And if we, if I can, you know, make an intervention in film to get people to connect with that, uh, and to understand the importance and the centrality that this needs to have in our lives and our discussions and in our politics, um, I think that that's, that's like revolutionary.

Thanks, thanks for sharing that, Jeremy.

Um, could, could I add, like, a historical piece to this? To your point, Dan, I do think, I do think there's something, like, a little bit circumstantial or, or coincidental about the, like, thing that you're naming.

You know, the kind of rise of both the, like, you know, filmmaking technologies, but also public funding and, like, public sort of distribution networks for, like, a certain kind of documentary film, and we're talking sort of, like, '60s through, you know, the mid-'80s, sort of dovetailed with, I think, A, some of the like, you know, the kind of final gasps of, like, a certain era of, like, labor power and militancy that made a film like Harlan County USA or, or American Dream possible.

Um, similarly, a generation of the old left after a period of time sort of, like, not talking about their experiences, sort of silenced or, or scared into silenced through McCarthyism, were coming out and talking more about experiences in the CPUSA or in the, um, CIO, excuse me.

Their experiences, like, organizing and, you know, communist or socialist affiliated unions in the CIO.

You know, they were just coming out in a, in a certain way, and so, you know, um, I have to give credit to the, my mentor and, you know, the amazing late, great filmmaker Julia Reichert, who made, um, Union Maids, um, telling the story of CIO, um, organizers in, in Chicago in the '30s, women, and, and then later Seeing Red, which featured, you know, the testimonies of a lot of these ex-communists, many of whom are speaking publicly about their experience in the, in CPUSA for the first time.

That has to be a political fight.

And if we, if I can, you know, make an intervention in film to get people to connect with that, uh, and to understand the importance and the centrality that this needs to have in our lives and our discussions and in our politics, um, I think that that's, that's like revolutionary.

Thanks, thanks for sharing that, Jeremy.

Um, could, could I add, like, a historical piece to this? To your point, Dan, I do think, I do think there's something, like, a little bit circumstantial or, or coincidental about the, like, thing that you're naming.

You know, the kind of rise of both the, like, you know, filmmaking technologies but also public funding and, like, public sort of distribution networks for, like, a certain kind of documentary film, and we're talking sort of like '60s through, you know, the mid-'80s, sort of dovetailed with, I think, A, some of the like, you know, the kind of final gasps of, like, a certain era of, like, labor power and militancy that made a film like Harlan County USA or, or American Dream possible.

Um, similarly, a generation of the old left after a period of time sort of like not talking about their experiences, sort of silenced or, or scared into silenced through McCarthyism, were coming out and talking more about experiences in the CPUSA or in the, um, CIO, excuse me.

Their experiences like organizing and, you know, communist or socialist affiliated unions in the CIO.

You know, they were just coming out in a, in a certain way, and so, you know, um, I have to give credit to the, my mentor and, you know, the amazing late great filmmaker Julia Reichert, who made, um, Union Maids, um, telling the story of CIO, um, organizers in, in Chicago in the '30s, women, and, and then later Seeing Red, which featured, you know, the testimonies of a lot of these ex-communists, many of whom are speaking publicly about their experience in the, in CPUSA for the first time.

That has to be a political fight.