Hollywood – The 74

More Caregiving on TV Has One Goal: Influence Congress to Pass Paid Leave

Chabeli Carrazana — Thu, 30 Oct 2025 14:30:00 +0000

This article was originally published in

was originally reported by Chabeli Carrazana of . .

Vicki Shabo had spent more than a decade advocating for a federal paid parental leave in the only rich country that doesn’t have it. Then in 2021, just when it seemed like it might happen, lawmakers and sent it tumbling back down the list of priorities.

Shabo wracked her brain: Why was this issue that continuously discarded as a nice-to-have and not a need? Advocates had tried so many strategies to help lawmakers understand, but there was one, she realized, that hadn’t yet been tapped.

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Politicians kept treating paid leave and other care policies as expendable because our culture treated them like that. And what are some of the best tools to change cultural attitudes? TV and film.

“As a person who grew up in Los Angeles and has always sort of felt the parasocial engagement with favorite television characters and television shows, I was fascinated by the ways in which other issues and causes had used on-screen storytelling to move forward changes in culture and in policy,” Shabo said.

The concept of a “designated driver,” for example, was popularized through American TV shows and films in the late 1980s in an effort to reduce alcohol-induced accidents. Like with paid leave, the policy effort had stalled, so advocates worked to get messages into that featured characters abstaining from drinking if they were driving. From 1988 to 1992, the number of deaths tied to alcohol-related car accidents dropped 25 percent thanks to stricter laws and enforcement, but also a marked that was furthered by on-screen representation.

The cast of Cheers, one of several hit shows that wove designated driver messages into its scripts as part of a national campaign to curb drunk driving in the late 1980s. (Aaron Rapoport/Corbis/Getty Images)

There was also a meteoric rise in representation of LGBTQ+ characters on screens in the years leading to 2015, when the Supreme Court ruled in favor of marriage equality. A found that 34 percent of adults who had recently shifted their views on LGBTQ+ people said they viewed them more favorably because of characters they watched on TV. Shows like “Modern Family,” “Will & Grace” and “Glee” all played a meaningful role in , . By 2015, Bob Greenblatt, the chairman of NBC Entertainment, said the TV industry “ in advancing the conversation” on LGBTQ+ rights.

That idea gripped Shabo, who realized depictions of caregiving, gender and family dynamics on screens were often still playing on old tropes like the . Data from the Geena Davis Institute, which analyzes gender representation in media, shows that men are still depicted as the breadwinner on screen when in real life it’s more evenly split. Women are often shown either at home or at work but . Child care is rarely mentioned.

Helping viewers see that issues related to work, family and care are not theirs alone to bear, but that other families are dealing with them, too, and systemic support can also help could lay the groundwork for policy shifts, Shabo said. Changing how the public thinks about solutions could be what pushes policymakers to place issues like parental leave higher on the priority list.

“I just thought about the ways in which television and film are representing people’s lives as it relates to work and family obligations, but rarely doing so in a way that reveals the structural components of the individual struggles that people are facing, and often tends to invisibilize and kind of keep private — in the way that people do — challenges with work and family,” she said.

So in 2022, she started to build out , her entertainment initiative with the Washington, D.C.-based progressive think tank New America, to provide research, resources and tip sheets to writers, producers and other creatives about how and why they should shift the caregiving and gender narratives they bring to the screen. The initiative’s newsletter reaches more than 400 creatives, executives, media researchers and others, and Shabo regularly presents her research to Hollywood creatives at public speaking events.

by the initiative shows that 92 percent of viewers say realistic work, family and caregiving themes are important to see on screen, and 65 percent would be more likely to subscribe or keep subscribing to a streaming service that carries programming that shows authentic care and family stories.

“There’s a business case, a creative case and a social impact case to make these stories more visible,” Shabo said.

But moving an entire industry on an issue that lawmakers are still grappling with is a challenge, and an even bigger one at a time of political division. The right has more vocally expressed views on caregiving in recent years, from Vice President JD Vance advocating for to taking over Instagram feeds. Finding child care, taking parental leave or figuring out elder care for an aging family member are viewed by many conservatives as private family problems.

Writers and experts told The 19th that in this political climate studios are nervous about making content the Trump administration may disagree with. And even though Hollywood is largely liberal, executives are risk adverse and less likely to support projects that center authentic gender portrayals. A show like “Jack Ryan,” about a CIA analyst, has a better chance of getting made than a show about women’s health care.

“There is this perception that audiences just want pure entertainment and there are tried and true formulas,” Shabo said.

Kirsten Schaffer, the CEO of Women in Film, an advocacy organization fighting for gender parity in film and television, said there is “definitely” a contraction taking place both in terms of the kinds of stories told and gender representation in the industry because of the administration’s stance on issues related to gender and diversity, equity and inclusion.

“In times of abundance there is more getting made and more openmindedness. In times of scaling back everybody is more risk adverse,” Schaffer said. “Now women in the industry will say to me, ‘That executive who was so committed to having 50 percent women on every director, writer list that they sent out are now relieved that they don’t have to do that anymore.’”

Sasha Stewart, a writer on “Dying for Sex,” a limited series about a woman with Stage IV breast cancer who leaves her husband to explore her sexuality, said she and writer Keisha Zollar initially tried to sell a show about women’s health care that would focus on issues including reproductive care and menopause in a more documentary style. It ultimately was not greenlit.

“It was mostly that all the female execs loved it and then they had to go pitch it to their male bosses,” Stewart said.

“Dying for Sex,” she said, “was packaged in this super marketable sex adventure” and was the show that execs backed. But Stewart said the team worked hard to pull from personal caregiving experiences to build out the story, including talking to oncologists and patient advocates. One advocate they consulted even played a nurse on the show. Stewart, a cancer survivor, leaned on her own experience and that of her husband, who was her primary caregiver.

The story follows protagonist Molly on her journey, but flips some traditional scripts to also focus on her best friend Nikki, who steps in to be her primary caretaker. In the third episode, Nikki is fired from an acting job due to the demands of navigating health insurance, appointments and providing care for Molly.

The writers room for “Dying for Sex” was made up of six women, one nonbinary person and one man, plus two women showrunners. Because so much of the cast and crew were also mothers, the team worked hours that allowed everyone to get home to their families, Stewart said. All of those elements mattered in what ultimately made it on the screen.

“I would love it if somebody in Congress watched the show, or any state or local government,” Steward said. “Maybe more people would try to pass paid family medical leave and other important issues.”

But “Dying for Sex” was the exception. For most writers, Stewart said, the goal is to get on whatever job they can, and then if it’s possible they may try to put caregiving storylines in.

The industry has long been unsustainable for women, women of color and caregivers, an issue that took center stage during the 2023 when creatives walked out of their jobs in response to growing disparities in the industry. Streaming has reshaped TV, especially, leading to smaller writers’ rooms, more limited opportunities and dwindling pay and benefits that have made it more difficult for writers to stay in the business.

As more diverse writers are shut out, it becomes harder for authentic stories about care, gender and family to make it on to screens. Writers of color and women are on TV and film sets. Only about 28 percent of showrunners were women in 2024 and just 8 percent were women of color, the lowest share of women in five years according to . And according to the Writers Guild of America’s , the share of women screenwriters dropped from 45 percent to 33 percent in just one year, from 2023 to 2024.

On screens, some caregiving storylines have cut through, both on streaming and network television. HBO’s medical drama “The Pitt” delves into the often invisible challenges family caregivers face around end-of-life care. On ABC’s “High Potential,” the protagonist is a single mother of three who, in the show’s pilot, negotiates a job contract to ensure it includes child care for her kids.

“Do you have any idea how expensive child care is these days?” she says.

In film, too, one of the year’s big superhero epics, “Fantastic Four: First Steps,” was at its core a that centered not Mr. Fantastic, but Sue Storm, who early in the movie donned a maternity spacesuit without anyone fussing over her or asking her to rest.

Care is on screens more than we realize, it just isn’t often directly addressed, said Zollar, who was also a writer on “Dying for Sex.”

There are still “a lot of people who just aren’t thinking about it, who it’s more out of sight out of mind and it’s not centered in how they build stories,” she said. But more directly referencing issues of family and gender on TV and film can shape attitudes, including those of legislators — the majority of whom are older men — who may not be thinking about topics like paid leave and child care.

“Beacuse we don’t label it or we don’t remind [viewers] that it is an essential part of the story, we can forget its existing in stories. We are not seeing how essential it is to the story itself,” Zollar said.

In Shabo’s work talking to writers about the ways in which they can , she said she’s found that many of them frame their work as thinking about their characters rather than thinking about issues. Luckily, “our set of things we want to see on screen are well positioned because they are so human and personal, and it’s not a stretch to get a story line of somebody trying to navigate work and family,” she said.

It’s medical shows that acknowledge that patients can be workers, too — are they missing work and need leave? It’s workplace shows that don’t shy away from the realities of biases that affect wages and conditions. It’s pregnant characters or parents who wrestle with securing child care to work, men also taking leave and parents who name the caregiving solutions they need.

In Shabo’s view, care and gender issues aren’t “the broccoli to hide” in shows and films. Instead, her research is helping to make the case that “this is actually the meal that audiences want to see.”

Reinventing High School: 8 Common Trends at America’s Most Innovative Campuses

Greg Toppo and Emmeline Zhao — Wed, 20 Sep 2023 11:15:00 +0000

Just over two centuries ago, the first boys — yes, they were all young men — walked through the doors of Boston’s English Classical School, the first so-called “” in America, willing subjects in an experiment that revolutionized education as towns and cities rushed to open their own high schools.

English Classical and its imitators proudly proclaimed their ability to prepare students for new jobs in emerging, high-tech industries such as banking, manufacturing and railroads.

It’s just over 200 years later, and high schools have opened their doors to all teens, not just boys. But with technological disruptions daily changing our conception of what a well-educated young person looks like, Americans are again clamoring for innovative secondary schools that help them make sense of these changes. They’re looking, above all, for institutions that leave behind many of the traditions of the past in favor of offerings that promise to help their kids get a strong start.

Since last spring, journalists at The 74 have been crossing the U.S. as part of our 2023 High School Road Trip. It has embraced both emerging and established high school models, taking us to 13 schools from Rhode Island to California, Arizona to South Carolina, and in between.

It has brought us face-to-face with innovation, with programs that promote everything from nursing to aerospace to maritime-themed careers.

At each school, educators seem to be asking one key question: What if we could start over and try something totally new?

What we’ve found represents just a small sample of the incredible diversity that U.S. high schools now offer, but we’re noticing a few striking similarities that educators in these schools, free to experiment with new models, now share. Here are the top eight:

1

They don’t worry about what came before.

In these places, high school looks almost nothing like it did for our parents or grandparents.

While the seven-period, books-in-a-locker high school, with its comprehensive curriculum, vast extracurriculars and Friday night football games is alive and well and available to most of the nation’s 17 million or so high schoolers, it is no longer the default model.

Instead, thousands of young people now attend high school each morning in facilities that more closely resemble workplaces, professional training grounds and research labs. Quite often, young people are in actual workplaces for part of their school day, either as apprentices or taking part in something resembling career tourism, trying out jobs to see what fires their imaginations and fits their tastes.

2

They focus intently on exactly what their students need.

Most of these schools are small by design, so the traditional mission of serving thousands of students with countless courses — as well as the requisite menu of after-school activities, such as sports, music, and drama — is out of the question.

In its place, many new schools now offer one key thing: focus. Intense, unrelenting focus.

Diana Pimentel (left) listens to an advisor as RINI classmates (from left) Veronica Benitez, Joslin Lebron and Edilma Ramirez tend to a mock patient in a prep session for a certified nursing assistant exam. (Greg Toppo)

At Rhode Island Nurses Institute Middle College in Providence, R.I., students show up for class each morning dressed in scrubs. They spend four years learning the bedrock values and basic skills of the nursing profession, earning college credit before they graduate.

The school’s laser-like focus is perhaps its greatest strength, said Principal Tammy Ferland, a veteran educator. “This is a health care program, a nursing program,” she said. “If you don’t want to be a nurse, if you don’t want to be in health care, then you don’t belong here.”

Students can still play sports or perform in the band — they just need to find those things at their neighborhood school or elsewhere —after they remove their scrubs.

Davere Hanson, a Harbor School graduate who now serves as a teacher apprentice at the school, stands next to its beloved simulator. (Jo Napolitano)

The same focus is on display at Urban Assembly New York Harbor School on Governors Island, a ferry ride south of Manhattan, where the East River meets the Hudson. Students must choose among eight maritime-themed career and technical education pathways before they close out their freshman year.

Clad in life vests, protective goggles and welders’ masks, students get a chance to earn industry certifications in marine science or technology before graduation — bona fides that help them enter the workforce or pursue further education.

Most of its students come to the program with an interest in marine biology research, environmental science and aquaculture. And while many pursue these fields, others migrate to ocean engineering, professional diving and even vessel operations.

3

They embrace internships and personalization.

Many of these new high school models focus less on one industry than on imparting what students need to know about the modern workplace more broadly, through intensive, often personalized, coursework and professional internships.

At Blue Valley Center for Advanced Professional Studies in Overland Park, KS, students spend about three hours a day working with professionals in one of six industries, from food science to aerospace engineering.

Housed in a light-filled, three story building that more closely resembles a high-tech office, the program enjoys support from the local school district, which created it as a half-day program that serves only juniors and seniors.

Blue Valley CAPS nursing student Sophia Cherafat (front left) talks to classmates (l-r) Reese Gaston, Sumehra Kabir and Jyoshika Padmanaban (Greg Toppo)

Students return to their neighborhood high school for required coursework. For accreditation purposes, the district treats the entire enterprise as a class.

“Blue Valley CAPS treated me like a working adult,” said alumna Sophia Porter, who now holds dual degrees in physics and applied mathematics and statistics from Johns Hopkins University and serves as a project manager and test operator for BE-4 engines at the Texas aerospace company Blue Origin.

At The Metropolitan Regional Career and Technical Center in Providence, students spend much of what would typically be class time working on personalized projects prescribed by advisors, who follow small groups of just 16 students throughout their high school career, intimately learning about their interests and academic needs. Students also spend much of their four-year career in a series of bespoke internships at local businesses, nonprofits and educational institutions.

Founded in 1996, The Met is renowned among a brand of progressive educators seeking to create small, personalized high schools around students’ passions and interests. “That’s what the Met taught me,” said Jordan Maddox, class of 2007. “Don’t really limit yourself.”

Maddox admits he initially didn’t quite know what to make of the place. “I remember telling my mother, ‘Mom, this is a daycare for high school students.’ And she was like, ‘Give it a chance. Give it time.’”

These schools also offer a kind of freedom and agency to students that would have been unheard of to their parents.

One Stone student Cadence Kirst shows off a handmade wooden game board for the strategy game Quoridor. (Greg Toppo)

At One Stone, a tiny private high school near downtown Boise, Idaho, students are deputized to run much of the operation, serving as officers of the board and filling two-thirds of board positions overall.

“A lot of people don’t believe that high school students can do meaningful, big things,” said Teresa Poppen, One Stone’s executive director and co-founder. “And I have always believed that they can do meaningful things when empowered and trusted.”

Or, as recent graduate Abella Cathey put it, “Being treated like an adult is what makes you act like one.”

4 They prepare young people for jobs in emerging industries.

Just as the first public high school offered to educate young people to compete in the high-tech industries of the era, the new breed of high school offers the same promise, only in medicine, aerospace and tech-assisted agriculture.

In Lodi, Calif., as the number of wineries begins to match its status as a major grape-growing powerhouse, the nonprofit San Joaquin A+ has partnered with the Lodi Unified School District and others to create an internship pipeline that gives students real-life learning and experiences across a variety of roles in the winemaking industry.

The partnership turns rural wineries into state-of-the-art classrooms where students spend time inspecting vines, cleaning storage tanks with pressure washers, and setting up tasting. In the end, they learn about the whole business: growing grapes, making wine and selling it.

Across the country, at Anderson Institute of Technology in western South Carolina, students from three districts now get real-world experience early on in their educational careers in preparation for jobs at companies like Bosch, Michelin and Arthrex.

Much like the Blue Valley model, students take core classes at their home high schools, and then commute to AIT to take classes like aeronautics, auto shop, and medicine. They work both in traditional classrooms and “labs” that mimic real-world work environments — an automotive garage, aerospace engineering lab or a surgery room.

“It’s all about giving kids a purpose in life,” said Don Herriott, a local business owner.

5

They’re rethinking what classrooms, campuses and school days look like.

In many new schools, such personalization takes place among new campus facilities, but in others, students navigate between several physical and virtual sites to attend class — sometimes all in the same day.

In Arizona, the 86 students who attend Phoenix Union City High School choose from a menu of some 500 options that include coursework at the district’s brick-and-mortar schools, its online-only program, internships, jobs, college classes or career training programs.

Yaritza Dominguez drives more than 3,000 miles a month working toward both a high school diploma and a dental assistant credential. (Beth Hawkins)

“The pandemic gave us an entree,” said Chad Gestson, until recently the system’s superintendent. “It enabled us to go to a system with no limits.”

Phoenix Union now operates four small high schools with specific themes, including law enforcement, firefighting, coding and cybersecurity. This fall, Phoenix Educator Preparatory welcomed its first students. It also operates standalone “microschools” housed in existing high schools — they include a program aimed at students working toward admission to highly selective colleges.

6

They redefine who high school is for.

Just as many schools now redefine what kind of space a high school should occupy, others are rethinking their customer base.

At Roybal Learning Center’s new film and television production magnet high school in Los Angeles, show business industry professionals last fall put up millions to launch a program to give Black, Hispanic and Asian students a pathway into good-paying jobs in the movie industry, helping them become “part of the machinery of storytelling,” said Bryan Lourd, an executive at Creative Artists Agency and the agent of actor George Clooney, a key supporter.

George Clooney, one of the actors behind the new Los Angeles magnet school focused on jobs in TV and film, took a selfie with a student during a visit last fall. (Getty Images)

The school plans to match students with mentors in the industry and eventually develop an apprenticeship program to offer early experience in their chosen field. The goal, said Deborah Marcus, who manages education efforts at Creative Artists Agency, is for graduates to not only land their first job on a crew, but their second and third as well.

7

They serve students of color in a more supportive way.

At New York’s Brooklyn Lab School, social workers visited nearly 100 homes to find students as absenteeism soared after the Covid pandemic.

More than three years later, each Lab School student now has a personal advocate, an advisor who starts each day with a non-academic meeting to build relationships and discuss health or current events over free breakfast.

Two teachers now lead each class, at least one of whom is special education certified, as the school adopts an all-inclusion-model.

Seniors Jayla Eady, Anaya Martin and Daniel Shelton reflect on their time at Brooklyn Laboratory Charter as they overlook the Manhattan skyline. (Marianna McMurdock/The 74)

Morning office hours and a six-week night school offer more chances for students to bridge academic gaps made worse by the pandemic. And teachers are paid to lead and attend professional development sessions. Roughly 80% are Black or brown, serving about 450 students who are predominantly Black, Latino and low-income.

“When you’re a school of this size, you have the ability to respond and cater to the community that you’re serving, and be more personable with the families that you meet, the people that you work with, and the staff that you hire,” said assistant principal Melissa Poux.

8

They cut through traditional structures to find what works.

Perhaps most significantly, many high school programs are finding new ways to serve at-risk students.

For many, what they need most is more time to grow. At New York City’s Math, Engineering, and Science Academy Charter High School, recent graduates are paid $500 to participate in a six-week “13th grade” Alumni Lab that offers resume writing, interview support and sessions exploring growth mindset, self-awareness and making goals — skills that help young people, particularly alumni of color, work through feelings of inadequacy, shame, or feeling like an imposter.

“Life has not gone as they were led to believe it would,” said MESA’s co-executive director and co-founder Arthur Samuels. “…You have all of these kids who are not tethered to any institution, but the institution that they are tethered to is their high school. We need to leverage that relationship.”

The program last spring wrapped up its third cohort, with 71% of participants matriculating back to college or into a free workforce development program.

Schools, Samuels said, “create this artificial bright line that happens on the day of graduation: June 23, you’re our kid. June 24, we give you a diploma and you’re someone else’s problem.”

Michael Jeffery and Cheryl Smith, recent Goodwill Excel Center graduates. (Courtesy of Goodwill Excel Center)

At Goodwill Excel Center Adult Charter High School in Washington, D.C., part of a network of Goodwill schools for adult learners nationwide, educators have compressed the traditional 20-week semester into a rolling series of eight-week terms. Coursework is based on competency, not seat time, and four assessments over the course of each term keep students on track.

But those who don’t succeed, even with individualized tutoring, can simply start over again at the end of eight weeks. Students with heavy work or family commitments can stay enrolled by taking just one class per term.

“We like to put high school dropouts into a box and say, ‘This is why they’re a dropout,’” said Excel’s Executive Director, Chelsea Kirk. “But we don’t ever think about what structures caused that. We don’t ever think about ‘How could a school change its structures to embrace people?”

— James Fields, Beth Hawkins, Linda Jacobson, Marianna McMurdock and Jo Napolitano contributed to this report.

George Clooney Champions a Los Angeles HS Connecting Classes to Hollywood Jobs

Linda Jacobson — Mon, 19 Jun 2023 11:45:00 +0000

The outdoor walkways of the Roybal Learning Center offer a panoramic view of the Los Angeles skyline that would be a fitting backdrop for any Hollywood movie.

That’s what grabbed Jaison Noralez when he visited the downtown high school last year. A sophomore this fall at Roybal’s celebrity-backed Film and Television Production Magnet program, he’s training to become part of the next generation of behind-the-scenes movie professionals: sound and lighting technicians, make-up artists and other production staff who never appear in front of a camera.

On a recent Wednesday, he and classmate Aiyanna Randolph worked on a concept for a post-apocalyptic science fiction feature set in the year 2053.

Jaison Noralez, left, and Aiyanna Randolph — freshman in the Roybal Learning Center Film and Television Production Magnet — have worked on several projects together this year. (Linda Jacobson/The 74)

“It’s not writing a script. We’re designing the set, make-up, hair and costumes,” he said about their assignment in Brittany Hilgers’s first period film production class. “She wants us to understand how those aspects could affect the movie. If you’re in a horror movie, you wouldn’t wear a bright dress or something. That wouldn’t match up.”

Launched last fall, the program opened with the fanfare of a blockbuster premiere, with Los Angeles Unified Superintendent Alberto Carvalho joining actors George Clooney, Don Cheadle and Mindy Kaling. Studios, networks and streaming services like Amazon and Disney have put up $4 million to launch the program, but leaders know that to keep it going, they’ll need sustainable public funding.

Students from the Roybal Learning Center Film and Television Production Magnet took a field trip to the KNB EFX studio, co-owned and founded by Howard Berger, a special effects artist and a member of the program’s industry council. (Roybal Learning Center Film and Television Production Magnet)

The goal is to give Black, Hispanic and Asian students who might lack the right connections to break into Hollywood a pathway into good-paying jobs in the industry and make them “part of the machinery of storytelling,” said Bryan Lourd, Clooney’s agent and an executive at Creative Artists Agency.

Traditionally, in entertainment, “it’s who you know and who … gives you just enough of a vocabulary to get into it,” said Lourd, a member of the magnet program’s advisory board. “George called me and said, ‘Shouldn’t we do something?’ ”

Before he resigned in 2021, then-L.A. Superintendent Austin Beutner connected them with Roybal Principal Blanca Cruz and her staff. At the time, the school had a fledgling music and film production magnet program, but lacked resources to give students real-world experience.

“We wanted to do something that wasn’t available in the immediate area,” Cruz said, “We knew nothing about the industry.”

But now she exposes students to those who do. During Hilgers’s first period class, Cruz popped in to announce that the following week, students would spend the day at the Universal Studios Hollywood backlot and tour the local NBC affiliate.

“You can see what behind the scenes of a broadcast looks like,” she said.

Actor and producer Kerry Washington, a member of the Roybal Film and Television Production Magnet advisory board, participated in a Q&A with students in December. (Ikenna Okoye/Creative Artists Agency)

The school’s faculty includes teachers with strong industry credentials. Hilgers is a former production assistant and screenwriter whose resume includes movies like “Jerry McGuire” and seven seasons of the comedy-crime drama “Psych.”

In her lesson for the day, she told students they could make a diorama, digital presentation or moodboard — a poster that displays the setting and feel of a film — to display their concepts for a story set after a catastrophe wipes out most of civilization. She offered an example of a moodboard from the Netflix period drama , a collage with photos of furniture and clothing styles typical of the early 1800s.

“This designer probably researched that time frame quite thoroughly,” she told them.

This year, students made fake movie trailers and wrote, produced, filmed and edited a horror adaptation of “The Wizard of Oz.” In the process, they learned technical skills such as cinematography and where to position a boom mic to pick up voices.

Students in the film and TV magnet program learn about the multiple jobs in the industry. (Linda Jacobson/The 74)

Next year, the school will add a studio, courtesy of , an editing software company. Post-production is one of three concentrations students can pick for 11th and 12th grade, along with technical and craft areas.

The school will match students with mentors in the industry and eventually develop an apprenticeship program to give them early experience in their chosen field. The goal, said Deborah Marcus, who manages education efforts at Creative Artists, is for graduates to not only land their first job on a crew, but their second and third as well.

Aiyanna applied for the program after her mother saw an article about it.

“She was like … ‘I’m gonna sign you up right now.’ I guess she wanted me to have something going for me,” she said. “The people who run it, like the actors Mindy Kaling and George Clooney, those are like big people.”

‘A lot of hard work’

Those already in the field know students’ future success hinges on more than technical knowledge or creative ability.

Assistant director Frankie Pagnotta on the set of a commercial. (Courtesy of Frankie Pagnotta)

“I tell production assistants all the time: ‘Half of your position is personality. The other half is skill,’” said Frankie Pagnotta, first assistant director of “Abbott Elementary,” the hit ABC sitcom about teachers in a Philadelphia school.

Pagnotta graduated from , a Los Angeles nonprofit that runs a private school with a mission similar to Roybal’s — diversifying the entertainment industry. Now, she mentors young Black production assistants, urging them to be early on set, know their way around the city and not get distracted by talking to friends on the job.

She said she’s worked with a range of young people, from those who balk at menial tasks like passing out call sheets to children of successful directors who are still hungry to prove themselves.

“It’s a lot of hard work,” she said, “and someone is not going to just hand you a career.”

The magnet program generated lots of favorable buzz at Roybal this year, but like many film characters, the school has a complicated backstory.

The Roybal Learning Center opened in 2008 after multiple delays and a scandal involving the construction site — an abandoned oil field. (Linda Jacobson/The 74)

The former Belmont Learning Complex sits between two major Los Angeles freeways, atop an abandoned oil field and an earthquake fault. Beset by numerous delays and investigations over potential health and safety hazards, the cost of the project ballooned to nearly .

The fiasco prompted then-mayor Richard Riordan to support a slate of school board members who ousted the superintendent. When it finally opened in 2008, more than 10 years after construction began, the school was renamed for Edward R. Roybal, the first Latino city councilman in Los Angeles who later served 30 years in Congress. Other programs at the school focus on careers like social work, business and computer science.

Today, the boxy green and tan facility — with its grassy quad and views of the city’s skyscrapers — figures prominently in student-made videos. U.S. Education Secretary Miguel Cardona holds up the new magnet program as a model for other districts.

Second gentleman Douglas Emhoff, (left to right) and Education Secretary Miguel Cardona joined actor George Clooney at Roybal in January. (U.S. Department of Education)

“I’m asking superintendents … to learn Roybal’s example,” he said in March during a panel discussion . He visited the school in January with second gentleman Douglas Emhoff and said he wants schools in production hubs like New York, Chicago, Miami, Atlanta to replicate the magnet’s model.

In California, magnet schools don’t receive more funding than traditional schools, despite higher costs for specially trained teachers and industry-specific equipment and facilities. At Roybal, the initial funding from Amazon Studios, Fox Corp., Paramount and other entertainment companies pays for a managing director who serves as a liaison between the school and the studios. A program coordinator plans events like field trips and master classes taught by professionals.

The partners also hired a curriculum consultant and are developing online lessons to share with students around the world. But in another year, they’ll need to secure future funding. Cardona noted that the Biden administration’s includes $200 million to support “career-connected learning.”

For now, Jaison and Aiyanna are soaking up as much as they can. Jaison is an aspiring animator who already knows how to edit manga panels — the comic book style that originated in Japan.

Aiyanna said she’s “sampling” and wants to learn all aspects of the business, but is leaning toward writing.

Despite its entertainment focus, the program doesn’t ignore traditional high school content. Hilgers and an English teacher collaborated on a project inspired by The History Channel in which students researched female poets and made 30-second documentaries about their work.

Roybal Learning Center Principal Blanca Cruz, left, stopped into a film production class to tell students about a field trip to NBC4 and the backlot at Universal Studios Hollywood. (Linda Jacobson/The 74)

“Say you’re doing a horror film, and [a character has] a deep cut. You want to have the right body parts in place,” he said. “You need to know about science to make a science film.”

When Lourd and Clooney visited the school, they observed a math lesson based on production budgets and the daily cost of making a film like “Black Panther.”

Lourd said, “George and I were standing there saying, ‘I wish I’d gone to this high school.’ ”

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