A young Latinx man hired to portray a bartender in the Season 2 finale of “Good Trouble” took his mark in the South Los Angeles warehouse in which the scene was taking place and looked up and across from him.
There, projected onto the wall, was the face of an even younger man who was a close family friend before he was killed by police.
It was an emotional moment, but it was also the epitome of the environment the team behind the show was trying to create. “We’re trying to create environments where people feel into what is happening,” says Patrisse Cullors, co-founder, Black Lives Matter Global Network and writer of the “Good Trouble” finale episode entitled “Trap Heals.” “It’s not a protest space, it’s not necessarily an art gallery, but
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