<v Speaker 1>to tell people about it. I am going to tell

457
00:29:08.160 --> 00:29:11.160
<v Speaker 1>them that I'm getting a mastectomy, that I'm they're going

458
00:29:11.240 --> 00:29:16.360
<v Speaker 1>to remove twenty live notes, that my thyroid broke as well,

459
00:29:17.160 --> 00:29:20.800
<v Speaker 1>that I had to remove my ovaries at forty three

460
00:29:21.040 --> 00:29:25.360
<v Speaker 1>and go through a full blown mental pause. That drove

461
00:29:25.400 --> 00:29:28.880
<v Speaker 1>me crazy because we all have a lot to learn

462
00:29:28.960 --> 00:29:34.520
<v Speaker 1>about this, and I spoke about that, which is intimate. Okay,

463
00:29:35.480 --> 00:29:40.560
<v Speaker 1>but my sex life, Maria, isn't that too much? I

464
00:29:40.560 --> 00:29:43.560
<v Speaker 1>think it's too much. First of all, I'm a sixty

465
00:29:43.600 --> 00:29:46.959
<v Speaker 1>two year old woman, who the hell cares about my

466
00:29:47.240 --> 00:29:57.000
<v Speaker 1>sex life? Well, besides me, what sex life? Please? I

467
00:29:57.000 --> 00:29:59.200
<v Speaker 1>don't think I have to share my sex life with anybody.

468
00:29:59.760 --> 00:30:01.040
<v Speaker 1>I don't Well.

469
00:30:01.200 --> 00:30:04.800
<v Speaker 3>I ended up writing very publicly about being surviving a

470
00:30:04.920 --> 00:30:07.280
<v Speaker 3>rape at sixteen, even though I didn't realize it had

471
00:30:07.320 --> 00:30:09.680
<v Speaker 3>been a rape at sixteen, and I never called it

472
00:30:09.720 --> 00:30:12.360
<v Speaker 3>a rape even though it was two service. And I

473
00:30:12.440 --> 00:30:16.040
<v Speaker 3>ended up writing about having two abortions. So I have

474
00:30:16.480 --> 00:30:20.120
<v Speaker 3>in fact gone into that place. And you're right, we

475
00:30:20.280 --> 00:30:24.400
<v Speaker 3>make certain choices as women because we want to educate.

476
00:30:24.560 --> 00:30:27.600
<v Speaker 1>But that is not your sex life. Those are traumas

477
00:30:27.600 --> 00:30:30.840
<v Speaker 1>that you lived, and people need to be educated about them.

478
00:30:31.120 --> 00:30:34.640
<v Speaker 1>I was also sexually molested at sixteen with a gun

479
00:30:34.720 --> 00:30:39.280
<v Speaker 1>to my head by a family member, and I've spoken

480
00:30:39.360 --> 00:30:43.600
<v Speaker 1>about it. That's different. But yeah, when people start saying, bit, oh,

481
00:30:43.600 --> 00:30:46.240
<v Speaker 1>wait a minute, you sleep with girls, you sleep with boys,

482
00:30:46.360 --> 00:30:49.719
<v Speaker 1>or you sleep with three or four at the same time. Wait, wait, wait,

483
00:30:49.760 --> 00:30:54.200
<v Speaker 1>wait a minute. But I saw killing Teresa yessna. But

484
00:30:56.720 --> 00:31:00.240
<v Speaker 1>sometimes we go too far in the industry, we go

485
00:31:00.360 --> 00:31:01.040
<v Speaker 1>too too far.

486
00:31:01.920 --> 00:31:05.120
<v Speaker 3>I love the fact that you're saying this, Amita, because

487
00:31:05.160 --> 00:31:07.960
<v Speaker 3>I'm just like, yo, your show is so explicit and

488
00:31:08.000 --> 00:31:10.320
<v Speaker 3>you dealt with so many explicit things, and you're just

489
00:31:10.360 --> 00:31:12.840
<v Speaker 3>like you know, people go too far.

490
00:31:13.440 --> 00:31:15.640
<v Speaker 1>I believe in privacy, believe it or not, even in

491
00:31:15.680 --> 00:31:19.000
<v Speaker 1>this crazy world where privacy basically yeah, it doesn't exist

492
00:31:19.080 --> 00:31:21.840
<v Speaker 1>too much. And again, it doesn't exist because we give

493
00:31:21.880 --> 00:31:23.840
<v Speaker 1>it up. We give it up.

494
00:31:24.520 --> 00:31:25.160
<v Speaker 2>And are are you?

495
00:31:25.640 --> 00:31:29.080
<v Speaker 3>Are you kind of feeling I mean, oh, yameh, since

496
00:31:29.120 --> 00:31:31.920
<v Speaker 3>twenty nineteen, who knows what anything is, But how are

497
00:31:31.960 --> 00:31:35.080
<v Speaker 3>you feeling in this point of your life?

498
00:31:35.240 --> 00:31:36.800
<v Speaker 2>Are you happy?

499
00:31:37.880 --> 00:31:42.360
<v Speaker 1>I am happy. I am still full of dreams, which

500
00:31:42.400 --> 00:31:45.240
<v Speaker 1>I think is part of my formula for happiness. Everybody

501
00:31:45.280 --> 00:31:49.600
<v Speaker 1>has their own formula in my book. The older I grow,

502
00:31:51.000 --> 00:31:54.520
<v Speaker 1>the more I think about having illusions, So.

503
00:31:54.560 --> 00:31:57.680
<v Speaker 2>Quenta me the less illusionists and the things.

504
00:31:57.840 --> 00:32:02.880
<v Speaker 3>So you actually you want to give Casosrado another chance?

505
00:32:03.360 --> 00:32:04.440
<v Speaker 2>What's the dream?

506
00:32:04.800 --> 00:32:07.120
<v Speaker 1>I want to continue it because people want to see it.

507
00:32:07.440 --> 00:32:11.000
<v Speaker 1>They want to see it. And then there's the business part.

508
00:32:11.160 --> 00:32:13.680
<v Speaker 1>There's a lot of companies that want to buy it.

509
00:32:14.160 --> 00:32:15.920
<v Speaker 1>I don't want to work that much. I don't want

510
00:32:15.920 --> 00:32:18.440
<v Speaker 1>to do three hundred cases a year. I would like

511
00:32:18.560 --> 00:32:22.520
<v Speaker 1>to do less cases a year and just you know,

512
00:32:23.120 --> 00:32:24.800
<v Speaker 1>spread them around people to watch.

513
00:32:25.120 --> 00:32:29.600
<v Speaker 3>So you're you're you're not slowing down. It's not like, Okay,

514
00:32:29.640 --> 00:32:32.280
<v Speaker 3>I'm taking my guitar. I'm gonna go compose some songs

515
00:32:32.280 --> 00:32:33.400
<v Speaker 3>and hang out with my dogs.

516
00:32:33.920 --> 00:32:36.080
<v Speaker 1>I do that too. I have time for that now,

517
00:32:36.240 --> 00:32:40.720
<v Speaker 1>I do. I Also, I'm doing a movie, the Casoo movie. Okay,

518
00:32:40.760 --> 00:32:44.320
<v Speaker 1>wait what, Yes, I'm doing the movie Casolo. The movie

519
00:32:44.520 --> 00:32:47.000
<v Speaker 1>is in it's in progress. It's like the story of

520
00:32:47.040 --> 00:32:49.240
<v Speaker 1>your life, or the story of not at all. It's

521
00:32:49.240 --> 00:32:51.720
<v Speaker 1>going to be a dramedy. It's going to be an

522
00:32:51.760 --> 00:32:56.800
<v Speaker 1>action film. It was an idea of a Chilian production company.

523
00:32:57.520 --> 00:32:58.720
<v Speaker 1>There's a lot of fun.

524
00:32:59.160 --> 00:33:02.040
<v Speaker 2>You're starring it. I am the protagonist.

525
00:33:02.120 --> 00:33:09.160
<v Speaker 1>I mean, yeah, I am. I'm doing it when stuff

526
00:33:09.200 --> 00:33:12.240
<v Speaker 1>comes around that is interesting to me and just wakes

527
00:33:12.320 --> 00:33:13.600
<v Speaker 1>up that sense of illusion.

528
00:33:14.280 --> 00:33:17.800
<v Speaker 3>I bite's gracias more there. Thank you for taking this

529
00:33:17.920 --> 00:33:20.520
<v Speaker 3>bite and for joining me on. Let you know USA, Anita,

530
00:33:20.560 --> 00:33:21.640
<v Speaker 3>I really appreciate it.

531
00:33:22.120 --> 00:33:25.040
<v Speaker 1>A pleasure, Maria.

532
00:33:25.840 --> 00:33:28.760
<v Speaker 3>We reached out to Telemundo to confirm some of Doctor

533
00:33:28.800 --> 00:33:32.120
<v Speaker 3>a Polo's characterizations of events that involved the network, but

534
00:33:32.200 --> 00:33:36.280
<v Speaker 3>they declined to comment on that. They did say though,

535
00:33:36.320 --> 00:33:38.600
<v Speaker 3>that they were quote proud to have worked with her

536
00:33:38.680 --> 00:33:46.880
<v Speaker 3>for almost two decades to make a difference in our community.

537
00:33:51.960 --> 00:33:54.800
<v Speaker 3>This episode was produced by Elisa Bayena and edited by

538
00:33:54.800 --> 00:33:56.040
<v Speaker 3>Andrea Loo Pescrusado.

539
00:33:56.240 --> 00:33:58.200
<v Speaker 2>It was mixed by JJ Krubin.

540
00:33:58.480 --> 00:34:03.360
<v Speaker 3>The Latino USA team include Marta Martinez, Daisy Contreras, Mike Sargent,

541
00:34:03.560 --> 00:34:08.440
<v Speaker 3>Julia Ta Martinelli, Victoria Stradra, Patricia Sulbaran, Gini montalbo Alejandra

542
00:34:08.480 --> 00:34:12.160
<v Speaker 3>Salasad Rinaldo, Leanos Junior, and Julia Rocha, with help from

543
00:34:12.280 --> 00:34:16.719
<v Speaker 3>ra Ulbes. Our editorial director is Julio Ricarella. Our supervising

544
00:34:16.760 --> 00:34:19.920
<v Speaker 3>senior engineer is Stephanie Lebau. Our assistant senior engineer is

545
00:34:20.000 --> 00:34:23.719
<v Speaker 3>Julia Caruso. Our associate engineer is gabriel A Bias. Our

546
00:34:23.760 --> 00:34:27.240
<v Speaker 3>digital editor is Liis Luna. Our fellows are Monica Morales

547
00:34:27.239 --> 00:34:31.120
<v Speaker 3>and Andrew Vignalis. Our theme music was composed by Sane Robinos,

548
00:34:31.239 --> 00:34:34.480
<v Speaker 3>I'm your host and executive producer Marienno Rosa. Join us

549
00:34:34.480 --> 00:34:37.480
<v Speaker 3>again on our next episode and in the meanwhile, remember

550
00:34:37.800 --> 00:34:40.000
<v Speaker 3>not Te bayas c CAO.

551
00:34:44.520 --> 00:34:47.560
<v Speaker 4>Funding for Latino USA is coverage of a culture of

552
00:34:47.600 --> 00:34:50.200
<v Speaker 4>health is made possible in part by a grant from

553
00:34:50.200 --> 00:34:54.760
<v Speaker 4>the Robert Wood Johnson Foundation. Latino USA is made possible

554
00:34:54.760 --> 00:34:58.799
<v Speaker 4>in part by California Endowment building a strong state by

555
00:34:58.840 --> 00:35:03.680
<v Speaker 4>improving the health of all Californians, and the Chan Zuckerberg Initiative.

556
00:35:07.480 --> 00:35:09.320
<v Speaker 1>Nina Lago, Nando