With less than a two weeks until the United States heads to the polls, candidates Kamala Harris and Donald Trump are locked in a heated battle for the “hearts and minds” of the American people. Amid a seemingly endless number of issues being debated—migration, the economy, and weirdness—two stand out as particularly crucial in the final days before November 5: the political leanings of the Latino electorate, and two, the place of “woke” philosophy. Will 2024 be a referendum on woke-ism? Will Latino voters, in Florida and beyond, help catapult Trump back to the White House?
In the current political climate, it’s hard not to recall of one Netflix series that ambitiously tackles these very issues. Here, I’d like to pen one final eulogy for Gentefied, a Netflix series so good—so savvy, so prescient, even prophetic—we simply didn’t deserve it. In retrospect, the short-lived Gentefied (2020-21) was high-water mark for examining the everyday experience of Latinos, who often navigate the crossroads of conservative values and so-called woke ideology. Two years ahead of its time, this brilliant show challenged us to grapple with topics that are now central to the 2024 presidential election.
Created by Linda Chávez, Marvin Lemus, and produced by America Ferrera, Netflix launched Gentefied, a 10-episode series centered on a Chicano family in Boyle Heights, Los Angeles, on February 21, 2020. The show depicts the Morales family’s struggles with daily life, economic challenges, and personal aspirations as the neighborhood becomes increasingly gentrified. The family-run Mama Fina’s, a taquería that they struggle to keep open amid rising rents with gentrification of the community.
Much of the plot revolves around three cousins, Ana, Erik, and Chris Morales, with a strong focus on Chris's return to the community after attending culinary school. Chris introduces new, trendier, and more gourmet ideas for the menu. In episode 3, Chris develops a chicken tikka masala taco for the family business. He asks his abuelo, Casimiro “Pop” Morales, the long-standing owner of the taqueria if he prefers “tradition or innovation.” “Maybe if you fancied things up a bit, you could compete with the changing economy.” Yessika Castillo, Chris’s cousin Ana’s girlfriend, chimes in: “White folks love dropping money on authenticity: tamales, serapes, nopales, huaraches, our hoods.”
What is the real price of selling one’s culture? To what extent do we have to put our cultures on display to safeguard them from predatory capitalism?
NPR, Vulture Magazine, America Magazine, and Variety each gave the show high praise for its authentic, witty depiction of Latino communities with real-life problems but also, real-life pride. Unfortunately, on November 10, 2021, the show was canceled after two seasons or ten episodes. Creator Linda Yvette Chávez posted on Twitter that “in a world where revolutionary art is commodified we have to rethink the way in which we value it.” Although somewhat exaggerated in tone, Chávez’s sentiment, I believe, rings true—especially now.
Woke politics and conservative values clash during the latter half of the 10-episode series. For example, Ana, the aspiring artist cousin, strives to become successful despite criticism from her community, all while trying not to 'sell out.'
In episode 5, her vibrant, graffiti-styled, politically charged murals catch the eye of an affluent gringo gallerist, Tim. He successfully secures Ana a commission to “beautify” an old corner store in the neighborhood owned by the elderly Ofelia. The license plate on Tim’s Mercedes-Benz blatantly reads “RU4SALE,” despite his hypocritical claim that “we don’t believe in commodification here.” Tim invites Ana to a party and proudly declares, “You are my gift to this community.” In response, Ana expresses her concern, stating, “That sounds a bit problematic.”
Ofelia is originally enthused about the promise of more fetching décor in her shop and, especially, more customers. “It’s gonna be mucho dinero” Tim promises her, and perhaps they will even start selling “organic, artisanal ice cream.” However, the creative synergy between commerce and art withers quickly after Ana’s finished mural is presented, revealing two masked—and male!—luchador wrestlers embraced in a passionate kiss.
Ofelia’s longtime, traditionally minded customers express moral outrage, unable to approve of the changes. Even Ana, a lesbian and the mural's artist, understands Ofelia’s concerns, remarking, “She can’t have her key demographic running to the 7-11!” Ana urges Tim to show Ofelia “respeto.” Although her mural celebrates two essential aspects of her identity—her Mexican-American heritage and her sexuality—Ana’s artistic pursuit is at odds with a core part of her cultural background: its conservatism.
Gentefied may have come to an end, but one of the show’s central themes—the Latino community grappling with conflicting political discourses—still rings true. Perhaps on November 6, we’ll discover what new comedic series will take on this challenge. Until then, my vote is that we rewatch Gentefied.
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