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On June 16, a van with eight crew members and crew from Netflix’s The Chosen One veered off the road and crashed into a deserted location on Mexico’s Baja California Peninsula, near Santa Rosalía. Singers Juán Francisco González Aguilar (professionally known as Paco Mufote) and Raymundo Garduño Cruz, both loved ones in the Tijuana arts and theater community, died in the crash.

Since then, friends of the victims have called for an investigation, and some people from Mexico have raised questions about Netflix and Redrum, the manufacturer behind the TV series, and said from the filmmakers who work hard and operate in unsafe conditions of work while being destroyed by companies. to save money.

Netflix declined to comment for this story, and Redrum CEO Stacy Perskie did not return any messages left by The Daily Beast.

Raymundo Garduño Cruz and Juan Francisco González Aguilar, professionally known as “Paco Mufote” died in the crash.

Photo Illustration by Luis G. Rendon/The Daily Beast/Getty/Facebook

This week, the national newspaper Milenio published a column under the headline “Lo que Netflix no quiere que sepas,” or “What Netflix doesn’t want you to know. To see also : Amazon Prime Video Named Best Value Streamer Amid Cost of Living.”

“Mexican manufacturers are reducing safety, manpower and time, not because they have less income, but because they can afford it,” writes Viri Ríos, a writer and educator. “First, because companies don’t require advertising in their contracts to protect employees (even though they say they care). And second (and more importantly), because in Mexico there is no regulation or organization good to protect them.

Writer Rick Zazueta called Netflix and Redrum in a series of Facebook ads that needed an investigation, saying Perskie was responsible for the singers ’deaths.

“We can’t do anything wrong in allowing this to happen, we can’t allow the deaths of these men to be marred,” Zazueta wrote in a post last week. “The film industry has to change, the prices are too high in this country but we have to protect the rights of the deceased.”

This sentiment was echoed Thursday by Mercedes Maciel Ortiz, representative of the Mexican Department of Labor and Welfare in Baja California Sur, in an interview with The Daily Beast.

“We’ve heard complaints from those who say the companies that hired them don’t have enough protection, and we agree with that,” he said. “We’re investigating the companies that hired the filmmakers, as well as the situation of those who were injured.”

The federal agency said it would review the circumstances surrounding the crash, and investigate any travel unsafe practices in relation to the transportation service provided to those involved.

In any production, transports usually wake up first and they last go to sleep.

If safety situations are identified, Maciel Ortiz said, “then companies are responsible.”

Víctor Gómez, a manager at the Community Hospital in Loreto in Baja California Sur, told the Daily Beast that two female passengers were being treated for injuries at his home and they reported that speeding may have caused the accident.

Gomez said the long Transpeninsular Highway has no cell phones and victims at his hospital reported that passengers may be worried about getting to a zone too quickly.

A police report leaked to the Daily Beast revealed that the car in which the Netflix moviegoers were driving was driven on the center line of the road before the driver appeared to have overturned, again. bring the car to the south before jumping into the ditch and turning the van down. . The report also mentions “weather conditions” —perhaps a reference to the blinding of the desert sunlight — that may have contributed to the disaster.

The document listed the driver, Mufote and Cruz as victims of the crash, but indicated that the driver survived. First responders told the Daily Beast other passengers included Margarita Peñaloza Luna, Cristina Martínez, Luis M. David V., a former coach for Luis M. David V., and Isaías Albelda , to go to Yeray.

Albelda, who survived the tragedy and whose best friends Cruz and Mufote are now mourning, barely remembers the morning of the tragedy. The van arrived to pick up the three and others at 7 a.m., he told the Daily Beast during a phone interview. He remembers checking into the hotel, and they stopped for a morning — burritos — on the way to Loreto International Airport.

“The other thing I remember is being in the hospital, it’s great,” said Albelda, who also spoke to Deadline about her experience in production.

By the time Albelda arrived at the hospital, the phone was starting to spill.

Line producer Rolf Helbig was in the hospital when Albelda woke up and stayed with the singer and his family after the accident was confirmed, the producer said, adding that the production of includes its expenses, wages, and repairs. With fractures to her clavicle and scapula, Albelda said she was told she was one of the most injured to survive the accident.

When asked about production conditions, Albelda said she had no major complaints — and that what she did was more comforting than safety. “I have never felt insecure or dangerous,” he said. Nothing he saw on the set of The Chosen One felt out of the ordinary from his previous work, which included Fear the Walking Dead.

The cars used for transportation, Albelda added, “are very similar to the cars I’ve seen in other productions.” The singer recalled that Helbig told him some kind of mistake or failure caused the accident — perhaps a locked wheel.

That said, Albelda added that apart from the driver and his “co-pilot” in the passenger seat, “We never used seat belts.”

Netflix and Redrum have not responded to allegations that conditions on the set are dangerous or damaging. Over the weekend, Netflix said the crash happened when the crew traveled from Santa Rosalía to the local airport, and production was suspended for a while. Deadline reports resumed filming on Monday.

In a statement issued Monday, the media service said, “We are deeply saddened by the tragic death of Ray Garduño and Juan Francisco González. Our thoughts are with their loved ones. and those injured in this accident.

For his part, Redrum said he is “deeply saddened by the loss of our colleagues” and is “supporting all those affected by this unspeakable tragedy.”

“Redrum is working with local authorities and initial reports and reports from witnesses show that all the safety regulations were in place and that it was an emergency,” the production company said.

The musicians and crew involved in the project seemed to have different opinions on whether Netflix and Redrum could take any responsibility for the tragic incident.

One person involved in the production told the Daily Beast they hadn’t even experienced a horrible working environment while filming The Chosen, which is based on a series of songs by Mark Millar and Peter Gross. The Netflix website says the TV show was about a 12 -year -old boy who “learned that Jesus Christ has returned, designed to save people.” (In making the calls, the picture was called American Jesus.)

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Photo Illustration by Luis G. Rendon/The Daily Beast/Getty/Facebook

“It’s a difficult situation and a difficult issue,” said the source, who was friends with Mufote and Cruz and said he would not be named. “They are very dear people, but it is really a tragedy. Read also : Why I Hate Amazon Prime Video – And Why I’m Still Watching It. It’s not out of the ordinary, it’s different from your normal work day. ”

“In any production, the passengers are the first to wake up and the last to go to bed. Their job is the most important of all jobs in production because their job is to transport lives.

The man said that using movies “is always a Tetris game because you have to meet a lot of people from different parts of the country.” Santa Rosalia, close to where the crash happened, is secluded and almost four hours from the airport. Because there are not many weekly trips there, the players and crew may have to stay in town for a few days, even after the capture.

“Things for everyone have become a nightmare,” they added. “Because of the remote locations to take pictures, not because of a bad working environment.”

From this representative’s point of view, the media outlets penalizing Netflix and Redrum for failing to cover up the incident is inconsistent with “the information.”

“I also understand that the movie and theater community is frustrated,” they said. “We have lost two people we love. When you lose people you love, you get angry and hurt. And sometimes you need someone to blame. It’s just complicated. ”

A source who previously worked for the production said its travel services are often disruptive to their organization. On one trip, for example, several drivers accused of not using their hotel were provided when they realized they were far from where they needed to store their luggage at night. Drivers were unable to abandon their cars, many of the reservations — made, in the production of credit, in a “best -in -class hotel” —were unused.

On top of the inconvenience of holiday times that caused drivers to be exhausted, the source said the funds were provided to cover expenses for these days of long journeys. Even putting that aside, the story goes, production also ended up paying less than promised. “It’s a struggle,” they told the Daily Beast in a text message in Spanish, “so they understand the real expenses” needed to travel. Most of the vans used to transport the crew and crew, they added, had no air conditioning.

To get to Loreto International, the airport near the cinema set in Santa Rosalía, the crew had to traverse a paved road with dangerous bends and long straight roads. According to a police report obtained by the Daily Beast, the driver — identified as Alberto Jiménez Gómez — was 21 years old. A source stressed in The Daily Beast that at a young age, he would not have the experience of a regular driver.

Albelda recalled that Gómez had only joined production the day before the accident; he was brought in to help with heavy immigration work. “As far as I know, he had the opportunity to relax with everything,” Albelda said, “but I don’t know, to be honest. Sometimes you’re at the hotel and you can’t relax. “

As Mexican authorities and national activists investigate the incident, loved ones are mourning the victims at memorial services and online tributes.

Fernando Bonilla, a close friend of Cruz, told the Los Angeles Times that the actor was “noble and gentle” and was committed to making plays that children and others could do. places beyond the capital of his country. “Mexico City is a center for politics and culture, and with theaters you see it in a serious way,” Bonilla told the newspaper. “Ray was really focused on trying to change that situation.”

The father -in -law and stage director also enjoyed baseball, food, and Tijuana nightlife. In a Twitter tribute to Cruz, Bonilla wrote, “Now that I’ve been shooting in Tijuana for three weeks, I’ve realized that a city isn’t much fun without Ray.”

When asked about the disappearance of Mufote and Cruz, two model titans in a small village, José Paredes told the Daily Beast that the Tijuana film will now feel “empty, more empty. “

Paredes directed Mufote and Albelda in his 2022 film, Contratiempo. Paredes wrote the role of Mufote, a musician named Alex, and the singer in mind. The director praised the unconditional love Mufote felt for his ministry, and for the art itself. He also named Mufote as a great player — not a man of one show, but one who could play the hero, the villain, the four unlikely, and everyone in between.

“He was very kind. It is very clean. It looks weird, but it’s almost childish — it’s pure. ”

For now, the memory of Mufote is too new for Paredes to watch his Contratiempo performance. But he cherishes one of the memories from the set, in which he remembers Mufote noticing him humming “White Room” to himself. Todd Phillips ’Joker, which uses the song in a famous show of violence, was stuck in the director’s head. One day on the set, he recalled, Mufute — who always carried his guitar — started playing the song behind him.

“When I turned around and looked at him, he just looked at me and smiled,” she said. “Like a kid he knows he’s done something good and he enjoys it.”

The cheerful and enthusiastic spirit of Paredes and the rest of Tijuana’s close -knit scene will be missed.

On Tuesday, as she spoke with The Daily Beast from the airport on her way to a memorial service for her friends, Albelda wondered aloud if that was when she finally felt the reality of this unbelievable tragedy.

“So far, I’m still working on what happened, but I haven’t faced the reality,” he said. “I can imagine what happened. But it’s hard to dig and believe. ”

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