Movies

Dailyn Rodriguez wanted to tell Latino stories. With ‘The Lincoln Lawyer’ she can

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Dailyn Rodriguez wanted to tell Latino stories. With 'The Lincoln Lawyer' she can

As a fan of The Lincoln Lawyer, I must say that I’m truly impressed with the way the show has evolved and expanded its characters, particularly the Latino representation in Season 3. It was such a delight to witness the scene between Eddie Rojas, Frank ‘Val’ Valenzuela, and Mickey Haller – it really showcased the rich diversity of the show.

Netflix’s hit show ‘The Lincoln Lawyer’ resumed on October 17 for an edge-of-your-seat Season 3, with its gripping narratives being orchestrated by showrunner Dailyn Rodriguez.

The television series “The Lincoln Lawyer,” produced by David E. Kelley, is inspired by Michael Connelly’s popular books. It focuses on Mickey Haller, a criminal defense attorney, portrayed by Manuel Garcia-Rulfo. As he navigates various legal cases in Los Angeles, his personal struggles also unfold, while he uses his Lincoln Town Car as both a mode of transportation and symbol of his profession.

This season, Mickey delves into his past by forming an unexpected alliance with lawyer Andrea Freeman, portrayed by Yaya DaCosta. Simultaneously, he endeavors to unravel the mystery surrounding the death of a previous client, Glory Days, who is currently on trial for her alleged killer, represented by Mickey.

As a devoted film enthusiast, I’d like to share my appreciation for an actress who’s made quite an impact in the TV world – the remarkable Diana Maria Riva (or simply, Diane Rodriguez). She’s best recognized for her roles in “Queen of the South,” “George Lopez,” and “Ugly Betty.” In Season 2, she teamed up with executive producer Ted Humphrey, drawing in a staggering 8.3 million viewers during the first half of that season. Since then, Rodriguez has been instrumental in keeping the show authentic, shining a light on the diverse landscape of Los Angeles, its vibrant Latino characters, captivating storylines, and even the tantalizing local cuisine.

De Los chatted with Rodriguez about Season 3 and the seamless incorporation of Latinos in the show. The following interview has been edited for clarity and length.

Did you ever picture calling the shots as a showrunner?

Instead of saying “No, it’s like a dream,” you could express it as “This feels almost surreal.” Regarding the second part of your sentence, it can be rephrased as “For so long, I found myself on the sidelines, observing others take charge. Yet, I was eager to grasp the reins, feeling confident that I had reached a point where I could competently guide things. By witnessing others, I learned what approaches I wanted to avoid.

In a conversation with Cole Haddon, you mentioned that you instructed your representative to secure a role in the most “purely white” television series. Could you elaborate on what you meant by this?

At the outset of my professional journey, I felt significantly tokenized. To put it simply, I was hired for roles because I was a Latino writer on a show that focused on Latino themes. However, I often found myself struggling to connect with the supposed ‘Latino experience’ portrayed in these roles. This situation left me feeling frustrated and stifled, as I believe that writers should have the freedom to explore any subject matter.

After letting go of my previous representative, I switched to a new one. I expressed to them that I felt the need for a fresh start and requested they help me land a role in the most racially homogeneous TV show available at the time – ‘90210’. I wanted this on my resume because it seemed like I was continually being cast for similar roles. Often, I assert that we can effectively create stories with white themes because that’s predominantly what we have grown up watching.

However, I began noticing white men producing Latino-themed content; this is when I contacted my representative, expressing that I had had enough. I’m ready to step out and create and write content tailored for the Latino community. That would be wonderful.

It seems to me that “The Lincoln Lawyer” skillfully blends elements of Latino identity and Los Angeles culture. As a showrunner, does this role provide you with greater creative freedom when it comes to portraying Latinidad within the series?

100% can be rephrased as “completely” or “entirely.” The way to increase the representation of Latinos on TV is by having more Latino showrunners. When I joined Ted Humphrey (who was in charge during Season 1), I suggested, ‘Look, Los Angeles is almost half Latino. It’s crucial to reflect that diversity in the show.’

One aspect I appreciated in the initial seasons was the show’s rich ethnic diversity. I suggested we could push this even more, making the depiction truly reflective of Los Angeles. It’s not just Latinos you see; there are numerous Black, LGBTQ+, Middle Eastern, Jewish characters. Many of our lawyers and judges are senior citizens over 65 years old.

The focus was on depicting the diverse nature of Latin culture. In Season 2, we introduced Latino characters who may not speak Spanish, or those who do but with an accent, or without one. We have characters from various professions such as FBI agents, chefs, tailors, gardeners, lawyers, cops, and many more. This wide array of characters reflects the multifaceted nature of our identity, showcasing the many roles we can play. I find this representation crucial.

In Season 3, a fascinating scene unfolds among the characters Eddie Rojas (Allyn Moriyon), Frank ‘Val’ Valenzuela (Lombardo Boyar), and Mickey Haller (Manuel Garcia-Rulfo). This scene showcases their distinct personalities, making it a captivating watch. I found myself utterly engaged while watching it.

Have you faced any challenges as you continue to increase Latino characters in each season?

As a passionate movie enthusiast, I found myself deeply immersed in Season 3, where a character named Oscar Guerrero (Cuete Yeska) graced our screens. This fellow is a member of a gang, his visage adorned with tattoos that add a unique touch to his persona. The plot unfolds around a home invasion incident.

In our production, many roles are up for grabs. The top-notch performer usually secures the role, and this is what makes our show incredibly multifaceted when it comes to representation.

It seems many Latino-themed shows end after just one or two seasons, but this particular series has managed to stay robust. Was your initial impression that it would be so powerful?

I did, because people show up for the story. The stories are compelling. Manuel [Garcia-Rulfo] is so charismatic and so wonderful onscreen. I think it starts with him. Once you love him, you don’t think about the fact that sometimes he speaks Spanish.

Frequently, people and media comment on how genuinely Los Angeles our series feels. Unlike many other depictions, we’re presenting a unique side of L.A. Typically, shows are set in Beverly Hills or by the beach. However, we film a significant portion of ours in Highland Park and Baldwin Hills.

You mentioned that Mickey from Season 1 was damaged, and in Season 2 he became Icarus. So, who does Mickey turn out to be in Season 3?

In Season 3, Mickey finds himself reflecting on his past to some extent. He’s contemplating whether his legal methods may have unintentionally led to Gloria Dayton’s demise. This introspection seems to be a self-examination, but ultimately, he recognizes that the issue extends beyond him. There are instances where it’s more about the system itself.

In your Instagram update, I noticed that you had four Latina women in charge during the shoot – Isabella Rodriguez (writer), Paula Garces (director), and Moira Morel (cinematographer). Could you tell me which episode this took place in?

That evening was undeniably the highlight of the season. Sitting there, I couldn’t help but feel a sense of awe as I recognized that five women were in control, with four Latinas and two others managing the set. This was Episode 7, a day particularly significant because it marked Lorna Crane’s (Becki Newton) debut as an attorney. The atmosphere was electrifying, pulsating with female empowerment.

What would you tell a budding creative who is eager to break into the industry?

As a movie reviewer, I’d say, “If you’re a storyteller, keep penning your tales. If one narrative style doesn’t click, venture into another genre. Dare to experiment. Don’t box yourself in if you’re an author and success seems elusive. Perhaps there’s a different creative role within this industry that will give voice to your unique perspective.

I find myself in an unusual squeeze with our business right now. Being a bit on the cautious side, I’ve heard rumors of our demise numerous times, but they never seem to come true. So, I’m approaching this as just another odd contraction we’re navigating through. Therefore, I keep urging everyone to tighten their belts and push through it.

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2024-10-23 04:01

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