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History (Education)

1981 Afterschool Special, 'The Wave', still holds up with its lessons about fascism

The chilling story was based on a real high school experiment.

Image by Elias from Pixabay

"The Wave" demonstrates how easy it is to pull people into fascism.

"What are you watching?" my 13-year-old son asked.

"An old Afterschool Special," I responded.

"What's an 'Afterschool Special'?" he asked.

Hoo boy. Kids these days have no idea how different television was for those of us who grew up in the '80s or how many core memories we have wrapped up in the ABC Afterschool Special.

I briefly explained and then he sat down to watch with me. It was 2022. A discussion about fascism on X had led me to look up "The Wave," a 1981 ABC Afterschool Special based on a real-life high school experiment in Palo Alto, California, in 1967.

In the real experiment, first-year history teacher Ron Jones had students at Cubberley High School engage in a simulation of how fascism spreads as part of a lesson on World War II, with him playing the role of the dictator. His intent was to show skeptical students how the Nazis came to power by creating a social movement he dubbed the Third Wave.

afterschool special, family, kids, specials, afterschool programmingFamily watching television. Image via Canva.

"It started out as a fun game with the most popular teacher at school," Mark Hancock, one of the students in Jones' history homeroom class, told Palo Alto Online in 2017. "He told us, 'If you're an active participant, I'll give you an A; if you just go along with it, I'll give you a C; if you try a revolution, I'll give you an F, but if your revolution succeeds, I'll give you an A.'"

Hancock said he started off planning to get that revolution A, but it quickly grew beyond grades and turned into something real. "At the end, I was scared to death," he shared.

It began with Jones rallying the students around the idea of "strength through discipline" and "strength through community." He had them engage in regimented behaviors and handed out membership cards. At first, it was just fun, but students began to enjoy feeling like part of a special community. Jones pushed the importance of following the rules. The students even formed a "secret police" to monitor other students, and if someone broke a Third Wave rule, they'd be reported and publicly "tried" by the class.

The students got wrapped up in it to a frightening degree and even Jones found himself enjoying the way the students responded to him. "It was pretty intoxicating," he told Palo Alto Online.

But according to Verde Magazine, Jones felt like he'd lost control of it by the fourth day.

The experiment ended at the end of the week with a rally. Jones told the students they were actually part of a real national Third Wave movement and that the national leader was going to speak to them at the rally. Jones turned on the televisions to white static and watched the students eagerly wait for their leader to speak. That's when he broke the news to them that they'd fallen for a totalitarian regime. Instead of a Third Wave leader speech, he played them a video of a Nazi rally.

Nazi rally, history, fascism, nazi germany, nazism Nazi Party Congress in Nuremberg, September 8, 1938.Image via Canva.

According to a school newspaper at the time, most students were disillusioned. But one student said, "It was probably the most interesting unit I've had. It was successful in its goal to achieve the emotions of the Germans under the Nazi regime."

"The Wave" follows the true story quite closely and still holds valuable lessons. One chilling scene shows a kid who had been sort of an outcast prior to the "movement" saying, "For the first time, I feel like I'm a part of something great." He was particularly crushed to find out it was all a fascist facade.

As is the cyclical nature of history, "The Wave" and what it can teach us is especially relevant today. According to NPR, "a survey of more than 500 political scientists finds that the vast majority think the United States is moving swiftly from liberal democracy toward some form of authoritarianism." The benchmark survey, known as Bright Line Watch, had "U.S.-based professors rate the performance of American democracy from zero (dictatorship) to 100 (perfect democracy)," noted NPR. "After President Trump's election in November, scholars gave American democracy a rating of 67. Several weeks into Trump's second term, that figure plummeted to 55."

John Carey, co-director of Bright Line Watch and a professor of government at Dartmouth, summed up the matter by saying, "We're moving in the wrong direction."

Since President Trump's election in November, various publications worldwide have suggested that much of Trump's rhetoric echoes that of Nazi Germany, with some pointing out parallels between each administration's first 100 days in office. Other publications have criticized the comparison.

At any rate, this afterschool special is incredibly timely. If you can get past the '80s aesthetic, it's worth watching. Even my teen kids got into it, once they stopped making fun of the hair and film quality.

- YouTubewww.youtube.com

This article originally appeared three years ago. It has been updated.

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Why LGBTQ people are leaving places like New York and San Francisco for red-state cities.

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ABC's When We Rise

When Cleve Jones was growing up, he felt different from everyone else.

Living as a gay teenager in Phoenix, Arizona, in the early 1970s was difficult to say the least. His dad, a psychologist, believed that homosexuality was something to be cured. His classmates in gym class bullied him so much, he pretended to have a chronic lung ailment so that he could stay in the library instead of the gym. And at one point, he said, he felt so alone that he considered suicide.

Human rights activist and author of "When We Rise" Cleve Jones in 2009. Photo by Kristian Dowling/Getty Images.

Jones has been a civil rights activist for over 40 years, and he is depicted as one of the main characters in ABC's miniseries "When We Rise."

His experience as a teenager was similar to that of many LGBTQ people at that time. The American Psychiatric Association considered homosexuality an "illness" until 1973, and throughout the 1950s and '60s, members of the LGBTQ community risked psychiatric lockup or jail if they were "discovered." They could also be fired from their jobs or lose custody of their children. Bullying and violence was also a common threat they faced.

In the show, Jones' character reads about the burgeoning gay liberation movement in Life magazine and is inspired to seek out the movement. Jones recalls that moment vividly from his own life.

Cleve sees the 1971 Life magazine with an article about the gay liberation movement in the ABC miniseries "When We Rise." Screenshot used with permission.

"This magazine, in a matter of minutes, revealed to me that there were other people like me," Jones said in an NPR interview. "There was a community, and there were places we could live safely. And one of those places was called San Francisco."

So, Jones hitchhiked from Arizona to San Francisco in 1973 to start his new life.

Cleve leaves his family behind in Phoenix to move to San Francisco in the ABC miniseries "When We Rise." Screenshot used with permission.

Many LGBTQ people who moved out of red states to cities in blue states in the '60s and '70s helped shape those cities into the same-sex safe havens that we know them to be today.

Cities like San Francisco and New York were seen as places where the LGBTQ community could go to live as themselves and escape some of the oppression, discrimination, and violence they faced back home.

The 1979 Gay Freedom Day Parade and Celebration in front of San Francisco City Hall, which marked the 10th anniversary of the gay rights movement. Photo by Paul Sakuma/AP Photo.

Starting with the Stonewall Riots in 1969, the burgeoning gay rights movement grew inside the cities in places such as the Castro district of San Francisco. There, groups mobilized and spearheaded the fight for their rights over the next several decades.

By 1990, the LGBTQ population was largely concentrated in coastal safe-haven cities, including Seattle, Atlanta, Boston, Washington, D.C., and, of course, New York and San Francisco.

The 46th annual Gay Pride March on June 26, 2016, in New York City. Photo by Bryan R. Smith/AFP/Getty Images.

Today, that trend may be reversing; members of the LGBTQ community are actually leaving those places and moving to smaller, redder cities.

Consumer Affairs analyzed U.S. Census data and Gallup polling information and found that by 2014, large LGBTQ populations had cropped up in red-state cities, including Salt Lake City, Louisville, Norfolk, and Indianapolis. For example, in 1990, only 1% of the Salt Lake City population identified as LGBTQ, but by 2014, that number had grown to 5% — making it the seventh largest LGBTQ urban population in the country.

Economics plays a large role in the trend; the cost to live in many safe-haven cities has skyrocketed. For example, the cost of living in New York City rose by 23% in just five years between 2009 and 2014 while in San Francisco, the median rent price was nearing $4,500 by 2016.  

Meanwhile, numerous smaller cities in red states, including Salt Lake City and Indianapolis, offer shorter commutes, cheaper rent, and less competition for the good-paying jobs.

A pride flag flies in front of the Historic Mormon Temple as part of an LGBTQ protest in Salt Lake City, Utah. Photo by George Frey/Getty Images.

Progress on LGBTQ issues across the country is another reason for the exodus.

There have been a number of federal actions over the last 15 years to solidify equal rights,including President Barack Obama’s executive order protecting LGBTQ federal workers from discrimination and federal and Supreme Court actions that effectively legalized same-sex marriage across a number of red states, including Arizona, Utah, and Indiana. Several cities have also passed local laws protecting the LGBTQ community, including housing and employment protections and benefits for domestic partners of city employees.

A mother to two lesbian daughters holds a sign while watching the Gay Pride Parade on June 28, 2015, in New York City. Photo by Yana Paskova/Getty Images.

Of course, there's a long way to go — many cities are hotbeds for legal challenges to LGBTQ rights, and 28 states in the U.S. still lack LGBTQ employment discrimination protections.

Rick Scot moved from West Hollywood and bought a house in a suburb of North Carolina with his husband because of cost. But North Carolina is also the birthplace of a controversial law — House Bill 2 — that prevents cities from enacting their own anti-discrimination laws and restricted transgender bathroom access statewide. The law has yet to be successfully repealed.

"I have friends and colleagues who won’t come here," Scot told the L.A. Times.

For some in the LGBTQ community, living in a red state also offers the opportunity to be involved in bringing about real change at a local level.

Protesters in City Creek Park in Salt Lake City in 2015. Photo by George Frey/Getty Images.

New York City and San Francisco didn’t become gay-friendly cities overnight. Change was gradual and hard-fought — and it happened largely because the activists who lived there demanded it.

That's why in the ABC limited series “When We Rise,” Cleve Jones decides to stay put and fight for gay rights in San Francisco rather than go off to Europe to find a better home with his friend.

Roma and Cleve in the ABC miniseries, "When We Rise." Screenshot used with permission.

And today, LGBTQ activists have the opportunity to drive change in red-state cities that have less friendly laws. Some activists are even calling these cities "the new frontier."

That is why Tyler Curry, who calls himself a "blue-ribbon homosexual in a bright red state," has chosen to stay and live Texas — so that he can help bring about change for everyone. "People’s minds can be changed and victories can be won in each state government, no matter how difficult it may seem," Curry wrote in an editorial on the Advocate. "Twenty years ago, the state and federal rights that we now have were merely pipe dreams, but our community refused to let hate beat out hope."

He continued, "Today, we still need to be steadfast in our commitment to LGBT rights across the country, and that means staying put in our red states and demanding respect."

Watch the full trailer for ABC's "When We Rise," which begins Feb. 27 at 9 p.m. Eastern/8 p.m. Central:

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How ABC's 'Speechless' is changing attitudes about disability.

'Speechless' matters because inclusivity on TV promotes inclusivity in life.

Over six decades ago, a disabled character starred on a TV show for the very first time.

She was a woman and a wheelchair-using attorney, and she starred in "Martinsville, U.S.A." The program, a 15-minute soap opera, featured actress Susan Peters. In the storyline, she had moved back to her hometown of Martinsville, Ohio, to begin her own law practice.

Use of the wheelchair — unlike later instances, like Robert T. Ironside (a former cop who became a consultant for the San Francisco Police Department after being paralyzed from the waist down after getting shot in the line of duty) — wasn’t simply a plot device. Peters, who was paralyzed due to a hunting accident just a few years earlier, used a wheelchair both onscreen and off.

"Miss Susan," the show’s original title, was one of several planned soap operas in the early days of television that aspired to "spread sweetness and light and an optimistic philosophy" while shying away from the more “over-the-top storylines” that dominated radio waves in 1951.

Fast forward 65 years, and we get "Speechless" — a new sitcom from ABC.

Photo via ABC/Bob D'Amico.

In "Speechless," which premiered  on Sept. 21, 2016, the first thing disabled teenager JJ DiMeo (played by legitimately disabled actor 18-year-old Micah Fowler) does is flip the bird at two slackers — cerebral palsy style, amplified by using four fingers instead of one.  Call it a comedic accommodation, but the message is funny, unexpected, and crystal clear.

My, how things have changed.

In the show, Fowler stars as a nonverbal teen in a family of five.  But that doesn’t mean the character has nothing to say.

Most of the talk around the show has been positive, especially from the disability community.

According to Stephanie Hydal, who co-organized a premier event at the Westside Center for Independent Living in Mar Vista, "Speechless"did what it needed to do with its first episode.

“'Speechless' introduced audiences to major concepts rooted in the disability experience: inspiration porn, parental roles in advocacy, the role of support providers, and the importance of disability advocacy and self-direction,” said Hydal, who noted that viewers in attendance were impressed by how the show humorously highlighted the difference between compliance and accessibility, which she says is a new concept for most people.

By the end of their screening, Hydal says she witnessed budding non-disabled allies engaging with disability stories told by disabled people, and it felt like an important and rare occurrence.

Social issues aside,and perhaps most importantly, "Speechless" is also genuinely funny.

For a comedy show, “Is it funny?” should be first priority, and "Speechless" really is. Not in a mocking, stereotypical way, but in a way that draws from real life, resonates, and invites people in.

The real life approaches used in "Speechless"are perhaps nowhere more apparent than in the ways JJ communicates. "Speechless" creator and "Friends"alum Scott Silveri based JJ’s communication technique on the method developed and used by Eva Sweeney, who has cerebral palsy herself.

Photo via ABC/Tony Rivetti.

Early on, Silveri met with Sweeney to discuss the concept for the show. When he saw Sweeney and her aide communicating with a letter board and laser pointer, he immediately changed the script to insert a human aide in the story, rather than computer-voiced communications, opening up additional avenues for storylines.

Now a paid consultant for the show, Sweeney reads every script “to make sure nothing is completely off or offensive about having CP” and to make sure that the show accurately depicts what being nonverbal is like.

“This doesn’t necessarily make the show better,” wrote Sweeney via email. “But it offers a different and new perspective into how people with disabilities can communicate.”

Plus, the creators brought in actors who actually live with disabilities daily.

Maysoon Zayid, a comedian and actress with cerebral palsy, said "Speechless"is noticeably different when it comes to casting methods: “I love that it makes non-disabled actors playing disabled characters look clownish and offensive.”

Zayid, whose popular TED Talk currently totals over 7 million views, suggested another reason for the show’s success: its authenticity.

“Overbearing moms are definitely REAL for a lot of us," she said. "Being broke is very real too. Disability is not cheap. I love how from the opening scene, JJ shows that nonverbal isn’t the same as infantile. 'Speechless' also champions the inclusion of disabled and non-disabled students together in school which in my case, was life changing.”

"Speechless" matters because inclusivity on TV promotes inclusivity in life too.

“For once, it is nice to see something happening on camera that I have experienced in my own life,” said Dominick Evans, a trans disabled film director and creator of the popular #FilmDis weekly Twitter chat on entertainment and media issues.

Photo via ABC/Tony Rivetti.

Where should the show go next? Evans said he’d “like to see JJ’s mom [hilariously played by Minnie Driver] move from Mama Bear protector mode into teaching JJ how to be a great self advocate, and 'Speechless' has the potential to do just that... It can do a lot of good by showing the world disabled teens are just as capable of being annoying buttheads as any other teen out there.”

Or, as Zayid put it, “I'd really love to see JJ date.”

When its stacked up against where we’ve been, ABC’s "Speechless" lands solidly in the “win” column.

Thankfully, audiences seem to agree. The series premiered to universally positive reviews and solid opening ratings (2.0, 7.3 million in Live+same day). It held up so well, in fact, that the network just announced a rare early full-season order just a week-and-a-half into the season.

But don't think we're all the way there just yet. When it comes to bringing more authentic disabled talent to the screen, a lot more work needs to be done.

A recent study published by the Ruderman Family Foundation reports that less than 1% of TV characters have disabilities — and 95% of those roles are played by actors without disabilities. Even fewer disabled people have established careers as writers, producers, or directors, despite census data that suggests over 56 million, or roughly 1 in 5, Americans are disabled, within every demographic — rich, poor, gay, straight, female, male, trans, person of color, or white as newly fallen snow.

In 2016, disability is a cultural and political identity, a diverse community, and entire libraries of compelling, outside-the-box stories that, by and large, haven’t been widely told — yet.

Hollywood take note: Whether it is creative input, audience cultivation, or hiring practices, the disability community — however one defines or understands it — can no longer be ignored.

Photo via ABC/Richard Cartwright.

If your ideas about disability are stuck in 1951 and you get it wrong, disability advocates, artists, and influencers are going to call you out.

Get it right and you might just have a hit television show like "Speechless."  

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Tracee Ellis Ross didn't win an Emmy. But she won our hearts and made history anyway.

The underrepresentation of minorities on television is still a big problem, but there's hope.

Tracee Ellis Ross was nominated for a 2016 Emmy for Outstanding Actress in a Comedy Series.

Photo by Jordan Strauss/Invision/AP.

Ross was nominated for her role as Rainbow Johnson in "Black-ish," an ABC sitcom about a self-aware and non-stereotypical black family. Ross' character — the matriarch of the family — is half white.

This nomination for Ross marks her first Emmy nod. But most importantly, this is the first time a black actress has been nominated in this category in 30 years. The last black actress to be recognized and nominated for her work in a comedy series was Phylicia Rashad in 1986 for playing Clair Huxtable on "The Cosby Show." But she didn't win; Betty White took home the prize that year.

2016 seemed poised to be Ross' year.

Which is why it was a surprise when Ross lost to Julia Louis-Dreyfus, who accepted her fifth consecutive Emmy in that category for her role on "Veep."

Photo by Robyn Beck/AFP/Getty Images.

It's not that Dreyfus doesn't deserve it — "Veep" is an incredible piece of media. But why not spread the love? It would've been an amazing moment of recognition for black actresses all over America.

And it also would have helped us talk about the larger problem at hand: a lack of diversity in Hollywood.

The underrepresentation of minorities on television is still a big problem.

A UCLA study on diversity in Hollywood found that out of 825 roles in broadcast scripted programming, only 9% of them went to black actors during the 2013-14 season. All minorities combined accounted for only 20% of those 825 roles.

Ross' nomination was not only symbolic, it was also necessary.

In the late 1980s, the Huxtables on "The Cosby Show" were seen as a "new" type of black family (especially following portrayals on shows like "Good Times" or "Sanford and Son"). The Huxtables were an upper-middle-class family, which is something that was rarely shown on television at the time. The dad (played by Bill Cosby) was a doctor, and the mom was a lawyer.

But that was 30 years ago, and things have changed quite a bit since then. Now "Black-ish" seems to be carrying on the "Cosby Show" torch but in a more realistic, relatable, and modern way. During this season alone, the show has tackled police brutality and a number of other serious issues. They use comedy to start important conversations in people's living rooms, and that's incredibly important.

The cast of "Black-ish." Photo by Mike Windle/Getty Images.

Progress is happening: This year's Emmy nominees are the most racially diverse ever.

It means the landscape for non-white actors is widening, and more people are being given opportunities to show what they can do, like Ross. Plus, Ross' family was so proud, her mom, Diana Ross, even took out a full-page ad in The Hollywood Reporter congratulating the star.

"Women playing a nuanced role in life has been happening for eons, but on TV it’s been few and far between," Ross has said about her role on "Black-ish."

"In 2016, we’re still trying to get the wife role to match who we are in life, which is people who are many things, not just wives."

So while I wish Ross had taken home the Emmy this year, I can't wait to see what else she has in store. Congrats, Tracee!

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