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"disqusTitle": "In the Age of Trump, Escapist Entertainment Has Become an Impossibility",
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"content": "\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\n\u003cp>https://twitter.com/davidfrum/status/831355704690798592\u003c/p>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\n\u003cp>https://twitter.com/HuffPostWomen/status/874676690617851904\u003c/p>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Let's keep paying very close attention to all the stories we're being told, and to what we believe is true.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let's keep paying very close attention to all the stories we're being told, and to what we believe is true.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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