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"content": "\u003cp>The country act now officially known as \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/11/875062248/lady-antebellum-changes-its-name-to-lady-a\" target=\"_blank\" rel=\"noopener noreferrer\">Lady A\u003c/a> has sued a blues, soul and funk singer who says that she has used Lady A as her stage name for two decades.\u003c/p>\n\u003cp>On June 11, the country trio changed its name to Lady A, saying that they were, in retrospect, “regretful and embarrassed” that they hadn’t considered the loaded and racist history of “antebellum.” This was despite the fact that journalists had challenged them about it \u003ca href=\"https://www.npr.org/transcripts/140312877\" target=\"_blank\" rel=\"noopener noreferrer\">for years\u003c/a>.\u003c/p>\n\u003cp>Shortly after the name change was announced, Anita White, who is a Black artist based in Seattle, emerged to say that she had already been \u003ca href=\"https://ladyababyblues.com/home\" target=\"_blank\" rel=\"noopener noreferrer\">performing\u003c/a> under that name for about 20 years. It was an inauspicious beginning for the trio’s revamped image.\u003c/p>\n\u003cp>On June 15, the band \u003ca href=\"https://www.instagram.com/p/CBeTF3iDVht/\" target=\"_blank\" rel=\"noopener noreferrer\">posted to Instagram\u003c/a> a screenshot of a Zoom call it had with White. “Transparent, honest, and authentic conversations were had,” the trio wrote in part. “We are excited to share we are moving forward with positive solutions and common ground. The hurt is turning into hope.” White \u003ca href=\"https://www.instagram.com/p/CBeiDpAHN6z/\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> the same message with the same image, on the same day. In its court filing, the group said that they had begun co-writing a song with White.\u003c/p>\n\u003cp>But that good will evidently soured quite quickly. The day after that happy Instagram post, White gave an emailed interview to \u003ca href=\"https://www.newsday.com/entertainment/music/lady-antebellum-lady-a-1.45795425\" target=\"_blank\" rel=\"noopener noreferrer\">Newsday\u003c/a>, in which she wrote: “Their camp is trying to erase me and I’ll have more to say… Trust is important and I no longer trust them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to the band’s court filing with the U.S. District Court for the Middle District of Tennessee on Wednesday which NPR has obtained, White asked for “an exorbitant monetary demand” from the band as part of a proposed settlement on Tuesday.\u003c/p>\n\u003cp>In a statement to NPR Thursday morning, the trio said that White had requested $10 million. It added in part: “We never even entertained the idea that she shouldn’t also be able to use the name Lady A, and never will.” In its filing, the band also said that its fans had been using “Lady A” as a nickname for well over a decade, and it had referred to itself as “Lady A” on its own website starting in 2008.\u003c/p>\n\u003cp>A search by NPR showed that Lady A Entertainment LLC, based in Nashville, Tenn., filed three trademark applications related to the term “Lady A” in 2010; the same company filed for a fourth “Lady A” trademark on June 9, two days before the band started presenting itself publicly under the new moniker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The lawsuit from the Nashville trio said that White had never opposed those trademark applications, nor did she seek the trademark herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+A+The+Band+Sues+Lady+A+The+Singer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The country act now officially known as \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/11/875062248/lady-antebellum-changes-its-name-to-lady-a\" target=\"_blank\" rel=\"noopener noreferrer\">Lady A\u003c/a> has sued a blues, soul and funk singer who says that she has used Lady A as her stage name for two decades.\u003c/p>\n\u003cp>On June 11, the country trio changed its name to Lady A, saying that they were, in retrospect, “regretful and embarrassed” that they hadn’t considered the loaded and racist history of “antebellum.” This was despite the fact that journalists had challenged them about it \u003ca href=\"https://www.npr.org/transcripts/140312877\" target=\"_blank\" rel=\"noopener noreferrer\">for years\u003c/a>.\u003c/p>\n\u003cp>Shortly after the name change was announced, Anita White, who is a Black artist based in Seattle, emerged to say that she had already been \u003ca href=\"https://ladyababyblues.com/home\" target=\"_blank\" rel=\"noopener noreferrer\">performing\u003c/a> under that name for about 20 years. It was an inauspicious beginning for the trio’s revamped image.\u003c/p>\n\u003cp>On June 15, the band \u003ca href=\"https://www.instagram.com/p/CBeTF3iDVht/\" target=\"_blank\" rel=\"noopener noreferrer\">posted to Instagram\u003c/a> a screenshot of a Zoom call it had with White. “Transparent, honest, and authentic conversations were had,” the trio wrote in part. “We are excited to share we are moving forward with positive solutions and common ground. The hurt is turning into hope.” White \u003ca href=\"https://www.instagram.com/p/CBeiDpAHN6z/\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> the same message with the same image, on the same day. In its court filing, the group said that they had begun co-writing a song with White.\u003c/p>\n\u003cp>But that good will evidently soured quite quickly. The day after that happy Instagram post, White gave an emailed interview to \u003ca href=\"https://www.newsday.com/entertainment/music/lady-antebellum-lady-a-1.45795425\" target=\"_blank\" rel=\"noopener noreferrer\">Newsday\u003c/a>, in which she wrote: “Their camp is trying to erase me and I’ll have more to say… Trust is important and I no longer trust them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to the band’s court filing with the U.S. District Court for the Middle District of Tennessee on Wednesday which NPR has obtained, White asked for “an exorbitant monetary demand” from the band as part of a proposed settlement on Tuesday.\u003c/p>\n\u003cp>In a statement to NPR Thursday morning, the trio said that White had requested $10 million. It added in part: “We never even entertained the idea that she shouldn’t also be able to use the name Lady A, and never will.” In its filing, the band also said that its fans had been using “Lady A” as a nickname for well over a decade, and it had referred to itself as “Lady A” on its own website starting in 2008.\u003c/p>\n\u003cp>A search by NPR showed that Lady A Entertainment LLC, based in Nashville, Tenn., filed three trademark applications related to the term “Lady A” in 2010; the same company filed for a fourth “Lady A” trademark on June 9, two days before the band started presenting itself publicly under the new moniker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The lawsuit from the Nashville trio said that White had never opposed those trademark applications, nor did she seek the trademark herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+A+The+Band+Sues+Lady+A+The+Singer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_2KMm49B6pE\u003c/p>\n\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_2KMm49B6pE'\n title='//www.youtube.com/embed/_2KMm49B6pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Julian Bass loves Spider-Man, a trait you can easily glean by scrolling through the videos he posts to his TikTok and Twitter accounts.\u003c/p>\n\u003cp>“I just think Spider-Man is so fun. It’s so inspiring to me,” Bass told NPR’s \u003cem>Weekend Edition\u003c/em>. “Everything, every little aspect that you could possibly think of about Spider-Man is something that I’m aware of, that I know of.”\u003c/p>\n\u003cp>In one now-viral video, the 20-year-old theater major at Georgia State University morphs into his favorite heroes using his own special-effects—first a Jedi wielding a blue lightsaber, then Ben 10, before his final transition into Spider-Man. He asked his followers to retweet the video “enough times that Disney calls.” Twenty million views later, \u003ca href=\"https://twitter.com/RobertIger/status/1278869218889367552\" target=\"_blank\" rel=\"noopener noreferrer\">Disney \u003c/a>wasn’t the only one he heard from.\u003c/p>\n\u003cp>https://twitter.com/thejulianbass/status/1278714517770440707\u003c/p>\n\u003cp>At first, he said his video gained “some small traction with my immediate circle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And then the verified profiles started commenting,” he said. “The first one for me was The Lonely Island. And then I started seeing Josh Gad, Matthew Cherry. I saw Mark Hamill liked it. I mean if Mark Hamill likes it, I’m a Jedi now.”\u003c/p>\n\u003cp>Bass said these aren’t just retweets—he’s also getting messages from “bigwigs” such as Marvel co-president Louis D’Esposito and people from HBO Max.\u003c/p>\n\u003cp>“Everyone you can think of has been just blowing up my phone recently and I just need to sort of mitigate how to respond to everybody and make sure I can get these opportunities and seize these opportunities in the best way possible,” he said.\u003c/p>\n\u003cp>He’s hoping those opportunities could potentially lead into a role in front of the camera, despite his professional-looking special-effects work behind the videos.\u003c/p>\n\u003cp>“The skills that I have as a visual effects artist kind of were born out of me wanting to be in front of the camera and looking good while I’m doing it,” he said. “My parents are fantastic for doing this but they told me that, yeah Julian, you can do this. Use this program, this little free thing here. Yeah you can use a green screen and learn how to do that. And so I was like, if I can, why don’t I? If I want to act like Spider-Man, why not make it look like Spider-Man?”\u003c/p>\n\u003cp>After he posted the video, \u003ca href=\"https://twitter.com/Marvel_Fan_3000/status/1278889003417169920\" target=\"_blank\" rel=\"noopener noreferrer\">responses began pouring in\u003c/a>, requesting to see him cast as Miles Morales, the first Afro-Latino character to take on the name Spider-Man in the Spider-Verse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Yeah to be a fan of something and then to see people want you to be a part of it, that’s a chance that I will not ruin for myself whatsoever,” Bass said. “If they pass on it, look, that’s okay, there’s plenty more opportunities. But I feel like I’m ready to take my shot and that’s truly what it’s all about right now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Theater+Student+Gets+Supersized+Attention+After+Superhero+Video+Goes+Viral&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Julian Bass loves Spider-Man, a trait you can easily glean by scrolling through the videos he posts to his TikTok and Twitter accounts.\u003c/p>\n\u003cp>“I just think Spider-Man is so fun. It’s so inspiring to me,” Bass told NPR’s \u003cem>Weekend Edition\u003c/em>. “Everything, every little aspect that you could possibly think of about Spider-Man is something that I’m aware of, that I know of.”\u003c/p>\n\u003cp>In one now-viral video, the 20-year-old theater major at Georgia State University morphs into his favorite heroes using his own special-effects—first a Jedi wielding a blue lightsaber, then Ben 10, before his final transition into Spider-Man. He asked his followers to retweet the video “enough times that Disney calls.” Twenty million views later, \u003ca href=\"https://twitter.com/RobertIger/status/1278869218889367552\" target=\"_blank\" rel=\"noopener noreferrer\">Disney \u003c/a>wasn’t the only one he heard from.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And then the verified profiles started commenting,” he said. “The first one for me was The Lonely Island. And then I started seeing Josh Gad, Matthew Cherry. I saw Mark Hamill liked it. I mean if Mark Hamill likes it, I’m a Jedi now.”\u003c/p>\n\u003cp>Bass said these aren’t just retweets—he’s also getting messages from “bigwigs” such as Marvel co-president Louis D’Esposito and people from HBO Max.\u003c/p>\n\u003cp>“Everyone you can think of has been just blowing up my phone recently and I just need to sort of mitigate how to respond to everybody and make sure I can get these opportunities and seize these opportunities in the best way possible,” he said.\u003c/p>\n\u003cp>He’s hoping those opportunities could potentially lead into a role in front of the camera, despite his professional-looking special-effects work behind the videos.\u003c/p>\n\u003cp>“The skills that I have as a visual effects artist kind of were born out of me wanting to be in front of the camera and looking good while I’m doing it,” he said. “My parents are fantastic for doing this but they told me that, yeah Julian, you can do this. Use this program, this little free thing here. Yeah you can use a green screen and learn how to do that. And so I was like, if I can, why don’t I? If I want to act like Spider-Man, why not make it look like Spider-Man?”\u003c/p>\n\u003cp>After he posted the video, \u003ca href=\"https://twitter.com/Marvel_Fan_3000/status/1278889003417169920\" target=\"_blank\" rel=\"noopener noreferrer\">responses began pouring in\u003c/a>, requesting to see him cast as Miles Morales, the first Afro-Latino character to take on the name Spider-Man in the Spider-Verse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Yeah to be a fan of something and then to see people want you to be a part of it, that’s a chance that I will not ruin for myself whatsoever,” Bass said. “If they pass on it, look, that’s okay, there’s plenty more opportunities. But I feel like I’m ready to take my shot and that’s truly what it’s all about right now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Theater+Student+Gets+Supersized+Attention+After+Superhero+Video+Goes+Viral&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pitch-Perfect 'Mexican Gothic' Ratchets Up the Dread",
"headTitle": "Pitch-Perfect ‘Mexican Gothic’ Ratchets Up the Dread | KQED",
"content": "\u003cp>Silvia Moreno-Garcia’s \u003cem>Mexican Gothic\u003c/em> is a thoroughly enjoyable, thought-provoking novel. I want to discuss it around tea, preferably while in the mountains, preferably somewhere well-lit. I remember placing my bookmark in the book and thinking, I should not have read this before bed.\u003c/p>\n\u003cp>I was afraid of what I might dream.\u003c/p>\n\u003cp>Noémi’s cousin Catalina writes a strange letter begging for help. She claims her new husband Virgil Doyle is poisoning her, that “fleshless things” and ghosts trouble her, that “they will not let me go.” Noémi—self-assured, chic and stubborn—leaves the glamor of 1950s Mexico City for the countryside, still depressed after a mining bust and fecund with secrets, to determine whether Catalina needs rescue.\u003c/p>\n\u003cp>Reader, she does. The situation is more complicated and sinister than the initial fear of just a con artist husband isolating his new wife and convincing the world she’s mad so he can steal her money.\u003c/p>\n\u003cp>The Doyles of High Place are so Anglo and insular they brought European earth for their garden. Rot seeps from cracks, corrupts wallpaper and slimes the ceilings of the house. There is no regular electricity, so our heroine must get around with candles and oil lamps. Smoking cigarettes, going into town, and conversation at dinner are all against house rules. And when conversation \u003cem>does\u003c/em> happen, the patriarch of the clan (Howard) says things like “You are much darker than your cousin,” and approvingly discusses eugenics. Virgil and Florence (High Place’s mistress) keep Noémi away from Catalina, saying she’s in mysterious “treatments.” Noémi’s only potential ally is Francis, Florence’s sheltered and delicate son. But even his friendship only stretches so far—and can it stretch further than the family land he’s never left?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Noémi’s dreams become haunted: A woman whose face is a golden cloud tries to speak, accompanied by visceral dread. Dream Virgil appears, a figure of lust and terror. A dead woman repeatedly tells Noémi to open her eyes. Where the dreamworld ends and reality begins feels uncertain. Noémi wonders whether she is losing her mind.\u003c/p>\n\u003cp>The reader isn’t sure, either.\u003c/p>\n\u003cp>There is a gradual rise of dread in \u003cem>Mexican Gothic\u003c/em>. It never quite falls off, even at the end, which I loved for its satisfying ambiguity; this is a novel that will leave you wary even after the last page. \u003cem>Mexican Gothic\u003c/em> touches on racial, class, and labor inequity, the way these things fester, infusing the landscape and blighting generations. High Place is haunted by memory. The very air is possessed. This is Silvia Moreno-Garcia’s greatness as a storyteller: She makes you uneasy about invisible things by writing \u003cem>around\u003c/em> them. Even when you think you know what lurks, the power to unsettle isn’t diminished. Secrets brought to light stay disquieting.\u003c/p>\n\u003cp>During the more surreal sequences, I was reminded of Remedios Varo’s paintings, Guillermo del Toro’s \u003cem>Crimson Peak\u003c/em> (this story is much better crafted), or Jeff Vandermeer’s \u003cem>Ambergris\u003c/em>. I appreciated the frequent winks at classic Gothic novels, even as Moreno-Garcia hit all of the expected tropes.\u003c/p>\n\u003cp>\u003cem>Mexican Gothic \u003c/em>is a pitch-perfect Gothic novel. The Gothics knew the only thing more full of horrors than the landscape is the human heart, that the human heart is a haunting. We often think of Frankenstein’s monster as magical; a limb drops off and cartoon Frank sews it back on, but Frankenstein’s monster was more Romantic than that. So is \u003cem>Mexican Gothic\u003c/em>. Moreno-Garcia (an occasional NPR contributor) spins science, myth, and obsession into an effective tale of supernatural horror and determination. We are asked to consider the terror of losing agency, of being part of or becoming monstrousness whether you will or not. Something is sick. Nothing is as it seems. We are possessed by the air we breathe. We are haunted by our bodies and the people who came before us. Can one escape that?\u003c/p>\n\u003cp>To help us through, there is a bright whisper of goodness—Noémi’s wit and vivacity, even as the Doyles pick her apart with criticism, Francis’s quiet will, light growing where it shouldn’t. You will want to see this heroine succeed, you’ll desperately root for her escape; as desperately, you will want other characters to fall. But in \u003cem>Mexican Gothic \u003c/em>we are asked to consider the things abusers do to create their next victims, the lengths one might go to control the future, and whether the snake can ever stop eating its tail.\u003c/p>\n\u003cp>You will be left unsettled, unsteady, and uncertain. You will also be left satisfied.\u003c/p>\n\u003cp>And you will remember High Place, though hopefully not in your dreams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jessica P. Wick is a writer, freelance editor, and California native currently living in Rhode Island. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pitch-Perfect+%27Mexican+Gothic%27+Ratchets+Up+The+Dread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Silvia Moreno-Garcia’s \u003cem>Mexican Gothic\u003c/em> is a thoroughly enjoyable, thought-provoking novel. I want to discuss it around tea, preferably while in the mountains, preferably somewhere well-lit. I remember placing my bookmark in the book and thinking, I should not have read this before bed.\u003c/p>\n\u003cp>I was afraid of what I might dream.\u003c/p>\n\u003cp>Noémi’s cousin Catalina writes a strange letter begging for help. She claims her new husband Virgil Doyle is poisoning her, that “fleshless things” and ghosts trouble her, that “they will not let me go.” Noémi—self-assured, chic and stubborn—leaves the glamor of 1950s Mexico City for the countryside, still depressed after a mining bust and fecund with secrets, to determine whether Catalina needs rescue.\u003c/p>\n\u003cp>Reader, she does. The situation is more complicated and sinister than the initial fear of just a con artist husband isolating his new wife and convincing the world she’s mad so he can steal her money.\u003c/p>\n\u003cp>The Doyles of High Place are so Anglo and insular they brought European earth for their garden. Rot seeps from cracks, corrupts wallpaper and slimes the ceilings of the house. There is no regular electricity, so our heroine must get around with candles and oil lamps. Smoking cigarettes, going into town, and conversation at dinner are all against house rules. And when conversation \u003cem>does\u003c/em> happen, the patriarch of the clan (Howard) says things like “You are much darker than your cousin,” and approvingly discusses eugenics. Virgil and Florence (High Place’s mistress) keep Noémi away from Catalina, saying she’s in mysterious “treatments.” Noémi’s only potential ally is Francis, Florence’s sheltered and delicate son. But even his friendship only stretches so far—and can it stretch further than the family land he’s never left?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Noémi’s dreams become haunted: A woman whose face is a golden cloud tries to speak, accompanied by visceral dread. Dream Virgil appears, a figure of lust and terror. A dead woman repeatedly tells Noémi to open her eyes. Where the dreamworld ends and reality begins feels uncertain. Noémi wonders whether she is losing her mind.\u003c/p>\n\u003cp>The reader isn’t sure, either.\u003c/p>\n\u003cp>There is a gradual rise of dread in \u003cem>Mexican Gothic\u003c/em>. It never quite falls off, even at the end, which I loved for its satisfying ambiguity; this is a novel that will leave you wary even after the last page. \u003cem>Mexican Gothic\u003c/em> touches on racial, class, and labor inequity, the way these things fester, infusing the landscape and blighting generations. High Place is haunted by memory. The very air is possessed. This is Silvia Moreno-Garcia’s greatness as a storyteller: She makes you uneasy about invisible things by writing \u003cem>around\u003c/em> them. Even when you think you know what lurks, the power to unsettle isn’t diminished. Secrets brought to light stay disquieting.\u003c/p>\n\u003cp>During the more surreal sequences, I was reminded of Remedios Varo’s paintings, Guillermo del Toro’s \u003cem>Crimson Peak\u003c/em> (this story is much better crafted), or Jeff Vandermeer’s \u003cem>Ambergris\u003c/em>. I appreciated the frequent winks at classic Gothic novels, even as Moreno-Garcia hit all of the expected tropes.\u003c/p>\n\u003cp>\u003cem>Mexican Gothic \u003c/em>is a pitch-perfect Gothic novel. The Gothics knew the only thing more full of horrors than the landscape is the human heart, that the human heart is a haunting. We often think of Frankenstein’s monster as magical; a limb drops off and cartoon Frank sews it back on, but Frankenstein’s monster was more Romantic than that. So is \u003cem>Mexican Gothic\u003c/em>. Moreno-Garcia (an occasional NPR contributor) spins science, myth, and obsession into an effective tale of supernatural horror and determination. We are asked to consider the terror of losing agency, of being part of or becoming monstrousness whether you will or not. Something is sick. Nothing is as it seems. We are possessed by the air we breathe. We are haunted by our bodies and the people who came before us. Can one escape that?\u003c/p>\n\u003cp>To help us through, there is a bright whisper of goodness—Noémi’s wit and vivacity, even as the Doyles pick her apart with criticism, Francis’s quiet will, light growing where it shouldn’t. You will want to see this heroine succeed, you’ll desperately root for her escape; as desperately, you will want other characters to fall. But in \u003cem>Mexican Gothic \u003c/em>we are asked to consider the things abusers do to create their next victims, the lengths one might go to control the future, and whether the snake can ever stop eating its tail.\u003c/p>\n\u003cp>You will be left unsettled, unsteady, and uncertain. You will also be left satisfied.\u003c/p>\n\u003cp>And you will remember High Place, though hopefully not in your dreams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jessica P. Wick is a writer, freelance editor, and California native currently living in Rhode Island. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pitch-Perfect+%27Mexican+Gothic%27+Ratchets+Up+The+Dread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Do Right By Us': Black 'Survivor' Alums Say the Reality Was Harmful Stereotypes",
"headTitle": "‘Do Right By Us’: Black ‘Survivor’ Alums Say the Reality Was Harmful Stereotypes | KQED",
"content": "\u003cp>Ramona Gray Amaro has a spot in reality TV history. She is the first Black woman to compete on CBS’s unscripted hit series \u003cem>Survivor\u003c/em>, which took 16 people and isolated them on an island in Malaysia, vying for a million-dollar prize, on the show’s first season in 2000, \u003cem>Survivor: Borneo\u003c/em>.\u003c/p>\n\u003cp>But when she saw how she was depicted in the show, which takes footage filmed on the island and edits it into episodes aired months later on network TV, Amaro also felt she was also one of the first Black people stereotyped by \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>She says footage showing her lying around her team’s campsite early in the competition made her look lazy, feeding into stereotypes about Black people. But she was suffering from dehydration.\u003c/p>\n\u003cp>Even though the program eventually showed her regaining her strength and working harder, she was voted off the island after 12 days. Amaro felt the damage was done.\u003c/p>\n\u003cp>“I became the lazy person, which is the furthest thing from the truth,” says Amaro. “That really upset me and it took me a long time to get over it. … To realize, we signed our life away. They can do whatever they want to do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. They believe their suggestions will help \u003cem>Survivor \u003c/em>create an environment that doesn’t echo the racism they face in the real world.\u003c/p>\n\u003cp>The only questions left now, are whether CBS and MGM Television agree, and are willing to change.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Do+Right+By+Us%27%3A+Black+%27Survivor%27+Alums+Say+The+Reality+Was+Harmful+Stereotypes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ramona Gray Amaro has a spot in reality TV history. She is the first Black woman to compete on CBS’s unscripted hit series \u003cem>Survivor\u003c/em>, which took 16 people and isolated them on an island in Malaysia, vying for a million-dollar prize, on the show’s first season in 2000, \u003cem>Survivor: Borneo\u003c/em>.\u003c/p>\n\u003cp>But when she saw how she was depicted in the show, which takes footage filmed on the island and edits it into episodes aired months later on network TV, Amaro also felt she was also one of the first Black people stereotyped by \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>She says footage showing her lying around her team’s campsite early in the competition made her look lazy, feeding into stereotypes about Black people. But she was suffering from dehydration.\u003c/p>\n\u003cp>Even though the program eventually showed her regaining her strength and working harder, she was voted off the island after 12 days. Amaro felt the damage was done.\u003c/p>\n\u003cp>“I became the lazy person, which is the furthest thing from the truth,” says Amaro. “That really upset me and it took me a long time to get over it. … To realize, we signed our life away. They can do whatever they want to do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. They believe their suggestions will help \u003cem>Survivor \u003c/em>create an environment that doesn’t echo the racism they face in the real world.\u003c/p>\n\u003cp>The only questions left now, are whether CBS and MGM Television agree, and are willing to change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Do+Right+By+Us%27%3A+Black+%27Survivor%27+Alums+Say+The+Reality+Was+Harmful+Stereotypes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After longstanding criticism over its lack of diversity, The Academy of Motion Picture Arts and Sciences is continuing to invite more women and minorities to its membership.\u003c/p>\n\u003cp>Of the 819 artists and executives invited to join in 2020, the Academy says 45 percent are women and 36 percent are from underrepresented ethnic and racial communities. Among those invited to join are actors Awkwafina, Cynthia Erivo and Eva Longoria, Native American director Sterlin Harjo and executive Ozzie Areu who, along with his brother Will, are the \u003ca href=\"https://www.gpbnews.org/post/atlantas-areu-bros-open-first-latinx-owned-studios-us\" target=\"_blank\" rel=\"noopener noreferrer\">first\u003c/a> Latinxs to own and operate a film and TV studio in the United States.\u003c/p>\n\u003cp>In 2019, of the 842 invited to join the Academy, 50 percent were women and 29 percent were minorities.\u003c/p>\n\u003cp>In a statement, Academy President David Rubin says, “The Academy is delighted to welcome these distinguished fellow travelers in the motion picture arts and sciences. We have always embraced extraordinary talent that reflects the rich variety of our global film community, and never more so than now.”\u003c/p>\n\u003cp>“Always” is a bit of a stretch. Eddie Murphy joked about the Oscars’ lack of recognition of Black people as far back as 1988. Kim Basinger called it out in 1990. Halle Berry in 2002. In 2012, the \u003cem>Los Angeles Times\u003c/em> surveyed some 5,000 Academy members and \u003ca href=\"https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-diversity-oscar-academy-members-20131221-story.html#ixzz2uqvZKl10\" target=\"_blank\" rel=\"noopener noreferrer\">discovered\u003c/a> that 93 percent were white, 76 percent were male and the average age was 63 years old.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five years ago, calls to boycott the Oscars and the #OscarsSoWhite campaign seemed to be the tipping point for the Academy to face the glaring disparity. In 2016, the Hollywood institution announced an initiative to double the number of women and underrepresented ethnic/racial communities by 2020. While this week’s announcement moves the Academy closer to that goal, it remains largely white and male overall. According to the \u003ca href=\"https://www.nytimes.com/2020/06/30/movies/academy-oscars-new-members.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, “only 19 percent of the current members are people of color while just 33 percent of Oscar voters are female.”\u003c/p>\n\u003cp>April Reign, the founder of #OscarsSoWhite, says that despite having five years “to show meaningful commitment to issues of inclusion and diversity, the Oscars nomination and voting process still results in little more than a popularity contest amongst older white men.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the Academy’s new members, writer, director and producer Lulu Wang \u003ca href=\"https://twitter.com/thumbelulu/status/1278092929072951296?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> that she is “honored” to join the Academy. “Though there is still much work to be done,” Wang writes, “this class looks more like an actual jury of our PEERS than ever before.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Academy+Of+Motion+Picture+Arts+And+Sciences+Invites+More+Women%2C+Minorities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After longstanding criticism over its lack of diversity, The Academy of Motion Picture Arts and Sciences is continuing to invite more women and minorities to its membership.\u003c/p>\n\u003cp>Of the 819 artists and executives invited to join in 2020, the Academy says 45 percent are women and 36 percent are from underrepresented ethnic and racial communities. Among those invited to join are actors Awkwafina, Cynthia Erivo and Eva Longoria, Native American director Sterlin Harjo and executive Ozzie Areu who, along with his brother Will, are the \u003ca href=\"https://www.gpbnews.org/post/atlantas-areu-bros-open-first-latinx-owned-studios-us\" target=\"_blank\" rel=\"noopener noreferrer\">first\u003c/a> Latinxs to own and operate a film and TV studio in the United States.\u003c/p>\n\u003cp>In 2019, of the 842 invited to join the Academy, 50 percent were women and 29 percent were minorities.\u003c/p>\n\u003cp>In a statement, Academy President David Rubin says, “The Academy is delighted to welcome these distinguished fellow travelers in the motion picture arts and sciences. We have always embraced extraordinary talent that reflects the rich variety of our global film community, and never more so than now.”\u003c/p>\n\u003cp>“Always” is a bit of a stretch. Eddie Murphy joked about the Oscars’ lack of recognition of Black people as far back as 1988. Kim Basinger called it out in 1990. Halle Berry in 2002. In 2012, the \u003cem>Los Angeles Times\u003c/em> surveyed some 5,000 Academy members and \u003ca href=\"https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-diversity-oscar-academy-members-20131221-story.html#ixzz2uqvZKl10\" target=\"_blank\" rel=\"noopener noreferrer\">discovered\u003c/a> that 93 percent were white, 76 percent were male and the average age was 63 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five years ago, calls to boycott the Oscars and the #OscarsSoWhite campaign seemed to be the tipping point for the Academy to face the glaring disparity. In 2016, the Hollywood institution announced an initiative to double the number of women and underrepresented ethnic/racial communities by 2020. While this week’s announcement moves the Academy closer to that goal, it remains largely white and male overall. According to the \u003ca href=\"https://www.nytimes.com/2020/06/30/movies/academy-oscars-new-members.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, “only 19 percent of the current members are people of color while just 33 percent of Oscar voters are female.”\u003c/p>\n\u003cp>April Reign, the founder of #OscarsSoWhite, says that despite having five years “to show meaningful commitment to issues of inclusion and diversity, the Oscars nomination and voting process still results in little more than a popularity contest amongst older white men.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the Academy’s new members, writer, director and producer Lulu Wang \u003ca href=\"https://twitter.com/thumbelulu/status/1278092929072951296?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> that she is “honored” to join the Academy. “Though there is still much work to be done,” Wang writes, “this class looks more like an actual jury of our PEERS than ever before.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Academy+Of+Motion+Picture+Arts+And+Sciences+Invites+More+Women%2C+Minorities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Hamilton' Comes Home, Just in Time For the Fourth of July",
"headTitle": "‘Hamilton’ Comes Home, Just in Time For the Fourth of July | KQED",
"content": "\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc&feature=emb_logo\u003c/p>\n\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. [aside postid='arts_13882671']\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And if Sondheim is right, there will be plenty of people waiting for the next Lin-Manuel Miranda musical to go over like \u003cem>Merrily We Roll Along\u003c/em>. The film, I think, will not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Comes+Home%2C+Just+In+Time+For+The+Fourth+Of+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And if Sondheim is right, there will be plenty of people waiting for the next Lin-Manuel Miranda musical to go over like \u003cem>Merrily We Roll Along\u003c/em>. The film, I think, will not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Comes+Home%2C+Just+In+Time+For+The+Fourth+Of+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Carl Reiner, Actor, Director, Writer, Producer And Mensch, Dies At 98",
"headTitle": "Carl Reiner, Actor, Director, Writer, Producer And Mensch, Dies At 98 | KQED",
"content": "\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\n\u003cp>https://youtu.be/XOTKDgrdvdg\u003c/p>\n\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XOTKDgrdvdg'\n title='//www.youtube.com/embed/XOTKDgrdvdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Past Isn't Done With Us,' Says 'Hamilton' Creator Lin-Manuel Miranda",
"headTitle": "‘The Past Isn’t Done With Us,’ Says ‘Hamilton’ Creator Lin-Manuel Miranda | KQED",
"content": "\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Past+Isn%27t+Done+With+Us%2C%27+Says+%27Hamilton%27+Creator+Lin-Manuel+Miranda+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "A film of the original Broadway production of 'Hamilton,' taped in 2016, begins streaming on Disney+ on July 3. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Past+Isn%27t+Done+With+Us%2C%27+Says+%27Hamilton%27+Creator+Lin-Manuel+Miranda+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé to Drop Visual Album, 'Black is King,' on Disney+ in July",
"headTitle": "Beyoncé to Drop Visual Album, ‘Black is King,’ on Disney+ in July | KQED",
"content": "\u003cp>A new visual album written, directed and executive produced by Beyoncé is on its way.\u003c/p>\n\u003cp>\u003cem>Black Is King\u003c/em> will celebrate Black resilience and culture, and premiere globally on Disney+ on July 31, according to a \u003ca href=\"https://dtcimedia.disney.com/news/black-is-king-july-31\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>. The album is based on the music of \u003cem>The Lion King: The Gift\u003c/em>, the Beyoncé-curated soundtrack album for the \u003cem>Lion King\u003c/em> animated remake released last July, in which she voiced the character of Nala.\u003c/p>\n\u003cp>“The visual album from Beyoncé reimagines the lessons of \u003cem>The Lion King\u003c/em> for today’s young kings and queens in search of their own crowns,” reads the statement from Disney and from Beyoncé’s company, Parkwood Entertainment.\u003c/p>\n\u003cp>The film, which was in production for one year, will star the album’s featured artists as well as special guest appearances. A minute-long \u003ca href=\"https://beyonce.com/\" target=\"_blank\" rel=\"noopener noreferrer\">teaser video\u003c/a> is available on Beyoncé’s website.\u003c/p>\n\u003cp>The press release says the album honors the voyages of Black families throughout time, and tells the story of a young king’s journey through betrayal, love and self-identity. Guided by his ancestors, father and childhood love, he earns the virtues needed to reclaim his “home and throne.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These timeless lessons are revealed and reflected through Black voices of today, now sitting in their own power,” it reads. \u003cem>Black Is King \u003c/em>“is an affirmation of a grand purpose, with lush visuals that celebrate Black resilience and culture. The film highlights the beauty of tradition and Black excellence.”\u003c/p>\n\u003cp>The announcement comes on the heels of Beyoncé’s latest surprise, a single called \u003ca href=\"https://www.npr.org/2020/06/20/881215617/beyonce-releases-new-song-black-parade-in-the-final-hours-of-juneteenth\" target=\"_blank\" rel=\"noopener noreferrer\">“Black Parade”\u003c/a> that she released on Juneteenth. She announced \u003ca href=\"https://www.beyonce.com/black-parade-route/?q=&page=1&category=all\" target=\"_blank\" rel=\"noopener noreferrer\">on her website\u003c/a> that proceeds from the song will benefit Black-owned small businesses in need through her BeyGOOD initiative.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Black excellence is a form of protest,” the post said. “Black joy is your right.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+To+Drop+Visual+Album%2C+%27Black+Is+King%2C%27+On+Disney%2B+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new visual album written, directed and executive produced by Beyoncé is on its way.\u003c/p>\n\u003cp>\u003cem>Black Is King\u003c/em> will celebrate Black resilience and culture, and premiere globally on Disney+ on July 31, according to a \u003ca href=\"https://dtcimedia.disney.com/news/black-is-king-july-31\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>. The album is based on the music of \u003cem>The Lion King: The Gift\u003c/em>, the Beyoncé-curated soundtrack album for the \u003cem>Lion King\u003c/em> animated remake released last July, in which she voiced the character of Nala.\u003c/p>\n\u003cp>“The visual album from Beyoncé reimagines the lessons of \u003cem>The Lion King\u003c/em> for today’s young kings and queens in search of their own crowns,” reads the statement from Disney and from Beyoncé’s company, Parkwood Entertainment.\u003c/p>\n\u003cp>The film, which was in production for one year, will star the album’s featured artists as well as special guest appearances. A minute-long \u003ca href=\"https://beyonce.com/\" target=\"_blank\" rel=\"noopener noreferrer\">teaser video\u003c/a> is available on Beyoncé’s website.\u003c/p>\n\u003cp>The press release says the album honors the voyages of Black families throughout time, and tells the story of a young king’s journey through betrayal, love and self-identity. Guided by his ancestors, father and childhood love, he earns the virtues needed to reclaim his “home and throne.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These timeless lessons are revealed and reflected through Black voices of today, now sitting in their own power,” it reads. \u003cem>Black Is King \u003c/em>“is an affirmation of a grand purpose, with lush visuals that celebrate Black resilience and culture. The film highlights the beauty of tradition and Black excellence.”\u003c/p>\n\u003cp>The announcement comes on the heels of Beyoncé’s latest surprise, a single called \u003ca href=\"https://www.npr.org/2020/06/20/881215617/beyonce-releases-new-song-black-parade-in-the-final-hours-of-juneteenth\" target=\"_blank\" rel=\"noopener noreferrer\">“Black Parade”\u003c/a> that she released on Juneteenth. She announced \u003ca href=\"https://www.beyonce.com/black-parade-route/?q=&page=1&category=all\" target=\"_blank\" rel=\"noopener noreferrer\">on her website\u003c/a> that proceeds from the song will benefit Black-owned small businesses in need through her BeyGOOD initiative.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Black excellence is a form of protest,” the post said. “Black joy is your right.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+To+Drop+Visual+Album%2C+%27Black+Is+King%2C%27+On+Disney%2B+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>America’s reckoning on race has come to TV animation, as stars Jenny Slate and Kristen Bell, who are white, have agreed to stop voicing characters who are biracial.\u003c/p>\n\u003cp>And while some fans may be disappointed to see their favorite performers leaving TV shows they enjoy, the moves also end a subtle way in which actors of color have been marginalized. It’s an attention-getting moment when performers have recognized their white privilege and moved to end it.\u003c/p>\n\u003cp>Slate, who plays the character Missy on Netflix’s animated comedy \u003cem>Big Mouth\u003c/em>, \u003ca href=\"https://www.instagram.com/p/CB1JlSqFXT8/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram Thursday\u003c/a>. “At the start of the show, I reasoned with myself that it was permissible for me to play Missy because her mom is Jewish and White—as am I,” Slate wrote in a statement. “But Missy is also Black, and Black characters on an animated show should be played by Black people … In my playing Missy, I was engaging in an act of erasure of Black people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tu1ZpF0bzMg\u003c/p>\n\u003cp>Nick Kroll, comic and co-creator of the show, backed Slate’s decision in a statement from the series’ executive producers \u003ca href=\"https://www.instagram.com/p/CB1KskYATHv/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted on his Instagram page\u003c/a>. “We sincerely apologize for and regret our original decision to cast a white actor to voice a biracial character,” the statement reads. “We made a mistake, took our privilege for granted, and we’re working hard to do better moving forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xpzEIrtBzTM\u003c/p>\n\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xpzEIrtBzTM'\n title='//www.youtube.com/embed/xpzEIrtBzTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Search Party' Season 3: Jerks Brought to Justice",
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"content": "\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The darkly comic series about four entitled New Yorkers striving to cover up a murder returns for a third season. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\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": "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": "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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"politicalbreakdown": {
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"title": "Political Breakdown",
"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",
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"possible": {
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"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",
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"pri-the-world": {
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"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",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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