It took me so long to finish my book because I kept researching until I felt like I understood why some things and people seemed to get lucky or unlucky all the time. We all know that some people do get lucky more often than others, but I wanted to know why.

[00:02:37.130] Michaela Ternasky-Holland: My name is Mikayla Ternasky-Holland, and I've been working in virtual reality since 2016. And I'm sure like anyone in this field can tell you, I've worn many, many hats as a director, associate producer, as a lead producer, as an impact producer, but really my main focus is social impact storytelling, nonfiction storytelling. The Reimagined series is actually my first foray into narrative experiences, but still for me, from a social impact lens, because the Reimagined series is a fully female led, directed, produced, written series. And we're trying to retell fairy tales and mythologies and folklore using the medium of VR, but also from a more modern gender inclusive lens. And so for me, the Reimagined series is almost like parallel to the work I've done and am doing in the social impact space and the nonfiction documentary space in the virtual reality industry. So really excited to be here and talk to you more, Kent.

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[00:05:34.585] Michaela Ternasky-Holland: I feel like I've said this story many a time on your podcast, Kent, but I always appreciate this question, because it makes me think about that journey constantly. For me, I was a professional dancer on Disney Cruise Line, when I dropped out of college to go and dance and perform, I really sort of went out of the normal way that my parents wanted me to show up in the world. They wanted me to go get a four-year college degree. And I wanted to pursue my art career as a performer. And so while working on Disney Cruise Line and then working again at Disneyland, SeaWorld and Legoland, I decided to really explore this immersive interactive storytelling nature. I saw a real change in people when they were given agency, when they were spoken to as if they were real humans, when they were given the sense to kind of make choices depending on how they were feeling in that moment. And so being able to see that firsthand in those types of high-level environments really paved the way, I think, for me to want to tell stories using more immersive interactive mediums, like virtual reality, like augmented reality, and even now with the use of AI. You know, I really actually need to accredit a lot of what I do in this field also to Noni de la Pea. Seeing, you know, a fellow woman and a fellow woman of color in this space when I first got into this space, especially with a focus in documentary work, was huge for me. And then being able to see that there had been this ground laid out in front of me that I could follow or this path laid out in front of me that I could follow really allowed me to be able to find my way to Time Magazine and work for Time Magazine doing a lot of their VR, AR work, and then of course now going freelance and really trying to champion the types of people and the types of voices that don't always get access to this type of technology. and really champion the kinds of stories that don't always get told with this type of technology or stories that just don't even get told in the more mainstream environments is really what makes this world really fulfilling for me.

[00:10:20.314] Julie Cavaliere: We went through it. We went through it together. And so one of the things that I've always appreciated about Melissa is that she did study under Maya Angelou. She's always too modest to mention that. So I've come to mention that for her. And so has this beautiful poetry, the sensibility that is quite poetic, as well as a strong visual sense. And as I've mentioned in interviews past and included in my intro this time, that the Reimagined series was my first foray into VR. So when we were developing this series to be an anthology series and we were looking at other stories in preparation to bring this to meta, one of the stories we were working with, it wasn't coming together the way we wanted it to. And so Michaela and I sort of sought out to bring in another collaborator. And I said to Michaela, there's someone in my mind, she's never done VR, but I think she could bring a really interesting perspective that we might not be thinking about. And so the way we left it is we reached out to a couple of people. I reached out to Melissa. I said, you know, what do you think? You have a day, because we're pitching, we're sort of assembling this.

[00:11:43.265] Julie Cavaliere: Yeah, Melissa being the person that she is, said, okay, I'll talk to you tomorrow. and then came back with the rough idea of Young Thing and a soundscape and all of these kind of visual references and knew from the beginning that she wanted to pull from the Black American tradition of collage and quilting and all of that. So that was very early on. The structure of the story had been created very early on. And I told her, you know, Michaela and I are going to meet, and best story wins. And Michaela and I did meet, and It was the most robust story we were presented with. So we went with it and ran and have been running ever since. Nice.

[00:12:31.431] Michaela Ternasky-Holland: Yeah, thank you, Ken. I think there's sort of this sense with Reimagined that we don't just want to empower female voices, but we also want to empower first-time VR anything voices, whether that's within our audience or within behind the scenes of our creative team. And I think what was really beautiful about the collaboration for both Julie and I is that we both come from totally different backgrounds, but have the same heart and soul around storytelling and have the same heart and soul around creating really quality, robust cinematic experiences. And so I think when we were thinking about our third volume, it was a really unique proposition because it had to be somebody that we had to really find that sweet balance with of who is this person going to be? They're not just going to be somebody who's coming in as like a traditional contractor to like execute like artwork or execute concept art. This is going to be somebody we're going to be deeply, deeply collaborating with as a fellow creative on this series. This is also going to be somebody who has to be able to carry the heart and soul of this volume three, just in a similar way that Julie and I individually carried the heart and soul of volume one and volume two. And you know, I think what we found was we really wanted to bring somebody into the fold who might not have ever used VR as also a way of being able to say like this medium, especially the medium of Quill, can be used by somebody who doesn't have a technical background. It can be a really successful platform. And I think, you know, this collaboration with Melissa has been everything that we hoped it to be. And I think the team of people that we brought behind Melissa to really bring Melissa into the world of VR as well, like Zoe and Tyler and some of the amazing Quill artists, really creates the fully 360 immersive experience that we wanted Volume 3 to have, both on what the audience sees, but I think behind the scenes as well as to how the whole team collaborated.

[00:14:26.977] Kent Bye: Awesome. So yeah, Melissa, you get this phone call out of the blue. You have an opportunity to pitch. Maybe you could talk through what your process was. Did you go watch some VR or did you think about based upon the context that you were provided, like how you wanted to tell the story? Yeah. Just talk about having a day to figure it all out and what your process was.

[00:14:48.175] Melissa Joyner: Well, having a day to figure it all out, I think. maybe some of my attitude and approaching it did come from my actor's background, that improv saying yes and, you just say yes and, and you keep moving. So when asked to be a part of something, honestly, you know, when someone comes to you and says, Hey, and you know, this is a friend, right? And says, Hey, I have a dream. It's about to happen. Want to help? Who doesn't say yes? And then they say, and that dream is about gender inclusive storytelling, partnering with another creative who is a leader in VR. It's female driven. It's even just me being able to be a part of it is opening it up to women, girls of color, kind of really breaking that sort of girls don't like science and math and, you know, and things like that, like just working to kind of uncouple a lot of that just by saying yes was enough. you know, just wow, I'm really excited to be a part of this project. And honestly, when it came to now I've got to put something in this blank word document, Lord help me, I started to dig and research. I mean, I love research. I'm kind of a student first and started to dig and really look for stories that touched me. And unfortunately, when looking for what would be an African American fairy tale or an African American kind of folk tale, I was hit a lot with the wall. Because the roots of them being African American are difficult to pinpoint. And when I started to really look for fairy tales, it led me into Africa itself. And of course, right, so then I had to say to myself, okay, How do I make this authentic, right? Like, I know that this connection is possible. I feel connected to this piece. From what I know, I'm not Southern Nigerian. You know, I don't know. I haven't taken one of those great tests, or perhaps I am, but I wanted to be sure that I wasn't taking on something that wasn't mine, just assuming that it was mine to use. And so it then became really important to me once I kind of stepped into that realm that the bits of it that I could control would feel Southern, would feel specifically African American. And when I was looking for stories, I came across The Woman with Two Skins. And boom, I mean, The Woman with Two Skins or something about that title that makes you stop immediately. And when I read it, it, it's dark, and there are all these fantastic lessons learned. But initially, I was just aggressively attracted to the concept that in a woman with two skins, she was told to use the skin to hide her beauty, because the world wasn't ready for her beauty. And I thought, it made me think of Dunbar, and we wear the mask, it made me think of black hoodies. It made me think of all of the things that we tell the people we love to protect themselves, all the beauty that people hide to protect themselves, hiding who they were. And then a barrage of questions started. And because it initiated such creativity and so many questions, it became very clear to me that this was the piece that I was going to use. And it really led itself, as far as I was concerned, to a bit of what I knew I wanted to bring in, the look and feeling of the African-American experience. And so when I think of the African-American experience, I think of a people who have the ability to make beauty from scrap. And whether or not that's soul food, which is literally that, whether or not it's jazz, whether or not it's quilting, whether or not it's collage, it's this creativity in you give me this much and I can make it beautiful. And the beauty to me of collage is that outside of itself, each and every piece has its own story. It was a part of something, it was a part of a dress, it was a part of a magazine, it was a part of a newspaper clipping, you know, but inside itself, it has its own story. But together it creates something that isn't quite right, but gorgeous. And it also, to me, sort of reflects the fact that the African-American experience isn't monolithic. You know, it isn't together fantastic, but each and every square has its own specific beautiful story. So I very much wanted folks to walk into a Bearden painting, to walk into a Stephen Townes quilt. And there's a great poem by Nikki Giovanni called Quilt, which is also, I mean, it's not an aesthetic, but it's an aesthetic in my heart. I just pointed to my heart. This is a podcast, so you don't know that. But it's aesthetic in my heart. Did I answer your question, Kent? 0852c4b9a8

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